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tv   Charlie Rose The Week  PBS  December 30, 2016 11:30pm-12:01am PST

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>> rose: welcome to the program. i'm charlie exproaz this is a special edition of "charlie rose: the week." just ahead, movies for the holidays. >> this is just a way to force us to work together for once. >> it's more complicated than that. >> how is it more complicated? >> russia just executed one of their own to keep their secrets. >> we've got two hours. >> how do we clarify our intentions? >> i'd go back in. >> rose: we will have that story and more on what happened and what might happen. >> rose: funding for "charlie rose" has been provided by the following: >> and by bloomberg, a provider of multimedia news and information services worldwide. captioning sponsored by rose communications >> rose: and so you began how? >> creating an emotional light. >> rose: is it luck at all or
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is it something else? >> taking things that speak to you. >> rose: what's the object lesson here? >> it's a really emotional experience for them. >> rose: tell me the significance of the moment. >> rose: mildred and richard loving didn't start out to change the law of the land. they simply wanted to be married. the arrest of the interracial couple ended with a historic supreme court ruling, and their story is told in the film "loving." the film was written and directed by jeff nichols, golden globe nominee, ruth nedprks a, plays mildred loving and nick control plays the couple's attorney. >> you want to try to find their essence and you want to try to represent that truthfully. and i do not think they had an agenda. i think it's very important to the way the story plays out in the film, and i think it's really important to their story overall, which is the act of them getting married was not an act of defiance. it wasn't a symbol or a statement that they were trying to make. they just truly loved one
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another. and that's important because i think that sincerity, it can craw more people into their story. this isn't propaganda. this isn't-- this isn't two people trying to make you think one way or another. they just loved one another. and i think that's-- that's an important thing on focus on. >> so richard loving was not all that talkative. mildred wasn't necessarily, either. but a little bit more. >> yes. she was, i suppose, the mouthpiece of the couple. i think that it landed on her to-- to be the one to be the communicator. and i think she-- she might have been quiet and reticent, but i think she had a very dignified way of communicating what she needed to. and i think that her manner was
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also one which people responded to. you know, the lawyers, bernie and phil, when they talk about her, they talk about a woman who radiated dignity and charisma that i think was vital to getting their voice heard, and what she needed to say heard. but i think-- i don't think she was enamored of the spotlight. i think that she pursued this case because it was her way of getting home. and that was what was the motivating factor for her. i don't think she relished the idea of having to go to lawyers and have to go to court at all. but it was a necessary avenue to take to raise her family where she wanted to raise them, which
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was in her home. >> bernie cohen, played by nick crowell, could not have been much different from her, personality-wise. i mean, this is an outspoken guy. he was' loud guy. he was very committed to the case, but i wonder for you, nick, what that was like dealing with such a sparse script for mildred and richard, and you being the voluble guy. >> yeah, i think we-- we shot my first scene and realized that in one scene, bernie had more lines than richard has in the entire film is there anything you'd like me to say to them? and by "them" i mean the supreme court justices of the united states? >> yeah. tell the judge-- tell the judge
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i love my wife. >> it was have interesting to play a character who is a much more talkative and, as jeff's script i think very beautifully lays out, bern's job is to-- and my job in the movie-- is to walk the audience through what's happening in the court case or what's happening in the proceedings as it's spanning, like, a nine-year period. so i had to cover some ground in that. but it's also amazing to work with people like ruth and joel who don't say much but are saying so much, that their performances are so subtle and nuanced and our communicating so much without-- without having to say a ton of lines. ♪ ♪ >> rose: tom ford is here. the celebrated fashion designer just directed his second film.
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it is called "nocturnal animals, starring amy addams and jake gyllenhaal. it tells the story of a woman who received a disturbing manuscript written by her estranged ex-husband. >> my ex-husband used to call me a nocturnal animal. >> i didn't know you had an exhusband. >> i did something horrible to him. >> film making for me is the most expressive personal, the closest thoing art they create. >> rose: and it lives, as you say, as art does, much longer than fashion. >> it lives forever. you can watch an old film from the 1930s. you're immediately pulled in. you're crying with these people, you're weeping with them, you're feeling they're dead, the screen writer's dead, the actors are dead. i think it's the most permanent art form in a way we have. >> rose: this is only your second film. >> it is. >> rose: and you're having some really nice things intaid you. >> yes! >> rose: even comparisons to hitchcock, in terms of some of
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the state style. how did you get good? >> flattering. how did i get good? i think the important thing for me always in life and i think for everyone is to have the vision. first of all, i'm not young. i'm 55 years olilm, hopefully i bring-- come on. well, 55-- you know, a lot of people's second films they're in their 20s. >> rose: yes, that's true. >> i'm an adult, i guess i have to finally say. so you hopefully bring that with you when you do something. but i felt very confident that i could make my first film. and making my first film made me feel confident they could make this, which is a much more complex thing. i wrote the screenplay and directed it, produced it. it's much more complex. i could not have done it had i not made the first film. >> rose: you wroapt the screenplay based on what? >> based on a wonderful book called "tony and susan" written by austin wright in 1993. it was reprinted in the u.k. in. i read it. i couldn't put it down.
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i loved it. i wasn't sure how i was going to adapt it because it's an inner monologue, and so i made quite a few changes. >> rose: indeed. you changed her character. she-- >> i did. >> rose: she is no longer a 's now a businessman.. >> yes. you know, sometimes things that work as proez don't necessarily work visually, cinematically, and a 400-page book can't necessarily be condensed into two hours. so i believe in taking things that speak to you. the thing that spoke to me about this story is that it's about finding people in your life that you love, that mean something to you, and not letting them go. i'm a very, very loyal person. i've been with the same person for 30 years. i don't let people go. in our culture today, we not only three things away. we throw people away. and that's what spoke to me about the book. so i took that central theme, and layered some autobiography to, because i think you write
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about what you know and express what it is about something that-- that you feel and turn it into "nocturnal animal." >> rose: the idea of the sort of hitchcockian element of it. was that something ultimated to do? were you looking for a property you could scare the hell out of it? >> i love, i love, i love film noir, and hitchcock and so many who have directed film noirs. it was one of the things that attracted me to the book is that there's an inner novel. this book is sent to her by her first husband. she hasn't spoken to him in 19 years. it arrives. she starts to read it, and it's a really violent tale. what he's saying to her is, "this is what you did to me when you left me. this is how you made me feel. this is how visceral and painful it was when you ripped our family apart." so we as an audience have to feel that. we have to feel that fear, that
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upset. >> rose: that anger. >> that anger, which he is communicating to her. so i loved the idea that one could communicate their feelings in such a sharp way through a piece of art-- in this case, through a book. >> rose: amy addams is a five-time academy award-nominated actress. not only does she play a lead in "nocturnal animals" but she has been nominated for a golden globe for her role in "arrival." >> i'm playing somebody who is-- has sort of a heavy weight on her shoulders of an emotional experience in her life, and that's sort of the journey we take the audience on with her. this is where i start to sound like i don't know what my character is doing, you know, because i don't want to give anything away. but after you see the film, you understand that there's-- it was interesting preparing for the role because i really wanted it to work on the first viewing, but also to hold up on the second. and so that was the tricky thing is creating an emotional life
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that could not-- you know, didn't play the hand too quickly. >> rose: right. >> but at the same time, if you went back and watched it, would still hold up. so it was pretty tricky preparing. >> but there's something about your character that, the first time you see the movie, you will assume to be true, and then you will discover isn't. >> isn't, yeah. >> and that is-- is crucial to the emotional-- to the sort of the emotional temperature, or the emotional reality that the character is living in. >> absolutely. >> it's fascinate ieg wonder how you did that so that it could play both ways. >> yeah, i mean, you just have to prepare a character that has her own life experiences and her own weight outside of what the audience believes is happening. and at the same time, understanding that the character, louise, is going through this at the same time the audience is. so what she's learning, she's learning it with the audience. and so once you realize that,
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it's a different experience. and it was-- it was tricky. it was tricky. and, again, deni was really great about sort of taking the temperature all the time about where we were emotionally, and it was one of the things we had a lot of conversations about is sort of how we could create this sense of, you know, emotional truth while at the same time, having to play these two realities. >> well, and this movie also is unusual i think as a science fiction movie because it isn't ultimately about the technology, as much as about the kind of the feeling, the emotion, the sort of the-- >> it's very tonal. >> yeah. >> and, you know, not in a way that i think keeps it from being accessible, and it still creates suspense, and all of that wonderful-- those wonderful elements you want in a science fiction movie. but it's a much more quiet film than that. when we shot it, it was-- it was
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the most calm, quiet set that i've ever been on, which is strange for a science fiction movie. but it was calm. like i said, deni so compassionate. that calmness translates but it is filled with these wonderful sounds, the wonderful music. >> i wonder when i see performances like this, you know, and the kind of authenticity of feeling, you know, that you manage to summon. how you do it when you're, you know, in a setting like that, where you're not interacting with another person or another actor, but with-- >> but with a screen. >> yeah, with a screen. >> with a screen. >> now, that's a proper introduction. >> i think it's our job as actors is to create that which isn't there, and whether that's a relationship with jeremy. i mean, i have him to work off of. but it's still, we're creating a
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relationship between two characters that really don't exist except on the page. and so i kind of feel like it's an extension of that, you know. and the relationship that i create with them and the wonder and the sense of awe, and the fear, all of these things existing at the same time, it feels real to me when i'm doing it. you know, it's one of those-- you feel kind of crazy, but it feel very real. >> rose: casey affleck is here. he stars in kenneth lanner began's new film. it is called "manchester by the sea. he plays lee chandler who is forced to return to his home town after becoming the legal guardian of his teenaged nephew. >> can't commute from boston every day until he turns 18. >> i think the idea is that you would relocate. >> relocate to where? >> well, if-- >> here? >> as you can see, your brother worked everything out extremely carefully. >> but he can't have meant that.
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sometimes, you start with just a first-rate script, and even if you have a first-rate script and a super talented, experienced director, you still-- you know, you don't know what you're going to end up with. and that's just because of the nature of making movies. everyone has to contribute in such a way that it all amounts to something. and this-- so it's kind of a mystery. but from the moment i read it, i-- i was a little bit confuse about why it worked so well. >> rose: yeah. >> it doesn't follow a formula in the telling of the story. it doesn't have a-- the sort of-- the kind of moments in it that you would expect from a movie like this to have. you sort of might expect these two characters who are forced together, who have both suffered some loss, to save one another in a very predictable way, and to have some great cathartic moment in the climax of the movie that results in the both of them moving on to warmer climbs, happier place in life,
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and it doesn't have that totally. so it's-- it is a unique movie in that way. i think that it works because a combination of all the little elements-- all the things that everyone contributes. >> rose: yeah. >> i don't know. >> rose: but you're playing a guy who is emotionally closed off. >> i thought of him as somebody who had such strong feelings inside of him that he had to kind of bottle them up, or else they would be-- he would just fall apart. it was-- he suffered a loss in his life that is so great. it's the kind of thing most people wouldn't of the to survive. and he survived it, and how is he going to carry on? he tries to kill himself at one point. and then he decides to live. but he lives in a-- in a-- in such a way that he doesn't have to think ever about his past. and he's doing that because he wants to-- he's a very responsible person. and he wants to take care of his brother, who is sick, and his
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brother passes away, and then he has to take care of his 97 whiewrk now has no one to take care of him. >> he can always stay with us, if he wants to come up weekends. >> there are many scenes in this movie where i sort of felt-- i felt like it was almost too difficult to contain the emotion because the nature of the part. but the film is-- has a lot of restraint. and kenny shows great restraint in the way what she ho-- way het it. it was clear he wanted the character to be a very, have, emotional person who is dealing with an enormous amount of sadness and shame and grief and just-- sort of overwhelming at different moments. but always to keep a very tight lid on it, and let it only out in little-- in a few moments of the movie to just sort of lift the lid off, and show what's inside the pot, and then close it back. >> rose: "moonlight "is director bear jenkins' new film. it chronicles the challenges
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facing a young black man growing up in a rough miami neighborhood. it oppose nationwide this weekend. th>> "moonlight" is a story that doesn't get told often, and characters we don't see often, that are voiceless. my greatest hope of the film-- and it's what i experienced in telluride, toronto, and london, these places are far removed from the film -- >> miami. >> and inner city mime. >> rose: exactly. >> the four square blocks that people can see themselves in these characters who they assume are nothing like them. and it's been my experience what people are finding a way to genuinely empathize with the story we're telling and the characters we're showing in the film. >> rose: tell us who sharon is? >> sharon is a beautifully flawed individual coming to terms with finding out who he sfinding out what love is, finding that relationship with his mother, just trying to understand life, really, in general. >> rose: tell me about his
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mother. >> his mother is paula, who is a struggling single parent who is also dealing with quite a severe crack cocaine addiction as well. >> rose: and what's interesting about this is you see him in different parts of his life. how hard is that to pull off? >> you know, i thought it would be impossible but, you know, with the way -- >> the mother stays the same. >> exactly. i wanted to have some kind of foundation or bedrock, and naomi as paula was the bedrock, but i wanted-- i think the time between the chapters is change the character as these young men are shaped so much by the environment, that i wanted him to be a different person, the same character but a different person in each chapter. my hope was, if he found actors who had the same feeling in their eyes that you could see the soul of the character across all three parts. and so far, i think that's what people are experiencing. >> rose: andre, what was the challenge for you? >> wow, one of the big challenges for me is i play kevin who is a sort of childhood friend of sharon and goes on to
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become the object of his affection. i challenge sicame in at the end of the film, seemingly out of nowhere and we don't understand why he's come back and they're on screen together for a very long time, working through a problem. we don't quite know what the motivation of the character is. so that was a big challenge, identifying what that was. >> rose: we talk about masculinity and identity. are they one and the same? >> i think for this character they are. they are one and the same. i think what happens is there's this performance of masculinity that the world is projecting at you always. this is how a man walks. this is how he talks. this is how he speaks to another man. this is how he speaks to a woman. and i think when you're getting that stimulus so much from the outside world you start to lose your grip on what your idea of masculinity is. i think if you're a man growing up in the world we grew up in, is very key to your identity, you know,. and it becomes harder to self-identify. you know, the more you're refugee this sort of both positive and negative reinforcement of what masculinity should look like.
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>> gl you come to the realization that sharon is gay. how does that affect relationship. >> i think she finds it disgusting, and unpalatable, and a further rejection of her son as well. and i think she genuinely fears for his safety and what that means growing up in the kind of community they're growing up. it's not something that's going to be easily accepted by anyone in that community. >> rose: here is a look at the week ahead. sunday is christmas day. monday is the start of the 72nd sydney to hob artyacht race. tuesday is the day president obama and the japanese prime minister visit pearl harb porp wednesday is the day zillow's annual list of least-desirable celebrity neighbors is released. thursday is actress mary tyler moore's 80th birthday. friday is the start of the
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annual celebration in edboro, scotland. saturday is new year's eve. and here is what's new for your weekend: the 57th annual los angeles county holiday celebration opens at the dorothy chandler pavilion. ♪ jingle, jingle bells all the way ♪ >> rose: bryan cranston and james franco are in theaters in the comedy "why him?" >> on christmas day i'm going to ask steffie to marry me, and i'd really like your blessing, yeah. >> no. >> rose: and the transsiberian orchestra has shows in houston and chicago. >> rose: that's "charlie rose: the week" for this week. for all of us here, merry christmas and happy hanukkah. i'm charlie rose. we'll see you next year.
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'twas the night before christmas by clemet clark moore 'twas the night before christmas when all through the house, not a creature was stirring, not even a mouse. the stockings were hung by the chimney with care, in hopes that saint nicolas soon would be there. ♪ the children were nestled all snug in their beds when visions of sugarplums danced in their heads. ♪ ♪ and momma and her kerchief and me in my cap had just settled our brains for a long winter's nap. when out on the lawn there rose such a clatter, i sprang from my bed to see what was the matter. away to the window i flew like a flash, tore open the shutters and threw up the sash. the moon on the breast of the newfallen snow gave a lustre of midday to objects below. when what to my wondering eyes
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did appear but a miniature sleigh and eight tiny reindeer. with a little old driver so lively and quick, i knew in a moment he must be saint nick. more rapid than eagles, his courses they came, and he whistlewhistled and shouted andd them by name. now dasher, now dancer, now prancer and vixen. on comet, on cupid, on donner and blitzen, to the top of the porch, to the top of the wall, now dash away, dash away, dash away all. as dry leaves that before the wild hurricane flierk when they meet with an obstacle mount to the sky. so up to the housetop the courses they flew, with a sleigh full of toys and saint nicolas, too. and then in a twink ling heard on the roof, the prancing and pawing of each little hoof. as i drew in my head and was turning around, down the chimney
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saint nicolas came with a bound. ♪ ♪ he was dressed all in fur from his head to his foot. and his clothes were all tarnished with ashes and soot. a bundle of toys he had flung on his back, and he looked like a peddlar, just opening his pack. his eyes how they twinkled, his dimples how merry. his cheeks were like roses, his nose like a cherry. his droll little mouth was driewn up like a bow and the peered of his chin was as white as the snow. the stumpave pipe he held tight in his teeth, and the smoke it encircled his head like a wreath. he had a broad face and a little round belly that shook when he laughed like a bowl if you feel jelly. he was chubby and plump, a right jolly old elf. and i laughed when i saw him, in spite of myself. a wink of his eye and a twist of his head, soon he gave me to know i had nothing to dread.
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he spoke not a word but went straight to his work, and filled all the stockings, then turned with a jerk and laying his finger aside his nose, and giving a nod up the chimney he rose. he sprang to his sleigh, to his team gave a whistle and away they all flew like the down of a thistle. but i heard him exclaim as he drove out of sight, "happy christmas to all, and to all a good night." >> rose: funding for "charlie rose" has been provided by: captioning sponsored by rose communications captioned by media access group at wgbh access.wgbh.org
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for several centuries, scotland was ruled from london. parliament hadn't met here since 1707. recently, the scots voted to bring their parliament home, and london didn't object. in the year 2000, edinburgh resumed its position as home of scotland's parliament. scotland's strikingly modern parliament building opened in 2004. the catalan architect enric miralles mixed bold windows, wild angles, and organic themes into a startling complex that would, as he envisioned, "surge from out of the rock and into the city."
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>> rose: welcome to the program. it is the end of the year and we're looking back at some of the best conversations from 2016. tonight, musicians who came to the table. >> my life has been a very long succession of lessons and even mistakes and bad decisions, and being given this opportunity now, i don't want to say late in life, but late in life for an aspiring musician, but i feel like if this all happened at 23, i would have felt destructed, i wouldn't have used the opportunity for what it can be used for. bum, i had kind of given upthis trying to write pop songs and rock and roll songs and whatever i had been doing in the last four albums. i wasn't worried about if the hook was good enough or if it was melodically catchy enough, i just wa t

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