Burn After Reading Trailer #2

Here’s another trailer for Burn After Reading. You can see George falling down the stairs in this one.

ET: Burn After Reading

Here’s a clip from tonights ET show where they are starting to promote Burn After Reading. It shows a little more reaction between George and Frances.

Burn After Reading Trailer and Caps

Here’s the first look at Burn After Reading that opens September 12th.

I’ve added screencaps as well.

More Caps: LINK

The Charlie Rose Show 04-11-2008

The Charlie Rose Show

An ‘Ocean’ of Candid Clooney – More of Our Exclusive Interview

George Clooney is revealing secrets from this summer’s most anticipated sequel, and only “Extra” is on the set of “Ocean’s 13” with the star! This summer, George, Brad and the conmen crew are out for revenge when new rival Willy Bank, played by Al Pacino, stiffs the clan on a business deal. Joked George, “This is a film about revenge, which I like a lot.” “Extra” was behind the scenes with jokester George, who revealed that co-star Matt Damon is trying to seduce stunner Ellen Barkin in the film! “We use Matt as a sex kitten in this one,” he explained. Also, in a surprise revelation, George opened up about acting with the legendary Al Pacino. “The very first scene I did with him I was very nervous – because it’s Al Pacino!” George admitted. [Video 1 ] More of the “Exclusive” [Video 2] .

The Charlie Rose Show: Video and Part One of the Transcript

You can view George’s Appearance on the The Charlie Rose Show here.  The Transcipt is pretty long so I had to break it up.

George Clooney Talks About His Movies and the World-at-Large

(BEGIN VIDEO CLIP)

GEORGE CLOONEY, ACTOR/DIRECTOR: And I sat down with the people at Warner Brothers and said, well, you are not going to like this, but we think it should be in black and white. Steven really wanted to do it in black and white.

CHARLIE ROSE: Because of the cameras. Because he wanted to go back to what?

GEORGE CLOONEY: He wanted to shoot the film like Michael Curtiz would shoot. He wanted it to be shot — he wanted to be faithful to the style so much so that in a way, it does throw you off at first. When you first see it and the music comes up and the logo comes up and you hear this, thum, thum, thum, kind of music, you feel like, you know, you fell like it`s 1945 and you are seeing the film.

Because of the dialogue, because of the acting style, everything sort of had to be done — you had to play like it was 1945, in order to make the piece work. So everything was — everything that was done had a different sound to it and a different look to it.

It is a very, you know, it`s a real commitment to get to that. You know, acting-wise, it is a very different commitment.

(END VIDEO CLIP)

CHARLIE ROSE: George Clooney for the hour, next.

(COMMERCIAL BREAK)

CHARLIE ROSE: George Clooney is here. He is an actor. He is a director. He is a producer. He is much more. Earlier this year, he won an Oscar for his performance in “Syriana.” His latest film is called “The Good German.” It is his sixth collaboration with director Steven Soderbergh. Here is the trailer for the film.

(BEGIN VIDEOTAPE)

UNIDENTIFIED MALE: Berlin, 1945. The war is over. A military journalist sent to cover the peace is about to become part of the story.

If war is hell, what comes after?

UNIDENTIFIED MALE: An American serviceman turns up dead on the eve of the peace conference? The Russians want it to go away. We want it to go away too.

GEORGE CLOONEY: Whoever wanted him dead had access to the delegations. That means somebody pretty high up.

UNIDENTIFIED MALE: What`s your angle?

GEORGE CLOONEY: Why do I have to have an angle?

UNIDENTIFIED MALE: My driver, a kid name Tully…

GEORGE CLOONEY: The Americans are looking for him and the Russians. Why?

UNIDENTIFIED MALE: Where did you get those bruises on your face? It wasn`t over a girl, was it?

GEORGE CLOONEY: I show up in Berlin, and the driver assigned to me is running around with my old girlfriend?

UNIDENTIFIED MALE: I will get you out of here, you watch.

GEORGE CLOONEY: That`s a coincidence.

UNIDENTIFIED FEMALE: You should never have come back to Berlin.

GEORGE CLOONEY: If I could find you, so can they. What is it you are not telling me?

I would have gotten you out. I still would.

UNIDENTIFIED FEMALE: You can never really get out of Berlin.

UNIDENTIFIED MALE: You`ve seen what one bomb can do to a city. That`s the future. The future of mankind in our hands.

UNIDENTIFIED MALE: She is playing you, Jake, you have no idea what you are dealing with.

GEORGE CLOONEY: Who got to you? I want to know.

UNIDENTIFIED MALE: You find that girl, we`d like to talk to her.

UNIDENTIFIED MALE: Get out now. Go. Before you get hurt.

UNIDENTIFIED MALE: Let`s not forget that we are fighting for peace. And for the welfare of mankind.

(END VIDEOTAPE)

CHARLIE ROSE: For the second time, George Clooney`s “People” magazine sexiest man alive.

I`m pleased to have him right back at this table. Welcome.

GEORGE CLOONEY: Thank you, Charlie.

CHARLIE ROSE: How are you, first of all?

GEORGE CLOONEY: I`m good, I`m very good, how are you?

CHARLIE ROSE: I`m very good too.

GEORGE CLOONEY: Yes, I haven`t seen you since you have been out of the hospital. So I`m glad to see you — you look great.

CHARLIE ROSE: Glad to be back, you know. Much better than the alternative.

GEORGE CLOONEY: Yes, oh.

CHARLIE ROSE: And you are back, though, because I meant that in the same way you meant it to me. You had a little trouble because you did some stunt somewhere that wasn`t good.

GEORGE CLOONEY: It`s getting better. It`s a slow process. I think that what I learned is that it`s not going to get well, you know, with a bang but with a whimper. So it`s just a slow process.

CHARLIE ROSE: You must love black and white.

(CROSSTALK)

GEORGE CLOONEY: Works out better for me. You know, this is one that Steven and I developed for a long time, from Kanon`s book. And our company developed it. And all along, we sort of thought it was going to be one of those — a big epic, you know. And about the same time that I was starting “Good Night and Good Luck,” Steven and I sat down with the people at Warner Brothers and said, well, you are not going to like this, but we think it should be in black and white. Steven really wanted to do it in black and white.

CHARLIE ROSE: Because of the cameras, because he wanted to go back to what?

GEORGE CLOONEY: He wanted to shoot the film like Michael Curtiz would shoot. He wanted it to be shot — he wanted to be faithful to the style, so much so that in a way it will — it does throw you off at first. When you first see it and the music comes up and the logo comes up and you here this thum, thum, thum, kind of music, you know, you feel like it`s 1945 and you are seeing a film.

Because of the dialogue, because of the acting style, everything sort of had to be done — you had to — you had to play like it was 1945 in order to make the piece work. It`s really true.

CHARLIE ROSE: But it was shot with cameras that had fixed lens.

GEORGE CLOONEY: No zooming.

CHARLIE ROSE: No zooming, no — so you had to really get it right.

GEORGE CLOONEY: No — no — no, you know, all boom mikes, you know. So everything was — everything that was done had a different sound to it and a different look to it. It is a very — you know, it is a real commitment to get to that. You know, acting-wise, it is a very different commitment.

CHARLIE ROSE: What`s the story?

GEORGE CLOONEY: It`s — it`s a fictional story inside a — based inside a very true event, which was during the Potsdam conference, sort of the battling in 1945, between — the immediate start of the Cold War, as we were negotiating over borders, and the battle between getting who got the German rocket scientists, who got Von Braun, you know…

CHARLIE ROSE: Truman was there.

GEORGE CLOONEY: Truman was there.

CHARLIE ROSE: Stalin was there.

GEORGE CLOONEY: Stalin was there.

CHARLIE ROSE: Churchill.

GEORGE CLOONEY: Churchill was there and was replaced…

CHARLIE ROSE: By…

GEORGE CLOONEY: … while he was there.

CHARLIE ROSE: While he was there.

GEORGE CLOONEY: Yes. That wasn`t a good time for him. And the whole idea was, the movie is based on the idea of — it`s a murder mystery, but it`s set inside the idea of both the Russians and the Americans trying to steal or coerce or somehow get the German scientists.

CHARLIE ROSE: Take a look at this scene. Before I do, Cate Blanchett.

GEORGE CLOONEY: Yes, she`s something, isn`t she?

CHARLIE ROSE: Oh, yes.

GEORGE CLOONEY: She`s really…

CHARLIE ROSE: But you know more about acting than I do.

GEORGE CLOONEY: Actually, that`s arguable. She is just, you know, she`s just one of those actors that you — you get lucky if you get a chance to work with in your lifetime. She`s just one of the best I`ve ever seen, maybe the best I`ve ever worked with. She is just a great, great actor.

CHARLIE ROSE: You come to Potsdam and you are in love with her.

GEORGE CLOONEY: Yes, I also am in the movie. I come to Potsdam and I`m in love with her. And…

CHARLIE ROSE: And you are a journalist.

GEORGE CLOONEY: Yes, and we had…

CHARLIE ROSE: Jake.

GEORGE CLOONEY: We had had an affair long before. And I run into her at the end of the war now.

CHARLIE ROSE: So we are trying to find out what is going to happen, is the whole thing going to…

GEORGE CLOONEY: Yes, I`m not sure …

CHARLIE ROSE: Set against the background of Potsdam.

GEORGE CLOONEY: Yes, exactly, and it is a love affair. The trick is to take all those old `40s films and turn them on their ear a little bit, so things aren`t ending the way you hope or think.

CHARLIE ROSE: Roll tape, here it is.

(BEGIN VIDEO CLIP)

GEORGE CLOONEY: Hey, Fish (ph), I had to hitch a ride home from the conference. What happened?

UNIDENTIFIED MALE: Well…

GEORGE CLOONEY: I hate to pull rank on you, but you are my driver.

UNIDENTIFIED MALE: I`m off the clock, sir.

GEORGE CLOONEY: Lena?

CATE BLANCHETT, ACTOR: I`m off the clock too.

(END VIDEO CLIP)

CHARLIE ROSE: Also in this movie is Tobey Maguire.

GEORGE CLOONEY: Right.

CHARLIE ROSE: Steve Soderbergh says he is a different Tobey Maguire than anybody has ever seen.

GEORGE CLOONEY: That`s really true. I mean, you know, I don`t know if anybody has ever seen him, because Tobey has been — people sort of — he`s gotten so famous from “Spider-Man” that people forget “Pleasantville,” and they forget what — you know, it`s not that he`s not great in that film, the “Spider-Man” film, but they forget that he`s really a really good actor and been a really good actor a long time.

CHARLIE ROSE: What does he play here?

GEORGE CLOONEY: He`s not the most likable of guys. He is the guy who you go to to get stuff off of the black market with. And he`s running a bit of a scam. And he`s also having an affair with Cate`s character as well. So there`s a little…

CHARLIE ROSE: Competition.

GEORGE CLOONEY: A little competition.

CHARLIE ROSE: But he really, really brings something in this. I mean, I would assume actors would love to do that, play, as you did in “Syriana,” a character who is not what you are typecast as.

GEORGE CLOONEY: I think that that — you know, you spend so much time in your career trying to get to a place where you can make decisions for your own career. Because you know, most actors, and most stars for that matter, don`t get the opportunity to pick what they want to do. There really are — it`s what`s available, it`s what someone sees you as. And you work really hard to get to that place where you get to say, I`m going to do this, or I`m going to develop this and do this. I`m in control of my career. So that when it bombs, as it always does, you can at least say it was my fault.

CHARLIE ROSE: I got nobody to blame.

GEORGE CLOONEY: And that`s an important part of it. So if you can get to that place, and then the first thing you want to do, I think, is you look around, not to protect what you`ve gotten or how you have gotten there, but to sort of expand and try different things. And Tobey does that, I think, a lot as an actor.

CHARLIE ROSE: And you have that too.

GEORGE CLOONEY: I want to. I`m trying to. I`m terrified of protecting something that will go away, you know. You protect a specific image, and it will, you know, that group of — that category that you are in will go away.

CHARLIE ROSE: So you lose everything if all you are interested in is just protecting something.

GEORGE CLOONEY: I think it`s much more interesting and much more — it`s certainly more interesting to me to try to do different things. It`s why I write and why I direct and why I produce, is I want to be involved in other creative aspects of the film industry.

CHARLIE ROSE: But is there a kind of trade-off? If you will do — if you will do a big entertainment film…

GEORGE CLOONEY: There is a trade-off, sure.

CHARLIE ROSE: Like “Ocean`s 13.”

GEORGE CLOONEY: You bet.

CHARLIE ROSE: You do “Good German,” “Good German.”

GEORGE CLOONEY: Oh, we`ve traded. But you know, look, if the “Ocean`s” films are your sellout, than I`m happy. You know, I didn`t have to do “Batman & Robin” to sell out, you know?

CHARLIE ROSE: Not your favorite movie.

GEORGE CLOONEY: No. You know, I can make jokes about it, because now they`ve got a new franchise with it and it`s doing really well. But you know, what you try to do is you try to balance enough that you can — you know, I got paid a buck for “The Good German.” I got paid a buck…

CHARLIE ROSE: You actually got paid $1.

GEORGE CLOONEY: $1. I think I will actually get paid a little bit more, because the SAG union people make you get paid scale, so it`s like $1,500 or something. But — they`re telling me, it`s like it`s (inaudible).

And then — so it doesn`t hurt to do a job every once in a while where you get paid.

CHARLIE ROSE: But let me understand this. He spent $30 million to make this movie. Who got the other $29,999,999?

GEORGE CLOONEY: That is what it costs to make a film.

CHARLIE ROSE: Really?

GEORGE CLOONEY: Sure.

CHARLIE ROSE: And the reason you can make it is because you and others, Cate, were willing to work at scale?

GEORGE CLOONEY: Right. Because first of all, it`s not just that we want to help the film out of our generosity, although we want to get this film made. They are not going to make this movie for $50 million or $60 million or whatever it is…

CHARLIE ROSE: And you understand it because they don`t believe it can get a financial return that will justify it.

GEORGE CLOONEY: That`s right. And this is a film, as you look at it right now, it is going to struggle to get its money back. It`s not designed to be a success.

“Good Night and Good Luck” wasn`t designed to make money. It was designed to…

CHARLIE ROSE: But it did.

GEORGE CLOONEY: It made money, but that`s on the very lucky side. You know, that doesn`t happen very often. Most of the time you do it because you figure well, I`ve — I`ve done enough over here that`s made Warner Brothers or whoever the company is enough money that I have earned the right to try and do some things creatively that I want to try and push. Sometimes those end up making money along the way, and then you are lucky.

CHARLIE ROSE: That is Clint`s deal too, isn`t it?

GEORGE CLOONEY: Well, he is the master of it. He has been the master for years, of it, since “Play Misty for Me,” he has been the master of it. He really is.

CHARLIE ROSE: Something he very much wanted to do, and nobody believed in it but him.

GEORGE CLOONEY: And he`s had — he is one of those guys, you know, his office is right next to mine. So I see him all the time. And he really has set the — he set it exactly the way you want it, your career to go. He has had — he had a lot — he made money. He has had great sort of commercial success. And then he will go to the studio and say, here is the film I`m going to make, here is what it is going to cost, nobody is going to get paid. And at the end of it, if it doesn`t make money, he says, OK, great. And if it makes money, he goes back to the studio and says, all right, maybe you should pay me this for that. He`s a master at sort of handling both.

CHARLIE ROSE: When he went to make “Million Dollar Baby,” they said we don`t — Warner Brothers said we don`t really want to do this, maybe you can go somewhere else. And he said, I really want to do it. And he did it. And then…

GEORGE CLOONEY: And Warner Brothers came on board. The interesting thing is, to get, you know, you go through this all the time with studios, because they don`t — nobody wants to do these. There is nobody out there jumping up and down to say, we`re going to do a black and white, you know, film about the Potsdam conference where nobody really gets a happy ending in it. Nobody is going, oh, great, here`s $30 million, go make it.

CHARLIE ROSE: We just want you to be happy, George.

GEORGE CLOONEY: Yes, just for kicks, they`re giving money.

CHARLIE ROSE: Exactly.

GEORGE CLOONEY: So you know, there is a lot of — I always find that it`s amazing, you know, with “Good Night and Good Luck,” nobody came on board. We raised the money independently. But they came around, and Warner Brothers, for instance, stepped up with us on that one and said, OK, we`re in, at the end, and for that alone, I`m actually surprised. I`m always surprised when people do that.

CHARLIE ROSE: What else do you want to do, taking the position you have now, in terms of the kind of opportunities? I mean, you have these passions that we have seen, whether it has to do with Darfur where you have been and your dad has been and your dad is now really involved in trying to bring the public`s attention to the crisis. But what else do you want to do? What kinds of things, in the wide spectrum of movies, filmmaking?

GEORGE CLOONEY: Well, I have — I really like directing. That is my favorite thing. And I think it is the best thing to do so that you can actually have a career longer than the time period that people want to see you on screen, you know, which fades very quickly. So I — I am directing a film now. I`m in preproduction on — about football in the 1920s, called “Leatherheads.” And it is purposefully …

CHARLIE ROSE: Because all the helmets were leather, or?

GEORGE CLOONEY: Yes. And it`s purposefully a Howard Hawkes/Preston Sturgis real screwball comedy, because after “Good Night and Good Luck” and “Syriana” and all that, every offer to direct was something of political nature. And I was very concerned with becoming sort of the — somebody that you come to to make statements.

CHARLIE ROSE: Exactly right. And — which — you were also doing “K Street” at the same time.

GEORGE CLOONEY: Right. You want to do something where you go, look, I have my own political beliefs and I have things — and I fought very hard to make these because I have those. But I also want to make sure that I can continue to work in the industry not just being the poster boy for…

CHARLIE ROSE: You know, when I do commencement speeches, the first thing I always say to the young people, you make sure you define yourself and others don`t define you.

GEORGE CLOONEY: Right.

CHARLIE ROSE: You know, whatever it has to do with, whether it is gender or color or economic status, or just your own aspiration. Don`t let them say who you are, you tell them who you are.

GEORGE CLOONEY: But the problem is, you can start out by telling them who you are, and then you can get caught in your own sort of funnel cloud that you create. And then suddenly, you just keep repeating that same thing. And that`s the most dangerous thing that there is.

You can have a great success that you came up with on your own, and then people says that`s you. And you go, that`s right, that`s me. And then you are stuck doing that.

CHARLIE ROSE: Yes, but do you have any sense that somebody might say, as they did about John Wayne, he`s playing George Clooney?

GEORGE CLOONEY: Well, it`s probably based on my limitations as an actor. But I — you know, I don`t mind that. There are people that, you know, when you look back at the history of films, there were sort of two kinds of actors you could watch. You could watch Laurence Olivier or you could watch Spencer Tracy. And you always knew Spencer Tracy was going to be Spencer Tracy, and Laurence Olivier could do anything.

I don`t think I have as wide a berth to try and do anything. It is based actually literally based on some of my limitations.

CHARLIE ROSE: You really believe that?

GEORGE CLOONEY: Sure, I do.

CHARLIE ROSE: Even though you have done — you have shown real talent as a filmmaker, even though as an actor, you have done different kinds of things?

GEORGE CLOONEY: Well, I like, for instance…

CHARLIE ROSE: “Syriana” was an Oscar performance.

GEORGE CLOONEY: Well, for instance, it was. I did win one. I paid them all, cash. You know, if I`m in the right thing…

CHARLIE ROSE: And then you went and in your acceptance speech told us how great Hollywood was.

GEORGE CLOONEY: Exactly. Well, you know, if I`m in the right part, I think I can do the job really well.

I truly believe that actors or performances come down to No. 1 a script, and No. 2, a director, period.

I like directing. There are plenty of parts I wouldn`t cast myself in if I was directing the film, that I would look over and say, well, get me Johnny Depp or, you know, get me Clive Owen or give me somebody that I think could do this better than me.

CHARLIE ROSE: You think Clive Owen is great?

GEORGE CLOONEY: I think he is a great actor. I think he`s great. And I think he`s a movie star. He hasn`t, you know, he hasn`t hit all the cylinders yet, but I think he is a movie star. I think Depp is just phenomenal as an actor. Every time you see him, you go I couldn`t have — I watch “Pirates,” I go, I couldn`t have done that.

CHARLIE ROSE: What I love about what he has done, just as a viewer, he went off and did it his way, i.e., he became a movie star in spite of himself.

GEORGE CLOONEY: Right, well, yes, he did.

CHARLIE ROSE: If a movie star means delivering an $800 million film or whatever he did.

GEORGE CLOONEY: Gee, I guess.

It`s a funny thing, because it`s not as reluctant as it seems, always. You know, he — I don`t mean that in a bad way. I mean, you know, you leave a TV show because you want to go do movies. He did “Ed Wood” and really interesting choices as an actor. To counter what everyone thought he was going to do, which was to go do commercial films and sort of sell out.

And so he — it wasn`t a struggle for him, because he was always making a good living. But he became an actor along the way, a film actor as opposed to a movie star. And I — and it finally eventually caught up, financially, for him, in terms of — and I don`t mean personally financially, I mean movies started making a lot of money. His collaboration with Tim Burton I think had a lot to do with it, too.

CHARLIE ROSE: But I mean, he came to “Pirates” — I`m told that he modeled the character…

GEORGE CLOONEY: After Keith Richards.

CHARLIE ROSE: Keith Richards.

GEORGE CLOONEY: Right.

CHARLIE ROSE: I mean, that`s a pretty instinctive kind of risk to take.

GEORGE CLOONEY: It sure is.

CHARLIE ROSE: And for the producer to buy into it, says, you know, good for both of you.

GEORGE CLOONEY: It is, you know. It just means that — those chances sometimes work and sometimes don`t.

CHARLIE ROSE: If they didn`t…

GEORGE CLOONEY: Whoa.

CHARLIE ROSE: He also chose the lifestyle, too, that tended to not be in Los Angeles so much.

GEORGE CLOONEY: Yes, where does he live, in France I think.

CHARLIE ROSE: Yes, I think so. Or London, maybe.

Take a look at this. This is another scene where Jake — played by him — is talking to Lena played by Cate. Here it is.

(BEGIN VIDEO CLIP)

CATE BLANCHETT: What`s going on?

GEORGE CLOONEY: Why didn`t you tell me Emil was with the rocket program?

CATE BLANCHETT: I didn`t think it mattered.

GEORGE CLOONEY: You worked directly under Franz Beckman (ph) and you didn`t think it mattered?

CATE BLANCHETT: Who told you about Beckman?

GEORGE CLOONEY: Mueller.

CATE BLANCHETT: They were graduated from the same polytechnic. That`s why Beckman hired him. Why did you talk to Mueller?

GEORGE CLOONEY: He has Beckman holed up in a safe house on his way to America to make rockets. That`s why they are looking for Emil. They are all going, including the wives. Why didn`t you tell me, Lena?

CATE BLANCHETT: You know what Beckman did.

GEORGE CLOONEY: Everybody knows who he is. He was famous before the war. Now, you can either tell me or you can tell Bernie. He will be here in two minutes.

CATE BLANCHETT: No.

GEORGE CLOONEY: Tell me what was worth so much money? Some sort of rocket secret?

CATE BLANCHETT: No.

GEORGE CLOONEY: Lena.

CATE BLANCHETT: How the rockets were built.

GEORGE CLOONEY: Is that what was in this box? How they were built? Lena, please.

(END VIDEO CLIP)

CHARLIE ROSE: We were just talking about the — these guys who came over, I mean, there is a whole story to be told in book — and you would know more about this than I do — were there books written about those people who the United States needed, it saw the Cold War and these scientists are part of that group, in which they said, come on over, we need you?

GEORGE CLOONEY: We will white-wash your entire record.

CHARLIE ROSE: Exactly right. And we will give you a pass.

GEORGE CLOONEY: There was a documentary that we watched. It was about that. We were basically watching all of the German scientists hiding in bunkers, waiting to surrender to the Americans, because, you know, it wasn`t going to be nearly as fun in the Soviet Union.

CHARLIE ROSE: The Russians had a different idea.

GEORGE CLOONEY: That wasn`t exactly where they wanted to go. And we did, we white-washed quite a few Nazi records along the way, that led to some things like our Apollo program.

CHARLIE ROSE: When you put that on your moral, ethical equation, where do you come down?

GEORGE CLOONEY: I don`t know. I think you would have to battle that out between the idea of is it more dangerous at the time at the beginning of the Cold War to let the Soviets get — build a rocket that could deliver a nuclear bomb to us — is it better to get those guys before they give that information to the Russians?

CHARLIE ROSE: I think that`s a no-brainer.

GEORGE CLOONEY: I think it probably is, but those are those kind of arguments that you could argue forever, like, you know, like do you drop the nuclear bombs, or not. Well, you say, well, does it save a lot of lives? Maybe. But is it morally OK, and you don`t — I think you could argue that.

CHARLIE ROSE: And I mean, that is part of why — that is why every president you see, nuclear weapons have not been used since that time.

GEORGE CLOONEY: Right.

CHARLIE ROSE: You watch it — even George Bush`s hair has turned white, and everybody, Bill Clinton.

GEORGE CLOONEY: All of them. They age a lot in those eight years, four years.

CHARLIE ROSE: If they have.

GEORGE CLOONEY: Yes.

CHARLIE ROSE: Let me take a look — first of all, you and Soderbergh — is this the last collaboration?

GEORGE CLOONEY: We have “Ocean`s 13″ coming out. And then we`re going to do a film in a couple of years together, that we have been working on. We`re still really close friends. We just, as a company, set sort of a five-year time limit for the company, and thought after that we`ll start to feed on ourselves and start to do the same things over and over again.

CHARLIE ROSE: So you are good friends.

GEORGE CLOONEY: Uh-huh.

CHARLIE ROSE: So the collaboration worked for both of you.

GEORGE CLOONEY: Yes, we had a great time. We got to stick our necks out a lot, which is always exciting. You know, we got slapped a few times, but it was still — it was fun.

CHARLIE ROSE: You mean the movies that didn`t do as well as you thought they were going to do.

GEORGE CLOONEY: Yes, they didn`t do as well. I don`t think we thought “Solaris,” for instance, was going to be a giant hit, but creatively we…

CHARLIE ROSE: Didn`t realize you would get beaten up.

GEORGE CLOONEY: We actually — we survived that one pretty well critically, but we didn`t survive it financially at all. And you know, but along the way, we figured, well, we are taking the risk as well. We`re not getting paid either. So we have had a good, fun run, the two of us.

A Jouney to Darfur Jan 15 2007

Thanks to Shelley from Trylon SMR for sending this information to Clooney Project. For more details visit American Life TV online and don’t forget to tune in to American Life TV on Monday January 15 to watch A Journey to Darfur.

O13: Behind the scenes with Extra!

Only “Extra” is taking you behind the scenes of the most anticipated movie of 2007: “Ocean’s 13.”

It’s an “Extra” first as George Clooney, Al Pacino and super-producer Jerry Weintraub sit down with us on their lavish casino set to talk about the all-new, action-packed heist. “Ocean’s 13” marks Clooney and Pacino’s first joint onscreen adventure, and Matt Damon gave our A.J. Calloway the behind-the-scenes dish on Pacino and his Sexiest Man Alive co-star.

“George tries to fall back on his sexiness a little too much,” Matt joked. “Let’s face it; we don’t have many more years of that. I mean, he’s getting a little long in the tooth.”

The other Sexiest Man Alive, Brad Pitt, is in disguise for “Ocean’s 13,” which Brad admitted was “a laugh.”

And what’s a cast exclusive without the newest member of the super star-studded cast, Ellen Barkin, whose jet-setting role has her flush with excitement. “I’m thrilled,” Barkin admitted. In the newest “Ocean’s,” Ellen plays casino owner Al Pacino’s partner in crime.

The million dollar production also has actor Andy Garcia taking another turn as Terry Benedict. “It’s a good movie; it’s funny,” Garcia said. “You know, all the gang is back.”

The gang is back indeed. And now “Extra” is spilling more “Ocean’s 13” secrets! We are the first to show you the Tiffany-designed diamonds that just may be the target of the “Ocean’s” team. Mr. Weintraub also opened up the doors to his ultra-hip private poker lounge he built just for his cast for the very first time. “I wanted to show this to the world through they eyes of ‘Extra,’” the media mogul said. You can bet on “Extra” to break all the “Ocean’s 13” firsts as the most anticipated sequel of 2007 hits theaters this summer! Click to here for Video

Videos

More New Clips from Clooney Network.
George on the Today Show (12.18.06)
George on the Early Show (12.16.06)

Videos: TVGC and The Entertainers

New Videos from Clooney Network

New Video Clips. The special on George Clooney which ran on TVGC this past weekend is available in our video library.

New Video Clips. George’s interview on The Entertainers is now available here.

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