this movie should function at. >> rose: also ready for a new season, key and peele and they join us for a look ahead. >> granted, you know, the current, the standing president kind of a gimmicky way to get that, but that was just one way, you know, we felt like that scene was a perfect usage of keegan and my strength's, and we felt like it was a connection to now, which was needed for us because we have so many sketches and comedic ideas that are evergreen, they are sketches that could take, you know, hopefully will be funny in 50 years. >> rose: in root to keaton, norton, key and peele, all when we continue. >> funding for charlie rose is provided by the following. >>5[q> by -- >> and by bloomberg, a providerd information services worldwide.0 >> from oc1]?+j studios in new k city, this is charlie rose. >> >> rose: birdman is a new movie about mexican film maker alejandro captioning sponsored by rose communications inarritu, it follows a washed up actor once at a spouse for playing an iconic super hero as he attempts to make a comeback. variety says it is preoccupied with aging actor psyche but addresses fatherhood, integrityingly, integrity and the enduring question of the legacy we leave behind, here is the trailer for birdman. ♪ >> i remember when i lost my mind. >>÷"ú >> how did we end up here in this dump? >> you were a movie star, remember? ♪ maybe i am crazy. ♪ baby you are crazy. ♪ baby, we are crazy. wait and see. >> you are birdman. let's go back one more time and show them what we are capable of. >> >> why don't get your wings and your feathers -- >> ow! >> what you looking at? >> >> rose: now alejandro inarritu, the director and two of the film stars, michael keaton and edward morton, aboutm pleased to have all of you at this table. welcome. sometimes it is the size of a starling and some the size of a vulture but we all have a birdman. >> yes. >> i said that but it is true. i definitely connect with these characters in the tortuous creative process, and the internal relentless questioning of your own results and possibilities. i definitely, that is how my -- >> i think, my mom and why am i doing what i am doing, i should do better. so no matter what case i present, he sent me to file all the time. >> rose: is this the kind of question you ask when you decided you were going to take a break from acting? >> well to some degree, i was listening to alejandro earlier talk about -- it sounds like -- pretentious, but i was somewhat bored but not bored like i am above it bored, i was bored with the sound of my own voice, you know, and in a career, there are those moments ultimately you will refute yourself and i am probably -- i need to grow up and accept that, and i have, i think in myself but i think i just wasn't enjoying it myself as much as i had been and i don't think i was very good. i think i was still kind of going on automatic sometimes, and there were things in life i just wanted to get settled first. i am not very good and doing too many things at one time so i wanted to clear my fields in life and say okay let's dial it all back in now and at the same time this wonderful script and director come along. >> rose: did you hesitate or just say yes. >> no, about seven seconds. >> rose: this is the one i have been waiting for? >> well, i had seen his films and ed will tell you, there are just not that many scripts that are good, there are not that many directors that are -- and i have worked with really good directors and there are good ones out there, but it is a question of, are you going to get asked, you know, and you -- if you know -- if you have seen, you know, 30 feet of his films, you may not automatically say, yes, but you say, i probably want to be a part of this. >> rose: how did you get -- >> he is an actor and i always kind of, always stressed out a little bit because people are, as in the press have said he is a superstar and known -- someone said the other day he was a bad argument. >> he is not a bad argument at all. >> you don't get to where you get to the level which, you know, he got, being a bad argument and i also don't like that. i think it is very bush league, especially coming from other arguments when you talk about, actors when you talk about people being good or bad, i think it can be a courageous thing to do, try to be an actor, so he is an actor who has fallen on hard times, not only in his career but in his life, certainly, and extremely insecure, extremely needy and he decides to mount a play in new york city based on raymond carver short story. >> rose: yes. >> and he, which he loved and has a connection to, and he decides to direct it and star in it and he plays a couple of characters in it and in the process has a nervous breakdown. >> rose: enter you. >> your average soundtrack for you. >> mike sort of swanning in at a late hour to sort of save the play in question and who, who is a bit of, bit of an anarchist, a bit of a remadonna, a bit of a method actor .. and as we come to meet him, understand also kind of more of what haunts him, what his insecurities are, things like that. but i think that -- i think that it really, you know, alejandro said to us in the beginning, this is a story about artists and same way i think if you go all the way back to shakespeare, shakespeare said, you know, life is a play or on the stage, you know. i think alejandro from the get-go said thisgg this superintendent -- there are lots of pleasures in sticking a fork in the movie i have, in artists and in their pretensions and in their he goes but underneath all of this, this, if this isn't deeply rerelatable who ever had that voice in their head of doubt, of self questioning, then we haven't gone to the lerel that this should function at. and i do think, i mentally think everyone has their birdman. i think people have flocks of birds, you know, that go around them and i think if you walked down the street in new york city in the middle of the day you would see people, you see people with their lips moving and a look staring into the middle distant because they are in the midst of that dialogue with the voice in the head that says you should have more, you are not doing enough, or you made the wrong choice or why didn't you say this to him? you know, it is -- it is endemic to our primate brain that we have those voices.p and i think -- >> you should say this, no, no. >> i think the idea of -- the idea of a person in a spiritual and emotional crisis questioning where they are in their life and trying in a desperate way to recover a positive sense of themselves is something that almost anybody can relate to, and i think if -- we, if we happen to be in the trade that we are in, but i really think anybody can relate to that idea as a human being. >> rose: yes. absolutely. you shot it at the st. james theatre. >> yes, we were lucky to have a tiny two weeks between barry manilow and a show, when i was doing this, the scouting i saw barry manilow's dressing room when he was finishing like 17 pair of shoes and all of that. it was amazing and we were in two weeks. two weeks. in that shooting in that space. >> rose: so your character is haunted by birdman in part. did batman haunt you at all? >> no. i don't look -- i think batman, i was blessed to get such a"rv7ñ thing, and -- >> you know, if you are whining about that -- wow. you know,. >> it is not like being in liberia right now. when i say it is hard work, it is hard. it is hard, you know, but hard is -- hard doesn't mean stop. hard just means it is hard so let's -- yeah, it. like ed is saying, i call hard, you know, going to a coal mine every morning. >> rose: going down and taking an hour and a half to get down. >> how about doctors on the borders, that is hard. this is not that hard. but. >> rose: exactly. >> but we kind of like, i like hard and all of these arguments, actors would say there is not one this the movie and really no actor to tell you the truth saying no, i don't want to do that. i think i may be speaking for myself but hard, i like it when the back isl little bit. >> rose: do you -- >> sure. but i think it is funny because people keep bringing up, there is the obvious like, ixhi÷d kno, extremely thinly superficial connection between birdman and michael's character in the birdman and the second michael did a couple of rounds in batman, and inspired, and i have been in the hulk, a lot of us have danced in that kind of construct, but the irony is to me, you know, rig again, makeable's character is defined by, he is defined and trapped by this one character he played. if you said to me or zach or anyone who grew up watching michael stone, like the ones that are definitive for you, night shift, mr. mom, you know, beetlejuice, like the ones to us it was cool that michael played batman like not that he was -- you know, was defined by batman, and i think the notion, to me was, additionally impressive about michael's performance in the movie is that he is about as far away from that character as any actor i have met in the terms of being completely comfortable in his own skin and a life much bigger than the roles he plays. >> rose: and the work he has done. >> yes. and i think the portrait is really of, it is not even so much of an actor or career but really of a person coming unhinged and coming to grips with the-)écpz fact that everytg that has gone wrong in his life may, in fact, have to do with his own ego and not what =@l people have done to him and that's a very much more nuanced, youpj.f5 think just this kind of glib comparison, people are making to the role. >> rose: as an actor do you like that he is famous for these continuous shots? >> yes. >> rose: as an actor do you like it? >> i like the fact that we had to -- i like the fact that i wanted to see if i could pull it long takes, it is a question of everything that goes on in that long take. >> rose: exactly. >> and what he wanted to try to do. and, you know, you can't -- i tell you the people, there are so many people that need some light shed upon them, the camera operator, chris, i mean, this is a yeoman's job and manuel libisky what he did when alejandro and chivo worked together, the shots whichvbx extraordinary never seemed indulgent to me, everything served the story, you know, so those long shots did s>ç1 a lote than you see the first time around. there is a lot going on in the long shots and i did like to see if i could pull it off. i like that feeling that, youary know, you are coming around the bend and your horse is just holding back and holding back and holding back and coming down the stretch and this is the time to let them out and give them the head as they say and let them run and go -- the good feeling is i am coming around the corner and going to meet edward, i knowja it up and zach has to do these things and surrounded by these actors who are all thinking like you and you think man i am glad i am with these people and then of course you screw it up. or somebody -- >> it is not -- people, it is like, ask if it is lake doing theatre it really is not, because you -- if you mess-up, alejandro loses a few hairs but5 back and do it again and there is no audience. >> i keep saying alejandro started with short straight hair. [laughter.] >> rose: like an electric shock. >> yes. i think the truth is that the truth is the stakes were til til the still the stakes of a film set you had a chance to do it again, but i agree with michael that it would have -- i would have been more concerned about it if it felt like it was show off-y and if alejandro wasn't rooting that decision to push away convention in terms of the form of the film making. you know, he rooted it so specifically and in an emotional, in an emotional reasoning, which was i want to be inside the head of this character's anxiety. i want to be inside the clench that he feels as he gets closer and closer to this critical moment in his life. and so the form, the form÷8w"m s really an expression of the emotional intimacy he wanted to create between the character and the audience and that becomes very exciting because you say, look, there is really a great reason to do this. now l it, you know,. >> rose: nice to have actors who know what you are trying to do. >> yes. i think it was a very clear conversation all the time. i think we were very open, all of us have to be naked and all of us were walking in the same tightrope you know what i mean, so they say, if they fail, i fail and vice versa, there is no editing or no polishing, i can't hide any bad scene, it will be impossible so it is likened less piece of spaghetti which has everything tied together in so in a way i compared this experience as playing in a band, you know, we were playing life, we were equipoising all of us, nobody will be safe or -- and that creates@ç ép a very great collaboration, family vibe that normally in films doesn't happen because it is very fragmented experience and i will never shot a film again as i did before this one, for sure, that changed my whole perception of how i should shoot and what films should be achieved for me, it is absolutely different, i feel so lazy the way i did things, you know what i mean? i over abused everything. you know, it is not needed. i see now even my friends say why? it looks a little bit -- there is a very artificial order that film making established that now i am questioning myself, why we have been doing that so long, and so, over views, the fast paced, speed editing that, you never -- we neal nothing and what i learned about, learn about this process is chat am i all the time, all the great directors i have all my life they usewox'i-p sokoloff in russian, it is beautiful, that lets you get into and transpire, really, because that is how we live our lives, you wake up and open your eyes and navigating and really, the only time that we really enjoy -- that's why we are so addicted to fiction or movies or books, because we fragment time and space. it is an illusion of mine, it is my imagination and wow, what is that? reading a book and everything is synthesized but that is an impossibility of our own labyrinth, we are trapped in our own lab rit a, labyrinth and own two eyes and in a way that brings you to that configuration of reality, that is, i found -- >> the only thing.j about that, i can weigh lots of times from things we were doing going this is such a fantastic way to work, everything you are saying, i had a similar feeling from an actor's perspective, just like this is such a liberating way to work, but it takes for granted the idea that every film maker team is -- has virtue 0 sew -- ic, .. had together and i don't think, honestly, i don't think just anybody can. >> rose: do it. >> decide to do this, because of what alejandro is saying. i think it takes people who are at their own absolute peak of capacities and talents who have spent a lot of time really thinking about, and challenging the form of film, which alejandro has in all of his films, chivo is without a doubt one of the great cinematographers working in the modern era of the business and i think when you watch the film, i think anybody will -- anybody who makes films already i think is realizing like what a miraculous achievement it is to have actually pulled off a film, that does what alejandro is saying but doesn't let the dramatic tension drop. it is very, very hard to do that and sustain the dramatic tension, the fluidity, you know,. >> rose: without the use of devices. >> yes, yes. >> next time i direct i will do as much editing as i can. [laughter.] >> i am going to depend -- >> every way i can cover myself. insurance taxes. you talk about the risks, but really the only person taking the risk was him, because the edit, the option to make cuts andx the insurance package that the director gives himself for latee in the process so the only -- in that sense, he was#v1 i do want to say i am the only person who is actually naked in the film. and he was not -- he was not a director who9nwxl like willing o do anything wouldn't do anything his actors wouldn't do. i kept saying is this one of the things you will do it to show me that you would do it too and he kept saying no. [laughter.] >> rose: all right. let's see a clip from the movie. take look at this. this is where birdman is rehearsing with mike shiner. >> hey, go, no, no, that's the thing. i -- what is it? i do you. you, don't put me on the spot, man. >> don't, don't make me feel self-conscious about my marriage, my wife -- right there. >> right there. >> yeah. >> can i sit there? >> yes, yes, sit. >> give it -- give it to me -- lay it on me. >> yeah. >> do it. come on, give do it me. >> hit me hard. come÷plvhy on. don't talk about it. just do it! >> i don't even know the guy what is your point? >> yeah, what is your point? what do you think, spit it out. you say it, what are you saying. >> >> it is absolute. >> yes, yes the kind of love i am talking about is absolute, the kind of love i am talking about, you don't -- you don't try to kill people. >> i don't know. okay. >> what do you think? >> everybody is back. who are you? >> oh. your daughter. wow. that is amazing you don't look anything like each other. what do you do? >> and does she talk? >> and speak? she does, yes. she can even sit and stayn.j roll over. >> hey, welcome aboard. >> thank you, captain. >> i am mike. oh, i know who you are. >> i saw you in hot >> you were great. >> oh, thank you. >> great. >>,n]>m[ seriously? that was je -- >> this is the theatre. don'don't be so self-conscious. >> rose: that's what we are talking about, isn't it?d; >> yeah. >> rose: emma stone plays your daughter, his daughter. jack plays who? >> the producer, friend, producer, lawyer. and -- >> rose: were you going against type in casting him? >> yeah. because i met him one time and i feel that zach is one of those guys you want to bring home and he is one of those guys you love theñj%'5gñ moment. he is an extraordinary talent and i think he has an incredible capacity that he shows. commenting something about this scene which is very funny. one of the chance was that basically it was four minute dialogue scene that can be very boring, talking heads kind of thing so i was just trying to see if she would find a way to get around and see how this actor who has been introduced to him is waiting desperately, presiege, his territory and the guy is intimidated by this guy, the camera is surrounding this guy like a snake, you see, and then biting and ed i tinge, editing and writing and he is thinking over a scene, he is already setting the tone that is completely wrong and it is kind of crazy in that sense, but i enjoy it a lot. but the mirror of the mirror i will tell you, i don't know if you remember, we were in rehearsing in la, it was just an empty space, we were trying to figure out the scene out and so when i was trying to do things and suggesting okay for the camera will be here, then, wait a minute, but why the camera should be -- don't you think it should be here? >> and i said, so i look at him, what do you say? don't you know what you are doing? you are directing me. you are doing exactly what this guy does. so it is a mirror of the mirror of the mirror. >> rose: right. >> that was all michael. >> there was tons of that in the movie. he nev9]4 of these -- you know, it is interesting, there are things that are symbolic in it and purposefully symbolic, i suppose and then there are things that end up being symbolic and then things that you interpret in a certain way, that you go, am i making too much of this or not? and even that works, because who is to say if you are -- it depends on what you are seeing in it. things come about and you think it represents something and it probably does and that is kind of what happens in this movie that is really, a in that cool gray zone you can't quite put your finger on. >> it is a ver very difficult tg is how to perform for the theatre and how to perform to the screen because there are two realities of these actors playing an actor, and the play, a film that is about a play so all of those things were very interesting. and when i am talking the other day and as i was saying it, boy, i am glad i didn't think of it, i actually did think of it when we were doing it, my character plays, the guy is putting on this play and directing the play and is acting two characters in the play and when you are in the scene, you have to think, okay, i am wwr me, i am reagan but ren now playing another guya have to think like the actor but then you have to think like in the scene i had to be the director and watch what wasdzl. >> you know what i mean? >> what these guys do, i don't think how they, i don't know how they do. >> because the nature of an actor in order to be good they don't have to be themselves how do think do that? >> you have to perform other person and that is what successful. you have to be -- how you forget yourself. i don't know for me it is magical. >> rose: when people say this is a comeback. do you, does that mean anything to you? >> you know, with me. [laughter.] >> however you want to interpret it, you know, at first i thought well it is not accurate, necessarily. >> rose: that's why i am asking. >> and you start to say, wait a minute, well it is okay if it is a comeback, i suppose. iit is okay what testify. i am working on another movie now and i worked on one before this and i will mess a couple up and i might be good in one. >> rose: and just keep doing it. >> keep doing the gig. >> people needs copy that sends between the left and right header on a thing. >> if it works for me, i will take it. >> rose: to be working. >> i think that -- i think much more jermaine is that these are the kinds of films you, you know, i think as lovers of movies, as audience, you know, you wait and you wait to see things that are awe tentcally, authentically different from what comes around .. it doesn't mean genre films aren't fun but when people decry the way big budget franchise films are taking over and good films can't be made i think this film rebuts that idea because it is entertaining but challenging, even challenging the form of film, and i think people are having a very exuberant experience watching it and we, for us, the value is not like really what does it do for us, it is -- the doing of it1 you get into this to have this kind of experience with this kind of a director, with these kind of other actors and it is like, you know, there is nothing better than getting to actually work on something like this. >>k/=! and we all looked ateí1 audiences and critics and the result was, hey, that was pretty good, that was pretty -- >> i swear to god, i would have been totally okay with that. >> honestly it was a very experimental thing, it could have been wrong. >> it was a moment that thompson was doing this film and it is like what am i doing? it is going to be a disaster and i there is an neck dote i haven't told anybody. two weeks before we started shooting i went here in new york to have a5hz nichols king and i sent down with michael in a restaurant, at a count canner, beautiful restaurant, italian and at his table and i told him what i was trying to achieve and comedy, blah, blah, blah and i had to say it was going to be in one take, drums and well, this is the cast, he starts -- he stopped doing -- he was taking an olive afwrc, alejandro, youe running into a disaster, this comedy won't take. >> the humor, you have to work with this kind of craft and6 act tors, so he tol told me the recipe, by the way, he was right. i was just -- and no, no, i did it once in 1970 and i stopped the production in two weeks you can do that, you stop now. you are -- it is like i cannot stop. i will start shooting. >> i was panicked. and i didn't know to slap him or hug him, but it is like, okay. >> rose: it was too late. >> it was too late but i have to say he was right because he put me in state of awareness about things that made me more conscious of how difficult it was about i was about to do and i appreciate his comment he was right. and it is nice for mike toll have an opinion about comedies. i mean, where does mike nichols get off talking about comedy, comedy i have no idea. >> the greatest part of all of that is then he did it and he said, yeah, i know, i am going to do it anyway. >> and that i love. that, i love. you know, the thing i keep saying also about everybody's birdman and in this movie, what he sees in your head. it is not always this negative thing. i listen to him and i go, ah he is noing so i don't think about that. of course sometimes i listen to him and it is like okay you are a little extreme right now. >> rose: there is something there. >> there is something there. let me taking? out of that. >> rose: congratulations again. >> thank you. >> rose: great to see each of you. >> rose: birdman opens in theaters on tri, october 17th, that is this friday. don't miss it. back in a moment, stay with us. >> can i ask you a question? >> yeah, what. why isn't anybody messing with the batman? see, that is exactly what i have been asking myself. >> it don't make no sense. >> why would you do it? why would you do that? why would you try and mess with the batman? it is few tile. >> it is. remember, i mean the batman has armor and martial arts. and fight scene. and ding, ding. >> and marshal arts. come on. >> all you have is a purple with a pancake. >> i mean come on, man. >> why would you mess with the babatman? i am saying, man, day devito tried it started walking around, whack, whack, whack, whack, whack, whack. >> come on, man. >> rose: key and peele here, it is a sketch comedy series that find many plays, including african-american and race relations in america. these guys are crazy fun, smart, satirical, subversive, immature and important all at the same time. i am pleased to have keegan-michael key and jordan peele at this table for the first time. welcome. >> thank you, sir. >>n"ylt3z an honor. >> just out and look what we have here. >> the whole spiral of this photo shoot this throw back to old school comedy teams, like we had a bunch of pictures. >> you can check out the website. >> yes a picture of us in an old, an actual laurel & hardy setup. >> rose: only because we forget sometimes, how many great comedy teams they have had, and you two guys are the latest idea of comedy partnerships. >> yeah. there is a sense of, i think, a pattern that humans like, so when you see something that you recognize, there is some comfort in that but then we do try to be subversive, how did it happen? how did you guys get together? >> well, we were brought together by the improvisation community. it was kind of a perfect introduction. i saw him on the second city etc stage performing his character which ended up doing on madtv and it was -- it was just one of these transcendent performances and characters and, you know, you just -- the audience is just dying over every movement of his character. so -- and he came to -- my boom chicago, the theatre in amsterdam i believe to was on the second city main stage for just a one-week showing of our show. and he saw my( character who is buddha, the danish super model, who didn't speak english very well, and, so we just -- you know,. >> so much brilliance in her ignorance. >> oh, my gosh. >> yes. >> rose: so what happened? all of a sudden you said you all belong together? >> yeah we went out later that night and went to a diner and spoke about things that we enjoyed, like monty python and in living color and it is something you find -- you must be talking to a comedy nerd if m person likes monty pay thon and in living color, and then i promptly, not;f home later that evening which at that point in time would have been the next morning and woke my wife up and i told her i found love with this guy because we shared sensibilities and by complete se #"e on mad tv at the same time and wrote lots and lots of scenes together. and mad tv kind of made it, didn't it? kind of made -- >> that congealed= our -- yeah. you know what i mean? we started butting together:vl sketches that we tried to give the best shot possible to get picked to go on air so the way we did that was you started choreographing these dances and these full on, just full on unbridled commitment to these routines and so they couldn't pass on it. >> rose: but with you two it is different. it is not -- you don't fill a character, i mean you fill each other in a different kind of way. >> yeah. >> you are just too, two comedians doing a funny skits. >> yes. we try to be -- complementary to each other, well we try to be complementary and complimentary as well, but, yes, so i think there are times when we see the strength of a character to be played by this guy as opposed to that guy so it is never a stand -- we are not -- >> rose: you are not filling a role. >> we are not filling a role. >> rose: this is a clip which you played president obama and keegan plays luther. here we go. >> good evening, my fellow americans, now, before i begin, i just want to say i know a lot of people out there seem to think that i don't get angry. that is just not true. i get angry a lot. it is just the way i express passion is different from most. so just so there is no more confusion we have hired luther here to be my anger translator. luther. >> first,cr%óp off, concerning e recent developments in the middle eastern region, i just want to reiterate our unflinching support for all people and their right to a democratic process. >> hey, are you all dictators out there, keep messing around and see what happens, just see what happens. watch! >> also, the governments of iran and north korea, we once again urge you to discontinue your uranium enrichment progra all (bleep) your and do it to all of you. please test me and see what happens. on the domestic front, i just want to say to my critics i hear your voices and i am aware of your concerns. >> so maybe you can chill the hell out so maybe i can focus on some (bleep), you know. >> for everybody including members of the tea party. >> don't even get me started on these mother (bleep) right here, i assure you we will look for new compromises with the gop in the month ahead. >> and these mother (bleep) will say no before i even suggest it. >> i know a lot of folks say i haven't done a good job at communicating my accomplishments to thel[ñ9 abandon. >> because you all matter (bleep) don't listen. >> since being in office, we have created 3 million new jobs. >> 3 million new jobs. >> we ended the war in iraq. >> we ended the war, you all, we end adwar, remember that. >> these achievements serve as a reminder that i am on your side. >> i am not a muslim. >> and that -- my intentions as your president are coming from the right place. >> >> rose: that is really good. >> that was one of the bits&- we knew we had a relevant show when we came up with that one. we knew we had a show that. >> rose: relating to the headlines of the day so to speak. >> yeah. >> rose: and the current -- >> yeah.x and granted, you know, the current -- the standing president kind of a gimmicky way to get that, but that was just one way, you know, we felt like that scene was a perfect usage of keegan and my strengths and we felt like it was a connectio to now,''=k3ñ which was needed s because we have so many sketches, so many comedic ideas that are evergreen, you know, they are sketches that could take, you know, hopefully will be funny in 50 years. >> rose: yes. did you say -- did you say that luther is like three red bulls? >> that sounds like me. i have never heard that. i have never heard that, yeah. >> you know, keegan reminds me of cory booker, you know, and they both have a kind of this infectious energy. we haven't had any -- >> yeah. >> but -- and they are both very -- just very open, nice and honest individuals, from what i can tell. >> rose: they are. >> yeah, yeah. >> rose: all right. take a look at this, this is from the new season which president obama gives different greetings to white and black members of the press. >> thank you and may god bless america. [ applause ] >> >> a couple of introductions. ian roberts. nice to meet you. jerome smith. come on, bro. >> >> you know this. >> nice to meet you. >> mary wood bury. >>s't6 >> jay marcel. >> robbins. >> come on, come on, come on. >> feel that? emily george. >> >> nice to meet you. >> come on, how are you doing? >> all right. >> never forget about that. because that's all we got. nice to meet you. all right. all right! >> tell them we are here. >> nice to meet you. >> all right. nice to meet you. all right. >> come on, bring it in. i am péób it, dog. i am in there. all right. i could use some help. nice to meet you. >> oh, my goodness, look at this. oh. she is so beautiful. mmm. i want another one. there you go. precious. beautiful, baseball. what is her, what is her name. >> nice to meet you ms. ruji. >> now, come on. boom! >>06g)?ú all right, very good tt you. here we go. >> it is a very loose!p lot of it is like improvised some. >> yeah. >> and the white woman came to hug you. you know, charlie, there is part of that is based in reality, you know. we met -- >> it is hard for me to go in and out. >> there is something i want to say. >> we met him, you know, he said a couple of things, first of all he said, you know, i do a pretty good me too. >> and that was funny. >> the president said i do a pretty good obama. >> you know, yeah. >> rose: how hard was it -- was it easy to capture that thing that you have captured? >> no. it wasn't easy, but it took a week of really grinding and just watching and watching and watching but then once i had it, i had it. >> and what do you get t to have it in is is -- is it the voice? >> the voice. it is more than the voice. i think i got voice first, and, you know, there was still something kind of missing. it was a little measured but then, you know, at some point i got this -- the wisdom behind the face that he is putting up. you always kind of know he is -- he is on that -- he is on the next plane of negotiation, of social is a little something behind the eyes i think, you know, brought it together. and it also fed luther, because you see the little bit of a smirk -- >> clearly%ú can't speak. so then you have luther be the model forkixv! >> rose: okay. here is another sketch called substitute c@ here it is. >> all right, listen up, you all. the i am you all's substitute teacher mr. garby, i taught school 20 years in the ininner city so don't think about messing with me. you all feel me? okay. take roll here. jay quali. >> where is i didn't, no jay quali here. >> do you mean jacquelin? >> okay. if that is how it is going to be. you all want to play. okay,94d[" i am eyeing >> balake. >> no malake here today? >> yes, sirment. >> my name is blake. are you out of your (bleep) mind? >> do you want to go to war, ba balocki. >> i am for real, i am for real. so you better check yourself. >> rose: tell me about that. >> so one of our writers, a man by the name of rich we have known for ten years and wrote on madtv and snl and the tonight show and he wrote this piece and during a pit session he mentioned a piece to us, and we were like, oh, that is interesting, an interesting idea and he went off and he just wrote it. so it was a wonderful marriage of just this imperfect concept put down on paper and i had an opportunity to have, youiue6f k, to attach a character to it. and i came up with what was the sketch? we weren't going to put it online, remember? there was something else, right? >> i think, and this of course was, you know, our biggest sketch online, you know, by far. so it resonated, it hit, all the elements came together perfectly. >> yeah. >> and, you know, another element in ther there is -- it s one of the first sketches that also in the performing, there is a lot of performance in there that we had to cut to get just, you know, the point of the sketch. but it went off the rails, so many times, you know, him and his conversation with a-ron, it went2 free-for-all and with that we get the best out of it and see us having fun. >> and those kids, another sketch where the other performers in the sketch helped elevate the sketch, they were terrific. >> rose: who has the rights to the material? >> there are six writers now. >> six writers. >> ourselves. and the the. >> rose: you still write? >> oh, yeah, yeah and two other executive producers that also contribute. so technically it is six but there are ten of us always involved in the writing. i think the most important, you know, contribution that we -- you know, the sketches we just will do ourselves and write and they are performance pieces and we just know what it is, but, you know, the most important directive for the writing staff is, you know, can keegan and i pull off maybe betterñ[;@tn anyone doing it on television right now? >> rose: well, emily nussbaum, in, a very good critic she calls your biracialism a rare ticket to themes rarely explored on television. a golden ticket. >> a golden ticket. it is interesting because it was -- it is a tick that has never been quite expressed, you know, in the way certainly in the ways that we do> rose: exactly. >> and that that is when we got our show at this time, when there is this attention pointed towards this, and i think this understanding that somewhere in, you know, mixed race love is the answer to racial hate somewhere, you know, or the hope9rr0a1 that -- some day we will have this country and we >> will all look like us. >> so that you have to wage a different war, because -- >> rose: and what was the president's response? >> you alluded to it a little bit. >> to what? >> to you. >> well, i am luther, i meet him. and it was amazing that he -- >> rose: help me get thingñ across. >> yeah.$:;÷ and also it is like oh, my gosh. >> it was such a satisfying thing because the only person that you really wanted any kind of confirmation about. >> rose: was -- >> was that person, and then there you are at the beverly hilton hotel in los angeles, and i am luther and this is amazing, it was surreal. >> rose:. >> he got it. >> he got it and here is another sketch called auction block slaves. here it is. >> seven dollars. eight. nine. >> $9 going once, twice. three times, sold. >> it is a no-brainer i mean this guy is huge. a massive individual. two of me, i would buy that dude, my question is, how did they catcho >> >> $2 on the lot eight. >> two dollars going once, twice, three times, sold. >> see now that surprises me. that is interesting to say the least. >> i a certain point it is like they can -- like the whole criteria is just a little inconsistent at some point i want to be -- yeah. to see a brother get on lot a. >> next. >> here we go. >> give them hell. all right. eight dollars on lot a. >> for once, twice, three times, sold. >> not true. how does that happen? >> that is gobbledygook. >> what can he do? what can he pick? a cotton plant is like this tall. no offense, brother i am just saying. >> offense taken. >> what -- >> am i wrong if you are not short. he is short. but you are actually, actually short in real life this the world. >> enough! >> i will not have my reputation tainted selling superficial bigoted slaves. >> superficial. >> did that really just come out of your mouth? >> that's it. this talk hundred is over. >> auction is over. >> whoa,!y z whoa, whoa. >> it's not over, it's not over. i am strong, you all, i can sleep in a bucket, i am fast i have a stamina. >>)=h quality is i am a perfectionist. >> did i mention this, i ams do style and agreeable to a fault. >> >> rose: who created that? >> i wrote that, yes. it was -- mv. somehow in my head the two of us standing next to physically imposing guy and how that that would change the dynamic, and i met, if there is a taboo subject, i am drawn to it, because you know that, you know how people are going to react, you know when the first image of that scene comes up, people are going to go, oh, no. this is -- >>h> rose: like this? >> yeah, right. and appropriately so, you know. >> rose: is it okay to laugh? >> exactly. and we feel like as jesters, as comedians, part of our job is to bring some light and laughter and relief to, you know, the all sorts of things, including some greatest atrocities that we have dealt with. so the mission with that one was to take us from this place of, oh, i am not going to like this so, oh, they got me and not by exploiting victims of slavery. >> rose: so the new season how will it be different? >> there is -- >> cosmetic changes, actually, we have a3]d!id brand-new main e sequence and, you know, the show has these interstitials where we have stood in stage in front of the stage and now the interstitials are driving across a desert landscape!3bókaj it happens in every single episcopal stowed where it looks like we are driving from sketch to sketch through in mojave. >> rose: so no introduction of sketch in front of a live audience? >> yes. but you like live audiences. >> yes. and we are both live performers. >> that's where we come there. but, you know, we both have done so much live in our lay that we have, you know -- people as we do a lot of live comedy you get an audience reaction kind of. >> in your mind. >> you know where they are supposed to be laughing. >> yeah, yeah. >> it is kind of the, this is kind of the right move for us. >> we do things that one of the things we do in sketches is make it wanted to kind of not only just parody and copy styles of cinema and genres but also do it in -- through the entire piece. so, you know, like our main title sequence hooks like true detectives you know what i mean is. >> rose: where does that come there, that homage to true detectives. >> i was in michigan visiting my mother and him and the other eps you guys were just talking about this and i guess you couldn't stop giggling about this idea why don't we take something really over brought and gritty and put our stupid faces in it and make it look like one of these main title sequences you see all the time. >> rose: are we going to see a hillary clinton translator? >> you know what? >> you failed that. i don't know how you knew that. you are spingali, how did you know that? we have something in the work. >> rose: anger translation in the works? the. >> we are in the middle of the very fun task of creating, casting2t]ik añiá@c9 hillary. >> that would be something. that would be fun. >> i guess -- >> that might be the show stopper right there. >> season 4 of keegan and peele, key andb >> wednesday night at 10:30. >> thank you so much. what a pleasure. >> rose: thank you for joining us. see you next time. for more about this program and early episodes visit us online at pbs.org and charlierose.com.q >> been provided by the coca-cola company, supporting this program since 2002. americaamerican express, additil funding provided by -- >> and by bloomberg. a provider of -- >> you >> female announcer: this program was made possible by by a generous educational grant from: and by: >> what if you discovered that dementia can be prevented? if you could make just three simple changes in your life to prevent or even reverse memory loss and other brain disorders, wouldn't you? 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