tv Charlie Rose PBS May 9, 2013 12:00pm-1:01pm PDT
>> rose: welcome to the program. tonight the great broadway performer nathan lane now starring on broadway in the nance. >> live, you have to be there. that's why you don't want to look at a video. you have to be, you got to be there in the room. when that happens, when, whether it is laughter or whether it is a kind of silence that you can only hear in the theatre. that is filled with either emotion or a kind of a gasp that you can only hear in the theatre, a large group of people sounding like one. and i mean that's what keeps bringing me back is that, to have that experience. because when it happens, it's
electrifying, there's nothing like it as an actor to tell that story from the beginning to the end. and to take them on that kind of journey where they don't even know we're going there. and you can feel it. and sometimes they don't want to go. sometimes it's like helping a little old lady across the street who doesn't want to go. that's all i ever wanted really was to be in the theatre. the theatre, this is where it's at. if you want to be an actor. i mean there are great great film actors and i admire them enormously. i love the movies and i love being in them occasionally but there's nothing to me that doing for example going to chicago and working with bob falls and bryan deny me on the ice man cometh was for me in my life and career was a life changing experience. >> we conclude this evening with daniel rose, one of the great chefs in paris. his restaurant is called spring. >> i have an incredibly privileged position to have a
job that, a full time job that i enjoy and a place to cook and to continue to learn to cook and interact with other cooks and customers that can be nourished for a very very very long time. so i look at spring restaurant today and whennen think about what it was three years ago, how much progress we've made, how much more interesting it is today. i wonder, i think that it's more of an internal process than an expansion process. the idea, what excites me about having a restaurant in france and why i stayed in france was this opportunity to be nourished by all these new things i was learning, whether it was language oraclure. so the idea of opening a restaurant somewhere else is to go somewhere, where you can have the same sort of project, discover a new culture, a new cuisine, a new language, and
captioning sponsored by rose communications from our studios in new york city, this is charlie rose. >> nathan lane is here, he's one of theatre's greatest gift, just ask all of his friends. he's a two-time tony award winner. he stars in a story of a gay burlesque performing, he was nominated for a tony once again for his performance. i'm very pleased to have him here back in our house, welcome. >> thank you, nice to be back. always a pleasure. >> rose: we started to talk about then ed brantly who said one of god's rare major gifts to broadway in the last several decades, one of the best comic marks in the theatre, a king of musical comedy, a classic broadway baby, master of the one
liner with top spin. holy cow, lordy lordy. >> well, that's, well, that's very nice. >> rose: what's he talking about, what performance. >> i think that's a composite review of several things i might have done over the years. but it's all nice to hear. i was saying for the first time in maybe ever i've not read anything that's been written about the nance because it was such a happy collaboration and a play that it's been about three years in development. i just couldn't bear the thought of someone possibly dismissing it in a paragraph. and so i avoided it all and it's been very freeing and fortunately it's very nice because word has come back that it's been pretty positive. >> rose: i'm going to raid the review right now. >> no. you always know anyway because people, if you don't get any
calls or e-mails, you know how it went. or there will be that one call from a friend saying oh screw the "new york times." but you find out whether you want to or not. but anyway i'm very grateful because it's a play i'm so proud of and loved so much. >> rose: i would have thought that about the producers as well because you and matthew broderick loved each other. >> we still do. after all these years. we still do. he's remained a close friend. >> rose: you say one of the funny people you know. >> oh my god is he funny. >> rose: his impression of marlon brando here. >> it's a pretty good, dead on impression. he worked with him. on the freshman. so he had access. he is one of the funny just people i know. i mean he's screamingly funny although it's very quiet and
dead pan but yes of course that was a bounding experiences. that was a once in a lifetime thing. i wish that for everyone. everyone should have that once in their lives where a show we thought it could do well but it could go the other way too. >> rose: it's fun to do it. you liked people. >> and great material. that great great comic plot and those great iconic characters. so it was a privilege and to work with mel who his american masters program is coming may 20th. so it's a great thing to have been a part of. >> rose: i had an interview. >> we were, we spoke lovingly about mel. >> rose: so talk about the play in a minute. but what's the elements of a great collaboration? a you like each other, b you like the material, is it beyond
that. >> yes. i think in a musical, a great collaboration is it all seems to be coming even though it's a large group of people, it does seem to be coming from one mind or one voistles is all speaking. you're all on the same as they say the same page. it happens with guys and dolls. it all seems to come from one person. it's just a perfect musical, piece of musical theatre. it's that thing you can't put your finger on. it is a kind of chemistry and also a little bit of luck. the gods looking favorably on you. i don't know what it is. it happens rarely where it all works. on this play, it felt that way. >> rose: you couldn't want to have a better theatre career than you've had. >> well, that's very nice. >> rose: do you wish the movie career had been more fully
developed? >> well, sure. well sure. but that would be sort of negating the rest of your career which is like a dream. it's all i ever really wanted to be in the theatre. the theatre, this is where it's at if you want to be an actor. there are great great film actors and i admire them enormously. i love the movies and i love being in them occasionally there's nothing for me going to chicago and burking on the ice mong cometh for me and my life and career with a life changing experience. people have actually commented on it and i sort of, i don't want to think about it too much but i know that there is a truth to it that something happened to me in chicago doing that play.
because it's so monumental and it's interesting, it's like going home in a sense because i'm irish catholic because i loved that play since i was a kid. it was always in my mind to do it. then when you're suddenly standing there and you realize you're the one who talked everyone into doing this and here's this huge company of actors and you're about, you're facing mt. everest, it's terrifying and you think why didn't i do harvey. this was what i really wanted deep in my soul. because what o'neill asks you to do is so extraordinary. i remember reading an interview with colleen dohurts, i red it and thought in one paragraph he wants me to have a nervous break down and get over it and talk about this. it's impossible, who can do that. well she could. she did and then you find out
it's not nationalistic and he's asking you to go off and jump off this cliff with him into the darkest parts of the human soul. and mind and emotions and things that you and i found open things in me. and you know to have gone through it with somebody like bryan who has done so much and those kind of plays and who blaze himself very successfully. it was extremely emotional and the best thing i could have done for myself. >> rose: what did it open up in you? >> well, look, i've been acting for 37 years. it's not like i haven't felt i haven't given my all. very often i haven't been asked to tap into things that are there that i always felt were there. i got to use a little bit of
some of those parts of myself like john robin bates or simon gray. but o'neal as jason row barred says he demands your very best at all times. there's a terrifying assignment. if you do, if you give it to him, it will work. that's from another documentary, i believe the american experience. >> rose: oh yes. >> an incredible documentary about o'neill and jason was interviewing it. you know, he's the gold standard and he was looking very frail at the time. when he talked about those plays it was so emotional. it was as if he was talking to me in way. don't be afraid how far, he was
saying don't mesh yourself against other performances. you give what you have and if you give it all, it will work. and i took that to heart for sure. >> rose: and i will affect you for the rest of your life. >> it has. i think it's the best preparation for the play we're doing now. when we worked on this play jack o'brien, great great director, we waited for years together and it was certainly well worth the wait. and doug, not unlike myself, is somebody who we all love for his great wit and his facility with that and has written these wondfully witty and wonderful plays like little dog and as bees and honey drown. but was wanting to go further and go deeper for himself as a writer and with this play. coming to it after having done iceman, we all wanted it to be
doug i feel can be a people pleaser. he wants to please the audience and yet we were talking about doing a more unforgiving play, a play that makes people, and it does, uncomfortable. it's not a feel good evening, it's very sad end is. >> rose: because of the life of -- >> yes. and the end of, it's about the end of an era, a piece of history i knew very little about. the end of burlesque and a certain kind of comedy. and also yes where this character winds up and what he, that he channeled out himself. >> rose: he was gay playing the character where most of the time they've been played by non-gay characters. >> would i straights. heterosexual. a nance which would be a
derrogatory term for flamboyant homosexual. like many other characters being satirized. this is a minor character, a nance would be what we consider a stereotype of a flamboyant lisping gay man. >> rose: then you have a love affair. ned comes in. >> i wrote her a letter to say how come. >> wowsy. you mean this isn't a queen with a bored straight man. oh dear me. we are saw shing right into the lads who attend opera. >> i don't know what that means. >> nothing. just there is an order to my
life right now. >> that's the whole, the heart and soul of the play is the relationship. that happens by tent. it's surprising because he picks up this young man thinking that he's straight. and them it turns out that he's not and he needs a place to stay and he senses something in him and just wants to help him and then it eventually develops into a real relationship by today's standards you would think this is a healthy thing. he genuinely loves each other. >> rose: he says there's an order in my life that you threaten. >> yes. well it's one generation talking to the next. in one point he says i'm put together differently of another
time i guess. and because of other circumstances in the play when his career is threatened and a belief system, he's a republican and a conservative which in 1937 it's different than today. nevertheless. and he's very much a support he of laguardia who is a man bringing down burlesque but his belief system is pulled out from under him. his livelihood as well is threatened and coming to an end. then he starts to act out and he never pictured having that kind over relationship with anyone. and i also think there's self loathing. he cannot accept this sort of unconditional love that he's getting and he only knows one thing and he wants to hang on to that. everyone is moving forward and he's not. >> rose: look at your own life. you have said i think in interviews before you are of a
different generation too in terms of the public understanding being gay yofnld same sex marriage and how the public accepts it versus how it was. you are the older generation. >> yes. i remember, look i can remember going on to be interviewed with oprah with robin williams when the bird cage was coming out. and you know i'm trying to make this decision of do i want to discuss my own homosexuality. i sort of was fighting, i want this to be about my acting and not about a coming out story and yet now i sort of regret that i didn't just say when i remember her saying to me you're really good with all that girlly stuff. something along those lines and i was thinking yes, okay.
and then robin who is a very protective and loving towards me kind of jumped in and moved the conversation elsewhere. i wish i had just talked about it. but i was, i sort of didn't know, you know, i think i was trying to protect my acting career. and this was the first time i had a major role in a major movie. and i thought you know, it's not like i was hiding by any means. everyone knew i was gay but i just thought i don't want it to be all about that but i think that was a mistake and something i regret. >> rose: any reason not to come out now from a career standpoint. if anybody measures it that way. >> you know sure from a business standpoint. i don't think there's any reason not to come out but i think if you were if ryan gosling was gay
i would say keep it to yourself for a while. he's an extraordinary actor i think sort of the best. no one like that has come along who is gay or that at least admitted to that. but that's, i think that's a really difficult thing if you're in that position and you were gay to do it. it would be great -- it's a great thing. >> rose: it's extraordinary this is 2013. an nba player finally comes out. >> yes. and you know -- >> rose: we did great stories on him. >> yes. you know, and it's great and hopefully will lead to more people. i mean he's very, he's intelligent and a great spokesperson and he's done it with great dignity and class.
but it's terrifying and everybody has to go through, you have to allow people to go through their own, finds their own way through that. it gnlt do any good to stand over them with a rucial s aying -- ruler saying come out, come on out that's the healthy thing to do. well you don't know what it's taken for them to get where they are and why they're doing it. that's not the answer but it's wonderful when it does happen. >> rose: when you told your mother you were gay, what did she say. >> oh dear old norlene. he's taken such a beating over the story. >> rose: don't repeat it. >> i will repeat it. i was 21 and i was going to move new york. i was even seeing someone. that was a miracle in itself. i had been actually dating someone. i led her to believe it was a girl. i said to her i know you think it's a girl but i've actually been seeing a guy. and she was sitting on the couch and i mean, you know, she turned paled. and she was this little irish
catholic lady from jersey city new jersey and she said to me do you mean you're a homosexual. and i said yes, i guess so. and she famously said to me i would rather you were dead. which well it makes me laugh. it makes other people cringe in horror but it made me laugh because first of all she wasn't some character, she wasn't, you know, i mean she was i knew she was just devastated. and yet, she never, she didn't really mean that. >> rose: of course not. >> she was really upset. >> rose: what did you say. >> i said well i said i knew you'd understand. once i got her head out of the oven things went swimmingly. i would say now let me tell like my two brothers and i said don't tell anybody.
all right. by the following day she had told them both. so i had those conversations. you sure you're not going through a phrase. i'm still going through it. i'm still going through that phase. >> rose: you've been in a pretty long relationship. >> yes, i have. i'm very lucky, and i met you know a wonderful person who has put up with me for 15 years. god bless him. and it's, but it's taken a lot of work and he's shown me the way. >> rose: what did you draw on in playing this. >> well, i understood who this guy was but there's a kind of, there's a protective shell. even his name. he's made that up. that's not his real name chauncey. >> rose: it was probably jim or something. >> i created a real, a very
vivid back story to answer a lot of those questions about him. when you see him in the auto matt. >> rose: you created a back story in your own mind. >> yes. >> rose: you didn't know how he would react. >> well i think chauncy has had, i think the reason -- why did he become a republican. i think everything in his life was hard won. nothing was handed to him ever which is why he keeps calling roosevelt a socialist. the way they call obama a socialist. everyone, you know i think he was thrown out of the house when he was a kid. i think he was a boy prostitute i think he had a dress in women's clothing which is why he hates drag. he has to perform in drag at one point in the play. he didn't like that. >> rose: because he had to wear a costume. >> i think one of the reason why he's attracted to straight men. i think he was in love once in his life with another boy prostitute and he saw him murdered. beaten brutally by a policeman.
and he had to deny knowing him and he never got over that and he's never, he's never been in love since until this moment happens with this young man. there are many things along the way. there was an old tomorrow, a comedy team, two gay men who used to perform as irish chamber maids. they would come out like an early version of downton abby. i imagine him being taken under their wing, you know. and after he sort of left being a prostitute, and then training him and him becoming a performer and so by the time he's gotten where he is, he's created a very successful little line for himself, especially in 1937. so you see this very refined dignified gentleman who speaks in a very specific way. he says things like i dare say.
i dare say. the finest dish here at the auto matt is the tomato soup. he's very guarded. he's very witty. he's very bright. you get to know him instantly because the first thing he says to this kid is there are three things you should know about me. the most important things in his life are i love politic, i'm crazy about politics, i'm republican and conservative. i love show business, i love everything about it and i love sex with men and i like to find out where they're having it and where i can go and get some. those are the three things. politics second. >> rose: yes. >> i could relate to all of that. but he actually states it. and you know sometimes people, they're a little surprised that the turn that the play has such a dark turn and i said you know in the very first scene he turns
to him and he says you can just, he said to the young man or he's telling him, you can come with me or you can just walk away and never look at my ugly face again he says. and it's like you think first of all this is not going to end well. that's where we're starting but i think that tells you a lot who he is. >> rose: and also his fares. >> it's like carter bean's writing. the first scene in this play is as good as anything i've ever red. it tells you so much and allows you to enter this world, another time, 1937. and just the way people interact with one another without saying a word for the first five minutes. it's great. and you know and jack o'brien is, you know the best. >> rose: we have one of those scenes. >> you do? i'm not going to look. i can't. >> rose: don't.
all right. roll tape. >> where are you staying while you're in town. >> riverside drive they call it. >> wow riverside drive and here we are in greenwich village. so many auto mattes to be found in between. one would almost assume you heard of this particular automat. and appearing at this particular automat at this particular time in the evening. maybe you're a -- we live in such arresting times as they say. >> i don't know what you're talking about. for future references there are only three things i'm talking about. there were four but it has to go by barbara stan week as stella
dallas. one is politics and i'm absolutely mad for politics. i like mine republican and conservative. say something nice about roosevelt and prepare to have your eyes scratched out. two is the show business. love it all, legit movies, radio. even dare i say burlesque. and third my dear heart, can you guess what the third might be? >> i don't know. we're in new york. yankees? [laughter] >> and somehow no. no, the third thing i'm interested in is finding the places in whatever city i am currently in where the boys meet the boys. of which this automat is one. >> rose: you couldn't watch it. >> i can't. >> rose: because? is it the version of what you see because it's not meant to be seen this way.
>> it's all of that. you know, i just, it's sort of jack o'brien the great jack o'brien would say i don't want to intrude on my little bubble of creativity. i don't want to become self conscious about any of it. >> rose: all right. i'm going to read you this. this is from charles of the "new york times" about you and your career. nathan lane like all great stage performers is best saverred live. you have to be in the room with him, even a very big room. like the broadway palaces he now mostly plays to feel the tickle of his genius. when mr. lane is at his de here is best riding waves of audience laughter with the instinctive grace of a pro server, there's no other place i would like to be in. >> that's very nice to say.
it's great i'm very touched by that. that article i remember because it was during the adam's family which wasn't a great time for reviews in those days. but it was very meanful and it was kinds of border on eulogy. it was talking about me as i guess an entertainer. you know. and i think it was. in a way it was sort of like okay, now i've had, this is sort of the end of a certain period of my life. and literally it sort of led me to say now i have too, i'm going to go to chicago. i'm going to do something for me. i need to step away from broadway and it's great. i mean look, you couldn't ask
for more. and yet i know that there's more inside of me. and that i wanted to tap into. and so it was sort of, you know, it was a lovely way to say good-bye, thank you all. and now i have to explore this side of myself. >> rose: and the exploration continues. >> yes. that's really in this play, and you know we are going, it is, it's a coming. the iceman won't come here. we're going to do it in about a year. we're going to all get back together. >> rose: here's what i thought when i read that. this describes, yes very nice about you. but really about fear. that's what i heard. that's what we ought to hear is all of that, theatre at its best. >> it's live. but you have to be there. that's why you don't want to look at a video. you know. you have to be, you got to be
there in the room. and when that happens, when, whether it is laughter or whether it is a kind of silence that you can only hear in the theatre that is filled with either emotion or a kind of gasp that you can only hear in the theatre. a large group of people sounding like one. and i mean that's why, that's what keeps bringing me back is that, to have that experience. because when it happens, it's electrifying. there's nothing like that as an actor to tell that story from the beginning to the end. and to take them on that kind of journey where they don't even know we're going there. and you could feel it, you know. and sometimes they don't want to go. sometimes it's like helping a little old lady across the street who doesn't want to go.
>> rose: okay. >> and then, but then you know, but the reaction to this play has been extraordinary. i've never talked to so many people and received so many e-mails about how it has emotionally touched people. and disturbed them. and they weren't expecting it to. and that's the best kind of surprise in the theatre. >> rose: well done to you and the writers and everybody else. >> thank you, thank you. >> rose: the nance is at the theatre through august 11th. the play's run was scheduled tond on june 15th but was extended just a few days ago. mr. lane was nominated for a tony for best actor. the nance was nominated for five tonies. nathan lane a remarkable performer, thank you. >> thank you very much. i appreciate that. thank you. >> rose: back in a moment, stay with us. julia child once said in francis cooking is a serious art form and a national sport. yet it is a young american chef
chicago born daniel rose who has quickly emerged as the most exciting innovators on the french culinary scene. he opened a restaurant sprieng in paris with a much long wait for reservation. they have called spring such a designation that diners tend to set in rapt silence. welcome daniel rose. >> hello brother. nice to see you. >> rose: nice to see you again. i have eaten there once. steven spielberg was having dinner that night. this is the place to be. >> apparently. i'm always there. >> rose: you can always see you. there you are in the middle of the room cooking. >> more important than that is i can always see everyone else which was the idea of the open kitchen. less comfortable with everyone looking at me like oblivion looking at everybody else.
>> rose: so you can determine what? >> whether or not this is, whether or not this is -- >> rose: working. >> yes. >> rose: good experience. >> sometimes it's about food, sometimes it's about people enjoying each other's company. sometimes it's about people having business meetings or catching up or i mean everything from birthdays to mourning to all sorts of things happen in a restaurant. and we need that energy to do what we do. >> rose: cooking is the most creative thing you've ever done? >> it requires a certain amount of creativity but i wonder if now managing the team that helps me cook isn't more creative. >> rose: really. >> yes. >> rose: how so? >> well, when i was cooking, in the original spring i was the only employee. i was the cook i was answering the telephone. it was quite crazy. the only person i had to manage was myself. and i was in front of the blank pages so to speak every night. and i would create a new menu.
and now i have to be more creative because i have to figure out ways to keep my team engaged to keep the customer engaged to keep myself not engaged but to keep, to define exactly what it is my role now that it's not just me making dinner. >> rose: why paris? of course somebody that knows me would say why not paris. >> well, i think as a cook, i ended up in paris by student. sometime the story was daniel rose from chicago moved to paris to open a restaurant. but the reality was i moved to paris to finish university. i finished university. >> rose: what university. >> the american university of paris where i studied art history and philosophy and spent a lot of time eating in restaurants. and then i thought, i will go to cooking school because i really want to stay in france. i'm going to have to go to school. but i don't really want to study anything so i'll go to cooking school. and i went to cooking school and when i was -- >> rose: had never cooked
before. >> i had cooked some things before and maybe a fewer people out there have eaten those things. and memorable they were. i think once i went to the market with a girlfriend who was visiting while i was a student at the american universities we went to the market and i brought tomorrow -- tomatoes and onion and started looking at something my mom made once and she put a pitch of sugar and vinegar and i tasted it and it was like wow i made ketchup. it wasn't very good. >> rose: that was for your own pleasure and growth as a human being. >> yes, and it gives you a certain vision of the world. when you become attuned to certain details and you see certain nuances of ways of studying things and ways of
seeing things. so it's important but i think that i needed something less cerebral and more active. so i went to neal. >> rose: that's a good place to go. >> it's like if you're a priest you go to rome. i mean as a jewish kid from chicago it would have been highly unlikely i would become a priest but if i had i would have become the chief of protocol for the pope. >> rose: really. that would be the place. >> that would be the place. >> rose: so leon is where the high priest. >> the pope was there. so i got as close as i could. >> rose: how is he. >> he's great. he's great. >> rose: and you learned. >> and i learned. >> rose: what did you learn. >> i learned about the tradition. i learned about the hierarchy. i learned about, i learned about the enormous reverence that there is for french cuisine.
and that's something that has a sort of an american it's hard to understand. i mean, we're introduced to it but it's not part of our, we like to be provocative sometimes. and to, i don't know, to be among, to be in front of this great classic curriculum and to figure out why it is that a simple creme brulee. i learned many things. i learned to bake bread and ale things a cook does. but being in school you begin to learn because being a cook never really ends. you just keep doing it. >> rose: are you at the restaurant on saturday and sundays. >> i'm at the restaurant on tuesday through saturday night. >> rose: what happens on sunday and monday? >> what happens on sunday and
monday? oh. it depends what's broken. i become a bit of a plumber. i do everything from the plumbing to the accounting. these days i spend my time, i carve out more time for my family. i have a one year old daughter. and my wife who is also a cook. so i try to be spend as much time as i can with them. but a restaurant is a living breathing untameable creature. and a buys owe -- >> rose: living breathing untameable creature. >> i've got one of those and i've just learned to put the leash on it. >> rose: how do you do that. >> you have to be very careful. you have to be very organized and you have to be, you have to surround yourself with people that can help you do it properly. i think that's the biggest thing that's happened. i went from having a restaurant with one employee. myself, to having 16.
>> rose: same restaurant, same building. >> different restaurant. we moved from a small 16 seat location in paris to an empty skateboard shop in the first required two years of building. >> rose: how long have you been there. >> this has been three years. >> rose: yes. okay. so you say you have the dream of every frenchman. opening a small restaurant. >> i think so, yes. and apparently lots of people dream of having a restaurant. i think the french dream of a certain entrepreneurial liberty that they see in what i'm able to do. and the americans especially young cooks i think sometimes i'm really surprised that they have a very, they often think that it's, this is the miracle job. i mean this is where you go to make everything about cooking. the grass is never -- >> rose: you just soak up
life. >> usually i work all day. >> rose: you're in the city and it's culture and you're up in your place and everybody wants to see you and you're the darling of the creative community. you're getting receive. >> that is a great reputation. it's my reputation were currency i would be very rich. >> rose: see my theory about you is totally wrong because i said to myself when i realized you were from chicago i said here's a young guy from chicago whose fallen in love with a young french woman who is beautiful and sunny and she was probably exciting in chicago and they fell in love and she was going back to france. as soon as he got there he fell in love and decided to cook so he started cooking. they got married and the two of them had this restaurant and it was all their dream was to build a great restaurant.
and they had a stunningly beautiful child. >> that's real. there are a lot of elements in there. that's the beautifulness of it. i fell in love with france. i do have a restaurant that i love and i'm glad other people seem to love. and i do have a beautiful daughter. so -- >> rose: you couldn't be happier. >> i couldn't be happier, yes. >> rose: do you need anything? >> do i need anything? >> rose: more time. >> i was just going to say a little more time. i think that sometimes people congratulate me on my success which is very generous. but then i have this bleak moment where i wonder what in the world it means to be successful. because you know i'm in the third year of a business that's operating that had difficulty starting up that has, you know, operational issues like every entrepreneurial adventure venture. and so i guess i'm very lucky in
that. if it's a restaurant it's daily and keep moving. >> rose: how much of it is food. >> it's all food. it is all food. and then the sunday and monday when it's closed is the rest of the time when you can -- here i am in new york city which is very rare. and it's in these few days i can step back and see what's really happening. that happens once every few years. so the rest of the time it really is all food. and it really is, it really is making sure everything is in place for the customer who is spending their time and their hard earned money. now i have a new appreciation for the way people spend money because i see how difficult it is to make it. when people decide to spend it on something like a restaurant, i think it's unbelievable. i mean it really is, it's quite
an honor in some ways. not in some ways in every way >> rose: when you say it's all food it's fresh ingreed yuntsz obviously. >> yes. >> rose: some of it local. >> the philosophy of food that i have is about trying to make the most delicious thing i can. and it turns out that the most delicious things i can find are those that come from nearby. that aren't cumbersome to transport and don't have a huge carbon footprint and all this kind of stuff. in france the products are very beautiful. >> rose: after you get past it is the food, how much of it is within that context is the cooking? >> in france we're lucky. the food is beautiful. when the fish comes in it's like the ocean. >> rose: the bread smells like it just came out of the
oven. >> it is. and that feeling that excitement you get when you open that case in the morning and they're still, the word in french is red. they're still stiff because they've just been caught not so long ago. you need to do everything you cannot to get in the way of that energy or whatever it is that makes it to the table that people interpret as delicious. >> rose: now did you ever do the thing you told me you were going to do. do you know what i'm talking about. >> yes, of course. i'm still waiting for you to show up with a phony drivers license that says your name is daniel rose. for the daniel rose dinner. >> rose: yes, the daniel rose dinner. all the daniel rose were invited. >> i have a list of 12 daniel roses. i know a daniel rose who works for a big bank in germany, another daniel rose in new york city.
woody allen was danny rose once in the movie. yes, absolutely. there's charlie rose who is kind of an honorary daniel rose. at least the other daniel rose of new york has confirmed that he would like you to be an honorary. >> rose: when are we doing this. >> the 21st of march, 2014. >> rose: 14. >> the first day of spring. >> rose: i missed the last one. >> so did i. i kept thinking it was november or something when we spoke about this and i said we've got enough time. and then what i don't have is enough time. >> rose: me either but i'll be there march 23rd, 2014. with papers. [laughter] so you dream of proving you could do it in france, doing it in france, making spring everything that it is. and then one day you'll come back and you'll come to new york and you'll do it in new york.
>> that hasn't yet become part of the dream. >> rose: what's the part of the dream. >> we're still -- >> rose: what is the dream now. >> that is a good question. i think it's, i think it's this ... i have an incredibly privileged position to have a job that, a full time job that i enjoy. and a place to cook and to continue to learn to cook and interact with other cooks and customers that can be nourished for a is he very long time. when i look back three years ago how much progress we've made how much more interesting it is today. i wonder, i think that it's more how far an internal process than an expansion process. the idea, what excites me about having a restaurant in france and why i stayed in france was this opportunity to be nourished by all these new things i was learning, whether it was
language or culture. the idea of opening a restaurant somewhere else is to go somewhere where you can have the same sort of project discover a new culture, new cuisine and new language and create a restaurant that has a kind of pertinence. what would be a great restaurant in new york city. i don't know. >> rose: didn't you sense there was something different. >> i spent eight years before i opened a restaurant thinking about that thing. so it happened long before i started to cook. when i owned the first spring in 2006. there weren't any, there were a few of the greats that had separated off from the big restaurants -- to open his own
restaurant. but these are already well-established cook. but nobody opened a small tiny little restaurant where we used exactly, i used exactly the same techniques i learned at the and the same supplier that i used at the hotel maurice. with no service and in some cases no heat. i mean, it was quite, it was a very nostalgic. i have a great great memory of this place. but in the winter, it was impossible. people were freezing. in fact, the reason why i moved restaurants was because one day somebody said i'd like a coffee. and i was busy answering the telephone and cooking at the same time. and they realized that it just wasn't going to be possible for me to stop what i was doing to make a coffee. i said what kind of a dumb restaurant is this where the guy sitting here wants a coffee and can't have one. it's not like he asked me to
make a banana split, he just wanted a coffee which is part of a normal restaurant experience. >> rose: point to a table and say go make your own. >> there's no greater pleasure than being able to give people exactly what they ask for. it's so clear. >> rose: so what's the rest of the dream? i mean, what is the living dream? >> i think it's, there was a lot of anxiety in the process of creating these menus and changing all the time. i think that there's, i dream of a moment where there's, where there's no more stage fright every night before the dinner. >> rose: you have stage fright. >> every day. >> rose: are you serious. >> yes. >> rose: stage fright. >> stage fright. >> rose: stage fright is frightened you can't remember your lines, scared of the fact that somehow, you know. >> well, we try -- >> rose: what is there for a cook that somehow your mind goes blank and you don't know what to
cook, you don't know what to add or how much or you go to reach for something and you don't remember what you're reaching for or you don't recognize what's good when you see it. >> i think about, yes, something like that. i mean it's like we think about when you're sitting at a table and somebody brings, puts a plate in front of you, there's a certain clarity that can happen. and you look at the food and you see the food and you start to eat the food before you even touch it. and you want to make sure that that's happening because those, when that happens, it opens up the rest of the evening for other things, for falling in love, for having a conversation, for enjoying a restaurant for feeling alive which is why we go, when we go to a restaurant we like. i suppose some people go to restaurants because they, you know, they have grumpy waiters because they like to be punished. that's a different dynamic. >> rose: you go for food but you also go to a place that makes you feel alive and happy
to see you. >> yes. these are all things that make us feel alive. >> rose: to really do everything they can to make this an extraordinary experience. >> i think it's about having feeling alive, being very present. and when there's a beautiful dish of food in front of you something that's identifiable. and then it's delicious. it's a powerful moment. >> rose: all right. quickly is what are you doing in new york. >> in new york, i'm here for the new york culinary he is perience at the icc. >> rose: are you speaking to them. >> i gave a cooking class for the first time. >> rose: do you really. >> yes. we learned how to saver champagne which apparently i've become a specialist at. >> rose: is that right. >> yes. >> rose: is that hard. >> one in 20 model is explodes in my hand. >> rose: when you arrived in paris you spoke french. >> when i arrived in paris i spoke no french and every time i spoke it it was with intense anxiety.
>> rose: today. >> today they sometimes ask what part of france i'm from. i tell them i'm from brittany. or they say oh you're italian, you have a sweet italian accent. >> rose: do they ask you that, what part of france are you from. >> yes. >> rose: here's my deal. i sent to new york someone a dan rose who wants to come to new york. you recognize in him or her everything that you are. and so we'll open a restaurant here and we'll be happy the rest of our life. >> that would be wonderful. i might be able to be convinced. >> rose: thanks for coming. >> thank you. pleasure being here. >> rose: i look for to it. >> thank you. >> rose: thank you for joining us. see you next time. captioning sponsored by rose communications captioned by media access group at wgbh access.wgbh.org
>> the following kqed production was produced in high definition. [ ♪music ] >> yes, check, please! people! >> it's all about licking your plate. >> the food is just fabulous. >> i should be in psychoanalysis for the amount of money i spend in restaurants. >> i had a horrible experience. >> i don't even think we were at the same restaurant. >> leslie: and everybody, i'm sure, saved room for those desserts.
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