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tv   Charlie Rose  Bloomberg  May 4, 2015 10:00pm-11:01pm EDT

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announcer: from our studios in new york city, this is "charlie rose." charlie: on saturday night manny pacquiao and floyd mayweather will face off in what many are calling the fight of the century. each fight is poised to earn more than $100 million. it was first proposed nearly 6 years ago. neither camp could agree on terms years ago such as testing on performance-enhancing drugs. joining me now from las vegas is teddy atlas. he is a boxing commentator for espn and has trained some of the biggest names like mike tyson.
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i am pleased to have him back. give me a sense of las vegas today, two days before the big fight. teddy: it is not exactly what it was set out to be. it was supposed to be a reward for the regular boxing fans. mainstream boxing. it is more like wall street boxing. there is excitement. everybody is talking about who you got? who is going to win? the regular fans have waited six years for this fight. everyone gives credit to the promoters and fighters but without the fans, there is no fight. the regular boxing fans will not be able to afford a ticket in that place saturday night. they have to pay $10 for the weigh-in and that is the closest they will get. they will not even get that because those tickets are being scalped for $200. again, it is supposed to be a fight for the people, a reward for the boxing fans that have
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been starving for a good fight. plenty of excitement about the fight. everybody clamoring around trying to figure out how could i get to the weigh-in? if i cannot get to the fight maybe i can get to the weigh-in. this is on everybody's minds. charlie: is it because they have had not a great fight in a long time or is it because people of just begun over the years to worry about the future of boxing and then all of a sudden something comes along that is exciting? teddy: the people after six years -- this is what they wanted. in some way, the fans have been like the lost tribes out on the desert. they are just thirsty. it could be a great fight but they could wind up with sand in their mouths instead of water. it could be a great fight, but it is a fight that should have
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taken place six years ago. these are different fighters. the thriller in manilla, that was a brutal fight. part of why it was so brutal was because they had their greatest athletic ability so they were more available. all that was left was their championship character and that showed in a brutal but fascinating fight. charlie: who do you like in this fight? teddy: i'm at the betting capital of the world. there is a reason why mayweather is the favorite. he is the naturally bigger guy. he is a counterpuncher. manny has to be aggressive. you might run into a counterpunch and mayweather will be looking for that. he lands against lefties and pacquiao is a lefty.
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i think the greatest strength for mayweather -- the reason why we are here is his defense. he is a conservative guy. he does not take chances. i think his greatest strength is his defense and is also as greatest weakness. i think that manny has the hand speed, foot speed and volume punching to exploit his defense with sometimes going into it too much. sometimes he slips and slides a little too much. he gets intoxicated with his own defense. that is why i give manny a chance. with his hand speed and the quick feet and get out before the counter punches come. to be able to steal, out hustle and out punch.
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charlie: fighting is all about talent and will. who has the greatest will in this fight? teddy: so far, there is only one man who has not learned how to lose. that is mayweather. he has not learned how to use. -- lose. pacquiao was knocked out cold three fight ago. there is confidence to believe in yourself. who believes in yourself more than a guy that has never lost? right now until proven differently, you have to say it is mayweather, but you could also say -- it would be a fair argument -- his will has never truly been tested in a way that maybe manny pacquiao can test it. charlie: who has been avoiding whom? teddy: that is a good question. six years ago when this fight was first proposed, mayweather
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was -- we can only go according to what they are saying -- said he was ready to fight the fight but wanted manny. he thought he was on steroids. he wanted manny to take olympics style blood testing. manny said no so the fight did not happen. here, i have to tell you, manny is the smaller guy. they are different fighters and different sizes. manny is not as big. i don't know why. mayweather actually looks bigger now. the reason why this fight finally happened is because pacquiao with tax problems, a lot of things going on in his life -- it is unfortunate. i hate to hear a fighter that goes into the ring and has the chance to come out with less of himself. with all that money and risk, he has money problems and apparently he does. he has more of a reason to go to the table.
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he made concessions, a lot of concessions to make mayweather take this fight finally. who wanted the fight more? who made this fight? i guess you would say pacquiao by making those concessions. if he does not make those concessions, we are not talking now. charlie: who has the best corner men? teddy: mayweather has his father. they have not always gotten along. his uncle roger was the one that was in his life really more and was involved in his athletic career more. he is sick. he is not the hands-on guy anymore. more of the father now. mayweather is a little bit, i guess, like muhammad ali. as great as angelo dundee was, nobody trained ali, he made his own decisions. he did what his instincts told
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him and what his great confidence he had. he went his own way. he listened to himself. mayweather does not really listen to anyone, but pacquiao listens to freddie roach. pacquiao has the edge because he listens to his guy. mayweather kind of does his own thing. charlie: understanding the difference in the weight class how would you compare mayweather to muhammad ali? teddy: well, i -- they are both great believers in themselves. they can be a little arrogant sometimes. that goes with great accomplishments sometimes. arrogance becomes a cousin to that sometimes. they both are promoters. they both know how to make money. but, ali had much more social significance. mayweather does not.
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he does not have that social significance. he has not attached himself to some kind of social endeavor or belief that a lot of these guys could. ali did whether you believe him or not. ali took a risk to do that. mayweather was pretty consistent. he does not take risks in those ways. he does not take a risk just like the way he fights. very conservative. charlie: could mike tyson have been the greatest fighter ever except for? teddy: except mike tyson could have been the greatest fighter ever except he had no character. tyson was a shooting star, a meteor. he burned bright and was sensational. no disclaiming that. but, ali, joe louis, sugar ray robinson, all those great fighters were planets. why?
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they had substance. that was their earth. they overcame a lot of controversy, problems and issues going on. they had the character. the inner soul, the ability to make proper choices outside the ring and to stand by them. the ability to care about more than yourself. tyson never cared about anything other than himself. tyson never would have been great -- he had the great skill and could punch from either side of the plate, but he never ever had that great character that i just talked about these great champions had to be called special. charlie: will this fight go the distance or will somebody knock it out in the early or middle rounds? teddy: i think it will go the distance. the funny thing here -- i always say it, punchers are not made, they are born.
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this will sound contradictory. pacquiao is the born and better puncher, but he has not scored a knockout in five years and he is the smaller guy. he has moved up a lot of weight classes. i don't think he is the puncher here. mayweather is a boxer, but he is the bigger guy. if there is a knockout, it would come on the side of pacquiao the born puncher. if there is a knockout, i think it would come on the side of mayweather. at the end of the day, i think it will be a decision and i think it will be a controversial one. charlie: thank you, teddy. it has been great to talk to you. teddy: my pleasure. charlie: we will be right back. stay with us. ♪
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charlie: corey lee is here. he is a james beard award-winning chef and the owner of the restaurant benu in san francisco. david chang has called it the best restaurant in america. benu gives its name to the chef's first cookbook. he presents a 34-course tasting menu which reveals the recipes inspiration and principles behind his cuisine. here is a look. ♪ corey: i was asked what sort of
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restaurant benu is. it is an american restaurant. it is open to the influence of all different kinds of cultures. the book is about a menu at benu and hopefully it can convey the experience of dining at benu. food is the most revealing thing about you, about a culture where you come from, how you live -- they go hand in hand. it is really about finding yourself in your work and understanding that there is meaning in finding yourself in your work. charlie: i'm pleased to have corey lee at this table for the first time. welcome. corey: thank you for having me. charlie: any friend of david chang is a friend of mine. david has said remarkable things about you. what influence has he had on you? corey: he's had a big influence on me. he is someone who really struck
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out on his own in a very original way. in 2004, i was living three blocks from the original restaurant. he came from the same background a lot of us did -- being line cooks and trying to make it happen in new york city. he just went his own path. he decided to do something that he was really passionate about and created his own style. he broke down all the barriers in fine dining. that happened at a very exciting time for restaurants. charlie: the amazing thing about you -- it may be true for a lot of great chefs -- is that you have worked with some of the great chefs. you worked in great restaurants. corey: i was fortunate enough to have amazing teachers and mentors. there is not much difference between a teacher and a mentor. each chef i worked for invested
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in me and cared about what i was doing outside of their own kitchen. charlie: describe your cuisine. corey: it is a tough one. i think a big part of the reason why i wrote the book was to explain not only to an audience, but to myself really what we are doing at the restaurant. it is not a cuisine that could be summed up with a couple of words. although, people would say it is a very easy term or genre. it is a restaurant that is american for me. it is modern in the truest sense. we are trying to create a new experience for people, an experience they can only happen our restaurant. ultimately, it is an american restaurant specific to san francisco. charlie: what is the korean influence? corey: there is a lot of seasoning that takes a cue from korean cuisine. some of the fermented pepper sauce, soy sauces, we season
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with that instead of just salt. it is more about deep flavors than seasoning. there is also the korean aesthetic which is very transparent. i do not think things are manipulated in a way that you cannot identity out what it is. there is a humbleness which is unique in asian cuisine. we are influenced by all of those things and we're inspired. charlie: you said cooking at benu explains how the asian flavors and ideas could harmonize with western ones. corey: it is the harmonization of those different cultures that is interesting. it was spurred by living in northern california where there is a huge asian influence. 35%, 40% asian. most are cantonese chinese.
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there is an assimilation in san francisco that is unique in that city. charlie: david said there are many paths to success and corey's path is perfection. there is no better cook technician on the planet pound for pound. he is one of the best chefs on earth. we like hearing those things but is it true? is this pursuit of perfection? corey: i think it is not so much in pursuit of perfection, it is a pursuit of feeling like you are doing something you believe in. whether that is perfect -- i am not sure that is the most important thing. there are things that we do that i know are not perfect but i feel good about it and i could commit myself to that. it is really about the commitment. you have to commit yourself to your work. the first thing is believing in what you are doing. i have been fortunate in my entire career right felt that. charlie: why this book now?
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corey: i finally have something that we can document. that is an important first step. you have to want to say something. over the last five years, i think start to carve an identity for ourselves. it is an opportunity to reach a larger audience. it is great for the staff. they can see their work is something beyond what they make every day and it is far-reaching. it just felt like the right time to work on a book. charlie: it is structured around a 33-course tasting menu. corey: it is, but we don't serve the 33-course menu. that is a bit much. you cannot keep somebody engaged for that long. charlie: or should you. corey: i explained a little bit in the book -- i don't think anybody looks at this book and they want literally a tasting menu. it is seeing the progression of a menu. it is almost like a meditation
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on the menu talking about the dishes and the influences. if there are a few more courses to make the book work, who is counting? charlie: this is the love of food that you have. corey: it is also the love of craft. charlie: so, somebody comes to you and they say i want to be a chef and you say the most important thing to have is the love of craft. they say what does that mean? what would you say? corey: that means making something over and over. repetition, working with your hands and that being a rewarding experience. it cannot be about owning a restaurant because that might not happen. it cannot be about notoriety because that is a byproduct of doing something well. you have to have satisfaction in coming to work every day and
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doing the same things over and over. it slowly evolves because there is a creative, artistic aspects to cooking at a certain level, but it comes down to what you make with your hands. charlie: that is a tactile feeling? corey: absolutely. there is something about making something that you feel is done well. serving it and immediately getting the satisfaction. that is the great thing about restaurants. there are moments of success all day and night long when you are feeding people. charlie: tell me about your biography. you came from south korea. corey: my father was an engineer. he was sent all around the world. we moved several times growing up. i came here when i was fairly young, but my father was then moved back to south korea because of the company he was working for. from then on, my family was kind of split up. my sisters, my mother, my father stayed in korea.
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i stayed in america working in restaurants and traveled abroad. charlie: paris. corey: paris, london. came back to new york. charlie: always teaching yourself what? corey: i think it was honing a work ethic which was really the backbone of anything i would do later on. i had that instilled in me at a fairly early age. you have to put in the work if you will get anything out of it. and pursuing it. not waiting for somebody to teach you and take you up and give you the tools you need. i don't think you can. charlie: it goes beyond cooking -- it goes to life itself. corey: i agree absolutely. charlie: how is cuisine different today when you go around the world? corey: well, cuisine has changed a lot in the last decade or so
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last generation. chefs have a bigger voice than they did maybe a generation ago. i think diners are looking for restaurants where they can experience something. they go to the restaurant because of a chef or the style of food that restaurant is cooking not just to participate in some kind of lifestyle experience where they are pampered. they want to see personality in their cooking. that is something new. charlie: back to the notion of excelling. i'm looking at thomas keller saying about you -- "corey's thoughtfulness reflected his desire to excel at what he was doing. he was that rare precocious talent who took the long view and was more than willing to pay his dues." corey: by today's standards where chefs are becoming younger and younger -- if you are a chef and want to open a restaurant,
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you have more opportunities than before. over the years, i had opportunities before i opened benu. but, i felt i was not ready. there were times where i was offered a management position and i knew it was time to go to the next restaurant. once you make that transition to being a chef or chef owner or even a sous chef, you cannot go back. charlie: why aren't you in new york? corey: i always thought i would open a restaurant in new york. when i told thomas i was leaving, i looked to new york for restaurant spaces. the first place i looked at was in soho. i used to go there when i was a teenager. it was a very special place for me. it was the day that lehman brothers went under. a very volatile time in new york city. it made me question why did i go
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to new york? the more i thought about it, it did not make any sense for me. i had been working in california for 10 years at that time. i had relationships with people who knew what i wanted. relationships with guests who would come to our restaurant. there were people that wanted to work when we opened. it was crazy to give that up. i look back and i think if we opened in new york, we would have been a very different restaurant. charlie: benu means what? corey: it means the phoenix bird in egyptian mythology. it stands for long life, regeneration. charlie: the long view is always there for you. corey: exactly. starting a restaurant is a risky venture and you aspire to have longevity. for people that moved to san francisco to start this project, the idea of the phoenix bird resonated with us.
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charlie: what does it mean that you are so close to the tech community, silicon valley? corey: it is a very important part of the culture in san francisco. it has become an area synonymous with innovation, newness embracing new things open-mindedness, the future. it is this hub for this new world. then there is the very pragmatic aspects where we have an industry that can support these restaurants. that is very important, too. i think it is a very exciting time for san francisco. charlie: i will take a look at some things and have you describe. number one is the thousand-year-old quail egg. there it is. corey: that is the first course on the tasting menu.
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it's a egg that is preserved through having a high ph. it is the opposite of a ceviche which is acidity. it has a very high ph. we serve it with a classic soup. charlie: number two is a lobster. corey: it is basically a liquid-centered dumpling. yes. charlie: beggar's purse is number three. corey: it is made from acorns. the three things around an oak tree -- acorns, the spanish ham and black truffles. it is the synergy surrounding the oak tree. charlie: do you love pigs as much as david chang does? corey: i love it. how can you not? charlie: what does that mean? corey: the flavor of pork marries well with seafood, vegetables, other meat, poultry.
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it is not gamey as lamb. it's not as intense as beef. it is almost the seasoning for me. charlie: number four is oyster pork belly. corey: it is more of a technical thing that we do at the restaurant. it is a variation of a traditional korean dish that combines oyster, kimchi and pork. we make a kimchi stock. we turn it into a pliable sheet and wrap everything around it. charlie: you said your mother was horrified when she realized you were serving kimchi. corey: not horrified, but pleasantly shocked. charlie: she was just pleasantly shocked. why would she be shocked? corey: i had a hard time with kimchi when i was growing up. it is very pungent. living in a small apartment when it is hot and smelling that very intense fermented aroma of
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kimchi, it is overwhelming. even as somebody who has been around it, it is a very intense aroma. charlie: number five is ice fish on ice. corey: it is a really simple dish. it is ice fish. a very simple fish. it is inspired by the idea of a japanese aesthetic. charlie: it combines simplicity, beauty and subtlety. number six is spring porridge with sea urchin. corey: it is california local cooking. we have lettuce, asparagus, a sea urchin. charlie: tell me about the importance of how food looks. corey: my relationship with food aesthetics has changed over the years. for me, it is about trying to present something in its natural
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form. how to make something look delicious, but not make it look like there are 20 chefs in the back with tweezers and knives manipulating these things. that is a challenge, but it is also an important thing to let food present itself. i think it is very important. charlie: you have said about your cooking style that it evades definition. has it changed over time? corey: it has. when we first opened, i had one foot in the european style of cooking. the other foot was in an area of exploring. over the years -- some of this has to do with getting more confidence -- i have been more interested in exploring how eastern asian ingredients can work in the context of a western menu. charlie: do you want to own a korean restaurant? corey: i do. charlie: because that is who you are? corey: it is a cuisine that really resonates with me.
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i think it has been poorly represented abroad. i feel like there is a lot of potential. charlie: what does it mean to be the goodwill ambassador of seoul, korea? corey: it is an honor more than anything. basically what it means is you are there as a resource for them if they ever need to contact you for counsel in food or promoting food in seoul centered around tourism. charlie: is a third michelin star -- what is that about? is it recognition of quality? is it about unique approach to food? is it about satisfied patrons, customers? corey: for me, this is probably not what you would expect, not something i probably would have said before. in some ways, it is a very western and european validation
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of what we are doing. charlie: a validation. corey: not because that is what makes me feel good about the work i am doing, but the michelin guide is traditional. for them to say that a restaurant like benu serving the kind of cuisine we do is three stars and worth the journey, that is validation. charlie: congratulations. corey: thanks very much. charlie: i look forward to seeing you in san francisco at some point. thank you joining us. back in a moment. stay with us. ♪
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charlie: noah baumbach is here. he is a director whose movies include "the squid and the whale," "margot at the wedding." his latest is called "while we're young." "the los angeles times" writes sharp, funny and dead-on accurate on the way we live now. it is not about eternal youth, but rather coming to terms with growing older. here is a trailer. >> we made a house out of twigs and the wolf came. >> he blows it down. >> that is what happens in the middle. >> people say this little piggy went to the market but that is for toes. >> i didn't know you wanted kids. >> you would make such great
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parents. >> i really loved your film. that scene with the dog around the garbage. how did you stage that? >> i said hey, shoot those dogs. >> beautiful. want to get a bite with us? >> why do you suddenly want to hang out with a couple of 25-year-olds? >> it'll be fun. we met this interesting couple. i like how engaged they are in everything. >> it is like their apartment is filled with everything we once threw out, but it looks so good. being around them energizes you. >> it is infectious. >> i love you. ♪ >> i have learned along the way that you can discover more by allowing yourself to be surprised by what you encounter. ♪ >> we're worried about you guys.
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>> what is with the hat? >> you are an old man with a hat. >> for the first time in my life i have stopped thinking of myself as a child trying to imitate an adult. ♪ >> your sleeve is on fire. are you ok, son? >> you have arthritis in your knee. >> arthritis? >> yes. i usually just say it once. >> what is happening to us? >> i'm trying to make a film that is both materialist and intellectual at the same time. >> like a black "shawshank?" >> no. >> so, what's it about? >> let's have kids. >> i don't want this to be every time you take a hallucinogen you want to have a baby. >> not every time. charlie: good actors, sir.
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what movie were you intending to make? this? noah: this is sort of the movie you intend to make and the movie you know what no matter what intentions you have your going to make and discover as you make it. i wanted -- i did have an idea that i wanted to do something that was in a kind of comic tradition or comic movie tradition. comedies for adults. things that directors i have loved like mike nichols or woody allen have either made over the course of their career. they were mainstream comedies, but they were about people. the laughs often came from the characters and you care about the people, but they could be broad. there was a flexability.
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charlie: is it about getting older? noah: it is. it is about getting older and knowing yourself as you get older. charlie: you open with that quote. noah: yeah. i saw andre gregory did on of their talks. they had been working -- they work on these plays for years and they do -- sometimes they perform it in people's apartments. this was a townhouse in the village when i saw it. it is wally's translation, too. when i heard that exchange, i thought this is kind of related with what i am working on. charlie: you have said that i think the experience of getting older was a driving force of this movie. your experience. noah: i think all of my movies i
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have been trying to do both sort of -- there is a tradition in movies of -- where people are in therapy or have these major breakthroughs. you accept them because that is part of the movie. a movie cannot show the entire session of somebody's therapy. you have to show the ones that really count. or i wanted to do -- i kind of have been trying to show the changes we go through in our lives are not always something we are aware of. it is something you realize two years later that this happened. charlie: you were evolving but not seeing it at the time. noah: yeah. sometimes we go out the wrong way to come back the right way. often, you do. i guess i was trying to make that cinematic in a way. charlie: that is how the movie
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came about, isn't it? noah: i worked on it for a while. i had different incarnations of it. i wanted to do something about couples and how couples interact with one another. and how you are with your person and you go out with another friends of yours and what you might project onto them. are they ok? it seems like something is wrong. charlie: or it seems like something is right. noah: but, it is often about you and about what is going on -- it is easier to talk about other people than it is to talk about yourself. charlie: talk about josh and cornelia. noah: they are married. charlie: ben stiller and naomi in the movie. noah: they had been married for a little while. he is a documentary filmmaker who is now into his ninth or 10th year of the same documentary. he is stuck.
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he's -- having trouble admitting it perhaps. i wanted to present a marriage where the was not anything necessarily overtly wrong, that you could not necessarily say hey, you know -- that they on some level knew something needed to change and needed to shake them out of a kind of routine, i suppose. when they meet this younger couple, that triggers it. charlie: and make something about living a different kind of life. noah: yeah, the younger couple is almost -- they are many things. they sort of represent a different generation. they represent youth, the kids that they don't have. they are also -- ben and naomi's characters do not have a child
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and i have tried. it is one of the many ways they are coming to terms with things in life that don't necessarily go the way you dream they will go. charlie: here is what ben stiller says about you -- observations that are spot on. as an actor, i have seen that same thing happen in my life and every interchange, there's a way something else going on beneath the surface but they are very subtle. i love that about his writing. he is all about the huge impacts and all the uncomfortable, awkward moments we have, but he's never going for the joke. does that resonate with you? noah: it is nice. charlie: it flatters you. noah: yeah. that is what i hope i am doing. charlie: take a look at this. this is clip number two where josh and his younger friend
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jamie are talking on the street in manhattan. >> remember, ask him questions. you are interviewing him. >> ok. >> short and to the point. on the street, man. talk about war, power. make it relevant for him. be yourself, everybody else is taken. >> we are going to have a screening on friday. >> you have done it already? you shot it two days ago. >> i was up all night. >> you will be ok. >> take a day or two, make sure you like it. >> it already took 10 years. ♪ >> i remember when this song was just considered bad. but, it's working. >> remember, you are not going to have this opportunity.
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>> it sounds so much better when you say it. ♪ charlie: adam driver, why him? noah: i had worked with him and had a great experience with him. he's such a compelling actor. he is so interesting. everything he does is interesting. i felt like with this part because ben's character kind of falls for him. it is kind of like a love story at least for a while. he -- i'm having fun with that in some ways, i also did not want to sell out ben's character. i want you to invest in this affection. adam is one of these guys i would follow anywhere. he is so interesting. just his body language, the way he moves.
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we talked about that he was almost like water. he could pass through you or envelop you. he kind of found some kind of physical equivalent. charlie: music brings out the best in baumbach. what role should music play in a movie? noah: with this movie, it was not -- it was similar to technology in a way because i was having fun with the younger couple listening to stuff from the 1980's and from their -- ben and naomi's adolescence. but, you know, i think this notion of character and character tastes and how characters represent themselves is something i am interested in a lot. the music they play is a kind of extension of that. charlie: you and music. you own every album that paul mccartney and david bowie have done.
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is it because you enjoy music or because music has real influence on your life? noah: it is both. music in movies is something -- it is just one of the major elements for me. when i go into a movie of what is the sound? musically, what is the sound? there is another element in this movie which i thought brought a timeless element to a kind of contemporary story, but it also connected me to kramer versus kramer which is a movie sort of from my childhood that is not a comedy, but it -- i think that sort of new york and new york of my childhood, i don't know. it is that time of my life that i always seem to sort of revisit
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because i think it stimulates creativity for me. initially, i was listening to it because it brought me back -- it made me feel creative and it felt right for the movie. charlie: this is your second collaboration with james murphy. noah: he became a friend when he made music for a movie and did great stuff for this. charlie: this is the third clip we have. this is back to josh pitching the documentary to a hedge fund manager. >> do you know what the percentage of african-american adult males currently in jail? take a guess. >> like 60%. >> jesus, no. it is over 9%. it is nearly one in 10 african-american adult males nearly 1.5 million. >> that is a lot. >> people don't realize this. they think because they have a
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black president. >> like a black "shawshank," but real? >> no, there is a section about the prison industrial complex, but the movie is about how power works in america. >> really? >> we have over 100 hours of interviews. >> the movie is 100 hours? >> no. we will cut it. charlie: explain that scene. this is the scene after he was inspired with the music. noah: there is a joke when he's asked to describe his movie, it takes him forever and his default after five minutes of rambling is it is about america. so, i thought let's put him in
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front of probably his worst nightmare and ask him to try to describe what he is doing. charlie: do you write every movie you make? noah: yeah, everything i have directed. charlie: and select the music. noah: i have great people that i collaborate with. charlie: but you cannot do it any other way? noah: not really. it is how i see it. it is how i approach the whole thing. charlie: who represents the best of what you want to be and do? noah: you mean like -- charlie: woody allen. noah: woody allen, of course. charlie: whoever. noah: with this movie -- woody allen when i was growing up, he was acting, too, he would -- you thought like all these movies were real personal expressions. it was an authorial voice that felt personal. you felt like you thought you knew him.
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i really responded to that. there are a lot of european filmmakers and directors that do not write their material like martin scorsese, but is so present in those movies in an amazing way. i think i was -- from a young age, i wanted -- my approach for filmmaking came from an authorial position. charlie: you identify with people like spike jonze, wes anderson? that genre. noah: i'm friends with some of them. people like them and paul thomas anderson. people that you feel them in every movie they are doing. charlie: i think it was scott rudin who said you could turn psychology into behavior.
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what did he mean? noah: well, i think it is connected to what we were talking about earlier. i think there is a kind of psychological truth. i'm asked a lot of my movies are autobiographical. there is a psychological and emotional truth i am going for in them. and, i want to be true to the psychology -- from my position the psychology of the characters. in a lot of ways, my task with these movies is finding something cinematic and physical that represents that. charlie: when you talk about eric rohmer, you named your son rohmer. do you call him rohmer or something else? noah: i call him ro often. i just shortened it. charlie: he is ok with that?
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noah: when he gets older, you might have more of a preference. charlie: where do you want your career as a filmmaker to go? is an extension of the kinds of things you are doing just getting better at it? noah: i hope so. i -- since "squid and the whale" i have been lucky that each thing i have written, i have made. that is a great place to be. i would like to continue doing that. i think i don't have -- i get asked sometimes, people say do you want to go make a marvel or something like that? charlie: and you say no? noah: i say no because it is not how i come at it.
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this is the pleasure for me -- doing it the way i am doing it. i -- you know -- i never thought of it in different ways. it is a funny question because i almost -- when i was maybe 10 or something, i may have wanted to make "raiders" or something like that which i still love, but i would not now. it is not something that would -- charlie: does it mean you are committed to small films? noah: i suppose there are never going to be as big as -- charlie: i'm not talking about those. you are talking about "raiders of the lost ark" or movies. noah: i guess i am also sort of banking on the fact that i feel like people want to see something that has -- that they
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can connect to. it is a kind of similar but different experience. charlie: connected to something in their own life. noah: which is what i like when i see movies. i feel like there is room for both. charlie: what about your next movie? noah: that is a movie we did again. that is going to come out later this year. and -- charlie: you premiered at sundance? noah: we did. i did not plan it this way to have two movies in the same year, but somehow they bumped into each other. it will come out in the fall. charlie: it is great to have you here. noah: it is great to be back. charlie: "while we're young" is in theaters now. many critics are saying it is his best and most successful film. a recent headline from "the
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atlantic" said "while we're young" is noah baumbach's plottiest movie yet. thank you for joining us. see you next time. ♪
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emily: live from pier 3 in san francisco, welcome to "bloomberg west. i am emily chang. the list of republican hopefuls continue to grow. announcing his candidacy, known for strong opposition to president obama, speaking earlier today in detroit, ben carson. mr. carson: i am not a politician. i don't want to be a politician, because politicians do what is politically expedient.


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