April 15, 2025 • 32 mins
ICYMI: Hour Three of ‘Later, with Mo’Kelly’ Presents – Thoughts on remakes of ‘The Bodyguard’ & more cinematic classics in the works…PLUS – A look at the Weekend Box Office AND the Breakfast Club 40th Reunion – on KFI AM 640…Live everywhere on the iHeartRadio app
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Episode Transcript
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Speaker 1 (00:00):
You're listening to Later with Moe Kelly on demand from
KFI A six forty The Bodyguard.
Speaker 2 (00:06):
I don't need to introduce that movie to anyone. The
Bodyguard is a classic movie. I wouldn't even call it
a cult classic. It is a classic movie. And what
made The Bodyguard special for those who may not be
old enough to remember it. You had Whitney Houston at
the height of her celebrity, playing someone who she could
(00:30):
actually be in that movie. You had Kevin Costner near
the height of his celebrity, playing in the co starring role.
Speaker 3 (00:41):
And that's what made it, I think, so much more
impactful for its time.
Speaker 2 (00:45):
You had arguably the best soundtrack in movie history with
The Bodyguard soundtrack. Arguably that your personal preferences aside, I'm
talking about just the success of the soundtrack. To now
say we're gonna do a remake. No, you should not.
(01:06):
I don't care if you have the rights to it.
I don't care if it's been thirty three years or whatever.
Speaker 3 (01:11):
I don't care. And I mean this respectfully.
Speaker 2 (01:14):
I don't care that just because Whitney Houston has passed
that means it's.
Speaker 3 (01:17):
Okay to remake the movie.
Speaker 2 (01:18):
No, No, no, no, leave classic movies alone, Leave cult classic
movies alone.
Speaker 3 (01:25):
This movie is a classic. You don't need to remake it.
Speaker 2 (01:28):
And a lot of the problems with remix is the
story that you told back then doesn't make sense now
it doesn't make sense. You can try, let's exchange Whitney
Houston for Taylor Swift. And if you know the Bodyguard soundtracked,
you know you have the Bodyguard, you have this obsessed fan.
(01:51):
Who you think it is is an obsessed fan and
sorry you know spoiler alert.
Speaker 3 (01:55):
It is actually her sister who's setting her.
Speaker 2 (01:57):
Up to be killed. If you haven't seen the movie,
oh well, spoiled it for you. But that story really
doesn't make sense now, not with social media. They'll probably
you can update it, but it's not going to have
the same type of allure.
Speaker 4 (02:12):
And remember the stalker or who we believe the stalker
with nineteen letters, yes, seven.
Speaker 3 (02:21):
Letters in the mail. That's not happening at all.
Speaker 2 (02:25):
It's just not And you in today's world, because of
all the things which have happened in the intervening thirty
years or so, you don't get that type of access
to an actual star. The magnitude of a Whitney Houston.
You don't get that type of access to a Janet Jackson.
I remember when you brought her over to the Beat,
and I remember being told not to get too close
(02:48):
to it, even to her bodyguard, because I was told,
this individual has instructions to break you in half if
you get too close.
Speaker 3 (02:57):
True story.
Speaker 2 (02:57):
I was what they call tour support for Janet Jackson
when I was working for Virgin Records, and I had
the great privilege of escorting Janet Jackson to ninety two
point three the Beat, and I was, you know, the
label person, and I was basically running the photos. Okay,
another five people, get your your your your photo with
(03:18):
Janet Jackson everything. And I had explicit instructions and it
wasn't from Janet.
Speaker 3 (03:22):
It was just you have to keep your physical distance
from her.
Speaker 2 (03:26):
Yes, you just had to or these big, burly guys
would break you in half.
Speaker 4 (03:32):
They did not look like they were there to play.
I remember feeling an icy, cold death run down my
spine after it was explained to me, because I was
just like trying to say, okay, hey, we're going to
go into the studio and I was reaching out and
the tensity of that moment, it was like.
Speaker 3 (03:48):
Who wha whoa whoa whoa who wo who wha whoa
whoa who.
Speaker 4 (03:50):
Who do not for any reason touch or reach out
to touch Janet Jackson.
Speaker 3 (03:54):
Do not. These individuents here will kill you.
Speaker 2 (03:56):
For those who don't know, this was at the height
of her celebrity, the Velvet Rope album. She did not
get any bigger than that when she went on that
tour and everything. So yeah, I got a lot of
stories to tell that to say that security has gotten
even tighter around artists. They are rolling with five and
six different bodyguards period, individuals that are trained, trained with
(04:19):
all types of deadly force. Yeah, and you do an
updated Bodyguard, you maybe go to Coachella or something like that.
You'll probably update the tentpole moments of the movie. You
don't need to do that. Just watch the original Bodyguard.
It's good enough as is. Leave it alone.
Speaker 3 (04:37):
Don't look.
Speaker 2 (04:38):
There are probably some other movies they're thinking about remaking
right now that escape my mind.
Speaker 3 (04:42):
Just don't Grimlins.
Speaker 4 (04:43):
Oh gosh, they have actually confirmed that Grimlins and goonies.
Speaker 3 (04:48):
Goonies mo goo, Why need that movie? Doesn't make sense
in twenty twenty five.
Speaker 4 (04:53):
As if every kid the age of the Goonies does
not have a cell phone right now.
Speaker 2 (04:59):
Right, whole idea of just using their imagination doesn't make sense.
Speaker 4 (05:03):
No, no, unless it's a period piece. And if that's
the case, why's the original.
Speaker 2 (05:09):
Chronicles of Narnia doesn't even make sense now if you
go back and read The Lion, the Witch, and the Wardrobe, yeah,
it doesn't.
Speaker 5 (05:15):
Know.
Speaker 2 (05:15):
Well, they're great because of when they were made and
the time that they represent. The Bodyguard in the early
nineties I think it was ninety two. Someone correct me, no,
thanks for that time was perfect for that time music celebrities.
People don't even buy albums anymore. Will Smith just dropped
(05:37):
an album. It sold two hundred and sixty eight copies.
I'm not exaggerating to six eight. I was gonna talk
about it tonight, but there's not too much to say
about two hundred and sixty.
Speaker 3 (05:52):
That's the beginning and end of the conversation. How does
that do? Basically trash to sixty eight to sixty eight.
Speaker 2 (06:00):
Anything with two sixty eight behind it is horrible. How
many people were in the theater two sixty eight? Ooh,
that's how many people went to the concert? Two hundred
and sixty eight. Oh damn, how.
Speaker 3 (06:12):
Many subscribers you got? Two hundred and sixty eight. Ooh,
raise that up again.
Speaker 2 (06:17):
My point is certain things you can't go back. You
honestly cannot go back. You cannot recapture certain magic because
the magic was connected to the time it was in.
You don't have music celebrities the likes of a Whitney
Houston anymore. No disrespect to Beyonce, no disrespect to Taylor Swift.
Speaker 3 (06:43):
There is a degree of iconicism. What's the word mark,
I'm not sure what you're trying to say. Iconic. There's
a level of iconic ness.
Speaker 5 (06:56):
Oh okay, am I the only person alive who thought
that that movie was just cheesy?
Speaker 2 (07:01):
Yes you are probably, Yes, you're the only one. Okay, yeah, Stepan,
you like The Bodyguard?
Speaker 3 (07:07):
Yeah? I did?
Speaker 2 (07:07):
Okay, one hundred percent of the people in the chat
like The Bodyguard. Carniaian, you liked the Bodyguard. Good thing
You're mic is off yet, lady. Good thing for those
who didn't know Carnaesian runs are chat room and she
said she hasn't seen The Bodyguard.
Speaker 5 (07:24):
So.
Speaker 3 (07:29):
I don't watch it. How can you sit we're.
Speaker 2 (07:33):
Having this long My head hurtsing this long conversation about
The Bodyguard, and you haven't even seen the movie.
Speaker 3 (07:41):
But I still do agree with you too.
Speaker 6 (07:43):
It doesn't need to be remade, so at least I
agree with you.
Speaker 3 (07:48):
I'll go home and watch it tonight.
Speaker 7 (07:50):
It's too late, it's too late. Can I just go
to break because wadies goal, it's hurt. Don't do that.
Speaker 1 (08:07):
You're listening to Later with mo Kelly on demand from
KFI Am sixty.
Speaker 2 (08:12):
And also YouTube at mister Mokelly. We're live everywhere on
the iHeartRadio app. It's Later with mo Kelly. Let's talk
about the box office. Last segment, we're talking about The Bodyguard,
which was a box office hit, and ninety three of
the people in the chat on the YouTube video stream said,
(08:33):
do not remake the Bodyguard. Do not and I'm with them,
and there was one percent who had not seen it,
and at one percent is Carnecia and Carneesia needs to
see the movie.
Speaker 3 (08:49):
Don't bring God into this.
Speaker 2 (08:50):
That's your fault, that's your sin. The power of Christ
compels you.
Speaker 3 (08:59):
Okay.
Speaker 2 (09:00):
Office this week, a Minecraft movie is still doing Gangbusters
number one movie again. It brought in another seventy eight
million in its second week. Seventy eight million is a
great first week. I'm just talking about domestically. Worldwide, it's
already over five hundred and fifty million dollars. It's going
(09:23):
to hit a billion dollars easy. I try to tell
you and I don't root against movies.
Speaker 3 (09:32):
I don't root against theaters.
Speaker 2 (09:34):
I'm not gonna sit here and lie to you and
say that because a Minecraft movie is doing so well
in the box office.
Speaker 3 (09:39):
That it saved movie theaters. But it is.
Speaker 2 (09:42):
It has helped out a lot of movie theaters because
the summer movie season has not even begun. This is
a surprise to get a hit this big in April.
Let's be honest, early April.
Speaker 4 (09:52):
Plus it's going to go gangbusters this week alone because
it's spring break.
Speaker 3 (09:59):
You got that, right.
Speaker 4 (10:00):
All these kids who have been waiting to go see
way to go to a theater, throw popcorn, to yell
at the screen, to just carry on like minecrafty and fools.
Speaker 3 (10:09):
Yeah, they're gonna go in.
Speaker 2 (10:10):
And this is something which obviously I haven't seen the movie,
but I can tell I can see how it fits
with this social media generation. You have these Minecraft challenges
if you will, where people are duplicating the behavior that
they've seen on social media and acting out the movie
in theaters. It's perfect for that. It's a non controversial movie.
(10:31):
You know, there's nothing holding the movie back at all.
It's in forty two hundred theaters. In other words, maximum
maximum exposure across the country. It's in all theaters and
all quadrants of the country. That's what you need for
a movie to be successful on this level. And it
is doing. Oh I'm sorry, it's going up. It actually
(10:53):
added another thirty theaters this Oh wow, So it's increasing
in its popularity. It's great to see it. Obviously, you
just can't duplicate it all the time. Sometimes you just
need all the stars to alide in. Second this week
was The King of Kings, brought in nineteen million domestically,
(11:13):
yet it wasn't released internationally. Obviously, Easter coming up number three.
We heard the Ron report with the amateur Robny Moloch
and didn't do poorly. It had fourteen point eight million domestically,
seventeen point four million internationally. Thirty two million was its
(11:34):
thirty two point two million was his take for this week.
Speaker 5 (11:37):
I wonder, let me look up the budget on this one.
Did you wind up seeing it?
Speaker 3 (11:42):
I could not.
Speaker 2 (11:43):
My weekend was so full, so full. I just did
not have the opportunity. The budget was only sixty million.
It did half its budget in its first week. It'll
be fine. We're gonna get the amateur too. He's going
to have to get married again and have his second
wife be killed so he can go on another revenge spree.
Speaker 3 (11:59):
Oh god, you were dark. I didn't make the movie.
Don't blame the victim can give it like a dog.
Does he have to get like John Wick? Yeah? Yeah,
it's been done. Warfare Come In came in at number four.
Speaker 2 (12:16):
A platoon of Navy seals embark on a dangerous mission
in Iraq, with the chaos and brotherhood of war retold
through their memories of the event. I've heard good things
about this.
Speaker 3 (12:27):
It's got a big social media push.
Speaker 2 (12:29):
Yeah, I've heard good things. It brought in eight million
this week, largely by word of mouth. Came in number
four eight million. Number five was drop with seven point
three million. Don't know what that was about. A widowed
mother's first date in years takes a terrifying turn when
she's bombarded with anonymous, threatening messages on her phone during
(12:51):
their upscaled dinner, leaving her questioning if her charming date
is behind the harassment.
Speaker 3 (12:57):
Duh, you saw it. No, it looks good. Okay, it's
high paced thriller.
Speaker 5 (13:00):
Yeah, the trailer makes it look really annoying because already
somebody eating dinner with you and getting constant texts.
Speaker 3 (13:10):
I'm not sure you're not wrong to take on that.
You're not wrong. It's like, do you need to get that.
You need to turn your phone off?
Speaker 2 (13:18):
Yeah, yeah, h Well, someone's texted me and they're talking
about killing me.
Speaker 3 (13:22):
I might have to take this. It's a work text.
I have to take it. I might have to take this.
Speaker 2 (13:27):
Number six is the Chosen Last Supper, Part three. Number
seven is a working Man Still hanging in There. It
brought it in another three million this week, for a
total of seventy eight million worldwide. It's about what I
expected for the movie. Snow White, surprisingly is still in
the top ten, but not really doing any measurable numbers.
It brought in two point eight million worldwide, is one
(13:49):
hundred and eighty two million. Is still going to fall
well short of this budget. Well well short. Yeah, and
number nine is a Woman in the Yard. The woman
in the Yard in this third week is brought in
twenty Millionaire and number ten is the Chosen Last Supper
Part two.
Speaker 5 (14:03):
Mark, you haven't seen the Woman in the Yard yet.
I just haven't gotten around to it. Last week, my
big theatrical excursion was the Amateur and I spent the
weekend watching a bunch of streaming stuff, including the great
brand new Black Mirror.
Speaker 3 (14:18):
Oh, I have a confession to make. I haven't watched
any Black Mirror ever. Ever. Oh, it's really good. You
gotta check.
Speaker 5 (14:26):
It's kind of a tech based Twilight seven of the
Twilight Zone.
Speaker 3 (14:30):
Yeah.
Speaker 5 (14:31):
How many seasons and is? I think it's seven and
they're not very long seasons.
Speaker 2 (14:35):
Okay, that's good because that means I can binge watching
a given week.
Speaker 8 (14:37):
Well, and it's an anthology so you can jump around. No,
because each story is its own thing. It's really good.
That's even better. Yeah, yeah, I could get into that.
Speaker 9 (14:48):
Yeah.
Speaker 5 (14:48):
This Charlie Brooker guy who is the creator of it,
and also I think a comedian in Great Britain. He's
a brilliant cat.
Speaker 3 (14:57):
Okay, all right, I got something else to watch whenever
I have time. Whenever that is. I just don't know.
Speaker 2 (15:04):
Look, I got a long list, and so does Tuala.
When we come back, we got to tell you about
the Breakfast Club fortieth reunion. I posted it on the
mister Kelly Facebook page and also later with mo Kelly
facebook page. I think I put it out on threads
at mister Kelly, but you can find it anywhere. We're
gonna play some audio from it when we come back,
but you gotta see it.
Speaker 3 (15:25):
It is well worth. It's like two.
Speaker 2 (15:26):
Hours long if I'm not mistaken, but it's well worth it.
You get some real behind the scenes, inside baseball stuff
about that movie that we know that Carnesia hasn't seen.
Speaker 3 (15:36):
Because she hasn't seen The Bodyguard.
Speaker 7 (15:38):
I want you to ask her about the Breakfast Clubs.
Speaker 3 (15:41):
You haven't seen the Breakfast Club, Daniel. She's fired, fire fired,
It didn't come. Oh my god, you're not wrong. Now
that's one of the points they raised. You're not wrong.
Ringwall out. How white that movie was back in the day.
(16:04):
You do know who Molly Ringwald is? Right?
Speaker 10 (16:07):
Oh god does she No? She doesn't. If you have
to see the face, yeah.
Speaker 3 (16:19):
It hurts.
Speaker 1 (16:21):
You're listening to Later with Moe Kelly on demand from
kf I am six forty and YouTube.
Speaker 2 (16:28):
And for all those who have seen The Breakfast Club
probably loved The Breakfast Club. It's an iconic movie, another movie.
If you try to remake it, I'll probably hurt you.
I'd probably go out of my way to harm you. Yes, me,
that should remain untouched.
Speaker 3 (16:44):
Untouched.
Speaker 2 (16:45):
It's one of those movies which may not appeal to everyone,
but it appealed to me because I felt like it
was my high school it even though it was set
in the Midwest, the people bender, that was South Thorrents Highchool.
As far as I concerned, I could identify with that experience.
That's part of the reason, part of the reason why
it's always stayed with me. Well, we had recently the
(17:09):
fortieth anniversary reunion, the first time the cast had gotten
back together in the history of the movie. They may
have met informally, but not all together. Let me just
get out of the way and play some of the
audio for you. This is in no particular order, but
if you see the video, and I posted a number
of places, Emilio Estevez looks like Martin Sheen and he's
(17:33):
aged the best out of the men. Molly Ringwald, I
think she's fifty seven. She looks fantastic. Chad Nelson, he
looks a lot older than his age should suggest. You know,
he looks a little thin, like he's been living a
lot of life. In between, here's Anthony, Michael Hall, and
Molly Ringwall.
Speaker 11 (17:54):
Anthony, surely, how did you know how to play stoned?
If you'd of course, you've never been stoned at sixteen
years old?
Speaker 6 (18:00):
If I may, don't call me Shirley airplane, anybody, I'm sorry?
Was I stoned at sixteen?
Speaker 2 (18:11):
Uh?
Speaker 9 (18:12):
Yeah?
Speaker 3 (18:12):
Maybe? Okay, some people start late, right.
Speaker 12 (18:20):
That whole sequence when we were getting high, that was
all improvised. Michael's stuff, my stuff. I'm so popular at
the school like that. None of that was was in
the script. And he had he had, like like jud said,
he just let the camera go on and on and on.
And he loved this piece of He loved the work
(18:41):
that I did there so much that he took my
mom into the room where they have the dailies to
show my mom his daughter's, her daughter's work. And my
mom is sitting there watching her daughter pretend like she
was high for like twenty minutes.
Speaker 3 (19:00):
Putting the lipstick on with your boobs, that was amazing.
This is Molly Ringwald and jud Nelson.
Speaker 12 (19:06):
The script was so good to begin with, Yeah, you
know it was. It was really truly a joy to
say those lines. And I always felt like we would
usually do it as written and then and then we
would kind of do whatever we wanted, and he loved it.
I mean, there's so much of the movie that's improvised.
Speaker 3 (19:28):
Is it true that?
Speaker 11 (19:28):
I mean, the scene where you're all kind of revealing
how you got to detention is mostly improvised.
Speaker 12 (19:33):
No, that scene I think was pretty much written that there.
Speaker 13 (19:36):
Were changes within it, but destruction was the same. What's
amazing is when Michael is in the scene where he
stoned this whole notion.
Speaker 3 (19:44):
Of chicks cannot hold it smooth, you.
Speaker 13 (19:47):
Know what it is, and he's doing all that stuff.
Speaker 3 (19:50):
Molly and I are off camera.
Speaker 13 (19:52):
Whis on film, not on video, on the big panaflex cameras,
the biggest film magazine fifteen hundred feet.
Speaker 3 (19:58):
Keep in front of Everyone's a director.
Speaker 13 (20:07):
And you can hear when the film runs out, it clicks,
clicks clicks. Now, an operator, the guy who runs the camera,
he's really not allowed ever to turn the camera off
on his own, even if it runs out of film,
you keep it running until the director says cut. Michael's
in the middle of close camera coverage of his routine.
Speaker 3 (20:28):
We love it, and we can't laugh. If we laugh,
we blow the take. So it's on Michael.
Speaker 13 (20:33):
But we're all there trying to be quiet, and he's
killing it and the camera has run out of film.
Speaker 3 (20:38):
Hughes knows it.
Speaker 13 (20:39):
He doesn't say cut because Michael's in.
Speaker 3 (20:41):
The middle of a routine.
Speaker 13 (20:42):
So we all sit there and we wait another two
minutes until Michael takes a natural pause and Hughes goes cut.
I mean, this does not in my experience.
Speaker 3 (20:55):
It's never happened since. And that is a.
Speaker 13 (20:58):
Reflection on his affection for the characters that he created.
Speaker 3 (21:03):
He's the first writer who could ever.
Speaker 13 (21:04):
Write someone who was young without them being less except
less old.
Speaker 3 (21:11):
Here is jud Nelson on Principle.
Speaker 2 (21:14):
I can't remember the principle's name, but the act was
Paul Gleeson, who played the principle.
Speaker 11 (21:18):
Is there anything We've touched on a few things, but
anything that you take us a personal source of pride
in seeing in the finished film?
Speaker 3 (21:24):
Paul Gleeson. Paul Gleeson, May he rest in peace.
Speaker 13 (21:27):
Yes, I think Paul Gleeson was I He was a
great guy to hate, you know, I really loved him.
But he was fun to hate, easy to hate, very much,
an enthusiastic participant so much in the movie that he did.
Speaker 3 (21:43):
I never sawn till I saw.
Speaker 13 (21:44):
The movie because he's working separate from us. There hallway
stuff where him walking down and looking at his reflection
in the fire extinguisher glass and going haga naga.
Speaker 3 (21:54):
I mean, what the hell was he doing? It was great,
It was really good.
Speaker 13 (21:57):
So I was glad I got to torture him a bit.
And he would sometimes ask us at the end of
work where we were going for dinner, Why do you
want to know, Paul? I'd like to join you, Thanks Paul,
but we don't want you to join us. So when
we do the scene where I'm in the basketball court
when he wants the basketball back, every time every take
(22:20):
we did, I gave him the ball back differently, and
in it really kind of if you'll pardon the expression,
assholic kind of way, and on the one they use
in the film, I roll it to him and he
kicks it at me. And if I had not jumped
in the air and spread my legs. The scene would
have ended right there. So Paul was great. I really
(22:42):
liked working with him.
Speaker 12 (22:44):
Don Caplos also, oh yeah, Capitos as the janitor.
Speaker 2 (22:49):
The last word on the gift to emeo Estevez who
talks about the legacy of the movie, and I thought
he made some good points. But the rest of it
you can find online. But I wanted to play at
least some of the remarks.
Speaker 9 (23:00):
I think, Josh, what's interesting is, as we're sitting here,
and I've said this before, but it's it's interesting for
young actors when you get cast in something like The
Breakfast Club.
Speaker 4 (23:11):
It's a job that you got right.
Speaker 9 (23:13):
It's somebody said yes after there were two hundred or
one thousand no's, and you never know what that movie
is going to turn out to be, how if it's
going to even be releasable. So the fact that we've
all ended up in this film and we have this
on our resume is is I mean, actors, would you know?
Obviously we all have things on our resume we're not
(23:33):
proud of. But this is one of those movies that
is just it just stands the test of time. It's
generationally it just it's a crossover film, and how lucky
we are to have at least one, and we many
of us have more than just one. On our resumes
(23:54):
that it's just it's an extraordinary thing. But it's never
by design, it's always by accident. And I think that
something that people miss out on when you chose that movie.
Speaker 3 (24:02):
No, that the.
Speaker 9 (24:03):
Director chose us. We were lucky enough to be at
the right place at the right time to be involved
in something like that.
Speaker 2 (24:11):
I didn't play the audio, but Molly Ringwald also talks
about watching the movie with her children and their responses
to it and how, according to her, they didn't check
their phones once. So there is something to be said
for how the movie is dated. No doubt is dated,
but it can still hold up in the way that
(24:33):
Emilia Astabz has said. It still is engaging, it's still funny.
It's still that coming of age picture that many of
us can still identify with, even though we like even
the speech at the end of the movie that Anthony
Michael Hall's character writes, you find yourself somewhere in that movie.
Speaker 3 (24:52):
Did you have a character you identified the most with?
Speaker 5 (24:54):
Oh?
Speaker 3 (24:55):
Absolutely, it is Anthony Michael Hall's character.
Speaker 2 (24:56):
Really, yeah, because I was like the band geek, the
one I was, you know, I was not the jock.
I definitely wasn't bender. So yeah, absolutely, Sam found myself
right there.
Speaker 1 (25:10):
You're listening to later with Moe Kelly on demand from
KFI AM six forty.
Speaker 3 (25:15):
Stephen A.
Speaker 2 (25:16):
Smith fancies himself as a presidential candidate, but having nothing
to do with him.
Speaker 3 (25:22):
You have to be a narcissist.
Speaker 2 (25:25):
To even want to be President of the United States,
leader of the free world, head of the federal government
and the tens of thousands of employees directing domestic policy,
international policy, commander in chief and all that it entails.
You are a megalomaniac to think that you individually are
(25:46):
up to that task. Some are as in some are
up to the task, but most definitely are not. But
either way, you are definitely a narcissist to want the job,
to think that you could even do the job in
today's world.
Speaker 3 (26:01):
But that's just the person who wants the job.
Speaker 2 (26:05):
There's a conversation to be had as to how this
country picks its leaders and the person for the job.
Speaker 3 (26:13):
It used to be, and I think Mark remembers this time.
Speaker 2 (26:15):
It used to be that senators were hamstrung running for
president because they had quote unquote no executive experience like
governors did. Carter governor, Reagan governor, Clinton governor. You had
senators become president, but it was a tougher sell. Once
upon a time America demanded, once upon a time executive experience,
(26:39):
but that was a different America.
Speaker 3 (26:41):
But let me get back to Stephen A. Smith. There's
no Stephen A.
Speaker 2 (26:45):
Smith flirting with a presidential run without a Donald Trump
to precede him. I think Mark made that point, and
it's accurate for some reason, for some reason, and I
made the point, we don't respect competency, experience, expertise anymore.
Executive experience no longer matters at all. Charisma has always
(27:08):
been important, but at least ever since Nixon and JFK
faced off of that first televised debate. TV presence matters,
no doubt. Absolutely, you gotta look good on camera. But
we're way beyond the tipping point now. Half of this
president's cabinet are either former television hosts or commentators, or
(27:30):
they run their own television production company like Lenna McMahon,
and way too many people think that that's okay. It's not,
and that's not a political statement. I just think we
can do better than people tied to TV. The president
is a former TV reality show host. Recognize the pattern.
Here's Stephen A. Smith's public resume, and it is inarguable.
(27:54):
After Smith attended the Fashion Institute of Technology for one year,
Smith was a basketball scholarship to Winston Salem State University.
I'm not making any of this up. One year Fashion
Institute of Technology. Smith began his print media career with
the Winston Salem Journal, the Greensboro News and Record, and
(28:15):
the New York Daily News. Then the Philadelphia Inquirer, NBA columnist,
radio host, television commentator, podcast host, television host, registered independent.
Speaker 3 (28:26):
Those are his bonafides or bonafie days.
Speaker 2 (28:28):
As some people say bona fides, some other people say
Stephen A. Smith, as I said earlier, is more famous
than I am. He is much more wealthy than I am.
But his professional resume that I just read to you,
and his relevant experience is a little different than mine.
In fact, I can say confidently I said it before
(28:49):
and I'll say it again. I have more applicable experience
than he does. And if he were here on this show, yes,
I would talk to him. I would tell him that
to his face. And I'm here to tell you, even
though I have more applicable experience, I'm in no way qualified.
And nobody with a similar resume. Mark Ronner has a
similar resume, and with all due respect, I don't think
(29:12):
he would be you know.
Speaker 5 (29:15):
I part my hair on the left, So I am
qualified to be president.
Speaker 2 (29:18):
Okay, Well, with the exception of Mark Ronderd, the rest
of us are in no way qualified, especially those with
a similar resume. We're not qualified to command our troops,
handle classified intelligence, work with Congress.
Speaker 3 (29:29):
So put another way, lead this nation.
Speaker 2 (29:32):
But we live at a time where competency doesn't have
any value anymore.
Speaker 3 (29:38):
Just personality. Steven A.
Speaker 2 (29:40):
Smith, He's a personality, and believe it or not, being
president is a real African job. Although you know, we
have collectively devalued the jobs that members of Congress do
or the requirements for the people we elect they actually do,
you know, folks in Congress, it does prepare someone to
run a government, handle policy and classified information. That's why
(30:04):
there are these things such as the Arms Services Committee,
the House Permanent Select Committee on Intelligence, Transportation and Infrastructure Committee.
Speaker 3 (30:13):
They match her greatly.
Speaker 2 (30:15):
Civic, something this country has been grossly derelict in teaching.
If you paid attention, you would know that, but most
of us, as Americans, do not. When you want to
discuss the latest trades and prospects of the Lakers winning
the championship, called Stephen A.
Speaker 3 (30:30):
Smith and that's what he thinks. That's his stock and trade.
Speaker 2 (30:33):
You don't call him to legitimize his wet dream of
running for president like ABC News did.
Speaker 3 (30:38):
But that's what ABC News did.
Speaker 2 (30:41):
And yes, I know ABC ESPN same conglomerate of Disney.
Speaker 3 (30:45):
I get that.
Speaker 2 (30:46):
But ABC News was bending over to pick up, elevate
and legitimize Smith and his delusions of granteur legacy. Media
already struggling to remain relevant and be seen as credible,
and here they were putting another carnival barker on the
Sunday News asking about his presidential aspirations. That again makes
(31:06):
this country seem like a joke. I know that sounds harsh,
but it's the truth. Not just anyone can be president.
That's not a controversial statement. There are consequences to this
foolishness and unseriousness. Being loud, opinionated, controversial and speaking one's mind,
are not presidential job qualifications? Being on TV is it
(31:27):
a presidential job qualification? Having a sports podcast is not
a presidential job qualification. And the sooner America figures this out,
the sooner we can go back to normality and not
a moment before. We don't hire pilots, We don't hire doctors, lawyers, plumbers, welders, teachers, dentists, gardeners,
prostitutes on personality.
Speaker 3 (31:51):
We do it on professional competency.
Speaker 2 (31:53):
So why in the world would we even consider choosing
a leader of the free world on.
Speaker 3 (31:59):
Any thing less. For KF, I am six forty, I'm
mo Kelly.
Speaker 2 (32:05):
K F. I'm KOs t HD two, Los Angeles, Orange
County
Speaker 3 (32:10):
Live Everywhere on the Younger Radio app
You're listening to Later with Moe Kelly on demand from
KFI A six forty The Bodyguard.
Speaker 2 (00:06):
I don't need to introduce that movie to anyone. The
Bodyguard is a classic movie. I wouldn't even call it
a cult classic. It is a classic movie. And what
made The Bodyguard special for those who may not be
old enough to remember it. You had Whitney Houston at
the height of her celebrity, playing someone who she could
(00:30):
actually be in that movie. You had Kevin Costner near
the height of his celebrity, playing in the co starring role.
Speaker 3 (00:41):
And that's what made it, I think, so much more
impactful for its time.
Speaker 2 (00:45):
You had arguably the best soundtrack in movie history with
The Bodyguard soundtrack. Arguably that your personal preferences aside, I'm
talking about just the success of the soundtrack. To now
say we're gonna do a remake. No, you should not.
(01:06):
I don't care if you have the rights to it.
I don't care if it's been thirty three years or whatever.
Speaker 3 (01:11):
I don't care. And I mean this respectfully.
Speaker 2 (01:14):
I don't care that just because Whitney Houston has passed
that means it's.
Speaker 3 (01:17):
Okay to remake the movie.
Speaker 2 (01:18):
No, No, no, no, leave classic movies alone, Leave cult classic
movies alone.
Speaker 3 (01:25):
This movie is a classic. You don't need to remake it.
Speaker 2 (01:28):
And a lot of the problems with remix is the
story that you told back then doesn't make sense now
it doesn't make sense. You can try, let's exchange Whitney
Houston for Taylor Swift. And if you know the Bodyguard soundtracked,
you know you have the Bodyguard, you have this obsessed fan.
(01:51):
Who you think it is is an obsessed fan and
sorry you know spoiler alert.
Speaker 3 (01:55):
It is actually her sister who's setting her.
Speaker 2 (01:57):
Up to be killed. If you haven't seen the movie,
oh well, spoiled it for you. But that story really
doesn't make sense now, not with social media. They'll probably
you can update it, but it's not going to have
the same type of allure.
Speaker 4 (02:12):
And remember the stalker or who we believe the stalker
with nineteen letters, yes, seven.
Speaker 3 (02:21):
Letters in the mail. That's not happening at all.
Speaker 2 (02:25):
It's just not And you in today's world, because of
all the things which have happened in the intervening thirty
years or so, you don't get that type of access
to an actual star. The magnitude of a Whitney Houston.
You don't get that type of access to a Janet Jackson.
I remember when you brought her over to the Beat,
and I remember being told not to get too close
(02:48):
to it, even to her bodyguard, because I was told,
this individual has instructions to break you in half if
you get too close.
Speaker 3 (02:57):
True story.
Speaker 2 (02:57):
I was what they call tour support for Janet Jackson
when I was working for Virgin Records, and I had
the great privilege of escorting Janet Jackson to ninety two
point three the Beat, and I was, you know, the
label person, and I was basically running the photos. Okay,
another five people, get your your your your photo with
(03:18):
Janet Jackson everything. And I had explicit instructions and it
wasn't from Janet.
Speaker 3 (03:22):
It was just you have to keep your physical distance
from her.
Speaker 2 (03:26):
Yes, you just had to or these big, burly guys
would break you in half.
Speaker 4 (03:32):
They did not look like they were there to play.
I remember feeling an icy, cold death run down my
spine after it was explained to me, because I was
just like trying to say, okay, hey, we're going to
go into the studio and I was reaching out and
the tensity of that moment, it was like.
Speaker 3 (03:48):
Who wha whoa whoa whoa who wo who wha whoa
whoa who.
Speaker 4 (03:50):
Who do not for any reason touch or reach out
to touch Janet Jackson.
Speaker 3 (03:54):
Do not. These individuents here will kill you.
Speaker 2 (03:56):
For those who don't know, this was at the height
of her celebrity, the Velvet Rope album. She did not
get any bigger than that when she went on that
tour and everything. So yeah, I got a lot of
stories to tell that to say that security has gotten
even tighter around artists. They are rolling with five and
six different bodyguards period, individuals that are trained, trained with
(04:19):
all types of deadly force. Yeah, and you do an
updated Bodyguard, you maybe go to Coachella or something like that.
You'll probably update the tentpole moments of the movie. You
don't need to do that. Just watch the original Bodyguard.
It's good enough as is. Leave it alone.
Speaker 3 (04:37):
Don't look.
Speaker 2 (04:38):
There are probably some other movies they're thinking about remaking
right now that escape my mind.
Speaker 3 (04:42):
Just don't Grimlins.
Speaker 4 (04:43):
Oh gosh, they have actually confirmed that Grimlins and goonies.
Speaker 3 (04:48):
Goonies mo goo, Why need that movie? Doesn't make sense
in twenty twenty five.
Speaker 4 (04:53):
As if every kid the age of the Goonies does
not have a cell phone right now.
Speaker 2 (04:59):
Right, whole idea of just using their imagination doesn't make sense.
Speaker 4 (05:03):
No, no, unless it's a period piece. And if that's
the case, why's the original.
Speaker 2 (05:09):
Chronicles of Narnia doesn't even make sense now if you
go back and read The Lion, the Witch, and the Wardrobe, yeah,
it doesn't.
Speaker 5 (05:15):
Know.
Speaker 2 (05:15):
Well, they're great because of when they were made and
the time that they represent. The Bodyguard in the early
nineties I think it was ninety two. Someone correct me, no,
thanks for that time was perfect for that time music celebrities.
People don't even buy albums anymore. Will Smith just dropped
(05:37):
an album. It sold two hundred and sixty eight copies.
I'm not exaggerating to six eight. I was gonna talk
about it tonight, but there's not too much to say
about two hundred and sixty.
Speaker 3 (05:52):
That's the beginning and end of the conversation. How does
that do? Basically trash to sixty eight to sixty eight.
Speaker 2 (06:00):
Anything with two sixty eight behind it is horrible. How
many people were in the theater two sixty eight? Ooh,
that's how many people went to the concert? Two hundred
and sixty eight. Oh damn, how.
Speaker 3 (06:12):
Many subscribers you got? Two hundred and sixty eight. Ooh,
raise that up again.
Speaker 2 (06:17):
My point is certain things you can't go back. You
honestly cannot go back. You cannot recapture certain magic because
the magic was connected to the time it was in.
You don't have music celebrities the likes of a Whitney
Houston anymore. No disrespect to Beyonce, no disrespect to Taylor Swift.
Speaker 3 (06:43):
There is a degree of iconicism. What's the word mark,
I'm not sure what you're trying to say. Iconic. There's
a level of iconic ness.
Speaker 5 (06:56):
Oh okay, am I the only person alive who thought
that that movie was just cheesy?
Speaker 2 (07:01):
Yes you are probably, Yes, you're the only one. Okay, yeah, Stepan,
you like The Bodyguard?
Speaker 3 (07:07):
Yeah? I did?
Speaker 2 (07:07):
Okay, one hundred percent of the people in the chat
like The Bodyguard. Carniaian, you liked the Bodyguard. Good thing
You're mic is off yet, lady. Good thing for those
who didn't know Carnaesian runs are chat room and she
said she hasn't seen The Bodyguard.
Speaker 5 (07:24):
So.
Speaker 3 (07:29):
I don't watch it. How can you sit we're.
Speaker 2 (07:33):
Having this long My head hurtsing this long conversation about
The Bodyguard, and you haven't even seen the movie.
Speaker 3 (07:41):
But I still do agree with you too.
Speaker 6 (07:43):
It doesn't need to be remade, so at least I
agree with you.
Speaker 3 (07:48):
I'll go home and watch it tonight.
Speaker 7 (07:50):
It's too late, it's too late. Can I just go
to break because wadies goal, it's hurt. Don't do that.
Speaker 1 (08:07):
You're listening to Later with mo Kelly on demand from
KFI Am sixty.
Speaker 2 (08:12):
And also YouTube at mister Mokelly. We're live everywhere on
the iHeartRadio app. It's Later with mo Kelly. Let's talk
about the box office. Last segment, we're talking about The Bodyguard,
which was a box office hit, and ninety three of
the people in the chat on the YouTube video stream said,
(08:33):
do not remake the Bodyguard. Do not and I'm with them,
and there was one percent who had not seen it,
and at one percent is Carnecia and Carneesia needs to
see the movie.
Speaker 3 (08:49):
Don't bring God into this.
Speaker 2 (08:50):
That's your fault, that's your sin. The power of Christ
compels you.
Speaker 3 (08:59):
Okay.
Speaker 2 (09:00):
Office this week, a Minecraft movie is still doing Gangbusters
number one movie again. It brought in another seventy eight
million in its second week. Seventy eight million is a
great first week. I'm just talking about domestically. Worldwide, it's
already over five hundred and fifty million dollars. It's going
(09:23):
to hit a billion dollars easy. I try to tell
you and I don't root against movies.
Speaker 3 (09:32):
I don't root against theaters.
Speaker 2 (09:34):
I'm not gonna sit here and lie to you and
say that because a Minecraft movie is doing so well
in the box office.
Speaker 3 (09:39):
That it saved movie theaters. But it is.
Speaker 2 (09:42):
It has helped out a lot of movie theaters because
the summer movie season has not even begun. This is
a surprise to get a hit this big in April.
Let's be honest, early April.
Speaker 4 (09:52):
Plus it's going to go gangbusters this week alone because
it's spring break.
Speaker 3 (09:59):
You got that, right.
Speaker 4 (10:00):
All these kids who have been waiting to go see
way to go to a theater, throw popcorn, to yell
at the screen, to just carry on like minecrafty and fools.
Speaker 3 (10:09):
Yeah, they're gonna go in.
Speaker 2 (10:10):
And this is something which obviously I haven't seen the movie,
but I can tell I can see how it fits
with this social media generation. You have these Minecraft challenges
if you will, where people are duplicating the behavior that
they've seen on social media and acting out the movie
in theaters. It's perfect for that. It's a non controversial movie.
(10:31):
You know, there's nothing holding the movie back at all.
It's in forty two hundred theaters. In other words, maximum
maximum exposure across the country. It's in all theaters and
all quadrants of the country. That's what you need for
a movie to be successful on this level. And it
is doing. Oh I'm sorry, it's going up. It actually
(10:53):
added another thirty theaters this Oh wow, So it's increasing
in its popularity. It's great to see it. Obviously, you
just can't duplicate it all the time. Sometimes you just
need all the stars to alide in. Second this week
was The King of Kings, brought in nineteen million domestically,
(11:13):
yet it wasn't released internationally. Obviously, Easter coming up number three.
We heard the Ron report with the amateur Robny Moloch
and didn't do poorly. It had fourteen point eight million domestically,
seventeen point four million internationally. Thirty two million was its
(11:34):
thirty two point two million was his take for this week.
Speaker 5 (11:37):
I wonder, let me look up the budget on this one.
Did you wind up seeing it?
Speaker 3 (11:42):
I could not.
Speaker 2 (11:43):
My weekend was so full, so full. I just did
not have the opportunity. The budget was only sixty million.
It did half its budget in its first week. It'll
be fine. We're gonna get the amateur too. He's going
to have to get married again and have his second
wife be killed so he can go on another revenge spree.
Speaker 3 (11:59):
Oh god, you were dark. I didn't make the movie.
Don't blame the victim can give it like a dog.
Does he have to get like John Wick? Yeah? Yeah,
it's been done. Warfare Come In came in at number four.
Speaker 2 (12:16):
A platoon of Navy seals embark on a dangerous mission
in Iraq, with the chaos and brotherhood of war retold
through their memories of the event. I've heard good things
about this.
Speaker 3 (12:27):
It's got a big social media push.
Speaker 2 (12:29):
Yeah, I've heard good things. It brought in eight million
this week, largely by word of mouth. Came in number
four eight million. Number five was drop with seven point
three million. Don't know what that was about. A widowed
mother's first date in years takes a terrifying turn when
she's bombarded with anonymous, threatening messages on her phone during
(12:51):
their upscaled dinner, leaving her questioning if her charming date
is behind the harassment.
Speaker 3 (12:57):
Duh, you saw it. No, it looks good. Okay, it's
high paced thriller.
Speaker 5 (13:00):
Yeah, the trailer makes it look really annoying because already
somebody eating dinner with you and getting constant texts.
Speaker 3 (13:10):
I'm not sure you're not wrong to take on that.
You're not wrong. It's like, do you need to get that.
You need to turn your phone off?
Speaker 2 (13:18):
Yeah, yeah, h Well, someone's texted me and they're talking
about killing me.
Speaker 3 (13:22):
I might have to take this. It's a work text.
I have to take it. I might have to take this.
Speaker 2 (13:27):
Number six is the Chosen Last Supper, Part three. Number
seven is a working Man Still hanging in There. It
brought it in another three million this week, for a
total of seventy eight million worldwide. It's about what I
expected for the movie. Snow White, surprisingly is still in
the top ten, but not really doing any measurable numbers.
It brought in two point eight million worldwide, is one
(13:49):
hundred and eighty two million. Is still going to fall
well short of this budget. Well well short. Yeah, and
number nine is a Woman in the Yard. The woman
in the Yard in this third week is brought in
twenty Millionaire and number ten is the Chosen Last Supper
Part two.
Speaker 5 (14:03):
Mark, you haven't seen the Woman in the Yard yet.
I just haven't gotten around to it. Last week, my
big theatrical excursion was the Amateur and I spent the
weekend watching a bunch of streaming stuff, including the great
brand new Black Mirror.
Speaker 3 (14:18):
Oh, I have a confession to make. I haven't watched
any Black Mirror ever. Ever. Oh, it's really good. You
gotta check.
Speaker 5 (14:26):
It's kind of a tech based Twilight seven of the
Twilight Zone.
Speaker 3 (14:30):
Yeah.
Speaker 5 (14:31):
How many seasons and is? I think it's seven and
they're not very long seasons.
Speaker 2 (14:35):
Okay, that's good because that means I can binge watching
a given week.
Speaker 8 (14:37):
Well, and it's an anthology so you can jump around. No,
because each story is its own thing. It's really good.
That's even better. Yeah, yeah, I could get into that.
Speaker 9 (14:48):
Yeah.
Speaker 5 (14:48):
This Charlie Brooker guy who is the creator of it,
and also I think a comedian in Great Britain. He's
a brilliant cat.
Speaker 3 (14:57):
Okay, all right, I got something else to watch whenever
I have time. Whenever that is. I just don't know.
Speaker 2 (15:04):
Look, I got a long list, and so does Tuala.
When we come back, we got to tell you about
the Breakfast Club fortieth reunion. I posted it on the
mister Kelly Facebook page and also later with mo Kelly
facebook page. I think I put it out on threads
at mister Kelly, but you can find it anywhere. We're
gonna play some audio from it when we come back,
but you gotta see it.
Speaker 3 (15:25):
It is well worth. It's like two.
Speaker 2 (15:26):
Hours long if I'm not mistaken, but it's well worth it.
You get some real behind the scenes, inside baseball stuff
about that movie that we know that Carnesia hasn't seen.
Speaker 3 (15:36):
Because she hasn't seen The Bodyguard.
Speaker 7 (15:38):
I want you to ask her about the Breakfast Clubs.
Speaker 3 (15:41):
You haven't seen the Breakfast Club, Daniel. She's fired, fire fired,
It didn't come. Oh my god, you're not wrong. Now
that's one of the points they raised. You're not wrong.
Ringwall out. How white that movie was back in the day.
(16:04):
You do know who Molly Ringwald is? Right?
Speaker 10 (16:07):
Oh god does she No? She doesn't. If you have
to see the face, yeah.
Speaker 3 (16:19):
It hurts.
Speaker 1 (16:21):
You're listening to Later with Moe Kelly on demand from
kf I am six forty and YouTube.
Speaker 2 (16:28):
And for all those who have seen The Breakfast Club
probably loved The Breakfast Club. It's an iconic movie, another movie.
If you try to remake it, I'll probably hurt you.
I'd probably go out of my way to harm you. Yes, me,
that should remain untouched.
Speaker 3 (16:44):
Untouched.
Speaker 2 (16:45):
It's one of those movies which may not appeal to everyone,
but it appealed to me because I felt like it
was my high school it even though it was set
in the Midwest, the people bender, that was South Thorrents Highchool.
As far as I concerned, I could identify with that experience.
That's part of the reason, part of the reason why
it's always stayed with me. Well, we had recently the
(17:09):
fortieth anniversary reunion, the first time the cast had gotten
back together in the history of the movie. They may
have met informally, but not all together. Let me just
get out of the way and play some of the
audio for you. This is in no particular order, but
if you see the video, and I posted a number
of places, Emilio Estevez looks like Martin Sheen and he's
(17:33):
aged the best out of the men. Molly Ringwald, I
think she's fifty seven. She looks fantastic. Chad Nelson, he
looks a lot older than his age should suggest. You know,
he looks a little thin, like he's been living a
lot of life. In between, here's Anthony, Michael Hall, and
Molly Ringwall.
Speaker 11 (17:54):
Anthony, surely, how did you know how to play stoned?
If you'd of course, you've never been stoned at sixteen
years old?
Speaker 6 (18:00):
If I may, don't call me Shirley airplane, anybody, I'm sorry?
Was I stoned at sixteen?
Speaker 2 (18:11):
Uh?
Speaker 9 (18:12):
Yeah?
Speaker 3 (18:12):
Maybe? Okay, some people start late, right.
Speaker 12 (18:20):
That whole sequence when we were getting high, that was
all improvised. Michael's stuff, my stuff. I'm so popular at
the school like that. None of that was was in
the script. And he had he had, like like jud said,
he just let the camera go on and on and on.
And he loved this piece of He loved the work
(18:41):
that I did there so much that he took my
mom into the room where they have the dailies to
show my mom his daughter's, her daughter's work. And my
mom is sitting there watching her daughter pretend like she
was high for like twenty minutes.
Speaker 3 (19:00):
Putting the lipstick on with your boobs, that was amazing.
This is Molly Ringwald and jud Nelson.
Speaker 12 (19:06):
The script was so good to begin with, Yeah, you
know it was. It was really truly a joy to
say those lines. And I always felt like we would
usually do it as written and then and then we
would kind of do whatever we wanted, and he loved it.
I mean, there's so much of the movie that's improvised.
Speaker 3 (19:28):
Is it true that?
Speaker 11 (19:28):
I mean, the scene where you're all kind of revealing
how you got to detention is mostly improvised.
Speaker 12 (19:33):
No, that scene I think was pretty much written that there.
Speaker 13 (19:36):
Were changes within it, but destruction was the same. What's
amazing is when Michael is in the scene where he
stoned this whole notion.
Speaker 3 (19:44):
Of chicks cannot hold it smooth, you.
Speaker 13 (19:47):
Know what it is, and he's doing all that stuff.
Speaker 3 (19:50):
Molly and I are off camera.
Speaker 13 (19:52):
Whis on film, not on video, on the big panaflex cameras,
the biggest film magazine fifteen hundred feet.
Speaker 3 (19:58):
Keep in front of Everyone's a director.
Speaker 13 (20:07):
And you can hear when the film runs out, it clicks,
clicks clicks. Now, an operator, the guy who runs the camera,
he's really not allowed ever to turn the camera off
on his own, even if it runs out of film,
you keep it running until the director says cut. Michael's
in the middle of close camera coverage of his routine.
Speaker 3 (20:28):
We love it, and we can't laugh. If we laugh,
we blow the take. So it's on Michael.
Speaker 13 (20:33):
But we're all there trying to be quiet, and he's
killing it and the camera has run out of film.
Speaker 3 (20:38):
Hughes knows it.
Speaker 13 (20:39):
He doesn't say cut because Michael's in.
Speaker 3 (20:41):
The middle of a routine.
Speaker 13 (20:42):
So we all sit there and we wait another two
minutes until Michael takes a natural pause and Hughes goes cut.
I mean, this does not in my experience.
Speaker 3 (20:55):
It's never happened since. And that is a.
Speaker 13 (20:58):
Reflection on his affection for the characters that he created.
Speaker 3 (21:03):
He's the first writer who could ever.
Speaker 13 (21:04):
Write someone who was young without them being less except
less old.
Speaker 3 (21:11):
Here is jud Nelson on Principle.
Speaker 2 (21:14):
I can't remember the principle's name, but the act was
Paul Gleeson, who played the principle.
Speaker 11 (21:18):
Is there anything We've touched on a few things, but
anything that you take us a personal source of pride
in seeing in the finished film?
Speaker 3 (21:24):
Paul Gleeson. Paul Gleeson, May he rest in peace.
Speaker 13 (21:27):
Yes, I think Paul Gleeson was I He was a
great guy to hate, you know, I really loved him.
But he was fun to hate, easy to hate, very much,
an enthusiastic participant so much in the movie that he did.
Speaker 3 (21:43):
I never sawn till I saw.
Speaker 13 (21:44):
The movie because he's working separate from us. There hallway
stuff where him walking down and looking at his reflection
in the fire extinguisher glass and going haga naga.
Speaker 3 (21:54):
I mean, what the hell was he doing? It was great,
It was really good.
Speaker 13 (21:57):
So I was glad I got to torture him a bit.
And he would sometimes ask us at the end of
work where we were going for dinner, Why do you
want to know, Paul? I'd like to join you, Thanks Paul,
but we don't want you to join us. So when
we do the scene where I'm in the basketball court
when he wants the basketball back, every time every take
(22:20):
we did, I gave him the ball back differently, and
in it really kind of if you'll pardon the expression,
assholic kind of way, and on the one they use
in the film, I roll it to him and he
kicks it at me. And if I had not jumped
in the air and spread my legs. The scene would
have ended right there. So Paul was great. I really
(22:42):
liked working with him.
Speaker 12 (22:44):
Don Caplos also, oh yeah, Capitos as the janitor.
Speaker 2 (22:49):
The last word on the gift to emeo Estevez who
talks about the legacy of the movie, and I thought
he made some good points. But the rest of it
you can find online. But I wanted to play at
least some of the remarks.
Speaker 9 (23:00):
I think, Josh, what's interesting is, as we're sitting here,
and I've said this before, but it's it's interesting for
young actors when you get cast in something like The
Breakfast Club.
Speaker 4 (23:11):
It's a job that you got right.
Speaker 9 (23:13):
It's somebody said yes after there were two hundred or
one thousand no's, and you never know what that movie
is going to turn out to be, how if it's
going to even be releasable. So the fact that we've
all ended up in this film and we have this
on our resume is is I mean, actors, would you know?
Obviously we all have things on our resume we're not
(23:33):
proud of. But this is one of those movies that
is just it just stands the test of time. It's
generationally it just it's a crossover film, and how lucky
we are to have at least one, and we many
of us have more than just one. On our resumes
(23:54):
that it's just it's an extraordinary thing. But it's never
by design, it's always by accident. And I think that
something that people miss out on when you chose that movie.
Speaker 3 (24:02):
No, that the.
Speaker 9 (24:03):
Director chose us. We were lucky enough to be at
the right place at the right time to be involved
in something like that.
Speaker 2 (24:11):
I didn't play the audio, but Molly Ringwald also talks
about watching the movie with her children and their responses
to it and how, according to her, they didn't check
their phones once. So there is something to be said
for how the movie is dated. No doubt is dated,
but it can still hold up in the way that
(24:33):
Emilia Astabz has said. It still is engaging, it's still funny.
It's still that coming of age picture that many of
us can still identify with, even though we like even
the speech at the end of the movie that Anthony
Michael Hall's character writes, you find yourself somewhere in that movie.
Speaker 3 (24:52):
Did you have a character you identified the most with?
Speaker 5 (24:54):
Oh?
Speaker 3 (24:55):
Absolutely, it is Anthony Michael Hall's character.
Speaker 2 (24:56):
Really, yeah, because I was like the band geek, the
one I was, you know, I was not the jock.
I definitely wasn't bender. So yeah, absolutely, Sam found myself
right there.
Speaker 1 (25:10):
You're listening to later with Moe Kelly on demand from
KFI AM six forty.
Speaker 3 (25:15):
Stephen A.
Speaker 2 (25:16):
Smith fancies himself as a presidential candidate, but having nothing
to do with him.
Speaker 3 (25:22):
You have to be a narcissist.
Speaker 2 (25:25):
To even want to be President of the United States,
leader of the free world, head of the federal government
and the tens of thousands of employees directing domestic policy,
international policy, commander in chief and all that it entails.
You are a megalomaniac to think that you individually are
(25:46):
up to that task. Some are as in some are
up to the task, but most definitely are not. But
either way, you are definitely a narcissist to want the job,
to think that you could even do the job in
today's world.
Speaker 3 (26:01):
But that's just the person who wants the job.
Speaker 2 (26:05):
There's a conversation to be had as to how this
country picks its leaders and the person for the job.
Speaker 3 (26:13):
It used to be, and I think Mark remembers this time.
Speaker 2 (26:15):
It used to be that senators were hamstrung running for
president because they had quote unquote no executive experience like
governors did. Carter governor, Reagan governor, Clinton governor. You had
senators become president, but it was a tougher sell. Once
upon a time America demanded, once upon a time executive experience,
(26:39):
but that was a different America.
Speaker 3 (26:41):
But let me get back to Stephen A. Smith. There's
no Stephen A.
Speaker 2 (26:45):
Smith flirting with a presidential run without a Donald Trump
to precede him. I think Mark made that point, and
it's accurate for some reason, for some reason, and I
made the point, we don't respect competency, experience, expertise anymore.
Executive experience no longer matters at all. Charisma has always
(27:08):
been important, but at least ever since Nixon and JFK
faced off of that first televised debate. TV presence matters,
no doubt. Absolutely, you gotta look good on camera. But
we're way beyond the tipping point now. Half of this
president's cabinet are either former television hosts or commentators, or
(27:30):
they run their own television production company like Lenna McMahon,
and way too many people think that that's okay. It's not,
and that's not a political statement. I just think we
can do better than people tied to TV. The president
is a former TV reality show host. Recognize the pattern.
Here's Stephen A. Smith's public resume, and it is inarguable.
(27:54):
After Smith attended the Fashion Institute of Technology for one year,
Smith was a basketball scholarship to Winston Salem State University.
I'm not making any of this up. One year Fashion
Institute of Technology. Smith began his print media career with
the Winston Salem Journal, the Greensboro News and Record, and
(28:15):
the New York Daily News. Then the Philadelphia Inquirer, NBA columnist,
radio host, television commentator, podcast host, television host, registered independent.
Speaker 3 (28:26):
Those are his bonafides or bonafie days.
Speaker 2 (28:28):
As some people say bona fides, some other people say
Stephen A. Smith, as I said earlier, is more famous
than I am. He is much more wealthy than I am.
But his professional resume that I just read to you,
and his relevant experience is a little different than mine.
In fact, I can say confidently I said it before
(28:49):
and I'll say it again. I have more applicable experience
than he does. And if he were here on this show, yes,
I would talk to him. I would tell him that
to his face. And I'm here to tell you, even
though I have more applicable experience, I'm in no way qualified.
And nobody with a similar resume. Mark Ronner has a
similar resume, and with all due respect, I don't think
(29:12):
he would be you know.
Speaker 5 (29:15):
I part my hair on the left, So I am
qualified to be president.
Speaker 2 (29:18):
Okay, Well, with the exception of Mark Ronderd, the rest
of us are in no way qualified, especially those with
a similar resume. We're not qualified to command our troops,
handle classified intelligence, work with Congress.
Speaker 3 (29:29):
So put another way, lead this nation.
Speaker 2 (29:32):
But we live at a time where competency doesn't have
any value anymore.
Speaker 3 (29:38):
Just personality. Steven A.
Speaker 2 (29:40):
Smith, He's a personality, and believe it or not, being
president is a real African job. Although you know, we
have collectively devalued the jobs that members of Congress do
or the requirements for the people we elect they actually do,
you know, folks in Congress, it does prepare someone to
run a government, handle policy and classified information. That's why
(30:04):
there are these things such as the Arms Services Committee,
the House Permanent Select Committee on Intelligence, Transportation and Infrastructure Committee.
Speaker 3 (30:13):
They match her greatly.
Speaker 2 (30:15):
Civic, something this country has been grossly derelict in teaching.
If you paid attention, you would know that, but most
of us, as Americans, do not. When you want to
discuss the latest trades and prospects of the Lakers winning
the championship, called Stephen A.
Speaker 3 (30:30):
Smith and that's what he thinks. That's his stock and trade.
Speaker 2 (30:33):
You don't call him to legitimize his wet dream of
running for president like ABC News did.
Speaker 3 (30:38):
But that's what ABC News did.
Speaker 2 (30:41):
And yes, I know ABC ESPN same conglomerate of Disney.
Speaker 3 (30:45):
I get that.
Speaker 2 (30:46):
But ABC News was bending over to pick up, elevate
and legitimize Smith and his delusions of granteur legacy. Media
already struggling to remain relevant and be seen as credible,
and here they were putting another carnival barker on the
Sunday News asking about his presidential aspirations. That again makes
(31:06):
this country seem like a joke. I know that sounds harsh,
but it's the truth. Not just anyone can be president.
That's not a controversial statement. There are consequences to this
foolishness and unseriousness. Being loud, opinionated, controversial and speaking one's mind,
are not presidential job qualifications? Being on TV is it
(31:27):
a presidential job qualification? Having a sports podcast is not
a presidential job qualification. And the sooner America figures this out,
the sooner we can go back to normality and not
a moment before. We don't hire pilots, We don't hire doctors, lawyers, plumbers, welders, teachers, dentists, gardeners,
prostitutes on personality.
Speaker 3 (31:51):
We do it on professional competency.
Speaker 2 (31:53):
So why in the world would we even consider choosing
a leader of the free world on.
Speaker 3 (31:59):
Any thing less. For KF, I am six forty, I'm
mo Kelly.
Speaker 2 (32:05):
K F. I'm KOs t HD two, Los Angeles, Orange
County
Speaker 3 (32:10):
Live Everywhere on the Younger Radio app
Later, with Mo'Kelly News
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