July 1, 2024 • 30 mins
On The Daily Bespoke today, the fellas chat loosely about films and Marlon Brandow's sex appeal...
See omnystudio.com/listener for privacy information.
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
Hello, it's Matt Heath here with a massive self source.
My number one best selling book, Are Lifeless Punishing Thirteen
Ways to Love the Life You Got, is out now.
It's the result of a deep dive I took into
how to deal with the emotions that make our lives
more punishing than they need to be.
Speaker 2 (00:15):
I reckon, I found a.
Speaker 1 (00:15):
Way to live a life less bored, less stressed, angry, worried, annoyed, scared, dissatisfied,
and more. Karen Reid wrote, Matt has a hilarious way
of articulating an important message, highly valuable advice for anyone.
The newsroom described it as good, very good, indeed, and
Kitty Book said this is wisdom which could save my
teenage son a lot of ants as he negotiates the
slings and arrows of adult life. And under Juris Rmy
(00:37):
Wells he had met as a deep thinking, highly intelligent
human being, which was nice of him. The number one
best selling are Lifeless Punishing Thirteen Ways to Love the
Life You Got, as available in all good bookstores now.
Shocking self source.
Speaker 3 (00:49):
Over it's gid person.
Speaker 1 (01:20):
It is the second of July twenty twenty four. Welcome
all you bespokey dokeyes to the Daily Bespoke podcast. Would
it kill you guys to watch a decent fucking movie
every now and then?
Speaker 4 (01:33):
Hey? I did recently?
Speaker 2 (01:35):
What did you watch?
Speaker 4 (01:35):
I watched that The Wounder that stole all that art
from the museum in Paris. And someone texts in on
the show today saying, great recommendation, MESSI I watched it
last night. Oh the doko Yeah, the docco account does it.
That's all I have watched lately.
Speaker 1 (01:50):
Wow, As I was saying on the Daily Highlights podcast,
this movie ever made, Twelve Angry Men nineteen fifty seven.
Speaker 2 (01:57):
I watched it last night, black and white. Get that
up your mesh.
Speaker 4 (02:00):
I mean, I hear what you're saying, Jerry, You'll beat
me up on this. Yeah. The best movie I've ever
watched is a phrase that comes up once every fortnight
on the show, and I'm just worried that maybe we're
throwing that phrase around a little bit too much because
Twelve Angry Men. I've had a look online.
Speaker 2 (02:15):
People love It's how I seen on roderin Tomatoes.
Speaker 4 (02:18):
I don't know if it's the best movie you've ever made.
Oh maybe it is. Look, who am I to judge, Jerry,
what's your favorite movie you ever made?
Speaker 2 (02:24):
My favorite movie ever made, I can tell you it's
it's got one hundred cent or not tomatoes, twelve angry Me.
My favorite movie that I've ever seen is because there's
lots of movies that I haven't seen that I'm sure
I quite like if I saw them, but as and
I'm not much of a movie watcher, but it's probably Fargo.
Farg Off, No, Fargo, not fag Off in farg Off
(02:49):
with Fargo.
Speaker 4 (02:50):
You know, Argo is one of my favorite movies.
Speaker 1 (02:52):
As I go, as I go that the Ben still
a wounder, nah Ben affleck affleck.
Speaker 2 (02:59):
I quite like that, Yeah, quite like.
Speaker 1 (03:00):
No, I like I like the the device they had
on it when when when binging you could drink alcohol
and they were out of there.
Speaker 2 (03:07):
Oh yeah that was not that was nice time. That
was good. But I'm having at twelve angry Men here.
Get it up yet.
Speaker 1 (03:12):
It's from nineteen fifty seven, and get it up yere.
Speaker 4 (03:15):
And it's not a porno, okay.
Speaker 2 (03:17):
It's not a god. Twelve Angry Men would not be
the porno that I would get.
Speaker 3 (03:21):
No.
Speaker 4 (03:22):
Watch now that Google.
Speaker 2 (03:26):
I watched it, I actually had to pay five ninety
nine and I watched it on Apple.
Speaker 1 (03:29):
Oh yeah, holy shit. Budget was three hundred and thirty
seven thousand.
Speaker 4 (03:33):
Who's in it.
Speaker 2 (03:33):
It's quite a lot for the time considering us all
set in one room.
Speaker 1 (03:36):
So basically the premise of it is that fond that
there's a guy that's been accused of murder and this
is just the twelve jurors in a room.
Speaker 2 (03:46):
Did you know?
Speaker 1 (03:47):
I was interested about this because I was watching it
with a girl and she goes to me. She says,
she's me sixist, she says, she says sexist. Why they're
no woman and the jury. But women had actually had
the right to be in the jury for a very
very very long time in America by nine fifty seven,
a long long time, but they would always say no.
So women didn't want to be in juries. Strangely, they
(04:08):
it was very rare for a woman. They were getting
the same amount of leaders sent out to them to
join jewelies, but women for the longest time just didn't
want to do it culturally for some reason. I think
it was to do with a lot of it was
to do with women, And oh, that's right. Woman had
an immediate get out of it free because it was
seeing that women were busy with children and stuff. So
(04:29):
men was really used to be really hard to get
out of jury service back in America and back in
the day, but it was very easy for women to
get out of jurys service because I've.
Speaker 2 (04:37):
Seen that back then.
Speaker 1 (04:38):
It's seen what was going to happen with the kids
if there's you know, so basically what every woman said
no and there, but men were being forced to do it.
So it wasn't really sex as them, was it? Or
was it was? Henry Fonder is a great New Zealander. Shit, yeah,
I kept been calling it. Call call it him Peter
Fonder on the on the Bloody Highlights because Peter Fonder's
son as his son. Oh yeah, and Jane of course, yep,
(05:00):
Jane Fonder. Henry Fonder amazing and he produced this movie
as well and stars in it. And it's really interesting
when you watch this movie Twelve Angry Men, because you
see the morals of the day were quite different, and
the morals of the day are being really fair. But
it's interesting there's a thing that we don't really have
now back then where they thought that there were certain
(05:23):
people that thought poor people were bad in virtue of
being poor, so poor it wasn't a racism thing because
everyone in this You know that the person that's on charges,
there's some guy that's prejudiced in it, and he's prejudiced,
but he's preduously against slum dwellers, people that live in slums,
because they said they're bad people, and they brought up
bad and they remained to be bad.
Speaker 2 (05:45):
This is an interesting.
Speaker 1 (05:47):
The working the working poor that this person's anti and
you don't really hear much about that rhetoric anymore, do you.
Speaker 2 (05:54):
No. So the plot, an eighteen year old Latino is
accused of having stabbed his father to death. Ah was
he Latino? I missed that. He's presented in a courtroom
before a twelve man jury. Ah.
Speaker 1 (06:05):
I must that because I couldn't tell that he was Latino.
So that when the guy was pretty just, it was
because he was pretty just about him being Latino. If
missed that, all right, it's to strike what I was
just saying.
Speaker 4 (06:13):
I also say that none of the characters have names
other than Dura number whatever. So like he and new
Fondo is during number eight.
Speaker 1 (06:20):
That's one of the brilliant moments in it. Because they
all get called just their jury name jury one too, do.
Speaker 2 (06:25):
You remember one? So the case in jury is yeah.
Speaker 1 (06:28):
Yeah, And so they all sit around the table and
it's what's so brilliant about it is that there's this
cut and dry case. It seems like the kid definitely
murdered his father, right. But then over the course of
the movie, there's just one guy played by Henry Fondo,
such a great actor, but he goes, I don't know,
I just want to talk about it, and everyone else
wants someone wants to go to a baseball game. They
just want to get out of there. One of them
(06:49):
just goes, I just want to get out of there.
It's really really hot. It's a really hot New York day,
and there's no air conditioning. The fan won't work, and
they just a lot of them just want to get out.
And this one guy says, I think we owe it
to this young man he's eighteen, to talk it through
and just spend some time before he sent to the chair.
Speaker 2 (07:04):
Henry Fonds during number eight does he play a character
mister Davis? I he might do.
Speaker 1 (07:11):
I actually don't find out his name till the very end. Okay, Andy,
it's so brilliantly shot, and you realize that a lot
of the blocking in movies isn't as good as it
used to be because they just cut around.
Speaker 2 (07:23):
There's multiple cuts, but they used to just block a shot.
Speaker 1 (07:25):
The camera would be there, the actors would move to
their spots, say their line, and they'd move around.
Speaker 2 (07:30):
Quite it's quite brilliant.
Speaker 1 (07:31):
You actually watch it and go there was a craft
of movie making that's kind of been lost, and it
was quite a different thing. Well, no special effects, no
special effects, and also just quite hard to move the
cameras around because they were so massive, and you couldn't
just roll endless film because film was really really expensive.
One of the most expensive parts of a movie was
just rolling film for the camera.
Speaker 2 (07:51):
The find more difficult to light black and white as well.
That's the other part, because there's a lot of shadow.
That's what I found about watching The Talent of Mister Ripley,
which is in black and white, which annoyed a lot
of people. There's a new Netflix show, isn't it. Yeah?
But I like the black and white part of it.
I thought it made it really especially in the bright
sunshine of Italy Coastal Italy in summer and the shadows
(08:15):
and the shadows that were cast. That's got that same
kind of thing. I think black and white can crowd
attention that you can't necessarily get in color.
Speaker 1 (08:22):
To be honest, Yeah, well it's interesting because nineteen fifty
seven when this movie was made. There've been color movies
since nineteen oh two, but it.
Speaker 2 (08:31):
Was kind of a pain in the ars.
Speaker 1 (08:32):
So they stayed in black and white, and a lot
of directors of photography they preferred black and white because
they operated in color, and they offered in shadow, you know,
like light and dark, and that's how they'd light it.
And so they would be like they actually thought that
color was a gimmick. They were like, oh, color is
just a gimmick, because that's not how a dop works.
And if you actually watch this movie with that in mind,
(08:56):
it's the dop was fucking kick man.
Speaker 2 (09:00):
He's kick us.
Speaker 1 (09:01):
Don't you hate some wanker that comes in and says,
watch a movie from ninety fifty seven. It was fucking amazing.
I used to hear people say that kind of thing,
and I used to say, no, Europe, piece of shit,
get out, get out. I'm watching the latest Marvel movie.
But I think movies have just got so so off
track lately that you actually there was actually quite refreshing
(09:24):
to see people with the actual old craft of movies.
It's actually got to the point now we're watching a
movie like Twelve Angry Men and you realize things like
expository dialogue done in a sensible way instead of Now.
I don't know if you guys watched The Acolyte then
New Disney thing where people.
Speaker 2 (09:40):
Just say how they're feeling about something. They just come
up and they.
Speaker 1 (09:43):
Say what they're doing, what they're done, rather than doing
with their actions.
Speaker 2 (09:48):
No, there's too much. I know exactly what you mean.
That's the problem I have with the meg too as well.
Everybody had to say exactly what they were doing the
whole time.
Speaker 1 (09:56):
So they say I feel like this, and so you're
just supposed to take them by their word rather than
demonstrating it, which is much harder to rob.
Speaker 2 (10:02):
That's that's for wounders like Mesh and message generation, where
everything needs to be spelled out. To me, I used
to sitting there jerking off. They used to. I watched
a street car name desire Well. I tried to watch
a street car name desire.
Speaker 1 (10:12):
Welllf Shall we take a break and find out what
Jeremy thinks about that's wounding old black and white film.
Speaker 4 (10:21):
Sorry, hold up, I wasn't ready for that.
Speaker 2 (10:26):
You need to leave in that.
Speaker 1 (10:27):
Sorry, I wasn't ready for that. On you people need
to see that you weren't.
Speaker 4 (10:30):
Ready for I'm going to sharpen that up. People.
Speaker 1 (10:33):
Just when you was pointing out that your generation doesn't
paying attention.
Speaker 2 (10:37):
Exactly, you weren't even attention.
Speaker 1 (10:38):
You weren't even paying attention to boring about a movie
from nineteen.
Speaker 4 (10:42):
Fifty attention to someone else?
Speaker 2 (10:45):
What were you paying attend to? Oh?
Speaker 4 (10:46):
Just what I'm looking at here?
Speaker 2 (10:48):
Tour memes.
Speaker 4 (10:49):
No, I'm not paying attention to HOWK tour memes. I
just went down frollving room inhole.
Speaker 1 (10:53):
Oh okay, you got to split on that thing. She's
the best of us, you know, like, get on the
fucking podcast.
Speaker 4 (11:01):
I've tried to reach out, but Hocteur is a very
popular woman right now, Matt and I don't know if
I love our chances. Jerry, you watched a film yesterday.
Speaker 2 (11:08):
A streetcar named as I wasn't he said as a
while back, the remake I don't recommend it, the remake
of the nineteen fifty was it fifty one?
Speaker 1 (11:16):
Is that a dance fight? A fight dancing movie or
my thinking wistarted story.
Speaker 2 (11:20):
That specide story nineteen fifty one. It's the Tennessee Williams
play that was converted into a film, very famous film. Yeah,
and it's got Marlon Brando in it.
Speaker 5 (11:30):
Oh yeah, who's hot? Yeah, good looking man, Marlon Brando hot,
and he's hot in us he's very sweaty. But it's
about a woman who goes to live with their sister
and her sister's husband and then sort of goes crazy.
But maybe it would have been a great play. And
then I think they've turned it into let's think of
a lot of films back in those days. We're actually
(11:52):
plays that were then adapted.
Speaker 2 (11:54):
Yeah, play We're twelve Angry Men was Oh yeah, okay,
a play, right, so some work and some dying. I
know this is it's a very famous film street car
name Desire, and it's a famous play. But I found
it really overacted and really boring.
Speaker 1 (12:11):
Have you watched The Waterfront with Marlon Brando?
Speaker 3 (12:16):
No?
Speaker 1 (12:18):
Because I think about it on the Waterfront from nine
to fifty four. Interesting movie, but do you know what
it changed changed the world. And people were horrified because
he wore a T shirt, isn't it.
Speaker 2 (12:30):
Oh he wore a T shirt and Street Car nam DESI.
Speaker 1 (12:32):
Did he because wearing a T shirt was considered like
being in your undies. Yeah, and people like freaked out
to see someone in their T shirt. No one ever
done that. That was like walking around in your undies. No
one had done it in a movie. Maybe it was
the first time he did it in Street Coy Desire.
And then he continued on on the waterfront.
Speaker 2 (12:46):
You know what, I think I started watching it because
we were talking about that.
Speaker 1 (12:49):
And I said, oh, I might watch this right, and
he and actually you can kind of see it because
if you watch twelve Angry Men, they're all in suits.
Everyone is so formal back then, and then someone to
just turn up and a T shirt. Yeah, they're alone,
like fucking Mashy tuning out the gym with the low
hanging side singing that lets your side boom hang out.
Speaker 2 (13:07):
Yeah.
Speaker 4 (13:08):
I've got a theory that suits are going to come
back for me properly.
Speaker 2 (13:12):
Yeah, I've got a theory that I reckon.
Speaker 4 (13:14):
Probably another thirty forty years. I think there's going to
be another quick moment and.
Speaker 2 (13:17):
You guys go to go to the dock and have
a look at this. This is Marlon Brando and a
street car named Desire. There is a man that is
in the singing.
Speaker 4 (13:25):
There's a man Jerry, that doesn't watch films due to
their names often. It was strange to me that you
decided to watch a street cars.
Speaker 2 (13:35):
I just knew it the film from from because I've
always heard about it growing up.
Speaker 4 (13:39):
Who does he look like?
Speaker 2 (13:41):
What's I don't know? But he is a devastatingly handsome man.
I reckck he was. He was like the most handsome,
wasn't he He was known as the most handsome man in Hollywood.
He had a bit of a blowout by the time
and Godfather.
Speaker 1 (13:55):
Yes, I think I might be wrong. I think it
might be the T shirt might have been. And I
think Malon Brando and a T shirt. I think that
might have been. I might be thinking streetcar name Desire.
Speaker 2 (14:08):
Yeah, I think that's why I watched it, because I
think we were talking about it in the Fact Factor
or something. Yeah.
Speaker 1 (14:13):
Pretty good looking man. You got to say so, But
you say it's not a great movie.
Speaker 2 (14:17):
No, it's just it's just a little bit of I
don't like do you know what I don't? And I
watched it the other day and Hugo is watching Stranger
Things at the moment. It's an annoying scene. This's one
thing that winds me up about films. It's when female
characters can't physically do things. It really annoys me. And
(14:38):
there's a bit and Stranger Things in series three where
the female character I can't remember her name, but she's
with Hopper's towards the end and she's trying to that
and not Eleven. No, she's she's like an older woman.
She's maybe Eleven's mum or she's anyway, she's made Oh god,
Eleven's mom.
Speaker 4 (15:00):
One that stole things back in the day.
Speaker 2 (15:02):
Who is the brain woman?
Speaker 4 (15:04):
Who's the one that stole think that had?
Speaker 1 (15:08):
No, No, it's not one on because Hopper has got
a mass white on for writer and.
Speaker 2 (15:14):
Maybe maybe his girlfriend.
Speaker 4 (15:16):
She stills.
Speaker 2 (15:17):
She's trying to turn off the things, and all she
needs to do is just turn off things, and instead
of just turning off, she's just frantically. She's just useless
and just can't turn off these things, and physically it's
just can't do it. And I hate that, and in
this in the streetcar named Desire, there's a crazy, frantic
woman who's just really useless, right, and I just the
idea of the useless female character who's just physically pathetic. Well,
(15:40):
the most annoying example, the.
Speaker 1 (15:41):
Most annoying example that is in Indiana Jones in the
Temple of doom.
Speaker 2 (15:45):
Ah she went on to marry Steven Spielberg.
Speaker 1 (15:47):
She just fucking walks around screaming and never fucking helps.
Speaker 2 (15:50):
No, I know that character. Why do people have those?
Why do they write those characters in the films? Just help?
Speaker 1 (15:56):
That's why Princess Leah was such an amazing character, wasn't she.
Princess Lea was just in charge.
Speaker 2 (16:01):
Yes she was. She was a good character, good character.
She was capable.
Speaker 4 (16:06):
Yeah hot, Can someone tell me about riders? So how
does she start? What happened? What went wrong? And then
her return to fame was because.
Speaker 2 (16:14):
She was I feel like she was. She was in edwards,
her hens.
Speaker 1 (16:18):
Okay, she was in fucking everything back in the day
when on a rider.
Speaker 4 (16:21):
So she was quite a big extress, she was.
Speaker 2 (16:23):
She was a huge star. Beetle juice, yeah, little juice.
Speaker 4 (16:26):
Yeah.
Speaker 1 (16:26):
So from a kind of childish star too, and she
it was it was her so Banana Riders. She also
dated Johnny Depp and his he had a wana for
river tetoo on him.
Speaker 2 (16:39):
Oh cute reality bites has got a big film And
then what happened?
Speaker 4 (16:43):
What was her down for?
Speaker 6 (16:44):
Well?
Speaker 2 (16:44):
She she she she's in Black Swan's.
Speaker 1 (16:47):
She did quite well, but then she was caught shoplifting.
Speaker 2 (16:50):
She did a goal. Is you know a really wealthy
person that shoplifts.
Speaker 4 (16:54):
Yeah, it's not a good look, is it.
Speaker 2 (16:55):
No?
Speaker 1 (16:56):
Because if you can afford it, you should pay for it.
I mean, you shouldn't steal anything at all.
Speaker 4 (17:00):
Was she clip though? He clip though?
Speaker 1 (17:03):
Yeah? Clipped Although she argues that normally her I think
doesn't She argue that normally her personal assistant would be
rubbing the credit card up the wounder, and she was
just you know, she might have had a level of
fame where you know how famous people in America just
get free shit everywhere they go, So she might not
(17:23):
as been sort of bad as gold Is that because
you know Goldrez was obviously premeditated going into shoplift because
she wanted special clothes.
Speaker 2 (17:30):
There wasn't anything to do with her PTSD really it's
called complex.
Speaker 1 (17:36):
I think people need to realize she's forty three years old.
I think that's a key piece of information that people
like John Campbell seem to be just washing over that
she's forty three years old and when you're forty three
years old, you don't shop lift to because now she's
trying to claims and that she shoplifted because you just
wanted to leave parliament. But she's a list MP, so
(18:00):
she didn't have constituents, so she could have if she
wanted to leave, she just leave.
Speaker 2 (18:04):
So she reckons she wanted to get caught. I thought
that was an interesting thing. But why when she wanted
to call, why didn't she let in their bag?
Speaker 1 (18:09):
Well, yeah, that's why didn't your mate John Campbell ask
any of these questions? And his interview with that that
was was such a bizarre interview because he didn't ask
any of the questions that a journalist would ask. It
was it was odd, was sort of doing an Oprah
want three.
Speaker 4 (18:21):
Why did your mate do that?
Speaker 2 (18:22):
What? What? What did you did? You call him up
and ask him j C. Where do you go want
and ask him? I don't know when he'd like because
he'll tell me he's got PTSD.
Speaker 1 (18:33):
Around when he was on TV three and and he
was PTSD, he's got I think he has PTSD.
Speaker 2 (18:42):
Well, maybe that's why I did the interview, because he
could understand.
Speaker 4 (18:45):
Do you guys get this now? It's now anyone if
someone's talking to me about, you know something or something
that's going on in the media, people will just refer
to them as your mate. Yeah, mate, you know your
mate from across the road there that that's not why
Brown stead to me, because your mates in the media.
Speaker 2 (18:59):
Yeah, you all mates in the media. When I last,
you're like, you're in cahoots. And what didn't realize is
no mates in the media.
Speaker 1 (19:07):
No one hates each other more than most people in
the media. You should see how much reporters hate each
other because they want to kill each other. But anyway,
you've got to say, Marlon Brando, fucking good looking manh
Have we heard anyone who's good looking like him?
Speaker 2 (19:26):
And Elvis? They kind of got a slightly similar vibe,
haven't they. Him and Elvis. They've got their lips. Yeah,
they got the kill lips.
Speaker 1 (19:32):
You could just imagine back in the day, Marlon Brando
must have had wet seats.
Speaker 2 (19:37):
Oh yeah, well arms as well. He's got good arms. Yeah,
like for a guy at that age, they're not too muscly.
Speaker 1 (19:43):
And back then in nineteen whenever, that was ninety fifty one,
ain't no one going to the gym.
Speaker 2 (19:47):
Nah, ain't no one gone near, no done near, and
no done. I don't even know if there was a
gym back then. No, what did he get up? Because
Marlon Brando then by the end of his life he
was a fat piece of shit because he did The
Godfather obviously, but yeah, he got massive, but he couldn't
didn't He have a point where he couldn't remember any
lines or anything. So he had an autoque.
Speaker 1 (20:06):
He would write them everywhere, and he'd make up things
like isn't there some story like all his lines were
written on the desk and stuff and the Godfather? Oh
that it was fat piece of ship, and yeah, I
think he was getting He would on Apocalypse Now basically
Coppola would just have to yell the lines and he'd
(20:26):
say them back.
Speaker 2 (20:28):
Oh, that's right.
Speaker 1 (20:29):
He refused pos now he was he signed the contract
and he was supposed to turn up skinny because he
was basically playing Kurts from Heart of darkness. So a
guy that had been you know, gone insane, but he
was supposed to be quinded onto it and he just
turned up when he got off. Have you seen that
documentary on it? When they turned up, they couldn't believe
what a budda turned up like?
Speaker 2 (20:49):
It's he was so fat. The actor who didn't care.
I think that's why people liked him so much, because
he didn't he didn't care. He wasn't a try hard.
He was non tryhard. He definitely wasn't a try hard.
Speaker 4 (21:04):
Do you know that. I'm just looking at photos of him.
I feel like the only person in modern day that
came kind of close to his look was Heath Leger
had a similar thing when he was running short here.
But then Heath Ledger died, so we didn't get to
really see the rest of that. Did we play out?
I know he doesn't really like Heath Ledger. Now looking
at more photos of him.
Speaker 1 (21:21):
Man, imagine what Heath Ledger would have done if he'd
stayed around, because he's such a good actor. I mean,
Heath Ledger was excellent and everything he did, and as
he got older, he would have he might have actually,
there might have been a bit of Argie bargie between
him and Leonardo DiCaprio.
Speaker 4 (21:36):
I think he would have been up there with that.
Speaker 2 (21:37):
Because because now there's only Leo to do those roles.
But there was Heather. There was Heather, There was Heath
Ledger and Leo.
Speaker 4 (21:44):
Seemed like the best of us too. Actually, Heath leader
you reckon?
Speaker 2 (21:47):
Is Leo still hot?
Speaker 4 (21:49):
Leo? Yeah? The people still find him was he was
he the six icon that he once was in Titanic
and stuff like that. I was listening to a Matt
You'll be all across this, So I was listening to
a podcast without Titanic not that longer, and I wasn't
quite around when the Titanic came out. Did it come
out in ninety seven?
Speaker 2 (22:05):
Ninety ninety seven year?
Speaker 4 (22:07):
But apparently when that movie came out, there was just
there were women for the first time. We're going back
to the movies. And apparently that was quite a big thing.
And that was what studios realized was such a money
maker for them, as that they can get ladies to
go back to the movies because they put something for
the mums in their films. Yeah, then they're onto something smart.
Speaker 1 (22:25):
Well, that's what they're realizing now because they went totally
the other way and now they make movies mainly for females,
and the males will stopped going, so they actually need
to make movies for everyone.
Speaker 2 (22:33):
And so Titanic kind of was.
Speaker 1 (22:34):
That because you've got like, you got the ship and
you got all that shit that men want, you know,
and you're gonna you know that a lot of people
are gonna die and that's what men wanted a movie,
and you know there's gonna be some heroism, but there's
also a romantic situation that the woman some breasts.
Speaker 2 (22:48):
Hey, I've got some audio of Eddie murphy're talking about
the time that he met Marlow Marlon Brando. I'd love
to hear that.
Speaker 1 (22:53):
My friend Dom just interviewed Eddie Murphy the other day,
said he was a great, great man.
Speaker 6 (23:00):
I went to Brando's house because he wanted to meet me.
I had dinner with Brando. It was a trip and
he did the scene. He did a scene for forty
eight hours. He was like, he told me, I became
a star. He said, you became a star when you
said I'm your worst. Like, man, I'm with a badge
(23:24):
and that means I've got permission to kick your.
Speaker 2 (23:29):
And I was I was like, I was like this.
I was like, that's not how I did that.
Speaker 6 (23:41):
Yeah, I got to meet those got and Studio fifty
four was around still, so I got to meet that
whole thing. I met, Uh, your Brennan at Studio fifty four.
Speaker 2 (23:51):
That's you.
Speaker 3 (23:51):
Who gets to meet you?
Speaker 4 (23:53):
Right? Who gets to meet you?
Speaker 6 (23:54):
To meet your Brendan Studio fifty and he kind of like.
Years later I realized that he was trying what are
you trying to pick me up? He was with his wife.
I'm like twenty one years old, and you Brennan is like,
would you like to come back to my house and party?
Speaker 2 (24:11):
I said, you'd like to come back with my wife?
Speaker 6 (24:13):
And I am party And I was like, what come
to my place and party?
Speaker 4 (24:17):
And I was like we're partying, right?
Speaker 2 (24:21):
And then that didn't go.
Speaker 6 (24:22):
And then years later I realized I was like, oh,
he might come party, And now I wish I had gone.
Speaker 2 (24:32):
A story is much better. I give you permission next
time you can tell it the other way.
Speaker 6 (24:37):
Such a better story if I had gone, Yeah, Jimmy,
Jimmy fallon there and it was his wife and he's
over and you're going next.
Speaker 1 (24:49):
Have you seen that the Bebblely Hills Cop Force coming
out on Netflix this way? So I knew Beverley Hills Cop.
Speaker 2 (24:55):
That's why I might dom interviewed idiom If a church greener.
I don't know.
Speaker 1 (24:59):
He Buddy Don said it's very good. Actually old school
x they've gone old school action and they've done that
thing like they do did with Maverick where they played
the same tunes.
Speaker 2 (25:10):
But I had one of.
Speaker 1 (25:10):
Those realized that reverlized because I fucking loved Eddie Murphy
when I was growing up.
Speaker 2 (25:14):
Like I fucking loved Eddie Murphy. I still do. He's great,
but then he did a lot of kind of those
weird movies.
Speaker 1 (25:19):
We played twenty one People, and you know, there's a
lot of farting, which I didn't mind.
Speaker 2 (25:23):
But I loved Eddie Murphy. But I just had this.
Speaker 1 (25:27):
I think I was too deep into Eddie Murphy and
I didn't realize that the reason why that song, oh
I feel so stupid now, the song x l if
is because he's Excel Foley in the movie. I just
didn't you didn't know that. I didn't put those two together.
I think though I knew very well. It was excel
Foley loved Exel Foley, loved the character right but then,
and also loved the song exul If And I never
(25:49):
know this until just now. And I never put two
and two together, which seems like it's like putting one
on one together.
Speaker 2 (25:55):
I done that either, remarkable. I just assumed that everybody
knew that Eddie.
Speaker 1 (26:00):
Murphy might be the best storyteller in the world as well,
like when he freaking tells a story in an interview,
the way he tells a story, if the stories he
tell about he tells about Bill Cosby are amazing.
Speaker 2 (26:12):
Murphy from grief about swearing.
Speaker 1 (26:14):
In his buts and like hassling d saying he was
bad for black youth and stuff. Meanwhile, bloody Bill Crosby's
raping people I know and going around being the moral arbiter.
Speaker 2 (26:24):
Hell give him drugs drugging them. How good was Eddie
Murphy's red leather suit?
Speaker 1 (26:32):
But he used to come out in those suits. I
think he was. He wanted an Elvis suit, That's what
he said. I wanted like an Elvis comeback special type suit. Okay, yeah,
is he donkey and shriek? Yeah, Yeah, it's quite Goodn't that.
Speaker 2 (26:44):
He's done a lot of stuff. Yeah, stuff.
Speaker 4 (26:46):
He's a great voice actor as well. He pops up
in a lot of shit.
Speaker 1 (26:49):
I saw this thing was did he win the Mark
Twain Comedy Award or something? I saw him and he
was he did the speech comedy. Yeah, I think it
was the Shania Twain Comedy Award. And I saw him
do the speech about about his life and stuff, and
I was like, you are the greatest fucking storyteller.
Speaker 2 (27:05):
Of all time. Got some good stories up? He's got
some great stories, which is he's span quite as he's
saying there about Studio fifty four and stuff. When he
first rose to prominence off the back of his comedy
late seventies, yeah, early eighties, so he's he's met all
those people, and those famous people would hang out with
famous people, Yeah, but you go to parties where other
(27:25):
famous people were because there was no social media or anything.
So he wouldn't be friends with anyone on your phone.
You'd actually be friends with them in real life and
you have experiences where you'd hang out with these people.
Speaker 1 (27:36):
And the weird thing with Eddie Murphy is he didn't
age at all for so long. Now he looks slightly
like he might have aged a little bit.
Speaker 2 (27:45):
Little bit, but not very handsome. He's a handsome man.
He is very handsome man, handsome, ridiculously handsome man. But
also started really young. Hasn't he got like a thousand kids?
Speaker 1 (27:54):
He's got quite a few. A It was funny because
he's got a lot of kids, like it's some amount.
But I saw him talking about the other day and
how app city gets when each one of them goes
to college. Yeah, he can't handle when they leave the house.
Speaker 2 (28:05):
He keeps their bedroom for him and stuff like that.
He's got this giant house because he's got so.
Speaker 1 (28:09):
Many kids, and he just wants them to come out,
keep the just want he just wants them to come back.
And he gets upset every time that they're going away.
He goes, they're just leaving me, you know, they're leaving me. Yeah, yeah, anyway, I.
Speaker 2 (28:20):
Don't know what started.
Speaker 1 (28:23):
We're talking about Brand twelve Angry means Some Wounded from
nineteen fifty seven. Thoroughly recommend you watch it. Marlon Brando, hot,
Eddie Murphy, great, any other points we made, no but
looking at it cos me bad.
Speaker 4 (28:34):
Marlon Brando photo is that kind of look is coming back,
isn't it? That kind of T shirt tucked into the jeans.
Speaker 2 (28:40):
You can pull off that log It's a fifties, fifties look.
Speaker 4 (28:43):
Could you get up that?
Speaker 2 (28:44):
Could you get a James Dean sort of vibe?
Speaker 4 (28:46):
Yeah, James Dean, that's the name I.
Speaker 2 (28:47):
Was looking for before it was James Dean copying Brando
Jimmy Dean on the cover of a magazine. Grace Kelly
fred to Steer Ginger Rogers dance on air. They had style,
they had Grace Reader Heyward gave.
Speaker 1 (29:04):
Yeah, right, all right, then, okay, all right, Judge Ryan
Hold's had terrible plastic surgery. Just just to warn you
before you see Biblely Hills cop four. All right, just
just a bit of a warning. Jesus Christ, what happened
to his eyes? Anyway? Okay, love you guys. All right
then enough of that, all right, we've gotta we've got
(29:26):
to ear check with picks a camel toorrow.
Speaker 4 (29:29):
That's tomorrow, all right, real look behind the curtain.
Speaker 3 (29:32):
Do you know what we.
Speaker 4 (29:33):
Should do tomorrow? But shall we record tomorrow's ear check?
Also known as a Wednesday winder?
Speaker 2 (29:40):
Should we put up? Should we? Should we sneaker.
Speaker 1 (29:43):
And tomorrow now because we've got over Davies on the
podcast from Ice House.
Speaker 2 (29:48):
Well, but can we sneak it and then then record
it and then use it for the next day.
Speaker 1 (29:52):
That would be a real look behind the sausage making,
wouldn't it to hear like what it's like to be
ear checked from an Australian content.
Speaker 4 (30:00):
It'll be fascinating stuff called Pixie Campbell. Yeah, you can
hear us go through what's coming up over the next
couple of weeks. Yeah, okay, all right, we'll look into that.
Speaker 1 (30:08):
Okay, all right, then did.
Speaker 4 (30:10):
You say I have a Davies on the podcast tomorrow?
Speaker 2 (30:12):
Yeah, from ice House.
Speaker 1 (30:14):
So you guys hope you guys got your bloody that
little downstairs diorama and we're doing.
Speaker 4 (30:19):
Oh, we're doing the thing where we grow out our yeah,
and they get their fan on the Oh, I forgot
about that ship.
Speaker 2 (30:24):
We're blown out again.
Speaker 1 (30:25):
We nearly did as many as long as we did
on We're meandering on about some absolute shit for thirty
two minutes.
Speaker 4 (30:32):
Okay, I'll be you have to stop.
Speaker 1 (30:33):
Yeah, alright, apologies, all right, okay, but all right, okay
then okay, Jerry.
Speaker 4 (30:42):
Yep, ok yeah, all good here mate.
Speaker 1 (30:45):
Okay, so I gotta go, Okay, all right, run the head. Okay,
alright bye,
Hello, it's Matt Heath here with a massive self source.
My number one best selling book, Are Lifeless Punishing Thirteen
Ways to Love the Life You Got, is out now.
It's the result of a deep dive I took into
how to deal with the emotions that make our lives
more punishing than they need to be.
Speaker 2 (00:15):
I reckon, I found a.
Speaker 1 (00:15):
Way to live a life less bored, less stressed, angry, worried, annoyed, scared, dissatisfied,
and more. Karen Reid wrote, Matt has a hilarious way
of articulating an important message, highly valuable advice for anyone.
The newsroom described it as good, very good, indeed, and
Kitty Book said this is wisdom which could save my
teenage son a lot of ants as he negotiates the
slings and arrows of adult life. And under Juris Rmy
(00:37):
Wells he had met as a deep thinking, highly intelligent
human being, which was nice of him. The number one
best selling are Lifeless Punishing Thirteen Ways to Love the
Life You Got, as available in all good bookstores now.
Shocking self source.
Speaker 3 (00:49):
Over it's gid person.
Speaker 1 (01:20):
It is the second of July twenty twenty four. Welcome
all you bespokey dokeyes to the Daily Bespoke podcast. Would
it kill you guys to watch a decent fucking movie
every now and then?
Speaker 4 (01:33):
Hey? I did recently?
Speaker 2 (01:35):
What did you watch?
Speaker 4 (01:35):
I watched that The Wounder that stole all that art
from the museum in Paris. And someone texts in on
the show today saying, great recommendation, MESSI I watched it
last night. Oh the doko Yeah, the docco account does it.
That's all I have watched lately.
Speaker 1 (01:50):
Wow, As I was saying on the Daily Highlights podcast,
this movie ever made, Twelve Angry Men nineteen fifty seven.
Speaker 2 (01:57):
I watched it last night, black and white. Get that
up your mesh.
Speaker 4 (02:00):
I mean, I hear what you're saying, Jerry, You'll beat
me up on this. Yeah. The best movie I've ever
watched is a phrase that comes up once every fortnight
on the show, and I'm just worried that maybe we're
throwing that phrase around a little bit too much because
Twelve Angry Men. I've had a look online.
Speaker 2 (02:15):
People love It's how I seen on roderin Tomatoes.
Speaker 4 (02:18):
I don't know if it's the best movie you've ever made.
Oh maybe it is. Look, who am I to judge, Jerry,
what's your favorite movie you ever made?
Speaker 2 (02:24):
My favorite movie ever made, I can tell you it's
it's got one hundred cent or not tomatoes, twelve angry Me.
My favorite movie that I've ever seen is because there's
lots of movies that I haven't seen that I'm sure
I quite like if I saw them, but as and
I'm not much of a movie watcher, but it's probably Fargo.
Farg Off, No, Fargo, not fag Off in farg Off
(02:49):
with Fargo.
Speaker 4 (02:50):
You know, Argo is one of my favorite movies.
Speaker 1 (02:52):
As I go, as I go that the Ben still
a wounder, nah Ben affleck affleck.
Speaker 2 (02:59):
I quite like that, Yeah, quite like.
Speaker 1 (03:00):
No, I like I like the the device they had
on it when when when binging you could drink alcohol
and they were out of there.
Speaker 2 (03:07):
Oh yeah that was not that was nice time. That
was good. But I'm having at twelve angry Men here.
Get it up yet.
Speaker 1 (03:12):
It's from nineteen fifty seven, and get it up yere.
Speaker 4 (03:15):
And it's not a porno, okay.
Speaker 2 (03:17):
It's not a god. Twelve Angry Men would not be
the porno that I would get.
Speaker 3 (03:21):
No.
Speaker 4 (03:22):
Watch now that Google.
Speaker 2 (03:26):
I watched it, I actually had to pay five ninety
nine and I watched it on Apple.
Speaker 1 (03:29):
Oh yeah, holy shit. Budget was three hundred and thirty
seven thousand.
Speaker 4 (03:33):
Who's in it.
Speaker 2 (03:33):
It's quite a lot for the time considering us all
set in one room.
Speaker 1 (03:36):
So basically the premise of it is that fond that
there's a guy that's been accused of murder and this
is just the twelve jurors in a room.
Speaker 2 (03:46):
Did you know?
Speaker 1 (03:47):
I was interested about this because I was watching it
with a girl and she goes to me. She says,
she's me sixist, she says, she says sexist. Why they're
no woman and the jury. But women had actually had
the right to be in the jury for a very
very very long time in America by nine fifty seven,
a long long time, but they would always say no.
So women didn't want to be in juries. Strangely, they
(04:08):
it was very rare for a woman. They were getting
the same amount of leaders sent out to them to
join jewelies, but women for the longest time just didn't
want to do it culturally for some reason. I think
it was to do with a lot of it was
to do with women, And oh, that's right. Woman had
an immediate get out of it free because it was
seeing that women were busy with children and stuff. So
(04:29):
men was really used to be really hard to get
out of jury service back in America and back in
the day, but it was very easy for women to
get out of jurys service because I've.
Speaker 2 (04:37):
Seen that back then.
Speaker 1 (04:38):
It's seen what was going to happen with the kids
if there's you know, so basically what every woman said
no and there, but men were being forced to do it.
So it wasn't really sex as them, was it? Or
was it was? Henry Fonder is a great New Zealander. Shit, yeah,
I kept been calling it. Call call it him Peter
Fonder on the on the Bloody Highlights because Peter Fonder's
son as his son. Oh yeah, and Jane of course, yep,
(05:00):
Jane Fonder. Henry Fonder amazing and he produced this movie
as well and stars in it. And it's really interesting
when you watch this movie Twelve Angry Men, because you
see the morals of the day were quite different, and
the morals of the day are being really fair. But
it's interesting there's a thing that we don't really have
now back then where they thought that there were certain
(05:23):
people that thought poor people were bad in virtue of
being poor, so poor it wasn't a racism thing because
everyone in this You know that the person that's on charges,
there's some guy that's prejudiced in it, and he's prejudiced,
but he's preduously against slum dwellers, people that live in slums,
because they said they're bad people, and they brought up
bad and they remained to be bad.
Speaker 2 (05:45):
This is an interesting.
Speaker 1 (05:47):
The working the working poor that this person's anti and
you don't really hear much about that rhetoric anymore, do you.
Speaker 2 (05:54):
No. So the plot, an eighteen year old Latino is
accused of having stabbed his father to death. Ah was
he Latino? I missed that. He's presented in a courtroom
before a twelve man jury. Ah.
Speaker 1 (06:05):
I must that because I couldn't tell that he was Latino.
So that when the guy was pretty just, it was
because he was pretty just about him being Latino. If
missed that, all right, it's to strike what I was
just saying.
Speaker 4 (06:13):
I also say that none of the characters have names
other than Dura number whatever. So like he and new
Fondo is during number eight.
Speaker 1 (06:20):
That's one of the brilliant moments in it. Because they
all get called just their jury name jury one too, do.
Speaker 2 (06:25):
You remember one? So the case in jury is yeah.
Speaker 1 (06:28):
Yeah, And so they all sit around the table and
it's what's so brilliant about it is that there's this
cut and dry case. It seems like the kid definitely
murdered his father, right. But then over the course of
the movie, there's just one guy played by Henry Fondo,
such a great actor, but he goes, I don't know,
I just want to talk about it, and everyone else
wants someone wants to go to a baseball game. They
just want to get out of there. One of them
(06:49):
just goes, I just want to get out of there.
It's really really hot. It's a really hot New York day,
and there's no air conditioning. The fan won't work, and
they just a lot of them just want to get out.
And this one guy says, I think we owe it
to this young man he's eighteen, to talk it through
and just spend some time before he sent to the chair.
Speaker 2 (07:04):
Henry Fonds during number eight does he play a character
mister Davis? I he might do.
Speaker 1 (07:11):
I actually don't find out his name till the very end. Okay, Andy,
it's so brilliantly shot, and you realize that a lot
of the blocking in movies isn't as good as it
used to be because they just cut around.
Speaker 2 (07:23):
There's multiple cuts, but they used to just block a shot.
Speaker 1 (07:25):
The camera would be there, the actors would move to
their spots, say their line, and they'd move around.
Speaker 2 (07:30):
Quite it's quite brilliant.
Speaker 1 (07:31):
You actually watch it and go there was a craft
of movie making that's kind of been lost, and it
was quite a different thing. Well, no special effects, no
special effects, and also just quite hard to move the
cameras around because they were so massive, and you couldn't
just roll endless film because film was really really expensive.
One of the most expensive parts of a movie was
just rolling film for the camera.
Speaker 2 (07:51):
The find more difficult to light black and white as well.
That's the other part, because there's a lot of shadow.
That's what I found about watching The Talent of Mister Ripley,
which is in black and white, which annoyed a lot
of people. There's a new Netflix show, isn't it. Yeah?
But I like the black and white part of it.
I thought it made it really especially in the bright
sunshine of Italy Coastal Italy in summer and the shadows
(08:15):
and the shadows that were cast. That's got that same
kind of thing. I think black and white can crowd
attention that you can't necessarily get in color.
Speaker 1 (08:22):
To be honest, Yeah, well it's interesting because nineteen fifty
seven when this movie was made. There've been color movies
since nineteen oh two, but it.
Speaker 2 (08:31):
Was kind of a pain in the ars.
Speaker 1 (08:32):
So they stayed in black and white, and a lot
of directors of photography they preferred black and white because
they operated in color, and they offered in shadow, you know,
like light and dark, and that's how they'd light it.
And so they would be like they actually thought that
color was a gimmick. They were like, oh, color is
just a gimmick, because that's not how a dop works.
And if you actually watch this movie with that in mind,
(08:56):
it's the dop was fucking kick man.
Speaker 2 (09:00):
He's kick us.
Speaker 1 (09:01):
Don't you hate some wanker that comes in and says,
watch a movie from ninety fifty seven. It was fucking amazing.
I used to hear people say that kind of thing,
and I used to say, no, Europe, piece of shit,
get out, get out. I'm watching the latest Marvel movie.
But I think movies have just got so so off
track lately that you actually there was actually quite refreshing
(09:24):
to see people with the actual old craft of movies.
It's actually got to the point now we're watching a
movie like Twelve Angry Men and you realize things like
expository dialogue done in a sensible way instead of Now.
I don't know if you guys watched The Acolyte then
New Disney thing where people.
Speaker 2 (09:40):
Just say how they're feeling about something. They just come
up and they.
Speaker 1 (09:43):
Say what they're doing, what they're done, rather than doing
with their actions.
Speaker 2 (09:48):
No, there's too much. I know exactly what you mean.
That's the problem I have with the meg too as well.
Everybody had to say exactly what they were doing the
whole time.
Speaker 1 (09:56):
So they say I feel like this, and so you're
just supposed to take them by their word rather than
demonstrating it, which is much harder to rob.
Speaker 2 (10:02):
That's that's for wounders like Mesh and message generation, where
everything needs to be spelled out. To me, I used
to sitting there jerking off. They used to. I watched
a street car name desire Well. I tried to watch
a street car name desire.
Speaker 1 (10:12):
Welllf Shall we take a break and find out what
Jeremy thinks about that's wounding old black and white film.
Speaker 4 (10:21):
Sorry, hold up, I wasn't ready for that.
Speaker 2 (10:26):
You need to leave in that.
Speaker 1 (10:27):
Sorry, I wasn't ready for that. On you people need
to see that you weren't.
Speaker 4 (10:30):
Ready for I'm going to sharpen that up. People.
Speaker 1 (10:33):
Just when you was pointing out that your generation doesn't
paying attention.
Speaker 2 (10:37):
Exactly, you weren't even attention.
Speaker 1 (10:38):
You weren't even paying attention to boring about a movie
from nineteen.
Speaker 4 (10:42):
Fifty attention to someone else?
Speaker 2 (10:45):
What were you paying attend to? Oh?
Speaker 4 (10:46):
Just what I'm looking at here?
Speaker 2 (10:48):
Tour memes.
Speaker 4 (10:49):
No, I'm not paying attention to HOWK tour memes. I
just went down frollving room inhole.
Speaker 1 (10:53):
Oh okay, you got to split on that thing. She's
the best of us, you know, like, get on the
fucking podcast.
Speaker 4 (11:01):
I've tried to reach out, but Hocteur is a very
popular woman right now, Matt and I don't know if
I love our chances. Jerry, you watched a film yesterday.
Speaker 2 (11:08):
A streetcar named as I wasn't he said as a
while back, the remake I don't recommend it, the remake
of the nineteen fifty was it fifty one?
Speaker 1 (11:16):
Is that a dance fight? A fight dancing movie or
my thinking wistarted story.
Speaker 2 (11:20):
That specide story nineteen fifty one. It's the Tennessee Williams
play that was converted into a film, very famous film. Yeah,
and it's got Marlon Brando in it.
Speaker 5 (11:30):
Oh yeah, who's hot? Yeah, good looking man, Marlon Brando hot,
and he's hot in us he's very sweaty. But it's
about a woman who goes to live with their sister
and her sister's husband and then sort of goes crazy.
But maybe it would have been a great play. And
then I think they've turned it into let's think of
a lot of films back in those days. We're actually
(11:52):
plays that were then adapted.
Speaker 2 (11:54):
Yeah, play We're twelve Angry Men was Oh yeah, okay,
a play, right, so some work and some dying. I
know this is it's a very famous film street car
name Desire, and it's a famous play. But I found
it really overacted and really boring.
Speaker 1 (12:11):
Have you watched The Waterfront with Marlon Brando?
Speaker 3 (12:16):
No?
Speaker 1 (12:18):
Because I think about it on the Waterfront from nine
to fifty four. Interesting movie, but do you know what
it changed changed the world. And people were horrified because
he wore a T shirt, isn't it.
Speaker 2 (12:30):
Oh he wore a T shirt and Street Car nam DESI.
Speaker 1 (12:32):
Did he because wearing a T shirt was considered like
being in your undies. Yeah, and people like freaked out
to see someone in their T shirt. No one ever
done that. That was like walking around in your undies. No
one had done it in a movie. Maybe it was
the first time he did it in Street Coy Desire.
And then he continued on on the waterfront.
Speaker 2 (12:46):
You know what, I think I started watching it because
we were talking about that.
Speaker 1 (12:49):
And I said, oh, I might watch this right, and
he and actually you can kind of see it because
if you watch twelve Angry Men, they're all in suits.
Everyone is so formal back then, and then someone to
just turn up and a T shirt. Yeah, they're alone,
like fucking Mashy tuning out the gym with the low
hanging side singing that lets your side boom hang out.
Speaker 2 (13:07):
Yeah.
Speaker 4 (13:08):
I've got a theory that suits are going to come
back for me properly.
Speaker 2 (13:12):
Yeah, I've got a theory that I reckon.
Speaker 4 (13:14):
Probably another thirty forty years. I think there's going to
be another quick moment and.
Speaker 2 (13:17):
You guys go to go to the dock and have
a look at this. This is Marlon Brando and a
street car named Desire. There is a man that is
in the singing.
Speaker 4 (13:25):
There's a man Jerry, that doesn't watch films due to
their names often. It was strange to me that you
decided to watch a street cars.
Speaker 2 (13:35):
I just knew it the film from from because I've
always heard about it growing up.
Speaker 4 (13:39):
Who does he look like?
Speaker 2 (13:41):
What's I don't know? But he is a devastatingly handsome man.
I reckck he was. He was like the most handsome,
wasn't he He was known as the most handsome man in Hollywood.
He had a bit of a blowout by the time
and Godfather.
Speaker 1 (13:55):
Yes, I think I might be wrong. I think it
might be the T shirt might have been. And I
think Malon Brando and a T shirt. I think that
might have been. I might be thinking streetcar name Desire.
Speaker 2 (14:08):
Yeah, I think that's why I watched it, because I
think we were talking about it in the Fact Factor
or something. Yeah.
Speaker 1 (14:13):
Pretty good looking man. You got to say so, But
you say it's not a great movie.
Speaker 2 (14:17):
No, it's just it's just a little bit of I
don't like do you know what I don't? And I
watched it the other day and Hugo is watching Stranger
Things at the moment. It's an annoying scene. This's one
thing that winds me up about films. It's when female
characters can't physically do things. It really annoys me. And
(14:38):
there's a bit and Stranger Things in series three where
the female character I can't remember her name, but she's
with Hopper's towards the end and she's trying to that
and not Eleven. No, she's she's like an older woman.
She's maybe Eleven's mum or she's anyway, she's made Oh god,
Eleven's mom.
Speaker 4 (15:00):
One that stole things back in the day.
Speaker 2 (15:02):
Who is the brain woman?
Speaker 4 (15:04):
Who's the one that stole think that had?
Speaker 1 (15:08):
No, No, it's not one on because Hopper has got
a mass white on for writer and.
Speaker 2 (15:14):
Maybe maybe his girlfriend.
Speaker 4 (15:16):
She stills.
Speaker 2 (15:17):
She's trying to turn off the things, and all she
needs to do is just turn off things, and instead
of just turning off, she's just frantically. She's just useless
and just can't turn off these things, and physically it's
just can't do it. And I hate that, and in
this in the streetcar named Desire, there's a crazy, frantic
woman who's just really useless, right, and I just the
idea of the useless female character who's just physically pathetic. Well,
(15:40):
the most annoying example, the.
Speaker 1 (15:41):
Most annoying example that is in Indiana Jones in the
Temple of doom.
Speaker 2 (15:45):
Ah she went on to marry Steven Spielberg.
Speaker 1 (15:47):
She just fucking walks around screaming and never fucking helps.
Speaker 2 (15:50):
No, I know that character. Why do people have those?
Why do they write those characters in the films? Just help?
Speaker 1 (15:56):
That's why Princess Leah was such an amazing character, wasn't she.
Princess Lea was just in charge.
Speaker 2 (16:01):
Yes she was. She was a good character, good character.
She was capable.
Speaker 4 (16:06):
Yeah hot, Can someone tell me about riders? So how
does she start? What happened? What went wrong? And then
her return to fame was because.
Speaker 2 (16:14):
She was I feel like she was. She was in edwards,
her hens.
Speaker 1 (16:18):
Okay, she was in fucking everything back in the day
when on a rider.
Speaker 4 (16:21):
So she was quite a big extress, she was.
Speaker 2 (16:23):
She was a huge star. Beetle juice, yeah, little juice.
Speaker 4 (16:26):
Yeah.
Speaker 1 (16:26):
So from a kind of childish star too, and she
it was it was her so Banana Riders. She also
dated Johnny Depp and his he had a wana for
river tetoo on him.
Speaker 2 (16:39):
Oh cute reality bites has got a big film And
then what happened?
Speaker 4 (16:43):
What was her down for?
Speaker 6 (16:44):
Well?
Speaker 2 (16:44):
She she she she's in Black Swan's.
Speaker 1 (16:47):
She did quite well, but then she was caught shoplifting.
Speaker 2 (16:50):
She did a goal. Is you know a really wealthy
person that shoplifts.
Speaker 4 (16:54):
Yeah, it's not a good look, is it.
Speaker 2 (16:55):
No?
Speaker 1 (16:56):
Because if you can afford it, you should pay for it.
I mean, you shouldn't steal anything at all.
Speaker 4 (17:00):
Was she clip though? He clip though?
Speaker 1 (17:03):
Yeah? Clipped Although she argues that normally her I think
doesn't She argue that normally her personal assistant would be
rubbing the credit card up the wounder, and she was
just you know, she might have had a level of
fame where you know how famous people in America just
get free shit everywhere they go, So she might not
(17:23):
as been sort of bad as gold Is that because
you know Goldrez was obviously premeditated going into shoplift because
she wanted special clothes.
Speaker 2 (17:30):
There wasn't anything to do with her PTSD really it's
called complex.
Speaker 1 (17:36):
I think people need to realize she's forty three years old.
I think that's a key piece of information that people
like John Campbell seem to be just washing over that
she's forty three years old and when you're forty three
years old, you don't shop lift to because now she's
trying to claims and that she shoplifted because you just
wanted to leave parliament. But she's a list MP, so
(18:00):
she didn't have constituents, so she could have if she
wanted to leave, she just leave.
Speaker 2 (18:04):
So she reckons she wanted to get caught. I thought
that was an interesting thing. But why when she wanted
to call, why didn't she let in their bag?
Speaker 1 (18:09):
Well, yeah, that's why didn't your mate John Campbell ask
any of these questions? And his interview with that that
was was such a bizarre interview because he didn't ask
any of the questions that a journalist would ask. It
was it was odd, was sort of doing an Oprah
want three.
Speaker 4 (18:21):
Why did your mate do that?
Speaker 2 (18:22):
What? What? What did you did? You call him up
and ask him j C. Where do you go want
and ask him? I don't know when he'd like because
he'll tell me he's got PTSD.
Speaker 1 (18:33):
Around when he was on TV three and and he
was PTSD, he's got I think he has PTSD.
Speaker 2 (18:42):
Well, maybe that's why I did the interview, because he
could understand.
Speaker 4 (18:45):
Do you guys get this now? It's now anyone if
someone's talking to me about, you know something or something
that's going on in the media, people will just refer
to them as your mate. Yeah, mate, you know your
mate from across the road there that that's not why
Brown stead to me, because your mates in the media.
Speaker 2 (18:59):
Yeah, you all mates in the media. When I last,
you're like, you're in cahoots. And what didn't realize is
no mates in the media.
Speaker 1 (19:07):
No one hates each other more than most people in
the media. You should see how much reporters hate each
other because they want to kill each other. But anyway,
you've got to say, Marlon Brando, fucking good looking manh
Have we heard anyone who's good looking like him?
Speaker 2 (19:26):
And Elvis? They kind of got a slightly similar vibe,
haven't they. Him and Elvis. They've got their lips. Yeah,
they got the kill lips.
Speaker 1 (19:32):
You could just imagine back in the day, Marlon Brando
must have had wet seats.
Speaker 2 (19:37):
Oh yeah, well arms as well. He's got good arms. Yeah,
like for a guy at that age, they're not too muscly.
Speaker 1 (19:43):
And back then in nineteen whenever, that was ninety fifty one,
ain't no one going to the gym.
Speaker 2 (19:47):
Nah, ain't no one gone near, no done near, and
no done. I don't even know if there was a
gym back then. No, what did he get up? Because
Marlon Brando then by the end of his life he
was a fat piece of shit because he did The
Godfather obviously, but yeah, he got massive, but he couldn't
didn't He have a point where he couldn't remember any
lines or anything. So he had an autoque.
Speaker 1 (20:06):
He would write them everywhere, and he'd make up things
like isn't there some story like all his lines were
written on the desk and stuff and the Godfather? Oh
that it was fat piece of ship, and yeah, I
think he was getting He would on Apocalypse Now basically
Coppola would just have to yell the lines and he'd
(20:26):
say them back.
Speaker 2 (20:28):
Oh, that's right.
Speaker 1 (20:29):
He refused pos now he was he signed the contract
and he was supposed to turn up skinny because he
was basically playing Kurts from Heart of darkness. So a
guy that had been you know, gone insane, but he
was supposed to be quinded onto it and he just
turned up when he got off. Have you seen that
documentary on it? When they turned up, they couldn't believe
what a budda turned up like?
Speaker 2 (20:49):
It's he was so fat. The actor who didn't care.
I think that's why people liked him so much, because
he didn't he didn't care. He wasn't a try hard.
He was non tryhard. He definitely wasn't a try hard.
Speaker 4 (21:04):
Do you know that. I'm just looking at photos of him.
I feel like the only person in modern day that
came kind of close to his look was Heath Leger
had a similar thing when he was running short here.
But then Heath Ledger died, so we didn't get to
really see the rest of that. Did we play out?
I know he doesn't really like Heath Ledger. Now looking
at more photos of him.
Speaker 1 (21:21):
Man, imagine what Heath Ledger would have done if he'd
stayed around, because he's such a good actor. I mean,
Heath Ledger was excellent and everything he did, and as
he got older, he would have he might have actually,
there might have been a bit of Argie bargie between
him and Leonardo DiCaprio.
Speaker 4 (21:36):
I think he would have been up there with that.
Speaker 2 (21:37):
Because because now there's only Leo to do those roles.
But there was Heather. There was Heather, There was Heath
Ledger and Leo.
Speaker 4 (21:44):
Seemed like the best of us too. Actually, Heath leader
you reckon?
Speaker 2 (21:47):
Is Leo still hot?
Speaker 4 (21:49):
Leo? Yeah? The people still find him was he was
he the six icon that he once was in Titanic
and stuff like that. I was listening to a Matt
You'll be all across this, So I was listening to
a podcast without Titanic not that longer, and I wasn't
quite around when the Titanic came out. Did it come
out in ninety seven?
Speaker 2 (22:05):
Ninety ninety seven year?
Speaker 4 (22:07):
But apparently when that movie came out, there was just
there were women for the first time. We're going back
to the movies. And apparently that was quite a big thing.
And that was what studios realized was such a money
maker for them, as that they can get ladies to
go back to the movies because they put something for
the mums in their films. Yeah, then they're onto something smart.
Speaker 1 (22:25):
Well, that's what they're realizing now because they went totally
the other way and now they make movies mainly for females,
and the males will stopped going, so they actually need
to make movies for everyone.
Speaker 2 (22:33):
And so Titanic kind of was.
Speaker 1 (22:34):
That because you've got like, you got the ship and
you got all that shit that men want, you know,
and you're gonna you know that a lot of people
are gonna die and that's what men wanted a movie,
and you know there's gonna be some heroism, but there's
also a romantic situation that the woman some breasts.
Speaker 2 (22:48):
Hey, I've got some audio of Eddie murphy're talking about
the time that he met Marlow Marlon Brando. I'd love
to hear that.
Speaker 1 (22:53):
My friend Dom just interviewed Eddie Murphy the other day,
said he was a great, great man.
Speaker 6 (23:00):
I went to Brando's house because he wanted to meet me.
I had dinner with Brando. It was a trip and
he did the scene. He did a scene for forty
eight hours. He was like, he told me, I became
a star. He said, you became a star when you
said I'm your worst. Like, man, I'm with a badge
(23:24):
and that means I've got permission to kick your.
Speaker 2 (23:29):
And I was I was like, I was like this.
I was like, that's not how I did that.
Speaker 6 (23:41):
Yeah, I got to meet those got and Studio fifty
four was around still, so I got to meet that
whole thing. I met, Uh, your Brennan at Studio fifty four.
Speaker 2 (23:51):
That's you.
Speaker 3 (23:51):
Who gets to meet you?
Speaker 4 (23:53):
Right? Who gets to meet you?
Speaker 6 (23:54):
To meet your Brendan Studio fifty and he kind of like.
Years later I realized that he was trying what are
you trying to pick me up? He was with his wife.
I'm like twenty one years old, and you Brennan is like,
would you like to come back to my house and party?
Speaker 2 (24:11):
I said, you'd like to come back with my wife?
Speaker 6 (24:13):
And I am party And I was like, what come
to my place and party?
Speaker 4 (24:17):
And I was like we're partying, right?
Speaker 2 (24:21):
And then that didn't go.
Speaker 6 (24:22):
And then years later I realized I was like, oh,
he might come party, And now I wish I had gone.
Speaker 2 (24:32):
A story is much better. I give you permission next
time you can tell it the other way.
Speaker 6 (24:37):
Such a better story if I had gone, Yeah, Jimmy,
Jimmy fallon there and it was his wife and he's
over and you're going next.
Speaker 1 (24:49):
Have you seen that the Bebblely Hills Cop Force coming
out on Netflix this way? So I knew Beverley Hills Cop.
Speaker 2 (24:55):
That's why I might dom interviewed idiom If a church greener.
I don't know.
Speaker 1 (24:59):
He Buddy Don said it's very good. Actually old school
x they've gone old school action and they've done that
thing like they do did with Maverick where they played
the same tunes.
Speaker 2 (25:10):
But I had one of.
Speaker 1 (25:10):
Those realized that reverlized because I fucking loved Eddie Murphy
when I was growing up.
Speaker 2 (25:14):
Like I fucking loved Eddie Murphy. I still do. He's great,
but then he did a lot of kind of those
weird movies.
Speaker 1 (25:19):
We played twenty one People, and you know, there's a
lot of farting, which I didn't mind.
Speaker 2 (25:23):
But I loved Eddie Murphy. But I just had this.
Speaker 1 (25:27):
I think I was too deep into Eddie Murphy and
I didn't realize that the reason why that song, oh
I feel so stupid now, the song x l if
is because he's Excel Foley in the movie. I just
didn't you didn't know that. I didn't put those two together.
I think though I knew very well. It was excel
Foley loved Exel Foley, loved the character right but then,
and also loved the song exul If And I never
(25:49):
know this until just now. And I never put two
and two together, which seems like it's like putting one
on one together.
Speaker 2 (25:55):
I done that either, remarkable. I just assumed that everybody
knew that Eddie.
Speaker 1 (26:00):
Murphy might be the best storyteller in the world as well,
like when he freaking tells a story in an interview,
the way he tells a story, if the stories he
tell about he tells about Bill Cosby are amazing.
Speaker 2 (26:12):
Murphy from grief about swearing.
Speaker 1 (26:14):
In his buts and like hassling d saying he was
bad for black youth and stuff. Meanwhile, bloody Bill Crosby's
raping people I know and going around being the moral arbiter.
Speaker 2 (26:24):
Hell give him drugs drugging them. How good was Eddie
Murphy's red leather suit?
Speaker 1 (26:32):
But he used to come out in those suits. I
think he was. He wanted an Elvis suit, That's what
he said. I wanted like an Elvis comeback special type suit. Okay, yeah,
is he donkey and shriek? Yeah, Yeah, it's quite Goodn't that.
Speaker 2 (26:44):
He's done a lot of stuff. Yeah, stuff.
Speaker 4 (26:46):
He's a great voice actor as well. He pops up
in a lot of shit.
Speaker 1 (26:49):
I saw this thing was did he win the Mark
Twain Comedy Award or something? I saw him and he
was he did the speech comedy. Yeah, I think it
was the Shania Twain Comedy Award. And I saw him
do the speech about about his life and stuff, and
I was like, you are the greatest fucking storyteller.
Speaker 2 (27:05):
Of all time. Got some good stories up? He's got
some great stories, which is he's span quite as he's
saying there about Studio fifty four and stuff. When he
first rose to prominence off the back of his comedy
late seventies, yeah, early eighties, so he's he's met all
those people, and those famous people would hang out with
famous people, Yeah, but you go to parties where other
(27:25):
famous people were because there was no social media or anything.
So he wouldn't be friends with anyone on your phone.
You'd actually be friends with them in real life and
you have experiences where you'd hang out with these people.
Speaker 1 (27:36):
And the weird thing with Eddie Murphy is he didn't
age at all for so long. Now he looks slightly
like he might have aged a little bit.
Speaker 2 (27:45):
Little bit, but not very handsome. He's a handsome man.
He is very handsome man, handsome, ridiculously handsome man. But
also started really young. Hasn't he got like a thousand kids?
Speaker 1 (27:54):
He's got quite a few. A It was funny because
he's got a lot of kids, like it's some amount.
But I saw him talking about the other day and
how app city gets when each one of them goes
to college. Yeah, he can't handle when they leave the house.
Speaker 2 (28:05):
He keeps their bedroom for him and stuff like that.
He's got this giant house because he's got so.
Speaker 1 (28:09):
Many kids, and he just wants them to come out,
keep the just want he just wants them to come back.
And he gets upset every time that they're going away.
He goes, they're just leaving me, you know, they're leaving me. Yeah, yeah, anyway, I.
Speaker 2 (28:20):
Don't know what started.
Speaker 1 (28:23):
We're talking about Brand twelve Angry means Some Wounded from
nineteen fifty seven. Thoroughly recommend you watch it. Marlon Brando, hot,
Eddie Murphy, great, any other points we made, no but
looking at it cos me bad.
Speaker 4 (28:34):
Marlon Brando photo is that kind of look is coming back,
isn't it? That kind of T shirt tucked into the jeans.
Speaker 2 (28:40):
You can pull off that log It's a fifties, fifties look.
Speaker 4 (28:43):
Could you get up that?
Speaker 2 (28:44):
Could you get a James Dean sort of vibe?
Speaker 4 (28:46):
Yeah, James Dean, that's the name I.
Speaker 2 (28:47):
Was looking for before it was James Dean copying Brando
Jimmy Dean on the cover of a magazine. Grace Kelly
fred to Steer Ginger Rogers dance on air. They had style,
they had Grace Reader Heyward gave.
Speaker 1 (29:04):
Yeah, right, all right, then, okay, all right, Judge Ryan
Hold's had terrible plastic surgery. Just just to warn you
before you see Biblely Hills cop four. All right, just
just a bit of a warning. Jesus Christ, what happened
to his eyes? Anyway? Okay, love you guys. All right
then enough of that, all right, we've gotta we've got
(29:26):
to ear check with picks a camel toorrow.
Speaker 4 (29:29):
That's tomorrow, all right, real look behind the curtain.
Speaker 3 (29:32):
Do you know what we.
Speaker 4 (29:33):
Should do tomorrow? But shall we record tomorrow's ear check?
Also known as a Wednesday winder?
Speaker 2 (29:40):
Should we put up? Should we? Should we sneaker.
Speaker 1 (29:43):
And tomorrow now because we've got over Davies on the
podcast from Ice House.
Speaker 2 (29:48):
Well, but can we sneak it and then then record
it and then use it for the next day.
Speaker 1 (29:52):
That would be a real look behind the sausage making,
wouldn't it to hear like what it's like to be
ear checked from an Australian content.
Speaker 4 (30:00):
It'll be fascinating stuff called Pixie Campbell. Yeah, you can
hear us go through what's coming up over the next
couple of weeks. Yeah, okay, all right, we'll look into that.
Speaker 1 (30:08):
Okay, all right, then did.
Speaker 4 (30:10):
You say I have a Davies on the podcast tomorrow?
Speaker 2 (30:12):
Yeah, from ice House.
Speaker 1 (30:14):
So you guys hope you guys got your bloody that
little downstairs diorama and we're doing.
Speaker 4 (30:19):
Oh, we're doing the thing where we grow out our yeah,
and they get their fan on the Oh, I forgot
about that ship.
Speaker 2 (30:24):
We're blown out again.
Speaker 1 (30:25):
We nearly did as many as long as we did
on We're meandering on about some absolute shit for thirty
two minutes.
Speaker 4 (30:32):
Okay, I'll be you have to stop.
Speaker 1 (30:33):
Yeah, alright, apologies, all right, okay, but all right, okay
then okay, Jerry.
Speaker 4 (30:42):
Yep, ok yeah, all good here mate.
Speaker 1 (30:45):
Okay, so I gotta go, Okay, all right, run the head. Okay,
alright bye,
Popular Podcasts
40s and Free Agents: NFL Draft Season
Daniel Jeremiah of Move the Sticks and Gregg Rosenthal of NFL Daily join forces to break down every team's needs this offseason.
Dateline NBC
Current and classic episodes, featuring compelling true-crime mysteries, powerful documentaries and in-depth investigations. Follow now to get the latest episodes of Dateline NBC completely free, or subscribe to Dateline Premium for ad-free listening and exclusive bonus content: DatelinePremium.com
Las Culturistas with Matt Rogers and Bowen Yang
Ding dong! Join your culture consultants, Matt Rogers and Bowen Yang, on an unforgettable journey into the beating heart of CULTURE. Alongside sizzling special guests, they GET INTO the hottest pop-culture moments of the day and the formative cultural experiences that turned them into Culturistas. Produced by the Big Money Players Network and iHeartRadio.