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tv   Charlie Rose  Bloomberg  June 1, 2015 6:00pm-7:01pm EDT

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♪ announcer: from our studios in new york city, this is "charlie rose." charlie: the great jim parsons is here, a four-time emmy-winning actor, the star of "the big bang theory." it is the highest-rated comedy on television one of the most successful series in syndication. he now returns to broadway starring in a new play as none other than the almighty himself. it is called "an act of god." i'm pleased to have you at the table. jim: thank you. charlie: when you have this huge
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-- did you long to go to broadway? jim: um-i longed to do theater in general. i always want to do theater. there are many other things that i enjoy doing and i find are wise to do and feel good to do other mediums whether it be movies or another tv show. but in the back -- i have a dormant -- anytime there is a space where nothing else is happening and theater can fit in -- charlie: some people say it's necessary because it resets. jim: it does. there is a very going home aspect. and there really is no other medium even though we take the tv show live, you can have several takes to do things and there is a separation between you and the audience with the cameras. they are there but there are four cameras between you. this is the only medium where the audience place such a critical role more than i think
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they understand about theater. charlie: how do they do that? jim: just by being there. if they sit in stony silence, they make a huge impact on you. this play especially, i talked to them the whole time. in any play, i think that's why you always hear about the death of theater. all my life i have heard about yet are dying. i do not believe that will happen because nothing else replicates -- maybe a live sporting event. that's were the live audience has such an impact. charlie: clearly, and sporting events -- jim: bud light theater whether it is a drama or comedy, it does not matter. charlie: sometimes i think live political conventions and things like that have that aspect. jim: absolutely. charlie: the enthusiasm is so great it can rev up the speaker. jim: it changes what you are hearing. charlie: they like it.
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you are playing god here. jim: god is playing me is the premise. he has some things he wanted to tell the people. i have a winning, likable personality and he feels his profound message will be easier to take given my off the charm. one thing i definitely am is a brand. i am an established, well respected brand, ok question mark when i see some backup wide receiver from dip university on sport center point to me after scoring a touchdown, that cheapens the brand. it is very simple -- i am not with you when your team wins. i am not against you and your team loses. i am not whether against you when you win or lose. i am not a laker or a cowboy or a red wing -- please, listen carefully -- i am not a yankee. [laughter]
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i do not guide the ball between the uprights are into the basket or out of the stadium or into your opponents crotch. [laughter] you won the game congratulations. you are a super bowl m.v.p. mazel tov. leave me out of it. because your piety or lack thereof either as an athlete, a team, or a fan base is meaningless to me. i do not influence the outcome of sporting events to affect the winner. are we clear? i only, on externally rare occasions, influence the outcome of sporting events to affect the spread. [laughter] charlie: how did you come to this? jim: my agent -- he said i spoke to this writer, and i said i have a client who was always itching to do theater and i think might be a good match for this material. what do you think question mark
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he was on board and they had that conversation without my knowing and he sent me to play. ps me what i thought. there were many things up in the air and he is always trying to keep our hands in several pots to make your something happens. bless him. i loved it. i loved it. i will tell you something weird is that what i loved about it was that i had never done a show where i was on stage the whole time. i have never done a show where i talked to the audience the whole time. and i thought was very funny and well written but these were the qualities i liked, much more than considering the god aspect. it was really after committing --charlie: you are on every moment? jim: i am. i am sitting which is really nice. i sit on a couch for 90 minutes. charlie: the writer said the grand idea was not to undercut religion. what was it? jim: oh god, i don't know what his ultimate goal is. i will tell you what i feel. it's that for all the fun he is
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having at religions expense and god's expense and then fun with religion and with god and with our beliefs and the things we do in the name of religion -- with all that fun he is having, there is something so thoughtful about what he has done. i do not note -- i do not know what religion david is. i don't know what is feeling is about religion. he could be an atheist but he has given this topic such serious thought. for as much fun as he has, i don't feel he plays fast and loose with it. he has his own version of a serious discussion about it, the commandments about what is this kind of being that created this. . charlie: [indiscernible] jim: i guess to a degree. let me ask you of this assist." -- of this is satirical? god comes down and is having a human type discussion as he is
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capable of. he is trying to relate to the people. it's only mildly successful because he's god. i don't know if that is satire or not. but it is an interesting conceit. what if god were one of us? if he wanted to come down and host his own charlie rose segment -- i will last myself questions. it's that kind of thing. i understand celebrities. that's why i said i have some ambivalence. you see celebrities are my chosen people. [laughter] i know, the jews are also my chosen people. there is a lot of overlap. [laughter] celebrities are like me. they are a george, worshiped, tantrum prone, we live in our own universe and our public appearances are limited and for promotional purposes only. [laughter] i get celebrities. not when they die but before. [laughter]
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i get why they take my name in vain. i get why they take all kinds of things in their veins. [laughter] and since i am on the present, i am always with them. i have been there with them through the good times and the bad, through the laughter and the tears, the joy and the pain. in fact, i have seen celebrities after lowest moments doing and thinking things no one else knows about. not that i would violate the privacy by telling you about them. because i do not engage in gossip. [laughter] charlie: how different is it for you? you are in "the normal heart." you are on all the time. there is no time to rethink. jim: there is no rebooting. we are in the middle of previews as we are talking and i have found so far that it is a big joy to be out there the whole
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time. but i feel a different recalibration of energy happening within myself through several segments of the show. it's not that -- i've just never dealt with the before. there is no moment to go back and liken it to nascar or getting your tires changed. you do it on yourself and you do it on the fly. again, i suppose all-time so physically it's not demanding it all. i do feel a certain sense of elation and exhaustion when i get off. charlie: is sheldon a nerd question mark jim: yes. he is a genius. charlie: what else would you say about him? jim: he is pompous. but not ill meaning. he is persnickety. he is particular. he has his way of doing things and most other ways are wrong. but he is not entirely without
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reason because he is a genius and he has a scientific mind. when push comes to shove, he will typically been to the facts if that's what it takes. the relationship those writers on "the big bang theory" have made between the character and amy is so organic to the quirkiness of those two that it becomes very honest to me. it's an example -- he is willing to admit to himself that she is important to him and so he is willing to concede certain things to her that he would never concede to anyone else. i don't know. charlie: how would you change him? jim: how would i? charlie: how will you change them? jim: i won't consciously. whatever they write i will do. i have a very -- i was going to say on approach. it's my approach to any role but
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him, i have been with for eight years now and it has always remained the same. i always feel like what i am doing is what they have written. and i am not naive enough to believe i have no particular way in which i am bending it because it's me doing it but i really try to take all of my cues from what they have written. i just try and let him be what he is. charlie: did you feel how good it was at the beginning question mark jim: yes and no. i did not feel it was not good. i felt it was good but i felt the oddities of doing a tv show immediately. we went and did presentations where you talk to the press. you could tell not everybody thought it sounded like a good idea. but what i knew -- we were taping by then already -- i knew that we were doing good work. i did not know if anybody -- charlie: did the language of a
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certain rhythm to it? jim: always, from the pilot from the audition. i drilled the hell out of that audition for that very reason. i just -- you could see what they had done. for a half-hour sitcom, it was so dense and it was so many words strung together. you know it's not funny? struggling with this. the only chance for this to be funny -- charlie: have fun with it? jim: it has to fall out of your mouth. the words other words. to a degree, it stayed that way. we have more characters on now -- to when we have added and it has made sometimes -- two women we have added and has made more dialogue. charlie: how difficult is it to memorize dialogue? jim: i do know cards. i write the last hit of a queue on the front and i write out my
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whole line on the back. i just drill just drill just drill. it is, for me, a very muscular rehearsal process in that way. just right here but my goal -- it's harder with tv when you only have five days but in general, my goal is to have it where as if you learned dance in the feet know what to do. you can smile and whatever. in this case it's the mouth, that's the goal. charlie: is it easier to do now? with all your experience? jim: i think it's the same. i am on the treadmill, as it were. when i memorize this play, i did it while i was working on "the big bang theory" and promoting a movie and in that way it's easier to just fall into it and do it. but it does not make it faster. charlie: what's it about? "the big bang theory?" jim: at its simplest form, it was originally about four really
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smart guys who are not so good in the real world and meet this one girl who was good in the real world but perhaps not as bright. to put it mildly. no. in the process, it has revealed its true heart which i think is the tale of outsiders who find each other and make a family. i think a lot of good tv come especially good comedies, are very much that -- an odd group of maybe outliers who come together and make a family. i was back there and talking about seinfeld. it comes up in every conversation it seems. what are they? they are kind of oddballs. but they are their family. this is obviously very different but it is the same and that same way. charlie: this is sheldon talking
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to amy who is played by mayim bialik. >> this is silly, i am not missing on the prom. i going upstairs now, goodbye. jim: i really did inc. you looked pretty. >> you did? jim: yes. so much so that i started to panic. >> you can relax. just because you think i look pretty does not mean we have to spend the night together. jim: were you hoping we would because it's prom question mark >> i am always hoping. but tonight, i just wanted to have a nice time with you. maybe dance with someone who has arms. [laughter] >> thank you for understanding. >> of course i understand. sheldon, there is something else
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i have been wanting to say but before i do, i want you to note you don't have to say it back. i know you're not ready and i don't want you to say it just because social convention dictates -- >> i love you, too. [applause] >> you said it. >> there is no denying i have feelings for you that cannot be explained any other way. i briefly considered that i had a brain parasite. [laughter] but that seems even more far-fetched. [laughter] the only conclusion was love. i know what's happening. this is a panic attack. you must lie down with your feet elevated. >> ok. >> whoa, just because i love you does not mean girls are allowed in my room. [laughter]
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charlie: good scene? jim: yes and oddly a very easy scene which i give credit to the writers. as unlikely as eight years ago it seems that that character would never tell another human being they love them in a romantic way, they have dealt with this so organically, the writers. they kept everybody true to the original characters that they were and have only grown very small incrementally from their. everything is a pleasure to do. charlie: why was he fearful of commitment? jim: i mean -- we have never gotten into -- there are too many past issues like maybe his father -- i think it has as much to do with the fact that he wants to be glorified himself as a scientist. he does not want to team with other people and share the
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glory. i think that leads over to all other aspects. he is singularly focused on what he is doing. i think it's about not wanting to share credit. charlie: here is another scene. >> leonard is as much of a part of this paper is your and he was overlooked. he is going to feel bad. >> but it wasn't my fault. i did not exclude him and i did not write the article. >> remember that time you did not get picked to pull the sword out of the stone at disneyland and they let the other kid do it? >> oh, that kid. [laughter] poor leonard. >> exactly. >> for the record, that kid was a terrible choice. if you cry when you drop your cbhurro you do not have what it takes to rule england. [laughter] charlie: tell me where you think you are now. you're on broadway and have the hottest sitcom and you come off of that. what is it you want to do?
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other than what you are doing? jim: i know -- when we were in school, went to grad school and went to undergrad it was always the more specific you can be the better off you are as far as acting or anything probably. i believe that to be true. charlie: what does that mean? jim: the example i had was if you could aim at something -- i want to be the neighbor to jack and whoever on this sitcom or whatever. you may not hit that but you have a real road to go down. charlie: absolutely. jim: i had a little bit of trouble with that. i don't know if i'm having more or less trouble now. my biggest thing always is to keep working, to keep working. in that regard, i try and keep my ears open and my heart open to things that i read and go, this is like the next right thing.
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look, any business, as you know, but it's definitely a tricky business as far as trying to dictate anything. the success of our tv show is a good example of that. there is no way to dictate that. charlie: or duplicated. jim: no, because you don't know. do what you feel is right or funny or what you feel is true and authentic and hopefully, someone will want to watch the same goes for every audition or everything you want to do whether it be acting or producing or whatever. you can only go for what you want when you see it. hopefully, they will have you whoever they is. charlie: it's great to have you here. jim: thank you very much. charlie: back in a moment, stay with us. ♪
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♪ charlie: terry mulligan is here in "skylight" on broadway. they say she is impeccable. her performance led to her first tony nomination along with six others for the play. she also stars in "far from the madding crowd." here is the trailer for that.
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>> from now on you have a mistress, not a master and it's my intention to astonish you all. >> you better do your best work. >> you need to lend a hand. >> you don't think i would? >> no, you wouldn't. >> how much? >> five pounds. >> very well. >> would you like to marry me? >> who said i wanted a husband mark. ? >> i want some a to pay me and you wouldn't be able to do it. i'm your neighbor. >> good hunting.
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>> he's rich, he's handsome >> i want very much to have you as my wife. >> i don't think i have ever seen a face as beautiful as yours. >> you should have nothing to do with him. don't listen to him, don't believe him. >> why? is it difficult for a woman to define her feelings in a language made by men? >> i'm such a fool as to imagine i might have a chance. one day i will leave you, you can be sure of that. miss aberdeen will never marry you.
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charlie: i am pleased to have terry mulligan back of a stable, welcome. terry: thank you. charlie: everywhere i look there you are. you are on broadway right now in "skylight." carey: he is such an extra ordinary writer and wonderful
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person. we have had the privilege of getting to spend a lot of time with him on the play and he was around during rehearsals and previous. -- and previews. he is brilliant and is very much the writer on this project. he is so gifted. charlie: what i love about him is the curiosity he has for the themes he wants to do whether it's politics in the middle east or whether it's male and female relationships or all of that. his curiosity seems very contemporary to me. carey: yes, and he's an observer. i think that's why he and the director work so well together. they are both curious even in trivial conversation. charlie: he got stephen to do this question mark carey: yes and it has not been done since build it is. -- since bill did it with michael gambon. charlie: bill went back to
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london and did it. 15 years later, we did in london. charlie: was it in instant yes? carey: yes, i wanted to do a play and i had not done one -- i did an off-broadway play a couple of years ago which was an adaptation of an ingmar bergman movie which was great. it was very dark and difficult. i was just looking for the next play. and i always wanted to work with stephen daltrey and i never read "skylight." i started reading it and i read 10 pages and i said i hope the rest of it is this good and it does not get that and it got better and better. by the end, i was completely in heaven. charlie: it was a character you loved? carey: yes, completely. and to get to say that it is truly great writing -- that's kind of writing you can do for 12 weeks in london and 12 weeks on broadway and never tire because there is so much to it.
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charlie: in london versus new york, is it different? carey: yes, it's a british play with a lots of british references. the audience here reacts which is interesting. charlie: tell the story, what is the back story? carey: i met when kira was 18 and he was a restaurant tour in london and married with children and she started working for him and his family in his restaurant chain. after a couple of years, they started a relationship which lasted for six years which is what did not know about. after about six years, his wife discovered and she left. you are meeting them now three years after that happened. and the wife and he stayed together and then she dies. charlie: then he ends up at your doorstep question carey: yes on a cold night. charlie: it is a kind of drafty
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apartment? carey: yes, he is living a monastic lifestyle. charlie: is she on the rebound? has she simply found something she can engage question mark carey: i think she has found what she wants to do with her life. initially, probably, it was a reaction to the lifestyle she had with him which was very affluent and privileged in the chelsea world in london and she went the other direction. in that, she found what she wants to do with her life. charlie: charlie: and then he shows up. carey: and questions everything a part of it laboriously for hours. charlie: what are the possibilities for her when he shows up? carey: initially, there is a possibility of them being together. charlie: he spends the night. carey: yes, there is the possibility of a reunion. i think he has always held her at arms length a little bit. as the play develops, you see
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what it is that keeps them and will keep them apart. charlie: it's interesting to me -- i loved him as you know and he knows. i think he is such a wonderful actor and so beguiling the way he is. his personality -- it's kind of the reticence of it all for me. carey: absolutely. charlie: when he comes in the room, she is flat. he is dancing all the time. he's constantly in motion and he will take a chair and move the chair and he will move it back. it's like a choreography. carey: it's like a dance, it feels like that. charlie: did he create that question mark carey: carey: it was a collaboration. the scenes are very -- stephen is a straightforward director and does not mess around. we were running the play by the second afternoon. charlie: for two days? carey: the first morning we read it and in the afternoon and by the second day we did a run through. it was a huge script.
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i do not know my lanes lines but he knew it and had done it before. we started doing it and i think it's a combination of buill and who he is and what's fascinating to watch. charlie: what's fascinating question mark carey: he's like no one i have never met. he is material -- mercurial. there is a point in the play where he hops and leaps. which he did not do in london. he added this leap during his argument. i remember -- it's brilliant -- i do not know any of my lines. and i had to learn to cook this meal in the first scene. i would look up and see bill doing this incredible dance. it was between the two of them that they came up with it. charlie: he's an interesting actor. tell me your sense of him. he is a man who never wanted to do shakespeare. carey:he is loved by other actors
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. carey: he does not believe in the area, fairy school of acting , sort of wishy-washy. when he first met stephen on "skylight" he said i hope we're not going to figure out what our animals are. he was determined we weren't going to do anything fluffy. we will not lie around talking better feelings. charlie: why did she not want to reignite the relationship? carey: because ultimately, i think he broker trust and broke it in a significant way. she had her heart completely broken and would never be able to trust him again. charlie: she found out the fact that when he came the fact that he is broken her trust last time, he still had that in him. carey: he was still capable of
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that but there was no significant change in him. what's so great about the play is there is so much history and nostalgia for what they used to have may still have it but it also means he has not really changed. to a degree, she has not either and cannot come from eyes. it's this and -- and she cannot compromise. charlie: do i remove it is right? he left the chauffeur downstairs and that was the first sign? --carey: he leaves frank the chauffeur. that's the first argument they have is the fact that he is let the driver outside. that really annoys her. that's the first big fight. it's snowing. it's just wrong. that's one of many that escalate. charlie: you have a wonderful speech about equality. it's a great piece of writing but it seems like you are into that. what you call that? that's just a speech?
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. carey: yes, it reminds me of my friend mabel who is eight campaigner for the labour party in london. i can always picture her having this moment. yes, it's a great piece of writing. it's the first time he really see her kind of take them on in a railway in the play. -- in a real way in the play. charlie: the act of doing theater in the west end or new york, is that something you have to do? do you have to keep that close to you and not to all these movies? carey: it's more just where the roles are. this is a great opportunity. i do miss this in a way i don't miss the home if i don't do it for a while. i don't watch a film and want to be in it. if i have not been a play and
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see a great play, i do get that feeling that i can't wait to get back on stage. i have had that little bit but it's mainly that it's brilliant and there were some interesting film roles. . charlie: does the text make it interesting? carey: it's the text on the people. the play is brilliant but to get to do it with bill -- i cannot imagine it. i have always wanted to work with him on stage and to get to do this play with them where it's matthew beard with us who places son but it's me and bill for the duration of the play. charlie: as combatants. . carey: and that's so exciting. charlie: you also have said that when you look at a role, if you cannot bear to see someone else in that role, you would have to have it. carey: yeah, that has been my little policy for the last couple of years. when i did "an education" and i worked in a film called "never let me go" in my agent, we had
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lunch and she said you are in a privileged position now. this will not last forever. it's a transient business. but while it does, you should only take rolls on was you cannot bear the idea of anyone is doing it. charlie: what about the character in "far from the madding crowd?" she's independent and spirited. carey: she is a complete anomaly in a victorian novel. she is unlike any other character. charlie: because of her strength question mark carey: and the fact that she is completely bucking social conventions. she is a mistress of her own property and runs her own land that is not interested in being married. it's all of the things you imagine when you read a great british victorian piece of literature is a girl who is looking for a husband and looking for -- that's where the -- we start where she turns down a proposal of marriage from an
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eligible man. that's not what she is looking for in her life at the beginning. i was so drawn to that. i was drawn to the idea of working with tollis vindeburg. you choose roles because of the director and other actors question mark carey: and the book. i have never read the book. i read for this film. then i read the script. but i don't know if i would have done it without working with thomas. i was not that interested in doing custom dramas. i was nervous about them. because i'm english, it's quite easy for people to think that's what we do. i have been staying away from that kind of victorian drama for a while. the opportunity of working with thomas was too great. charlie: what to do learn from him? carey: a real freedom in that genre. he did not have any real rules.
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his desire to make the story feel relevant, there were no buttoned up rules on how people behave to that time or how people spoke. that does not lead to an a lot of inaccurate sums -- and anachronisms. >> you could be a governess but you are far too wild. >> yes. ms. aberdeen. i brought you a lamb. >> oh. thank you. he is such a dear thing. >> he has come too soon. he will not last the winter so i thought you would like to rear it instead. >> that's very kind, thank you. i will make some tea. >> the lamb is not way i came. >> it's not? >> ms. aberdeen, i wanted to ask
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-- would you like to marry me? i've never asked anyone before. >> no. . i should hope not >> perhaps i -- perhaps i should leave. >> there are things to consider. >> is someone waiting for you question mark >> no, but that does not mean i will marry you. >> good day to you, then. ♪
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♪ charlie: you said it's shocking how real bathsheba is. what is it about her realness? is it the strength question mark is at the toughness, is at the independence question mark carey: i think she feels real to me to a modern-day audience. at the time, the book in the characters were widely criticized because that was so against the grain and how met -- and how women were not meant to be a. -- to behave.
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i think they said the only believable characters in the book were the sheep because they thought this woman could not be real. if you read it now, it's amazing. there are whole passages that dive into her mind in an interesting way. those thought process are very authentic. charlie: how do you translate that to the screen? carey: it's difficult. it's a two-hour adaptation of an epic novel. that's the sort of great challenge of adapting things like that. we started with a good script with david nichols. he felt strongly about the book and i was a real stickler so i brought it on set with me and thomas and i would argue. it was up to me i would have the entire book word for word on the screen. but you cannot do that for an adaptation. carey: you can do that on television. exactly with eight hours. charlie: if you love the bok you hope that gets onto the screen print charlie: what is
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her evolution between each of the suitors question mark carey: they all represent different parts of her life. boldwood is the social norm. that's what people expect from her. if she was going to be -- to do the right thing, she would marry him. he has money and stability. oates's love and companionship and friendship a man with integrity and honesty and then sergeant troy is the dastardly soldier. he's probably the bad boy. charlie: is that the one that she will marry because he is a bad boy question mark carey: she is unconventional and he speaks in an unconventional way. when she meets gabriel oak, he is incredibly inarticulate and bumbling. his proposal is a disaster. that's not very appealing to her. she wants someone to grab her and he doesn't when she meets detroit, he says these things you don't say -- when she meets
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troy he says these things. like you are the most beautiful woman i have seen. and meet me in this forest. charlie: you did not have men say that to you question mark carey: and i fell for it. that was real. that's the problem. that's why she is an authentic character because she makes all the ridiculous mistakes we make. charlie: this is another scene when michael sheen, lord baldwood is trying to convince her to marry him. >> i am offering you shelter. comfort for safe harbor. as my wife. you must at least admire my persistence. >> i do. >> and like me?
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>> yes. >> and respect me? >> yes. very much. >> which is it, like or respect? >> it is difficult for a woman to define her feelings in a language cheaply made by men to express theirs. charlie: then comes sergeanttroy. carey: who says those things but doesn't really mean them. he has left his poor pregnant almost wife somewhere else. charlie: and she is attracted to him? carey: yeah. charlie: but she is strong. carey: it's a great line in the book where she says she fell in love with troy only the way a self-reliant woman can fall in love when she loses her self-reliance. charlie: so she has no -- she
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cannot rely herself. it's just gone. hook line and sinker as they say. carey: until she wakes up and realizes. she has gotten to a point in those times, there is nothing to do but get married. charlie: you said you have to really live this because it will not be there forever. carey:is it because this is only for young women question? carey: there is an age -- charlie: is it 20-40? carey: i think so. maybe mid 20's. there are some actresses who play much older or much younger. charlie: like meryl streep question? carey: there is only certain roles and whatever age you are they're only -- with there will not it be -- there will not be a
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lot of brilliant parts. there is an age restriction. charlie: is there a common denominator to the women you have played? carey: i have been looking to play real people, to try and play -- feel like -- regardless of the size of the role, they feel like they have their own story and it's not just someone else's story that they are three-dimensional, believable women. whether they are good or bad, they are real. charlie: let's look at one last seen. take a look at this. this is talking to sergeant troy. >> what angers you exactly? what i said or the way i said it question mark you must know. there must be some man who tells you you are beautiful. >> not to my face, no. >> but there is summative kisses you. >> i've never been kissed.
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why did you pass by and say nothing? >> do you forgive me? >> i do not. >> why? >> because the things you say -- >> i said you are beautiful. >> i wonder if you fight as well as you speak. >> better. charlie: how lucky read to play nina in seagull? carey: unbelievably lucky spoiled in a way. it was the great stage role for a young actor. charlie: it has everything? carey: it has everything and i felt so much affinity with her and also to get to play with that cast in that director. charlie: who else was in it? carey: christian thomas rt malick.
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also peter sars guard -- charlie: what is great about the role? carey: it's just so -- the whole script is the most beautiful script. it's an incredible study of a young mind and a young actress. it's perfectly -- it perfectly captures the burning desire you have. charlie: to be as good as you can be, do you simply have to live and experience or do you do something else that makes you that her as an actor? that -- that makes you better as an actor? carey: i think living and being in the world -- charlie: there is no skill you need to get other than living question mark carey: you try to engage in the world and not live in a bubble. you go from job to job and all you know is a film set maybe
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you can suffer a little bit. generally, just living. charlie: what are your passions outside of this? carey: mainly, eating at home with my family and i work with two brilliant charities in the u.k.. one is for alzheimer's and one is for children. in the last gap i went to the democratic republic of congo with them and to jordan. it was an incredible experience. it was the first time i have been able to do something with my job to talk about useful things. charlie: did you see the film that won the academy award? carey: yes, brilliant. yeah there is another part of life that is important to keep involved with because it is easy to get stuck in the bubble of the world we are in. charlie: you also are in
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"suffragette." who was in that question mark carey: meryl streep, helena bonham carter. set in 1912 in london and it's about the women's rights movement in london for the vote. it's the story -- it's a fictional story. it's around the militant suffragettes were chaining themselves to buildings and blowing up churches and it all and it's in the death of the character. it's all this stuff. i think i had a very schoolgirl idea of what i suffragette was. it was someone who wore a sash. this is actually what they really went through. charlie: it was a political movement. carey: they were on a hunger strike and went through police
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brutality more imprisoned for years. it's the real struggles they went through. charlie: you mentioned about the time you are cooking in "skylight." here is a scene with you and bill cooking chili. >> is no problem. it's all in the hand. [laughter] >> what? no, really, what are you thinking? >> are you putting the chilean first question mark i usually -- i fry the chili so in infuses the flavor. [laughter] >> uh-huh, i see, i don't do that. i'm doing it the way i prefer. >> eh....
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carey: that noise that he makes brings the house down. charlie: this is when she is explaining her choice of apartment. >> i have to tell you this place is quite reasonable. >> really? >> i get it at a very cheap rate. >> i should hope so. [laughter] >> the fact is you have lost all sense of reality. this place is not special. it's not especially horrible. this is how everyone lives. >> let's be serious. >> this is interesting. it was not until i left your restaurant -- it wasn't till i deserted the milieu. >> you liked that life pretty well. >> i did but it was not until i got out of your limousine and had that warm money and good taste. >> thanks. >> most people live my weight
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which is altogether different. >> of course, >> you have no right to look down on that. >> you are right. >> thank you. >> however, in one thing you are different. in one thing,. you are different from everyone else in this part of town >> how is that question mark >> you have fought so hard to get into it when everyone else wants to get out. carey: it's funny watching it from the audience's perspective. charlie: when you go back tonight and before you go on stage -- other than "suffragette," have you made that? carey: that's done and it's out in october. charlie: what's next? carey: i don't know. i've got to the end of june. and i will see what comes up. charlie: what is that? carey: that is "the seagull." and that is from "suffragette perkoemily wilding davoidsin
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died. charlie: thank you and it's great to see you. carey: thank you. charlie: thank you for joining us, see you next time. ♪
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angie: looking ahead. malaysia airlines says it is bankrupt, but the future starts now. intel to buy all tariff for more than $16 billion. a 12 year low as policies diverge. good day to you. i'm angie lau. coming to you live from bloomberg asia headquarters in hong kong.


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