i d said to her to her face. rose: tell me now what you would say to her? i would say too her if i told you how much i loved you would you feel better about who you are? that s something i want to say to her. rose: because sheidn t become what she could have become. this is true. she did not become what she could have become. but mainly. not that. she didn feel good about who she was. rose: ken branagh, michelle williams, simon curtis and diane keaton when we continue. we allll roofor.who ats s the ds l acacrossmeririca.p@t@@@btsta , evertimeme a ststis b burneor t mididnighol hen aethl@e chasd@t@ @dl@@ for r a re herero, iyou u wannrt pporort sml bubusine. captioning sponsored by rose communitions from our studios in new york city, this is charlie rose. rose: mare lib monroe is a figure who has fascinated holly with wood for years. in 1956 she went to england to shoot the prince and the show girl 23-year-old colin clark was a production assistant on the set. he
you feel better about who you are? that s something i want to say to her. rose: because sheidn t become what she could have become. this is true. she did not become what she could have become. but mainly. not that. she didn feel good about who she was. rose: ken branagh, michelle williams, simon curtis and diane keaton when we continue. we allll roofor.who ats s the ds l acacrossmeririca.p@t@@@btsta , evertimeme a ststis b burneor t mididnighol hen aethl@e chasd@t@ @dl@@ for r a re herero, iyou u wannrt pporort sml bubusine. captioning sponsored by rose communitions from our studios in new york city, this is charlie rose. rose: mare lib monroe is a figure who has fascinated holly with wood for years. in 1956 she went to england to shoot the prince and the show girl 23-year-old colin clark was a production assistant on the set. he wrote two memoirs about the production. in one he chronicles the one week he spent alone with the world s biggest movie star marilyn monro
interviewer: anthony, i know you spent a lot of time researching artificial limbs and being an amputee for this part. how difficult was it to portray someone with an artificial leg convincingly? anthony: i think for someone like milner it was very important, especially doing the job that he was doing, to to have that ability, to have the sense of freedom and the sense that life goes on and life is normal. so trying to combine those two, the reality of the physical constraint and the emotional life, i suppose. interviewer: so what was it like for the both of you to work with the great michael kitchen? anthony: great! honeysuckle: breathtaking really. because he kind of does it with such ease. it looks, you know, it looks so easy. when he does it. he s always ready with the performance, kind of just comes and you watch him at the time and you think gosh that was very laid back and then you see it on the screen and it s sort of perfect performance and it s sort of quite, i mea
you how much i loved you would you feel better about who you are? that s something i want to say to her. rose: because sheidn t become what she could have become. this is true. she did not become what she could have become. but mainly. not that. she didn feel good about who she was. rose: ken branagh, michelle williams, simon curtis and diane keaton when we continue. we allll roofor.who ats s the ds l acacrossmeririca.p@t@@@btsta , evertimeme a ststis b burneor t mididnighol hen aethl@e chasd@t@ @dl@@ for r a re herero, iyou u wannrt pporort sml bubusine. captioning sponsored by rose communitions from our studios in new york city, this is charlie rose. rose: mare lib monroe is a figure who has fascinated holly with wood for years. in 1956 she went to england to shoot the prince and the show girl 23-year-old colin clark was a production assistant on the set. he wrote two memoirs about the production. in one he chronicles the one week he spent alone with the world s b