♪ >> from our studios in new york city, this is "charlie rose." charlie: eugene o'neill is one of the greatest playwrights of the 20th century. he wanted the nobel prize for literature. -- onewon the nobel prize for literature. he has been called the father of american theater, paving the way for arthur miller, tennessee williams come and tony kushner. his life was hard. his mother was a morphine addict and out the hall at. o'neill channeled life into his work. "the iceman cometh" is one of his most powerful plays. he describes as a big comedy that doesn't stay funny very long. it focuses on the regulars of a new york city saloon who have numbed themselves with alcohol and delay acting on their dreams. the play was revived at chicago. that production is currently at the brooklyn academy of music. a reporter from the new york times says it is enacted by a cast that is not likely to be better this season. joining me now are two tony award-winning actors. nathan lane and brian dennehy. i'm pleased to have them at the table. welcome. nathan: thank you. always a pleasure. charlie: you saw this production was going to take place. you said, this is right for me. you notified the director? nathan: yes, it started off in a bar. he said to me "you know nathan, you can't just talk about these great parts, you have to do them." cjharharlie: i've never thought of that. nathan: he said you will learn a great deal. it doesn't matter what anyone else says. later on i read an interview in "variety" with brian. there were talking about potentially revisiting "the iceman cometh." they had done it together in 1990. charlie: is there a character he hasn't played? [laughter] nathan: when i heard them discussing this, i wrote an e-mail to bob even though i didn't know him well to say, i would love to play hickey. here is my reasoning. fortunately, he responded positively. we got together and started discussing how we can do it. charlie: how do you see hickey? nathan: when i read the play when i was a kid and got a collection of eugene o'neill plays and i read "the iceman cometh" i was drawn to the character hickey because of the description that o'neill writes, that sounds a bit like me. he describes in his and roly-poly and with a button nose and a twinkle in his eye. he always writes long descriptions of characters. rather too specific for everyone to live up to. [laughter] what he created i thought, and what i was bringing up to bob in the e-mail, it is defined by jason peters he was the gold standard. 1956 when they did the revival off-broadway. that defined who that character is. it was much darker than the original production in the 1940's. jason brought this this mischievous benevolence and otherworldly quality to it. i was saying to bob, wouldn't it be interesting taking what o'neill has said about him? the notion is he loves these guys. just as he ultimately says he killed his wife and it was an act of mercy, out of love, he had come to help them and change their lives and bring them peace. unfortunately, he feels the only way to do that is to kill their illusions, their pipedreams as they are often called. i thought it has to come out of that. it has to come out of love. not that he is trying to destroy them, that he is trying to help them. in a way, that is more disturbing. the fact that it is a joyish thing and is so offputting that this person that they love so much is driving them to do this thing. for him, he is in a semi-delusional state. he feels that this last act which i don't think we'll bring him absolution, but it is a way to prove to them and to himself that what he did was right. ultimately, his pipe dream is that he did this out of love. charlie: he is doing this for them. nathan: yeah. charlie: is this a different hickey than you conceived of him? brian: yeah. it is interesting. when i started working, all i knew was jason along with everyone else. when we started rehearsal almost 30 years ago, i'm just going to -- [laughter] it was not so easy to do. i finally realized after coming with bad jason robards interpretations, i said that i couldn't do that. i came up with the happiest guy in the world. this sunny salesman of death. big smiles all the time. big hearty laugh. slowly becomes obvious to the audience and the people on stage that he is selling something that is not quite as advertised. charlie: is he selling it out of love? brian: sure. it is an interesting discussion that goes on constantly with people like ourselves who deal with the play and the character -- just how crazy is he? crazy enough to know exactly what he is doing in terms of embracing his craziness? crazy? not crazy? nathan: he sort of compartmentalizes all these things. he knows he is going to turn himself in. he knows he is going to make a phone call to the police. he knows that people he knows what he did is wrong -- technically. [laughter] charlie: technically? nathan: shooting your wife in the back of the head in the middle of the night is technically wrong. he knows he must be punished and ultimately, that is what he really wants. he wants to be punished. it is always what he wanted from his wife. but she kept forgetting him. this unhealthy, codependent relationship where she keeps forgiving him and he does love her -- that is a theme of the play. it's the one theme is that a man cannot live without his illusions, the other is that how does love and hate coexist within a person. brian: the only way he can stop her from forgiving him is to make sure she is dead. otherwise, she would forgive him. pull the trigger. i forgive you. [laughter] nathan: it is an unraveling. in the fourth act when he famously -- to prove that he was right, he recounts his life story. he leads up to the night of the murder. as he is going along, he wasn't planning on telling the story, but he has to. he is driven to do this, to prove to them. these revelations start happening. it is like a therapy session. somebody says tell me your life , story. and you start. and you start talking about things he didn't expect to talk about. it takes some place else where you think, maybe i was wrong about this or that. he slowly starts to unravel as he is revealing more and more. you see his own self-loathing and shame of what he did to her. it is like a story in "the new york post." [laughter] and you would say can you , believe this happened? and yet it did. because we are human. charlie: has this done all the things he said it could have done for you? nathan: without a doubt he was right. it was prophetic. charlie: that was 10 years ago. nathan: yes. it took a while to get me to chicago. look, i instigated the whole thing. fortunately it was a huge success, which led to us doing it again. the perfect venue, the beautiful harvey theater. and an extraordinary company of actors. it is a remarkable group of people. i think that is what is making this so special. yes, it has lived up to those expectations and more. charlie: you want more? nathan: sure. who wouldn't? i know there are certain -- look, anyone in show business, there are certain preconceptions about them. and we think we know them because of one or 23 things they did that was successful. that is the person i know. at my age, i'm told i have more to offer and wanted to challenge myself. i wanted to do it with bob and brian. i knew that was a way to do it. charlie: this is what bob says about you. he says it is a mark of brian that he moves through these roles and he knew he was the right age for slade. brian: yes. he is reverting to the system whereby the brits start out playing a young man par and then moving up as they get older. i guess that is true. i feel comfortable with slade, especially since he sits on his ass the whole play. it is an interesting and complicated part. in many ways it is as complicated if not more so than hickey because -- although hickey has all of the hard lifting to do larry has some stuff to work out, especially with the kid. it is a similar situation, a parallel track. except in larry's case, he finds out that the real generous thing to do is to make sure that this kid kills himself. which he assists him in doing. we're are talking o'neill world here. charlie: a dark world. brian: very much so. what is interesting is the darkness of it. it was written at about the same time he was writing a family play. it was apparently an ordeal for him. very difficult in california in that house. he wrote a letter to a friend in new york. he said i have got to stop , working on the play. it is much too complicated. i'm suffering. i am now writing something that makes me laugh every day. [laughter] nathan: he did love these guys. he is at a point in his light in his early 20's and he attempted suicide. this is where the harry hopes to learn is based on. -- harry hope saloon is based on. that and the golden swan had a back room called the hell hole these guys saved his life. these were the guys that saved his life. a character was a scottish reporter who saved his life in the attempted suicide. i think that was always in the back of his head to write this play about a group of guys -- most of them were based on real people except for hickey. did you know he was reading a lot of nietzsche? carrying around the birth of tragedy. charlie: while he was writing this, he was carrying it around. nathan: yeah. obviously it is influenced by other plays. but nietzsche was a huge influence. charlie: did you do all this insight into o'neill after you got the part or are these things you have been curious all along and have been studying? nathan: i was interested in the play, and when i knew i was going to do it the year before i started doing research about the play. charlie: you started in 1973 in doing your o'neill character. first brian: yeah, throwing those numbers at me. the first o'neill play i did i think was 1973 at the quake theater with bill hickey. wonderful character. tremendous guy. who had one little problem -- he had trouble learning his lines. there are two guys at sea and one was dying they had been buddies for year. they had been buddy for years. we go into this tiny room. 25 people watching. he goes: i wasn't talking about those women on the shore. what was her name? rio de janeiro. remember that one? what was her name? consuelas? that's right. [laughter] i had to give him every line. what was that restaurant? that would take a phone call. i'm doing my part and his part. and of course, they scream for him. [laughter] nathan: i like the other version of that. and actress worked with an old british actor who had difficulty remembering his line, when he would go up some with politely turned to her and smile and say, so, how is your father? [laughter] it was all on her. she talked a lot about her father in that play. how is your father? brian: there was a player named ron dean the first time we did it. nathan: this is good. brian: ron had a checkered career. spent a little bit of time in prison. i think 17 years. but in any case bob took a , chance on him. when he realized what he had taken on, he said to the cast, i have got to have an escape mechanism. so when i am talking, when i have the speeches, if i say, oh boy, i know the line. i am going to come up with a line, but i'm i'm going to say oh boy. be ready. i will get there/. but if i say, oh boy, oh boy, we may skip a little line. [laughter] if i say it three times, it's every man for himself. [laughter] charlie: they say to do o'neill is tough, like climbing mount everest. who says that? brian: of course it is. charlie: what does that mean? why is it true? nathan: he is asking you to go with him. he is very brave, what he is writing about. he is asking big questions and big emotions. some people would call it operatic. he is asking all of us, and particularly hickey in the fourth act, to go to the most personal of places and it is inescapable. if it is going to work, you have to go with him and be as brave as he is in the writing. you have to expose yourself in a way that it is really difficult and personal and it is like diamond cutting. it is delicate. you have to expose yourself in a way that is difficult. we have talked about that challenge of doing it every night. john slattery came the other night. he was saying how do you do this , every night? how do you get there? and i said you just try. you don't always get to the top. that is the challenge. if your agent regrets telling that last story, send it your letters to brian dennehy. [laughter] everything ok? time for the medication? brian: wait until i get a hold of you. nathan: there you go. you know that you are only human. you are relying on many things. charlie: do you know why you get there some nights and why you don't? nathan: why you get into the zone? charlie: you said some nights you cannot get there. nathan: yes. sometimes you see where this zone is and you get there technically. that, i don't know why. it is not science. it is human chemicals. as much as you prepare sometimes you are in a very specific moment, a quiet moment, and someone in the audience goes [mimicks loud coughing] and that could throw you. brian: or they go -- [mimicks yawning] give you one of those, they're good. nathan: that is what live theater is about. it is about trying to keep a large theater people from coughing. as someone once said aimlessly -- said famously. it is about concentration and focus. charlie: did you get prepared for this more than anything you have ever done? nathan: without question. charlie: because it was a leap? nathan: a huge leap for anyone. a huge degree of difficulty that is up there. brian: the other thing too, is he is not the most adept writer of phrases. he will back up on himself on a phrase. it does not necessarily come out as easily as it could. mary mccarthy, who was a famous critic for the new yorker back in the 1940's was the curse of a lot of playwrights. always said the same thing about o'neill as she did about others, that they were not good writers, but great writers. meaning that they were not particularly facile with the language and the characters and the verbs in the nouns. in a way, for example, let's say updike was. charlie: they were great at understanding of the human condition? brian: they insisted on going to the deepest, darkest parts. arthur miller, who i was privileged to work with, talked about the differences between a lot of these playwrights. he always said that o'neill was the deepest diver. and that he wasn't -- he was interested in the soul. charlie: is that the reason you have done so much? brian: i find it interesting. it has been my great fortune to do a lot of parts. o'neill parts. to suddenly discover yourself in a place where you are digging away at a very fundamental part of your own being and you realize if i keep doing this i could do myself a psychic injury -- charlie: but you can't do it well unless you do that? nathan: that is what it is about. if you don't, it is disappointing. it is frustrating to you as an actor as well. they call him the american shakespeare. the language you are talking about, i love his language, this play in particular. but you need to know how to handle that amount of language. brian: he repeats himself. he wants to repeat himself. people say he says the same thing over and over again. that is not true. he is repeating himself for a reason. he is a teacher. and he wants you to hear it and again and again. one people say we have got to take this out, they are missing the point. that is the way he wants it. nathan: it is like music. a variation on a theme that he comes back to and changes it just a little bit you see why he has changed it and where the character's head is going when he changes the language. it is fascinating. a thrilling challenge. brian: a huge challenge. the men gave birth turning his mother into a morphine addict. and she stayed one for 30 years. charlie: was it difficult? brian: yes. very interesting device here. the father refused to hire a good doctor for eugene's imminent birth. they used a hotel doctor. the guy was terrified of it. she hadn't assisted in any births. she was in great pain. he apparently cut her a little bit and overwhelmed her with morphine. turned her into a morphine addict. i guess that's the way you make a nobel prize winner. turn your mother into a junkie. charlie: did she remained that way for the rest of her life? brian: all of this stuff was his life. his brother died roaring in the hospital as the irish say, from acute alcoholism at the age of 37. couldn't even walk anymore on his feet. there was a tremendous amount of pain of what he did to his kids. all of it ended in these extraordinary words. dealing with those events and a lot of other events. charlie: i hate to ask this, but is there one of the three that you prefer? brian: there is one that i love that is not necessarily regarded as one of his great plays. it is a play not about huge terrible passions and events, but it's about a little guy who has screwed himself up and refuses to admit it. his life is full of minor injuries, bruises, and cuts. that is huey. i love playing huey. it is not massive pain. he is a little guy who thinks his life has been worth it and successful and as he talks about his life we realize what a tiny, small, disaster it has been. not a big one. charlie: a death of 1000 cuts? brian: not even the death of 1000 cuts. is the death of 80% of the population. charlie: they had been living an illusion of some kind? brian: still living it. charlie: you think that is 80% of the population we know? brian: i was raised in an irish family. i have seen a few deathbeds. that look and feeling of, was this ride worth it? just recently in fact. that is what huey is. he is a life adding up to 40 or 50 years of certainty. knowledge of who he was. what he could do. what his chances were. and failing at every single thing. charlie: i think someone said this about iceman, that this is about his role as a catalyst. more about him, it is his role as a cattle? -- as a catalyst? do you think that? nathan: yes. not just as a catalyst for the characters in the play, before the audience. this is a confrontational play. as much as he experimented in his early career with greek tragedy, more stately mansions in the south or whatever it might have been, this was really an experiment, an emotional marathon that goes on for close to five hours. he wanted the audience to feel trapped. he wanted them to suffer with the people on stage. charlie: make it uncomfortable. nathan: the audiences that come, you feel that. more than any other production they feel this is more confrontational. you do start to think about your own life and your own pipe dreams and illusions and what is true and what isn't. charlie: in the end, they hang on to those illusions. nathan: they go back there. in this production, hickey gives them that. he is about to say to harry, i must have been insane to say what i said to evelyn after i killed her. he says, you have been insane this entire time. harry wants to be off the hook. he starts to say, i can't let you get away with it -- he sees him start to shrink in front of him. from my point of view, he is giving him and all of them the gift back of going back to their illusions. he says, yes. i've been insane the entire time i have been here. it also allows him to go back to his own pipe dream of his love for evelyn and what he did out of love. brian: and not get executed. [laughter] nathan: i don't think that. that is your theory. i think he is beyond that at some point. brian: he claims he was insane. i admit to mr. lane's posit. i don't think o'neill wanted it to be that way. however being as dark an irishman as i am, i suspect the character says, yes, officer. take me to jail. i want to be executed -- tonight, preferably. could you hold the switch tonight? maybe there is something crazy about him. maybe he will spend five months in some summer camp -- charlie: we don't know. nathan: i don't agree. charlie: you reject this? nathan: yes. he wants to be punished. he wants to be punished. the fact is his version of love growing up was his father used to beat him because he was bad. you are a bad kid. he would go out and come home and be beaten. the only person who didn't was evelyn, his wife, who loved him since they were teenagers. she saw in him i guess the potential to be good and bad and happy. the word happy comes up so often. all i want is for you to be happy. it is mentioned at the end of each act. she is going to make him happy. you do start to question what happy means. because it is said so often. charlie: the play is exhilarating like a cold shower. [laughter] nathan: well, yes. a long, cold shower. [laughter] brian: there nothing less exhilarating about a long, cold shower. i think you can overanalyze all of this stuff. o'neill was onto something every time he wrote a play. this play is a great mystery. he deals with deep subjects. self-delusion. how much self-delusion -- nathan: and self recognition. charlie: it is so terrible and so terrifying you back away from it. brian: and clings to self-delusion. charlie: truth is painful. nathan: if you need to be drunk to get through it, have a drink. brian: sure. nathan: in some ways he advocates drinking. charlie: without o'neill we would have no miller? nathan: without question. he is the father of american drama. he created his own version of what it'sbson was doing. he wrote his own serious place. ys. brian: the one writer i suggest you talk to at length about this is kushner. charlie: tony kushner. brian: tony kushner is a huge fan of o'neill in the best sense of the word. he understands him so completely. he has written some wonderful on a grand -- monograms. >> i think if you look at this obsession he has with illusions and dreams and the way he talks about america and the hollow dream or a dream that will never be fulfilled, his dark vision of what this country does to people's dreams, i think it makes the theater the perfect medium for somebody who is as heartbroken about disillusionment. really, finally, on some level can recognize that there is no salvation and reduction -- redemption, that there is no life after death. that everything that made life possible bearable was actually a lie. theater is the perfect medium for somebody that is grief stricken as o'neill was. nathan: he has written a screenplay about this period when he was living as a young man amongst these -- charlie: it was a screenplay about o'neill -- nathan: his youth when he attempted suicide. brian: about "the iceman cometh." nathan: yes. the years leading to him writing "the iceman cometh." 1939. but it wasn't produced until 1946, because he felt the audiences wouldn't accept it until after the war. brian: they didn't accept it then. but then a year after he died, almost to the day, o'neill opened the play and opened the whole banquet of o'neill works. that is what happened. o'neill's plays were recognized for the works of genius that they were. they have been done everywhere by everybody ever since. the irony being of course that he died in obscurity a year before. charlie: but when jose quintero did that it opened it up. is that something the moment you're most proud of? brian: i feel strongly about "salesman." there were elements of that play i haven't really explored because they were so close to whatever sensitive -- charlie: places of yourself? brian: places that i couldn't go. interesting thing about "salesman" and knowing there's something special about that play for me, i had forgotten all of it. it is a deliberate act. and i don't know why. which means something. i don't know why it means something either. charlie: do you wants to know? brian: not particularly. o'neill, i can approach rationally and think about it. feelings about it, for example huey and other things i have done more than once. but "salesman," i don't think i can go back. there has been some process inside of me that has removed so much of my understanding of that part of me. i don't question it. i don't worry about it. i don't try to get in its way. it is just is what is. that play was more profound to me than i'm prepared to deal with. charlie: this is not an illusion. it is some rawness that touched you. brian: yeah. i can remember laying awake night after night doing it. i did this play exhaustively. it seemed to be the more exhausted i got, the better it was. like i say, i have put that over there. charlie: and won't go back. brian: i'm not ready to look at it yet. charlie: have you thought about "salesman?" nathan: it is something that we have talked about with joe, a director, who had wanted me to do it. i didn't feel i was old enough. of course, phil hoffman did it. he was 44, 45. it would be a way off, if we did it now. it is hard. i saw a lot of them. i saw dustin hoffman. the television version -- i remember seeing that television version. one of the reasons i wanted to do this play with them -- maybe it was my age, but it was the first time i had seen the play. and it is always affecting, because it is about a father. the first time i thought and thought, i understood what was happening. and also, that i was seeing inside someone's head. which i believe it was almost called. i saw someone having a real breakdown, as well as what was happening to him in society and all of those other things. it was very personal and raw at that time. i was so affected. i remember going back at think it was the highest compliment i could have paid you. wishes i went back to see him. , i started to talk to him. i broke down crying. i couldn't speak. charlie: you went backstage. nathan: yeah. i couldn't find the words. i just broke down crying. nathan: what did i say? brian: brian, are you having any fun? [laughter] i remember looking at you and you broke into tears. nathan: yeah. charlie: do you understand what that was about? nathan: i'm sure it had to do with my father and the lack of a father. my father died when i was 11. he was an alcoholic. basically drink himself to death. i don't know. that play is a powerful one. i think at some point i would love to tackle it. brian: see if he could do it before i kick the bucket. [laughter] nathan: all right. we'll try to coordinate our schedules around that. [laughter] charlie: anything else on a bucket list you have about theater? brian: i don't know if i have the time. i have this ongoing flirtation with lear. charlie: ah! brian: however, it is a long conversation. i want to do it, but i want to do it in a certain way. i think i want to sneak up on it with "endgame," which is a version of their. beckett, of whom i love, makes it so obvious that so much has been taken away from this man already. the thing about lear is that i have seen very good performances lately, all of which will be nameless. i realize one thing -- it requires a towering performance. it does not good enough to do lear good enough. after all, it is it is about the most important subject of all, which is death and dying. we are all dying. no matter what age we are. here is a man who has had everything and assumes he will always have everything, and suddenly life begins to slip away in absurd ways, tragic ways. but whatever. the canon is covered by shakespeare. what is required is a majestic mindless, humorous, and towering performance of life being ripped away. having said that -- you say to yourself, do you want to climb into that arena? part of me does. charlie: ego? brian: that is the ego part. i have tio kick it's ass to see if i'm really capable of it. take on a part that i know is so demanding and so huge -- it scares me. it scares me thinking of getting it. bob and i a long time ago said we are only good and do things that scare each other, but that one really scares me. [laughter] that is the thing about lear. charlie: i have seen a lot of them. brian: people say, that was really nice. but that is not enough. not enough. charlie: do you wish you had done this 10 years ago? could you have done it? or is it one of those things it couldn't have happened without things in my life to do it? nathan: i think so. the latter. it took this amount of time. to reach a point in your life -- your questioning, not unlike the playwrights we are talking about. you are questioning why am i here? what am i supposed to do with this? i have this success. but am i an artist? am i going to push myself further? i could entertain people for the rest of my life and that is a lovely life. marty short once says something about -- the funniest man in the world -- charlie: you think so? nathan: i do. he said people don't want to see meet stretching, they don't want to go to the monkey house and see the monkey being introspective. they want the monkeys to be monkeys. it made me laugh. believe me, marty has within him as well as being a brilliant comic also can be a brilliant actor and has shown that. charlie: but does he want to? nathan: i think he is perfectly happy doing what he wants, when it happens. if something interesting came along, he can do many things. he is in the paul thomas anderson film. mostly, i think he enjoys making people laugh. i said to myself, i think i might be one of the introspective monkeys. charlie: introspective monkeys. didn't olivier say he wanted to do comedy? nathan: he always wanted to play nathan detroit. my old part. he wanted to do it at the national. if you ever saw him in an interview where he imitated sam goldman beautifully and you thought i would've loved to see him playing nathan detroit -- brian: he did "the entertainer." which was a tragic version of a comedian. there are times when it was very funny. of course the problem with , handling that part was he couldn't allow himself to be any good. the point is he is playing a lesser entertainer. nathan: famously he was asked how did he achieve that mediocrity in singing and dancing? he just said, i did the best i could. [laughter] and that is what came out. i mean look, he famously did "oedipus." the restoration play where he played mr. puff, the critic. he was testing himself in that way a long time ago. i think that is what happens. this has come about at a great time in my life to explore this side of myself. it has been thrilling. it has been life-changing to come back to ken branagh. it makes you want more of that. not that i don't enjoy comedy and going back to terrence mcnally. i think one thing helps the other. it is like when you do stage and you go back to tv or film. one enhances the other in some ways. having done this affects your other works as well. charlie: does that mean in the end that you put a higher value on branagh? nathan: no, i think that would be wrong. comedy is always concerted the poor second cousin to big, old drama and tragedy. as if comedy was easy. charlie: it is hard. nathan: we know it is not. and to do it well is difficult. and make it look effortless. i think that is why, if it is done in that way, people don't take it as seriously. charlie: robert fall said about you, imagine them use would be a beautiful, young, gorgeous woman. and i ended up with brian dennehy. brian: that is why he made me wear that wig. [laughter] i was wondering. we had coffee. he directed this play that i did, "rat and the skull." we had coffee and he said, you and i are going to do all these things together. he didn't have a job. i had a job. and i listened for a long time. i realized this is going to be something we were going to do. he finished up by saying, we are always going to do things we are not sure we can do. which is also something else we did. charlie: always do things that made you scared. brian: even more than that. we are always scared. good if you say to yourself, i don't know if i belong in this ball game, i'm really taking a chance here. for the most part, we pulled it off. charlie: i don't know, but i think? brian: the other thing about lear is that i may have left it a little too late in terms of age and strength and my brain and so forth. although that might be an excuse. whatever i do, i have to make up my mind in the next several months and find a place. we will see. we will see. charlie: thank you for coming. nathan: thank you for having us. charlie: please. "the iceman cometh" is at the brooklyn academy of music. it will be there through this sunday, march 15. nathan: it is sold out. charlie: you cannot go. i'm sorry. just stand around, and hope somebody doesn't come. [laughter] this is -- you have missed something very special if you cannot go. thank you for joining us. see you next time. ♪ ♪ ♪ emily chang: he has built some of the world's biggest pop stars. justin bieber, ariana grande korean viral sensation psy, and "call me maybe" hit maker carly rae jepsen. it all started when scooter braun stumbled across a youtube video of a kid in a canadian talent show. that kid was justin bieber. and braun is the manager who catapulted him to superstardom. but as the music industry goes through dramatic transformation, braun is reinventing his own empire, producing movies and tv shows, investing in tech companies like uber and

Related Keywords

United States , New York , Ariana , Perifereia Voreiou Aigaiou , Greece , Canada , Rio De Janeiro , Estado Do Rio , Brazil , Tennessee , Brooklyn , California , Ireland , Chicago , Illinois , United Kingdom , New Yorker , America , Canadian , Greek , Irish , American , Irishman , British , Jose Quintero , Justin Bieber , Jason Peters , Terrence Mcnally , Tony Kushner , Carly Rae Jepsen , Emily Chang , Sam Goldman , Ken Branagh , Jason Robards , John Slattery , Dustin Hoffman , Mary Mccarthy , Arthur Miller , Mount Everest , Phil Hoffman , Brian Dennehy , Paul Thomas Anderson ,