CLOONEY: Lawyers? Oh, they're fun (laughs). I don't know, you don't really need one until you need one, I guess. They're sort of a mixed blessing, obviously. We all feel the same way, which is we love to make jokes about them and they sure can be irritating and we sure think we can live without them. Then every once in a while you think, "It would sure be nice to have a good lawyer." I feel the same way about them as I do about actors (laughs). I don't know. The obvious answer is we all know that they're important and they're needed. They also abuse things at times, so it goes back and forth.
After the success of “Chicago,” do you have any plans to do more movie musicals or do Broadway?
ZETA-JONES: I'd love to do another musical. When they're good, they're great. I just fear that there will be an influx of remakes of every musical that's ever been on Broadway and I don't think that will be good. I'd certainly love to do another one on film, and I just want to do a Broadway show at some point. “Seven Brides for Seven Brothers”... “Brigadoon” is a good one (laughs). I'd love to be on stage, to do anything.
I'd love to do a show in Vegas. I have a big ambition to do a really tacky Vegas show with drag queens. You may laugh, but you'll be invited to the press conference. I just love performing and I miss it especially when I go to see theatre. So hopefully something will come along - the right thing.
What's the best and worst thing about working with each other?
CLOONEY: Can we start with the worst?
ZETA-JONES: He's great to work with. I'd do it all again.
CLOONEY: The worst thing is that we had to stop (laughs) There's nothing bad about it. We had such a fun time doing this. She'll show up and have a blast. This is a group of people - it's not just Joel and Ethan, it's a family - and it’s all these same guys, the cinematographer and all the crew. The first time I was on the set I was there with John Goodman in a scene of “Oh Brother,” and it's a little intimidating. It's like [they are] a gang and it takes about four seconds to feel comfortable there. Catherine immediately walked in and was like, “Okay, I got it. I understand.” From the minute we started, we had fun.
ZETA-JONES: Yeah, the first scene we did was the scene in the restaurant. It was, “Hi, nice to meet you.” We met briefly before on the longest screening of “Traffic” in the history of screenings. The very first cut of “Traffic.”
CLOONEY: The first cut of “Traffic” was like four hours (laughing).
ZETA-JONES: And Steven [Soderbergh] didn't know what to lose. He was like, “It works." It was a very easy working experience and fun, fun, fun, and such an easy way of getting things done and having a blast while you're doing it.
