Now I'm helping Beau and Atra do their homework, bleh. Beau needs to write a paper about Belize so I've just been helping him with some of the research. Atra is beyond overwhelmed, she has so much to do with this brand new catering business she just started, and she is in over her head in this class she signed up for, but she can't drop it at this point or she will get an F. She has a kind of open book essay test in her class tomorrow so I've taken two of her questions and am doing the work for her. I imagine that this will provoke reactions in some of you, but I'm just trying to be a good friend, and I'm enjoying learning things in the process. The subjects I'm writing about are anger and the healthy expression..
Oh my God I had the Simple Life running in the background on the TV and something caught my attention, maybe because the girls were screaming, so I looked up and saw Paris holding a white rat with a pair of tongues that she was about to feed to a bird of some kind. I have pet rats. I can't believe I had to see this -- had to listen to Nicole say, "Squeeze it. Oh my God there's blood coming out of it's nose." See, this is the kind of thing that really hurts me, freaks me out and makes me feel depressed, helpless and angry. I feel really, really sorry for that rat. I feel it's pain. I can't differentiate between it's pain and suffering and my own and I'm not even sure that I want to.
I just picked up my stripey cat-friend Sydsu and gave him a cuddle, that helped a bit. And then I had to be a strict-ish parent and get on the phone and remind Beau that I had told him he couldn't talk on the phone anymore tonight because it's super late and he has a project due tomorrow. I also had to remind him that he can't play his guitar with the amp on after nine because the neighbors complain. He was talking to a ton of people on the phone, I don't even know who they all were. Someone told me to, "Shut the Fuck up," so in my very mature way I said, "No, you shut the Fuck up," and then explained to all of these anonymous people that I had told Beau he had to do his homework and that if he didn't he could get kicked out of his school. Parenting, feh.
Anyway, I was writing about anger and Atra's report. The first topic was about recent Harvard and Duke medical studies that suggest finding other ways to handle anger than by openly expressing it. It doesn't feel like too long ago that we were encouraged to express our anger, to "get it out" by yelling, hitting pillows, ripping up phone books, etc., and I used to go to this anger workshop where each person was encouraged to take a turn in the center of the room getting as wildly angry and emotionally out of control as we liked. I always felt more upset and angry afterwards so I stopped going. The other topic she delegated to me was to pick two cultures who handle anger in a positive way so I picked the Polynesians and the Japanese.
While doing a Google search for anything having to do with Tahiti and anger, I found this old transcript of an interview that Larry King did with Marlon Brando. I enjoyed reading it and reexperiencing it. I regret never having had a chance to meet him. Here it is in case you're interested;
Oh man it copied over with all of the code. I hope this works, I just don't have the energy to go in there line by line and remove all of it.
KING: Brando, next on LARRY
Many times over the weekend we're presenting on LARRY KING
LIVE what we call "King's Classics", interviews from the past. This one occurred
nine years ago in 1994. We went up to Marlon Brando's house. He said he would do
one interview for his book. He chose our show. We drove around earlier that day,
had lunch, and then the scene was set. It was different. It was fun.
KING: Explain what you did, don't put me
on Marlon, you put your own makeup on today?
BRANDO: I did because I
wanted to look exactly like you and...
KING: This was your
BRANDO: This was my goal, that's right.
KING: And you
BRANDO: I wore some red suspenders in your
KING: Oh, my God.
BRANDO: I did everything I could and then
I've received some criticism from these people then.
KING: They wanted to
do you themselves?
BRANDO: They wanted to do it.
KING: So, I'm
honored. Do you see my eyebrows that dark and that way and that sort of stark
BRANDO: Yes, a little of the, what do you call it, who was that
guy, that famous Italian guy, not Raymond Navaro but the other guy? Oh, the big
lover, what was his name, played "The Sheikh," what was his name?
BRANDO: Yes, Valentino.
KING: That's the look you
BRANDO: That's right.
KING: Why -- well I want to touch a
lot of bases with you. It's not easy to get -- why don't you like
BRANDO: Well, primarily because the interest is in money.
That's the principal guiding feature of all interviews today is
KING: What do you mean?
BRANDO: You know perfectly well
what I mean.
KING: No, what?
BRANDO: You know that a story has --
that one story is more valuable than another because of the readership, for
instance. O.J. Simpson has taken over the air -- you're sweating a little. O.J.
Simpson has taken over the air -- what are you smiling at?
smiling because you just pointed out that I was sweating. I'm Jewish. I sweat.
You're part Yiddish. You understand. OK and that's money so you say that cameras
BRANDO: No, it's been forced because it's market forces that
determine that. There are a lot of guys like Izzy Stone (ph), do you remember
KING: Wonderful, I have Stone (unintelligible). BRANDO:
Friendly, was still alive, who still is throwing punches, still going three
KING: But the question was why don't you like being
BRANDO: Because I don't like the idea of selling yourself
for money. I -- I...
KING: So, you don't like selling a book, right? You
don't like to go on to sell a book?
BRANDO: I don't.
KING: Or sell
BRANDO: I don't. I've never sold a movie and this is the first
time I've ever been on beating the drum for some product. In this case it's
Random House's book.
KING: Because you promised them you would do
BRANDO: It was -- unbeknownst to me it was part of the contract and
if I didn't I would be in breach of contract. But aside from that I've had
pleasure talking to you. I'm fascinated with people especially the kind of
people, I wouldn't lump you with others because you are
KING: Thank you.
BRANDO: Because there are many
people that have asked me to be on programs and I've refused but you, without
flattery, I mean I have nothing to gain, you have impressed I think all people,
and certainly me, as being very forthright, sincere, and direct and
KING: Well, I thank you very much and now the subject is
BRANDO: No, not necessarily.
KING: Yes, but in this
BRANDO: Because the audience really would like to know
what it is that makes Larry King...
KING: OK, for one night we'll have
Marlon Brando live. You'll host it. I'll guest.
BRANDO: That's this
KING: No, this night you're the guest.
laughed over there.
KING: Why did you choose acting as a career? Why did
you choose to be other people?
BRANDO: Let me -- I think I -- it's useful
to make an observation about that that everybody here in this room is an actor.
You're an actor and the best performances I've ever seen is when the director
says cut and the director says that was great. That was wonderful. That was
They said we had a little lighting problem. Let's do it again.
What his thinking is Jesus Christ, that's so (expletive) -- excuse me. That's --
it wasn't done well so we've got to do it over but everybody tries to
When you say how do you do, how are you, you look fine, you're
doing two things at once. You're reading the person's real intention. You're
trying to feel who he is and making an assessment and trying to ignore the
KING: So that when the director says, cut, but I didn't like
the lighting he's acting.
BRANDO: I'm not talking about that. I'm talking
about going to the office saying good morning, Mr. Harrison.
KING: I know
but we're all acting.
BRANDO: We're all acting.
KING: But why did
BRANDO: And it's a natural -- what?
KING: You chose
it as a profession.
BRANDO: Because there isn't anything that pays you as
much money as acting while you are deciding what the hell you're going to do
KING: So, wait a minute, are you saying you're still
BRANDO: It took me a long time to decide. You know people have
never decided. I mean most people if they -- if you ask them what their dreams
are -- give this guy a Kleenex.
KING: I'll get a tissue in a while. Go
ahead, I sweat. We got hot lights here.
BRANDO: No, we don't. I'm not
KING: Well you're Marlon Brando. I'm Larry King. I
BRANDO: You're a darling man. I don't know. Why do you sweat and I
KING: I know, no, let's get -- I don't want to get
BRANDO: Why do you escape trying to make the one-to-one contact
because I am the product?
KING: Yes, you're the product, right. BRANDO:
OK, then you answered my first, you answered your first question.
This is about money then, OK.
BRANDO: This is about money.
But it's also about interest and learning.
BRANDO: If I was Joe Schlepp
(ph) I don't think I'd be sitting here even though you might like me, even
though we went for a taxi ride and I was a very interesting guy I don't know
that I would appear on your program.
KING: You are
KING: But you've obtained
BRANDO: Because of market values.
KING: But you've
attained something that people are interested in. That's why there's a market
value. That's why they pay you the money to do the films.
that's precisely it.
KING: So, when Brando goes up on the screen or on
the marquee people will come to see the movie, that's money.
KING: And brings money to you.
BRANDO: It's market
forces. That's the way it works.
KING: OK, but...
BRANDO: If you
don't (unintelligible) you don't get arrested.
KING: Did it come easily
to you, so in other words you could make money this way?
comes easily to everybody. All I've done is just simply through the
extraordinary talents of Stella Adler who is my teacher and mentor learned how
to be aware of the process and some people are never aware of it.
Professionally, in other words she taught you?
BRANDO: In life. In
KING: She taught you how to what, impersonate?
how to be aware of my own feelings and how to access my own feelings. Many
actors can do that and I'm sure you've seen pictures of actors that -- I mean
you've seen a performance of an actor who really gave his all and he was very
effective but he was ugly. He was ugly in the expression of his emotions or he
was truly being himself but what he was was boring, or was dull or was something
KING: All right, so she taught you to take that inner self of you
and bring it to a waterfront or a godfather or a whatever?
not sure what she taught me. We'd all like to be certain of what we know but I
think the most important question is to ask yourself do you really know what you
KING: OK. Help me with something because it's fascinating. Let's
say you get a role that's "The Godfather."
You're not a Mafia kingpin.
BRANDO: Yes, I am, so are you.
No, no you're not a Mafia.
BRANDO: Yes. Well, as a matter of fact I'm
BRANDO: But we are. There isn't anything that you
are or that you feel or that you have that I don't feel or that I don't have and
KING: But you can bring it into someone.
BRANDO: You can ask
an actor. Say well here this is what you get. You get hit with a crow bar in the
head and you get a brain concussion. You're lying there and you're mumbling. I
mumble anyway but.
KING: OK, so are you saying anyone can do that,
BRANDO: Nobody can die so you have to pretend you're
KING: OK. Are you saying that when you are "The Godfather" you're
BRANDO: Sure, I'm pretending.
KING: But you're into
BRANDO: I mean we're going to get lost in vocabulary.
No, we're not. We're learning what you're doing. What do you do? Do you read --
you read the script. You like it. By the way -- what's -- how do
BRANDO: I usually read the script and hate it.
usually hate it but you didn't hate "The Godfather" right?
BRANDO: No, I
liked the -- I wasn't sure that I could do it and Frances cordially asked me if
I would do a...
KING: A test?
BRANDO: Yes, a test which I wasn't
-- I would never play a part that I couldn't do and if somebody asked me to play
"Hamlet" tomorrow with Jesus Christ playing Mary Magdalene I wouldn't do
KING: Have you turned down anything you regretted?
That I've regretted, no, no.
KING: Ever taken anything you
BRANDO: Oh, God, taken anything you mean swiped
KING: No, no, no, played a role, God I'm sorry I played
BRANDO: Oh yes, of course.
KING: A lot of
BRANDO: No, regretted no. I don't -- I think to regret is useless
in life. It belongs to the past. The only moment we have is right now sitting
here and talking with each other. You can't see my feet can you? I forgot to put
my shoes on.
KING: OK, that's allowed. It's your house. This is the
moment. We'll come back with more of these moments, OK, and I'll take a break
and make money.
BRANDO: OK, all right.
KING: We'll be right back.
Don't go away.
(BEGIN VIDEO CLIP)
You look terrible. I want you to eat. I want you to rest well and in a month
from now this Hollywood big shot is going to give you what you
UNIDENTIFIED MALE: It's too late. They start shooting in a
BRANDO: I'm going to make him an offer he can't refuse.
(COMMERCIAL BREAK) (BEGIN VIDEO CLIP)
UNIDENTIFIED FEMALE: You quit that howling down there and go to
BRANDO: (Unintelligible) one of my girls down
UNIDENTIFIED FEMALE: You shut up. You're going to get the law on
BRANDO: Hey, Stella.
UNIDENTIFIED FEMALE: You can't beat on a
woman and then call her back because she ain't going to come (unintelligible). I
hope they haul you in and turn a fire under you.
BRANDO: First I want my
girl down here.
UNIDENTIFIED FEMALE: You stinker.
(END VIDEO CLIP)
KING: Back to
movies and we'll touch all the bases. I want to talk about the environment,
Tahiti, the causes you get involved in, et cetera.
BRANDO: I'm glad you
said that so we can get off of movies because (unintelligible)...
know but there are certain things I want to.
BRANDO: There are
fascinating topics in the world. Oh, there are my shoes.
KING: Did you
ever miss theater?
BRANDO: Only when I'm going around 47th Street about
80 miles an hour in a cab and...
KING: Do you say you'd like to be inside
BRANDO: No, I pass by the Alvin and almost hit it. That's when I
kind of miss it.
KING: You do not miss being on a stage?
No, God no.
KING: Why not?
BRANDO: Because it's three hours of
blood, sweat, and tears every night. There's nothing to do but blah, blah, blah,
KING: Oh, don't diminish that.
BRANDO: I don't diminish Shakespeare. I can
recite Shakespeare from morning until night until I put you to sleep. I love
Shakespeare but I don't like -- I'm not nuts about going to the theater. So
often in the past I've gone to the theater and been so bored.
about working in it though? I mean first of all you get applause.
BRANDO: Who cares about applause? If I
get applause from my dog, if I get applause from my children that's enough, God
do I have to turn into an applause junkie in order to feel good about
KING: When you started...
BRANDO: How about you? Do you
need applause? Larry, that was a great show.
KING: I need, yes, I need
BRANDO: God, I've never seen you so stimulated and so
inspired in asking the questions of this person and you think, oh God,
KING: This Yiddish thing, you got a lot of that in New
York, right? You're part Jewish.
BRANDO: I -- well, technically I'm not a
Jew but culturally I am. I spent ten years in New York and that was when New
York was New York, the daily forwards and Stella very kindly invited me into her
home and all of my employers, my teachers, I went to the New School of Social
Research which is an extraordinary institution of learning.
BRANDO: And it was at a time when all the people were coming out
of this extraordinary academia of Germany and like Hana Aranton (ph), the list
KING: You read them all?
BRANDO: I did -- I never had
a chance to take her class. She taught at the New School of Social Research. It
was sort of a clearing house until they went onto Princeton or
KING: So at this time did you realize, even at this young age, I am
doing acting because I can do it but I want...
BRANDO: We were talking
about Yiddish New York.
KING: But I want to do other
KING: Did you realize it then that
BRANDO: I wanted to -- I studied for a while to be a dancer at
Catherine Dunham's (ph) School of Dance and I formally have been a trap drummer,
a stick drummer and I thought I was encapsulated in Puerto Rican
KING: Would you rather have been a musician?
don't know. If the dog hadn't stopped to pee, he might have caught the rabbit.
How could I possibly know?
KING: Well, because you know if you love
BRANDO: What? I'll do it right now.
KING: Oh, you're going to
-- oh, Marlon has a way to stop the sweating.
BRANDO: I have a
KING: The Brando method.
BRANDO: That Larry doesn't know
about of taking sweat off your brow.
KING: What do you do?
Just leave it there and it will dry.
KING: But how does this
BRANDO: What? It looks like that.
BRANDO: Take a look in the camera.
KING: A few more things
on acting and then I want to touch other bases.
But on acting...
BRANDO: So, acting is the most important thing in the
KING: We all do it. BRANDO: We all do it and we do it
for a reason, for a sociological -- it serves a sociological purpose and when
you think of it it's an absurd process because I go and I pretend that I've got
a hole in my leg and because I'm limping on one side this girl won't fall in
love with me and her grandmother is trying to arrange a marriage, some crazy
thing, and people go to a dark room and pay money to see somebody pretend that
they've got a hole in their leg.
KING: Now, you're making light of
BRANDO: I'm not making light of it.
KING: But in pretending
you've got the hole in the leg...
BRANDO: Because it is a fundamental
process. It's older than whoring. It's older than being a whore because if you
examine the behavior of chimpanzees or other related ape groups, even well you
see it in many different animal species but especially amongst
If look a gorilla right in the face, a great back, a silver
back gorilla, he would most likely attack you because -- and that's not very far
from the drunk who's in a bar when you look at him he's just who the hell do you
think you're looking at, huh? And so, either you take your legs off -- either
KING: But back to the point though. If you
BRANDO: This is precisely the point.
KING: If you can
understand the man with the hole in the leg and what that feels like, the pain
of the loss of the wife or the grandmother.
BRANDO: We all have related
pain. For instance, if I'm sad you don't know what I'm sad about and you can say
in a play he's sad because his life is so full of emptiness or he dreads getting
cancer of the nose or something like that and...
BRANDO: All I have to do is think about something that
reminds me of a sadness in the past in my life.
KING: OK, and you'll
bring that to whether it's a disappointment in "On the Waterfront," an anger in
"The Godfather," right, or a scene in "Viva Zapata" you bring that emotion, that
feeling to whether you're on horseback or on a gangplank.
BRANDO: Or, my
dear friend a reasonable facsimile thereof because you don't know whether I'm
feeling it or not. As long as I can convince you that I am I've done my
KING: Willing suspension of disbelief, right? That's what a good
actor makes me do.
BRANDO: No, a willing suspension to believe, not to
disbelieve. KING: To believe.
BRANDO: A willing -- I shouldn't say
KING: Well, it's willing to disbelieve that that's Marlon
Brando but that is in fact...
BRANDO: A willingness to
KING: Yes, to believe that you're not Brando, you're "The
BRANDO: But you see it's part of the process because you pay
hard cash. You have to pay the babysitters. You have to pay for the popcorn. You
have to pay for the tickets. You have to pay for a lot of things besides getting
robbed on the way to the movie.
KING: So, you've got to willingly
suspend and believe. All right, let me get a break. We'll come back with Marlon
Brando. There's lot of other things to talk about.
BRANDO: No, I'm
leaving now. It doesn't matter what he says.
KING: No, we're going to
take phone calls. You love Don Rickles, right? Tell them.
BRANDO: I love
KING: He loves Don Rickles.
BRANDO: I just want to
know how it is that you comb your hair with a washrag so successfully. I think
KING: We'll be right back with Mr. B. Don't go
(BEGIN VIDEO CLIP)
Romans, countrymen, lend me your ears. I come to bury Caesar not to praise him.
The evil that men do lives after them. The good is often toted with their bones
so let it be with Caesar.
(END VIDEO CLIP)
(BEGIN VIDEO CLIP)
BRANDO: You've given your last command
Bly. I'll have those keys (unintelligible).
UNIDENTIFIED MALE: You heard
BRANDO: One more order Mr. Bly and I'll have your head on this
stick. By heaven, I swear it.
(END VIDEO CLIP)
KING: Why Tahiti?
BRANDO: Tahiti, one thing that has
been very problematic about being an actor and getting some measure of celebrity
is the fact that you lose your identity and everybody calls you instantly Mr.
Brando instead of hey you and then people make up notions. They want your
And I used to shovel manure from horses and cows for a living.
I milked cows. I've done some really -- and I've dug ditches, real ditches for
Malcolm Ball's (ph) father in Libertyville, Illinois, and I put in -- I was an
elevator boy at (unintelligible) and I was a short order cook for a while and a
sandwich man, a waiter.
KING: All right and then you got famous and
BRANDO: And then your life changes. You don't change but suddenly
there's a lot more girls saying hi Mar.
KING: And that's good ain't
BRANDO: I used to think it was good until it took me a while to
realize that it was just part of the game and I always wanted to be liked for
myself, known for myself. So, anyway, long story short...
KING: So why
BRANDO: I went to Tahiti where they don't give a damn who you
are. The Tahitians are marvelously free. First of all it's a classless society
and if you put on airs they just tease the life out of you and...
So, ego don't work there.
KING: Ego don't work
BRANDO: Doesn't work there. Well, ego works but not for long
because they tease you so much that you have to get rid of it pretty
KING: What has fame done to you if anything?
made me feel kind of isolated and a little alone but the society I know and
trust are the people that I have known for a long time and love.
Are you happier now?
BRANDO: And I'm happy now. Most of the time I'm
happy, I have a few blips now and then but it took me a long time to hit my
KING: Were you ever what might be termed
BRANDO: No, I was never depressed.
KING: Were you
BRANDO: I was -- I had trouble with.
KING: Mood swings?
BRANDO: No, it
wasn't mood swings. I was -- I think that I was, what's the -- an angry
KING: At your childhood?
BRANDO: A quick temper, quick to
fight and I had a bad bringing up.
KING: You had a tough childhood,
KING: You had a tough
BRANDO: Well, it's all relative. There are some guys, one of
my very closest friends was Jimmy Baldwin.
BRANDO: He was a black kid who was brought up in the
(unintelligible) corner and I met him when I was 18 and we were instant friends
KING: He had it tougher than you.
BRANDO: Well, first of
all he was black, which is tough to grow up in this country. Secondly, he was
dominated by his father who was not such a wonderful man according to what he
told me and he wanted to be a writer, which at that time was very, very -- there
weren't any black writers. He was one of the first black writers that we had
that achieved popularity.
KING: So, when you say it's relative you can
look at Baldwin and say I had it better than he did.
BRANDO: I can look
at him and say maybe he had something to -- he had the capacity to deal with
life. I know people that had it worse than I had it
KING: But does that make it easier for you because they
had it worse? BRANDO: What?
KING: Does that make it easier for you
because they had it worse?
BRANDO: It's all relative. It's very, very
difficult to say when somebody is brave or when somebody is, let's say cowardly
because what might be a brave choice for you, for another person it's just --
they just simply don't experience fear so it doesn't mean anything.
OK, the anger, did you use that anger ever on a pro sense, in other word anger
is not a very good thing to have did you ever use it, say, in your career to
BRANDO: Well, you know, when you're acting and you have to
be angry at something you think of something that makes you.
right, what changed you? What diminished the anger?
BRANDO: Pain. I knew
I had to deal with it and I had to find out why I was angry, as we all do, and
as opposed to you from what we've said before I believe that unless we look
inward we will not ever be able to clearly see outward.
KING: We were
talking before we went on the air that I have a difficult time looking inward
and Marlon was kind of analyzing this. You can look inward,
BRANDO: I have the sense that I can.
KING: Most people
BRANDO: In any event the total result is that I have felt much
calmer and I've had moments of real tranquility since I just put a brake on
everything and I just, I've done a lot of meditation.
BRANDO: I was uselessly psychoanalyzed and exploited by a
psychoanalyst or maybe sometimes sincerely. I don't want to degrade their
intentions but they make a lot of money getting you give days a week to lie down
and say I understand that your mother used to like to pinch your
(unintelligible) what does that mean to you?
KING: So what did you use
beyond that? OK.
BRANDO: And, there's one (unintelligible) was named G.L.
Harrington (ph) and he was like my father and I thought Christ we're going to
end up in fisticuffs because he was a really tough guy and he spoke like that
and he was, you know, he had a lot of male hormones and he shook your hand and
he crushed it and I thought wait a minute buddy. In any event, he was wonderful.
He laughed me out of a lot of trouble. What are you looking at your watch
KING: I did because I just want to check because I don't have a
clock here so I'm checking times. There are a lot of bases I want to cover. Time
goes so fast with you. For someone who doesn't do interviews you're a great
KING: So I just thought I'd pass
that along to you.
BRANDO: Thank you.
KING: We'll be right back
with Marlon Brando. Don't go away.
BRANDO: I don't have a name.
UNIDENTIFIED FEMALE: Do you
want to know my name?
BRANDO: No, no, I don't. I don't want to know your
name. You don't have a name and I don't have a name either, no names here, not
UNIDENTIFIED FEMALE: You're crazy.
BRANDO: Maybe I am
but I don't want to know anything about you. I don't want to know where you live
or where you come from. I want to know nothing, nothing, nothing.
(BEGIN VIDEO CLIP)
Horror. Horror has a face and you must make a friend of horror. Horror and moral
terror are your friends. If they are not then they are enemies to be
(END VIDEO CLIP)
KING: Let's take
some calls for Marlon Brando. Montreal, Quebec, Canada, hello.
Hello, Mr. Brando?
CALLER: Hi, I just wanted to ask
you considering that you are...
BRANDO: What is your name
KING: OK, down Marlon, go ahead
CALLER: OK, considering that you're a very private person, why
after so many years of obscurity, of refusing to be in the spotlight have you
decided to publish your autobiography?
BRANDO: I think that you have
misunderstood something. I wouldn't be on that program, on this program,
somebody in Louisiana woman, I don't know who she was said anybody who shows his
face in public is an *** and perhaps that's true by some standards. In any
event, fate has brought me to this moment.
KING: Her question was why did
a private person write an autobiography?
BRANDO: Oh, I was just
explaining to Larry that the reason I wrote it was, it was an exercise in
freedom. I want to be able to say to you or to Larry or to myself anything that
I believe to be true and it's a very, very difficult thing to do, to go through
life perfect. And, one of the things that in this culture money is everything.
Money is god. Money is a religion and it determines everything we do and
KING: Somebody paid you to do this?
KING: They paid you to do the book.
BRANDO: They paid me $5
million to write the story of my life but I decided to do it before and no one
KING: But you (unintelligible) things for nothing. You did
a movie for nothing, right?
BRANDO: I did the next to the last movie I
did for nothing.
Justice and law, (unintelligible) are often just --
well, I suppose they could be described as distant cousins and here in South
Africa they're simply not on speaking terms at all.
KING: Now, we're
going to show you a side of Brando you may not know since "Guys and Dolls."
We're going to do a tune, right?
What tune you want to do?
BRANDO: Let's see. What about "Lime house
KING: No, I don't know "Lime house blues" but you can sing. You
want to do "Lime house blues" do it.
BRANDO: Well, what song do you
KING: Well, what's wrong with what we were just doing, "I've flown
around the world in a plane"?
BRANDO: All right.
(KING AND BRANDO
BRANDO: That's because you ask too many questions. You don't
give me a chance to answer.
KING: Let me take another call, Zurich,
CALLER: This is Sammy from Zurich. It's fascinating
to talk to two legends at the same time.
KING: Two legends at the same
time, Sammy from Zurich.
I'm sure that all the free thinkers in the world would agree with me that you
deserve a Nobel Prize of your own.
KING: For what?
Elective one. I'm sorry I'm not sure when I could be on the air again so I have
to say this.
KING: You have a question for Mr. B.
CALLER: Yes, Mr.
Brando, you had political and social agenda sometimes. You defended the American
Indians for example.
CALLER: You were an inspiration
for us when we (unintelligible) at times too.
KING: Very strong on
racism, that's the question.
CALLER: Have you ever considered a different
career in your life like President Reagan.
KING: Ever want to run for
office, thank you sir?
BRANDO: Yes, Larry has cut you off.
No, he got to his point and I'm moving it along.
KING: I didn't cut him off. I didn't cut him off.
was -- I have been in support of the Jews who came out of the concentration camp
to try to find a home for them. I was in support of the Indians in America who I
think America has seduced, 400 treaties, read 'em, 400 treaties have been broken
by the United States Government.
If one time Cuba said I'm sorry we
don't recognize the treaty of Guantanamo they'd have the Marines in there in
eight seconds. They'd bomb Havana flat. They'd make a parking lot out of
Why is it that we cannot give -- one-third of America is owned by the
U.S. Government. The blacks in this country have struggled, have fought, have
died of misery and broken hearts perfectly and wonderfully documents in the best
writer of the world in my estimate Toni Morrison, in her books, and I think they
should be read everywhere in the world to have a sense.
Don't look at
KING: I know I got to get a break. Hey, we're going to do
more of this. We just touched the surface.
But have you ever wanted to run for office?
BRANDO: I want to run from
office but never for office.
KING: We'll be back...
KING: ...with more moments with Marlon Brando. Where doth, a little
Shakespeare, the time go? The chair is moving. Don't go away.
(VIDEO CLIP OF "GUYS AND DOLLS")
(BEGIN VIDEO CLIP)
BRANDO: You was my brother Charlie. You
should have looked out for me a little bit. You should have taken care of me
just a little bit so I wouldn't have to take them dives for the short end
ROD STEIGER: I had some bets down for you. You saw some
BRANDO: You don't understand. I could have had class. I could have
been a contender. I could have been somebody instead of a bum which is what I
am. Let's face it.
(END VIDEO CLIP)
By the way there's nothing in this house, in this wonderful house, that says
you're an actor. OK, there's no theater billboards. There's no movie cutouts.
There's no Oscar. Where's your Oscar? BRANDO: I don't know.
don't know where your Oscar is?
BRANDO: I think my secretary has
KING: George C. Scott said...
BRANDO: I know one guy that has
KING: George C. Scott said that he doesn't want to ever compete
because he thinks competition among actors is wrong unless all of them play the
BRANDO: Originally, I think that the Academy Awards was
determined because of -- or rather it was put together by some very cogent
businessmen who thought that they would improve their product if they gave, they
had a gala and all of that stuff and that was when Hedda Hopper and what's the
other fat one?
KING: Luella Parsons.
BRANDO: Luella Parsons were
running the show and it came out of that and now people take it very
KING: Do you?
BRANDO: No, I don't believe in any kind
of award, no matter what it is.
BRANDO: And I don't
believe in any kind of censure.
KING: No censure, no
KING: No awards why?
BRANDO: Because I
don't think that I'm any better than the camera operator, the boom man. I don't
think that I'm any better than you are.
KING: But in your
BRANDO: And I don't think that they are better than I am.
They all have their personal intimate...
KING: So, in a Brando world
there would be no Emmy's or Toni's or award shows?
BRANDO: In a Brando
KING: If Brando...
BRANDO: I don't know. That's hard to
envision that. I suppose if I were kind of the world.
KING: OK, by the
way did you want good reviews?
BRANDO: I never read reviews.
You know people say that. That's really true? You've never read. You wouldn't
say, if I said to you Marlon...
BRANDO: I have read reviews, yes. I've
read reviews. Generally I don't.
KING: ... "The Washington Post" tomorrow
gives you a rave...
BRANDO: And I don't see the movie. Anybody can tell
you that I didn't see "The Russian" and I haven't seen this movie that I
KING: When a movie comes on of yours, like tonight if it's playing
on television, will you watch it?
BRANDO: It all depends on the movie.
Some of them bored the hell out of me.
KING: What movie would you
definitely watch? What would you say this is...
BRANDO: Oh, there he
KING: The dog. What movie would you say this is good
KING: He's got a dog you wouldn't
KING: What movie would you say, yes, this
is good work?
BRANDO: I've tried hard in a movie called
BRANDO: "Burn." It was a movie about slavery
and a slave rebellion. Come here, Tim. I want you to meet my friend. Tim, Tim
come here. Tim, over here, right here. Here, this is Tim.
KING: Look at
BRANDO: Now, sit down like a good boy. Now, shake hands with Larry.
Shake hands. That a boy.
KING: That's the way to go Tim.
Now, good, isn't that good?
KING: This is what kind of
BRANDO: This is a mastiff.
KING: How heavy is
BRANDO: Tim is 180 -- here.
KING: I'm not going to eat Tim's
BRANDO: No, I don't want you to eat it. I want you just put it in
your mouth like this. You're going to miss that. I'll have to get you glasses
KING: We'll be right back with Marlon and Tim. We'll take
calls for Tim too if your dog wants to call in.
BRANDO: Tim, would you --
where's the close-up.
KING: Close-up of Tim. We'll be right back on LARRY
KING LIVE with Marlon Brando in Beverly Hills at home. We'll be right
(BEGIN VIDEO CLIP)
FEMALE: How many Frenchmen have you killed?
BRANDO: I've killed no one,
no one, but if I have to sacrifice a few lives for peace I will do it, now, even
if one of them is my own.
(END VIDEO CLIP)
(BEGIN VIDEO CLIP)
BRANDO: I'm Don Octavio de Flores
married to the beautiful Donna Lucita, the light of my life and you my friend,
you have seen through all of my masks.
(END VIDEO CLIP)
KING: That's a film that will be released in January, Marlon
Brando, Johnny Depp.
BRANDO: No, I just wanted to say
KING: "Don Juan DeMarco."
BRANDO: We're back. No, no,
don't talk about that. Larry is too quick off the cuff. There we are. I want to
KING: What kind of effect are you looking for? I'll try to
BRANDO: Which camera, the close-up camera. KING:
BRANDO: Larry is hogging the frame and I wanted to...
BRANDO: I didn't finish the last thing we were talking
KING: OK, I'm sorry, but you don't want to talk about "Don Juan
DeMarco" your new movie, OK.
BRANDO: I wanted to say that unless we get
together we're going to fall apart, that we have to come together, that this --
maybe we're 140-odd, 150-odd nations but we're one planet and we have to find a
way to live together without hatred. What goes on in the world is impossible. We
have to address now.
Now, apropos of that one of the things that Carl
(ph) is doing, this is Carl -- Caroline -- OK, will you give me the names? Oh,
yes. I have involved myself with a company called Planetary Design Corporation
which is a company that by unwritten charter is designed to reduce the C02 in
the earth to preserve it for your grandchildren and for mine which are not going
to survive if we don't pay attention to it. Each one of us, everybody here in
this room, sound, gaffers, assistants, whoever it is, we all have to do
something to reverse the effects of the C02.
KING: We're running short on
time. What will the company do?
KING: What's the
company going to do?
BRANDO: The company has already done what I've
KING: What we saw.
BRANDO: It has raised this plant
called salicornia (ph) and Manuel Oranzo (ph) who is very dedicated to
environmental issues in Mexico and he is teaching children to be aware of their
environment and I have a feeling that I'm rushing to get this information out
and it's your show.
KING: No, no, no. You know what we'll have to
KING: You were a terrific guest if I do say
humbly so myself. I know that you do. Will you come back?
KING: You will do another session with me and then I will do
one with you?
BRANDO: OK. KING: We'll go on the road with
BRANDO: All right.
KING: OK, but I want to -- they're
telling me let's close with a song. Let me just remind you the book is "Brando:
Songs my Mother Taught me" from Random House.
BRANDO: Yes, Harry I hope
I've done well by Random House as well.
KING: Harry, he did
BRANDO: And by you and thank you very much for
KING: Now, what I wanted to say...
the way he interrupts.
KING: "Got a date with an angel" we're going to do
"Got a date with an angel."
BRANDO: OK, let's get together for this.
Where's the right camera?
KING: All right, which one we
(KING AND BRANDO SINGING)
KING: Goodbye. Marlon Brando. See you tomorrow night
with Sid Caesar, Carl Reiner and Mel Brooks.
BRANDO: Oh, I wish I was
KING: Alan Dershowitz Monday. Lauren Bacall next week. Thanks for
joining us. Say good night, Marlon.
BRANDO: Good night. Don't forget
salicornia and the rest. Thanks a lot.
KING: We hope you enjoyed this hour
with Marlon Brando. He doesn't do many interviews and you got to say this. He's
his own man, Marlon Brando.