tv Charlie Rose Bloomberg June 10, 2015 6:00pm-7:01pm EDT
>> from our studios in new york, this is "charlie rose." charlie: >> from our studios in new york, this is "charlie rose." history was made at belmont park when american pharaoh won the triple crown. he was the first horse to complete it since 37 years ago. here is the look at the home stretch of saturday's race. >> as they time to the top of the stretch, american pharoah makes his run for glory. they come into the final furlong. frosted is second. american pharoah has a two
length lead. here it is. the 37 year wait is over. american pharoah is the wine. -- is the one! charlie: the victory was victor espinoza's third attempt at the crown. i am pleased to have him for the first time. victor: thank you for having me. charlie: you can't see that enough can you? victor: no. a gave me goosebumps. charlie: what happened when you had an eighth of a mile to go and he seemed to pull away? he had something more, or was it the other horses didn't have as much? victor: no, no. they just have more. i want to take control out of the race as soon as the
gate open. i let it do his own thing for the high-speed that he had. i was waiting for everybody to come close down the lane. he was doing a thing so easy. things can go wrong in a matter of seconds. i don't want to make any mistakes. i waited as long as i can. when i let it go he drops to the ground. you just lay down and he straps to the ground. is the best feeling ever. i don't want to go past the wire. i want to make sure. charlie: you said you knew you were going to win at the first turn. victor: yes. i got control. i knew it was going to happen. it is a long way. i had a feeling. i know we can't do it -- i know
we could do it. when it comes to other sayings things, i have confidence in american pharoah and myself. victor: he wanted to go earlier than you wanted to let him go. yes. wait, wait. charlie: how do you control him? the rains? victor: you have to time it right. if i hold it too much, he may not go. charlie: how do you communicate with your horse? victor: there's not much communication. it is about being attached to one person basically. charlie: you are at one with your horse. victor: yes. we have to think the same. we have to move the same. if i move forward the horses is
going to go forward. if i move sideways the horse is going to go to the other side. whatever direction i move the horse is going to reconnect. charlie: someone who was watching said to me that when you came around the track american pharoah looked keyed up for you to come to the side. what was that? victor: i didn't want him to be close to the other horses. if i get close to the other horses he is going to be competitive and aggressive. i want him to be called and relax. i move them away from the other horses. i went and wait as long as possible. in the end i jogging close to everybody. charlie: the first word out of the announcers mouth, you had a slow start it wasn't a perfect start. what does that mean? victor: american pharoah is such
a powerful horse. he is strong and powerful. it takes him couple of steps to start rolling. as soon as he excel a rates, -- accelerates there are not many that can keep up with him. he was standing perfectly fine. then he, his body pushed back. which was not a bad thing. charlie: moving forward to this year, you were worried if he were -- if he was not in front. he needs to be in front. victor: not necessarily. i always want to try him to be behind the horses but he has a high-speed. nobody can keep up with him. finally some other horses, took
off in front of him, and he said this is my chance. i wrote him behind the horse and then he just blew away. at the kentucky derby i let to worse is go and he won again. at the preakness i decided to do something different. the weather had changed. it was raining so much. i have so much water. i don't want to get muddy anymore. just send me to the front. that was it. charlie: what makes him great is what? how do you say it other than say he is faster than everybody else? what is it that makes a great horse? is it somebody that we don't appreciate because we are not there on top of the horse? charlie: the way he -- victor: the way he takes everything. he is special because he runs
the kentucky derby two weeks after the preakness, and he seems like nothing affects them. he is getting better and stronger. not many horses can do that. then he comes back for the belmont and looks better. but, what is unique about this horse i did not feel like he's going fast. charlie: it is if you like he is going that fast. victor: and yet he is five or six lengths in front of everybody else. it makes other horses look slow. when he runs he barely touched the ground. he is such a powerful horse he just floats like a swimmer. his legs barely touch the ground. charlie: when you are there and he ran the last quarter faster than secretariat. faster than secretariat. victor: amazing.
charlie: who was like 16 links. victor: i was not worried about a time. by the time i could have just let him run for the turn and he could've gone another three or four lengths. charlie: you think so? you did what you felt was necessary to win. but you think if you look back on if you let him go earlier he would have been even further ahead. was there anything about the day that made it the way it was? two horses have days in which they are on and which they are not? victor: for sure. horses are like people. some days you don't feel like running. you don't want to do your work 100%. that day he was ready. charlie: in terms of how do you use -- victor: just encourage them. charlie: to makes sure you
understand. victor: encourage them to go forward. it can be like what is going on? but it is more like talk to him pre-just go forward. charlie: he wears inner plugs? victor: he always has. charlie: he doesn't like the crowd noise? victor: yes. he is more calm and mellow. i don't know what it is. it works. some things you can't even describe how it works but it does for him. charlie: if someone said what is the difference in the fact that this year you won the triple crown and the other two times when you had a chance and you failed, is it a better horse or something else? victor: when a triple crown, it takes a special horse. charlie: the other horses didn't
have it. victor: after the preakness, they are like -- they go down the other direction. california chrome stayed. likehis energy. he lost with little bit. charlie: did you have a game plan for the belmont? victor: yes and no. a lot of the races have a game plan and everything goes wrong. after the break. charlie: after the first battle all the plans go awry. victor: my part was send him out of the gate and open it up one or two lengths. charlie: out of the gate. victor: by the first turn. if i can hit the first turn, i will be the best thing. charlie: were you there? you were ahead by two linkenghts.
at thatvictor: at that point the other horses cannot attack me. if they are in their early they are not going to have nothing left. that was my key in. when i hit the turn the first turn i was so confident from there. charlie: growing up in mexico you didn't really like horses. victor: i was afraid. i was completely afraid. charlie: how do you go from being afraid to a world-class jockey? [laughter] victor: i think for me to just let the fear go away, to survive. basically. we are all here to survive. nothing can work if you're
trying to survive. charlie: has it been for you as a jockey and up-and-down life? victor: yes. mom and dad -- something i didn't want to do it anymore. but i'm always positive and go forward. i never look back. i have a bad day i just go home and go to sleep and start a new day. charlie: i'm asking, is this something you really love, or is this something you do well and get paid well for? do you love it? are you passionate about it? victor: there are moments yes, and moments not.
if you have a horse like american pharoah yes. charlie: why did bob choose you? victor: the last time, when i talked to him, he thought i was the right guy for the horse. charlie: do you what was that about? what are you the right for the horse? victor: he was not nice. he thought i could control him. charlie: how will this change your life? you have done something there a few people have ever done. victor: i know. i didn't even think about it. i never have had plans. i've been here twice and it didn't happen. this time if it happens it happens. i never plan by myself what's going to happen if i win.
i've been so busy i didn't have time to think about it. charlie: jerry bailey said what you have to do to win the belmont is you have to get the pace right which you did. he said you have to know where you are at every moment on the track. victor: you don't want to get lost. that would be a problem. charlie: you have to know how far you are and how far you want to go. victor: every step the horse makes you have to make sure is the right one. charlie: what happens when a horse doesn't have anything left? you feel it slowing down? victor: that's the worst feeling. we attach from our knees to the ankle. charlie: you are feeling the horse. victor: and the horses have such
a big heart. it starts getting tired, the body is not strong. . and the horses have such a bigyou can feel the breathing hard. the heart is close to our ankle and you can feel the heart pumping. really fast. that is the worst feeling when the horses getting tired and the others are going faster. charlie: you donated your winnings to hands of hope, a charity you believe in. victor: yes. i donated the earnings from the belmont to the kids for cancer. charlie: why that charity? victor: i have been there a couple of times. the kids are such a young age
there are things that i can't just explain how those kids are that age and they have that disease. and we worry about i can't when one race. charlie: and they are dealing with terminal illness. victor: it is heartbreaking for me. that is why i do that. hopefully i can help. today i'm one person that can help extend. i do it from my heart. charlie: good for you played a pleasure to meet you. victor: thank you for having me. charlie: back in a moment, stay with us. ♪
he now hosts the late late show on cbs. here is a look at his journey into late-night. james: i'm sure a lot of people are wondering how i ended up here. i include myself. rather than tell you, we thought you would see this. >> craig ferguson has announced he is leaving the late show. >> we need a late-night host. >> who are we going to pick? >> we will do it the way we have always done it. ♪
that was factual. charlie: you have been doing it how long? >> 33 shows. james: how ischarlie: how is it? have the fears been subsided? james: i don't think they have subsided. charlie: you terrify the things you will are you terrify? james: there is a strange thing making a show like that from a job i've already had before. when you are making a show every day you can feel in preproduction you are in a team one of the team. there's a world of people that put the show on per you don't feel the pressure that much. very slowly people just say good luck out there. have a good one. you just find yourself on your
own. behind the curtain. we were a team but now it is just sitting here. that is what i have found the hardest. i am thrilled and overjoyed the way the people have responded. charlie: when churchill assumed the prime minister shep he said everything i have done has prepared me for this moment. did you have any churchill since in you? james: i shouldn't compare. charlie: think of what you have done with your life so far. james: i do feel like everything i have done in my career whether it be television shows i've written at home or the things i've acted in, or doing a play like one man, to governors i'm really thrilled we have managed to do so many other
things singing, dancing, sketches and that has been the most thrilling discovery of it. the fact that that has been the stuff people have responded to. charlie: do you have a feeling you are changing the genre? james: no. i don't think so. [laughter] i think all shows influence another. charlie: david letterman had done skits from the beginning. james: there is a sort of thing now people say it is not like it used to be. now people are just chasing viral heads. i sort of think particularly in the last few weeks watching letterman's greatest hits over the last couple of weeks, there were bits where he worked in a drive-through or a toggle bell
those things would have been huge on youtube. stupid pet tricks. youtube should send letterman some money. he almost invented it. that is what is happening now. it is an interesting interview jay leno showed me, seven years after johnny carson had taken over and someone wrote in the newspaper wen's mr. carr coming back to save the tonight show all johnny carson does is skits and bits. mr. parr used to do proper interviews. our show is influenced by jimmy fallon. jimmy fallon is introduced by alan. -- ellen. all of those things start to
influence you. charlie: but it feels comfortable at least? james: i feel a lot more comfortable now in the manner that people in the manner that i am overwhelmed with the way people have responded. charlie: it is the idea that you didn't step on a banana why did they ever think he could do this? they are saying isn't this interesting what he is doing? james: i'm overwhelmed by that really. i'm incredibly relieved and grateful. charlie: could this happen in prime time, or is it -- jay leno try to do it. james: i don't know. i'm not sure. charlie: late-night has a feeling of freeness. james: and there's a feeling of
being the end of someone's day. i feel like the change, not that i know anything about the history of late-night i feel the change in late-night is a more positive outlook, it's just a reflection of what is happening in the world. charlie: you have seen the immediacy of news 24 hours a day. and you have seen it all. it is not just you saw on a 30 minute newscast pretty of cnet all day and online. james: you may just want someone to say before you go to bed it is going to be all right. [laughter] charlie: i put them to bed too. it either makes you laugh or it gives you a chance to ease drop
on something. getting to know you and a real way rather than a performance way. james: and the small changes we have made in our show bringing our guests out at the same time. in terms of a atmosphere. we would talk about the show saying we are on after a talk show. there is talk show on before hours. what should we do? what is the show that is before us? where would you go after the theater? you would go to a bar a comedy club, somewhere more intimate. you would talk with other people. let's met make the set feel more intimate, like an organic conversation. we didn't know how people would respond to that. people are gob smacked we were
putting our couch the other way. that is the freedom you feel when you have not grown up here. charlie: are you fearless? james: no. i'm not fearless by any stretch. i'm often full of terror. charlie: terror in being willing to take risks? you seem to be. james: i don't know. i think in all of these things you have to google in being willing earth yourself and realize that it doesn't really matter. what's the worst thing that can happen? you look a full. so what? -- you look a fool. so what? i will do anything for a laugh is the truth. charlie: how long has that been with you? i will do anything for a laugh?
or the idea of making people laugh been a source of satisfaction or ambition? >> a lot of it comes from school. i had a good and positive school experience. i went through a normal comprehensive school in the u.k. . there was a lot of children in it per year per class. if you look like me, big like me anything is different. i never got targeted that much because i realized quickly hang on, if i just do something silly and make these guys laugh, then i will deflect deflect. there is power in that. what you realizes that if you can say something quickly and make a bully feel on his own, bullies go we will stay away from him and then chased
the kid over there. you are verily -- that is where it came from i think. charlie: our most of the skits carefully scripted out or are they in a general way, or are you just going in there saying i know how to make fun. if it is about delivering pizzas i know how to do that. james: you wanted to feel organic. our eighth episode we did a show in somebody's house. we got a permit to film on a street. we didn't know which house we were going to knock on. we didn't know which house we were going to knock on. we thought let's just do it and go for it. we knocked on one door and they said no. the third door we knocked on
they said, on in. we shot up -- we shot the show in someone's house. beck was going to play. we going to play hide and seek at some point. charlie: that's what you do. james: those things make me feel -- those things that i saw on david letterman show, i find absolutely inspiring. his interaction with people getting on the street and doing stuff, and being a citizen of the world. we do a thing on our show
about him, he is so genuinely loves being in america. james: genuinely it is a thrill to even come to america. it really is. to live here with my family, at the age that they are, my son is four years old and my daughter is seven months old. i feel lucky to have had the experience living in new york twice. to be able to, if only for a fraction of time.
charlie: ian scrager and arne sorenson are here. together they are bringing in a new brand of luxury with edition hotels. there is a new book that brings us the life of ian scrager " ian scrager works." i'm pleased to have him at this table tree in your wildest imagination you could not imagine a partnership with marriott 10 years ago. guest: that's true.
charlie: what changed? guest: his company has changed. it is doing new things. i wanted to do something on a much larger scale than i have had to date. guest: and for you, what was in this? guest: we needed his expertise and his permission. customer information. we watched the space he invented in 1984 and thought this is an itchy -- niche. this is the kind of hotel business that captures peoples imagination and they are inspired by. we need to get into this space. who better to go to then the fellow who invented it? charlie: don't get me someone like ian: get me ian scrager.
arne sorenson and we needed customers to know if we could be successful in this space. if we opened exactly the same box. let's just say for the sake of discussion would we have the same response from the market. ian gives us permission to be in this space. charlie: when they are asking for ian: what is it they are asking for? ian: trying to give people an alternative. unlike anything else available in the marketplace. when you boil down to it that is a and a nutshell. something unique something distinct some thing that separates itself from everything
else and gives a unique elevated experience. has yourcharlie: has your ambition changed? ian: i'm still as hungry as i have ever been. charlie: for what? ian: to keep outdoing myself, to keep breaking new ground, to show people there is new territory and roles to break. charlie: you will see some of the and this book. your life is a remarkable but full of photographs and design ideas, and a sense of place. where does this come from? what has shaped you to have this role so that the huge marrying corporation knows they need your permission to go into that space? ian: when you think outside of
the box you see things other people can't see. when you present them to other people your presenting something that they are not used to seeing. if you're lucky enough to have it resonate with them you have a huge hit. that is something that i have been very fortunate to be involved with. charlie: it may extend beyond addition. you have a person that has a different view of the business, that has made marriott what it is. arne: ian has bigger influence in our company. already. he brings -- where does this come from? there is a piece of en which is a rebel and a perfectionist. both are critically important. the rebel in him said i want to do a hotel that is different
than marriott. i'm going to start from scratch pretty perfectionism is something that is sympathetic with who we are. it has got to be perfect. it is not just an idea that is different. it has to be executed all the way through. same attitude as steve jobs. charlie: where is luxury today? what is the new thing? the new approach? ian: it is completely different. things change. clothes, cars, kitchen appliances. it's a different world. luxury has to respond to a different set of criteria. we are no longer concerned with the traditional trimmings of luxury. why gloves, sterling silver. people don't care about that. they care about simplistic being made to feel good.
and every turn there is quality. i think that luxury doesn't their relationship on what something costs. that there is a relationship to how special it makes you feel and whether or not you feel you are in the special place which is hard to define. you try to capture it in a bottle. charlie: you walk in the new edition hotel. you can't be any better than this. that is an iconic landmark. arne: one of the reasons we were attracted to the building immediately it becomes one of the most iconic. charlie: other than money, what do you bring to the table. capital is a better way of saying it. arne: ian may disagree, but i think we bring a decades long
experience in service and genuine welcome. much of the experience our observations of the boutique space, broadly defined, they may create an interesting product but you may have an awful experience. you may have been treated as if are you cool and to be in the hotel? people didn't find that a complete experience. if we can harness our wagon to ian: around the stage and of the hotel the physical staging and the relationship to that to the city and then basically bring to it real expertise around service and training so people feel not only special but they feel welcome, and then go upstairs and sleep like a baby. his quiet.
charlie: the interesting thing for me, having known him for a long time, he makes you think that he has thought about this. he has put in together something that may be desperate in terms of when you perceive it individually but when it comes together it is a unique thing. ian: it resonates them. that is what we are trying to accomplish. charlie: any hiccups in this adventure? arne: we have a great recession our biggest pickup. we launched in 2007. we had a dozen hotels around the world. all but two of them died when the recession hit. charlie: all but two. ian: we ended up having to rebuild it -- arne: we ended up having to
reboot the entire relationship. it was an office building empty for a number of years. we bought up the building in london and miami. we developed on the balance sheet to get the brand relaunch. charlie: to get the edition brand? arne: to get it going again. with these three hotels open they love the brands. they love london miami, they want one of those. charlie: i want to be there. arne: i want to hire marriott to manage the hotel and create the hotel, i want to be part of this thing. charlie: we can all think that we could do this but it is different and much more difficult to execute.
you can have the idea but execution separates the good from the wannabes. ian: of course, and you have to be relentless about that. that is the operative word. being a perfectionist can be like a curse. you can never get to the point where you are 100% happy. without the execution, for many of us it is irrelevant. you have to be able to turn it into something, something people understand. you can't be too challenging. it has to work and be one plus one makes three. it has to be alchemy. charlie: you said i am a producer, a coach, a mother, a father. ian: trying to get the best out of the team of people, trying to get them to do their best work.
when the high tide comes in all the boats rise. all these creative people are trying to create something special and unique that hasn't been done before. charlie: other than a addition -- edition, where is the hotel business going? arne: it is going global, more towards experience, and less about transaction. we are seeing around the world hundreds of millions of people with the resources to travel. china alone has gone from one million outbound international trips to 100 million a year and 7-8 years. that is one country. their goal is to go to 500 million outbound. you see that being replicated in india and sub-saharan africa.
all these people want to travel. they want to go to the places they read about forever. that is a great city like new york, the united states paris london. we will see that huge tailwind that will help the business globally. the second is along the lines of edition. people want deeper experiences. let me remember where i slept last night. let me have a memory of it literally. let me have a meal i can instagram. technology has changed. there is a lot underway with the way we communicate. we sell $10 million a year on marriott.com. -- $10 billion a year on marriott.com. that is transformative but maybe less deeply interesting in some respects. that is the way you book a room
as opposed to calling a travel agent. charlie: doesn't it make the experience more efficient? and provides information for the consumer. arne: the more interesting pieces or how do we allow you when you are in one of her hotels to communicate with us with the devise you would like to communicate with? usually that is somebody's cell phone. it is not the phone on your bedside table. it is still there. it'll be interesting to see whether it is there five years from now. there always be a reason to have them for security reasons. this is one of my pet peeves. technology is so caught with katie you can't figure out how to work it. charlie: ian: i don't believe in the ipad mini. everybody travels with their own technology. i think that is not the answer
to doing something technologically sophisticated. i would love for there not to be a phone in the room, to be an intercom. it is a loss leader. but that is something we're looking at now. charlie: in terms of an experience, what makes the experience. you want to sleep well, you want to -- but beyond that you want to be where you notice the quality of things, the art on the wall and the lobbying is whatever. ian: everybody knows when they are in a special place. arne: and they know when they are in a place that is not special. ian: it doesn't matter about your level of education, in the objective criteria. it is a visceral thing and we all know it. when steve jobs had the imac
computers everybody thought it was a niche market. what he was doing has become the future of technology industry. i think elevated experiences is the future of the hotel industry. charlie: elevated experience. ian: something special, something unique. you choose a hotel because it is a fun place to stay, not merely because your travel agent put you there or because of the price point. that is a size seismic shift. that is something that arne recognized. charlie: this is to promote the idea, this is one of the rooms. it gives me some indication of what is going on.
here is another room. what you want me to see here? ian: a guestroom done in a sophisticated way, decorated by a like a home. all looking the same but perhaps in a different color. very distinct. it stands out. charlie: you say the same thing? this is? arne: miami. our next one is in china. charlie: you are unusual in that in the marriott corporation you're not a son. you're a lawyer. arne: performed. charlie: this is the book. you will see pictures of the 1970's, which was an interesting part of your life all the way