>> FROM ROCK 'N' ROLL AND BROADWAY STARDOM TO PRODUCING SATURDAY NIGHT LIVE SEGMENTS AND MAJOR MOTION PICTURES, INCLUDING DEAD MAN WALKING, THE PLAYER, AND CRADLE WILL ROCK, THE MULTI-TALENTED ALLAN NICHOLLS HAS HAD A RICH AND VARIED CAREER, THE QUEBEC NATIVE IS MY GUEST NEXT ON "PROFILE."

>> ALLAN NICHOLLS WAS RAISED IN ST.

ROSE, QUEBEC, A PERFORMER SINCE THE AGE OF TEN, NICHOLLS WAS THE LEAD SINGER FOR A POPULAR ROCK 'N' ROLL BAND IN MONTREAL WHEN HIS MANAGER SUGGESTED HE AUDITION FOR THE BROADWAY MUSICAL, "HAIR."

HE STARRED IN THAT HIT AND A NUMBER OF OTHER ROCK MUSICALS UNTIL HE GOT A GIG ACTING AND COMPOSING FOR DIRECTOR ROBERT ALL THEMAN'S "NASHVILLE," LAUNCHING A CAREER IN FILM.

HE HAS WORKED AS AN ACTOR, WRITER, PRODUCER, DIRECTOR, ASSISTANT DIRECTOR, OR MUSIC SUPERVISOR IN DOZENS OF FILMS.

HE HAS ALSO WORKED IN TELEVISION, INCLUDING FOUR YEARS WITH SATURDAY NIGHT LIVE.

TO QUOTE ROBERT ALTMAN, HE'S JUST TOO GOOD AT EVERYTHING."

NICHOLLS LIVES WITH HIS WIFE IN VIRGINIA AND NORTH HATLAKE, QUEBEC.

IT'S GREAT TO HAVE YOU HERE TODAY.

>> THANK YOU.

>> YOUR PARENTS WERE IN SHOW BUSINESS.

DID THAT INFLUENCE YOUR RATHER EARLY START AS A PERFORMER?

>> I THINK IT PROBABLY DID IN JUST THE WAY THAT THE -- THEY LET US KNOW IT WAS OKAY TO SING AND DANCE AND HAVE FUN.

>> WAS THAT THEIR FULL-TIME THING?

NO, WEEKEND PARTIES AND WE WOULD LOOK AT SCRAPBOOKS OF WHEN THEY WERE PERFORMERS.

THEY PERFORMED IN A COMPANY CALLED THE McGILL TIN HAT REVIEW IN MONTREAL THAT ENTERTAINED TROOPS, ACTUALLY.

AND MY FATHER WENT IN THE WAR AND HE WAS NOT, OBVIOUSLY, ENTERTAINING AT THAT POINT.

>> SO AS YOU GREW UP, YOU HAD A BAND CALLED, J.B.

AND THE PLAYBOYS, OR AT LEAST TWO OTHERS AND PROBABLY MANY, MANY MORE, BUT YOU OPENED FOR THE ROLLING STONES IN MONTREAL, AND YOU HAD EIGHT HIT RADIO HITS, "GOIN DOWN" WAS IN THE TOP 10 OR 20, WHAT HAPPENED TO THE BAND?

>> THE BRAND BROKE UP WHEN I WENT DOWN TO NEW YORK.

>> TO AUDITION FOR "HAIR."

>> IT WAS THIS EFFORT BY THE MANAGER TO GET THE WHOLE GROUP IN.

HE FIGURED, IF I COULD GO DOWN AND AUDITION AND GET THE ROLE, THEN I COULD HAVE THE REST OF THE ABSENTED COME DOWN AND LIVE WITH ME AND WE WOULD BE IN THE U.S.

BECAUSE IT WAS HARD TO GET WORK PAPERS IN THOSE DAYS.

>> WHAT WAS THE DEAL WITH GOING TO THE UNITED STATES AND DID YOU SAY BROADWAY WAS A GOOD THING BECAUSE YOU ARE SUCH A GOOD PERFORMER AS WELL AS A MUSICIAN?

>> NO, JUST TO GET THE BAND, TO PURSUE THE BAND CAREER.

THAT WAS THE INITIATIVE.

AND IT JUST HAPPENED THAT THE AUDITION PROCESS TOOK SO LONG AND THE BAND GAVE UP ON ME AND BROKE UP, AND I GOT ON THE SHOW SO I STAYED ON.

>> AND YOU ARE ONE OF THE MAJOR ROLES AS CLAUDE.

>> I PLAYED CLAUDE FOR A YEAR AND BURGER A YEAR, I AM THE ONLY PERSON IT HAVE PERFORMED BOTH ROLES ON BROADWAY.

I HEARD.

SOMEONE TOLD ME THAT.

>> AND YOU WERE IN ANY NUMBER OF OTHERS?

WHY DON'T YOU LIST THEM.

>> I WAS IN SUPERSTAR.

I WAS IN -- SUPERSTAR, WE DID IN L.A.

I WAS IN DUDE, WHICH WAS A -- >> A SPIN-OFF.

>> TWO OF THE THREE WRITERS OF "HAIR" WROTE THAT.

I WAS IN SERGEANT PEPPER.

AND I WAS IN INNER CITY MOTHER GOOSE, AND THAT WAS, BASICALLY, I WAS IN EVERY ROCK MUSICAL THAT CAME.

>> AN AMAZING COSTUME THAT YOU HAD TO WEAR FOR SUPERSTAR, JUST -- >> THAT WAS SERGEANT PEPPER.

>> ALL RIGHT, YES.

>> WITH THIS.

>> I WAS ONE OF THE HAMMER MEN.

>> OH, IT'S JUST WILD.

>> THERE IS AN INTERESTING STORY ABOUT THAT.

THE CHOREOGRAPHER AND THE COSTUME DESIGNER GOT TOGETHER AND SAID, YOU KNOW, THEY WANT TO WEAR THESE -- YOU HAVE GOT TO REMEMBER THIS IS EARLY 70s AND WE ARE WEARING TIGHTS, SO THIS IS KIND OF YOU KNOW, RARE, AND SO THE CHOREOGRAPHER SUGGESTED TO THE DESIGNER, NOT TO SPOIL THE LOOK THAT WE SHOULD WEAR DANCE BELTS.

NONE OF US WERE DANCERS.

WE DID NOT KNOW WHAT A DANCE BELT WAS UNTIL WE TRIED ONE ON.

>> EVEN AFTER DOING "HAIR."

>> I NEVER KNEW WHAT A DANCE BELT WAS.

FOR THOSE OF YOU WHO DON'T KNOW, IT'S A THONG.

>> BASICALLY.

[LAUGHTER] >> WE QUICKLY TALKED HIM OUT OF THAT AND WORE JOCK STRAPS.

[LAUGHTER] >> WELL, IT'S A CUTE OUTFIT.

>> YES.

>> AND YOU MET SOME PEOPLE THAT CONTINUED THROUGH YOUR LIFE.

>> KEITH, AND -- WELL, TOM AND I HAVE ALWAYS STAYED IN TOUCH.

HE WAS THE DIRECTOR OF MOST OF THE MUSICALS I DID, AND KEITH, WAS YOU KNOW, JUST -- HE WAS JUST STILL IS A GOOD FRIEND.

WE HAVE LUNCH -- NOT TWO WEEKS AGO, I WAS IN L.A.

DOING A COMMERCIAL.

ALTMAN, OF COURSE, HAS BEEN A FRIEND FOR YEARS.

>> SPEAKING OF ALTMAN, YOU BROKE -- SO YOU ARE DOING THESE MUSICALS FOR AT LEAST FIVE OR SIX YEARS BUT YOU BREAK INTO FILM WITH ALTMAN IN NASHVILLE, HOW DID YOU GET THAT GIG?

>> I WAS BACK IN MONTREAL DOING -- I RE-ENTERED THE WORLD OF ROCK 'N' ROLL WITH A GROUP, AND WE WERE TOURING AND TOOK A BREAK, AND WE WERE IN FLORIDA JUST R AND R, AND THEY GOT A CALL FROM KEITH, AND HE SAID I AM DOING THIS MOVIE WITH ALTMAN, NASHVILLE, MUSIC IN IT, WHY DON'T YOU MEET HIM.

SO I GNU -- I FLEW OUT TO L.A.D WALKED INTO HIS OFFICE, AND MY INTERVIEW WENT SOMETHING LIKE THIS.

KEITH SAYS, BOB, THIS IS ALLEN, ALLEN, THIS IS BOB, WANT TO BE IN OUR MOVIE?

AND I SAY YEAH, AND THAT WAS IT.

AND THAT WAS THE EXTENT OF MY AUDITION, PER SE.

>> WOW, AND YOU HAD A FAIRLY MAJOR ROLE, AND YOU WERE -- >> I WAS IN THE TRIO.

>> WITH KEITH AND TINA.

>> AND HERE THEY ARE.

IT LOOKS LIKE -- WAS IT CHAOTIC?

FUN?

SOME OF THE MAIN ACTORS WERE NOT EVEN CHOSEN UNTIL YOU GOT IN.

>> BUT IT WAS GREAT.

IT WAS AN ENSEMBLE PIECE.

24 ROLES THAT WERE FILMED.

AND EVEN THE WAY THAT WE WERE PAYING, IF YOU HAD EXPERIECE YOU WERE PAID 1,000 A WEEK, AND IF YOU DID NOT HAVE EXPERIENCE YOU PAID 750 A WEEK, AND I THOUGHT THAT WAS OUT RAGES BECAUSE THEY ALSO GIVE THIS THING CALLED PER DIEM, WHICH I DIDN'T KNOW WHAT THAT WAS UNTIL I GOT TO DO THE FIRST MOVIE.

THEY FEED YOU AND HOUSE YOU AND GIVE YOU A PER PER DIEM, AND I D WHAT'S THAT FOR?

AND THEN I LEARNED ABOUT PLAYING POKER.

THAT'S WHAT IT IS FOR.

>> OKAY.

NOW, IS THAT WHY YOU STUCK WITH FILM, AFTER THAT?

>> POKER, YEAH.

YEAH -- NO.

[LAUGHTER] >> BECAUSE IT SEEMS AFTER THAT, YOU WORKED PRINCIPALLY THROUGH THE 1970s AS AN ACTOR AND A SCREENWRITER AND COMPOSER, AND YOU DID A LOT OF WRITING FOR ALTMAN.

>> I JUST KIND OF DEVELOPED THIS GREAT RELATIONSHIP WITH WORKING, WORKING RELATIONSHIP AND FRIENDSHIP WITH BOB, AND WE JUST KIND OF HIT IT OFF, AND HE ASKED ME TO DO SOMETHING, AND I WOULD SAY YES, AND I WOULD DO IT, AND NEXT THING I KNEW I WAS WRITING MUSIC FOR FILMS AND WRITING FILM WITH HIM, AND I WAS PRODUCING ON ONE FILM AND CO-PRODUCING ON ANOTHER FILM AND JUST KIND OF STUCK WITH IT, AND I MOVED OUT TO L.A.

AT THAT POINT TO -- I NEVER SPENT ENOUGH TIME THERE BECAUSE WE WERE GOING ON LOCATION.

>> SO THE LURE OF BROADWAY AND OH, HERE YOU ARE WITH ALTMAN, A COUPLE OF WEEKS AGO.

>> YES.

>> DOING A COMMERCIAL.

>> SO YOU ARE STILL BUDDIES.

>> OH, YEAH.

YEAH.

>> GREAT.

>> THAT'S ONE OF HIS TITANIUM KNEES.

>> IS IT COLD?

>> I THINK THAT'S WHAT HE WAS TRYING TO FIND OUT.

>> AND SO, THEN AFTER -- CLEARLY YOU DID THE ACTING AND YOU DID SWITCH TO MAINLY ASSISTANT DIRECTING AND PRODUCING.

WHAT WAS THAT SWITCH ABOUT?

YOU WERE ACTING SOME DURING THAT BUT WHY DID YOU CHOOSE TO TAKE ON THOSE ROLES?

>> IT WAS BOB'S IDEA, I THINK IT WAS ON -- IT WAS AFTER POPEYE AND HE WAS EMBARKING ON STREAMERS.

AND HE HAD A PARTING OF THE WAYS WITH HIS A.D.

AND PRODUCER OF SEVERAL YEARS.

HE ASKED ME IF I WANTED TO TAKE OVER.

I DID.

I HAVE A TERRIBLE ITCH RIGHT NOW.

>> IN 1980, YOU DIRECTED YOUR WAS ABOUT MEATLOAF, WHICH IS PERFECT FOR YOU, IT SEEMS THAT FILM.

HOW DID THAT GO AND WHY DID YOU NOT DIRECT ANOTHER MOTION PICTURE?

>> WELL, NOW, THAT'S A LOADED QUESTION.

>> IT IS A LOADED QUESTION.

>> IT WAS A VERY LONG, ARDUOUS PROCESS FOR A LOT OF REASONS.

IT WAS REALLY FUN.

IT WAS VERY CREATIVE.

I GOT TO WRITE AND DIRECT THE FILM AND WORKING WITH MEATLOAF WAS GREAT, AND A MANAGEMENT TEAM THAT WAS ALSO ACTING AS PRODUCERS, AND THEY STAYED AWAY FROM US, AND THE RECORD COMPANY UP THE MONEY SO IT WAS A GREAT EXPERIENCE.

TOOK US A YEAR TO COMPLETE IT.

AND WHEN WE FINISHED, THE FIRST SCREENING THAT I HAD, FOR MY MENTOR, BOB, AND THE CAST AND CREW, MEATLOAF'S MANAGERS SENT A BAILIFF TO SHUT DOWN THE SCREENING AFTER THREE RELEASE BECAUSE THEY WERE SUING MEATLOAF.

AND MEATLOAF'S RECORD COMPANY WAS SUING THE MANAGERS, AND MEATLOAF HAD TO SUE THEM BACK AND IT BECAME THE VICTIM OF A LAWSUIT.

>> SO THIS WAS JUST A TIMING THING, HAD NOTHING TO DO WITH THE FILM?

>> NOT AT ALL.

AND I TOOK THE FILM TO THREE DIFFERENT FILM FESTIVALS.

BECAUSE I HAD A PRINT OF THE FILM.

THAT WAS MY DEAL.

AND IT WAS WELL RECEIVED AT THE WORLD FILM FESTIVAL IN MONTREAL.

>> RIGHT, GREAT REVIEWERS.

>> AND A FESTIVAL IN DALLASING DALLAS ANDWAS WELL RECEIVED BUTW THE LIGHT OF DAY, SO IT WAS NOT AS IF I COULD PARLAY THAT INTO A DIRECTING CAREER.

I HAD THE FILM BUT IT WAS HARD TO GET PEOPLE TO SEE IT, SO I TOOK THE NEXT JOB THAT CAME UP.

>> RIGHT.

IN THE LATE 1980s AND EARLY 1990s YOU WERE A SEGMENT REEL PRODUCER FOR SATURDAY NIGHT LIVE.

WAS THIS A BLAST LIKE EVERYBODY IMAGINES IT WOULD BE OR JUST A DEADLINE NIGHTMARE.

>> IT WAS A BIT OF BOTH.

IT WAS ALWAYS FUN BECAUSE IT'S SO INVIGORATING GETTING TO THE LIVE SHOW.

THERE IS NOTHING LIKE STARTING ON A WEDNESDAY, READ-THROUGH, TABLE READ, AND GATHERING ALL THE INFORMATION AND REHEARSING AND BUILDING THE SETS AND MY PARTICULAR JOB WAS THE SEGMENT REEL, WHICH I HAD TO COME UP WITH ANY PARODY TITLE SEQUENCES, ANY VIDEO COMMERCIALS, NOT THE PREFILMED ONES.

I HAD TO COME UP WITH ANY FILM FOOTAGE THAT THEY NEEDED FOR CERTAIN SKETCHES THAT THEY WERE DOING.

AND PUT THEM ON THE REEL, AND IT WAS ALWAYS VERY EXCITING AND A LOT OF FUN, AND WE WOULD WORK INTO THE EARLY HOURS AND BECAUSE THE ARTISTS AND WRITERS, THEMSELVES WOULD WANT TO BE INVOLVED IN LIKE THE TITLE SEQUENCE.

LIKE I DID THE OPENING FOR SPROCKETS WITH MIKE MYERS AND ONE OF AL FRANKEN'S BITS, I CAN'T REMEMBER THE THING, IT WAS SOMETHING WHERE HE PLAYED THIS KIND OF SELF HELP GURU, AND WE DID THIS FUNNY OPENING WITH FLOATING PICTURES THROUGH THE SKYSCAPE.

>> I DON'T KNOW IF I COULD SAY IN A ROOM WITH EITHER OF THOSE PEOPLE FOR VERY LONG.

>> THEY ARE GREAT PEOPLE, THOUGH.

THEY ARE.

>> ABSOLUTELY.

SO YOU COLLABORATED WITH ALTMAN FOR YEARS AND STARTED WORKING WITH TIM RO TIM ROBBINS.

IS THAT HOW THE SYSTEM WORKS OR IS THERE A DEEPER CONNECTION?

>> THAT'S HOW IT WORKED IN THIS INSTANCE.

HE ASKED ME IF I WOULD HELP HIM OUT ON BOB ROBERTS, A FILM HE WAS WORKING ON, AND I SAID YES.

ONCE AGAIN, THE INABILITY TO SAY NO.

AND WE WENT AND FILMED IT ALL IN PITTSBURGH AND HAD A GREAT TIME.

AND THEN I WENT BACK AND DID SOME OTHER FILMS, AND THEN HE ASKED ME FOR DEAD MAN WALKING, SAME THING.

>> POWERFUL.

>> ALL THE WHILE I WAS DOING TIM'S FILMS, I WAS MISSING OUT ON DOING SOME OF BOB'S MOST RECENT FILMS, BUT WE LOOK LIKE WE MIGHT BE DOING ONE IN THE NEW EAR TOGETHER.

>> IS YOU WORKED WITH PAUL NEWMAN QUITE A BIT.

ONE WAS FLAP SHOT WHERE YOU ARE A HOCKEY PLAYER AND YOUR GRANDFATHER WAS A THREE-TIME STANLEY CUP WINNER.

>> YES, HE WAS.

>> SO WAS THAT HOW YOU GOT INTO THAT FILM OR WAS THERE ANOTHER, THROUGH BUFFALO BILL?

>> THAT WAS JUST ACTUALLY JUST ONE OF THOSE HOLLYWOOD STORIES, WE WERE ALL HANGING AROUND BOB'S OFFICE ONE DAY AND SCOTT GLEN CAME IN.

HE SAID I JUST AUDITIONED FOR A FILM ABOUT HOCKEY.

YOU ARE FROM CANADIAN, YOU MUST PLAY HOCKEY, AND I SAID YEAH, I HAVEN'T SKATED IN 15 YEARS BUT I DID PLAY.

HE SAYS WELL, YOU SHOULD GET IN TOUCH, HAVE YOUR AGENT GET IN TOUCH SO I DID.

I WENT THROUGH THE AUDITION PROCESS AND GOT THE ROLE IN SLAP SHOT.

AND THAT WAS A GREAT FILM.

WE HAD A GREAT TIME MAKING THAT FILM.

>> IT WAS A GREAT FILM, AND YOU WORK WITH PAUL NEWMAN A COUPLE TIMES.

I HEAR HE'S FULL OF BINES.

-- FULL OFBEANS.

>> DURING BUFFALO BILL IT WAS KIND OF PRACTICAL JOKE, ONE UP UPMAN SHIP GOING ON BETWEEN YOU AND ALTMAN.

>> BOB FILLED HIS TRAILER FULL OF POPCORN, AND I MEAN FULL OF POP CORNING.

JUST LIKE IN THE MOVIES, YOU OPEN THE DOOR.

POPCORN COMES OUT.

SO PAUL'S RETALIATORY MOVE WAS TO FILL BOB'S TRAILER ON AN OFF WEEKEND WITH BABY CHICKS.

>> OH, LIVE BABY CHICKS?

>> LIVE BABY CHICKS.

>> THERE IS AN IMAGE HERE OF PAUL AND YOU, THESE COSTUMES ARE SO FABULOUS.

YOU ARE THE SECOND FROM THE RIGHT.

>> YEAH.

>> AND PAUL SECOND FROM THE LEFT.

>> YEAH, AND HARVEY KEITEL IN THE MIDDLE AND KEVIN MCCARTHY, GOD REST HIS SOUL, ON THE OUTSIDE.

WE HAD A BALL MAKING THAT FILM, TOO.

>> I BET THAT YOU DID.

>> YOU JUST HAVE TO SHOW UP FOR MAKEUP AROUND 5:30 AND STAY IN THAT WOOL OUTFIT THE ENTIRE DAY.

SO WE HAD TO BE HAVING FUN.

>> WE WERE IN CALGARY, ALBERTA, YEAH.

>> GREAT.

ACTUALLY, YOU ARE BOTH CANADIAN AND AMERICAN CITIZENSHIP, I TAKE IT THERE ARE A LOT OF FILMS BEING SHOT IN CANADA NOW.

DOES THAT HELP?

>> I HAVEN'T GOTTEN INTO THAT BUSINESS UP THERE YET BUT I AM WRONG, I HAVE DIRECTED SOME TELEVISION UP THERE.

I'VE BEEN RECENTLY DIRECTING TELEVISIO -- I DIRECTED A SERIES CALLED "BLACK HARBOR" FOR THE CBC AND DIRECTED A SHORTENED SERIES, SO I'VE BEEN DOING DIRECTING UP THERE BUT -- AND I AM KIND OF TRYING TO REVIVE MY ACTING CAREER BECAUSE I FIGURE WHY NOT.

>> RIGHT.

>> AND BECAUSE YOU CAN DO THEM ALL.

[LAUGHTER] >> I WANT -- YOU WORKS WITH ALTMAN ROBBINS AND COULD YOU GIVE US A ONE-LINER?

SO ALLEN RUDOLPH.

>> QUICK ON HIS FEET.

HUMOROUS.

REALLY VERY, VERY WITTY.

VERY WITTY, AND -- >> TIM ROBBINS.

>> CONCERNED, VERY WELL RESEARCHED, INTELLIGENT, INTELLIGENT, INTELLIGENT.

AND SOCIALLY RESPONSIBLE.

>> ROBERT ALTMAN.

>> AN OPINIONATOR.

HE HAS AN OPINION, AND HE WANTS TO TELL HIS STORY, AS MOST DIRECTOR, AND HE TELLS IT WITH HIS OPINION.

AND I HAVE THIS -- I HAVE AN OPINION THAT WHAT MAKES A GOOD DIRECTOR OR A BAD DIRECTOR IS NOT NECESSARILY THE SUCCESS OR FAILURE OF THE FILMS THEY DIRECT BUT MORE OR LESS HAVE THEY ACHIEVED TELLING THE STORY PROPERLY, AND HAVE THEY TOLD IT THE RIGHT WAY, AND IF THEY HAVE TOLD IT THEIR WAY THEY HAVE TOLD IT THE RIGHT WAY, IF IT'S NOT COMMERCIALLY SUCCESSFUL, OR CRITICALLY SUCCESSFUL, IT DOES NOT REALLY MEAN THAT MUCH.

IT'S JUST, I AM A STORY-TELLER, AND I AM GOING TO TELL MY STORY, YOU ARE GOING TO WANT TO READ IT OR SEE IT OR NOT.

I THINK IT'S A LOT SIMPLER THAN PEOPLE THINK.

STORYTELLERS.

>> I THINK THAT THEY ARE.

>> I CANNOT THINK OF A ROLE YOU HAVE NOT PLAYED AROUND THE SCREEN OR STAGE, AND ALTMAN SAID HE CAN DO EVERYTHING, AND HE ADDS, OUR SOCIETY DOESN'T LIKE THAT.

BESIDES THE FACT IN THAT HE'S A TERRIFIC GUY.

HAS IT BEEN A PROBLEM BEING SOMEBODY WHO CAN DO EVERYTHING TO COMPOSE, BE A MUSICIAN, THAT'S A LOT OF CHOICES FOR YOU AND IT MIGHT MAKE IT CONFUSING FOR OTHERS HIRING YOU.

>> I THINK, YES BECAUSE IT'S KIND OF CONFUSING FOR ME.

THEY WANT -- PEOPLE LIKE TO LOCK PEOPLE INTO CATEGORIES.

CATEGORIZING IS A STRONG PART OF THE BUSINESS, AND I HAVE HAD AN INABILITY TO, YOU KNOW, HAVE A DIRECTING CAREER BECAUSE I'VE BEEN BUSY WRITING MUSIC FOR ANOTHER FILM OR PRODUCING.

SO FOR ME TO BECOME JUST A DIRECTER WOULD MEAN THAT I WOULD HAVE TO SIT WITH ONE PROJECT AND PURSUE IT UNTIL IT WAS REALIZED.

PEOPLE'S PERCEPTION OF SOMEONE LIKE ME IS THAT OH, MAYBE HE'S TOO UNFOCUSED.

YOU KNOW.

HE DOES ALL THESE THINGS.

I HAPPEN TO BE INCREDIBLY FOCUSED.

>> CLEARLY.

>> AND I HAVE THIS INALB TO SAY NO.

I REALLY LIKE WHAT I DO.

AND I HAVE UNFLAPPABLE ENERGY.

I DON'T KNOW WHY BUT I HAVE A, ALL THIS ENERGY INSIDE ME, AND I HAVE TO BE DOING SOMETHING AND WANT TO BE DOING SOME AT ALL TIMES.

>> WHAT DO YOU THINK YOU ARE BEST AT AND WHAT DO YOU ENJOY THE MOST?

>> I ENJOY MUSIC THE MOST.

I ENJOY PERFORMING THE MOST.

WHAT I AM BEST AT, I DON'T KNOW, I THINK THAT WOULD BE OTHER PEOPLE WOULD HAVE TO JUDGE THAT.

BECAUSE LIKE I WAS TELLING YOU EARLIER, ACTUALLY, OFF THE CAMERA I HAVE NEVER REALLY BEEN GOOD AT TALKING ABOUT MYSELF.

I CAN ANSWER QUESTIONS ABOUT WHAT I HAVE DONE, BUT I HAVE NEVER BEEN GOOD AT TALKING ABOUT MYSELF BECAUSE MY MOTHER ALWAYS USED TO TALK ABOUT ME.

>> HOW SO?

>> MY MOTHER HAD THIS ABILITY TO TALK ABOUT ME AND MY BROTHER OR MY BROTHER AND I, IF WE WERE IN A RESTAURANT, SHE WOULD BE ORDERING DINNER AND SHE WOULD SAY, MY SON, WHO IS CURRENTLY APPEARING IN "HAIR" WILL HAVE THE CHEESE FRIES.

MY OTHER SON, PLAYINGS HOLIDAY INN CIRCUIT WILL HAVE THE HAMBURGER.

SHE WAS JUST CONSTANTLY TELLING EVERYBODY ABOUT WHAT WE WERE UP TO.

I MEAN, AND -- >> SHE WAS PROUD.

>> SHE WAS PROUD AND HAPPY AND HAPPY TO HAVE TWO KIDS THAT JUST KIND OF DID WHAT THEY WANTED.

>> WHY DID YOU MOVE TO VERMONT?

YOU ARE NOT HERE NOW, YOU HAVE YOUR PLACE IN NORTH HADLEY.

>> WHICH IS A MINI VERMONT.

>> YEAH, A MINI VERMONT.

>> WHY DID YOU MOVE TO VERMONT AND DID IT HINDER YOUR WORK?

>> I WOULD THINK THAT EVERYWHERE I MOVED HAS HINDERED MY WORK.

I ALWAYS MOVE TO WHERE I WANT TO LIVE.

AND I JUST DO THAT BECAUSE THAT'S THE KIND OF PERSON THAT I AM.

AND THE PROBLEM IS THAT VERMONT WOULDN'T BE THE BEST, YOU KNOW, PLACE TO PURSUE A MOVIE CAREER OR A MUSIC CAREER OR -- I SHOULD BE IN L.A.

OR NEW YORK OR LONDON OR, YOU KNOW.

BUT I AM NOT, AND I MOVED TO VERMONT BECAUSE I LOVE IT.

I JUST -- THIS ISN'T A SALES PITCH.

I JUST ALWAYS, GROWING UP IN MONTREAL, WE USED TO COME DOWN AND I USED TO VACATION WHEN I WAS A KID, AND MY COUSINS, AND I JUST USED TO LOVE THE FEELING DOWN HERE.

>> SO WITH YOUR HIGH ENERGY YOU DON'T NEED TO NECESSARILY BE IN A CITY?

>> NO.

>> THIS REENERGIZES YOUR BATTERIES?

>> YEAH, AND I HAVE TRICKED -- I HAVE TRICKED MYSELF INTO THINKING THAT I AM A COUNTRY GUY BUT I AM NOT.

I AM VERY URBAN.

SO LIKE EVEN WHERE I LIVE IN THE COUNTRY IN THE EASTERN TOWNSHIPS IN QUEBEC, I AM JUST DOWN THE HILL FROM THE CENTER OF TOWN.

SO I CAN GET THERE REAL QUICKLY.

I HAVE TO HAVE -- I NEED CREATURE COMFORTS ACCESSIBLE.

I REMEMBER LOOKING, I REMEMBER LOOKING AT A LOG CABIN IN THE SAME AREA, 14 AREAS, LOG CABIN, AND I THOUGHT I COULD LIVE -- II KIDDING?

>> NOT QUITE THAT FAR OUT.

>> NO.

>> YOU WORK WITH SOME OF THE MOST FAMOUS CELEBRITIES OF OUR TIME.

HAVE I MENTIONED CHER OR JOHN LENNON YOU MET.

WHO HAVE YOU ADMIRED THE MOST?

>> OH, EASY ANSWER, JOHN LENNON.

I MET HIM -- I WAS REHEARSING SERGEANT PEPPER, AND WE WERE -- IT WAS ON THE LOWER EAST SIDE OF MANHATTAN, AND HE CAME BY THE REHEARSAL.

AND I REMEMBER WALKING OUT OF THAT REHEARSAL, AND HE SAID HI AND WAS GREAT AND HE LISTENED TO US.

WE WERE IN THE TRIO AS YOU SHOWED THE PICTURE EARLIER, THAT SANG A LOT OF THE BEATLES SONGS, HARMONIES.

AND HE LOVED HEARING IT AND I REMEMBER WALKING OUT OF THAT REHEARSAL SAYING THAT'S IT.

PMY LIFE IS COMPLETE NOW.

I COULD DIE NOW, THIS IS GOOD.

HE WAS JUST -- I GUESS I TRULY IDOLIZED HIM.

HE WAS JUST REALLY AN INSPIRATION.

HE JUST -- HE TOOK IT, HE TOOK IT, HE JUST TOOK LIFE AND WENT, I AM GOING TO WRITE A BOOK OF POETRY.

I AM GOING TO DO THIS.

I AM GOING TO MARRY THIS ELDER ASIAN WOMAN, I AM GOING TO -- NOT DO WHAT ANYBODY -- I WILL DO WHAT I WANT AND I AM GOING TO CONTINUE DOING IT.

YEAH.

I THINK HIS ART IS GREAT.

>> AND ANYBODY ELSE COME TO MIND, AND LIKE A THORN IN YOUR SIDE?

>> NO BIG THORNS.

WHEN I WAS DOING A SCENE WITH BURT LANCASTER, HE YELLED AT SOMEONE ELSE OFF THE CAMERA AND SCARED ME.

>> DID HE WANT YOU TO BE SCARED?

>> NO.

HE YELLED AT A GUY GIVING HIM A CUE.

AND I SWEAR IF YOU SEE BUFFALO BILL, IT'S THIS SCENE BETWEEN MYSELF AND BURT LANCASTER, AND I TURNED AS RED AS YOUR SWEATER.

I AM THIS LIKE VIVID BURGUNDY COLOR THE ENTIRE SCENE.

AND I AM SURE THAT PEOPLE THOUGHT IT WAS MAKEUP OR SOMETHING, BUT NO, IT WAS ME BEING TOTALLY INTIMIDATED AND, BY WORKING WITH THIS MAJOR STAR AND HAVING HIM JUST BLOW UP AT A FELLOW ACTOR.

>> WHAT IS YOUR VIEW OF THIS CELEBRITY?

YOU HAVE HAD YOUR TIME, YOU KNOW.

I'VE BEEN A STAR.

YOU ARE A STAR.

YOU'VE BEEN BEHIND THE CAMERA A LONG TIME AND WHAT DO YOU FEEL ABOUT THE CELEBRITY SCENE IN AMERICA AND WHAT THAT DOES TO PEOPLE?

YOU ALSO ARE VERY CLOSE FRIENDS WITH SUSAN SARANDON AND TIM ROBBINS AND PEOPLE WHO CAN'T GO PLACES WITHOUT BEING KNOWN.

>> I THINK IT'S HORRIBLE.

I WOULD NEVER CHOOSE IT AS A LIFESTYLE.

I, AT A YOUNG AGE, IN A ROCK GROUP IN MONTREAL HAD A BRUSH WITH FAME WHERE PEOPLE SCREAMED AND RECOGNIZED ME AND FAINTED ONCE, AND IT'S BEEN IT SHOULD IT WAS STARDOM.

ON A SMALL LEVEL, FINE, AND THEN CUT TO TODAY, AND I SEE PEOPLE SUPPOSEDLY ENJOYING THEIR STARDOM BUT NOT REALLY GIVING THEIR WHOLE PERSONAL LIFE OVER TO THE MEDIA, GIVING THEIR WHOLE LIFE OVER TO THE PUBLIC.

NOT BEING ABLE TO HAVE A QUIET MOMENT OR TO GO TO A RESTAURANT AND ENJOY THEMSELVES AND THEN BELIEVING IN THEIR STARDOM TOO MUCH AND BELIEVING IN THE POWER THAT IT BRINGS, I THINK, IS A BAD THING.

>> YOU HAVE DONE A COUPLE STAGE PRODUCTIONS IN BURLINGTON, WHICH IS GREAT FOR US, AND RECENTLY ONE THAT COVERED YOUR -- THE SONGS YOU HAVE WRITTEN FOR ANY NUMBER OF ALTMAN FILMS.

WHAT WAS THAT PROJECT FOR, AND YOU ARE GOING TO TAKE IT OTHER PLACES?

>> YEAH.

IT'S CALLED "SONGS FROM THE SOURCE," THE SOURCE BEING ME.

I WROTE AND CO-WROTE A NUMBER OF TUNES FOR VARIOUS ROBERT ALTMAN FILMS THAT APPEARED AS SOURCE MUSIC OR PERFORMANCE MUSIC IN ONE CASE.

SOURCE MUSIC IS THAT MUSIC THAT COMES FROM THE RADIO OR THE CAR RADIO OR THE -- I REMEMBER THE WOODY ALLEN FILM, A CELLO FILM, AND HE TURNED IT INTO LAUGHTER.

HE OPENED THE CLOSET DOOR, AND THERE WAS THIS CELLO MUSIC.

I REMEMBER THIS, I TOOK THIS MUSIC AND COMPILED IT INTO A SHOW OF 14 SONGS, AND TO THE FULL SONG.

>> UNFORTUNATELY WE ARE OUT OF TIME, AND I THINK OF YOU AS A ZEALOT SPEAKING OF WOODY ALLEN, AND YOU ARE STARTING A SECOND FAMILY AND CONGRATULATIONS, WE HOPE TO SEE YOU BACK AROUND HERE SOMETIME SOON.

THANKS SO MUCH, ALLEN, FOR COMING IN, AND THANK YOU FOR JOINING US ON "PROFILE."

SEE YOU NEXT TIME.