every night when i walk out there, i bring what i have lived in these 54 years it's a lot. and i'm thankful for that because every single night i bring that to the stage. >> rose: david oyelowo and patricia clarkson when we continue. funding for charlie rose has been provided by the following: additional funding provided by: >> and by bloomberg, a provider of multimedia news and information services worldwide. captioning sponsored by rose communications from our studios in new york city, this is charlie rose. >> rose: david oyelowo is here. he stars as dr. martin luther king junior in a new film. it is called "selma" it follows the civil rights marches of selma alabama that lead to the passage of the voting rights act of 1965. the movie arrived at a particularly timely moment in this country. the events in ferguson missouri the death of eric garner and race incidents, these remarks made by powerful figures in hollywood have brought race to the front of the conversation in america. here's the trailer for "selma" he's got orders detroit new york los angeles. >> and fighting large scale arrests and sympathy marches. >> i'm very aware of that, mr. hoover. what i do know is nonviolent. what i need to know right now -- >> what is martin luther king about to do next. >> mr. president, dr. king is here. >> mr. president, in the south there have been thousands of racially motivated murders. >> we need your help dr. king this thing is going to have to wait. >> it cannot wait. >> you have one big issue i have 101. >> selma it is. >> here in this great battle. >> selma is the place. >> dr. king. >> i can tell you that white boy can hit. >> you will not-- it is unacceptable that they use their power to keep us voiceless. >> those that have gone before us say no more. >> people-- they're going to get inside of your head. >> what happens when a man stands up and says enough is enough. >> we build a path as we came rock by rock. >> we must march we must stand up. >> you march those people into rural alabama it will be open season. >> may i have a word. >> there is no word to be had. >> the people the people, the people, the people, the people ♪ ♪. >> there are 70 million people watching. >> this thing is going around the world. >> we must make a massive demonstration. >> white, black and otherwise come to sell ma. >> i have heard about the attack, about the innocent people. i couldn't just stand by. >> it looks like an army out there. >> this revolution goes on and on. this revolution goes on and on. >> i have seen the gloree glory, glory hallelujah. >> what happens when a man stands up and says enough is enough. >> rose: i'm pleased to have david oyelowo at this table for the first time. welcome. >> thank you. you would think when you see this and the remarkable performance that this was an idea that arrived one day and the next day it was a motion picture. but it didn't happen that way. >> no it didn't happen that way. my first encounter with theçó script was in 2007 not long after moving here to try and pursue a career hollywood career. >> rose: was that from london or nigeria. >> that was from london. i was born in the u.k. but lived into niger from the ages of 6 to 13. but you know, most of my life was spent in the u.k. up until 2007. and yes the script hit my door mat in 2007 july of that year. and i just had this visceral deep spiritual reaction to reading not just the script but it was the man. there was something about the man. hi a very peripheral kind of knowledge of him like a lot of people the speech march on washington. but i felt god tell me that i was going to play this role and that is where it began. >> rose: what was it about the man that you saw that you knew if you could get that if would show us something about the dimensions of someone who was part of an american struggle but as an american hero. >> well that's the thing, exactly what you just say there, the man. he was an american hero but he didn't walk around in his life thinking i'm a hero i'm an icon i'm a hysterical-- historical figure. he was a man with flaws with failings, with witnesses with transcendent qualities as well am but where i connected with him he's a man of faith i'm a man of faith i'm a father of four. he was a father of four. and these were my entry points. he lived a life of not just talking about it, but actually doing it. his great oration of course things we foe about him. but he walked this walk and he was plucked out of obscurity at the age of 26 and he did in in 13 years. >> rose: when he took over the church. >> yes, and the montgomerie busboy cot. and he kpbted qualities i deeply admire as a man. and so those were things that really drew me to him. >> rose: the interesting thing about this film is that it-- you get a chance to see that there were these-- all the factors that are at play. and it is a day-by-day endeavor. and it's a strategy it's about trying to understand what the forces are against you. >> exactly. >> rose: it's about enter within the black community battles between young and not so young. >> yeah. >> rose: it is different people who thought they had a better way. and king was all those conversations. >> yeah. that's what i think is revelatory about the film. i think people often think about nonviolence. they think of these preachers who head up this movement somehow as soft especially compared to malcolm x. but what people don't necessarily realize-- . >> rose: because his rhetoric was more fiery. >> right. but actually when you dig into this it was incredibly subversive. the idea of using love to shame racists into taking a look at themselves. the idea of going into a place like selma and making sure the cameras roll while you provoke these people to do what they do behind closed doors. and what they do when the cameras aren't rolling, in front of the cameras. make them. and you know so it wasn't a dismissal or a rejection of violence, it was using violence the kind of violence that when exhibited brings about change, which is what happened in selma. >> rose: it was said about winston churchill i think maybe by president kennedy i'm not sure that mobilized the english language and took it to war. king did the same thing here. >> yeah. >> rose: a nonviolent war from his side. >> right. >> rose: and not so nonviolent at all from the other side. >> right. this was the incredible thing about the oratory of his that we celebrate so much. i truly feel why he was picked to do this i mean you have to realize that he was a leader of leaders. not just a leader of people. not just a voice for the voiceless. he was surrounded by incredible minds. but what he was able to do was to bring all their ideas together and articulate them in a way that was actionable about. and you know for me getting to speak those words the other thing you realize is that something was slowing through him other than him. his faith was a huge part of this. he had a spiritual conviction that he lived by and he used to inspire people. he used big words. people didn't always understand what he was saying, but the force with which he was saying them. >> rose: and the cadence and the rising town. >> yeah, and he was able to shift between being with president and being with the people, all with the way he spoke. he was able to inspire johnson towards change and inspire these people to put their lives on the line for the cause. >> rose: what did he think of johnson? >> i think he-- . >> rose: . >> i think it was definitely mixed. >> rose: but in the end? >> johnson did the right thing am but he was ca joeled, he was pushed. i think that if bloody sunday hadn't happened he may have been able to put off the voting rights act. look from johnson's point of view, he had just passed the civil rights act in the wake of jfk's assassination. that was a huge thing for him to do very soon after becoming president. but that didn't take away from the fact that voting right, the denial of voting right-- it was a very real problem in the south and it couldn't be put off. and dr. king and-- was quite right in pushing for this. it was a big ask still for johnson. i think in-- . >> rose: in terms waf johnson said to him you know, you have one big thing i have a hundred big things. >> right. and i think as a result, dr. king was always going to have a layered and conflicted relationship with any president because politicians are there to compromise. they are there to try and please everyone. for him it is a much more black and white thing. and when those-- those forces butt heads there is going to be fireworks as there was between king and johnson. >> rose: did you read-- as part of this. and did you seek -- >> i did. >> rose: you saw that. >> i saw the series, yeah. >> rose: and taylor branches books. >> yeah. >> rose: great volume biography of king. >> exactly. anything out there that i could imbibe i did. but the truth of the matter is the king i found the person the tools that gave me the best tools for playing him came from talking to the likes of andrew young. >> rose: and what we they say? >> they would say he was a prankster. they would say he was a man who didn't think of himself as a hero. he said of them as a group that we -- think we wering chaing the world. we just had these obstacles in front of them, and we just spent every day trying to overcome them. and they were so young. they were in their -- and --. dr. king was 36 during this campaign. >> rose: and andy was younger. >> andy was younger. >> and john lewis was 23 barely out of his teens. this is the thing that is so remarkable about what they did. >> rose: i will show you this clip this is john lewis in 1998 on this program 1998 remembering dr. king. here it is. >> one of the-- he became a friend a big brother a warm warm man and so caring. and i tell you he didn't little things that really made you feel like you were just another warm friendly -- >> i remember we were walking one day from selma to montgomerie. and i had been hurt during the early part. march. and he was wearing a little hat, a little capment and he took his cap off of his head and he put it on my head. he said john you should wear this cap. you need to protect your head. you have been hurt. your head needs to be protected i will never forget that. and it was little things he would ask how you doing? how you feeling? is everything okay. he was a good listener and he was a very compassionate and just beautiful human being. >> rose: so there you go. >> it's so incredible to me watching that clip because the first time i met john lewis was on the set of "selma" and i was dressed as dr. king, i looked as much like dr. king as i could. and he walked up to me and he said dr. king, it ask so nice to see you again. which just completely froze me. and then he carried on. i think i 34e9 you in 1957 or was it 58y. he just had this full on moment with me. and he could see how much he missed like he said his friend. >> rose: take a look at this. this was in the front of a congregation demanding the vote. here it is. >> as long as i am unable to exercise my constitutional right to vote i do not have command of my own life. i cannot determine my own destiny it is determined for me by people who would rather see me suffer than succeed. those that have gone before us say no more. no more. that means protest that means march, that means disturb the peace. that means-- risk, and that is hard. we will not wait any longer. give us the vote. >> that's right no more. >> we're not asking. we're demanding. give us the vote. >> give us the vote. >> rose: i think it was the director who said about selma she said selma is the story about voice what did she mean? >> i think it's about the people making their voice known. it's about a leader giving a voice to the voiceless. it's about humanity coming together to say enough is enough which is what you see when dr. king asks for people who have a conscience to come down and help, help us tell the nation help us tell the president this is not okay. it's really they were people whose voices were trampled upon the literacy test, all these means by which people were kept away from being able to register to vote. they needed a voice. >> rose: what is oprah's role in this? >> oprah was the change agent. i mean she-- . >> rose: the catalyst. >> she really was you know. this seven year journey for me was marked with so many disappointments so many frustrations. a lot of them were to do with you know the budget. we don't have enough money. you know, i think there was an undercurrent of is the world ready for black characters playing the protagonists being the driving force within their own narrative. you know, so many times in the past we've seen these kind of films told through white eyes through white characters. this clearly wanted to be one in which dr. king was the driving force. this script i actually originally read had lbj more as the driving force, you know. so i think there were a lot of factors at play. but you know having met her on the butler having told her my dream and desire to do this you know, and then asking her to join us really she was the rocket fuel we needed. >> rose: and after that the role of the director ava du vernay. >> yes. i had met ava on a film we did called "middle of nowhere" which was a small $200,000 movie beautiful film. the way i happened upon it is i sat down next to a stranger on a plane who happened to be watching a show i did called mi5 on his ipad. >> rose: i remember that. >> he turned to me and said is this you i'm watching. i said yes. he said is putting money into movies a good idea. i said is that a loaded question what is the movie tell me more about it. i said let me read the script. i read the script on the way back to l.a. from vancouver. blown away by the writing. the title of the script, her name and number, phone number was all that was on there. i literally, my bags were coming around the carousel i called her up. i said not only have i just told someone to put money to your script i want to be in this movie. we do the film together. she has a direct torial voice like no one i have encountered, and that is when i started lobbying for her to direct selma. >> rose: what is that voice? >> she minds humanity from characters pretty much like no one else i have worked with. she is more interested in silences than she is words. i mean of course she's a writer director, so she is interested in words. but there is something she does so brave off the line as well as on the line. and i have been taught that true acting is reacting. and i saw her get things out of me in the middle of nowhere that i -- know were in there. and i always knew that in playing dr. king, what i couldn't afford to do is just further accentuate what we already know. i needed someone without could guide plea to what we don't. and i felt she was perfect. >> rose: and what is that? >> well the fact that, in many way was john lewis just said in that clip the friend the kind person who is just not a projecting christian love and duty but who would take his hat off and, you know, for his friend who would listen to john lewis in a car when he feels like. i can't go on, john, as we slow in the film. and this young man says to him, i once heard new the pulpit say fear not, we've come too far to turn back now. and for him for king to be a man of humility enough for this young man to be the catalyst for him to keep going you know, that's not only a leader that's a man of humility that is trumanhood in my opinion. >> rose: then john lewis became a conartist. >> he did. >> rose: take a look at this this is one more clip i will show you. roll tape here it is. >> dr. king i want to help tell me how. >> well mr. president i'm here to speak specifically about the denial of a basic american right for the negro citizens, the right to vote. >> technically -- >> technically we already have it yes mr. president. but we batt know in the south black voters are kept off the roles and out of the voting booths by systemic intimidation and fear, mr. president. now you ask how you can help. we want federal legislation granting negros the right to vote unencumbered. >> well that's fine. but most of the south is still not desegregated. let's not start another battle when we haven't even won the first. this voting thing is just going it to have to wait. >> rose: but in the judgement of many african-americans i know, or certainly a good portion of them lyndon johnson was-- played such a positive role. he was there using the power of the presidency, having been nudged to do it. >> uh-huh. >> rose: which made him, i think some of the people around-- have said that. >> yes, at the end of the day you can't get away from the fact that he passed both the civil rights act and the voting rights act. i think that his legacy was dented by the vietnam war. >> rose: of course it was. >> and everything that came after that. but it's indisputable. but what i-- sometimes people forget is this was also a time in history where the power of the people was indisputable. whereby citizens made their voices known and even in that clip we just saw to have a leader who can articulate what the needs are that is invaluable. and that's something that you know as we watch what is going on in the nation right now post ferguson and the eric garner situation that is something i feel is missing, you know being able to articulate what we need and having the pressure of the people force that a againa into actual change. >> rose: this is a good time in your life. >> it's a very good time in my life. i'm having a good time. look at me i'm here with you. >> rose: well, thank you. i'm honored that you are here. because i saw a movie over the week en, also in which you play a cop called -- >> a most violent year, i play a d.a., that's right. >> rose: a da in that fill. you were in interstillar. >> yes. >> rose: what am i missing here? >> this that is enough-- i think if we say any more people would start to dislike me. >> rose: but it is a really interesting time. do you feel chris rock did an interview with me. if are you an african-american it's different. denzel believes that he has to do things that are different than tom hanks or tom cruise might feel they have to do quote because it's part of payback to people like king and others to carry forward you know the opportunities. >> uh-huh. >> rose: and the possibilities for african-americans. >> one of the difficult things about being a black actor a black person in the public gaze right now is that everything you do has to endure a scrutiny that my white peers don't have to endure. i have to you know when i open doors that door the minute it opens it starts shutting unless there are more people coming through to blow the hinges off. you know ava du vernay is being celebrated as being the first african-american woman to be nominated for a golden globe. that's woman. but the frut of the matter is if others don't come up behind her quite soon she will be the one. and i would say that sydney poitier for a long time is the one. denzel washington is the one. and it becomes a placatery way for people to relax and go you know what storntion complaining. you got the one. and that's not reflection of society. >> rose: if you have the one, that means there is no roadblocks for all of them. >> right, exactly. same thing about having a black president, you know. this phrase post racial america started to come in which we are seeing is absolutely not true. so even though i'm having a great time at the moment i pretty much worked out matsuzakaically that i have to work-- mathematically that i have to work twice as hard as my white counterparts i have to work four times as hard to be on an equal fighting. now i don't dislike that because i do think that in order to do what i do the harder you work, the better the results. but the fact of the matter is that even when you look at ava right now who is clearly and beautifully being celebrated for what she has been able to do with this movie, she will not get the same raft of opportunities she would have done if she was a white male. and that's to do with the people who are the decision makers. the people who are the decision makers largely give opportunities to people who look like them. because at the end of the day especially in movies we want to see ourselves. so what you see on the big screen tends to be reflective of the decision makers. i don't want to be one to complain about it. what this has shown me is that no one is going to tell my stories better than me. and that has been beautifully demonstrated by ava being excellent at what she does. and a $200,000 movie that she did out of her own blood sweat and tears enables me to take her name to passe and plan b and it is indisputable that she should be given an opportunity. and then someone with oprah's power comes along and further, you know gives that a platform. we have to do it for ourselves. we can't rely on the studios. and if they come along fantastic. if they don't, find the audience, be excellent and you will be fine. >> rose: great to you have here. >> thank you. >> rose: thank you. david oyelowo is the star of "selma" he plays dr. martin luther king as we have been talking about. everybody that i know is raving about the film because it is history and because you have such a sense of being there. and you feel the fear, you feel the hope you feel all of those things that are part of the dynamic of change "selma" back in a moment. stay with us. >> rose: patricia clarkson is here. she currently stars with bradley cooper in all sando nivola in "the elephant man" she plays miss kendall who developed an int mant bond with john merrick. the new york observer calls it one of her wisest witiest performances. the role marks her first return to broadway in 25 years. i'm so very pleased to have patricia clarkson back at this table. welcome. >> thank you, charlie. >> rose: nice to have you here. >> i'm so happy to be here. >> rose: i loved the elephant man. and you are magnificent, so was bradley and so was the rest of the cast. these were really terrific cast they put together. before that, why has it taken so you long to come back to broadway? >> many reasons you know i blame it on blanch dubois. i did that ten years ago at the kennedy center. blanche is so decomplete-- depleting it's so soul sucking and so it's such a massive undertaking that it just kind of left me in a different place. you never quite recover anyone who has ever played blanche will till, you never-- so i just was left in a different place and feeling about the theatre that i needed to just take a break. and i was doing all these film fortunately. i'm very thankful. and so i kind of got caught up in that. and then the wonderful extraordinary bradley cooper i met him at a premier it was a serendipitous moment. and i said if and when i do the elephant man, i want to you play mrs. kendall. and i said sure sure sure great, whatever. i knew the part. i knew the beautiful play. i loved the play. i loved the part. but i thought oh, oh okay whatever. and then like a year later i got a text from bradley. and it said you me at williamstown mrs. kendall. and that was it and i just decided it was the right time t was the right project. he was the right person, because i have great admiration for him. and i knew of his profound love for this man joseph merrick the great joseph merrick. and he moved me in a way that was just right. and i just felt it rass right. what was i thinking? you know in the part what i have to do. what was i thinking. i thought it would be-- i thought it would be acismer path. >> you show a lot of yourself. >> i show a lot of myself. and what was i thinking again. >> rose: it was great. >> but it's also a journally i've never taken before as an actress it brought me to a new place. and i am thankful for that. i'm very thankful for that. >> rose: who is mrs. kendall. tell us who john merrick is first. >> john merrick, of course is this extraordinary man that was hideously de formed and had a rather very difficult and treacherous life. and was in the carnival. >> rose: as the freak. >> was the circus freak. but he is taken in by-- he has this-- these gross desk deformities that were rather unprecedented. and he this extraordinary doctor played by the great alessandro nivola in the play t takes him in and he became a cause celeb. he was this brilliant erudite funny charming slightly fem nin just a winning man. an truly people always equate mrs. kendall and john merrick as the beauty and the beast. but the truth is, he was he is the beauty and the beast. he was a man with tremendous beauty tremendous. >> rose: and so who is she? >> well she is this celebrated actress of her time. ellen carry esq in a way. these great 18th 19th century actresses that i'm very thrilled to be playing one of. and madge kendall was a famous actress of the time. but the part i play is an amal gum of madge kendall the famous actress of the time and this widow that befriended him. because madge kendall never actually met john merrick. she just raised money for him. but the person the first person to really the first woman that ever took him in and shook his hand was this widow. and this wealthy widow because he became friends with many many wealthy people in his time. and so mrs. kendall person alt-- bernard pomerance, the playwright has kind of merged the two pivotal women in his life his ben factor and the woman who kind of actually spent time. so i play this wonderful famous actress of the time who-- . >> rose: a kin dead spirit. >> we are definitely kind red spirits. we have, i think we've had-- in our very different journeys in life and i meet him at a very beautiful and specific time inñr my life. and i think he saves me, i save him. and even though charlie i'm playing an actress it's such a minor part of the character, in a way. because what is-- what is the focus for me and what is the heart and soul of mrs. kendall is her relationship and her deep profound love for john merrick. >> rose: and you also say kindness. >> kindness. she has-- it's very moving to me. i rarely get to play such kind and lovely people. no, i mean i love playing the characters i play. >> rose: how do you think casting directors see you. >> well no well now i've done so much work there is like, oh my god-- but no i think it's willing to play someone of such goodness. she's also quite you know witty and effervescent and quite pithy. and so she is not all warm and gooy. but she does have -- she does-- many women who have come backstage to see me after the performance i aspire to be mrs. kendall. >> rose: so you are aspiring to be what then? >> just the level of-- just it's just a deep kindness it's a deep-- it's an outreach. it's a genuine-- she's genuinely giving and genuinely present and genuinely open and available. >> rose: open and available. >> we're going there? >> rose: yes, we are. >> charlie t is pbs. >> rose: even better. so tell me about that, both in terms of what it means an secondly, was it really hard for you? you have done everything. why is it hard for you to disrobe on stage. >> i've done everything. and i will tell yu. >> rose: in front 3600 people. >> well yes yes no it's 780 rses 780. >> it's disrobing every night in a very very deeply deeply emotional place. you know what per seeds t i say this beautiful line to him which is one of the, you know the truths the unveilings that we have throughout the course of the evening. and i say i'm so happy he's trusted me with this-- i'm his confidente. and i say i'm flattered and i say two little-- too little trust has maimed my life and that is another story. and it leads me to start to think how much. i trust trust is a very important thing. i trust you.çó and i love him. i have such-- si have true real feelings for him. >> rose: and this is one more layer unpeeling. >> i find it deeply heartbreaking that he has never seen a woman naked nude or naked in front of him, with an outpouring of affection. and he's never had the moment to view someone that he loves naked. in a chast sexual or chast way. and i think our relationship runs that fine line of it's a sexual and chaste love affair all mixed into one. so but the moment of the disrobing is you know it is-- it is hard to explain because i've done so much work as an actress at this point in my life. and i have had so many deep and emotional moments in my work that you know incredible parts i've been afforded. but there's something about this moment and that it is difficult every night and it's never gotten easy, and i hope it never does. it's always a moment of-- of sadness and loss and yet i wouldn't want to change a moment of it i wouldn't do anything differently. and so every night when i get to that moment, i just have to be there. but i look at bradley. >> in the moment and i do it for him and that's what i always have to remember it's for him. >> rose: for john merrick. >> i'm glad but no i mean i don't want to make it out to be too precious, but it is a big moment. and i'm not 25, and that's also maybe in its own way that's beautiful i'm not even 35 i'm notñi even 45. >> again what was i thinking? >>. >> so the play itself and bradley it is a great moment for him. i mean he say good friend of mine as you know. >> yes, yes. >> rose: and to see him right now i've seen him do this. i know how long he wanted to do this. when he called me, i said you got to come up to williamstown because i want to do this how long did you do it? >> we did it up at williamstown for two week summer theatre. wonderful jenny gersen who was the artistic director says look, come up and do it. see how it is. i will give you the space. we did it on a small stage up there. we put it up in three weeks. we ran it for two weeks. but we had the time of our lives. we knew something was write. -- right. and we knew and all of the feelings all of this, it has been inside of bradley for so many years, this man. and he reminds us every night that we are doing it to honor joseph merrick to honor -- >> there a photograph. >> there is a very very large photograph him in his dressing room we look at it we both, all of us. we do it to honor him. but it is a stunning moment for bradley right now. and i'm thankful to be a part of it. he's a dear friend and he is someone a con summate actor. >> he is unbelieve in american sniper unbelievable what clint eastwood has done with him. >> he was just at the show clint eastwood. he just came to see the play. clint eastwood backstage at theatre. hello clint he's about what about 85. >> yeah, he look as mazing. >> he made his -- >> he does. he looks like clint, you still look the same, from when we did dead-- dit last dirty harry with clint. >> is that right? >> yes. >> but anyway, you know but it's a thrilling moment for him and it's a moment that is earned and it's a moment that is deserved. he has cut no corners and every single night me bradley alessandro this remarkable supporting cast. and we're lead by him because this, the power he has and thenergy energy he has and we step out every night and give a performance that we hope is memorable is indelible. and that's what we hope to take everybody on a journey every single night. >> so where are you in terms of this life you've chosen for yourself? as an actress so now you have a much admired portrayal on stage. you get lots of movies. he work with the best directors. >> i have wonderful directors, yeah. >> rose: i mean is this what you always topd would be. >> no be careful what you wish for you will end up naked on broadway. >> rose: hanging out with clint eastwood backstage. >> you know life's good. >> i i'm thankful. and mi. >> very satisfied with so much of where my life is at this point. especially being an actress that because i'm an actress an things are more difficult for us it's just a give then this business. we can we known. >> you seem an exception to that. >> no to some degree but many-- you know there are many extraordinary actresses that in nair 50s that are 50 60s. >> rose: not working. >> that are not but many now are that have much better careers than mine. but no, i mean there are amazing, there is great work with the rise of independent sen ma, it has given us, it has given us a new, a new place and a vital and exciting place in this business. we cannot be denied any longer. we cannot be denied and we win awards, we you know, we cannot be denied. and people want to see felt ams with women in their 50s and 60s. they did. and -- >> there is you and meryl. >> there is many. and there is like some of the performances this year by some women in the 40s and 50s are extraordinary. it's still a struggle charlie. that's what i always say to young ackers. i think the greatest people in our business they never arrive. the great-- the most successful people in our business are always striving because art always leaves you slightly unsatisfied. and that's the nature of it. it always leaves you with yearning. and it's so subjective and that can take a toll on you. >> you always believe you can do it much better next time. >> and you always believe there's something else that is attainable. it there is some other level to your art to your craft that should be reached that and as we age in this business we do get better it's that saferp simple. we do. because it is a-- and unlike physiologically our muscles weaken, but as an acker, that muscle gets stronger. -- . >> rose: we've just seen so much i walk on stage every night as miss kendall and i've lived this like there my own personal way every night i bring what i have lived in these 54 years. it's a lot and i'm thankful for that because every single night i bring that to the stage. i bring it for bradley and alessandro for the cast. for bernard poller rance for our extraordinary director scott ellis. and i'm thankful that i'm not youthful any more. i want be able to play this part. i wouldn't have it in me. i wouldn't have the emotional life i wouldn't be-- i wouldn't-- i wouldn't have the backbone and the fragility which is what theatre requires. >> backbone and fragility. >> and it's a tough it's a tough road you have to walk. >> have you consciously made sacrifices for that? >> yes, some. i have walked away from certain jobs that i thought would not be right for me that would compromise just what makes me happy. they were beautiful jobs but they just weren't for me. they weren't something that i would be just something that wouldn't excitement. it wouldn't get me going. it wouldn't-- i didn't think it would require great things you know i would rather fail trying something that requires greatñr things of me than doing something that i -- >> i can't remember who it was but someone was here recently and said you know i will only take a role if it is so challenging i think i might fail. >> yes. >> now those of us who are no longer really struggling actors, we are fortunate we have gotten to that place where we can make choices. and a lot of actors don't have those choices for financial reasons or ca ratherwise, or whatever. but i am fortunate in that you know, i have gotten to a place where i can make, pick and choose make decisions. i can be picky. and i can say not sometimes i you know l say yes to things. scott ellis never thought i would-- he thought oh patty is not coming back to the theatre. when i made the call scott elities, he thought i was going to say look, i love you guy i'm not doing the elephant man. i said i'm going do this. he goes what do you mean? >> but what have you sacrificed to have all of this anything? >> i sacrificed financial gain. the places coy have gone the apartments i could have-- no, no i mean i have made a little i've sacrificed a few financial offers that were quite astonishing. >> you -- >> first and foremost probably. and i'm actually able to admit that now i don't think that's a bad thing. i love acting. and it is a love in my life and i don't think i'm okay with-- i'm okay with that and if people judge me hashly-- harshly i can't change who i am. and but i do-- i do love it. >> and sometimes i get overwhelmed and it is exhausting at times. and innervatting. and i always hope hope hope that i rally you know, i always hope. >> rose: do the roles get sexier? >> yeah, oh my god thank you. >> yes i have actually been afforded with some of the sexiest roles sometimes i think to myself why didn't get this ten years ago. when we were about to do the play t got delayed, our broadway-- scott and bradley and alessandro we got delayed and i kept saying boys let's go. gravity let's go. an they're like yeah, yeah, yeah, no no no. let's go. we need to do the play now. like this afternoon. (laughter) so you know but i am i have, you know, i did this crazy follow owe shoot with this amazing photographer and he did these crazy sexy photos for interview which just thrilled me. and i just pinched myself and i was there with my publicist. i said oh my god who would have thought you know, i'm starring on broadway. here mi lounged in a unitard stretched out over a young male model you know. i'm getting to play, i get to play this very sexy part the beautiful woman who wrote and directed cairo times wrote me another part and i have a beautiful film coming out in march. >> which i think was the last time you were here. >> yes and it is very sexy lovely amazing part. emotional and sexual and the lead of the film and so i am -- >> doesn't get any better than this. >> i'm so thankful that people keep disrobing me and yet also you know i am like please objectify me. but i-- i like that with all of this fabulous sexiness comes these stunning parts.ñr so the emotional life and the depth and gravitas in these characters or the wit and the humor are matched equally. and i am just always thankful for that. because that's the journey. that's the journey we ultimately want as an actor. >> rose: do certain directors get more out of you? >> no. >> no they just get something different. i think they get whatever i need to bring to that part and i hopefully have shifted in some ways. i look different. hopefully you know. >> rose: so what they are seeing is what you have thought and decided to bring to that part? >> it's what-- it's hopefully what is required for that character to fulfill the needs and the arc of that character. and i don't-- it's always first and foremost an emotional journey for me when i'm arriving at a character it is rarely an intellectual. when i was playing mrs. kendall z you research. i said well i actually know a lot about 19th century actresses. i was kind of obsessed about it when i was a young girl these great actresses of the 19th i said i know about all of that. i have worn a corset. i know-- i know the period it's always the emotional life that will betray you if you don'tñi find it. and it will be your biggest downfall as an actor always. if you don't have-- if it doesn't sit very low, if the character is up here you have nowhere to go, and no direct kerr help you, no actor can help you no hair makeup nothing can help you if you haven't figured out really how emotionally that character proceeds. and i'm not talking about what they had for breakfast. i'm talking about really where the emotional life of that character lies. and so when i have the opportunity to work with these incredible directors and i find it very moving that they condition to wand to have me, and i never take that for granted you know never it i did my home work. i do the hard work i hope. >> the best always do. >> well thank you. >> well no it's true. they ever they're never far away from trying to push themselves into another place not in terms calf rearism, but in terms of another place of creation. that's what they're doing. >> always always. >> and that-- it's reaching. it's always-- it's always taking yourself to another place and it's always and it's giving up a part of yourself. and it's giving up a part of your life. it's giving up a part of you know if takes a toll on you. it does. it takes a personal toll. i've always been able to come to the place where i can say i know that. >> right. >> it has taken-- it takes a personal toll on you if does there is no way that you can live the great directors always get you there. they always do. and they never settle. they never compromise ever. and they-- . >> rose: because they know it's within you. >> oh they know they know that you have it. it's only when-- they only give up if they feel you he know-- that's why i'm always fortunate if a director really challenges me. and i think you know confrontation and-- it is good. it's good. because it means they believe in me. they really believe that i have gone to the farthest place that i can be. do it again let's threw something else do it again do it again. then boom, the heavens open up. that's what he wants. thank you. >> rose: no, thank you for coming, great to you have here. >> thank you charlie. >> rose: for more about this program and earlier episodes visit us on-line the at pbs.org and charlie rose.com. captioning sponsored by rose communications captioned by media access group at wgbh access.wgbh.org >> funding for charlie rose has been provided by the coca-cola company supporting this program since 2002. american express additional funding provided by: and by bloomberg, a provider of multimedia news and information services worldwide. >> hi, i'm ed slott. it's 2014, and they're at it again. the u.s. government is trillions and trillions of dollars in debt, and congress is just licking their lips trying to get their greedy hands on your hard-earned retirement savings. don't let them. i'm here to show you how to rescue your retirement. stay tuned for an updated package of gifts for 2014 that will help you and your family and help support this great public television station. thanks. >> announcer: your retirement is in danger. 20, 30, 40 years of your hard work is at risk. wall street banks and congress are waiting to grab whatever is left of your retirement savings'

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