tv Charlie Rose Bloomberg October 19, 2015 6:00pm-7:01pm EDT
♪ from our studios in new york city, this is "charlie rose". opened her renowned restaurant 40 years ago. organic on local, ingredients help to galvanize the local movement. importance ofe growing, cooking, ensuring food. president obama awarded her the national humanities medal last month. us, her longtime
lover, ad fellow food regular contributor to the newark magazine since 1963, and is a great friend of this program. magazine since 1963, and is a great friend of this program. this is a friendship here, isn't it? alice, fanny, and me? yes, we've known each other for a long time. charlie: born out of a love for food? >> i met allison a long time ago. then she married the brother of a good friend of mine, so we saw even more of her. then fannie came along, and that improved the situation. also it's a wonderful, simple
isi guess what i want to say that the easiest way to cook something quickly and delicious is to have certain things in , and so iy ready always have good olive oil and vinegar. charlie: me too. spices, and i like to have a really good posture, and i like to have some things that i have made myself, and so this book is about the make my cooking my own. that's how i think about it. charlie: you know what is great about this book are the illustrations? where did you have dinner last night? >> i can tell you.
we were on the 51st floor of the bank of america loving, and we were doing a benefit. wineof the food and festival -- charlie: they ask you to provide the menu for dinner? menu,y ask us to do the and we cooked for 100 people, and fanny and i had the pleasure of talking about the book, and i think they raise a lot of money. charlie: were you there? >> no, i do have a theory on banking, that the meltdown in 2008 was caused by smart people going to wall street. in my era, the lower third of the class with a wall street,
and they were pleasant people and not stupid or anything, but they could not have done credit default swaps. they didn't know the math. that is putting much my connection with wall street. charlie: got the wheels of power, and all of a sudden we had these derivatives that nobody could imagine. >> exactly. charlie: going crazy. >> but i don't know anything about wall street. charlie: you do know something about food. >> a little bit. i don't cook. i cook sometimes -- i don't cook in new york. charlie: where do you cook? >> i cook in nova scotia in the summer. charlie: is that true? >> yes. i have between 3-8 dishes, depending on how you count, whether there has to the stove involvement to make a dish, and some of them don't, like i have -- no, i buyel
it smoked. since we go way back, charlie, i would take you the ingredients. [laughter] smoked mackerel. you can make smoked mackerel -- >> and a cuisinart. >> there is a smoker you can put on top of the stove. >> we could do that. some recipes in this book. >> i want you to know i did not contribute any recipes to this book. did contribute a recipe to a little book that i was putting together when i went off to college, all of our friends gave us recipes, one
copy only. recipe was scrambled eggs that stick to the pan every time. >> that's what i used to feed my girls for breakfast, scrambled eggs, and in one time they came downstairs and were holding hands and said, we are never eating your scrambled eggs again. i said, what is this bolsheviks, a strike, and they never have. charlie: when you cook scrambled eggs, what oil the use? >> i use olive oil. charlie: that's exactly what i do. i do cook scrambled eggs, and i use olive oil. this is one of the recipes, really hard recipes, in the book. just put a pan on the seat -- seedt the
, and then you pounded them and you have salt, and you sprinkle it on top. it is delicious. that ish is going to say loved reading the introduction to this talk where she comes home from the trip and opens her country and it gives her -- pantry, and he gives her such comfort to see what is there. i open my refrigerator and there -- ist a bunch of beer don't even recognize it as home. charlie: the national humanities medal, that is a big deal, as you know. she was honored for celebrating the bond between the ethical and edible. did you write this? >> i did not write this, but it is true.
empire orve built an series of brand extensions, that's what people do, and instead she put it back into things like the edible schoolyard and sustainable agriculture, so i think it is a good model. i think she deserved the national humanities medal. charlie: the president said that she had promised to cook for him , but nothing unethical that would violate the rules of giving gifts. did you cook for the president que? >> i have cook for the president. charlie: did he invite you up to the west wing or whatever he is -- it is? i think it is kind of crazy, the kind of money that they need to raise to become president. i think it's completely crazy. charlie: the impact of money on
politics. >> exactly. but i look for to the time that he does come. , shehave to say one thing lives in england and sometimes stays with me, my country has improved a lot, and with a lot of very healthy stuff. as if not ayself friend of the earth, a long-time acquaintance. charlie: more about this. this is what our dear allison said. beautifulout all the things that are cultural experiences for us and lift our spirits, and yet we have never talked about food that way. food has always been something like fuel, something that lifts our spirits, and when food and agriculture put together and the rhythm of nature, it brings us back to the table, where a
cultural conversation can happen. i agree with you totally. every great meal i've ever had was matched by a great conversation. that is a very stat system , and so itstatistic means that they are just out there grazing, and the conversation where you learn to eas is not happening anymore. i think it is very important to us that we make that happen in completely -- yes, -- to change the food in the schools and bring the children around the table. i want to make school lunch and academic subject. a tortilla andng
speaking spanish. or you're discussing the history of food -- charlie: this is her educational philosophy. >> yes, and she's been educating people about restaurants as well. when you ask somebody where to ,at, the fine dining restaurant continental cuisine, which is on the top floor of some office , soding and spinning around if a woman puts her first down, a goes halfway across the room and a menu that tells you a lot about the food, except that it has been frozen for a year and a half. i was sucked the continental was from continental trailways bus company or something like that.
-- i always thought the continental was from continental trailways bus company or something like that. we were lucky to be there. i think what allison some of the people did in the 1960's was and that fine dining away, in that restaurant if they wanted to charge extra -- charlie: and fine dining for her became the quality of the food. >> and the people and the fact that it wasn't egalitarian place so that the people's suppliers were also mentioned, and it was also local, as opposed to imported. charlie: all the great chefs do that now, don't they? they copied you in that. >> they do. copenhagen. charlie: right. >> i think that it is just a matter of coming back to our senses.
this is the way that we have done it since the beginning of it hasation, and somehow been locked in the fast food culture of this country, and we are doing really crazy things, feeding ourselves things that are good for us. >> i think cooking is something that you always do, but it is a kind of comfort, coming back into your routine at home, make something for yourself, but certainly not professional occupation that it used to be, mom on how -- my that restaurant runs, the menu, -- as far as what she is thinking about on a day-to-day basis, a one track mind, edible education, sustainable schoolyard, and it has become
this kind of passion that is all-consuming. charlie: was it hard for you to resist putting a restaurant in las vegas or miami? >> not hard to resist. all kinday, those were , and in a wayons it is very tempting, but alice went the other direction, and now there are restaurants in copy city in america, or that stuff. the other thing that happened around the same time is the society was shaken up enough so that it was ok for a trust lawyer from denver if he was asked about his son saying, he is great. he is a chef in san francisco. wassed to be that there kind of a class problem here. charlie: it is a higher class to
be a chef in san francisco than a trust lawyer and kansas city. >> anything's better than kansas city. charlie: you cook often? >> i cook all the time. there is a collaboration process . charlie: the idea of a restaurant? any pull on you? >> no, no, no. charlie: who is samantha greenwood? >> she is my right arm. we talk about food every morning. she is kind of an amazing cook herself. me,is a collaborator with and she is here in new york helping organize the whole group that is cooking for this benefit tonight. charlie: so you're going from here to the benefit? >> i'm going from here to the benefit. charlie: once you go and have a good time?
>> your both invited. >> i'm not sure i want to eat in the bank. charlie: what are you writing? >> i'm putting together a on raceon of thesis that i've done in the past, which has turned out to be more trouble than i thought. charlie: what kind of trouble? >> some of the pieces have to be cut, which ones go in -- i thought it was going to be like dipping into capital. i've done a book of children's poems that will come out in about a year. charlie: you go out to eat every night? cooking somehow without -- of course, i used to live in the village. has not moved, but the real estate people have decided
i live in the west village. so i live in a neighborhood that is the capital of prepared food in the world. push the beer site and find something in the back of the refrigerator. charlie: about food, i forgot now -- >> you don't know the answer? [laughter] charlie: do you eat with the same passion or are you somehow that you just eat to live, rather than live to eat? but i never to eat, ate with so much passion as the books indicate, because those are basically different
experiences squeezed together, so it looks like that is all i do is eat. so i was never really that way. to admit that when i see a review of a restaurant or something, i look at the bottom to see where it is. --it is on east 74th street >> i live in the midtown of manhattan on central park. restaurants in the town of getting better. >> i will never know. >> there are certain things i will not have experienced. i don't boycott them. charlie: what else is on your list? >> what. charlie: things you have never experienced. >> you don't want to hear about it. charlie: there are so many great memories of family they come from around the table. a couple ofchool, high school kids is like a soap opera. better than watching television.
charlie: great to see you, sir. >> good to see you. charlie: will come back and talk more politics. i would love to know what you think about the trump candidacy. >> it's good to take another big show for them. charlie: thank you. pleasure. my pantry, alice waters. homemade ingredients that make simple meals your own. we will be right back. stay with us. ♪
cofounder and ceo of periscope, purchased earlier this year by twitter. the mobile app less anyone to broadcast video real-time anywhere in the world. he says the mission is to create the closest thing to a teleportation machine. it changes the way we communicate and share our expenses. its peers have come under scrutiny for enabling the pirating of copyrighted material. i'm pleased to have him here at the table for the first time. before--we met once tell people what periscope is and does. >> it is the simplest way to start or watch a live video
broadcast. you press a button, go live, and anyone can watch and hear you. if you are in the midst of a protest in baltimore, you can go live in show that with the world. if you are running on the beach with your dog and want the family to see it you can go live. charlie: or you can -- if you're on a train and standing next to a remarkably interesting person, you can pull out your smartphone -- and have a conversation. and share with whoever wants to watch it. >> absolutely. charlie: that's rather interesting. i mentioned the sale to twitter. why did you choose to sell it? >> one of the things we thought was interesting was the vision and the mission for paris scope is similar to twitter. pulse ons a real-time
what is happening around the world. that is what we want periscope to be. that, aboutpart of the world. of aitter's mechanical way comforting that is through 140 characters, picture, and video. periscope's focus is live video. that vision alignment was one of the reason why the idea of a partnership with twitter -- charlie: it enables you to do things that you might not have been able to do right now on your own? >> one of the reasons why we are where we are from a brand perspective, people all around the world know periscope under using periscope. i don't think we would have gotten there as quickly if we had done this without 20. charlie: in the beginning, you used images and not video. >> we built a prototype that was almost like a reverse google
maps. we wanted to see a picture of what was happening right now in the world. still photography is not as effective as a medium to communicate what is happening now. we did not want to have a live video company for the sake of a live video company. that was a means to an end. charlie: how fast are you growing? >> we are growing rapidly. we reached over 10 million accounts about a month ago. 40 -- if youughly added up all the time people are watching live broadcast every day, it's 40 years. we are really happy about that. it's one of the things that keeps us up all night. charlie: how did you solve the problem of latency? >> in short, we had a fantastic team. one of our engineers is holding -- we invested a
lot of time in building the video stream infrastructure such that you could achieve a really nice looking quality broadcast, not hd, but you don't think about the quality, at a low latency. users will figure out ways to use periscope that you may not even have imagined? the beauty of any user-generated application or software, trooper twitter -- >> when they designed to twitter, they were thinking about being part of revolutions. >> users dictate how these platforms evolve, and that's been true for periscope. we had our sense of how people might use it, but within the first day we were seeing new cases that we never thought of. charlie: tell us one of the interesting ones. >> there are a lot of collaborative broadcasts, graffiti artist will go live, and the mission of the broadcast will be to collaboratively paint
something for the audience. the audience will say, draw me a wall, a blue sky, arose, a turtle, and you have this craftsman who is responding to you as the audience member and this piece of art is evolving over time. i seen so many of those broadcasts that it's really fascinating. i was sitting in my hotel room this morning, i got my -- my twitter feed started blowing up. somebody was doing a live broadcast drawing my face. she was asking the audience what color should i paint his shirt. ,omeone says he never wears red so do a neutral color. that kind of enter active broadcaster-to-viewer experience , rarely does the audience sitting on their couch have a chance to interact with the creation process. aat is the magical part of medium like this, where you are bridging that gap. charlie: when i went to st. petersburg earlier this year, i
went to the hermit taj -- herm mege, and so he walked with and we had a television camera as we were going to the museum. we look at the paintings, a day in which there were thousands of people in the museum. we walk through and talked about the museum, and it had a really interesting quality of being real and not packaged in sterile. i could've done that with periscope. >> i think it would have been better. charlie: and people would have understand that it will not be perfect, because people understand that it will not be carefully edited. it is real. here is a man who can tell us everything we might want to know about the history of the place. he is the authentic source. -- to thinko say that periscope has the potential to be a platform for truth.
in that it is live, you know it is happening now. it is authentically happening right now. there is something really powerful about that that other tools cannot express as literally as paris scope can. charlie: here's an idea that you believe, time watched. explain it from your standpoint. relevant way of understanding whether people are engaged with this tool is to understand how much time they spend watching the broadcast. if everybody is opening the mobile app and not watching the broadcast, they're not getting a viable experience. -- we focuse folks on is how much the watching live. sure you can watch the archive later, but we think that life experience is what we want to optimize for. that is how we measure our own success. content?compelling >> we find that it is the broadcaster themselves. you can be doing the most mundane broadcast, and if you're
a compelling narrator, people want to listen to you. charlie: excitement, passion, descriptive power. >> knowing how to be a performer, and part of that is interactivity. if you are responding to questions, you don't need to be doing the most exhilarating thing. you can be a kevin hart or roger federer, and people want to watch you because you are you. it goes both ways. charlie: i watched kevin fedor workout, practice, and then come over and talk to you about the workout he went through. >> my favorite is roger fetter at wimbledon. walkinged broadcast with the president of wimbledon through the courts, royal box, centre court, before the tournament, so roger is asking the president, do you mind if i go step on the grass. it is in the palm of his hand while he is doing that. charlie: he was holding --
>> he was rolling the fun. -- he was holding the phone. you don't see that on tv. i think that is what is really compelling. charlie: how will it be used by news? >> get is already being used, citizen journalism, journalist in the field, the refugee crisis in the middle east, some of the most powerful broadcasts i've seen. ,e have a journalist in germany he was crossing into serbia with andreds of syrian refugees was broadcasting live. you can see on the map where he was. he crossed over the border and was talking to these refugees, asking them how long they had been walking, what do you hope to do once you get the serbia, that sort of wrongness of following that story is really powerful. baltimore, ferguson, following the protests.
the aftermath of the earthquake and the paul, seeing the devastation, the lines of people going into hospitals. -- the aftermath of the earth quake in nepalg the devastation, the lines of people going into the hospitals. charlie: jack dorsey will now be the ceo of twitter. do you think that means anything different for twitter? is an incredible thing for twitter. charlie: the founder will be there. >> i think that's an important, symbolic moment as well, but the fact that it is him specifically. i think he has a spiritual whatstanding of twitter, it is now and what it can be, that no one else in the world does. combine that with the fact that he has the moral authority of a thater, and combine that he is such a good leader, to
incredible companies, i think it is a great commendation. charlie: then there is this, the floyd-mayweather fight. >> we spoken extensively about that. charlie: it was the extensive part of three minutes. danger that this will be an issue for you, so-called copyrighted material? somebody or scope parts of the fight, did they not? periscoped parts of the fight, did they not? >> every time there's a new platform with mass adoption, the will be moments of disruption that are contentious. in the context of live streaming , one of the complications with that is copyright protection. what's stopping somebody from taking the phone out and filming. it is a problem for copyright
holders. we don't believe content is compelling. i don't think is particular the interesting to have somebody pointing the phone at a tv screen and rebroadcasting content. it has happened since people -- there are certain things, people have a need for instant gratification, even if the quality is not perfect. >> that was true in the case of the music industry. that pushed for an evolution in the technology and accessibility of that content legitimately. i think that trend will hopefully continue in the context of a video as well. in a world where people can only be satiated by getting their content immediately, i think that will push -- charlie: what you going to do? what is going to happen? >> have a policy to protect this sort of thing. you're not allowed to rebroadcast something that
someone else's copyrighted. we need to have processes and teams of people to address this. every night there is an event that someone may want to broadcast -- we have teams and processes. charlie: this is akin to one of the problems that youtube has. youtube had their own growing pains in this regard, and they spent a lot of time and money on this world as well. frankly, this is one of the great things about being a part of a company like twitter. who canteams of people help us with content moderation and process and help us reach out to broadcasting partners to make sure we are working well with them. charlie: there are always interesting evolutions in terms of technology, often directed to a consumer market, but at some point it expands into a business market, where there is more money being spent. i can imagine circumstances in
which periscope could be used by business people looking for an early start and a message they can all share at the same time, the ease of access, which is appealing to people. get is ease of access, the ability to reach a large audience to tell your story. john is the ceo of a public company. he is one of my favorite users on periscope. what does he do? he will take you to board meetings, a job to central park, engaging with his customers. this is not his first time using a technology platform, but with periscope as the ceo of a public company, he can reach his customers and say here is what i'm working on and here is what is important to do. we are seeing an incredible array of use cases from businesses, not just individuals using periscope. charlie: thank you for coming. pleasure to have you. i can moment.
inflicting pain on others in order to do so -- if ordered to do so. , here is the trailer for the experimenter. hair -- pillow, .> incorrect 165 vault strong shock. >> let me out of here. i will not be part of the experiment anymore. >> he says he does not want to continue. of the same.s they hesitate, sigh, tremble, and grown. they advance to the last switch because they are told to. this is an experiment. >> the man in the other room wasn't being shocked. >> let me out of here. >> we want to get true reactions from people. >> please continue.
>> social relations, what is that mean? >> the way people talk and elevators. the study of formative societies. is the fines -- why is the fines the anomaly and not the norm. >> why don't i have a choice. >> have you done it? >> i would never do that. >> that really hurts. let me out. >> the experiment really begins. ♪ >> your father is turning into a fictional character. >> critics insist your callous, deceitful. the ideae invested in of authority and love lording it over all of us. she chooses obedience. awareness.
liberation. ♪ charlie: experimenter. explain. the idea was a person, people being shocked new they were not being shocked? >> right. the doctor in the room is also an actor. the only person who does not know the reality is the person who is behind the machine, and if a person gets the wrong answer, you give them a shock. charlie: and the people receiving the shock act as if it is the most painful thing. >> once they get to the end, because it goes from mild to xxx danger. the person not in on the experiment would get a sample shock so that, a mild shock. he would say guess how much that was, and they would guess.
charlie: this was controversial? >> became more and more controversial. it is interesting. it has a lot to do with the time that the spearman happened, 1950's, 1960's. if we had an experiment like this today, it would be a a lot less commercial -- controversial than it was then. the idea that even in the photography, the acting that came later, the idea that the camera is capturing something inside of us that we are not intending, a style of acting that happened then, and so something from candid camera to punked. charlie: you come out of this knowing what you know about it believing what? that people will do what ever they are told to do? >> 65% of people will not obey their own instincts about what
is right and wrong and follow a malevolent leader. charlie: how do you explain that? >> i think a lot of it has to do with abdicating responsibility. in the last two days of the experiment, he filmed the experiments. i think this is one thing that made them quite interesting to people, and probably quite popular, right? you could watch them. one of the things that i find helpful is that there is no one who does it without a lot of pain. some of them weeping, all of them protesting, many laughing uncomfortably, but most of them say it is your responsibility. it was jail. yale. they thought they must know what's going on. when it seemed like the other person was being injured, they thought that this is on you. charlie: a lot of people look at this and say do we understand
how people follow orders, is you suggested. -- as you suggested. >> it's no accident that he was jew fromm the bronx -- the bronx. they did the same experiment at stanford. this idea of trying to understand the thing that was not understandable was certainly in the air. charlie: what intrigue you about playing him? is -- me as an actor, it i'm questioning the nature of reality, what is the truth of what is going on any given moment, something i have always been interested as a kid, what is the reality of this moment, you know? whenever you walk out on stage and you are scared, any good acting teacher says, look at the reality. look up. look at the room. look at the people. look at your hands. feel everything that is happening.
that is the reality, and it will ground you. i think there are several realities going on in this specific spearman. you have the person who think they are electrocuting someone else. that is the reality, about reality, true to them. the two other people who are actors in the room have another reality. stanley, who is on the other side of a two-way mirror, has another reality. it is like a box of mirrors. ,e play with what is fake certainly there are elements in the film that are less kindncing than others, the of candid reality were used to another types of filmmaking. particular very beard like abraham lincoln had, without the mustache. the first scene you see that, there is an abraham lincoln impersonator that i'm talking to with that beard and i'm asking him if he has a real accent. i'm doing a pretend accent.
we are playing with this idea of what is true, what is the reality. if it is not a candid reality, is it still valid? charlie: it seems to me that an art that not only is it about finding truth, but what is truth >>. >h. >> what is truth. is the candid truth the truth? does this feel like it's actually happening in the way that we all know, a kind of familiar feeling. to me, it's not the only one. charlie: how did you prepare for this? i never consider it that crannynt to learn every of a real person's life when i'm going to play them, because there is some idea that we have that my truth experiences in my life are going to overlap with the characters really experiences, and it is
hopeless to try to be them. said, for about two years before we started making this, michael gave me too much information, but it is interesting. i don't always get interested. sometimes, like with the film i have out now, black mass. with that, i took a picture of him and looked at the picture and i didn't about him. i did not get into the specifics of the real person. charlie: that would have been easy to know as well? >> yeah, with this, stanley had his wife -- we met with her a number of times. she gave me a self-portrait that he had done, and he is wearing mirrored sunglasses. it is ahe beard, and kind of masked you don't learn anything deep about the person from looking at this picture, but that says something interesting about him. charlie: take a look at this. this is a clip of stanley meeting his wife, played by
from myhat i got research talking to his brother, the idea of playing someone who is really always watching. everything is about other people. as an actor, you are used to playing people where everything is about them. to be a scientist is to not judge the results are become emotionally involved. but the attention out. charlie: there is a relationship between what he did and what happened at stanford? >> yeah, definitely. and that experiment, you start acting like the jailer. you are pretending to be a jailer, assume a lot of the qualities of the one who is jail. you know, i think one of the things -- reasons these things are particularly cinematic as they have a lot to do with acting. that --o say to people they would say, you bring your
work home with you? say, onset if i sit and do this all day long, eventually i will be upset. it is sort of like the way the body goes with the emotions. you pretend to do something, even if you're doing it from a kind of outside-in place. the body teaches the heart sometimes. the outside will affect the inside. charlie: you just completed -- when we you and hamlet? june and, finished in what straight in. charlie: magnificent seven? >> i am in the magnificent seven remake. charlie: who else. >> benzo washington, ethan hawke, lots of people. denzil washington, ethan hawke, a lot of people. i am my own at the city. charlie: hamlet? >> when i was in london,
everyone was talking about benedict cumberbatch, who was in hamlet at the time. everybody has approached it with great trepidation, great willingness, and everybody believes that something has to be part of their own acting, most of them do. some avoided. phil knight does not want to do is not espeare -- want to do any shakespeare. you are almost possessive and protective. >> you are definitely possessive of it. it is difficult to watch other hamlets after you have done it. i asked alan rickman if he would play claudius. said, i have played hamlet, and i don't know if i want to sit there and watch you do it every night. charlie: why is that? >> it is a deeply personal part.
andre never going to do it say, i did it. a year andthat part a half out, i decided to do it, asked someone i worked with, austin pendleton, to direct it. my mentor, pinnie allen, who is probably the greatest acting coach in cinema today. thes worked with half guest you have had on here, real hidden talent. had not acted in many, many years on stage, and she wanted to play gertrude, and she play gertrude op. cit. my hamlet, and that was a large part of why i initially got involved. i read the play every day for a year, a little piece of it for an hour and a half, moved , i wouldt sequentially
take a little piece of it and just go through that little piece and think about it. i would move on to a little piece, and maybe every month i would redo the whole thing, just to become -- because it is all about the word, you know? it is all in the language, and so that's what you're minding the entire time. i think i'm going to do it again. charlie: this was a modern adaptation? it was hard to, say. it felt like it was in the mind. play feels like it takes place in the unconscious mind. plight,ook at hamlet's i look at someone who has been gas lighted, some people are going, are you ok? going, doess by that cloud like a camel? the whole world not reflecting the truth back to you, you end
up like one of stanley's people. you can't figure out what reality is. that is very interesting as an actor. it really never leaves you. charlie: did it change your view of anything other than what chicks for had in mind? you mean the relationship and the nature of the play? charlie: the character and the -- >> i finish the plate wanting to play horatio. i went, i'm kind of getting a bead on hamlet, but what is up with this friend who doesn't say, hey, look you killed your girlfriends father, your two childhood friends, maybe we shouldn't go back home quite yet. all this stuff you're talking about the cemetery, he doesn't say that. to me, a lot of the time i'm attracted to characters because i don't have an answer. if i feel stopped, i will want to do the part.
ofhink that is the way a lot people feel doing hamlet, i don't understand. i have to try to understand by doing it. charlie: you mentioned the acting coach, what is her name? penny allen. it's music, sometimes it's a poem, but all the ideas feel like they're coming from you. before project starts, you are by yourself. it is difficult to be disciplined about doing it, because where an undisciplined lot. the other thing is to have someone bounceback, be your mirror, and i feel like that is a lot of what she does, just have that conversation with you. charlie: thank you for being here. great to see you. , opens onmenter friday, october 16. thank you for joining us. see you next time. ♪