Larry King Live Weekend:Discussing Out Of Sight
source:CNN, USA, aired June 27, 1998 - 9:00 p.m. ET

Welcome to this edition of LARRY KING LIVE. Our special guest is George Clooney. His new film: "Out of Sight," from Universal, opened yesterday. Wide, as they say. I saw it on Thursday. It is terrific. If you liked "Get Shorty" you're going to love this. It's in the Elmore Leonard tradition. Did you take this right away?

GEORGE CLOONEY, ACTOR: The second -- I read four pages of it.

KING: Even though the guy is a quirky bad guy who robs banks? What did you like about it?

CLOONEY: I liked the guy; I liked it because he was a quirky bad guy who robbed banks.

KING: It fit.

CLOONEY: The minute I -- literally, I was four pages into it, and I called somebody and said, "this is the job I want to do."

KING: The guy who wrote it also wrote "Get Shorty."

CLOONEY: The screen writer, yeah.

KING: That is a unique talent, to translate Elmore Leonard to film.

CLOONEY: Because Elmore is not that easy to translate. It's not always been successful, because a lot of times when you write a script, what you end up writing is the story itself, the plot. Well, the plots aren't always that interesting. What's really interesting are the characters. And that's what a lot of times gets thrown out when you write the screenplay. It didn't happen here. It's great.

KING: Was it fun? You looked like you were having a great time. Was it fun to make?

CLOONEY: It was a blast. The scariest thing -- I think the biggest fear we had was we loved the script. It was all the Jersey

films people, people who did "Get Short" and "Pulp Fiction." The same producers. Loved Steven Soderbergh, the director.

This cast that came together, you couldn't have been happier with. And then shooting it, we just laughed and had a blast, so our big fear was screwing it up. I saw the film about 10 days ago for the first time, and it was just a giant sigh of relief because it was everything it should have been.

KING: Unlike "Pulp Fiction" and "Get Shorty," all characters are quirky. There was no, quote, "normal person."

CLOONEY: Except for myself.

KING: You're one of the most normal in this. Very important is the chemistry between you and Miss Lopez. Did that work right from the start?

CLOONEY: Immediately. I got her drunk and it seemed to work.

KING: Were you happy with that right away? That's not guaranteed.

CLOONEY: Well, you know, the thing is you know you're doing your job when the scenes are working. You know the scene works when you're shooting it. But you don't know whether or not there's any chemistry, and you can only find that out when you see it. It's pot luck.

KING: "The Wall Street Journal" compared your scene in the trunk with her -- the trunk of a car, a moving car -- to Claudette Colbert and Clark Gable in "It Happened One Night." That's one of the great build-up romance scenes.

CLOONEY: But they said that I was Claudette Colbert, and I was really upset by that. It didn't seem right at all.

KING: Doing that, did you say: boy, this is great stuff? I mean, the material is terrific?

CLOONEY: Again, the whole -- the secret to this film is, you know, every film has to have one thing that we're going to accept that's out of the ordinary -- it's an asteroid hitting the earth, or a dinosaur walking through New York -- and this is a federal marshall being held hostage in the trunk of a car. And by the end of the trip you're talking about movies, and maybe you're going to fall in love.

It was a tough thing to see, and we didn't know if we could do it. We didn't know if we could make it work. We shot that scene a couple of times, in fact, just to get it right. Now...

KING: ...Who came up with Albert Brooks, in a completely ridiculous role for Al -- totally different.

CLOONEY: Isn't it great? He's so funny with his bald cap on. A lot of people don't recognize Albert until much later. That was Steven Soderbergh.

KING: And then no surprise, because it's been revealed. It's a surprise when you're sitting there: Samuel Jackson.

CLOONEY: Sam Jackson, who's...

KING: ... got an unbilled last scene.

CLOONEY: In the last scene, and Michael Keaton does -- plays the same character he played in "Jackie Brown" -- the exact same guy. And he comes in and does a -- both of them do two just, I think they're hysterically funny, scenes.

KING: Does this now mean that with "Out of Sight," which opened yesterday, means George Clooney is now: movies, period?

CLOONEY: No. I still have another season of the show. I'm going to continue to do that, and then...

KING: One full season left of "ER."

CLOONEY: Of "ER." That will be my five-year contract. And then after that I'll come back and do it when we have something to do, if we have some arc stories, or something like that, I'll come back and do the show.

KING: You're not leaving-leaving?

CLOONEY: I'm not leaving the show at all. I'm not just going to do it on an everyday basis after my contract is up. For a number of reasons; one is because I'm not a -- I don't have a whole lot of tricks in my bag. After five years, I'm kind of running out of interesting things to do with the guy.

But also, the show itself -- if it's going to survive and last any period of time, it does need to keep bringing new people in.

KING: So it needs a fresh new face?

CLOONEY: Younger. Somebody...

KING: ...Young.

CLOONEY: ... Young. And handsome.

KING: Thirty-two.

CLOONEY: Sure.

KING: George Clooney is our guest. The movie is "Out of Sight," from universal. And that's a good description of it. It is out of sight. Don't go away.

(COMMERCIAL BREAK)

KING: We're back with George Clooney. Did you fear that what would happen to you would happen to the guy from "NYPD Blue?" That films for Carusso wouldn't work.

CLOONEY: No. You don't think about that. You just take jobs when you get them. The truth is...

KING: ...You don't say: how did I do? Or how's it doing? Or whatever.

CLOONEY: You always check and see how they're doing? And it's been -- it would be a lie to say it wouldn't be nice if they were successful. But my career in television -- this is the 15th year in a row I've been on a television series -- one series or another. A lot of them have been bad, and a lot of them haven't been successful. And I've managed to keep working.

What I find now is that I have to treat my film career kind of like I did television, which is, eventually, you have to try and do better and better projects, and hope that you'll have a long enough career that you'll be able to do good -- you'll be able to work in good films.

KING: Your father did news?

CLOONEY: Yes.

KING: Did you ever want to do that?

CLOONEY: I tried. I wasn't any good at it. I had studied journalism in college.

KING: You probably (INAUDIBLE) up too much.

CLOONEY: Well, no, it was worse than that. You know, I was never smart enough. It took someone who could be very quick on their feet and ask the right questions. I could be funny, you know, but that's not necessarily...

KING: ...Tiananmen square was not your...

CLOONEY: ... Yeah, move out of that tank. Stand here for that tank.

KING: Was your father was a good influence on you?

CLOONEY: Yeah. He still is. He's -- I find that more, almost -- more often, now, I find myself taking up fights that he's been fighting for years, about journalism and about things that were important to us, and especially to him.

KING: You wrote an article in Brill's first magazine.

CLOONEY: Oops.

KING: Were you happy with that?

CLOONEY: I'm very happy with it. It wasn't meant to be -- it was only meant to be a small story, which is what it was. It wasn't meant to be talking about myself, or my experiences, but basically to

talk about my growing up, or the understanding that I had about what journalism was when we were wrong.

KING: The basis of the rub was, if rub is the correct word, is they did it better back then.

CLOONEY: Not necessarily that they did it better, just that it was done differently. When I was growing up -- I'm 37 -- so when I was growing up, it was in the heart of Woodward and Bernstein, and before that, Murrow and Cronkite, and the people who really -- we didn't just look up to them, we looked to them for information and leadership.

They were always kind of the check and balance of everything. And the questions now were not that those don't exist anymore, because they do and there are still a lot of them out there -- men and women that were killed reporting the news. It's -- the problem is the other organizations and how they try to -- the "Hard Copy's," they'll get an X-news anchor and and X-news director, and they'll dress it up like news, and they want you to think it's news. And they're succeeding.

KING: Are they fooling us? Or do you think we know, but we just enjoy it for some perversion?

CLOONEY: It could be. But the problem is that at some point the line does get crossed. The danger is how we get our information. What we look to. Much more importantly is that I and other people will look to the news and say, well, that's all just crap. That's dumb because it isn't. There's a lot of important information out there, and a lot of people who are working very hard to do it.

KING: In other words, the bad apples spoiling the bunch?

CLOONEY: I think so. My feeling was that since the tabloids really want that issue murky. They want you to think that. Then my question was, or my thought is, that, we need those guys that we looked up to, and still look up to, to say this is what we are going to tell you, what we are going to do to give you your news; which is reliable sources.

KING: You could have backed off this and just said: I don't care. (INAUDIBLE) Are you basically an activist, by nature?

CLOONEY: No. Maybe.

KING: I think you are.

CLOONEY: I think more than anything, you get to a certain point in your life, and you screw up enough franchises, blow the bad franchises -- Dreamworks -- I destroyed those, so I figured I should do something.

You get to point in your life where you have to take stands with things that you believe in. And this was something that I, in a way, was sort of backed into. You draw the line and say: OK -- this -- I have to stake a stand, or I'm a jerk.

KING: By the way, does your dad love hosting movies?

CLOONEY: He loves it.

KING: He's the voice of AMC.

CLOONEY: Of AMC.

KING: We're back with George Clooney. This is a terrific movie: "Out of Sight." You will love this movie, unless you are completely normal. Don't go away.

(BEGIN VIDEO CLIP, "Out of Sight")

VING RHAMES, ACTOR: Do you realize what you're doing, Jack? Worrying about a woman who works for law enforcement. You want to sit down and have cocktails with a woman who tried to shoot you. Do you hear what I'm saying?

CLOONEY: Do you think this old guy right there is her boyfriend? It's the only picture she has of him.

RHAMES: Am I going to Detroit by myself? Jack, the longer we stay here, the better chance there is that either Grinn's (ph) going to screw up the score, or we going to get busted, or both.

(END VIDEO CLIP)

(COMMERCIAL BREAK)

KING: We're back with George Clooney. You're going to be in "Thin Red Line," huh.

CLOONEY: Yeah. I don't want to make too much of that. I have a tiny, tiny part. There are guys there who worked...

KING: They have got Travolta, Sean Penn, Nick Nolte. That was some book.

CLOONEY: It's a great book. It's a great -- you know, this is guy named Terrence Malick who has only directed two films in 30 years.

KING: Really?

CLOONEY: "Bad Lands" and "Days of Heaven." Two films, especially "Bad Lands" I think is one of the -- probably one of the top ten films, and I met with him once, when I heard he was going to do this film -- because he hasn't done a film in 20 years. I wanted to get the big secret. What's going on? Where were you for the last 20 years? "Well, I went to Paris, just kind of hung out." There's no story. That was -- he is one of the best filmmakers I've ever seen. And I wanted a chance to work with him, so I called him up and said I'll carry your camera cases, or whatever.

KING: Yours is a cameo, like you'll work for five days?

CLOONEY: I worked for even less than that. I worked for two days. So that's why I try to make sure that not too much is made of it. There's a lot of guys -- young men, and Sean Penn and Woody Harrelson -- people who were there for months, and I don't want to. You don't want to be part of trying to glum on to that.

KING: How's your aunt doing? Rosie (ph) was sick.

CLOONEY: She was very sick. She almost died. She had a temperature of 107 degrees, which I didn't think was possible.

KING: Did you stay with her when you moved out here?

CLOONEY: Yeah. I did. I lived in her house...

KING: She married to Joe Ferrer (ph)?

CLOONEY: No, no, no. She had been long divorced from him. She had been Dante then -- she was living (INAUDIBLE) with Dante for...

KING: Now they're married.

CLOONEY: Finally. You know, why wait till the last minute?

KING: She was that bad off?

CLOONEY: She was really sick, really, really sick. We all thought -- I called the hospital and asked if I should come out, and they wouldn't tell you her condition over the phone. I said, well, then, I'll ask you if I should go up tomorrow and if I leave tomorrow instead of today is that a bad idea. They said, yes, sir, that's a very bad idea. So they thought she was going to die. She was in a coma.

KING: What pulled her through? Rosie herself. She's a very determined person.

CLOONEY: She's tough. In general, she's fairly healthy. She just -- she got spinal meningitis, and at the same times -- a million went wrong just at once. She's fine now. She back on the road. She was just at Carnegie Hall. She's going to do the Rose Bowl here.

KING: She still sings?

CLOONEY: Oh, man. It's funny, there's a thing you learn from watching her now, which is that she doesn't -- she says she doesn't have to show off anymore. She serves the songs. She doesn't have to prove she can sing anymore. She doesn't have to go all over the place. She just sits there and sings.

KING: What was it like when you came out here -- young guy, you're looking for -- You're staying in Rosie Clooney's house. You said in some way, you thought you lived in a closet or something.

CLOONEY: That was later. I lived in a buddy of mines closet.

KING: You lived in the closet?

CLOONEY: I'm out of the closet now, actually.

KING: Some tabloid will take that?

CLOONEY: Believe me, I know. It was wild to come out because I was staying at Rosemary's house, and I had no money at all.

KING: Did you have any odd jobs? Were you a waiter somewhere?

CLOONEY: I never worked in the food service industry.

KING: What did you do?

CLOONEY: I did construction work mostly and odd jobs.

KING: Wore a hard hat?

CLOONEY: No. It was kind of softish.

KING: You constructed (INAUDIBLE)?

CLOONEY: Wasn't a great look.

KING: What were the knock around days like when everybody is good looking? Right, there's a hundred guys, for sure.

CLOONEY: Every guy you audition. It's weird. It's funny because as you grow older, you still see a lot of those guys around. And it's always very -- it's always a really great feeling that see the guys that survived this because it's a long run.

KING: Odds of -- are 10,000 to one.

CLOONEY: Probably much higher than that. People hit at different times in their lives. There would be guys that were very successful when I was sleeping on the floor of a closet, who were good friends of mine. Then they've struggled as I've not. It's kind of back and forth, and it's very fun to see us all, to run into these guys and look over and say, we've had a long journey together. It's an interesting community, the acting community. I like it.

KING: It's the most out of work community. Right (INAUDIBLE) on average.

CLOONEY: Ninety-five percent unemployed, I think, in the union, something like that.

KING: What keeps you going through rejections?

CLOONEY: Drinking.

(LAUGHTER)

CLOONEY: Drinks and the drug abuse.

KING: It worked for you.

CLOONEY: If you can do those two...

KING: You've got it made.

CLOONEY: ... they say, we don't like you. You go, that's all right.

KING: (INAUDIBLE) when you say, you know, I can go get a regular job here.

CLOONEY: Probably because I couldn't. I probably found out the only thing that someone of my intelligence was able to somewhat succeed at. You know, the thing is, if you're making a living, after the first couple of years where I really struggled, after that, I was on some series or another. Now, they weren't great series and I wasn't very good. But I was making a pretty good living. Even when you're on a bad show, if you're making a living, you're beating the odds.

KING: What was your, for want of a better word, your break?

CLOONEY: "ER" was my break by far.

KING: We'll find out how you got that. George Clooney is our guest. By the way, on September 19th on our sister network TNT, we're doing a whole tribute to "ER." We're going to do it from the hospital with the whole cast. That's right at the time "ER" will be seen in syndication. You're going to be everywhere you know.

CLOONEY: And I'm sick of me, right now.

KING: He will be in syndication on TNT, in addition to another full run next year on network. George, things are OK, George. You don't -- expand from the closet. We'll be back with more. The movie is "Out of Sight" from universal. Don't go away.

(COMMERCIAL BREAK)

KING: This will be his last year on "ER." He stars in "Out of Sight." He will do a cameo appearance in "Thin Red Line." Another feature coming?

CLOONEY: I'm going to do another film with Steven (ph) next year, the same director who directed this one -- a film called "Leatherheads (ph)" about the beginnings of the NFL.

KING: No kidding?

CLOONEY: Yeah. It's really fun.

KING: The start of the league back in the '30s -- George Hallace (ph) days. Are you going to play one of the early stars?

CLOONEY: It's not based on a true story, but it's based on kind of an overall -- it's when college football was very big and the professional leagues, they were -- they had no role.

KING: I think "Red" Grange got $10,000 a year. He was the highest paid.

CLOONEY: This is as the leagues were starting to fall apart.

KING: Who do you play?

CLOONEY: It's not really -- it's no one you would know, but he is just...

KING: He's a player?

CLOONEY: Oh, yeah, he's a football player who doesn't want to give up the old football days. It's one of the funniest scripts I've ever read. And it's a great love story in it -- great love story.

KING: Who's the girl?

CLOONEY: I don't know.

KING: Did you like "ER" right away, did you say yes?

CLOONEY: I fought for it. I was under contract to Warner Brothers. Les Moonves was the president of Warner Brothers and I was literally -- personally under contract to him. I was, kind of, leaked this script and I was supposed to do another project that was developed for me.

KING: What had you done right before "ER"?

CLOONEY: I was doing "Sisters," as a -- but only a guest star basis -- on a week to week basis. It was basically paying off my holding deal, and I waiting to try to find a project that was developed for me. We were developing a sitcom, and were developing an hour show. So I was working both genres. Then this script, out of the blue, came up, and they snuck it to me -- one of the casting directors did, and I read it, I and called up John Wells (ph), the executive producer, and I said "I'm the guy for this job."

KING: Why did you like it so much?

CLOONEY: Because I thought it was -- because I thought it was the only project I'd seen in television that didn't condescend to the audience.

KING: Never panders?

CLOONEY: It never did. It was a funny thing too, because the powers that be at the time, even after they saw the pilot, thought it was far too complicate, and audience wouldn't catch up. Then they tested it -- and it tested through if roof. And they thought, well maybe we were wrong. Because there were 50 story lines and they weren't tied up. And they thought, well this was too complicated for the normal American citizen. And in fact, that happens a lot when they talk about this film. They'll say isn't it -- because you know, you're not explaining it all, and things get...

KING: Will they get it?

CLOONEY: Will they get it. And I, you know, you look back at the television shows that have been successful over the years, the "Cheers" and the "Seinfeld's" and the "Mash"...

KING: They're all very...

CLOONEY: ... very smart television shows, and "ER." So, I think we can get it, it just needs to be entertaining.

KING: Was "ER," we'll ask you more of this in September, but basically on that subject, was it a tough show to do, physically?

CLOONEY: It still is. It's a very tough show to do, because there are so many things you're doing. You're learning a dialogue -- you're learning Latin basically, and you're -- you also have to work a choreography out where you have to be a doctor, and you have to do the physical things. And even tougher than being a doctor at times, you can't hurt the people you're working on, because they're extras, you know, so you don't really want to crack their chests, when (INAUDIBLE).

KING: Does it give you a new respect for emergency rooms?

CLOONEY: Oh. I think our show, and I mean this as a compliment to the doctors and people that we work with on the show -- I think our show has done a lot to help emergency rooms, just for the people who get stuck in the waiting room, now they have an understanding of some of the stuff that goes on back there.

KING: Absolutely true. It's always a specialty now, emergency medicine is, in and of itself, a specialty.

CLOONEY: And should be. Because it's a war zone.

KING: What kind of person, do you think, likes it, wants to be in that scene?

CLOONEY: Wants to be in...

KING: It's the least paid (INAUDIBLE).

CLOONEY: I don't know how you could. They just have to be adrenaline junkies.

KING: Right.

CLOONEY: We've been to some of the hospitals in Chicago and hung out, and when we were getting ready to do the series, we spent some time in hospitals. It was what you find is it's a war zone in some of those inner-city places where a good two-thirds of the people who were coming in were handcuffed to the gurneys and were armed guards and, you know, 12-year-old kids shot to pieces.

KING: And yet, you got to work like hell to save a life.

CLOONEY: Yeah, and rightfully so because it's about economics and education and things that are...

KING: George Clooney. The new film is "Out of Sight." We'll talk more about then we'll meet Ming-Na Wen. All of that follows this. Don't go away.

(COMMERCIAL BREAK)

KING: Our remaining moments with one of my favorite people, George Clooney, who's finally got a breakthrough movie in my opinion. This one's gone through the roof. "Out of Sight" from Universal, based on the Elmore Leonard novel with a terrific cast -- I mean, diverse. Whoever did the casting -- was it the director?

CLOONEY: The director. All the compliments go directly to this director. He is -- he is something.

KING: You had to like your character, right?

CLOONEY: I loved him.

KING: Do you have to like your character?

CLOONEY: I think if the movie works you're gonna have to like -- I think you have to like almost all the characters, even the really rotten ones. I think that's kind of fundamental in most...

KING: 'Cause you don't like into the -- you don't look in the mirror and say, "I don't like myself," right?

CLOONEY: No. No. Actors never -- I mean, you're not supposed to anyway.

KING: Why do you like being someone else?

CLOONEY: Well, see, now that's a little personal. I don't know if I'll answer that.

KING: Go ahead, George.

CLOONEY: Well, you know

KING: Trust me.

CLOONEY: I've never trusted you. Never trusted you.

KING: Trust me, George.

CLOONEY: It hurts me. I always wanted to be you, Larry. But it's -- I don't know. You know...

KING: I'd kill to be you, George.

CLOONEY: I just tried to find -- I'll give you this hair if you like.

KING: What happened to your hair, by the way, George?

CLOONEY: Just I lost a bet.

KING: Skeezix.

CLOONEY: It's not good, is it.

KING: No, I like the colors.

(LAUGHTER)

CLOONEY: It's Tony Francioso (ph). I've got his hair.

KING: Why do you like being other people?

CLOONEY: I don't -- I just like the job I do, and it's fun to be able to -- it's fun to be able to go -- be someone else for, you know, three months and then come back and forget who you are.

KING: When you're doing it, is it a hundred percent, I mean, there's gotta be you in everything thing you do, right? There's gotta be Clooney. But Anthony Quinn told me once that you try to be that person totally, tuning out other things.

CLOONEY: Right. Well that's -- Anthony Quinn's, you know, a tremendously talented actor. I'm just a...

KING: You don't think you're very good?

CLOONEY: Oh, I think I'm fine. I don't -- but I didn't -- y'know, I'm the guy who's sitting there playing poker with the other guys until they say, "speed," then I get up and do the scene.

KING: And Tony's out, as Jackie Gleason said, marinating.

CLOONEY: Exactly. I was -- exactly. I was the -- y'know, my heroes, growing up, were -- as actors -- were Spencer Tracy, y'know. I liked those guys who looked down at their mark on the floor and stared at it, and then looked up at somebody in the eye, and you'd go, "God, that was a great moment." And Katharine Hepburn goes, "He was looking at his mark." I like those guys. They make me laugh.

KING: Do you think, ever, careerwise, that your looks get in the way? So the people can't say, "Gee, he's really good because he is a striking looking guy."

CLOONEY: Oh, I'm foxy. I think I'm foxy.

KING: You are foxy.

CLOONEY: I don't know. I -- no, I don't know. I actually don't know.

KING: You think.

CLOONEY: I don't really know how to answer that...

KING: Well, do you think somewhere someone's talking about a role that you might fill greatly but they feel, "Well, he's just -- he looks too good?"

CLOONEY: Well, it would depend on the day you caught me. I mean, we're in a business where when things are going well, you're pretty much right for anything, and when things aren't going well, you're wrong for anything. It doesn't matter what you look like or who you are. If you have an understanding of it.

I have an understanding of it, because of my Aunt Rosemary being very successful in 1950, and by 1960 she wasn't. And along that way, she didn't become less of a singer.

KING: Right.

CLOONEY: So you realize that your talent doesn't necessarily go away, maybe it does, but most of the time it doesn't. And as all of that -- all of this kinda hoopla comes and goes, it has very little to do with you. And so, when things go well, they'll give you any kind of a part you want, doesn't matter what you look like. And then when things aren't going well, I'll be, you know, back to dinner theater.

KING: Do you -- do you feel "Out of Sight" is your breakthrough movie?

CLOONEY: I don't...

KING: Don't you feel it?

CLOONEY: I feel as if...

KING: You know it's great work.

CLOONEY: I feel it's the best film I've been involved in. And I feel it's the best part I've had in a film. And, after that, I can't be respon -- I can't really focus on how it performs or what people think of it, because I don't have any control over that.

KING: Do you get nervous -- or not nervous may be the wrong word -- about weekend totals? What's the Monday morning take?

CLOONEY: You pay attention to them. You pay attention to 'em because if you -- if they do well, then you get to do more of them. And more of them meaning that when -- if this movie is to do well, not over the weekend, 'cause this isn't the kind of movie that breaks out over the weekend. This is the kind of movie that sticks around all summer.

KING: And big word of mouth.

CLOONEY: Big word of mouth. And it's designed that way. It was never designed to be the -- it doesn't have big action sequences and so forth. So, this weekend isn't as important as like a "Batman" or a film that really relies on an opening. So, this one would -- is --

you only get nervous in the sense that you want to be able to do -- I want to be able to do another movie with Steven Soderbergh the way we did this last one. Where you go to this director, you say, "You are the best, we have the best script, you went and got the cast that you wanted as a director, and we made it the way you wanted to make it." And that's why it feels like an independent -- or it feels like a film -- it feels like a Hal Ashby film from 1975.

KING: 'Cause it is a rom -- it is certainly a light romantic, funny movie that's also pretty rough...

CLOONEY: It is.

KING: It has some hard edges.

CLOONEY: And it's funny. I'm not one -- I'm not all that apt to go see a romantic comedy. I'm fairly tainted. And I -- but this isn't necessarily a romance.

KING: You can't type it.

CLOONEY: No.

KING: It is what it is.

CLOONEY: Yes it is. Well it's like -- y'know, I was watching this interview with, I think it was Capra, and he was talking about how he never made a certain genre of film. He made...

KING: He just made a movie.

CLOONEY: He made a movie, and if they laughed it was a comedy, if they didn't it was a drama. And in a way, that was the way films were for a long period of time. And it feels like that now.

KING: George...

CLOONEY: Hey.

KING: ... all the luck, man.

CLOONEY: Thanks.

KING: See you on the 19th of September, for our big special. George Clooney -- new movie, "Out of Sight." You'll love it.