MY GUEST TONIGHT FIRST APPEARED IN "THE CHERRY ORCHARD "AT
LINCOLN THEATER WHEN HE WAS 12 YEARS OLD.
PLEASE WELCOME, DIANE LANE!
>> THANK YOU!
O FUN.
THANK YOU FOR THAT.
>> Stephen: SO, AT 12 YEARS OLD, YOU WERE IN THE "THE CHERRY
ORCHARD."
>> THAT'S TRUE.
>> Stephen: I UNDERSTAND WITH MERYL STREEP.
>> YES!
SHE HADN'T EVEN MADE A FILM YET.
WELL, THAT'S NOT TRUE.
WE GOT TO SEE HER DEBUT WHILE WE WERE WORKING TOGETHER.
IT WAS A SMALL ROLE WITH JANE FONDA IN "JULIA."
I THINK JANE SLAPPED HER IN THE BAR, AND EVERYBODY WONDERED,
"WHO WAS THAT BLOND?" AND A CAREER WAS BORN.
>> Stephen: AT AGE 12 DID YOU SAY TO YOURSELF, YEAH, SHE'S
PRETTY GOOD?" >> SHE WAS STANDING IN THE RING
WATCHING IRENEY WORTH, AND MERRILL WAS PLAYING THE MAID,
AND IT WAS JUST AN AMAZING TIME.
SHE LET ME PLAY IN HER MAKEUP BAG.
SHE WAS A VERY SWEET, KIND, ACTRESS TO ME, A LITTLE KID,
PUNK KID.
>> Stephen: SO IF YOU'RE AT LINCOLN CENTER AT AGE 12, WHEN
ARE YOU STARTING?
HOW OLD ARE YOU WHEN YOU ARE DOING YOUR FIRST PLAYS?
>> I WAS SIX.
I HAD NO FRONT TEETH, BUT I STILL GOT THE JOB.
I PLAYED MADDIA'S CHILD.
>> Stephen: MADDIA KILLS HER CHILDREN.
SPOIL ALERT, SHE KILLS HER CHILDREN TO GET BACK AT JASON.
>> YES.
>> Stephen: SO DID YOU HAVE TO BE DEAD ON STAGE?
>> YES!
AND I HAD TO DO IT VERY BELIEVABLY, BECAUSE PEOPLE ARE
LOOKING TO SEE IF YOUR CHEST RISES AND FALLS ONCE YOU'RE
DEAD.
>> Stephen: HIGHWAY DID YOU DO THAT?
>> YOU KNOW THIS STORY.
>> Stephen: NO!
>> OH, MY GOSH.
IT'S PRETTY EMBARRASSING AND I'M MAKE THE SHORT VERSION.
BUT I PEED MYSELF.
I MEAN, IT'S BEEN IN "TIME "MAGAZINE.
THE STORY IS PRETTY OLD.
>> Stephen: I MISSED THAT ISSUE.
>> GOOD FOR YOU.
IT WAS A 1979 ISSUE.
I GO WAY BACK.
I'M GOING TO COME OUT IN MY WALKER NEXT TYPE.
>> Stephen: YOU'RE SIX YEARS OLD AND YOU JUST COULDN'T HOLD
IT ANYMORE?
>> PRETTY MUCH.
NOBODY TOLD ME ABOUT GOING TO THE BATHROOM BEFORE THE SHOW.
I LEARNED EVERYTHING THE HARD WAY.
( LAUGHTER ).
>> Stephen: AND YOU WENT BACK THE NEXT NIGHT, THOUGH?
>> THEY LET ME BACK.
IVE THE ONLY ONE THAT KNEW THE GREEK WORD.
THEY COULDN'T RECAST.
>> Stephen: YOU DID IT IN GREEK?
>> YES.
THE URIP DISEASE TEXT.
( SPEAKING GREEK ) I DON'T KNOW WHAT I JUST SAID.
I THINK IT WAS "PLEASE DON'T KILL ME, MOMMY."
>> Stephen: WORK THAT WAS.
I DON'T KNOW WHAT IT WAS, BUT YOU SEEMED REALLY PASSIONATE.
>> IT'S BRAND IN MY BRAIN.
>> Stephen: AS SOON AS YOU GOT INTO THE GREEK?
>> DO YOU SPEAK ANY LANGUAGES?
( SPEAKING FRENCH."
>> CAMAH BEAR.
>> Stephen: COISSANT.
>> Stephen: WHO KNOWS.
NOW, YOU'RE IN "THE CHERRY ORCHARD" AGAIN ON BROADWAY AT
THE AMERICAN AIRLINES THEATRE.
>> I'M ON BROADWAY!
( CHEERS AND APPLAUSE ) >> Stephen: COME ON!
YOU WERE AT LINCOLN CENTER WHEN YOU WERE 12.
THIS IS OLD HAT FOR YOU.
>> BUT FOUR TONY WINNERS ASSOCIATED WITH THIS PRODUCTION.
I'M SURROUNDED BY SUCH TALENT AND SUCH GRACE.
I'M SO DELIGHTED TO BE AMONG THE PEOPLE.
I'M THE POSTER GIRL, YES, IT'S TRUE.
I'M PINCHING MYSELF.
I REALLY AM.
I'M KIND OF NERVOUS.
WE'RE IN PREVIEWS.
>> Stephen: YOU'RE IN PREVIEWS RIGHT NOW.
IT'S GOING TO BE FINE.
>> WHAT HAPPENS SUREHEARSE IN THE DAY, YOU CHANGE IT A LITTLE,
AND THEN YOU TEST IT OUT IN FRONT OF 750 PEOPLE THAT NIGHT
AND SEE HOW IT GOES.
THEY DON'T LIKE IT, CHANGE IT AGAIN.
>> Stephen: ANOTHER ONE TOMORROW.
IT'S LIKE KLEENEX IN A BOX.
IT DOESN'T MATTER.
THERE'S ALWAYS ANOTHER ONE.
>> IT'S A MARATHON.
>> Stephen: CHEKHOV WROTE THIS IN 1904, I THINK.
WHAT DOES CHEKHOV SAY TO US NOW?
HOW CAN WE POSSIBLY IN OUR MODERN LIVES RELATE TO A MAN
WRITING ABOUT A FADING ARISTOCRACY TRYING TO CLING TO
THEIR WEALTH WHILE A PROLETEARATE IS TRYING TO RISE
UP IN REVOLUTION.
WHAT COULD WE POSSIBLY-- >> THE 1%?
>> Stephen: HOW COULD WE RELATE TO THE 1% AND THEIR
COUNTRY ESTATES?
>> I AGREE.
THE QUESTION ANSWERS ITSELF.
>> Stephen: WHAT DOES CHEKHOV HAVE TO SAY TO US NOW?
>> WELL, IT'S HISTORY REPEATING ITSELF ENDLESSLY, AND WE ALWAYS
SEEM TO BE OPEN TO LEARNING AND RELEARNING FROM ACTUALLY THE
TRUTH THAT IS IN OUR PARENT I DON'T KNOW-- AND THANK GOD FOR
YOUR ART EVERY NIGHT WHERE WE GET A LOT OF TRUTH, STEPHEN.
THANK YOU FOR THAT.
>> Stephen: THAT'S VERY NICE OF YOU TO SAY.
>> NO, IT'S TRUE.
>> Stephen: YOU KNOW, WOOY TRY DITCH THINGS.
IF IT DOESN'T WORK WE TRY IT AGAIN ANOTHER NIGHT.
I NEVER BLAME THE WRITERS.
>> YOU GIVE THEM THE CREDIT.
>> Stephen: NOT THAT, EITHER.
IT'S ALL ME, BABY.
IT'S ALL ME.
>> THAT'S WHAT I SAY.
>> Stephen: YOU JUST IMPROVISE IT EVERY NIGHT.
>> YEAH, I MADE IT UP.
>> Stephen: YOU'RE REHEARSING THE "THE CHERRY ORCHARD" AT THE
SAME TIME YOU'RE SHOOTING "JUSTICE LEAGUE" RIGHT?
>> YEAH, THAT HAPPENED.
>> Stephen: DID YOU EVER CROSS OVER AND--
>> YES!
>> Stephen: CALL CLARK KENT ONE OF THE PROLETEARATE OR
PEASANT.
HOW DO YOU PLAY MARTHA KENT DURING THE DAY AND GO BACK TO
YOUR TRAILER AND GET READY FOR THE "THE CHERRY ORCHARD"?
>> IT WAS ALMOST A CLICHE OF AN ACTOR PREPARES-- NOT, IN
PARENTHESES.
BECAUSE I'M IN MY TRAILER IN LONDON.
I HAD JUST LEFT REHEARSALS, HAD TO GO RIGHT BACK TO REHEARSALS.
SO I'M JET LAGGED AND MY BRAIN IS DESPERATELY TRYING ON LEARN
CHEKHOV.
>> Stephen: THE THE REHEARSALS FOR?
>> REHEARSALS FOR THE PLAY.
SHOWING UP IN LONDON TO BE MARTHA KENT AGAIN AND REUNITED
WITH ALL MY BELOVEDS ON THAT FILM.
AND, YOU KNOW, A SMALL GIG.
AAH!
NERVOUS ABOUT THAT, TOO.
WANT TO DO IT WELL.
NO HEREVERSAL ON TAJUST SHOW UP.
>> Stephen: REAL, NO REHEARSAL ON THAT FILM?
>> NOT ENOUGH FOR ME.
I COULD HAVE DONE WITH A LITTLE MORE IN HINDSIGHT.
NOW THAT WE'VE DONE IT CAN I GO BACK AND DOG DO IT AGAIN--
WHATEVER.
STORY OF MY LIFE.
I'M IN MY TRAILER AND RUNNING THE LINES WITH SOME SWEET YOUNG
WOMAN WHO I PAID HOURLY TO COME AND RUN LINES ANY SPARE MOMENT I
HAD.
>> Stephen: WHAT A GREAT GIG FOR HER.
>> YES, VERY SWEET.
BUT OUTSIDE THE TRAILER I'M HEARING-- FIRST OF ALL, THE
AMOUNT OF TRAILERS ON THAT MOVIE IT WAS LIKE AN R.V. LOT.
WE ACTUALLY HAD AN AIRPLANE RUNWAY.
THAT'S WHAT WE WERE USING IF OUR PARKING LOT OF WHAT'S CALLED
BASE CAMP FOR ALL THE ACTORS.
>> Stephen: LITERALLY, AN AIRPORT RUNWAY.
>> YES.
>> Stephen: WHERE WERE THE PLANES LANDING?
>> IT WAS A RETIRED RUNWAY.
>> Stephen: JUST WANTED TO MAKE SURE.
>> YES, YES, I'M GLAD FOR THAT.
ANYWAY OUTSIDE THE TRAILER I'M HEARING THIS NOISE.
DEATH METAL.
I DON'T KNOW WHAT THAT IS.
>> Stephen: THAT WAS A VERY GOOD IMITATION OF DEATH METAL BY
THE WAY.
YOU HAVE A GREAT FALLBACK CAREER.
>> NO PUNK, NO PUNK ROCK PER ME.
SORRY, GUYS.
>> Stephen: TONIGHT "SLAUGHTERHOUSE" IS NOT
AVAILABLE.
INSTEAD, PLEASE WELCOME DIANE LANE.
>> OH, MY GOD!
>> Stephen: GO AHEAD, SORRY.
>> JASON, HE IS OUR AQUA MAN.
I DIDN'T GET TO MEET HIM BUT I HEARD HIM OUT IN MY TRAILER
GETTING READY FOR HIS SCENE.
THAT'S HOW HE WAS PREPARING.
I'M INSIDE TRYING TO SAY, "SAVE THE CHERRY ORCHARD!"
AND LEARN MY LINES FOR CHEKHOV, AND OUT THE WINDOW I'M HEARING
THIS DEATH METAL WHILE HE'S GETTING READY TO DO WHATEVER HE
DOES IN THE FILM, WHICH I CAN'T WAIT TO SEE HIM DO.
>> Stephen: I THINK HE WARES A LOT OF SWIM TRUNKS.
>> HE'S HANDSOME.
>> Stephen: OH, YEAH, SURE!
WELL, YOU'RE BEAUTIFUL.
>> WELL, THANK YOU.
>> Stephen: YOU GUYS-- THAT WAS A VERY SEXY LITTLE TRAILER
LOT YOU HAD THERE.
( LAUGHTER ) SO, YOU SAID YOU GET TO DO,
LIKE, A SCENE ONCE ON A MOVIE.
AND THEN THAT'S IT.
LIKE, YOU DON'T GET TO REHEARSE IT AGAIN PUP DON'T GET TO DO IT
AGAIN?
>> WELL, YOU GET GET MORE TAKES HOPEFULLY.
>> Stephen: BUT IT'S NOT YOUR CALL FOR ANOTHER TAKE.
THE DIRECTOR GOES, "I GOT THE TAKE AND WE'RE MOVING "O."
>> PRETTY MUCH.
AND IF I ASK FOR ANOTHER TAKE I'M WORSE THAN IF I HADN'T ASKED
FOR IT.
IT SEEMS THAT WAY.
>> Stephen: THAT WAS ONE OF THE SHOCKING THINGS FOR ME WHEN
I MOVED TO TV.
I STARTED OFF IN CHICAGO IN CHICAGO.
>> THAT'S RIGHT.
>> Stephen: I CAME TO TV AND THE FIRST TIME I SHOT A
TELEVISION SHOW WE SHOT THE SCENE AND THEY SAID, "MOVING
ON."
AND I REALIZED I HAD TO GET IT RIGHT THE FIRST TIME.
>> THAT'S ALL YOU GET.
>> Stephen: AND NOT ONLY IS THAT THE ONLY TIME I GET TO DO
IT BUT MORE PEOPLE WILL SEE THAT THING I JUST DID THAN EVER SAW
ME IN EVERY STAGE PRODUCTION I EVER DID.
>> DANG!
>> Stephen: NO PRESSURE.
>> NO PREC THERE.
SMOKE COMING OUT OF YOUR EAR S.
>> Stephen: IS THERE SOMETHING YOU HAVE DONE-- YOU
HAVE CONDITION SO MANY GREAT PERFORMANCES -- IS THERE
SOMETHING YOU SAY LET ME TAKE ANOTHER CHOP AT THAT MOVIE
AGAIN.
>> I WANT TO GO BACK IT IF XWORK WITH THE DOG AGAIN.
>> Stephen: REILLY.
ISN'T SHE BEAUTIFUL?
>> YES.
>> Stephen: THAT IS NOT ACTING.
SHE IS ACTUALLY THE DOG OF MY PRODUCER PAUL.
>> HOIS A VERY NICE MAN, TOO.
>> Stephen: HE'S A VERY NICE MAN.
HE'S NOT AS NICE AS REILLY IS, THOUGH.
>> I DON'T HAVE AN ANSWER FOR YOU, SO I WAS STALLING BY
THROWING REILLY IN THERE AS FAR AS GOING BACK AND TAKING ANOTHER
WHACK.
>> Stephen: YOU DON'T WANT TO TAKE ANOTHER WHACK AT ANYTHING?
>> I'M GLAD I DO HAVE AS MANY OPPORTUNITIES TO DO THIS PLAY, I
WILL FOCUS ON IT THAT.
HAVING A LIVE SHOW MEANS YOU GET ANOTHER CHANCE AT IT, AND IT IS
A LIVING THING, LIKE WINE.
IT'S NOT CUT AND DRIED IN A CAN.
YOU KNOW, IT'S FRESH.
BREATHING -- >> CANNED WINE!
>> HMMM... I'M SUCH A CREATIVE PERSON, AREN'T I.
>> Stephen: WINE AND CUT AND DRIED IN A CAN.
I THOUGHT I'D POINT THAT OUT.
YOU HAVE DONE A LOT OF PLAYS BEFORE.
>> YES.
>> Stephen: HAS DOES IT CHANGE WILDLY FROM THE OPENING NIGHT TO
THE LAST NIGHT?
>> YES.
>> Stephen: OR DOES THE DIRECTOR COME BACK IN AND CHAK
THE WHIP AND SAY, "HEY, HEY, WHY DOES YOUR CHARACTER SUDDENLY
HAVE A SCOTTISH ACCENT?" >> FOR ME, I DO EVERYTHING
OPENING NIGHT AND THEN I REALIZE THE SHOW IS LOCKED AND WE CAN'T
MAKE ANY MORE CHANGES.
THAT DOESN'T WE DON'T HAVE 90 MORE MSM ANS TO GO.
FOR ME I'M DEEG WITH OPENING NIGHT.
>> Stephen: WHEN IS OPENING NIGHT.
>> OCTOBER 16, BUT WHO IS COUNTING.
>> Stephen: "THE CHERRY ORCHARD" WILL OPEN ON BROADWAY AT THE
AMERICAN AIRLINES THEATRE AND STARTING OCTOBER 16, RUNNING
THROUGH SCM DECEMBER 4.
YOU'RE GOING TO WANT TO SEE IT ESPECIALLY IF YOU'RE ONE OF THE
1% WHO LIVES ON THE COUNTRY STATE IN RUSSIA.
DIANE LANE, EVERYBODY!
WE'LL BE RIGHT BACK WITH AJA NAOMI KING.
THANK YOU SO MUCH.