Return to Transcripts main page

CNN Larry King Live

Interview With Jennifer Aniston, Clive Owen

Aired November 08, 2005 - 21:00   ET


JENNIFER ANISTON, ACTRESS: (INAUDIBLE) got your money and you'll never see it and you sliced it open. I made you look.


LARRY KING, CNN HOST: Tonight, Jennifer Aniston, one of America's most written about, read about, talked about stars talks from TV's "Friends" to the big screen. We'll cover it all with Jennifer Aniston and Clive Owen, co-star in her latest movie next on LARRY KING LIVE.

Welcome to LARRY KING LIVE. This Friday night, November 11th, a terrific movie is going to open. It's called "Derailed" and its co- stars are Jennifer Aniston and Clive Owen. It is very intense. It's rated R. It deals with a couple who are not with each other who then get with each other and then something happens and it gets -- it really -- trust me you're not going to go get popcorn when this one is on. Why did you take it Jennifer?

ANISTON: Just for every reason you just said, very intriguing.

KING: Why did you decide to do this kind of role?

ANISTON: Well, it was a -- it was just a different part than usually comes my way so I was -- I was intrigued with the script. It was so fantastic and the cast, of course, and Michael Hostrum (ph) and it was just something I hadn't done before.

KING: Were you surprised that they offered it to you?

ANISTON: Oh, yes, completely but you know that's the thing you always -- you always wait for. It doesn't happen all the time where someone actually thinks this would be interesting to take this person, this personality and put them in this part.

KING: She's light comedy right.


KING: And that's where you're tabled?

ANISTON: Yes, usually but it's -- I feel very fortunate that that's -- I've had some opportunities.

KING: Had Clive been hired before you? ANISTON: Yes.

KING: Clive, why did you take it?

CLIVE OWEN, ACTOR: I was a big fan of the script. I felt the character was unusual and that he was completely reactive the whole film. It's like he's not -- he's not the guy that drives the story. The story attacks him and there was just something very attractive about playing that. And, I was a big fan of, Michael Hostrum did this film called "Evil" which is a really fantastic film and I saw that film. Everything together was -- there was every reason to do it.

KING: What did you think of her as your co-star?

OWEN: I thought it was brilliant. I heard that they were going after Jennifer and I was...

KING: Why did you like it since your frame of reference would have been "She's terrific but not in this kind of role"?

OWEN: Oh, it would have been. I mean it's -- when you see the movie you'll understand why I thought it was a really -- it was a brilliant choice, you know, and...

KING: And you knew that before you started shooting?

OWEN: Yes.

KING: Is it true that Julia Roberts recommended you work with Clive?

ANISTON: Well, she hadn't even -- it was just a very bizarre sort of quirk moment where we were on -- we were out in Italy and they were shooting a movie "Ocean's 12" gang and she just said out of the blue, I had just gotten the script delivered and I saw Clive's name and I hadn't even read it yet and she just sort of out of the blue 20 minutes later says "Has anybody worked with Clive Owen"? And I just went wow that's weird. Well I just got a script. And she just said, "You have to. You just have to" because he...

KING: And she didn't know you had gotten the script?

ANISTON: I just told her that I did.


ANISTON: And she said, "Well, if you have an opportunity, if that can happen, you have to do it because he's unbelievable" and she was right.

KING: What was she like to work with?

OWEN: Fantastic, yes, really great.

KING: Easy?

OWEN: Really easy, yes.

KING: The good ones are easier right?

OWEN: I think that's true, yes. I think that's true. It all happens easier. There's something about, you know, I think that's what you mean when you say chemistry. It's when it feels easy and right where people's instincts are in tune. The rhythm feels right. The whole thing just sort of the whole thing worked.

KING: All right, were you comfortable doing it?


KING: It's a new thing for you.

ANISTON: Yes, I was...

KING: The public will get introduced to this. It is terrific.

ANISTON: Thanks.

KING: But were you comfortable doing it?

ANISTON: Well, I was nervous, you know, going in just because of those reasons but Clive, Michael, everyone involved was -- I just, I mean that was gone in moments.

KING: Really?

ANISTON: I just felt very safe, very comfortable and it was all very, handled very, you know, well.

KING: And what about the shoot? Is acting acting, I mean whether you're playing comedy or drama is acting acting?

ANISTON: Yes, absolutely, don't you think, isn't it?

OWEN: I do, yes.


KING: So, it doesn't matter what you're doing. If you're good at it you're good.

OWEN: I think to be...

ANISTON: I think, yes.

OWEN: There you go.

ANISTON: You know, comedy, when they say comedy is -- you know it's...

KING: Serious business.

ANISTON: ...good comedy is just being -- you have to say it with, you know, believe it with every ounce of your body and that's the only way comedy is really good.


ANISTON: You wanted me to take them down so I'm taking them down, okay? Rachel, Rachel! I'm OK. I'm OK.


KING: Because there are some actors who have difficulty with comedy.

ANISTON: Oh, sure, yes but I think it's really...

OWEN: It's the hardest thing I think.

ANISTON: It's hard but I think if they approached it not as a different animal than drama they would -- it would be easier.


UNIDENTIFIED MALE: Every naked guy has got a naked friend.

ANISTON: Oh, yes. Oh, my God that's our friend! It's naked Ron (ph).


KING: Dying is easy. Comedy is hard. Someone once said that. Have you ever done a comedy?

OWEN: No, not a comedy no.

KING: You like being -- you like tough things right? I mean you're not one -- you don't want to be -- you don't want to be Hugh Grant.

OWEN: I would do a comedy if there was a script that I read that I loved and I wanted to do. You know, people say that I'm sort of attracted to darker projects or darker characters. I think I just like playing. You know for me drama is conflict, a character in conflict is more interesting to play than a character not in conflict and that's, you know, that's why my career has shaped like it has.


OWEN: I am begging you to give me your body. You'll be my whore and in return I will pay you with your liberty.


KING: You got an Academy award nomination already. You had quite a career for someone who is still not widely known right? How do you explain that?

ANISTON: I don't know. It won't take long, trust me. He's known. KING: You know him when you see him, you know.


KING: But he's not a name that rolls off the tongue.


KING: Right?

ANISTON: Yes, I guess it's -- I don't know. I mean it rolls off my tongue, rolls off a lot of people I know's tongue, you know, but I know what you mean.

KING: (INAUDIBLE) you want to be a star.

OWEN: I don't even know that that is. No, I'm not that interested in being that. I don't really know what that is. For me success is about getting opportunities to work with the best people and the most talented people, be that actors, actresses, directors and anything that opens up that as a possibility and opens up the avenue that he's fantastic and I welcome that but in terms of a star, no, no.

ANISTON: I don't think it would go into the thinking. Well, I'm sure there are some but, you know, it's not like my -- my intention here is -- my goal is I want to be a star and I want to have that lifestyle of, you know, whatever that involves.

KING: It may have been true in the '40s.

ANISTON: Maybe, yes.

KING: In that era. But you climbed into stardom from a television show. That's rare isn't it?

ANISTON: I guess so. I guess so.

KING: Not many have made that leap into -- well known famous star who was basically a television actress.



ANISTON: I was four years old and I was on the swing and then all of a sudden my hair got tangled in the chain and to get me out my mom had to -- had to cut a big chunk of my hair and it was uneven for weeks.


ANISTON: I feel very lucky. I mean I don't know, you know, I just feel lucky to be able to do things other than that character, you know, other than Rachel to be able to sort of move on into films and be accepted. KING: Well, "Derailed" is really moving on. We'll be right back with Jennifer Aniston and Clive Owen. The movie opens Friday. Don't go away.


ANISTON: Oh, I'm drinking you under the bar mister.

OWEN: Really?

ANISTON: Yes and I bet I can do it in three drinks.

OWEN: You like to gamble?

ANISTON: Oh, it's not really gambling when you never lose.

OWEN: I got a bet.

ANISTON: Really?

OWEN: I bet you $20 that I can kiss you without ever touching your lips.

ANISTON: Kiss me.

OWEN: Worth every penny.




UNIDENTIFIED MALE: Come on in. Don't be scared. Your decks do you think I should count this or just trust him?


UNIDENTIFIED MALE: He looks like a trustable guy.

OWEN: Keep something in mind, Charles. I'll always be one step ahead of you always. Well, my dear Dexter, I think it's time to relocate, au revoir.


KING: We're back with Jennifer Aniston and Clive Owen. The film is "Derailed." It's quite a thriller. It opens Friday and this is Harvey Weinstein's first movie as his own company, right?

ANISTON: Yes, the Weinstein Company.

KING: It's not Miramax anymore.


KING: And Harvey is hands-on isn't he?

ANISTON: Yes, he is.

KING: Do you like Harvey?

ANISTON: I do like Harvey.

KING: I love Harvey, you like Harvey?

OWEN: Fantastic.

KING: Good guy to work with.

ANISTON: I had never done -- worked with the company before so...

KING: And his checks don't bounce.

ANISTON: That's what I hear.

KING: Yes. In "Croupier" you played an anti-hero writer turned casino dealer. You were an assassin in the "Bourne Identity," an illegitimate would-be killer in "Gosford Park," a revenge-seeking ex- gangster in "I'll Sleep When I'm Dead," a noire tough guy in "Sin City," a star in "King Arthur," but that wasn't a knight in shining armor either. Aren't you looking for a little happier scene?

OWEN: I just love playing good guys.

KING: Play a good guy.


OWEN: Hi, I'm Shelley's new boyfriend and I'm out of my mind. You ever so much as talk to Shelley again, you even think her name and I'll cut you in ways that will make you useless to a woman.


KING: What is it? Is dark more fun?

OWEN: It's used, that word is used so much and I never -- it's like I said before it's about conflict. For me really good acting is about subtext. It's about not necessarily saying what you mean and playing more than one thing and all those characters you've talked about are all characters that are grappling with something, where there's a lot going on, so it's more interesting to play than (INAUDIBLE) than the very obvious straightforward thing.


OWEN: They have risked their lives for 15 years for a cause not of their own and now on the day they are to be liberated you send them on a mission which is far more dangerous than any other they have undertaken. You tell me, bishop, how do I go to my men and tell them that instead of freedom I offer death? (END VIDEO CLIP)

KING: And they also don't look in the mirror and think that they're bad.

OWEN: Right.


KING: They think they're fine.

OWEN: I never really approach a guy thinking he's a bad character. They may be flawed. They may be a human being that's flawed that's got problems that doesn't always do the right thing but I think that's more interesting to play than a super heroic good guy.

KING: You feel the same way Jennifer? I mean you like the variety of it all?

ANISTON: Oh, yes, absolutely. It gets so boring you know just to do the same thing over and over again.

KING: Did "Friends" get boring?

ANISTON: No, "Friends" actually never got boring because that was sort of a group of people that had...

KING: Worked.

ANISTON: That worked and there was nothing boring about that.


ANISTON: Oh, my God, Ross no, hang up the phone. Give me the phone. Give me the phone. Give me the phone.


ANISTON: And the writers were so determined never to get lazy, you know, that it's easy for a show that was that successful to sort of sit back and rest on your laurels and not really -- but they just kept every year to year up until the tenth season they kept pulling out good stuff.

KING: Did you think you would get famous out of that?


KING: Were you surprised by it all?

ANISTON: I was. Everybody, all of us were, sure.

KING: But you came from an acting house though didn't you?

ANISTON: Yes, I did and I had done a lot of failed television shows, I sort of thought that's what I did. KING: You were a failed television actress?

ANISTON: Yes, you know, you do six episodes of this and then you go, all right, well that was a good year, go on to the next one, you know.

KING: What was the first thing you did?

ANISTON: The very first thing I did was a Bob's Big Boy commercial.

KING: In L.A.?

ANISTON: That was the very first on camera thing, yes.

KING: What did you have to do in it?

ANISTON: I was the competition. I wasn't even the Bob's Big Boy. I was the bad, I was the, you know...

KING: You worked in the bad place?


KING: Where did you...

ANISTON: That was the only commercial I ever got. I could never get a commercial to save my life and it was...

KING: I think you'd get one now. Where did you start Clive?

OWEN: In theater in rep theater, yes.

KING: (INAUDIBLE) theater.

OWEN: Yes.

KING: Theater is the best training ground isn't it?

OWEN: Well, that's, I mean I -- I went to -- I went to (INAUDIBLE) which, yes, it's three acting course. There's nothing but theater. There was no -- there was no filming or television technique or anything to do with that at all. It was pure theater based and I don't know if it's the best training. It was a hugely enjoyable thing.

KING: It's live.

OWEN: It's live, yes.

KING: Happening, you get audience reaction.

OWEN: Yes.

KING: Have you done a lot of theater?

OWEN: I did but not, I mean not a lot, a lot no.

KING: Would you want to do more?

ANISTON: I would actually. I haven't been asked that.

KING: "Friends" was live theater in a sense.

ANISTON: Yes, it absolutely was, same kind of but it was like opening night every Friday night.

KING: Yes, I know.

ANISTON: Butterflies and the audience and feeding off that energy is great.

KING: Do you ever want to do Broadway?

ANISTON: I would, yes, if it was -- if I felt I could do it well.

KING: When the...

ANISTON: You know Chicago is in my future though.

KING: In times of tumult and we have to talk a little about tumult you understand is acting an escape?

ANISTON: Sure. I don't know.

KING: I mean when you, you know, other people have -- a lot of people have problems.


KING: A guy gets divorced. He's got to go to work in a bank.

ANISTON: Yes, you got to go do your, you know, go to work.

KING: But is it -- is it easier when you can go be somebody?

ANISTON: No, not really. I mean, you know, it's great to get to go to work but, you know, I -- I don't find myself escaping into my characters if that's what you mean.

KING: You don't.


KING: That's what I mean.

ANISTON: No, no I don't do that.

KING: Do you bring it home with you?

ANISTON: I go to -- my characters?

KING: Yes.


KING: You don't?


KING: Do you?


KING: Because some do right?

ANISTON: If I ever become that person please do something with me.

KING: There was a time where they called it the method I guess...


KING: ...where people did do that right?

OWEN: I think what it -- for me it feels like it's all about concentration when you're there and you're doing it you concentrate and, of course, it envelops you and becomes a huge part of what you are and who you are but it doesn't necessarily have to go home with you at the end of the day.

It's just about serious concentration when you're actually doing it and that's I think sometimes what actors mean when they say it consumes me, it becomes -- it's about when you're actually doing it, going that far. I don't necessarily think you live that life.

KING: Intimate scenes.


KING: Are they harder to do? I had a famous actor tell me once that when you see like a sexual scene that's the hardest thing. One, you got 53 camera people there. Two, it's contorted because they're looking for angles.


KING: You don't get turned on.


KING: True?

ANISTON: Yes, you know, it's -- you have to be in the moment, you're in the moment. I mean I'm not going to say that it's -- it's devoid of any emotion.

KING: Are you saying you got turned on? ANISTON: No, I'm not saying that. I'm not saying that. I'm not saying -- gosh, (INAUDIBLE) out of here. This is awful.

KING: No, Jennifer. No, I mean are those scenes harder to do?

ANISTON: Well they're -- they're uncomfortable.

KING: That's what I mean.

ANISTON: They're very uncomfortable. They're technical. They're, you know, there's people -- it is. There's all these people watching you and unless that's -- you're in to that kind of stuff, you know, which I'm sure there are those types too but, you know, it's just it's not. It's just uncomfortable.

KING: I'll ask Clive in a minute. It was Marcello Mastroianni who told me that. I had forgotten for a second.

We'll be right back with Jennifer Aniston and Clive Owen. The film is "Derailed." It's terrific, Friday night. We'll be right back.


ANISTON: You know I like you. I can't deny that but my heart belongs to Nick, OK?


ANISTON: Thank you. OK, good night.




OWEN: I checked for you book in the Museum of Modern Art and it was there. Someone bought one, this guy with a ridiculous little beard. He was drooling over your photo on the inside cover. He fancies you the geek. I was so proud of you. You've broken New York.

UNIDENTIFIED FEMALE: You're wonderful.

OWEN: Don't ever forget it.


KING: We're back with Jennifer Aniston and Clive Owen. They co- star in "Derailed," Harvey Weinstein's company opening Friday. It's his first film. He ought to be very proud of it and they ought to be very proud to be in it.

Playing love scenes for you it was Mastroianni that said it was -- it was not what you think. OWEN: It is. It's often a very technical thing but I think it's often made easier if there is something to play with in that scene. If it is just an isolated, you know, love scene, sex scene within a movie that has no reference around it then it's very sort of -- a very weird abstract thing.

But very often and in a film like this you still got to do something. There's some acting going on within that scene and that sort of will get you through the more awkward sort of, you know, part of it I think.

KING: Were you comfortable with Jennifer?

OWEN: Very comfortable, yes.

KING: And you with Clive?


KING: Who said this, the director of "The Good Girl," who was that?

ANISTON: Miguel Arteta.

KING: Said that he thought you use comedy to shield pain in your life.


KING: And you were ready to connect with that, was he right?

ANISTON: Yes, sure.


ANISTON: I hate my job.

OWEN: That makes two of us.

ANISTON: I hate everybody here. I hate Gwen. I don't know what the hell she's so happy about. I'm starting to understand why maniacs go out there and get shotguns and shoot everybody to pieces.

OWEN: Maybe you're a maniac.

ANISTON: Maybe so.


KING: This pain goes pre Brad Pitt right? This is -- you had pain growing up right?

ANISTON: Yes, I did, yes.

KING: And...

ANISTON: Sure. Don't we all have pain, my gosh? Everybody has pain.

KING: Well, we don't -- all of our pain is not front page.

ANISTON: No that's true.

KING: What is that like?

ANISTON: It's what you would imagine it to be. It's not great.

KING: A bitch.

ANISTON: It's a bitch. It's not great, no.

KING: But you chose the profession.

ANISTON: But I chose it. I also wouldn't trade it in for the world what I get to do for that. I mean just because of that.

KING: But you sued successfully over it once didn't you?

ANISTON: I have, yes, well...

KING: In other words, when someone printed something about you that was wrong you took action.

ANISTON: Yes. Yes, you -- well, I'll always take them head on if they -- they cross lines anyway but when they really go too far, you know.

KING: Is it a thin line? What right, and this is for both of you, what right does the public have to your life?

ANISTON: I don't really think any, private life none but it's somehow got through the cracks and it's just -- it's just OK.

KING: So you don't say -- it doesn't go with the territory?

ANISTON: No. I think we do our job. We go to work. We give them a movie, a television show, theater, you know. You buy your tickets. You go and see our work, if we're on the red carpet, we're at a premier, we're, you know, at a public event but when it's your backyard, when it's at your home, when it's...

KING: They photograph you right?


KING: They follow you around. It's got to be a weird life.

ANISTON: Yes. But it's also -- there's nobody sort of stopping it or corralling it in any way so it's kind of just a free for all.

KING: Frank Sinatra told me once that all he owed the audience is his best work that he owed.

ANISTON: That's true. KING: And a critic of his best work that's fair game but he didn't -- whatever else he gave you was of his own volition, do you agree with that?

OWEN: I do agree with that, yes. I think Jennifer is absolutely right. In the public arena when you're out there and you're sort of doing that and there is, you know, it's all completely understandable. But behind the, you know, in the privacy of your own home with your own family, with your children there are boundaries that shouldn't be crossed.

KING: So how did you deal with it all when it was, you know, the break up and all the tabloids and it's front page and you have to live a life?

ANISTON: I don't read them. I just don't read them.

KING: But you know they're there, right?

ANISTON: Yes, but like I said it's toxic. I don't want to -- I want no part of it and it's the only way you can really go through, walk through anything like that with any kind of dignity is to just not succumb to that crap.

KING: Friends stay your friends?


KING: That's important.

ANISTON: Oh, yes, always.

KING: Was it embarrassing?

ANISTON: Oh, Larry, let's not talk about this, come on.


ANISTON: I really -- well, I understand but I'd rather not.

KING: I'm not going to dwell on it.

ANISTON: No, I know but I've talked about it. I think we've -- I've covered this. You know, I -- I because it's so behind me. It's just not -- it's my past. I'm in a, you know, I'm here in a great place. I'm very happy. I wear it with a badge of honor. Nothing I'm embarrassed about truthfully. It's life. Mine just happened to be played out in front of everybody but that's I guess, do you know what I mean?

KING: I'm not forcing you, hey.

ANISTON: And I think, like I said...

KING: I don't read them either.


KING: Do you say therefore you have no regrets?

ANISTON: No, I don't. No, I read somewhere where somebody said something that they said "I have no regrets. I just have great experiences" and I do. That's been and that means hard, fun, you know, every kind.

KING: You have not had that kind of experience right?

OWEN: Nothing like that kind of experience no. I don't think many people have, have they on that level?

KING: Yes. Who has? Do you sympathize with it?

OWEN: I sympathize usually yes and I think, you know, I've gotten to know Jennifer, you know, through working with her and she's -- for such an incredible spotlight and incredible glare upon her life she's incredibly level, unfussy, uncomplicated. I don't know how she does it because I think under that glare, under that spotlight most of us would go a little weird.

KING: The weirdest part is when they yell at you walking down the street or ask you questions that it's impossible to answer walking down the street, you know. Well what do you think of this? What are you going to do now?


KING: To live with it got to be extraordinary.

ANISTON: Yes, it's great.

KING: Now tell me this is fair to ask.


KING: Vince Vaughn, I love him.

ANISTON: Oh, gosh.

KING: OK, come on we love him.

ANISTON: Yes, we love him. He's great.

KING: He's a national treasure.

ANISTON: He's a national treasure.

KING: Is it serious? Is everything going...

ANISTON: I'm not talking about it. I'm not talking about it.

KING: Because it's none of our business or...

ANISTON: Because it's none of your -- I don't mean to say that. It sounds harsh to say it's none of your business but it's -- I've learned my -- you know you learn your lessons. That's all.

KING: What's he like?


KING: I'm not asking you about romance.

ANISTON: You said he's a national treasure. He's a great actor. He's fantastic to work with.

KING: Funny.


KING: Have you seen his work?

OWEN: Yes.

KING: Like him?

OWEN: He's great, yes.

KING: He's about to become major.

OWEN: He is major isn't he?

KING: Should he be -- I guess he is. He's right at that point. Should he be concerned about that?

ANISTON: Becoming major?

KING: Yes.

ANISTON: I don't know. When he's sitting on this desk you can ask him that question.

KING: No, but the drawbacks go with it.


KING: Who would know it better than anyone?

ANISTON: But you know what everybody knows what comes along with this business. You know if you've had any time in it at all you know what comes with the dinner.

KING: So...

ANISTON: He's a, you know, everybody, they're all big boys and big girls. Everybody knows what they're getting into.

KING: He knows what's coming?


KING: If he doesn't know what's coming it's an unrealistic world.

ANISTON: You mean the career, he's had it. I mean he lives -- he's been in this business a long time.


BEN STILLER, ACTOR: I don't think that you're appreciating the urgency here.

VINCE VAUGHN, ACTOR: I (INAUDIBLE) see a virgin, she's totally off the reservation. I'm terrified of this.


VAUGHN: Hey, Gloria. Wow. What a coincidence. I was just singing your praises. This is John Ryan (ph).


KING: Paul Newman says anybody in your business who has had great success and doesn't use the word luck is lying.

ANISTON: Yes, that's true, because it is.

KING: Left turn, right turn.

ANISTON: Because there are so many actors who are brilliant that should be working and they don't.

KING: We'll be right back with more Jennifer Aniston and Clive Owen. They co-star in "Derailed." Don't go away.


VAUGHN: Hey gang. I found my shirt on the floor. Thanks for making it out.

ANISTON: Are you here for couples' bowling?

VAUGHN: That's why I brought the ball.

ANISTON: Don't you think you and I should discuss something first?

VAUGHN: Like what? How your 47 average is killing us?

ANISTON: Gary (ph), this is couple's bowling, and since you and I are no longer a couple, I think you should leave.

VAUGHN: You know what? Why don't we let them decide?

ANISTON: They don't want you here either, Gary.

VAUGHN: OK, I'd like to have a team vote. Team vote, everybody. By a show of hands -- just put them up when you make a decision -- who here agrees with Brooke (ph) and thinks I should leave the bowling team? "Band of Brothers," you should rent it sometime.





ANISTON: Oh, in finance, every day is a busy day.

OWEN: Oh, I bet you've gotten a lot of angry calls with an economy like this.

ANISTON: Well, if you consider death threats angry.

OWEN: Tell me about it. Clients, they love you when times are good. I just got fired off of my biggest account. My boss didn't even warn me. He's supposed to be a good friend of mine.

ANISTON: That bastard. Do you want me to yell at him for you? Come on. Give me his number and I'll crank call him. Some people just don't know how to appreciate what they've got.


KING: We're back with Jennifer Aniston. She costars along with her costar here Clive Owen in "Derailed." It opens Friday-wide, as they say, right?


KING: Wide, I mean. Every -- Des Moines got it and New York.

ANISTON: Thank God Des Moines got it.

KING: Is there a premiere? Are you going to a premiere?


KING: Is that exciting?

ANISTON: It is exciting.

KING: Is it weird to see yourself on a big screen?

ANISTON: Always. It's weird.

KING: It's got to be a little uncomfortable, right?

ANISTON: Nobody should ever be that large, truthfully.

KING: Do you see the irony in doing a movie called "Break Up?"


KING: With Vince Vaughn, right?


KING: It's about a movie. I can ask a question.

ANISTON: It's in a movie. Yes you can. I'm just laughing. I'm laughing at something else.

KING: How's the movie going?

ANISTON: It's finished and it was great.

KING: Is that where you met?


KING: OK. Is it a comedy?

ANISTON: Yes. It's comedy, but it's says some emotional -- a lot of emotional turns.


ANISTON: I think you're just a little embarrassed that Richard kicked your ass.

VAUGHN: There's a really big gap between getting your ass kicked and having a dancing, singing sprite fool you with trickery and then strike your throat before you know that you're even in a fight.


KING: You liked him right away?

ANISTON: Instantly, yes. He's a great guy.

KING: What's your next?

OWEN: I'm filming in a movie called "Children of Men" in London at the moment.

KING: Chosen ...

OWEN: "Children of Men."

KING: "Children of Men."

OWEN: Set 30 years in the future, the conceit being that the world has stopped conceiving. No one's had a child for 18 years and the world is grinding to a horrible halt.

KING: What's "Break Up" about?

ANISTON: Not that. It's not that complicated.

KING: What is it about? ANISTON: It's a break up.

KING: A couple that breaks up.

ANISTON: It's a couple that breaks up that, you know, sort of in the heat of a fight, they break up. And neither of them -- they both refuse to leave the condo that they live in. And so they...

KING: Oh, co-dwelling.



VAUGHN: Is that how you want to play it?

ANISTON: I don't know what you're talking about.

VAUGHN: I can play it like that. I'll play it like Lionel Richie. I'll play this game all night long, lady.


KING: When you see a script, what's your determining factor?

OWEN: It's a very instinctive thing. It's very instinctive, and there are no rules behind it, really. I read it and I have a very instinctive response. And very often, those instincts stay throughout the whole thing, the shooting and everything.

They're refined, they're honed, they're thought about. They're -- but that initial instinct, the initial impact that script had on -- the feelings, the thoughts, they tend to stay through the whole thing. That's just the way I am.

KING: So in other words, your first impression was usually right?

OWEN: Usually.

KING: So there's nothing you've done that you would say, I made a mistake doing that.

OWEN: Oh, no, I'm not saying that. No.

KING: Because it was poorly edited -- it could come out right?

OWEN: So this is a very elusive thing. If it was just about putting the right ingredients together, you'd have hit movies all the time. And you can put great directors with great actors and actresses with a fantastic script and it'd be a bad film. There are no rules. It's an elusive magic, the whole thing coming together and working. And no one has total control over that, I think.

KING: Ever turned down anything you regretted?


KING: What's it like when you do something and it doesn't turn out the way you hoped?

ANISTON: It's a bummer. It's just sort of one of those...

KING: Because a lot of things can ruin a movie. Editing can ruin it.

ANISTON: Yes. And something editing -- anything. It can be just -- it doesn't always -- you know, the alchemy isn't always there, you know. It just -- sometimes it is, sometimes it isn't. And you just do you -- you know, that's the thing. It's like you said, if there was a formula, we would all be guaranteed great movies.

KING: That's right, we you could package these...

ANISTON: Yes, if you package it, but you can't. And that's sort of the fun of it, the sort of experiment, you know. The grand experiment. Sometimes you have to be on board to have all of it.

KING: The movie is "Derailed." When we come back, we'll talk about "Friends" and we'll ask about this anti-paparazzi law that's proposed in California and what they think of it. We'll be right back.


ANISTON: I've been living my life, OK? I've been in good relationships and I've been in (EXPLETIVE DELETED) and I've moved a lot and I've been happy and I've been sad and I've been lonely and that's what I've been doing, which is a lot more than I can say for some freak who thinks he's going to the get the Ebola virus from a bowl of mixed nuts.

BEN STILLER, ACTOR: Those nuts have pee on them. It's common sense.

ANISTON: Oh trust me. That is so far beyond common sense, Ruben.



KING: Back in October, late October, Arnold Schwarzenegger, the governor of California, signed a new anti-paparazzi law which triples damages, which says they can't gain profit if they gained it while an altercation occurred. I guess you like that idea.

ANISTON: I think I do. I mean, come on, it's starting to get really dangerous.

KING: What do they do, they chase you in the car?

ANISTON: They chase you in cars, they'll run red lights, they drive on sidewalks. There are people, there's people.

KING: And what do they want?

ANISTON: They just want a photograph so they can make a buck.

KING: But what's the difference between a photograph they had yesterday and a photograph they get today?

ANISTON: None. None, as far as I can tell.

KING: Their latest, freshest photograph gets them more money?

ANISTON: Yes. Ridiculous, isn't it? It's silly.

KING: You run into it in Europe? It's big in Europe too, right?

OWEN: Yes. It's nothing like on the level that Jennifer goes through, but the thing that I find the most uncomfortable is when it involves the children.

There are two small girls, and if you're out and about, and somebody is a very aggressive physical thing, a paparazzi guy, running in front of a small, seven-year-old girl. It's a very violent thing, and that is very disconcerting. You know, you talked about earlier on about what's fair game and what isn't. I think that's not fair.

KING: Red carpet's fair game.

ANISTON: Yes, absolutely.

KING: You're walking down, they yell your name, that goes with it. That's part of the job.

ANISTON: Part of the job. Even walking in and out of here.

KING: Yes?


KING: That's fair?

ANISTON: I'm on the clock. We're on the clock, we're working right now. I think when you're off the clock, you should be off the clock. You don't follow them to their private events and to their children's schools and to their family or friends' funerals or whatever. I mean, it's just -- come on, it's common sense.

KING: Does your wife understand the business well?

OWEN: Yes, she used to be an actress.

KING: You did "Romeo and Juliet," right? That's how you met her?

OWEN: Yes?

KING: You fell in love while you were Romeo and she was Juliet?

OWEN: Schmaltzy, isn't it?

KING: Yes, it is.

ANISTON: I think it's romantic.

KING: It's rather nice. I was going to say, did you fall in love during "Break Up." But I didn't. I didn't, you see. I didn't do that. But it was a...

ANISTON: ... you didn't, but you had the carrot...

KING: It was a nice segue though, wasn't it? Did you know you were falling in love?

OWEN: Yes, yes. We were doing a European tour. I lasted about half the tour.

ANISTON: Really?

OWEN: Yes, I survived half the tour and then I thought it would be awful if Romeo and Juliet got together and then broke up before the play finished.

KING: That's a great story, though. To play that play and -- what's it like having children in this business?

OWEN: It's a fantastic joy. I don't think of it in terms of in this business.

KING: It's tough around kids, isn't it?

OWEN: In terms of?

KING: Father travels a lot.

OWEN: Yes, it is. You're always trying to make it work. I mean, there was one thing that I used argue is that because actors get quite a lot of down time, the time spent at home, I thought, "Well, I get more time than the average guy who comes home just for an hour in the evening."

But you soon realize that kids love routine, they like to know where they're at. And even if dad's around for three weeks solid straight, if there's a possibility I might have to take off suddenly, disappear out of their lives for a chunk of time, it's disconcerting for them.

It's hard for them. It's very hard. But you make it work. You take each thing as it comes and try and make it work as best you can.

KING: You want children?

ANISTON: Oh, yes. Absolutely.

KING: Some people don't.

ANISTON: Some people don't. I do, it's a lot of work.

KING: Hey, your life changes the minute they appear.

ANISTON: Yes. I do.

KING: Your life will never be the same.

ANISTON: Are you trying to talk me out of it? Oh my god. Ever, ever, rule your life.

KING: I can just picture you with a two-year-old kid, with some paparazzi chasing you. You would kill.

ANISTON: Oh, I would kill them. Are you kidding me?

KING: You will be arrested.

ANISTON: I'll take them down.

KING: "Friends." When you first started it, first script, first day. Did you know? I know you can't bottle it, but did you say...

ANISTON: We knew there was something special.


ANISTON: You're the only person I knew who lived here in the city.

COURTNEY COX ARQUETTE, ACTRESS: Who wasn't invited to the wedding.

ANISTON: I was kind of hoping that wouldn't be an issue.


ANISTON: I had never been a part of a show that went past a certain amount of episodes. But, there was definitely...

KING: ... how many did you do?

ANISTON: How many of "Friends"?

KING: How many years?

ANISTON: How many shows? Oh, years, we did 10 years.

KING: Ten?



ANISTON: Oh, I got it, Ross. DAVID SCHWIMMER, ACTOR: You had no right to tell me you ever had feelings for me.


SCHWIMMER: I was doing great with Julie before I found out about you.

ANISTON: Hey, I was doing great before I found out about you. You think it's easy for me to see you with Julie?

SCHWIMMER: Well, then you should have said something before I met her.

ANISTON: I didn't know then.


ANISTON: Ten years.

KING: All right, why did it work?

ANISTON: The chemistry and good writing and hard work.

KING: All three.

ANISTON: All three. No one getting lazy and the actors just loving each other, working well together. Just sort of, again, lightning in a bottle.

KING: Remain friends?


KING: "Friends" remain friends.

ANISTON: Friends will always remain friends.

KING: We'll be back with more. The movie is "Derailed." We'll talk more about it right after this.



ANISTON: I had it. Oh, I can't believe this.

UNIDENTIFIED MALE: Madame, if you...

ANISTON: I have it, I have it, I have it! OK, I can't find it, but I remember that I was in seat 32c, because that's my bra size.

UNIDENTIFIED FEMALE: Madame, you must have your boarding pass.

ANISTON: OK, fine, but you know what? If I was in 36d, we would not be having this problem! (END VIDEO CLIP)

KING: Our thanks to Warner Home Video for letting us that "Friends" clip and many others tonight. And "Friends" fans will be happy to know that all 10 seasons of the show will be released November 15th, as a boxed DVD set.

When you do 10 years of something, aren't there days when you say, "Not again"?

ANISTON: Of course. There are definitely those days. But, you know, again, it didn't feel like a job. We were really having fun. We really had fun. So just like anything, it's -- it's an ebb and a flow.

KING: What was the ending like? You know, last show?

ANISTON: Oh, we didn't hear anything about that.

KING: What do you mean, it ended...

ANISTON: The ending, you know, it was hard. It was -- it was emotional.


ANISTON: I have to get on the plane.

SCHWIMMER: No, you don't.

ANISTON: Yes, I do.

SCHWIMMER: No, you don't.

ANISTON: I think they're waiting for me, Ross. I can't do this right now. I am sorry. I'm sorry.

SCHWIMMER: Rachel...

ANISTON: I'm so sorry.


ANISTON: It was time. It was just done. It was done. There was nothing really -- you know, put mama to bed. I think she had enough.

KING: Would you ever do TV again?

ANISTON: If it was -- you know, I don't -- I don't want to say never, but I just don't think I could ever top "Friends," what I -- the time I had and the quality of that show. That just doesn't come along very often.


ANISTON: I do love you.

SCHWIMMER: I love you too, and I'm never letting you go again.

ANISTON: OK, good, this is where I want to be. I don't want to mess this up again.


KING: Back to "Derailed." The essence of the story, give me the synopsis. You two are married to other people. You have an affair. And then what happens?

OWEN: The two people meet on the train, and eventually there's a very -- they're both married, in their particular worlds. They end up in a hotel room together. There's a random break-in into the room, and from then on, their lives are thrown into a roller coaster of horror, yes.

KING: Who's the guy who breaks in?

ANISTON: Vincent Cassel.

KING: Pretty good, right?

ANISTON: Oh, incredible.

KING: And it is a random break-in, right? There is nothing planned in that? And then the movie takes off.


KING: we'll be back with our remaining moments with Jennifer Aniston and Clive Owen. The movie is "Derailed." It opens Friday. Don't go away.


ANISTON: Oh, I've never seen a moon that big.

JIM CARREY, ACTOR: Yeah, we really shouldn't waste it.


ANISTON: Five minutes.




ANISTON: And isn't it beautiful?

SCWIMMER: Yeah, yeah, what is it?

ANISTON: It's a trifle. It's got all of these layers. First, there is a layer of lady fingers. Then, a layer of jam. Then, custard -- which I made from scratch! Then cranberries, more lady fingers, then beef sauteed with peas and onions, more custard, and then bananas, and then I just put some whipped cream on top.


KING: We have a few minutes left, let's touch a few bases. Chance of a "Friends" reunion?


KING: Never? Not one big, gigantic show? You're all together with new changes in your life?

ANISTON: How did you feel when you saw all the Brady Bunch get back together? Wasn't that just a little weird? I mean, I don't think so. I don't think that's in our future.

KING: $10 million each.

ANISTON: Well...

KING: Do you have a favorite episode?

ANISTON: I'm thinking about it.

KING: Do you have a favorite episode?

ANISTON: Oh, God. You know, I have to say, my favorite episodes are usually our Thanksgiving episodes. I can't pick one, but I loved our Thanksgiving episodes.


ANISTON: You can just unlock the door.

KUDROW: Well, I don't know if that's such a good idea. They clearly don't want to be with us.

ANISTON: You know what? I don't want to be with them either, but it's Thanksgiving, and we should not want to be together together!


KING: You were rumored to be 007. Were you interested?

OWEN: There was never a real thing. It was never officially offered, and I'm pretty booked out until the next -- the middle of next year.

KING: Is that something that would have intrigued you, when others have played it?

OWEN: I'm having a fantastic time doing very, very different work. You know, everything I'm doing feels very different, and I love keeping it mixed and varied. KING: Don't you think he'd have been a pretty good Bond? Who would you like to work with, Jennifer? What actor or actress would you like to work with?

ANISTON: There's a lot of them. Let's see, who would I like to work with? Oh my gosh. I'd love to work with -- I hate that question, Larry. I can't think that fast.


ANISTON: There's too many people.

KING: Who would you like to work with? You can give me one or two if you're just...

OWEN: There are so many. There are so many fantastic actors and actresses out there. It's you know...

KING: I'll guess. Michael Caine.

OWEN: I'm working with him now.

ANISTON: No, you're not.

OWEN: Yes. How about that?

ANISTON: What are the chances of that?

OWEN: How about that? He's in "Children of Men."

ANISTON: Come on. That's weird.

KING: You're kidding.


KING: Is this (INAUDIBLE). I'm not psychic. I did not know that.

ANISTON: There was a little quirk.

KING: Now, I've got to come up with someone for you. Julia Roberts?

ANISTON: I'm working with her! No, I am not. I would love to work with Julia. I think I would really love it. And I think she's fantastic.

KING: You're working with Shirley MacLaine...

ANISTON: I just did, yes.

KING: ... good friend of mine.


KING: She's in "Break Up."

ANISTON: No, she's in "Rumor Has It."

KING: She's terrific.

ANISTON: She plays my grandmother.


ANISTON: Grandma...

SHIRLEY MACLAINE, ACTRESS: I told you never to call me that in public.


KING: Shirley MacLaine is playing your grandmother.

ANISTON: Yes, she is.

KING: Life goes too fast.

ANISTON: She looks terrific.

KING: You said you want children. Would you be a single mom?

ANISTON: No, I don't think so. I mean, again, never say never, but I don't think so.

KING: Of course, there are plenty of women now adopting.

ANISTON: I know, and I think that's fantastic. I just, for me personally, I'd like to share that with...

KING: Someone.

ANISTON: ... someone, yeah.

KING: Best of luck to you, Clive.

OWEN: And you, too.

KING: Terrific. Great meeting you. And Jennifer, continued good luck.

ANISTON: Thank you.

KING: Jennifer Aniston, Clive Owen. The film is "Derailed." It opens this Friday, wide, as they say. And Vince is not in it. He's not in it! That's a joke. Oh, I'm just having a little fun.

ANISTON: I know. We're having some fun.

KING: Thanks for joining us on this edition of LARRY KING LIVE. See you tomorrow night. Good night.