>> Stephen: NO, BECAUSE DANIEL CRAIG ALMOST TORE MY ARM OFF
LAST TIME.
HEY, EVERYBODY, WE'RE BACK HERE WITH STAR OF STAGE AND SCREEN,
JOSH BROLIN.
YOU COLLABORATED WITH THE "DUNE'S" DIRECTOR OF
PHOTOGRAPHER, GREG FRAZIER, ON THIS SPECIAL BOOK CALLED "THE
ART AND SOUL OF DUNE."
HE TOOK EXTRAORDINARY, CANDID PHOTOGRAPHY-- I'M NOT GOING TO
FLIP THROUGH THE WHOLE THING-- BUT PHOTOGRAPHY OF THE MAKING OF
IT.
YOU WROTE THE TEXT.
>> YEAH.
>> Stephen: AND I-- >> I WROTE THE TEXT.
NO, I DIDN'T.
BUT ALL THESE WERE TAKEN ON FILM.
ALL THESE WERE TAKEN WITH CAMERAS THAT HE HAD FOUND, LIKE,
ALL OVER HUNGARY, LIKE IN FLEA MARKETS AND STUFF LIKE THAT.
I MEAN, REALLY BEAUTIFUL STUFF.
BUT, YEAH, HERE-- JUST READ A FEW WORDS --
>> Stephen: WHY DON'T YOU READ IT.
I LIKE THIS, WOULD YOU READ THIS.
READ THIS, WHAT I HAD THE PAGE OPENED TO.
SEE WHERE THE PAGE IS MARKED?
THAT'S A HINT THAT I WANT YOU TO READ THAT.
READ, THAT YOU SON OF A BITCH, READ THAT RIGHT THERE.
( APPLAUSE )
>> YOU HAVE THIS ALL PLANNED OUT, AND IT'S SO...
SO STUFFY.
A LACERATING LIGHT LANDS ON ( BLEEP ).
SORRY.
( LAUGHTER )
SPOT.
A LACERATING LIGHT LANDS ON MORNING, SHARDS OF ORANGE AND
BLACK SEEM TO BE THE COLORS THAT RAIN AROUND YOU, NOW US.
I REACH OUT KNOWING YOUR HANDS WILL BE ROUGH TO THE TOUCH, BUT
I AM STILL NOW, MIND YOU, SO BE GENTLE IF YOU WOULD.
I'LL BE HERE FOR LONGER THAN YOU MIGHT HAVE INITIALLY HAD ME.
THE DESERT ISN'T AS HARSH AS I BELIEVED IT WOULD BE, BUT IT
DOES, I FIND, OFTEN PRESENT WHAT FEVERED DREAMS MIGHT HAVE SLEPT
AWAY UNNOTICED DURING THE NIGHT, AND SO WE AWAKEN BECAUSE IT IS
MORNING WITH A SLIGHTLY POSSESSED AIR ALIVE AND AROUND
US.
I AM HERE, AND IT IS ALL BEGUN, THIS REACHING AND THIS REACHING
OUT AGAIN."
( CHEERS AND APPLAUSE )
ENOUGH TIME... THIS IS MINE.
THERE ISN'T ENOUGH TIME FORRERING IT MAKES ME THINK OF,
BUT I'LL JUST GO TO THIS-- THIS IS NOT THE FIRST TIME YOU HAVE
DONE POETIC WRITING.
LOOK AT YOU HERE.
HOW OLD ARE YOU IN THIS PHOTOGRAPH?
>> 23.
>> Stephen: YOU'RE 23, AND THIS IS A YOUNG, PONYTAILED JOSH
BROLIN.
AND ALAN GINSBERG IN A WRITING CLASS.
HOW DID THIS COME ABOUT?
>> I THOUGHT I WAS JIM MORRISON.
I THOUGHT MY NAME WAS JIM MORRISON.
>> Stephen: YOU KIND OF LOOK LIKE BILLY JACK HERE.
( LAUGHTER )
LEFT EAR--" >> DO YOU WANT TO EXPLAIN WHO
ALAN GINSBERG IS.
>> Stephen: THEY KNOW-- KNOW-- Y KNOW WHO ALAN GINSBERG IS.
>> ALAN GINSBERG FG IN ROCHESTER, NEW YORK, I WAS DOING
PLAYS, THEATER IN ROCHESTER NEW YORK, I WAS DOING TWO PLAYS,
ROTATING REP, AND A GREAT FRIEND OF MINE, AND I SAID YOU HAVE
TO-- IT'S GINSBERG.
GINSBERG WAS BUDDIES WITH KEROUAC AND YOUR EARLY 20s
THAT ALL YOU READ IS KEROUAC, YOU SMOKE CIGARETTE AFTER
CIGARETTE.
BUT HE DIDN'T LIKE ME.
>> Stephen: GINSBERG DIDN'T LIKE YOU.
>> NO, NO, IN THAT MOMENT WHEN I'M LOOKING AT HIM LONGINGLY
LIKE THIS, AND I THINK HE'S SAYING SOMETHING LIKE, "GO
AWAY."
( LAUGHTER )
IT WAS GINSBERG, AND IT DOESN'T MATTER AND I GOT THE PICTURE.
>> Stephen: I DIDN'T GET THE PICTURE BUT I MET GINSBERG ONCE.
>> TELL ME.
>> Stephen: I WAS-- THE NIGHT I MET MY WIFE.
WE MET AT THIS PARTY AFTER AN EVENT.
SOME PEOPLE HAVE HEARD THIS.
I WON'T TELL THE WHOLE STORY.
AT THE END OF THIS I AM SMITTEN BY THIS ENCHANTING WOMAN I HAD
MET THAT NIGHT AND WE'RE IN THE A PARTY FOLLOWING THE PREMIERE
OF "THE HYDROGEN JUKEBOX."
I'M TALKING TO THIS WONDERFUL WOMAN, AND SHE ASKS ME FOR MY
ADDRESS AND NUMBER.
AND I'M LIKE, "ALL RIGHT!" BUT I DON'T HAVE A PEN, SO I
TURN AROUND AND ASK THE GUY BEHIND ME FOR HIS PEN, AND ALAN
GINSBERG HANDS ME-- >> REALLY, REALLY.
>> Stephen: SO I WROTE MY ADDRESS DOWN, AND GAVE IT TO MY
WIFE.
THAT WAS IT IT.
THAT WAS MY INTRODUCTION TO ALAN GINSBERG.
>> DID YOU SAY I'M STEPHEN COLBERT.
>> Stephen: I SAY THE IN THE FUTURE YOU MIGHT CARE, BUT
UNFORTUNATELY I WILL BE TALKING TO A PERSON YOU DON'T LIKE.
WE HAVE TO TAKE A BREAK, BUT WHEN WE COME BACK, I WILL ASK
JOSH ABOUT HIS AMAZING NEW SHOW "OUTER RANGE."
STICK AROUND.