>>> IT'S THE NEW HBO SERIES THAT'S ALREADY GOT PEOPLE
TALKING. IT'S CALLED "THE DEUCE."
IT'S SET "NEW YORK TIMES" SQUARE IN THE '70s WHEN PORNOGRAPHY AND
PROSTITUTION WENT FROM BACK ALLEY COMMODITY TO AN
INSTITUTION. >> HE PLAYS TWIN BROTHERS
FRANKIE MART NO, ONE A BARTENDER AND LIFE IN BROOKLYN, THE OTHER
IN THE MOB WITH PILING DEBTS. >> JAMES FRANCO, GOOD TO SEE
YOU. >> THANKS.
>> THIS SHOW, I'M OLD ENOUGH TO REMEMBER NEW YORK IN THOSE DAYS.
I WENT TO HIGH SCHOOL NOT TOO FAR FROM THERE.
WHAT'S IT LIKE CREATING THIS THING?
IT REALLY WAS SPOT ON. >> OBVIOUSLY WE'RE TALKING LIKE
WE CAN'T GO DOWN TO 42nd STREET AND SHOOT THERE NOW.
IT'S JUST A COMPLETELY DIFFERENT PLACE.
MAYBE YOU CAN TELL US. YOU LOOK AT THOSE OLD SCORSESE
MOVIES, TAXI DRIVER AND STUFF, HE'LL GO DOWN 42nd STREET AN
IT'S LIKE MARQUISE AFTER MARQUEE.
WE HAD TO SHOOT UP TOWN. IT WAS INCREDIBLE HOW THEY MADE
EVERYTHING OVER. YOU TELL ME.
I'VE BEEN TOLD -- >> I'M LIKE HOW DID THEY
RECREATE THIS? I THOUGHT MAYBE YOU BUILT IT ON
A BACK LOT, IT WAS SO ACCURATE. >> ONE OF THE NICE THING ABOUT
NEW YORK, IF YOU FIND PLACES THERE ARE STILL OLD LOCATIONS
AND CAN YOU STILL GET THAT FLAVOR.
THAT'S THE THING. I DIRECTED TWO EPISODES OF THE
SEASON. AND I'M WATCHING ALL THESE OLD
SCORSESE MOVIES, AND THEN I'M JUST GETTING SO FRUSTRATED
BECAUSE I'M REALIZING, HE BACK IN THE DAY COULD JUST PUT THE
CAMERA ANYWHERE AND IT'S '70s. HERE WE HAVE TO DO SO MUCH WORK
JUST TO MAKE EVERY FRAME LOOK CORRECT.
>> I'M CURIOUS ABOUT DIRECTING. I HAVE A QUICK QUESTION.
WHEN YOU DO A TAKE AND YOU'RE DIRECTING AND YOU'RE THE ACTOR
IN THE SCENE, DO YOU BACK AND TALK TO YOUR DP OR DO VIDEO
REVIEW TO SEE HOW YOU LIKED IT? >> THAT'S A WHOLE CONVERSATION.
THERE IS A LOT OF ACTORS THAT DIRECT THEMSELVES.
BUT THIS IS THAT TIMES TWO BECAUSE I PLAY TWINS.
SO THEN IT WAS LIKE, IT COULD BE THE ULTIMATE LIKE MIND WHATEVER.
SO LIKE I TALKED TO BRYAN CRANSTON ABOUT IT A LOT, WHERE
HE DIRECTED SOME OF THE "BREAKING BAD" EPISODES.
AS A DIRECTOR YOU GO IN, YOU KIND OF WORK EVERYTHING OUT.
YOU KNOW WHAT YOU WANT OUT OF EACH SCENE, RIGHT?
YOU WORK THAT ALL OUT. YOU TALK TO YOUR
CINEMATOGRAPHER. BY THE TIME YOU STEP ON AS AN
ACTOR YOU KNOW WHAT YOU WANT OF THE SCENE.
AS AN ACTOR IT'S AN EXTENSION OF THAT.
ACTUALLY IF YOU HAVE THE RIGHT PEOPLE AROUND YOU, IT'S NOT THAT
HARD. YOU CAN LEAN -- THE DANGER
EVERYONE THINKS ABOUT IS, OH, HE'S JUST GOING TO SPEND ALL OF
HIS TIME ON HIS SELF. ULTIMATE EGO STROKE.
>> YOU'RE PLAYING TWO GUYS. >> I FAVOR ONE MORE THAN THE
OTHER. >> BACK IN THE OLD DAYS, THERE
WAS THE LINE THEY COULDN'T CROSS BECAUSE IT WAS THE SAME ACTOR
PLAYING IT. HERE YOU GUYS ARE CROSSING IT.
>> YEAH. THAT'S THE OLD -- THAT'S THE OLD
STYLE. YOU'D KEEP THE CAMERA LOCKED
OFF, DO ONE. CHANGE THE MAKEUP, COME AND DO
THE OTHER ONE. AND WE DO ACTUALLY DO SOME OF
THAT. WE ARE ON -- IT'S HBO BUT YOU
STILL ARE ON A BUDGET. SO WHEN YOU'RE DOING THAT AS A
DIRECTOR, PART OF THAT IS LIKE, OKAY, AM I GOING FOR THE FULL
GREEN SCREEN? THAT'S GOING TO COST ME A
CERTAIN AMOUNT OF MONEY. THAT MEANS I GET FEWER PERIOD
CARS IN THIS SCENE. THAT'S ACTUALLY ONE OF THE
DANCES YOU DO AS A DIRECTOR. YEAH.
THEY HAVE ALL THE TECHNIQUES NOW.
I COULD MAKE OUT WITH MYSELF. I COULD DO ANYTHING.
>> YOU WENT THERE, JAMES. >> DO YOU REALLY WANT TO?
>> MICHAEL FASSBENDER, I DIDN'T GO THERE ON THIS ONE.
>> LAST TIME I SAW YOU, YOU HAD THE MOUSTACHE FOR THIS ROLE, I
THINK. >> YEAH.
>> WE'VE ACTUALLY GOT YOU GUYS WITH MUSTACHES.
WE HAVE A NICE LITTLE MOCK-UP HERE.
>> THIS WAS ACTUALLY JUST OUT OF HIGH SCHOOL.
THIS WAS WHEN I WAS IN COLLEGE. >> I NEED THAT PHOTO FOR A
REFERENCE BETWEEN THE TWO. >> OH, YEAH.
OH, MY GOD. >> LOOKS LIKE A CATERPILLAR.
>> YOU LOOK OLDER. >> LOOKS LIKE A CATERPILLAR.
>> YOU LOOK KIND OF LIKE WILLIAM
MACY'S BROTHER. >> PLEASE, TURN THAT OFF.
>> IF YOU HAD A MUSTACHE, THAT'S A WHOLE OTHER