1 00:00:01,201 --> 00:00:04,471 IN A RECENT CAMPAIGN VIDEO, THE FORMER PRESIDENT PROPOSED 2 00:00:04,471 --> 00:00:07,140 BUILDING TEN FUTURISTIC FREEDOM CITIES AS WELL AS FLYING CARS. 3 00:00:07,140 --> 00:00:10,810 DOZENS OF MAJOR COMPANIES IN THE UNITED STATES AND CHINA ARE 4 00:00:10,810 --> 00:00:14,347 RACING TO DEVELOP VERTICAL TAKEOFF AND LANDING VEHICLES 5 00:00:14,347 --> 00:00:18,651 FOR FAMILIES AND INDIVIDUALS. I WANT ENSURE THAT AMERICA, 6 00:00:18,651 --> 00:00:25,859 NOT CHINA, LEADS THIS REVOLUTION IN AIR MOBILITY. 7 00:00:25,859 --> 00:00:33,967 ["JETSONS" THEME MUSIC] ♪ ♪ 8 00:00:33,967 --> 00:00:42,108 ♪ MEET DON TREASON ♪ ♪ HIS BOY, ERIC ♪ 9 00:00:42,108 --> 00:00:51,451 DAD! ♪ LAWYER RUDY ♪ 10 00:00:51,451 --> 00:00:55,989 ♪ HIS THIRD WIFE ♪ 11 00:00:57,290 --> 00:01:09,869 ♪ ♪ BING BONG! 12 00:01:09,869 --> 00:01:14,974 Announcer: IT'S "THE LATE SHOW WITH STEPHEN COLBERT." 13 00:01:14,974 --> 00:01:18,878 TONIGHT... JOE ME THE MONEY. 14 00:01:18,878 --> 00:01:24,884 FIRST, STEPHEN WELCOMES... LILY TOMLIN AND JANE FONDA. 15 00:01:24,884 --> 00:01:28,988 AND STEVEN SPIELBERG AND JOHN WILLIAMS. 16 00:01:28,988 --> 00:01:34,227 FEATURING LOUIS CATO AND "THE LATE SHOW" BAND. 17 00:01:34,227 --> 00:01:39,432 AND NOW, LIVE ON TAPE FROM THE ED SULLIVAN THEATER 18 00:01:39,432 --> 00:01:48,374 IN NEW YORK CITY, IT'S STEPHEN COLBERT. 19 00:01:51,211 --> 00:01:58,751 [CHEERS AND APPLAUSE] ♪ ♪ 20 00:01:58,751 --> 00:02:09,896 Stephen: OH! Stephen: HAPPY THURSDAY! 21 00:02:09,896 --> 00:02:14,834 A, EVERYBODY. THANKS, EVERYBODY. 22 00:02:14,834 --> 00:02:18,071 PLEASE HAVE-- PLEASE HAVE A SEAT. 23 00:02:18,071 --> 00:02:21,875 WELCOME, ONE AND ALL, I'M YOUR HOST, STEPHEN COLBERT. 24 00:02:21,875 --> 00:02:28,581 IT WAS A HUGE DAY IN WASHINGTON, D.C. 25 00:02:28,581 --> 00:02:29,849 BECAUSE AT LONG LAST, PRESIDENT JOE BIDEN HAS RELEASED 26 00:02:29,849 --> 00:02:34,153 HIS NEW BUDGET, AND ON CAPITOL HILL, THE DRAMA WAS PALPABLE. 27 00:02:34,153 --> 00:02:36,122 THE BUDGET OF JOE BIDEN IS OUT! 28 00:02:36,122 --> 00:02:42,462 THE BUDGET IS OUT! BIDEN CALLS FOR CASH! 29 00:02:42,462 --> 00:02:46,599 AND CONGRESS WILL ANSWER. Stephen: THE ANSWER IS "NO." 30 00:02:46,599 --> 00:02:51,070 "THE NEW YORK TIMES" DESCRIBES BIDEN'S BUDGET AS 31 00:02:51,070 --> 00:02:54,574 "DEAD ON ARRIVAL." "DEAD ON ARRIVAL" IS PRETTY 32 00:02:54,574 --> 00:03:05,718 HARSH COMING FROM A NEWSPAPER. MY NEWSPAPER USED TO COME 33 00:03:05,718 --> 00:03:07,086 DELIVERED IN A PLASTIC BAG. NOW IT COMES IN 34 00:03:07,086 --> 00:03:08,421 A LITTLE CASKET. BUT IT'S TRUE. 35 00:03:08,421 --> 00:03:10,189 THE G.O.P. QUICKLY REJECTED BIDEN'S BUDGET, BECAUSE 36 00:03:10,189 --> 00:03:12,792 THEY PREFER "DEEP CUTS TO HEALTH CARE, FOOD ASSISTANCE 37 00:03:12,792 --> 00:03:18,965 AND HOUSING PROGRAMS FOR POOR AMERICANS." 38 00:03:18,965 --> 00:03:25,772 [BOOING] Stephen: NOW, NOW IT JUST 39 00:03:25,772 --> 00:03:27,540 REFLECTS THE BEDROCK JUDEO-CHRISTIAN VALUES OF THE 40 00:03:27,540 --> 00:03:31,344 REPUBLICAN PARTY AND ECHOES THE WORD OF OUR LORD. 41 00:03:31,344 --> 00:03:33,346 "FOR I WAS HUNGRY AND YOU SAID, 'HEY, WHO GAVE YOU 42 00:03:33,346 --> 00:03:34,514 THAT FREE FOOD? SLAP THAT FISH OUT 43 00:03:34,514 --> 00:03:42,221 OF HIS DIRTY LITTLE MOUTH!'" SHUT YOUR DIRTY LITTLE MOUTH! 44 00:03:42,221 --> 00:03:44,190 NOW, BIDEN KNOWS HIS PROPOSALS ARE UNPOPULAR WITH THE G.O.P., 45 00:03:44,190 --> 00:03:47,694 AND HE DON'T CARE. REPORTEDLY, THE WHITE HOUSE 46 00:03:47,694 --> 00:03:50,930 SEES NO DOWNSIDE WHATSOEVER TO THROWING OUT THINGS THAT 47 00:03:50,930 --> 00:03:54,500 WOULD NEVER PASS THE REPUBLICAN-CONTROLLED HOUSE. 48 00:03:54,500 --> 00:03:57,737 THE FIGHT IS THE POINT. "COME AT ME, GOP! 49 00:03:57,737 --> 00:04:01,708 COME ON. THAT'S RIGHT. 50 00:04:01,708 --> 00:04:09,182 COME ON. I TRAINED WITH ALL THE GREATS. 51 00:04:09,182 --> 00:04:11,384 THE PENNSYLVANIA PUMMELER, THE SCRANTON SCRAPPER, 52 00:04:11,384 --> 00:04:14,487 KAISER WILHELM. COME ON! 53 00:04:14,487 --> 00:04:19,125 GET A KNUCKLE SANDWICH ON THE WHITEST BREAD 54 00:04:19,125 --> 00:04:20,693 YOU EVER TASTED! COME ON, JACK DEMPSEY!" 55 00:04:20,693 --> 00:04:22,695 THERE'S ALSO NEWS ABOUT THE FORMER PRESIDENT AND HIS 56 00:04:22,695 --> 00:04:24,731 INSATIABLE NEED FOR CASH AND EXTERNAL VALIDATION. 57 00:04:24,731 --> 00:04:27,934 BECAUSE HE'S ANNOUNCED PLANS TO PUBLISH A BOOK OF LETTERS. 58 00:04:27,934 --> 00:04:30,203 WELL, I MEAN, IT'S GOOD TO KNOW HE'S FINALLY LEARNED HIS 59 00:04:30,203 --> 00:04:34,874 LETTERS. ♪ A, B, C, D, E, F, G 60 00:04:34,874 --> 00:04:38,611 ♪ PERSON-WOMAN-MAN ♪ ♪ CAMERA, TV ♪ 61 00:04:38,611 --> 00:04:41,481 IT'S ACTUALLY-- THANK YOU. 62 00:04:41,481 --> 00:04:47,754 YEAH, I'VE BEEN WORKING ON IT. [CHEERS AND APPLAUSE] 63 00:04:47,754 --> 00:04:51,057 HALFWAY THERE. IT'S ACTUALLY A BOOK OF 64 00:04:51,057 --> 00:04:52,325 CORRESPONDENCE WRITTEN TO HIM. SO, NATURALLY, THE COVER 65 00:04:52,325 --> 00:04:55,261 FEATURES HIM WRITING A LETTER. SEEMS A LITTLE WEIRD BUT WRITING 66 00:04:55,261 --> 00:04:57,730 LETTERS TO YOURSELF IS A LOST ART. 67 00:04:57,730 --> 00:04:59,999 WE ALL REMEMBER THIS MOVING MOMENT IN KEN BURNS' 68 00:04:59,999 --> 00:05:05,638 "CIVIL WAR." "MY DEAREST ME, I LONG TO SEE 69 00:05:05,638 --> 00:05:08,808 YOUR SWEET FACE AGAIN, BUT MY MIRROR BROKE 70 00:05:08,808 --> 00:05:12,879 THE OTHER DAY. HOW I MISS THE TENDER CARESS 71 00:05:12,879 --> 00:05:16,649 OF YOUR FINGERS ON MY SKIN, BUT THERE'S TOO MANY OTHER 72 00:05:16,649 --> 00:05:20,086 SOLDIERS IN THIS TENT, AND IT WOULD BE WEIRD. 73 00:05:20,086 --> 00:05:23,856 FOREVER YOURS, YOU." Stephen: ALSO, JIM, CAN WE 74 00:05:23,856 --> 00:05:25,925 PUT THAT COVER UP AGAIN? LOOK AT THAT LETTERING 75 00:05:25,925 --> 00:05:28,061 IN THE TITLE. I BELIEVE THAT'S THE FIRST BOOK 76 00:05:28,061 --> 00:05:34,300 WHOSE TITLE IS WRITTEN IN CHEEZ WIZ! 77 00:05:34,300 --> 00:05:38,137 THE BOOK INCLUDES-- THE BOOK INCLUDES-- 78 00:05:38,137 --> 00:05:41,107 [APPLAUSE] SURE, WHY NOT? 79 00:05:41,107 --> 00:05:48,781 THERE YOU GO. YOU MAY BE THINKING, STEVE, THIS 80 00:05:48,781 --> 00:05:52,051 BOOK SOUNDS LIKE A LOT OF OUR GREEDY EX-PRESIDENTS SHAMELESS 81 00:05:52,051 --> 00:05:56,756 CASH GRABS AND YOU WOULD THINK REAL GOOD. 82 00:05:56,756 --> 00:05:58,357 BECAUSE THIS BOOK HE DIDN'T WRITE COSTS $99. 83 00:05:58,357 --> 00:06:00,293 SOUNDS EXPENSIVE, BUT HOW SHOULD HE KNOW? 84 00:06:00,293 --> 00:06:09,235 HE'S NEVER BOUGHT A BOOK. SPEAKING OF... 85 00:06:09,235 --> 00:06:15,174 [APPLAUSE] SPEAKING OF AMORAL GRIFTERS... 86 00:06:15,174 --> 00:06:16,743 FOX NEWS. IT'S BEEN A BAD COUPLE OF WEEKS 87 00:06:16,743 --> 00:06:19,979 FOR THE FOX FASCISTS AND FRIENDS. 88 00:06:19,979 --> 00:06:23,649 IN THEIR LEGAL FILINGS, DOMINION VOTING SYSTEMS REVEALED THAT THE 89 00:06:23,649 --> 00:06:25,418 NETWORK'S UPPER MANAGEMENT AND HOSTS LIKE SEAN HANNITY 90 00:06:25,418 --> 00:06:27,987 AND TUCKER CARLSON NEVER BELIEVED THE FORMER PRESIDENT'S 91 00:06:27,987 --> 00:06:30,356 ELECTION LIES BUT PROMOTED THEM ANYWAY. 92 00:06:30,356 --> 00:06:33,292 THEY EVEN MOCKED THE NETWORK'S OWN REPORTERS FOR CORRECTLY 93 00:06:33,292 --> 00:06:35,561 CALLING THE 2020 ELECTION FOR BIDEN. 94 00:06:35,561 --> 00:06:38,364 TURNS OUT, THOSE REPORTERS ARE "INCREDIBLY ANGRY" 95 00:06:38,364 --> 00:06:41,400 THAT THESE REVELATIONS WILL FURTHER SULLY THE REPUTATION OF 96 00:06:41,400 --> 00:06:44,003 THE NETWORK'S "STRAIGHT NEWS" JOURNALISTS. 97 00:06:44,003 --> 00:06:48,474 REALLY? REALLY? 98 00:06:48,474 --> 00:06:50,910 THAT'S LIKE THE PEOPLE AT TACO BELL WORRYING THAT 99 00:06:50,910 --> 00:06:53,212 THE COOL RANCH AND FIERY DORITOS LOCOS TACOS 100 00:06:53,212 --> 00:06:57,116 IS GOING TO FURTHER SULLY THE REPUTATION OF THEIR ASS-BLASTING 101 00:06:57,116 --> 00:07:05,458 SALT POCKETS. NOW... 102 00:07:05,458 --> 00:07:08,761 OH, I COULD GO FOR ONE. FOURTH MEAL. 103 00:07:08,761 --> 00:07:12,465 ONE FOX STAFFER DESCRIBED THE REVELATIONS AS "SOUL-CRUSHING." 104 00:07:12,465 --> 00:07:21,407 AW, IT'S NICE TO KNOW SOMEONE THERE STILL HAS A SOUL. 105 00:07:21,407 --> 00:07:25,178 BECAUSE WE KNOW SO FEW OF THEM HAVE A BRAIN. 106 00:07:25,178 --> 00:07:37,723 JIMMY, CAN WE ZOOM IN? [CARTOONISH MUSIC] 107 00:07:37,723 --> 00:07:40,026 ANOTHER FOX EMPLOYEE COMMENTED ON THE LOW MORALE, SAYING, 108 00:07:40,026 --> 00:07:45,298 "IT'S JUST A REALLY BAD TIME TO BE WORKING HERE." 109 00:07:45,298 --> 00:07:50,269 YES, UNLIKE THE GOLDEN AGE THEIR JOURNALISM: 110 00:07:50,269 --> 00:07:52,605 WARNING US ABOUT WOKE LEGOS AND LONGING FOR MR. POTATOHEAD'S 111 00:07:52,605 --> 00:08:02,048 LOST PENIS. ALSO, THAT WAS AN EXCLUSIVE. 112 00:08:02,048 --> 00:08:03,516 YOU KNOW WHAT YOU CAN DO IF IT'S A REALLY BAD TIME TO BE 113 00:08:03,516 --> 00:08:07,420 WORKING AT FOX NEWS? YOU CAN QUIT. 114 00:08:07,420 --> 00:08:08,955 IT'S LEGAL. YOU'RE NOT HANDCUFFED TO 115 00:08:08,955 --> 00:08:11,457 A RADIATOR IN THE BASEMENT. UNLESS YOU ARE. 116 00:08:11,457 --> 00:08:15,828 THAT WOULD EXPLAIN THE FOX NEWS H.R. ONBOARDING VIDEO. 117 00:08:15,828 --> 00:08:17,430 WELCOME TO FOX NEWS. I'VE CHAINED YOU 118 00:08:17,430 --> 00:08:19,999 TO TUCKER CARLSON. AND THE KEY IS INSIDE 119 00:08:19,999 --> 00:08:22,435 YOUR EYEBALL. THERE WILL BE CAKE 120 00:08:22,435 --> 00:08:28,474 IN THE BREAK ROOM LATER. [LAUGHTER] 121 00:08:28,474 --> 00:08:30,643 Stephen: WE'VE GOT A DOOZY OF A STORY OUT OF ARKANSAS, 122 00:08:30,643 --> 00:08:32,178 THANKS TO REPUBLICAN GOVERNOR AND LADY AT THE FUNERAL 123 00:08:32,178 --> 00:08:35,781 GETTING READY TO FIGHT THE BODY, SARAH HUCKABEE SANDERS. 124 00:08:35,781 --> 00:08:37,683 AND THIS STORY'S FOR THE WHOLE FAMILY. 125 00:08:37,683 --> 00:08:41,153 BECAUSE EARLY THIS WEEK, HUCKAGOV SIGNED A LAW LOOSENING 126 00:08:41,153 --> 00:08:44,290 CHILD LABOR PROTECTIONS. OH, GOOD. 127 00:08:44,290 --> 00:08:48,761 CHILDREN HAVE BEEN OUT OF THE LABOR MARKET FOR TOO LONG. 128 00:08:48,761 --> 00:08:51,230 TODAY'S KIDS DON'T KNOW ANYTHING ABOUT CHANGING BOBBINS 129 00:08:51,230 --> 00:08:55,668 DOWN AT THE MILL. THEY'RE ALL LIKE, "I NEED TEN 130 00:08:55,668 --> 00:09:00,373 FINGERS TO PLAY XBOX." NOW, FOR THE RECORD, 131 00:09:00,373 --> 00:09:01,841 IT WAS ALREADY LEGAL FOR KIDS AS YOUNG AS 14 132 00:09:01,841 --> 00:09:03,009 TO WORK IN ARKANSAS. BUT THIS LAW ELIMINATES 133 00:09:03,009 --> 00:09:05,845 REQUIREMENTS FOR THE STATE TO VERIFY THE AGE OF CHILDREN 134 00:09:05,845 --> 00:09:09,282 YOUNGER THAN 16 BEFORE THEY CAN TAKE A JOB. 135 00:09:09,282 --> 00:09:12,718 ALWAYS A GOOD SIGN WHEN IT'S EASIER FOR A TEEN TO GET A JOB 136 00:09:12,718 --> 00:09:15,655 AT A MEAT PROCESSING PLANT THAN GET INTO A BAR. 137 00:09:15,655 --> 00:09:18,057 "HOLD ON, KID. CAN I SEE SOME I.D.? 138 00:09:18,057 --> 00:09:20,893 I'M JUST PULLIN' YOUR LEG. WHAT IS THIS, APPLEBEES? 139 00:09:20,893 --> 00:09:24,430 NOW TAKE THIS MACHETE AND BREAK DOWN THAT HOG CARCASS." 140 00:09:24,430 --> 00:09:34,874 GO ON. COME ON, DON'T CRY. 141 00:09:34,874 --> 00:09:36,876 GOVERNOR HUCKASANDS ISN'T THE ONLY REPUBLICAN HOPPING ON THE 142 00:09:36,876 --> 00:09:42,048 PRO-CHILD LABOR BANDWAGON. A G.O.P. BILL IN OHIO WITH 143 00:09:42,048 --> 00:09:45,885 BIPARTISAN SUPPORT WOULD ALLOW MINORS TO WORK YEAR-ROUND 144 00:09:45,885 --> 00:09:49,055 UNTIL 9:00 P.M., AND IN IOWA, REPUBLICANS HAVE SPONSORED 145 00:09:49,055 --> 00:09:51,624 A BILL THAT WOULD ALLOW 14- AND 15-YEAR-OLDS TO WORK 146 00:09:51,624 --> 00:09:54,393 CERTAIN JOBS IN MEATPACKING PLANTS. 147 00:09:54,393 --> 00:09:58,264 14 YEARS OLD! FOR REFERENCE, THIS IS ME 148 00:09:58,264 --> 00:10:03,436 AT 14. WOULD YOU REALLY WANT THAT KID 149 00:10:03,436 --> 00:10:07,006 MECHANICALLY SEPARATING YOUR CHICKEN PARTS? 150 00:10:07,006 --> 00:10:11,577 REALLY? THESE BILLS LOOSEN PROTECTIONS 151 00:10:11,577 --> 00:10:13,412 IN SOME OF THE MOST DANGEROUS WORKPLACES. 152 00:10:13,412 --> 00:10:16,949 CASE IN POINT, IOWA'S BILL WOULD ALLOW STUDENTS TO WORK 153 00:10:16,949 --> 00:10:21,921 IN PLACES LIKE MINES, IF THOSE JOBS ARE PART OF 154 00:10:21,921 --> 00:10:23,255 A "WORK-BASED LEARNING" PROGRAMS. 155 00:10:23,255 --> 00:10:24,423 YOU CAN LEARN A LOT BY WORKING IN THE MINES. 156 00:10:24,423 --> 00:10:25,658 LIKE WHY WE USED TO HAVE LAWS TO KEEP KIDS FROM WORKING 157 00:10:25,658 --> 00:10:36,969 IN MINES. THE IOWA BILL-- 158 00:10:36,969 --> 00:10:41,073 ABOUT 100 YEARS? THE IOWA BILL WOULD ALSO ALLOW 159 00:10:41,073 --> 00:10:42,541 16- AND 17-YEAR-OLDS TO SERVE ALCOHOL. 160 00:10:42,541 --> 00:10:43,976 NOT ONLY IS THAT DANGEROUS, DO YOU REALLY WANT TO TRUST 161 00:10:43,976 --> 00:10:46,512 YOUR COCKTAIL TO A 16-YEAR-OLD BARTENDER? 162 00:10:46,512 --> 00:10:48,948 "OH, HERE YA GO, SIR. BLUE GATORADE AND MY DAD'S GIN 163 00:10:48,948 --> 00:10:54,987 SERVED IN A POLAND SPRING BOTTLE." 164 00:10:54,987 --> 00:11:02,194 IF YOU KEEP THE CAP ON, YOU CAN SNEAK IT INTO THE GAME. 165 00:11:02,194 --> 00:11:03,929 THESE BILLS ARE PART OF A NATION-WIDE PROBLEM. 166 00:11:03,929 --> 00:11:05,631 A RECENT NEW YORK TIMES INVESTIGATION FOUND THAT 167 00:11:05,631 --> 00:11:07,900 MIGRANT CHILD LABOR IS RUNNING RAMPANT. 168 00:11:07,900 --> 00:11:11,704 AND THE DEPARTMENT OF LABOR HAS SEEN A NEARLY 70% INCREASE 169 00:11:11,704 --> 00:11:15,041 IN CHILD LABOR VIOLATIONS SINCE 2018. 170 00:11:15,041 --> 00:11:18,277 SO INSTEAD OF PENALIZING THOSE COMPANIES, REPUBLICANS DECIDED 171 00:11:18,277 --> 00:11:20,980 TO JUST CHANGE THE RULES. IT'S A POLITICAL STRATEGY 172 00:11:20,980 --> 00:11:25,651 CALLED, "PLAYING A BOARD GAME WITH A SIX YEAR-OLD." 173 00:11:25,651 --> 00:11:26,952 "NO, YOU DIDN'T WIN, THERE'S A NEW RULE SAYS YOU 174 00:11:26,952 --> 00:11:28,621 CAN ONLY WIN IF YOUR NAME IS DEVIN! 175 00:11:28,621 --> 00:11:30,389 OKAY, MOM. WE'LL FINISH THIS GAME TOMORROW. 176 00:11:30,389 --> 00:11:37,129 I GOTTA GO BREAK DOWN A HOG CARCASS." 177 00:11:37,129 --> 00:11:39,398 WE'VE GOT A GREAT SHOW FOR YOU TONIGHT. 178 00:11:39,398 --> 00:11:42,501 MY GUESTS ARE LILY TOMLIN JANE FONDA, 179 00:11:42,501 --> 00:11:45,237 PLUS MORE OF MY INTERVIEW WITH STEVEN SPIELBERG 180 00:11:45,237 --> 00:11:47,640 AND JOHN WILLIAMS. BUT WHEN WE COME BACK, 181 00:11:47,640 --> 00:11:50,709 IT'S "MEANWHILE" Y'ALL! IT'S A LOT OF SHOW. 182 00:11:50,709 --> 00:11:51,577 JOIN US. 183 00:12:26,278 --> 00:12:27,346 ♪ ♪ Stephen: RIGHT THERE, THAT 184 00:12:27,346 --> 00:12:31,584 IS LOUIS CATO. DO I TELL HIM? 185 00:12:31,584 --> 00:12:37,256 DO I TELL HIM ABOUT WEDNESDAY? ALL RIGHT, LOUIS. 186 00:12:37,256 --> 00:12:42,328 I GOT SO MUCH TO TALK ABOUT. PLEASE HAVE A SEAT, EVERYBODY. 187 00:12:42,328 --> 00:12:44,997 THIS IS A LOVELY GROUP OF PEOPLE TONIGHT. 188 00:12:44,997 --> 00:12:49,401 HAVE YOU NOTICED HOW LOVELY THEY ARE? 189 00:12:49,401 --> 00:12:51,737 YOU CAN'T FAKE THAT. TONIGHT WE'VE GOT SOME FANTASTIC 190 00:12:51,737 --> 00:12:57,643 GUESTS. OF COURSE WE HAVE THE TWO, THE 191 00:12:57,643 --> 00:13:02,214 ONLY, JANE FONDA AND LILY TOMLIN WILL BE OUT HERE. 192 00:13:02,214 --> 00:13:03,682 TOWERING FIGURES. MODERN ENTERTAINMENT. 193 00:13:03,682 --> 00:13:08,587 WE ALSO HAVE A SPECIAL. NO ONE HAS SEEN THIS BEFORE, 194 00:13:08,587 --> 00:13:10,589 SPECIAL EXTENDED INTERVIEW WITH STEVEN SPIELBERG AND JOHN 195 00:13:10,589 --> 00:13:12,958 WILLIAMS IN JUST A LITTLE MOMENT. 196 00:13:12,958 --> 00:13:15,828 AMAZING. HOW THEY-- 197 00:13:15,828 --> 00:13:22,401 HOW HE CAME UP WITH "JAWS," HOW HE CAME UP WITH "CLOSE 198 00:13:22,401 --> 00:13:24,837 ENCOUNTERS." FANTASTIC INTERVIEW. 199 00:13:24,837 --> 00:13:27,373 HERE'S THE THING. WE GET A LOT OF FANTASTIC 200 00:13:27,373 --> 00:13:30,576 INTERVIEWS AROUND HERE. I HAVE AN AMAZING TEAM WHO BOOKS 201 00:13:30,576 --> 00:13:36,515 THESE PEOPLE AND AN AMAZING AUDIENCE TO DO THE SHOW FOR. 202 00:13:36,515 --> 00:13:38,918 INCREDIBLE BAND TO SHARE THE NIGHT WITH. 203 00:13:38,918 --> 00:13:42,488 BUT NEXT WEDNESDAY, WE GOT A VERY SPECIAL GUEST, 204 00:13:42,488 --> 00:13:45,024 VICE PRESIDENT, HARRIS WILL BE RIGHT THERE. 205 00:13:45,024 --> 00:13:50,896 NEXT WEDNESDAY NIGHT. CHECK IT OUT, Y'ALL. 206 00:13:50,896 --> 00:13:53,599 FOLKS, I SPEND MOST OF MY TIME IN THE NEWS MINES, SOURCING THE 207 00:13:53,599 --> 00:13:56,635 PUREST STORY GOLD, HAND-SHAPING IT AND ADDING TURQUOISE 208 00:13:56,635 --> 00:13:59,405 CABOCHONS, AND CIRCULAR-CUT DIAMONDS TO CREATE FOR YOU 209 00:13:59,405 --> 00:14:01,173 THE GLORIOUS MID-CENTURY BOUCHERON NECKLACE THAT IS 210 00:14:01,173 --> 00:14:04,143 MY MONOLOGUE. BUT SOMETIMES, I LAND 211 00:14:04,143 --> 00:14:06,779 IN A DUMPSTER BEHIND A DEFUNCT RADIO SHACK 212 00:14:06,779 --> 00:14:09,949 AFTER FALLING OUT OF THE WHEEL WELL OF THE COCAINE 213 00:14:09,949 --> 00:14:13,652 SMUGGLER'S CESSNA I STOWED AWAY IN, FISH OUT A RUSTY TWIST-TIE 214 00:14:13,652 --> 00:14:15,554 AND GUM-GLUE IT TO AN OLD TRANSISTOR, 215 00:14:15,554 --> 00:14:19,158 THEN SNAP THE ANTENNA OFF AN ABANDONED BUICK 216 00:14:19,158 --> 00:14:22,361 TO PUNCTURE MY AREOLA SO I CAN PARADE AROUND IN 217 00:14:22,361 --> 00:14:25,998 THE HOBO NIPPLE RING OF NEWS THAT IS MY SEGMENT, 218 00:14:25,998 --> 00:14:35,374 "MEANWHILE." [CHEERS AND APPLAUSE] 219 00:14:35,374 --> 00:14:40,346 I SWEAR, I COULD DO THIS ALL NIGHT. 220 00:14:40,346 --> 00:14:45,117 I CAN'T SEE THAT TOO MANY TIMES. MEANWHILE, IT'S MARCH, 221 00:14:45,117 --> 00:14:46,452 AND LIFESTYLE BLOGGERS ARE ASKING, "DO YOU WANT 222 00:14:46,452 --> 00:14:50,956 TO SMELL LIKE ST. PATRICK'S DAY?" 223 00:14:50,956 --> 00:14:53,325 IF THE ANSWER IS YES, I WISH YOU A SWIFT RECOVERY FROM GETTING 224 00:14:53,325 --> 00:14:55,961 KICKED IN THE HEAD BY A POLICE HORSE. 225 00:14:55,961 --> 00:14:57,796 BUT THANKS TO DEMETER FRAGRANCES, YOU CAN NOW BUY 226 00:14:57,796 --> 00:15:00,165 COLOGNE CELEBRATING ST. PATRICK'S DAY WITH 227 00:15:00,165 --> 00:15:04,837 SCENTS LIKE "IRISH CREAM," "CLOVER," AND THE ALLURINGLY 228 00:15:04,837 --> 00:15:08,874 VAGUE "IRELAND." THAT LAST ONE IS HARD 229 00:15:08,874 --> 00:15:13,479 TO DESCRIBE. IT EVOKES THE INTANGIBLE LONGING 230 00:15:13,479 --> 00:15:17,883 WITHIN THE IRISH SOUL TO... POTATOES. 231 00:15:17,883 --> 00:15:29,128 IT SMELLS LIKE POTATOES. [CHEERS AND APPLAUSE] 232 00:15:29,128 --> 00:15:32,197 MEANWHILE, IN AUSTRALIA, A POPULAR BEER HAS BEEN RECALLED 233 00:15:32,197 --> 00:15:35,334 FOR HAVING EXCESS ALCOHOL. THAT HEADLINE AGAIN: 234 00:15:35,334 --> 00:15:39,238 "BEER RECALLED FOR BEING BEST BEER." 235 00:15:39,238 --> 00:15:42,608 THE BEER IN QUESTION IS SOMETHING CALLED "YOUR-MATES, 236 00:15:42,608 --> 00:15:44,877 A WATERMELON-FLAVORED SOUR BEER THAT WAS FOUND 237 00:15:44,877 --> 00:15:48,714 TO CONTAIN "EXCESS ALCOHOL" DUE TO SECONDARY FERMENTATION. 238 00:15:48,714 --> 00:15:51,417 AND WE WOULDN'T WANT ANYTHING UPSETTING THE DELICATE FLAVOR 239 00:15:51,417 --> 00:15:56,121 PROFILE OF YOUR WATERMELON SOUR BEER. 240 00:15:56,121 --> 00:16:00,926 "MMM, I'M GETTING NOTES OF "GUMMI WORM STUCK IN 241 00:16:00,926 --> 00:16:03,729 A 3-YEAR-OLD'S-HAIR." MEANWHILE, NINTENDO JUST 242 00:16:03,729 --> 00:16:07,066 RELEASED A POKEMON-THEMED SLEEP TRACKER, 243 00:16:07,066 --> 00:16:10,336 CALLED "POKEMON SLEEP." EVEN THOUGH "POKEMON GO TO BED" 244 00:16:10,336 --> 00:16:15,407 WAS RIGHT THERE. IF YOU'RE CONFUSED ABOUT WHAT A 245 00:16:15,407 --> 00:16:18,143 POKEMON-THEMED SLEEP TRACKER DOES, NINTENDO RELEASED THIS AD 246 00:16:18,143 --> 00:16:27,786 THAT MIGHT HELP. [GENTLE MUSIC] 247 00:16:27,786 --> 00:16:42,668 GOOD NIGHT. 248 00:16:42,668 --> 00:16:47,206 ♪ ♪ Stephen: SO BASED ON THAT, 249 00:16:47,206 --> 00:16:49,675 EITHER "POKEMON SLEEP" IS A NIGHTIME HEALTH TRACKER, 250 00:16:49,675 --> 00:16:52,511 OR A HOOK-UP APP FOR PEOPLE WHO WANT TO BLACK OUT AND WAKE 251 00:16:52,511 --> 00:17:04,923 UP THINKING THEY DID IT WITH A CHARIZARD. 252 00:17:04,923 --> 00:17:09,628 GOTTA BANG 'EM ALL. FULL DISCLOSURE: 253 00:17:09,628 --> 00:17:11,964 I'VE BEEN TOLD BY MY STAFF THAT THAT ISN'T ACTUALLY 254 00:17:11,964 --> 00:17:14,900 A CHARIZARD IN THE VIDEO. BUT IN MY DEFENSE: 255 00:17:14,900 --> 00:17:17,603 I DON'T CARE. WE'LL BE RIGHT BACK 256 00:17:17,603 --> 00:17:19,738 WITH LILY TOMLIN AND JANE FONDA. 257 00:17:37,623 --> 00:17:38,357 ♪ ♪ Stephen: HEY, EVERYBODY! 258 00:17:38,357 --> 00:17:40,893 WELCOME BACK. LADIES AND GENTLEMEN, 259 00:17:40,893 --> 00:17:42,227 MY FIRST GUESTS ARE THE DYNAMIC DUO YOU KNOW FROM THE MOVIE 260 00:17:42,227 --> 00:17:43,429 "9 TO 5" AND THE HIT COMEDY SERIES "GRACE AND FRANKIE." 261 00:17:43,429 --> 00:17:46,131 THEY NOW STAR IN THE NEW FILM "MOVING ON." 262 00:17:46,131 --> 00:17:47,299 PLEASE WELCOME BACK TO "THE LATE SHOW," 263 00:17:47,299 --> 00:17:59,445 JANE FONDA AND LILY TOMLIN! ♪ WORKING 9 TO 5 ♪ 264 00:17:59,445 --> 00:18:16,862 ♪ WHAT A WAY TO MAKE A LIVING ♪ ♪ BARELY GETTING BY ♪ 265 00:18:16,862 --> 00:18:25,471 [CHEERS AND APPLAUSE] 266 00:18:32,344 --> 00:18:45,357 Stephen: HELLO. [CHEERING] 267 00:18:45,357 --> 00:18:49,361 IT IS SO, AS YOU CAN TELL. EVERYBODY IS SO HAPPY TO SEE 268 00:18:49,361 --> 00:18:53,765 YOU, AS AM I. IT'S NICE TO SEE THAT AFTER 43 269 00:18:53,765 --> 00:18:57,903 YEARS AFTER "9 TO 5" YOU TWO ARE STILL WORKING TOGETHER AND STILL 270 00:18:57,903 --> 00:19:00,005 FRIENDS. JANE, I'LL START WITH YOU. 271 00:19:00,005 --> 00:19:04,510 HOW WOULD YOU DESCRIBE YOUR RELATIONSHIP WITH LILY? 272 00:19:04,510 --> 00:19:07,579 Jane: JUST SHORT OF INTIMATE. 273 00:19:07,579 --> 00:19:11,750 NO, I MEAN, JUST THINK ABOUT IT. I HAVE MADE THREE FEATURE FILMS 274 00:19:11,750 --> 00:19:17,856 WITH HER AND SEVEN YEARS IN "GRACE AND FRANKIE." 275 00:19:17,856 --> 00:19:22,427 WORKING ALONGSIDE SOMEBODY WHO IS A GENUINE GENIUS. 276 00:19:22,427 --> 00:19:29,334 I MEAN. [CHEERS AND APPLAUSE] 277 00:19:29,334 --> 00:19:30,736 Stephen: THAT'S EXACTLY RIGHT. 278 00:19:30,736 --> 00:19:34,339 Jane: YEAH. THERE IS NOBODY LIKE HER. 279 00:19:34,339 --> 00:19:38,310 SHE DEFINED ONE WOMAN SHOW. DON'T MAKE FUN OF ME. 280 00:19:38,310 --> 00:19:41,213 I'M BEING SERIOUS. Stephen: LILY, HOW WOULD 281 00:19:41,213 --> 00:19:44,583 YOU DESCRIBE YOUR RELATIONSHIP WITH JANE? 282 00:19:44,583 --> 00:19:52,357 Lily: I TOO I'M SERIOUS WHEN I SAY "SOMEWHAT DISTANT." 283 00:19:52,357 --> 00:19:55,427 Stephen: REALLY? Lily: THAT'S HOW YOU KEEP 284 00:19:55,427 --> 00:19:59,498 THE LOVE ALIVE. Stephen: EVEN WHEN YOU'RE 285 00:19:59,498 --> 00:20:02,067 TOGETHER, IT'S A LONG-DISTANCE RELATIONSHIP? 286 00:20:02,067 --> 00:20:03,802 Lily: SOMEWHAT. YOU WITHHOLD A LITTLE BIT. 287 00:20:03,802 --> 00:20:15,814 ALWAYS HOLDING SOMETHING MYSTERIOUS AND ASPIRE ASPIRATIVE 288 00:20:15,814 --> 00:20:21,720 AND NOT DIVULGING EVERYTHING." Stephen: THIS IS PUBLIC 289 00:20:21,720 --> 00:20:24,723 KNOWLEDGE, YOU HAVE DONE PEYOTE TOGETHER. 290 00:20:24,723 --> 00:20:27,559 I WAS WONDERING. A LOT OF PEOPLE ARE MICRO-DOSING 291 00:20:27,559 --> 00:20:30,929 AND STUFF LIKE THAT. WHAT WAS THAT EXPENSE LIKE? 292 00:20:30,929 --> 00:20:32,230 Lily: I MIKE ROWE DOZED. 293 00:20:33,031 --> 00:20:37,903 SHE IS NOT THAT ADVANCED. Stephen: ARE YOU 294 00:20:37,903 --> 00:20:41,974 MICRO-DOSING RIGHT NOW? Lily: OF COURSE. 295 00:20:41,974 --> 00:20:45,777 Stephen: WOULD YOU ALL RECOMMEND THE EFFECTS OF TOD? 296 00:20:45,777 --> 00:20:48,614 Jane: I'VE ALWAYS HAD REALLY GOOD EXPERIENCES WITH 297 00:20:48,614 --> 00:20:53,218 PEYOTE BUT THE TIME WE TOOK IT TOGETHER, IT WAS HORRIBLE. 298 00:20:53,218 --> 00:20:57,723 I WAS TOTALLY PARANOID. IT WAS THE WORST. 299 00:20:57,723 --> 00:21:00,726 I LOVE IT. BUT I WOULDN'T DO PEYOTE UNLESS 300 00:21:00,726 --> 00:21:04,262 YOU'RE WITH A GUIDE OR SOMETHING. 301 00:21:04,262 --> 00:21:09,234 Lily: A SHAMAN, AS I AM. Stephen: DO YOU THINK IT 302 00:21:09,234 --> 00:21:13,472 WOULD BE GOOD FOR ME? DO YOU THINK IT WOULD LOOSEN ME 303 00:21:13,472 --> 00:21:17,976 UP A LITTLE BIT? MESS UP MY PERFECT PART A LITTLE 304 00:21:17,976 --> 00:21:20,145 BIT? Jane: I THINK YOU NEED A 305 00:21:20,145 --> 00:21:22,381 LITTLE PEYOTE. I'LL BE YOUR GUIDE. 306 00:21:22,381 --> 00:21:26,818 Lily: NO. Stephen: ALL RIGHT. 307 00:21:26,818 --> 00:21:33,525 Lily: ARE YOU MARRIED? Stephen: AM I MARRIED? 308 00:21:33,525 --> 00:21:38,597 Jane: OH, I KNOW YOU'RE MARRIED BECAUSE I KISSED YOU 309 00:21:38,597 --> 00:21:41,533 ONCE. Stephen: YES. 310 00:21:41,533 --> 00:21:44,302 Jane: I WAS SO SCARED TO GO ON HIS SHOW BECAUSE I HASN'T 311 00:21:44,302 --> 00:21:48,140 BEEN REALLY IMPORTANT AND SERIOUS TO TALK ABOUT. 312 00:21:48,140 --> 00:21:51,943 THIS IS HIS OLD SELF. WHEN HE WOULD BECOME SOMEBODY 313 00:21:51,943 --> 00:21:53,945 ELSE. Stephen: THE COLBERT 314 00:21:53,945 --> 00:21:55,580 REPORT. I PLAY THE CHARACTER. 315 00:21:55,580 --> 00:21:57,683 Jane IT SCARED ME TO DEATH THAT I DO KNOW WHAT TO DO AND 316 00:21:57,683 --> 00:22:04,256 HOW TO HANDLE YOU SO I WALKED IN AND SAT ON YOUR LAP AND KISSED 317 00:22:04,256 --> 00:22:08,860 YOU AND THAT SHUT YOU UP. Stephen: YES IT DID. 318 00:22:08,860 --> 00:22:11,329 Jane: AND THEN YOU MENTION SOMETHING ABOUT YOUR WIFE. 319 00:22:11,329 --> 00:22:16,368 Stephen: YES, MY WIFE WAS NOT HAPPY ABOUT IT, JANE FONDA. 320 00:22:16,368 --> 00:22:20,005 Jane: WELL SHE CERTAINLY WON'T BE HAPPY ABOUT ME GUIDING 321 00:22:20,005 --> 00:22:21,206 YOU DOING PEYOTE. Stephen: OKAY. 322 00:22:21,206 --> 00:22:24,076 WE HAVE TO TAKE A QUICK BREAK. WE'LL BE RIGHT BACK WITH MORE 323 00:22:24,076 --> 00:22:26,611 LILY TOMLIN AND JANE FONDA. STICK AROUND. 324 00:22:34,953 --> 00:22:40,025 Stephen: I DO LIKE THE BLACK-AND-WHITE COMBO. 325 00:22:40,025 --> 00:22:42,160 HEY, EVERYBODY. WE'RE BACK WITH THE STARS OF THE 326 00:22:42,160 --> 00:22:45,097 NEW MOVIE, "MOVING ON," LILY TOMLIN AND JANE FONDA. 327 00:22:45,097 --> 00:22:49,167 JANE FONDA, I WILL START WITH YOU ON THIS ONE. 328 00:22:49,167 --> 00:22:52,838 YOU'RE BOTH PROUD FEMINISTS BUT JANE, YOU HAVE SAID YOU ARE LATE 329 00:22:52,838 --> 00:22:56,808 BLOOMERS TO FEMINISM. THAT IS SURPRISING TO ME. 330 00:22:56,808 --> 00:23:01,279 YOU ARE NO SHRINKING FLOWER. YOU DON'T MIND STIRRING THE POT. 331 00:23:01,279 --> 00:23:04,015 Jane: I HAD TO GET DIVORCED. 332 00:23:04,015 --> 00:23:06,885 I COULD NOT BE MARRIED. I WAS MARRIED THREE TIMES. 333 00:23:06,885 --> 00:23:10,088 I HAD TO GET THAT ALL OUT OF THE WAY BECAUSE MY MARRIAGES WERE 334 00:23:10,088 --> 00:23:13,825 NOT DEMOCRATIC. I COULDN'T BE A REALLY EMBODIED 335 00:23:13,825 --> 00:23:16,862 FEMINIST. WHEN I WAS IN MY 30s AND I WAS 336 00:23:16,862 --> 00:23:20,565 DRIVING ACROSS THE COUNTRY, A FRIEND OF MINE IN NEW YORK SAID, 337 00:23:20,565 --> 00:23:26,805 I'M LOOKING OUT MY WINDOW AND I SEE 5,000 WOMEN MARCHING AND 338 00:23:26,805 --> 00:23:29,775 PROTESTING IN THE STREETS FOR ABORTION RIGHTS AND I WROTE IN 339 00:23:29,775 --> 00:23:34,613 MY JOURNAL "WHY IS THIS THE MOVEMENT? 340 00:23:34,613 --> 00:23:37,349 WHY ARE THEY PROTESTING? IT'S SUCH A WASTE OF TIME. 341 00:23:37,349 --> 00:23:40,952 WHEN THE WAR, THE WAR IS GOING ON." 342 00:23:40,952 --> 00:23:45,857 I DIDN'T UNDERSTAND. BUT OVER THE YEARS, I GOT TO 343 00:23:45,857 --> 00:23:50,061 KNOW GLORIA STEINEM AND ROBIN MORGAN AND FOUNDATIONAL 344 00:23:50,061 --> 00:23:53,565 FEMINISTS. AND SO I MADE MOVIES THAT WERE 345 00:23:53,565 --> 00:23:56,201 WOMEN CENTERED AND I WROTE BOOKS AND EVERYTHING. 346 00:23:56,201 --> 00:24:03,308 BUT WHEN I WAS FINALLY DIVORCED, THANK GOD, FOR MY FAVORITE 347 00:24:03,308 --> 00:24:09,281 EX-HUSBAND, I WENT AND SAW A PLAY "REGINA MONOLOGUES," 348 00:24:09,281 --> 00:24:09,481 " 349 00:24:10,549 --> 00:24:14,386 AND SHE WAS PERFORMING IT AND SHE WAS PERFORMING THE WHOLE 350 00:24:14,386 --> 00:24:19,391 THING. I WAS LAUGHING, I CAN FEEL MY 351 00:24:19,391 --> 00:24:24,329 FEMINISM MOVING FROM MY HEAD TO MY BODY AND I BECAME A EMBODIED 352 00:24:24,329 --> 00:24:31,236 FEMINIST. Stephen: LILY, WAS THERE OF 353 00:24:31,236 --> 00:24:34,973 PROFOUND MOMENT WHEN YOU SORT OF UNDERSTOOD THE GOALS ARE THE 354 00:24:34,973 --> 00:24:37,976 NEEDS FOR FEMINISM? Lily: YES BUT OF COURSE I 355 00:24:37,976 --> 00:24:41,847 WAS MUCH YOUNGER. I WAS A CHARRETTE AT THE AVALON 356 00:24:41,847 --> 00:24:49,154 THEATER IN DETROIT WHEN I WAS 14 AND I WAS WORKING ILLEGALLY. 357 00:24:49,154 --> 00:24:56,528 A >> Stephen: NO CHILD LABOR LAWS OF THE AVALON THEATER. 358 00:24:56,528 --> 00:25:00,565 Jane: MICHIGAN DETROIT. Lily: DETROIT, MICHIGAN, 359 00:25:00,565 --> 00:25:05,170 RIGHT. Stephen: HOW IS THE PEYOTE, 360 00:25:05,170 --> 00:25:06,171 JANE? GO AHEAD. 361 00:25:06,171 --> 00:25:14,913 YOU ARE A USHERETTE. Lily: GENTLEMEN PREFER 362 00:25:14,913 --> 00:25:18,250 BLONDES. ROSALYN RUSSELL. 363 00:25:18,250 --> 00:25:20,452 NO, JANE RUSSELL. MARILYN MONROE. 364 00:25:20,452 --> 00:25:23,655 THERE WAS A MIDDLE-AGED COUPLE LEAVING THE THEATER EARLY WHILE 365 00:25:23,655 --> 00:25:27,058 THE FILM STILL WAS BEING EXHIBITED. 366 00:25:27,058 --> 00:25:30,262 THE WIFE IS SAYING COME ON, LET'S GO. 367 00:25:30,262 --> 00:25:32,731 THE HUSBAND IS DRIFTING BACK. HE HAS TO WATCH THE PICTURE 368 00:25:32,731 --> 00:25:36,601 AGAIN AND AGAIN AND SHE SAYS COME ON, THEY DON'T HAVE ANY 369 00:25:36,601 --> 00:25:40,972 TALENT ANYWAY. AND HE SENT, THEY DON'T NEED AN 370 00:25:40,972 --> 00:25:43,808 ANY. Stephen: WHAT DID THAT MEAN 371 00:25:43,808 --> 00:25:47,979 TO YOU AT 14? Lily: THAT HIT ME, I 372 00:25:47,979 --> 00:25:50,382 FINALLY KNEW WHAT A CONSCIOUSNESS CLIQUE WAS AND IT 373 00:25:50,382 --> 00:25:54,753 OPENED THE BALL TO ME AND I FELT OF COURSE THAT MEANT THAT THE 374 00:25:54,753 --> 00:25:56,755 WOMEN WERE DIMINISHED. THEY WERE MARGINALIZED. 375 00:25:56,755 --> 00:25:59,190 THEY DIDN'T HAVE-- JUST HOW THEY LOOKED WAS GOOD 376 00:25:59,190 --> 00:26:01,092 ENOUGH. THAT WAS ALL THAT WAS IMPORTANT, 377 00:26:01,092 --> 00:26:05,430 NOT WHAT THEY WERE DOING, HOW TALENTED THEY WERE OR WHAT GIFTS 378 00:26:05,430 --> 00:26:08,934 THEY MIGHT HAVE OTHERWISE. JUST AS HUMAN BEINGS. 379 00:26:08,934 --> 00:26:14,406 MORE THAN JUST SHAKING AND JIGGLING, WHICH THEY WERE DOING 380 00:26:14,406 --> 00:26:18,209 PROFOUNDLY ON THE SCREEN AT THAT MOMENT. 381 00:26:18,209 --> 00:26:21,613 Jane: I AM JUST POLITELY LISTENING. 382 00:26:21,613 --> 00:26:24,015 Stephen: LET'S TALK ABOUT WOMEN AND TALENTS. 383 00:26:24,015 --> 00:26:29,354 BECAUSE YOU ARE BACK ON SCREEN TOGETHER STARTING THE NEW MOVIE 384 00:26:29,354 --> 00:26:32,791 "MOVING ON." LILY, I UNDERSTAND YOU CALLED OF 385 00:26:32,791 --> 00:26:34,592 THE WRITER-DIRECTOR. Lily: PAUL WEITZ. 386 00:26:34,592 --> 00:26:36,728 Stephen: IT'S HAD MAKE THIS MOVIE. 387 00:26:36,728 --> 00:26:42,233 Lily: I SAID WHY DON'T YOU WRITE A MOVIE FOR ME AND MY 388 00:26:42,233 --> 00:26:45,537 FRIEND. Jane: SIDEKICK. 389 00:26:45,537 --> 00:26:48,573 Stephen: HE SAID SURE. HE THOUGHT ABOUT IT AND HE WROTE 390 00:26:48,573 --> 00:26:51,176 ONE. Stephen: WHAT'S IT ABOUT? 391 00:26:51,176 --> 00:26:54,012 Lily: IT'S A REVENGE MOVIE KIND OF. 392 00:26:54,012 --> 00:26:59,417 Stephen: YOU ARE THE REVENGER'S. 393 00:26:59,417 --> 00:27:04,022 Lily: SHE IS WANTING TO BE THE REVENGER AND I AM KIND OF 394 00:27:04,022 --> 00:27:07,759 THERE TO STOP HER AND POUNDED SOME SENSE INTO HER HEAD. 395 00:27:07,759 --> 00:27:12,964 Jane: THAT'S NOT WHAT HAPPENS. 396 00:27:12,964 --> 00:27:16,368 Lily: I GET INTO GROOVE. ANYWAY, IT'S A BLACK COMEDY. 397 00:27:16,368 --> 00:27:21,406 IT'S VERY FUNNY. Jane: I DIDN'T EVEN KNOW IT 398 00:27:21,406 --> 00:27:23,274 WAS A COMEDY. Stephen: THOSE ARE THE BEST 399 00:27:23,274 --> 00:27:28,213 COMEDIES. THOSE ARE THE BEST COMEDIES. 400 00:27:28,213 --> 00:27:31,249 Jane: I SERIOUSLY DIDN'T. WHEN I FIRST SAW THE MOVIE WITH 401 00:27:31,249 --> 00:27:35,186 AN AUDIENCE, ORIGINALLY IN THE SCRIPT MY FIRST WORD WAS "I WANT 402 00:27:35,186 --> 00:27:36,287 TO KILL YOU. I'M GOING TO DO IT THIS 403 00:27:36,287 --> 00:27:40,692 WEEKEND." I MEAN, THERE WAS ANOTHER SCENE 404 00:27:40,692 --> 00:27:42,927 IN THE FINAL MOVIE THAT COMES FIRST. 405 00:27:42,927 --> 00:27:46,731 BUT YOU KNOW, WHEN I WENT TO THE THEATER AND I SAID THAT LINE IN 406 00:27:46,731 --> 00:27:52,370 THE PLACE BURST INTO LAUGHTER. I THOUGHT, WELL, I HAVE FAILED. 407 00:27:52,370 --> 00:27:55,407 Stephen: EVIDENTLY NOT. WE SHOULD ALL FAIL SO MUCH HERE 408 00:27:55,407 --> 00:27:57,809 WE HAVE A CLIP. CAN YOU EXPLAIN WHAT'S GOING ON 409 00:27:57,809 --> 00:28:04,049 IN THIS CLIP. YOU BOTH ARE IN A CAR AND WHY? 410 00:28:04,049 --> 00:28:09,754 Lily: A DOG WHO FIGURES IN MINIMALLY WAS BARKING AND 411 00:28:09,754 --> 00:28:14,993 CARRYING ON AND THEY WERE TRYING TO LEAVE WHERE I LIVE, THERE WAS 412 00:28:14,993 --> 00:28:18,663 A PARKING LOT AND THE DOG LEAPS OUT OF THE VAN FINALLY AND 413 00:28:18,663 --> 00:28:22,534 JUMPED INTO HER ARMS AND KNOCKS HER DOWN AND BREAKS HER ARM. 414 00:28:22,534 --> 00:28:25,236 Jane: SHE IS DRIVING ME TO THE EMERGENCY ROOM. 415 00:28:25,236 --> 00:28:29,808 Stephen: THANK YOU FOR THAT TAG TEAM EXPLANATION. 416 00:28:29,808 --> 00:28:32,243 THAT'S A PARTNERSHIP RIGHT THERE. 417 00:28:32,243 --> 00:28:35,380 JIM. HOW IS YOUR HIP? 418 00:28:35,380 --> 00:28:38,650 MY HIP IS FINE. SO IT'S JUST YOUR ARM? 419 00:28:38,650 --> 00:28:41,553 YES, IT'S JUST MY ARM THAT SEEMS BROKEN. 420 00:28:41,553 --> 00:28:47,792 I GUESS THAT'S LUCKY. I MEAN, FOR YOUR HIP. 421 00:28:47,792 --> 00:28:51,963 COME GOD, BE CAREFUL. MY GOD. 422 00:28:51,963 --> 00:28:57,402 THAT WAS A STOP SIGN. I CAN SEE THAT. 423 00:28:57,402 --> 00:28:58,103 NOW. HOW LONG IS IT BEEN SINCE YOU 424 00:28:58,103 --> 00:29:01,139 HAD A LICENSE? EIGHT YEARS. 425 00:29:01,139 --> 00:29:06,077 Stephen: LILY, SO LOVELY TO SEE YOU AGAIN. 426 00:29:06,077 --> 00:29:07,479 Lily: IS THAT THE END OF IT? 427 00:29:07,479 --> 00:29:10,682 Lily: IT IS THE END. JANE, LOVELY TO SEE YOU. 428 00:29:10,682 --> 00:29:13,551 "MOVING ON" WILL BE IN THEATERS MARCH 17. 429 00:29:13,551 --> 00:29:16,121 IT'S JANE FONDA AND LILY TOMLIN, EVERYBODY. 430 00:29:16,121 --> 00:29:20,058 WE'LL BE RIGHT BACK WITH MORE OF MY INTERVIEW WITH 431 00:29:20,058 --> 00:29:22,594 STEVEN SPIELBERG AND COMPOSER JOHN WILLIAMS. 432 00:29:22,594 --> 00:29:23,428 STICK AROUND. 433 00:29:39,444 --> 00:29:40,145 ♪ ♪ Stephen: WELCOME BACK, 434 00:29:40,145 --> 00:29:43,748 EVERYBODY. [CHEERS AND APPLAUSE] 435 00:29:43,748 --> 00:29:48,086 LADIES AND GENTLEMEN, LAST WEEK I HAD THE 436 00:29:48,086 --> 00:29:49,521 EXTRAORDINARY OPPORTUNITY TO SIT DOWN WITH 437 00:29:49,521 --> 00:29:50,622 STEVEN SPIELBERG AND COMPOSER JOHN WILLIAMS. 438 00:29:50,622 --> 00:29:51,923 THIS PAIR HAS BEEN WORKING TOGETHER FOR OVER 50 YEARS, 439 00:29:51,923 --> 00:29:54,058 AND THEIR MOST RECENT COLLABORATION, 440 00:29:54,058 --> 00:29:57,729 "THE FABELMANS," IS UP FOR SEVEN ACADEMY AWARDS THIS SUNDAY, 441 00:29:57,729 --> 00:30:01,666 INCLUDING BEST PICTURE, BEST DIRECTOR, AND BEST ORIGINAL 442 00:30:01,666 --> 00:30:06,437 SCORE FOR WILLIAMS, WHICH WILL BE HIS 53RD 443 00:30:06,437 --> 00:30:07,805 NOMINATION. WE WEREN'T ABLE TO FIT IN ALL 444 00:30:07,805 --> 00:30:13,478 OF OUR CONVERSATION LAST WEEK, SO TONIGHT I AM PLEASED TO SHARE 445 00:30:13,478 --> 00:30:18,516 THE REST OF MY CONVERSATION WITH THESE TWO HOLLYWOOD ICONS. 446 00:30:18,516 --> 00:30:20,051 JIM. JOHN WILLIAMS, THANKS FOR 447 00:30:20,051 --> 00:30:25,890 SITTING DOWN WITH US. IS THERE A FAVORITE SCORE FOR 448 00:30:25,890 --> 00:30:28,960 STEVEN SPIELBERG THAT YOU HAVE DONE? 449 00:30:28,960 --> 00:30:34,599 John: PROBABLY "E.T.." Stephen: IS THERE A REASON 450 00:30:34,599 --> 00:30:38,469 WHY THAT ONE HAS A SPECIAL PLACE IN YOUR HEART? 451 00:30:38,469 --> 00:30:41,372 John: STRUCTURALLY, THE DEVELOPMENT OF THE MUSIC, THE 452 00:30:41,372 --> 00:30:47,879 STRUCTURE WITH THE STORY WOULD BE MY ANSWER. 453 00:30:47,879 --> 00:30:51,683 WE REMEMBER THE FILM ON THE BICYCLES TAKE OFF IT PRIOR TO 454 00:30:51,683 --> 00:30:55,386 THE BICYCLES, YOU WOULD HEAR TWO OR THREE NOTES OF THE THING, 455 00:30:55,386 --> 00:30:59,891 THAT'S ALL IN THE NEXT TIME YOU MAY HEAR THREE OR FOUR NOTES. 456 00:30:59,891 --> 00:31:02,727 IT'S BEGINNING TO FORM IN YOUR MEMORY AS WE ARE GOING ALONG 457 00:31:02,727 --> 00:31:05,230 WITH THE THING. AS THE BICYCLES TAKE OFF, YOU 458 00:31:05,230 --> 00:31:16,874 HEAR ALL 12 OF THE NOTES ON THE MELODIES REALIZE AND FINISH. 459 00:31:16,874 --> 00:31:26,284 [SOARING ORCHESTRAL MUSIC] ♪ ♪ 460 00:31:26,284 --> 00:31:30,355 I LIKE TO BELIEVE THAT THE AUDIENCE HAS A SENSE OF 461 00:31:30,355 --> 00:31:37,695 COMPLETION AND SOMETHING HAS BEEN MADE AURALLY THAT HAS 462 00:31:37,695 --> 00:31:41,633 CREATED THAT VERY MOMENT. Steven: AND ALSO ITS GREAT 463 00:31:41,633 --> 00:31:43,868 SHOWMANSHIP. Stephen: TO BUILD IT THAT 464 00:31:43,868 --> 00:31:46,237 WAY? Steven: TO BUILD IT THAT 465 00:31:46,237 --> 00:31:47,972 WAY. I CAN GET AN AUDIENCE TO THE 466 00:31:47,972 --> 00:31:52,477 BRINK OF CRYING BUT JOHNNY'S MUSIC MAKES THE TEARS FALL. 467 00:31:52,477 --> 00:31:55,813 HE TAKES IT THE REST OF THE WAY, WITHOUT BEING SENTIMENTAL ABOUT 468 00:31:55,813 --> 00:32:00,551 IT. WITHOUT BEING MAUDLIN OR 469 00:32:00,551 --> 00:32:01,819 MAWKISH. Stephen: LETS GO AWAY FROM 470 00:32:01,819 --> 00:32:08,293 THAT EMOTION TO A DIFFERENT ONE. YOU SAID IN "E.T.," A NOTE HERE, 471 00:32:08,293 --> 00:32:11,195 TOO NOTES THERE. LET'S TALK ABOUT THE TWO MOST 472 00:32:11,195 --> 00:32:14,499 FAMOUS NOTES YOU'VE EVER PLAYED. LET'S TALK ABOUT THE "JAWS" 473 00:32:14,499 --> 00:32:17,535 SOUNDTRACK. WHY THOSE TWO NOTES? 474 00:32:17,535 --> 00:32:23,308 WAS THE BUDGET THAT TIGHT? Steven: I THOUGHT IT WAS A 475 00:32:23,308 --> 00:32:24,909 JOKE WHEN JOHNNY PLAYED IT FOR ME ON THE PIANO. 476 00:32:24,909 --> 00:32:28,313 HE CALLED ME UP AND SAID I HAVE THE THEME FOR "JAWS." 477 00:32:28,313 --> 00:32:31,215 COME OVER AND LISTEN TO IT AND I WENT RUNNING OVER TO JOHNNY'S 478 00:32:31,215 --> 00:32:34,719 HOUSE AND JOHNNY SAT DOWN AT THE PIANO AND HE WAS REALLY EXCITED 479 00:32:34,719 --> 00:32:39,290 TO PREVIEW FOR IT FOR ME, AND HE TAKES TWO FINGERS. 480 00:32:39,290 --> 00:32:53,638 HE DIDN'T NEED ALL TEN. HE GOES, "DUH-DUH, DUH-DUH." 481 00:32:53,638 --> 00:32:55,106 I STARTED LAUGHING. JOHNNY HAD A SENSE OF HUMOR BUT 482 00:32:55,106 --> 00:32:57,542 HE HAD NEVER TEASED ME BEFORE AND I THOUGHT IT'S A NEW SIDE OF 483 00:32:57,542 --> 00:33:01,012 JOHNNY. WE HAD ONLY DONE ONE MOVIE 484 00:33:01,012 --> 00:33:03,348 TOGETHER. NOW HE IS LOOSER. 485 00:33:03,348 --> 00:33:06,217 WE ARE BUDDIES AND HE CAN TEASE ME. 486 00:33:06,217 --> 00:33:11,989 HAND THEN SAY HERE'S THE REAL MUSIC AND HE SAID NO, I'M 487 00:33:11,989 --> 00:33:14,258 SERIOUS. Stephen: WHAT DID YOU TAKE 488 00:33:14,258 --> 00:33:17,395 OF HIS REACTION? John: HE DID SAY, YOU CAN'T 489 00:33:17,395 --> 00:33:18,730 BE SERIOUS. I SAID WE'LL TRY IT. 490 00:33:18,730 --> 00:33:24,335 CELLOS AND BASE. ONE NOTE. 491 00:33:24,335 --> 00:33:27,138 Stephen: WHAT WAS THE INSPIRATION FOR YOU? 492 00:33:27,138 --> 00:33:31,409 IT IS BOLD TO DO LESS. John: IT'S CERTAINLY A 493 00:33:31,409 --> 00:33:34,011 CHALLENGE. IT'S A CHALLENGE, HE GIVES ME 494 00:33:34,011 --> 00:33:36,647 THESE FILMS AND IT'S TERRIFYING. Stephen: WE HAVE BEEN 495 00:33:36,647 --> 00:33:37,949 TALKING ABOUT THE VALUE OF ANXIETY. 496 00:33:37,949 --> 00:33:40,985 WHAT IS THE VALUE OF ANXIETY FOR YOU? 497 00:33:40,985 --> 00:33:46,924 John: IT DOES A LOT. IT TRIGGERS, BEFORE A 498 00:33:46,924 --> 00:33:49,360 PERFORMANCE, CERTAIN ADRENALINE. Stephen: IF YOU'RE NOT 499 00:33:49,360 --> 00:33:52,764 NERVOUS, THEN YOU'RE NOT TRYING. John: OUR PERFORMANCE 500 00:33:52,764 --> 00:33:57,568 LEVELS WILL GO UP BEFORE A CONCERT, OR A FILM, RECORDING. 501 00:33:57,568 --> 00:34:01,005 I WAS THINKING, WHAT COULD BE THE SIMPLEST POSSIBLE THING? 502 00:34:01,005 --> 00:34:04,275 IT HAS TO BE LOW BECAUSE THE SHARK IS VERY DEEP. 503 00:34:04,275 --> 00:34:10,748 IT HAS TO BE SOMETHING THAT WHEN IT'S APPROACHING YOU, IT IS 504 00:34:10,748 --> 00:34:13,117 COMPLETELY UNSTOPPABLE, THERE ISN'T A FORCE ON EARTH IT'S 505 00:34:13,117 --> 00:34:18,222 GOING TO STOP A SHARK IN HIS ATTACK AND I THOUGHT TO MYSELF, 506 00:34:18,222 --> 00:34:27,832 IT'S MINDLESS BUT SOMEONE WHO KNOWS THAT WILL SAY THAT THE 507 00:34:27,832 --> 00:34:28,900 SHARK IS A VERY INTELLIGENT CREATURE AND NOT AT ALL 508 00:34:28,900 --> 00:34:30,101 MINDLESS. ANOTHER BIG ISSUE WITH US WAS 509 00:34:30,101 --> 00:34:33,171 THAT IF YOU PLAY THIS VERY SOFTLY AND SLOWLY, YOU ADVERTISE 510 00:34:33,171 --> 00:34:37,909 OR YOU ADVANCE THE THOUGHTS. THE SHOCK IS THERE JUST BY 511 00:34:37,909 --> 00:34:40,578 HEARING THE MUSIC. THERE IS NO SHARK NEARBY BUT IF 512 00:34:40,578 --> 00:34:44,081 IT SPEEDS UP AND COMES CLOSER TO YOU AND GETS LOUDER AND LOUDER, 513 00:34:44,081 --> 00:34:49,887 THIS SEEMED TWO NOTES. YOU'VE GOT AN ACTOR THAT YOU 514 00:34:49,887 --> 00:34:55,259 CAN'T SEE AND A THREAT THAT BY SOME PRIMORDIAL INSTINCT YOU ARE 515 00:34:55,259 --> 00:35:03,801 THREATENED BY, AS WE SHOULD BE BY A GREAT PREDATOR. 516 00:35:03,801 --> 00:35:06,304 [MUSIC ACCELERATES] Steven: THE SHARK WASN'T 517 00:35:06,304 --> 00:35:09,173 WORKING ANYWAY SO I DIDN'T HAVE SHARK. 518 00:35:09,173 --> 00:35:12,810 THE SHARK WAS IN THE SHARK SHED GETTING FIXED SO ALL I COULD DO 519 00:35:12,810 --> 00:35:16,581 WAS GO OFF AND FIGURE OUT, I'VE GOT TO MAKE MY MOVIE WITHOUT A 520 00:35:16,581 --> 00:35:18,182 SHARK. SO I DID. 521 00:35:18,182 --> 00:35:20,618 I SHOT A LOT OF SCENES WHERE THERE WERE SUPPOSED TO BE A 522 00:35:20,618 --> 00:35:23,921 SHARK BUT THERE WAS NO SHARK IN THE SCENE SO I STARTED MAKING 523 00:35:23,921 --> 00:35:30,761 STUFF UP. LIKE THE PURE GETS PULLED OUT. 524 00:35:30,761 --> 00:35:34,265 Stephen: YOU WANTED TO USE THE SHARK BUT YOU COULDN'T GET 525 00:35:34,265 --> 00:35:35,733 IT? Steven: THE SHARK WAS 526 00:35:35,733 --> 00:35:39,036 SCHEDULED BUT THE SHARK DIDN'T MAKE IT. 527 00:35:39,036 --> 00:35:41,239 IT WAS GETTING FIXED ALL THE TIME. 528 00:35:41,239 --> 00:35:44,675 JOHNNY SORT OF SAVED THE MOVIE BECAUSE HE BECAME THE SHARK AND 529 00:35:44,675 --> 00:35:48,412 THEN MUSIC SUBSTITUTED FOR THE ABSENT SHARK WHICH MADE IT A 530 00:35:48,412 --> 00:35:51,949 HELL OF A LOT SCARIER AND MORE SUSPENSEFUL THAN HAD I HAD THE 531 00:35:51,949 --> 00:35:54,552 SHARK WORKING PERFECTLY. Stephen: WHAT ARE THOSE TWO 532 00:35:54,552 --> 00:36:01,726 NOTES? John: ORIGINALLY THE E AND 533 00:36:01,726 --> 00:36:05,563 F. THREE NOTES REALLY. 534 00:36:05,563 --> 00:36:07,965 D. Stephen: I'M TERRIFIED JUST 535 00:36:07,965 --> 00:36:10,768 HEARING IT. "CLOSE ENCOUNTERS OF THE THIRD 536 00:36:10,768 --> 00:36:13,437 KIND." FIVE NOTES THAT ARE CRUCIAL TO 537 00:36:13,437 --> 00:36:24,682 COMMUNICATING WITH THE ALIENS. BUM-BUM-BUMBAH-BUM. 538 00:36:24,682 --> 00:36:28,886 WHY THOSE FIVE NOTES? John: I HAVE PAGES OF 539 00:36:28,886 --> 00:36:31,522 ATTEMPTS. KEPT COMING BACK TO THIS ONE. 540 00:36:31,522 --> 00:36:38,796 WHY THOSE NOTES? [HUMMING] 541 00:36:38,796 --> 00:36:42,199 IT'S OVER, THAT'S THE RESOL RESOLUTION. 542 00:36:42,199 --> 00:36:53,744 NOW WE GO DO, SOL , IT IS LIKE "AND" OR "BUT," IT'S A 543 00:36:53,744 --> 00:36:56,681 CONJUNCTION. Stephen: A CONTINUING ST 544 00:36:56,681 --> 00:36:59,584 STORY. John: AFTER-THE-FACT 545 00:36:59,584 --> 00:37:02,119 RATIONALIZATION. Stephen: THAT'S WHAT IT 546 00:37:02,119 --> 00:37:04,522 FEELS LIKE. John: THAT'S WHAT IT FEELS 547 00:37:04,522 --> 00:37:06,390 LIKE. IN THE LATIN TRADITION. 548 00:37:06,390 --> 00:37:10,328 I DON'T THINK I CAN SING IT. IT'S ONE OF THOSE THINGS IT 549 00:37:10,328 --> 00:37:13,631 SEEMS TO BELONG TO CIVILIZATION. BUT I THINK IF YOU END A 550 00:37:13,631 --> 00:37:17,168 SENTENCE AND START SOMETHING ELSE WITH A SHORT CONJUNCTION OF 551 00:37:17,168 --> 00:37:26,344 ONE OR TWO NOTES, WILL DRAW YOU IN RATHER THAN [HUMMING] 552 00:37:26,344 --> 00:37:28,512 IT'S OVER. THAT'S A VENDING. 553 00:37:28,512 --> 00:37:29,647 Steven: IT'S ALSO A CONVERSATION. 554 00:37:29,647 --> 00:37:36,187 I CAN SEE IN THE SCRIPT THAT MUSIC IS HOW THEY FIRST MAKE 555 00:37:36,187 --> 00:37:40,825 EACH OTHER'S ACQUAINTANCES, THROUGH MUSIC. 556 00:37:40,825 --> 00:37:59,877 [DELICATE MUSIC] ♪ ♪ 557 00:37:59,877 --> 00:38:01,746 [BOLD MUSIC] Steven: I DON'T KNOW WHERE 558 00:38:01,746 --> 00:38:06,350 THAT CAME FROM, PROBABLY MY FATHER WHO WAS A MATH GENIUS. 559 00:38:06,350 --> 00:38:10,187 MY MOM WAS A MUSICAL GENIUS. Stephen: I READ THAT YOU 560 00:38:10,187 --> 00:38:12,256 IMAGINE THAT MATH WOULD BE THE LANGUAGE. 561 00:38:12,256 --> 00:38:16,293 Steven: MUSIC IS MATH IN THAT SENSE. 562 00:38:16,293 --> 00:38:19,330 I DIDN'T WANT THEM PUTTING COMPLICATED EQUATIONS ON 563 00:38:19,330 --> 00:38:22,533 BLACKBOARD SO THAT MUSIC WILL BE THE QUICKEST WAY TO THE HEART OF 564 00:38:22,533 --> 00:38:25,703 THE AUDIENCE TO GET THEM TO UNDERSTAND THIS SORT OF FIRST 565 00:38:25,703 --> 00:38:30,541 CONTACT BETWEEN AN EXTRAORDINARY EXTRATERRESTRIAL CIVILIZATION, 566 00:38:30,541 --> 00:38:33,077 ADVANCED CIVILIZATION AND WE HERE ON EARTH. 567 00:38:33,077 --> 00:38:36,213 Stephen: PEOPLE WERE UNDER THE IMPRESSION THAT 568 00:38:36,213 --> 00:38:39,483 "THE FABELMANS" WOULD BE YOUR LAST SCORE AND THAT YOU'D BE 569 00:38:39,483 --> 00:38:42,586 RETIRING BUT NOW I UNDERSTAND THAT THAT'S NOT NECESSARILY THE 570 00:38:42,586 --> 00:38:45,890 CASE. IS THAT MAN TO BLAME? 571 00:38:45,890 --> 00:38:49,860 IS HE ROPING YOU BACK IN? John: HE WOULD BE CERTAINLY 572 00:38:49,860 --> 00:38:51,962 TO BLAME. I MUST'VE PUT MY FOOT IN MY 573 00:38:51,962 --> 00:38:55,633 MOUTH SOMEWHERE HAVING SAID TH THAT. 574 00:38:55,633 --> 00:38:59,103 STEVEN IS A LOT OF THINGS BUT HE IS A MAN THAT YOU CAN'T SAY NO 575 00:38:59,103 --> 00:39:01,739 TO, THAT'S FOR CERTAIN. I WANTED TO SAY AT THE 576 00:39:01,739 --> 00:39:05,943 BEGINNING, WE HAVE BEEN TOGETHER 50 YEARS WHICH IN ANY KIND OF 577 00:39:05,943 --> 00:39:08,512 MEASURE, COSMIC MEASURE OR SPIRITUAL MEASURE, IT'S A VERY, 578 00:39:08,512 --> 00:39:11,882 VERY SHORT TIME. WITH TIME. 579 00:39:11,882 --> 00:39:14,418 Steven: EARTH TIME. John: I WANT TO THINK OF IT 580 00:39:14,418 --> 00:39:19,223 AS A GOOD START. THAT WE CAN GO FROM HERE FOR 581 00:39:19,223 --> 00:39:25,362 ANOTHER 50 YEARS. Stephen: THANKS AGAIN TO 582 00:39:25,362 --> 00:39:26,797 STEVEN SPIELBERG AND JOHN WILLIAMS. 583 00:39:26,797 --> 00:39:30,668 YOU CAN WATCH "THE FABELMANS" IN THEATERS AND AT HOME NOW. 584 00:39:30,668 --> 00:39:31,936 WE'LL BE RIGHT BACK. 585 00:39:51,756 --> 00:39:53,090 Stephen: THAT'S IT FOR "THE LATE SHOW," EVERYBODY. 586 00:39:53,090 --> 00:39:54,992 TUNE IN NEXT WEEK WHEN MY GUESTS WILL BE 587 00:39:54,992 --> 00:39:59,330 REGE JEAN-PAGE, JOHN MAYER, AND VICE PRESIDENT 588 00:39:59,330 --> 00:40:02,032 KAMALA HARRIS. STICK AROUND FOR JAMES. 589 00:40:02,032 --> 00:40:02,833 GOOD NIGHT!