Latest / Ridiculous History / Tossed Popcorn, Part 2: Chaplin was a Jerk, Brando was Insane

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Tossed Popcorn, Part 2: Chaplin was a Jerk, Brando was Insane · Ridiculous History

• 0:00
  Speaker 1: Hey everyone. Quick note before we dive in today's episode
• 0:04
  Speaker 1: contains descriptions of physical violence of abuse head as such,
• 0:09
  Speaker 1: may not be appropriate for all audience members. Ridiculous History
• 0:14
  Speaker 1: is a production of I Heart Radio. Welcome back to
• 0:41
  Speaker 1: the show, Ridiculous Historians. Thank you, as always so much
• 0:44
  Speaker 1: for tuning in. Shout out to our what an Only superproducer,
• 0:48
  Speaker 1: Mr Max Williams. Give him a hand, give him to
• 0:52
  Speaker 1: give him three, you know, give him another, give another.
• 0:55
  Speaker 1: Woo Yeah he is. We are actively wooing you Max. Uh,
• 1:00
  Speaker 1: I have been uh Noel, you and I are very
• 1:02
  Speaker 1: excited because we got we got our stuff together and
• 1:06
  Speaker 1: managed to make a two part or ahead of time
• 1:09
  Speaker 1: about bizarre behind the scenes stories from the world of film.
• 1:14
  Speaker 1: And we are immensely fortunate to have returning guests in
• 1:19
  Speaker 1: today's episode. Right yeah, self proclaimed idiot alumnio Stanford University,
• 1:24
  Speaker 1: uh Lee, Hannah Holsten and Sianna Jacole, the hosts of
• 1:28
  Speaker 1: the Tossed Popcorn podcast. I didn't make that up, that's
• 1:31
  Speaker 1: in your I forget that, just published that publicly, but
• 1:36
  Speaker 1: it is that it is right. What's up my boys? Hello? Hello,
• 1:41
  Speaker 1: good to have you back. Um, it's actually so Peak
• 1:44
  Speaker 1: Behind the Curtain behind the episode about the Peak Behind
• 1:46
  Speaker 1: the Curtain. We usually record these kind of back to back,
• 1:48
  Speaker 1: but it's actually been a couple of days. Um, so
• 1:51
  Speaker 1: we've had time to kind of marinate on we talked
• 1:53
  Speaker 1: about in the last episode and are super excited to
• 1:55
  Speaker 1: talk about two new bizarro Hollywood tales. Oh yeah, and
• 2:00
  Speaker 1: may I quickly before I forget um, Sienna and I
• 2:04
  Speaker 1: actually are gonna be starting a celebrity feud and we're
• 2:07
  Speaker 1: very happy to be announcing that on your show. And
• 2:11
  Speaker 1: it is with a friend of your pod and co
• 2:13
  Speaker 1: host of a different pod with you, the one, the only,
• 2:15
  Speaker 1: Matt Frederick. Oh so this was gosh August of last
• 2:21
  Speaker 1: year's that write, Sienna, I can say, yes, that sounds sure.
• 2:26
  Speaker 1: We were on an I Heeart all staff call introducing
• 2:28
  Speaker 1: ourselves and he suggested that he was going to start
• 2:31
  Speaker 1: a rival podcast called cot Popcorn, in which he gives
• 2:34
  Speaker 1: a response to each of our episodes as as a
• 2:37
  Speaker 1: self proclimed film buff. And he said, oh ha ha,
• 2:39
  Speaker 1: very funny, Matt Frederick. This is the beginning of a
• 2:41
  Speaker 1: lovely and beautiful friendship. We followed him on Instagram. It
• 2:44
  Speaker 1: has been seven months no follow heads occurred from him
• 2:49
  Speaker 1: back to us, so that Frederick, we're calling you out
• 2:51
  Speaker 1: many In his defense, he is absolutely not a social
• 2:57
  Speaker 1: media with It's like to the point where when Ben
• 2:59
  Speaker 1: and I call at our personal socials on the podcast
• 3:02
  Speaker 1: with what we do with Matt, he just makes up
• 3:04
  Speaker 1: a new fake one every time. Very private guys, they
• 3:07
  Speaker 1: don't take it personally. But we'll definitely pass along the beef.
• 3:10
  Speaker 1: Thank you so much. I'm texting him now. Let's see
• 3:13
  Speaker 1: if we may have an update after this, uh for
• 3:18
  Speaker 1: this already a celebrity feud with you. I do think
• 3:22
  Speaker 1: popcorn is cute though, because do you guys toss it
• 3:25
  Speaker 1: and then he catches it presumably in his mouth with
• 3:28
  Speaker 1: his face all right, So just just shot that light
• 3:32
  Speaker 1: to him. We'll get an update if he if he
• 3:34
  Speaker 1: chimes back in. Um, I don't know about you knowl
• 3:37
  Speaker 1: but I support this feud, you know what I mean.
• 3:40
  Speaker 1: He's got, but there has to be a podcast first
• 3:43
  Speaker 1: for the feud to truly exist. I think I think
• 3:45
  Speaker 1: beef about not following back on Instagram is a little
• 3:49
  Speaker 1: a little to minor, Like we need to get him
• 3:50
  Speaker 1: to get the podcast up and running and then you
• 3:52
  Speaker 1: guys can truly be rivals in the space. Staring only
• 3:56
  Speaker 1: gifted him another podcast he needs. Just so, we're gonna
• 4:02
  Speaker 1: talk a little bit about uh feuds today, but do
• 4:06
  Speaker 1: tune into part one of this episode, which came out
• 4:10
  Speaker 1: earlier last week, I think on a Thursday, and you
• 4:13
  Speaker 1: want to you want to check out some amazing stories there,
• 4:17
  Speaker 1: things that will change the way that you think of
• 4:20
  Speaker 1: the Wizard of Oz. I'm trying to say that diplomatically,
• 4:24
  Speaker 1: and uh, and you'll learn, you'll learn the story of
• 4:29
  Speaker 1: an amazing, an amazing journey from surviving the actual Titanic
• 4:34
  Speaker 1: wreck to being in the first movie about the Titanic,
• 4:37
  Speaker 1: like literally, what was it all? A week later? Yeah,
• 4:41
  Speaker 1: they really fast checked that one classic Hollywood fashion, and
• 4:46
  Speaker 1: did not go well. Well, I mean, it went well
• 4:48
  Speaker 1: in terms of the movies being successful, but not for
• 4:51
  Speaker 1: the uh, the woman who started it. And you'll learn
• 4:55
  Speaker 1: all about that in part one. So we're gonna pause
• 4:58
  Speaker 1: for the magic of podcasting. Let you catch up. Perfect,
• 5:09
  Speaker 1: all right, you're caught up, So we're diving back in. Uh.
• 5:13
  Speaker 1: We're so glad that you're here with us today, folks.
• 5:16
  Speaker 1: I was also quite excited about this first story we're
• 5:21
  Speaker 1: going to explore. Sienna, you have dug up some fascinating
• 5:27
  Speaker 1: and maybe not entirely wholesome things about the legendary comedic
• 5:32
  Speaker 1: actor Charlie Chaplin. Correct speaking of women being screwed over
• 5:38
  Speaker 1: from the last podcasting up against Oh oh wow, start
• 5:50
  Speaker 1: this fune for women's right. Let us fight, Matt please
• 5:56
  Speaker 1: got a mean left hook, I'd be careful, but um, yeah,
• 5:59
  Speaker 1: I mean Charlie Chaplin. I mean I've mentioned before I
• 6:01
  Speaker 1: think when we weren't recording that I have a pretty
• 6:04
  Speaker 1: big blind spot in my film knowledge around Charlie Chaplin movies.
• 6:08
  Speaker 1: I don't know that I've seen a single one ever
• 6:11
  Speaker 1: all the way through. I've just seen like little clips,
• 6:12
  Speaker 1: you know, of him, like puttering around like you know,
• 6:15
  Speaker 1: wind up, wind up toy. Yeah. City Lights was one
• 6:19
  Speaker 1: of the movies on the list, and I really enjoyed it.
• 6:22
  Speaker 1: I enjoyed the silent movie acting, And after this research,
• 6:27
  Speaker 1: I feel differently about Charlie Chaplin, which is, Um, this
• 6:33
  Speaker 1: is funny because the structure of our show normally I
• 6:35
  Speaker 1: am the one who does the historical context segments, so
• 6:38
  Speaker 1: I'll come into the podcast being like I don't know
• 6:40
  Speaker 1: about this movie. And Sianna like it was so silly, fun, fun,
• 6:45
  Speaker 1: and now it's it's so fun to have this sort
• 6:47
  Speaker 1: of switched. Now I get why you weren't a big fan, because,
• 6:52
  Speaker 1: uh it's another Hollywood boy. Um. Yeah. So I was
• 6:56
  Speaker 1: originally actually going to talk about city Lights. I was
• 6:58
  Speaker 1: going to talk about the scene that took him three
• 7:01
  Speaker 1: forty two takes to get perfectly. But actually, in researching
• 7:04
  Speaker 1: Charlie Chaplin, I instead of going to talk about his
• 7:08
  Speaker 1: divorce from his teenage wife, Lita Gray teenage. Yes, yes,
• 7:18
  Speaker 1: red flags, a lot of red flags. Are you guys?
• 7:22
  Speaker 1: Are you ready to hear about it? Yeah? Wait, hang on,
• 7:26
  Speaker 1: let me chip some coffee. Okay, I'm braced. Charlie Chaplin,
• 7:32
  Speaker 1: as we know, Sir Charles Spencer Chaplin is the name
• 7:36
  Speaker 1: he was born with. First name sirin Uh. He was
• 7:41
  Speaker 1: born in eighty nine in London and honestly the year
• 7:44
  Speaker 1: he was born is going to be the part that's
• 7:46
  Speaker 1: most important to this. But just so you know, he
• 7:48
  Speaker 1: was an extremely famous and successful silent filmmaker silent film actor.
• 7:53
  Speaker 1: He was famous for his character the Little Tramp, and
• 7:57
  Speaker 1: of course he ended up coming to the United States
• 8:00
  Speaker 1: making lots of movies here, and while he was here,
• 8:04
  Speaker 1: he met a young woman named Lyda Gray. So actually
• 8:08
  Speaker 1: when they met, she was six years old, which just
• 8:14
  Speaker 1: a rough start to grooming. Grooming, that's the word. Excuse me. No, No,
• 8:23
  Speaker 1: they just happened to meet at that time. But it's
• 8:25
  Speaker 1: just sort of like an eerie beginning to this story
• 8:29
  Speaker 1: that they ended up getting married. They met briefly at
• 8:31
  Speaker 1: a restaurant. So Leeda Gray is from Hollywood, born in
• 8:37
  Speaker 1: uh she met Chaplin briefly at a restaurant when she
• 8:40
  Speaker 1: was six years old, and then when she was twelve
• 8:43
  Speaker 1: years old, he was casting the movie The Kid, ironically
• 8:47
  Speaker 1: called the Kid, which she was not the kid. She
• 8:50
  Speaker 1: was cast at that time as the role of flirting Angel. No,
• 8:57
  Speaker 1: which is as bad as it sounds like. They watched
• 9:00
  Speaker 1: a little bit and it is. It was just it
• 9:04
  Speaker 1: was a different time. Um. But as we will find
• 9:08
  Speaker 1: this was also bad then too. Fun fact about the
• 9:12
  Speaker 1: movie The Kid that actually the child actor who did
• 9:15
  Speaker 1: play the so called the kid um went on to
• 9:21
  Speaker 1: be the child actor who sued his parents and got
• 9:25
  Speaker 1: legal protections for child actors in general in California with
• 9:30
  Speaker 1: the California Child Actor. Yeah. So anyway, the kid is.
• 9:35
  Speaker 1: It was bad for child actors all around. Moving on
• 9:40
  Speaker 1: after that, Chaplain and Gray met again when he was
• 9:47
  Speaker 1: testing actresses for the upcoming movie The gold Rush, which
• 9:51
  Speaker 1: ended up coming out in He was looking for a
• 9:55
  Speaker 1: brunette lead actress, so Leady Gray went out for the role.
• 10:00
  Speaker 1: I'd note fun fact, to insert some some fun stuff
• 10:03
  Speaker 1: into this disturbing story. Um, The gold Rush is the
• 10:08
  Speaker 1: film in which Charlie Chaplin cooks and eats his shoe.
• 10:15
  Speaker 1: That's funny. That's a funny bit. I bet audiences love that.
• 10:19
  Speaker 1: I watched it, and it was. It was indeed funny.
• 10:22
  Speaker 1: Unfortunately at this time, So during casting, Chaplin and Gray
• 10:28
  Speaker 1: begin and an affair. At this time she is fifteen
• 10:32
  Speaker 1: years old. Believe it or not. That was also bad
• 10:36
  Speaker 1: at the time because shortly after, shortly after their affair begins,
• 10:42
  Speaker 1: she becomes pregnant and they have to get married because
• 10:48
  Speaker 1: he would be arrested a little more on that, but
• 10:52
  Speaker 1: first I'll say something interesting is that Leada Gray was
• 10:55
  Speaker 1: originally cast as the lead in the Gold Rush, but
• 10:59
  Speaker 1: after she started showing her pregnancy, he removed her from
• 11:02
  Speaker 1: the film and replaced her with Georgia Hale, who ended
• 11:05
  Speaker 1: up playing the actively like covering it up essentially, right, Yes, yes,
• 11:09
  Speaker 1: already covering it up, but they had already started shooting.
• 11:13
  Speaker 1: And as I said, I was originally going to talk
• 11:15
  Speaker 1: about another thing where they did a million takes to
• 11:18
  Speaker 1: get this one scene. I just don't understand how films
• 11:21
  Speaker 1: used to work in the past, because it seems like
• 11:23
  Speaker 1: film would have been expensive and hard to take. Chaplain,
• 11:29
  Speaker 1: in many of these stories that I've been reading about
• 11:31
  Speaker 1: about him, he just is really willy nilly with with
• 11:34
  Speaker 1: the film here. I wonder if it was just because
• 11:36
  Speaker 1: he was at such a high level kind of like
• 11:38
  Speaker 1: as a star, that they, you know, would afford him
• 11:42
  Speaker 1: kind of that in the budget, and we know, we
• 11:44
  Speaker 1: get Charlie Chaplin, and we gotta have like canisters and
• 11:47
  Speaker 1: canisters of film exactly exactly. He really just went through it.
• 11:52
  Speaker 1: So anyway, they shot a lot of it, ended up
• 11:54
  Speaker 1: cutting that and putting a whole new actress in. I
• 11:56
  Speaker 1: don't know also how he covered that up at the time,
• 11:59
  Speaker 1: but anyway, so she becomes pregnant. The reason they get
• 12:04
  Speaker 1: married is because they had to at the time so
• 12:07
  Speaker 1: he wouldn't be arrested. But he offered to pay for
• 12:10
  Speaker 1: an abortion for her. She said no. Her family was
• 12:15
  Speaker 1: so mad. Understandably, Gray's mom threatened to turn him into
• 12:19
  Speaker 1: the police if he didn't marry her. Other sources said
• 12:22
  Speaker 1: that his family threatened to either ruin his career or
• 12:25
  Speaker 1: kill him he didn't marry her, and she also says
• 12:30
  Speaker 1: that it also has said that a family member took
• 12:34
  Speaker 1: his shotgun off the wall and marched to Chaplain's mansion
• 12:37
  Speaker 1: and said, you got to marry my relative. I don't
• 12:41
  Speaker 1: know what family member shotgun wedding, and I Sanna, can
• 12:46
  Speaker 1: I ask you a question please, which is, why does
• 12:52
  Speaker 1: him marrying her make it all better? Like? What what
• 12:56
  Speaker 1: if to like? Because I mean it's a you know,
• 13:00
  Speaker 1: this was a long time ago and it ranges from
• 13:02
  Speaker 1: fourteen to eighteen historically, But I just wonder, like what
• 13:05
  Speaker 1: the actual law was, and um, yeah, I should have
• 13:10
  Speaker 1: that information and I don't have the answer. Is that
• 13:12
  Speaker 1: something I should look up right now? You know? I mean,
• 13:15
  Speaker 1: it is a better and I think it's probably plays
• 13:17
  Speaker 1: in in some some respect, But I mean, like because
• 13:20
  Speaker 1: the affair maybe wasn't as big a deal as the
• 13:24
  Speaker 1: pregnancy at the time, and then that's when maybe the
• 13:27
  Speaker 1: law comes into play where it's like, oh, you have
• 13:30
  Speaker 1: to marry this, because I mean those things were definitely
• 13:32
  Speaker 1: a little more strict back than even like having a
• 13:34
  Speaker 1: baby out of wedlock was a huge deal, right, Oh yeah,
• 13:38
  Speaker 1: and we could ruin the life of the child right
• 13:41
  Speaker 1: in society at the time. So yeah, I can totally
• 13:44
  Speaker 1: see some like moral or blue laws being around that,
• 13:48
  Speaker 1: like circling around that. And I think just as importantly
• 13:52
  Speaker 1: the the fact that he is a world class celebrity
• 13:57
  Speaker 1: and the fact that there is enormous social pressure on
• 14:01
  Speaker 1: on women in general in American society. It sounds like
• 14:07
  Speaker 1: this was kind of a loveless marriage though, right, like
• 14:11
  Speaker 1: we've fooled around and now we're getting married for literally
• 14:16
  Speaker 1: legal purposes exactly. He definitely did not want to marry her,
• 14:21
  Speaker 1: nor she him. It sounds like, great question because we're
• 14:25
  Speaker 1: about to get to the fun part, believe it or not,
• 14:28
  Speaker 1: of this story is all it's been, okay, if I
• 14:31
  Speaker 1: jump in real quick, I actually have some age because
• 14:33
  Speaker 1: it sent numbers for us MAX with effects. So I
• 14:36
  Speaker 1: looked up the age because sent by history in California,
• 14:40
  Speaker 1: So in eighteen fifty it would have been legal because
• 14:43
  Speaker 1: that at that time period it was ten years old
• 14:46
  Speaker 1: sent to cowpoints. But oddly enough, if the woman was
• 14:54
  Speaker 1: the younger party, so if the male was nine and
• 14:58
  Speaker 1: the one one was and it was legal, I mean
• 15:01
  Speaker 1: correction was the woman was nine and the man was eight,
• 15:04
  Speaker 1: it was legal, but the first woman was. Yeah, but
• 15:09
  Speaker 1: in even it became sixteen, and by nineteen thirteen it
• 15:17
  Speaker 1: was moved up to eighteen. So yeah, this is very
• 15:20
  Speaker 1: very illegal by this point, buddy, Okay, where is that? Good?
• 15:29
  Speaker 1: Unpartly the bar is so little. I'm like, oh my gosh,
• 15:32
  Speaker 1: that's so much higher than ten. I know, yeah, is amazing,
• 15:38
  Speaker 1: so good. Okay. The reason the fund stuff is coming
• 15:41
  Speaker 1: is because we're going to get to the divorce. Such
• 15:50
  Speaker 1: a bummer that Leda was groomed, I mean bummer, Um,
• 15:54
  Speaker 1: but she holds her own once the divorce comes around. Um. Okay,
• 15:59
  Speaker 1: So Ben, you're so right. The marriage was bad vibes.
• 16:03
  Speaker 1: They didn't enjoy each other. They had different interests. Mainly he,
• 16:09
  Speaker 1: you know, liked to be making movies and she wanted
• 16:12
  Speaker 1: to learn to drive, I assume. And then he he
• 16:16
  Speaker 1: spent his time just pouring himself into the gold Rush,
• 16:19
  Speaker 1: the movie The gold Rush, and the movie The circus
• 16:23
  Speaker 1: um in this time. So they were married in Oh,
• 16:27
  Speaker 1: I apologize, I forgot to mention they were married in
• 16:29
  Speaker 1: Mexico to quote unquote avoid scandal. Okay, so obviously they
• 16:35
  Speaker 1: didn't want to be they didn't want to be a
• 16:36
  Speaker 1: big public thing. Um, so they're married. They're married from
• 16:44
  Speaker 1: to and during this three years they had two sons,
• 16:49
  Speaker 1: and they didn't like each other. Like you said, just gorgeous.
• 16:59
  Speaker 1: That's a that's a more of a I guess than
• 17:01
  Speaker 1: an I do. Yeah, I have to exactly. Also, to
• 17:06
  Speaker 1: be clear, when they got married, Chaplin wast and Leader
• 17:09
  Speaker 1: was sixteen. So U so goodness, I'm making a March
• 17:15
  Speaker 1: Simpson noise. Sorry, no, please, Marche is the only way
• 17:19
  Speaker 1: to get through this portion of the story. Um. Alright,
• 17:25
  Speaker 1: rolls around and they are ready to be done with
• 17:29
  Speaker 1: this um sharade, this sharade. Yes, they begin divorcing. First.
• 17:39
  Speaker 1: Weird fun fact about this is that Charlie Chaplin and
• 17:43
  Speaker 1: Leada Gray's divorce papers were found in an abandoned bank
• 17:48
  Speaker 1: in Los Angeles in what what I believe it was. Oh,
• 17:56
  Speaker 1: we just heard of it. Um, I don't know what
• 18:01
  Speaker 1: some collector paid for those. That's pretty wild. I also
• 18:05
  Speaker 1: love the concept of an abandoned bank. Yes, yes, we're coming.
• 18:08
  Speaker 1: We gotta go leave the Chaplin papers. It's like a
• 18:11
  Speaker 1: dead mall, you know. But it's interesting. We've got to
• 18:15
  Speaker 1: take all the valuables. What about the Chaplin papers, there's
• 18:18
  Speaker 1: no Yeah, it turns out banks are pretty austere and
• 18:24
  Speaker 1: sad when like there's nobody in them and they're like, oh,
• 18:27
  Speaker 1: aged and decrepit. Yeah, I guess so. So no one
• 18:30
  Speaker 1: knew about this. No one knew about the actual papers, right,
• 18:34
  Speaker 1: the actual fifty pages of divorce paperwork. But this this
• 18:39
  Speaker 1: was like a scandal, right, Like the public shortly was
• 18:41
  Speaker 1: aware that something was not on the up and up correct,
• 18:45
  Speaker 1: So later they found out more details in the divorce papers.
• 18:49
  Speaker 1: I think it was more of a fun fact and
• 18:50
  Speaker 1: yeat collector excitement when they found those. But yes, the
• 18:55
  Speaker 1: public very much knew about the divorce. It was a
• 18:58
  Speaker 1: big deal in the press. So this was a nine
• 19:00
  Speaker 1: month divorce battle and the press was talking about it
• 19:05
  Speaker 1: the whole time. Also, divorce not smiled upon at the time,
• 19:11
  Speaker 1: so it was bad for for his movies. There were
• 19:14
  Speaker 1: a lot of calls for Chaplin to pull his movies
• 19:17
  Speaker 1: at the time, which were the Gold Rush and the Circus,
• 19:21
  Speaker 1: and I saw this one place. Uh apparently, apparently Chaplin
• 19:28
  Speaker 1: and his crew smuggled out the negatives of the these
• 19:33
  Speaker 1: films in coffee cans out of California because people were
• 19:38
  Speaker 1: so up in arms about the fact that the scandal
• 19:41
  Speaker 1: was going on, and they continued editing the Circus in
• 19:45
  Speaker 1: a hotel room in Salt Lake City, Utah. I mean,
• 19:50
  Speaker 1: that's crazy, Like the editing machines they had to have
• 19:52
  Speaker 1: been using at the time must have been enormous. They
• 19:55
  Speaker 1: hadn't even move those and get them into a hotel
• 19:57
  Speaker 1: room without anybody noticing. Thanks such of as someone who
• 20:00
  Speaker 1: has edited something in a hotel in Utah resonate with
• 20:04
  Speaker 1: that so much. Oh you really have look just like
• 20:09
  Speaker 1: Charlie Chaplin. No oh no, no, I'm walking it back.
• 20:15
  Speaker 1: I've never been to Utah. I don't know anything about
• 20:18
  Speaker 1: I mean, it makes sense, like the the heat gets
• 20:20
  Speaker 1: too intense socially, and we know that the guy has
• 20:25
  Speaker 1: the backing of studios that have enormous amounts of funding
• 20:30
  Speaker 1: and resources to pull and this is it's weird. It's
• 20:33
  Speaker 1: kind of a same as it ever was situation because
• 20:37
  Speaker 1: the we're seeing a celebrity try to get out of
• 20:42
  Speaker 1: the headlines for a while, right, to stay low, and
• 20:46
  Speaker 1: then to come back and if it's if it was
• 20:48
  Speaker 1: a celebrity scandal, like nowadays, the best way to return
• 20:52
  Speaker 1: is to divert the conversation, move the overton window and
• 20:56
  Speaker 1: have everybody talk about, you know, your next film or
• 20:59
  Speaker 1: something like that. So maybe that's why they're holed up
• 21:02
  Speaker 1: in in as Salt Lake, so people can say, hey,
• 21:05
  Speaker 1: remember that guy with the scandal is movies awesome, you
• 21:08
  Speaker 1: should pay to see. Maybe also to avoid like people
• 21:11
  Speaker 1: literally coming with pitchforks to burn the negatives, you know,
• 21:15
  Speaker 1: ye want to back in. She was like, what nineteen
• 21:19
  Speaker 1: when this is happening? Right? Yeah? Yeah, sixteen? They were
• 21:23
  Speaker 1: married for three years. Man. Also, I have a question.
• 21:29
  Speaker 1: I know, I get that the public was upset about
• 21:32
  Speaker 1: the divorce of it all, but were they like who
• 21:35
  Speaker 1: were they most mad at? Were they mad at Chaplin
• 21:37
  Speaker 1: for getting a divorce or right? Like, yeah, well, I
• 21:42
  Speaker 1: mean I don't know, Like in the press at the time,
• 21:44
  Speaker 1: typically in those kind of scandals, the woman would have
• 21:46
  Speaker 1: gotten the brunt of the like negative press, it would say, yeah,
• 21:49
  Speaker 1: but it seems like it was definitely falling on Chaplin
• 21:52
  Speaker 1: if he was being pressured to pull his films. I know,
• 21:54
  Speaker 1: that's interesting. Yeah, I mean, he was just such a
• 21:56
  Speaker 1: big name at the time that I think they were
• 21:58
  Speaker 1: so excited to have something to jump on, and the
• 22:02
  Speaker 1: divorce itself was the problem. I didn't see as much
• 22:05
  Speaker 1: about the age being a problem, um, but I'd have
• 22:10
  Speaker 1: to look into it more so, Yes, bringing up this
• 22:15
  Speaker 1: concept of reputation and how much this affects the studios
• 22:18
  Speaker 1: and the production houses more than just the people involved.
• 22:21
  Speaker 1: One of the things that Lda threatened to do was
• 22:24
  Speaker 1: to publicly name the five women that her husband, Charlie Chaplin,
• 22:30
  Speaker 1: had had affairs with during the course of their marriage.
• 22:37
  Speaker 1: Those who can assume would be women in the industry
• 22:39
  Speaker 1: as well. So that would have been real bad for
• 22:42
  Speaker 1: a lot of people and a lot of places that
• 22:45
  Speaker 1: want to make money. So this is now getting into
• 22:49
  Speaker 1: how how Leda ended up getting the settlement she got,
• 22:52
  Speaker 1: which we'll get to in just a moment, But so
• 22:54
  Speaker 1: that was one thing she threatened to do. Also, what
• 22:58
  Speaker 1: they found in these papers that they found in the
• 23:00
  Speaker 1: abandoned Los Angeles bank, which I just can't get over.
• 23:03
  Speaker 1: That's just so weird how around here. Rod. One of
• 23:12
  Speaker 1: the things they found was she told the court that
• 23:17
  Speaker 1: she was forced to do quote, revolting sex acts that
• 23:22
  Speaker 1: were illegal in California in the nineteen twenties, and I'm
• 23:29
  Speaker 1: sure that there were plenty of It had to be
• 23:32
  Speaker 1: awful being married to Charlie Chaplin. I mean we haven't
• 23:34
  Speaker 1: even talked about how he was just just a staunch
• 23:38
  Speaker 1: perfectionist as a filmmaker and I'm sure just just a
• 23:41
  Speaker 1: hell in to be married too. I can just you know, um,
• 23:47
  Speaker 1: these geniuses. Yeah, he was so clumsy and his pants
• 23:53
  Speaker 1: were so big to chin, knocking things over whatever. They
• 24:02
  Speaker 1: had to marry, broken dish red flags. That's why it
• 24:09
  Speaker 1: was filled in black and white so you couldn't see
• 24:11
  Speaker 1: all these red flags tip your producers. So revolting sex
• 24:19
  Speaker 1: and that sounds like sodomy law type would have to
• 24:22
  Speaker 1: be right. So yeah, so I'm sure it was all awful, awful,
• 24:28
  Speaker 1: So I want to put that out there before I laugh, because, um,
• 24:33
  Speaker 1: the main thing is he asked her to do a
• 24:36
  Speaker 1: threesome is one of the things, and with another woman. Um,
• 24:42
  Speaker 1: but what makes me laugh about this is that because
• 24:45
  Speaker 1: Charlie Chaplin asked her to have a threesome. Leta Gray
• 24:50
  Speaker 1: ended up receiving the largest divorce settlement in the world. Okay,
• 24:59
  Speaker 1: all right, that's silver lining. He had to pay her
• 25:04
  Speaker 1: for the two surviving children. But I didn't know about
• 25:08
  Speaker 1: the settlement. What are we talking about. That's the thing.
• 25:11
  Speaker 1: It was the settlement. I'm going to talk about. What
• 25:13
  Speaker 1: was the settlement plus the trusts for the children. So
• 25:17
  Speaker 1: it just ended up the final sum is just a
• 25:19
  Speaker 1: hilarious amount of money. Um, and it was the largest
• 25:22
  Speaker 1: divorce settlement in the United States history. Some a lot
• 25:26
  Speaker 1: of places said the world but that just seems so
• 25:28
  Speaker 1: ridiculous that again I would triple check that. But but
• 25:33
  Speaker 1: it was said in many a source. She ended up
• 25:36
  Speaker 1: with the money for her children and her own settlement.
• 25:40
  Speaker 1: Ended up coming out of the divorce with eight hundred
• 25:43
  Speaker 1: twenty five thousand dollars in seven money. So if you
• 25:49
  Speaker 1: want to do so six so, So eight hundred twenty
• 26:02
  Speaker 1: five thousand dollars in nineteen twenties is worth over thirty
• 26:09
  Speaker 1: million dollars today. Thirteen million, two hundred, nineteen thousand, sixty
• 26:15
  Speaker 1: dollars and thirty four cents. That's pretty good. Oh my gosh,
• 26:21
  Speaker 1: we got got So this woman is like, I'm not
• 26:25
  Speaker 1: doing the threesome with you give me. Do you think
• 26:29
  Speaker 1: he even got the Is there anything? I mean I'm
• 26:32
  Speaker 1: not to you know, do you think he at least
• 26:35
  Speaker 1: got the threesome? I'm not reading for him in this respect.
• 26:37
  Speaker 1: I'm just wondering, is that clear? Does she does she
• 26:41
  Speaker 1: deny participating in this and just say that he was
• 26:44
  Speaker 1: like trying to coerce her or something. That's a good
• 26:47
  Speaker 1: question because in retrospect, I thought I saw that she
• 26:52
  Speaker 1: had done it, but I also saw that she said no.
• 26:54
  Speaker 1: So again, I'm so sorry, we'll have to triple check.
• 26:57
  Speaker 1: I do believe that she said no to it, but
• 27:01
  Speaker 1: you know, she talked about being coerced into things, so
• 27:05
  Speaker 1: it could have been that. But I'm sure just being
• 27:07
  Speaker 1: a sixteen year old married to thirty five year old
• 27:09
  Speaker 1: Charlie Chaplin, and that wouldn't have been the only despicable act,
• 27:14
  Speaker 1: right she was refraid to kind of the whole blanket, yeah,
• 27:19
  Speaker 1: you know, yeah, and she did talk about that too. Actually,
• 27:25
  Speaker 1: that was a big word of it was. Even at
• 27:27
  Speaker 1: the time, this is what I mean about, even at
• 27:28
  Speaker 1: the time it was bad. She was like he groomed
• 27:30
  Speaker 1: me as a fifteen year old. He knew me since
• 27:32
  Speaker 1: I was six, and then well it worked with me
• 27:34
  Speaker 1: since I was twelve. So um, this is where I'm
• 27:37
  Speaker 1: just so grateful that we have like more rights now,
• 27:40
  Speaker 1: so that if you hook up with somebody once, you
• 27:41
  Speaker 1: don't then have to marry them and have a very
• 27:44
  Speaker 1: long drawn out divorce in the public eye. Thank God. Yeah,
• 27:47
  Speaker 1: because I've I've I think we've all had a few
• 27:50
  Speaker 1: unlucky gambles with love. But but there's something else that
• 27:54
  Speaker 1: stands out here, Siena, which is that even if we
• 27:58
  Speaker 1: don't have to harp on it too much, but even
• 28:00
  Speaker 1: if some kind of threesome occurred, I think it would
• 28:03
  Speaker 1: be highly unlikely that she would have mentioned that or
• 28:08
  Speaker 1: confirmed it in a public sphere because of the rampant
• 28:11
  Speaker 1: misogyny at the time. And then also, this is an
• 28:15
  Speaker 1: abusive relationship clearly, so a lot of the stuff that's
• 28:18
  Speaker 1: happening is about control rather than what he has is
• 28:23
  Speaker 1: or is not into. So um, I mean, if you
• 28:25
  Speaker 1: think about it, is one again, one of the most
• 28:27
  Speaker 1: famous movie stars in the world at this time. I
• 28:32
  Speaker 1: think he could just find like two fans if that
• 28:35
  Speaker 1: was the important part of the sexual experience. He could
• 28:39
  Speaker 1: just find two random people, but he wanted to force
• 28:43
  Speaker 1: someone to do something they did not want to do.
• 28:45
  Speaker 1: It does certainly appear that way. I gotta asked, I mean,
• 28:49
  Speaker 1: did this like Torpedo his career or I mean I
• 28:53
  Speaker 1: feel like we're early in his career at this point
• 28:55
  Speaker 1: and he went on to make other big movies. He
• 28:58
  Speaker 1: hasn't even made The Great Dictator yet. Correct. Yeah, no,
• 29:01
  Speaker 1: he moved on to Both those movies that he was
• 29:04
  Speaker 1: making during their marriage came out and they did great,
• 29:08
  Speaker 1: and then yeah, it didn't. It didn't stop his career
• 29:11
  Speaker 1: at all. And he went on to get married two
• 29:13
  Speaker 1: more times. Yes, she was his second wife, so he
• 29:15
  Speaker 1: was heard two more times after that. She was his
• 29:16
  Speaker 1: second wife. Yeah, I forgot to his first wife is
• 29:23
  Speaker 1: just tossing popcorn. Hey, But his career, no, I mean
• 29:30
  Speaker 1: he went on to to keep doing doing great things.
• 29:36
  Speaker 1: So uh. She though, ended up apparently investing the money
• 29:40
  Speaker 1: sort of poorly in a nightclub and doesn't do very well.
• 29:43
  Speaker 1: But here's here's the happy ending, and this is what
• 29:47
  Speaker 1: I love. Is that? So she ended up working at
• 29:50
  Speaker 1: a department store in Beverly Hills, and many places. I
• 29:54
  Speaker 1: read that she really liked it. Okay, you know, like
• 30:02
  Speaker 1: in a shopping environment. Thank god, it takes a certain type,
• 30:07
  Speaker 1: right like, I'm sure, especially in some of those really
• 30:09
  Speaker 1: high end boutiqui type spots, that's a certain set of skills,
• 30:12
  Speaker 1: you know, to to be there every day and dealing
• 30:15
  Speaker 1: with the public, you know. So yeah, I'm sure she
• 30:18
  Speaker 1: really did. Yeah. I read one of her obituaries, and um,
• 30:24
  Speaker 1: I read an obituary about her in some time in
• 30:26
  Speaker 1: the nineties when she passed, and it said that she
• 30:29
  Speaker 1: was really good natured about the way that any of
• 30:32
  Speaker 1: the things that have happened in her life. And I
• 30:35
  Speaker 1: don't know, it makes me feel better to know that
• 30:36
  Speaker 1: she had a happy life beyond that or found you know.
• 30:41
  Speaker 1: I mean people people move on and get through. But
• 30:43
  Speaker 1: just after having just a horrible, horrible adolescence, she wanted
• 30:48
  Speaker 1: something simpler, you know, something less messy and you know
• 30:53
  Speaker 1: than the public eye. I mean, it makes perfect sense
• 30:55
  Speaker 1: that she would go to something more like in the
• 30:57
  Speaker 1: private sector and kind of just you know, do her thing. Yeah, yep.
• 31:01
  Speaker 1: And Charlie Chaplin went on to eat many more shoes
• 31:05
  Speaker 1: the end. Also, guys, I have a. I have another
• 31:09
  Speaker 1: dark note I would like to throw in, and it
• 31:11
  Speaker 1: is about Charlie Chaplin's other wives and more importantly their ages.
• 31:16
  Speaker 1: So his first wife, Mildred Harris, they were married from
• 31:20
  Speaker 1: I believe nineteen eighteenth to nineteen twenty. She was sixteen
• 31:25
  Speaker 1: when they started dating. They got married when she believes
• 31:32
  Speaker 1: she had become pregnant. Oh, yepife, we have, we have
• 31:40
  Speaker 1: Paul ittt got Goddard, got Goddard Goddard. Yeah, I don't know,
• 31:49
  Speaker 1: I don't know. I believe she was twenty two. She's
• 31:54
  Speaker 1: a little more appropriate, I guess, but she's the elders
• 31:59
  Speaker 1: elder of these women. And then his last one, Una O'Neil.
• 32:05
  Speaker 1: Important thing. She met Chaplain in nineteen two, so at
• 32:09
  Speaker 1: this point he would have been what fifty three. She
• 32:12
  Speaker 1: was born in nineteen so she would have been around
• 32:16
  Speaker 1: seventeen eighteen years old. Man's got a patterns, actually, the
• 32:22
  Speaker 1: depressing facts. I've got a great segue for this. By
• 32:28
  Speaker 1: the way, here is a quote from someone will Meet
• 32:32
  Speaker 1: in just a Moment about Charlie Chaplin, And this is
• 32:37
  Speaker 1: what we call in podcasting a segue. Here we go
• 32:41
  Speaker 1: the quote, I'm not going to do a voice on this,
• 32:44
  Speaker 1: but we are going to run into some voices. Just
• 32:46
  Speaker 1: heads up, comic genius or not. When I went to
• 32:48
  Speaker 1: London to work with him, that being Chaplain late in
• 32:51
  Speaker 1: his life, he was a fearsomely cruel man, probably the
• 32:56
  Speaker 1: most sadistic man I've ever met, an egotistical tie Rent
• 33:00
  Speaker 1: Penny pincher. He would publicly harass people. It goes on,
• 33:04
  Speaker 1: it goes on. The person saying this about Chaplin did
• 33:07
  Speaker 1: work with him and does have some feelings, and that
• 33:10
  Speaker 1: person is our next story for this episode. Marlon Brando,
• 33:23
  Speaker 1: dang killing the Segway man that was on the edge
• 33:28
  Speaker 1: of my seat. Thanks No, that's why I skipped all
• 33:31
  Speaker 1: those meetings this morning. And it's just kind of the Segway.
• 33:34
  Speaker 1: But no one talk to me. I gotta no one
• 33:37
  Speaker 1: talked to me unless you've got some Brando quotes. So
• 33:42
  Speaker 1: I need to write. I'm at the bank and I'm
• 33:45
  Speaker 1: going there's no time, so, uh, the abandoned bank where Nolan,
• 33:50
  Speaker 1: Max and I work apparently sorry HQ, Yeah, yeah, we
• 33:55
  Speaker 1: gotta have an HQ. If we were villains, it would
• 33:58
  Speaker 1: be a layer, but we we aim for the more
• 34:00
  Speaker 1: our heroic anti heroic side anyway, so behind the scenes uh.
• 34:04
  Speaker 1: On this behind the scenes episode. We had talked about
• 34:07
  Speaker 1: this briefly when we were recording earlier. I had started
• 34:11
  Speaker 1: out thinking, let me find a specific film that has
• 34:16
  Speaker 1: a really crazy set of stories behind it, similar to
• 34:19
  Speaker 1: Leona your work with Wizard of Oz. So I went
• 34:21
  Speaker 1: to Apocalypse Now and I was like, this is crazy.
• 34:24
  Speaker 1: You know, how how wild does a film have to
• 34:26
  Speaker 1: be to how off the rails does it have to
• 34:29
  Speaker 1: go for there to be an award winning documentary about
• 34:32
  Speaker 1: how off the rails it went? Uh? And then I thought, well,
• 34:35
  Speaker 1: let's get weirder with it. Maybe that Island of Dr
• 34:38
  Speaker 1: Moreau reboots. And then I started looking at these other films.
• 34:41
  Speaker 1: Out of these weird stories that I recognized the one
• 34:43
  Speaker 1: constant in them was Mr Marlon Brando. Uh, I said,
• 34:50
  Speaker 1: before you know him. You might love him now, but
• 34:53
  Speaker 1: hang on a sec and see you at the end
• 34:55
  Speaker 1: of this show. There's no denying the guy was is
• 35:00
  Speaker 1: still widely considered one of the greatest actors of his era.
• 35:05
  Speaker 1: He's in countless canonical works posthumously. He has ascended to
• 35:10
  Speaker 1: one of the newest forms of celebrity, which is being
• 35:13
  Speaker 1: a meme right like at this point, films like The Godfather.
• 35:17
  Speaker 1: You may not have actually seen it, but it is
• 35:20
  Speaker 1: referenced so often in American culture that you already know
• 35:24
  Speaker 1: what happens, you know what I mean, That's like definition
• 35:26
  Speaker 1: of a classic. But what catches me about this guy
• 35:31
  Speaker 1: is he was so weird. Disclaimer, there's a little bit
• 35:35
  Speaker 1: of like, we're going to get into some more problematic things,
• 35:39
  Speaker 1: which is why his complaints about Charlie Chaplin strike me
• 35:43
  Speaker 1: as dubious and hilarious. Uh and certainly not self aware.
• 35:49
  Speaker 1: So let's let's first talk about it. I think we
• 35:52
  Speaker 1: we all are familiar with Apocalypse Now. That's that's how
• 35:56
  Speaker 1: my entry point began. Apocalypse Now based on heart darkness,
• 36:00
  Speaker 1: very loostly based on hearted darkness, like the Vietnam movie.
• 36:06
  Speaker 1: Uh huh yeah, yeah, we gotta we gotta make it
• 36:11
  Speaker 1: clear that they're they're not kidding. This is the whole
• 36:13
  Speaker 1: point of your show is that you I haven't don't
• 36:15
  Speaker 1: know anything about moving duper movie literate, got actually unaware,
• 36:19
  Speaker 1: but I did read Heart of Darkness in high school
• 36:21
  Speaker 1: and it ruined my month setting material. Yeah yeah, it
• 36:25
  Speaker 1: is very much upsetting. Um, So Apocalypse Now is about
• 36:30
  Speaker 1: this shady military operative who was sent off the books
• 36:36
  Speaker 1: on a covert operation to travel to hostile territory and
• 36:41
  Speaker 1: to assassinate a legendary colonel who has lost his mind
• 36:48
  Speaker 1: and has gone like has become a warlord in his
• 36:51
  Speaker 1: own right slash cult leader. Oh see, that's about it,
• 36:55
  Speaker 1: And I think that's about right. What did you say,
• 36:57
  Speaker 1: Like you sort of is like become sort of like
• 37:00
  Speaker 1: a weird tribal leader like on in this area and
• 37:03
  Speaker 1: he sort of has all these like cult members and
• 37:05
  Speaker 1: like a compound and um very much living kind of
• 37:08
  Speaker 1: off the grid in this um you know world that
• 37:11
  Speaker 1: he's built for himself. Yeah, and one one very weird
• 37:16
  Speaker 1: photo journalist played by who was that it's not important,
• 37:20
  Speaker 1: so it wasn't Marlon Brando. Marlon Brando plays the crazy guy.
• 37:23
  Speaker 1: He plays Colonel Kurtz. And Apocalypse Now, which I love
• 37:29
  Speaker 1: as a film because it has some really strong monologues.
• 37:33
  Speaker 1: Apocalypse Now was a disaster the entire time it was
• 37:38
  Speaker 1: being filmed. It was filmed in nineteen in the nineteen
• 37:42
  Speaker 1: seventies in the Philippines because the thinking was that this
• 37:49
  Speaker 1: will look enough like Vietnam for us to get the
• 37:51
  Speaker 1: tone across. But everything, everything, Everything that could have went
• 37:56
  Speaker 1: wrong went wrong. They had to replace the protagon this
• 38:01
  Speaker 1: with a different actor. So Martin Sheen is the one
• 38:03
  Speaker 1: you'll see on screen. Now. He had a heart attack
• 38:07
  Speaker 1: while doing this. Yeah, there's a scene where he's drinking
• 38:11
  Speaker 1: a lot, right, so he is going full method and
• 38:14
  Speaker 1: he's getting wasted on camera so much so that he hurt.
• 38:17
  Speaker 1: He smashes a mirror with his bare hand. He has
• 38:20
  Speaker 1: a heart attack. And yeah, and that they shot that
• 38:29
  Speaker 1: that exists. Oh my god. Yeah, wow, that's and you're
• 38:34
  Speaker 1: gonna see that early. And uh so they really wanted yeah, yeah,
• 38:40
  Speaker 1: and this is the beginning. So they really wanted Marlon
• 38:43
  Speaker 1: Brando to play this iconic villain. Brando hadn't. Brando was
• 38:52
  Speaker 1: not at his best at this phase in his life.
• 38:56
  Speaker 1: He was doing this apparently just for the money. He
• 38:58
  Speaker 1: only showed up on set for about four weeks and
• 39:02
  Speaker 1: he got three million dollars for this. Uh And he
• 39:07
  Speaker 1: had a list of demands that you could make if
• 39:10
  Speaker 1: you're like a chaplain or Brando, and they were stuff like,
• 39:13
  Speaker 1: I am not gonna work at all on the weekends,
• 39:16
  Speaker 1: I am not gonna work past five thirty, and I
• 39:19
  Speaker 1: really learned lines. You guys, I just kind of vibe
• 39:24
  Speaker 1: you know. Uh. So there was also yeah, and not
• 39:29
  Speaker 1: to be sizes. But this is something that really angered
• 39:33
  Speaker 1: the directors here because when Brando finally shows up, like
• 39:38
  Speaker 1: the last time they had seen him in the public eye,
• 39:41
  Speaker 1: he physically looked very different, and that's who they thought
• 39:43
  Speaker 1: they were casting as Kurts. Uh. This is actually why
• 39:48
  Speaker 1: most of the shots of of Brando's character in the film,
• 39:52
  Speaker 1: and he shows up late in the film, the majority
• 39:55
  Speaker 1: of those shots are him moving through this interplay of
• 39:58
  Speaker 1: light and shadow. And actually, this is just my opinion.
• 40:01
  Speaker 1: I think it. I think it works really well. Yeah,
• 40:04
  Speaker 1: a lot of close ups, a lot of type close
• 40:06
  Speaker 1: ups on his like weird bald head. Um. Yeah, that
• 40:10
  Speaker 1: that that monologue, what does he say, like the horror area,
• 40:20
  Speaker 1: it's it's it's an interesting I mean, it's a testament
• 40:22
  Speaker 1: to Coppola too, and he was able to kind of
• 40:24
  Speaker 1: like roll with that and make it work. And now
• 40:27
  Speaker 1: you wouldn't think of that character any other way. I mean,
• 40:29
  Speaker 1: I can picture a world where this guy kind of
• 40:32
  Speaker 1: was being sort of like worshiped as a god and
• 40:34
  Speaker 1: just like you know, served all the slaughtered you know,
• 40:37
  Speaker 1: animals that he could eat and and he gained some weight,
• 40:40
  Speaker 1: didn't really move around what he sat in the you know,
• 40:41
  Speaker 1: in a throne made of human bones, That's what I'm picturing. Yeah,
• 40:46
  Speaker 1: he also struggled with binge eating for a large part
• 40:50
  Speaker 1: of his life. This this stuff wasn't coming out of norwhere.
• 40:53
  Speaker 1: But he was a real pill to work with. He
• 40:56
  Speaker 1: also just decided he would do it he wanted in
• 41:01
  Speaker 1: his scenes. The guy I mentioned who played the photo journalist,
• 41:04
  Speaker 1: that was Dennis Hopper And yeah, and they got like
• 41:09
  Speaker 1: fights all the time. Uh, and Hopper was saying, you know,
• 41:13
  Speaker 1: this guy is so massively unprofessional. And then Brando eventually
• 41:18
  Speaker 1: refuses to be on set whenever Dennis Hopper is there.
• 41:22
  Speaker 1: So it's kind of tough just logistically to to film
• 41:27
  Speaker 1: the sort of stuff. You know, Uh, Hoppers time too, right,
• 41:32
  Speaker 1: I mean he's like he's probably throwing his way around too. Um.
• 41:35
  Speaker 1: He was a big star. Yeah, and they did kill
• 41:39
  Speaker 1: water Buffalo. Like, the more you learned about this, the
• 41:41
  Speaker 1: more amazing it becomes to realize that this movie was
• 41:46
  Speaker 1: made at all the improvised, Like the main your main
• 41:50
  Speaker 1: stars are just improvising stuff. One guy almost dies everybody
• 41:54
  Speaker 1: was partying like they were in college. Uh, and that's
• 41:59
  Speaker 1: not the weirdest. That's still not the weirdest. Behind the
• 42:01
  Speaker 1: scenes thing, I would like to take us to the
• 42:04
  Speaker 1: Island of Dr Moreau. Everybody knows that that story we're
• 42:08
  Speaker 1: talking about the the more recent adaptation, and I just
• 42:12
  Speaker 1: want to check. Has has anyone seen this? No? I
• 42:15
  Speaker 1: think you've seen this. Yeah, I saw it. I saw
• 42:17
  Speaker 1: it when it came up in the theaters, just like
• 42:19
  Speaker 1: it's a movie about like spooky animal people on a
• 42:23
  Speaker 1: creepy island. I didn't know anything about. That was probably
• 42:25
  Speaker 1: the first time I've ever really thought about who Marlon
• 42:27
  Speaker 1: Brando was. So to me, he was just this big,
• 42:29
  Speaker 1: fat guy with like white grease paint all over his
• 42:32
  Speaker 1: face and like a little bandana. I didn't know any
• 42:35
  Speaker 1: of his classics. I was like a kid. But um,
• 42:37
  Speaker 1: weird movie. Watching it now, you know, realizing how troubled
• 42:43
  Speaker 1: the production was, but also just what a weird movie
• 42:45
  Speaker 1: it was. The whole thing about that with the director
• 42:47
  Speaker 1: being a weirdo too, and lots of interesting stuff. So
• 42:51
  Speaker 1: let's let's dive into the recap of this. It is
• 42:53
  Speaker 1: based on or it's an interpretation of an adaptation of
• 42:57
  Speaker 1: the the famous uh, the famous novel Island of Dr Moreau,
• 43:02
  Speaker 1: in which you discover that another isolated madman has been
• 43:08
  Speaker 1: up to weird shenanigans when a little bit uh Yeah,
• 43:13
  Speaker 1: I love that they've done this, just like Boys Left Alone.
• 43:16
  Speaker 1: It gets crazy like the flies too. It's ochaotic, it's
• 43:23
  Speaker 1: not it's not inaccurate, I unfortunately. So one of the
• 43:27
  Speaker 1: first things you'll notice if you're like a if you're
• 43:30
  Speaker 1: like a young Ben Max or Nol and you're watching
• 43:33
  Speaker 1: this is if you if you know about the Island
• 43:36
  Speaker 1: Dr Moreau, you'll think there are some really interesting aesthetic choices.
• 43:42
  Speaker 1: If you're like many people who maybe you read the
• 43:44
  Speaker 1: book in or you read the story of middle school
• 43:46
  Speaker 1: or high school or something, you're gonna be thinking, I
• 43:49
  Speaker 1: don't remember these hats, or I don't remember the guy
• 43:54
  Speaker 1: being slathered with sunscreen. It was that white sunscreen. I
• 43:59
  Speaker 1: just like it's all over face. I have screen shot.
• 44:01
  Speaker 1: I don't know I think about this movie. Besides, I
• 44:03
  Speaker 1: saw the screenshot of Brando. Yeah, doesn't he have like
• 44:07
  Speaker 1: a little familiar Ben like a little weird dude that's
• 44:10
  Speaker 1: like sitting on his shoulder. The whole time out with him. Yes,
• 44:13
  Speaker 1: and he wasn't supposed to. Yes, Okay, yeah, it's a
• 44:18
  Speaker 1: real guy. One of the world's smallest working actors at
• 44:23
  Speaker 1: this time, was originally cast to be a to be
• 44:27
  Speaker 1: like one of the ensemble of part human, part animal
• 44:31
  Speaker 1: creatures that were made by Dr Moreau. But as soon
• 44:34
  Speaker 1: as Brando saw him, now will give you the quote
• 44:37
  Speaker 1: he's problematic, Yeah, he said. He was like, is that real?
• 44:42
  Speaker 1: Are you telling me there's a man in there? And
• 44:45
  Speaker 1: then like he literally said that, And from that point
• 44:47
  Speaker 1: on he's like, this guy has to be in every
• 44:49
  Speaker 1: scene with me. We're gonna dress alike, and I have
• 44:53
  Speaker 1: some notes on how Dr Moreau dresses. It's like a
• 44:56
  Speaker 1: mini me situation. It's kind of now that I'm looking
• 44:59
  Speaker 1: at the phone, does he's just sitting side by side
• 45:02
  Speaker 1: and he's when they're wearing the same outfit. It's like
• 45:04
  Speaker 1: every scene, every scene. He demanded it. He also didn't
• 45:10
  Speaker 1: learn his lines. He was like lines and he uh.
• 45:17
  Speaker 1: In one case, um, this is a guy who in
• 45:20
  Speaker 1: some other movies had had people who's acting opposite of
• 45:24
  Speaker 1: they literally had his lines like taped to their bodies. Um.
• 45:29
  Speaker 1: In in Moreau, he was using an earpiece, and so
• 45:33
  Speaker 1: there was literally some you know, hapless script supervisor p
• 45:37
  Speaker 1: A who got the not enviable job of having to
• 45:41
  Speaker 1: having to go, okay, get this protis say we are
• 45:45
  Speaker 1: verily reaching the things of surgery, and he's like the surgery. Yeah, uh,
• 45:51
  Speaker 1: I want to go back to the director. See, like,
• 45:53
  Speaker 1: not all of this disaster is on Marlon Brand. A
• 45:57
  Speaker 1: lot of it is as well as his co star.
• 46:00
  Speaker 1: Val Kilmer was an absolute pill at this time. Um.
• 46:04
  Speaker 1: But the nol I think you mentioned the director. The
• 46:08
  Speaker 1: director uh was originally Richard Stanley and this was a
• 46:13
  Speaker 1: passion project for him. It was his dream to make
• 46:16
  Speaker 1: this book into a blockbuster. But he was let go
• 46:23
  Speaker 1: from the film about three days into production, so he
• 46:27
  Speaker 1: had a great three days. Um. And instead they hired
• 46:32
  Speaker 1: a guy named John Frankenheimer, director of the Manchurian Candidate,
• 46:36
  Speaker 1: to take over. But this, uh, this poor guy Stanley,
• 46:43
  Speaker 1: he was getting bullied by Val Kilmer, and like Val
• 46:48
  Speaker 1: Kimer would just alter dialogue. He would stand if he
• 46:52
  Speaker 1: wasn't in a scene, he would stand behind the director,
• 46:54
  Speaker 1: chain smoking cigarettes and essentially talking trash about everything the
• 47:00
  Speaker 1: director did, which is not typically the role of an actor. Um,
• 47:03
  Speaker 1: let's see what a catcher does you know to like
• 47:05
  Speaker 1: psych out the picture? Right? A bad about Um? So
• 47:10
  Speaker 1: this poor guy Stanley actually gets fired by facts and
• 47:17
  Speaker 1: she's like a text pass the time, right, he got
• 47:21
  Speaker 1: future fired. Yes, that's how apparently Phil Collins divorced one
• 47:25
  Speaker 1: of his wives by interesting little detail about that guy.
• 47:32
  Speaker 1: So there is something else will notice here if we
• 47:34
  Speaker 1: go back to the Brando and the kind of mini
• 47:37
  Speaker 1: me thing that he demanded uh. Every day before they
• 47:43
  Speaker 1: would begin filming, Brando and Frankenheimer, the director who lasted
• 47:47
  Speaker 1: would meet up in the morning and Brando would always
• 47:51
  Speaker 1: have script changes that he was certain would make the
• 47:54
  Speaker 1: film uh much much better. And Frankenheimer had just had
• 47:58
  Speaker 1: his spirit broken at some point and he was like, okay, fine,
• 48:03
  Speaker 1: that's when you see things like Brando's saying, I need
• 48:06
  Speaker 1: Dr Maroau's entire face has to be covered in white makeup. Uh.
• 48:10
  Speaker 1: And also he needs to always be wearing a hat. Uh.
• 48:15
  Speaker 1: And these hats are very different things. Sometimes they're like
• 48:17
  Speaker 1: regular hats, like a sun hat you would see to
• 48:20
  Speaker 1: provide a lot of shade over the shoulders, and then
• 48:22
  Speaker 1: other times the things like an ice bucket. Like Marlon
• 48:25
  Speaker 1: Brandon was walking around on the set he finds an
• 48:28
  Speaker 1: ice bucket and he's like, no, this is a hat.
• 48:32
  Speaker 1: I have to say that. I think it's an interesting choice,
• 48:35
  Speaker 1: you know, like at the time and you know, if
• 48:37
  Speaker 1: you're the director, I can see that being super annoying,
• 48:39
  Speaker 1: but like it does make the character seem more kind
• 48:43
  Speaker 1: of insane and like you know, but also kind of
• 48:46
  Speaker 1: like maybe this is what a real insane mad doctor
• 48:49
  Speaker 1: would would do. He would like have phobias about the
• 48:52
  Speaker 1: sun and stuff. And I think the shots with him
• 48:55
  Speaker 1: and the and the smaller version of him are are interesting. Uh.
• 48:58
  Speaker 1: And he also famously did something like that on The Godfather,
• 49:01
  Speaker 1: where I think it was his idea to stuff his
• 49:03
  Speaker 1: mouthful of cotton and all that. So he kind of
• 49:05
  Speaker 1: had a reputation for making these like wacky mavericky calls
• 49:09
  Speaker 1: that end up working. Um, you know, this movie is
• 49:12
  Speaker 1: not good, but he makes some interesting choices. Well, it's
• 49:16
  Speaker 1: it's kind of it's going into beyond good and evil territory.
• 49:19
  Speaker 1: I think after hitting thresholds, you know, yeah, it just
• 49:24
  Speaker 1: kind of exists. But but here's the here's the rumor
• 49:28
  Speaker 1: I heard because I was trying to I was trying
• 49:30
  Speaker 1: to hunt this down. Apparently there was a method to
• 49:34
  Speaker 1: his method acting madness. Here it came out that one
• 49:38
  Speaker 1: of the reasons Brando wanted Moreau to always be wearing
• 49:43
  Speaker 1: these hats, it's because there was going to be a
• 49:45
  Speaker 1: reveal per Brando at some point in the end of
• 49:50
  Speaker 1: the film that would be like that would have been
• 49:55
  Speaker 1: so much cooler. Here's the idea of the audit. The
• 49:57
  Speaker 1: idea was that you were going to find out that
• 50:00
  Speaker 1: dmrou had been doing self experimentation and he himself was
• 50:04
  Speaker 1: part dolphin. No, it's like a blow hole in the
• 50:08
  Speaker 1: head situation. It doesn't make sense. This is a thing
• 50:11
  Speaker 1: that exists nowhere except in the mind of I thought
• 50:14
  Speaker 1: you were going to say something so interesting, like he'd
• 50:16
  Speaker 1: been doing brain surgery on himself. I mean, this is
• 50:19
  Speaker 1: still interesting. Brains is something that would be eerie. Blow
• 50:24
  Speaker 1: hole A blow hole, Oh that's what he was hiding.
• 50:28
  Speaker 1: I presumably a blow hole. But but then what they
• 50:30
  Speaker 1: just didn't They went a different direction, but they still
• 50:32
  Speaker 1: decided to him there will be a blow hole. We'll
• 50:39
  Speaker 1: get we got our best guys right on it. We'll
• 50:42
  Speaker 1: put it in post. Yeah, blowhole prosthetic technology has come
• 50:46
  Speaker 1: a long way, Mr Brando. But no, you're right. That
• 50:49
  Speaker 1: was where Frankenheimer actually drew the line and said, Okay.
• 50:53
  Speaker 1: Nobody talked to him about it until like the last
• 50:55
  Speaker 1: day of shooting, and then everybody read like we did
• 50:58
  Speaker 1: when we were in that bank. And yeah, and we
• 51:01
  Speaker 1: need a better impressionist than than any of us. I
• 51:04
  Speaker 1: think on here to do us to the moment where
• 51:06
  Speaker 1: Marlon Brando pitches this idea to the director like I
• 51:10
  Speaker 1: can't do it. I couldn't possibly do it. Just what
• 51:12
  Speaker 1: I want to hear. I want to be a fly
• 51:14
  Speaker 1: on the wall for that moment, even if it's only
• 51:16
  Speaker 1: like a recreation. And also I think this will help
• 51:20
  Speaker 1: give us some context here. One of the things we
• 51:22
  Speaker 1: have to remember about Brando in this moment is that
• 51:25
  Speaker 1: he did not believe in this film. He did not
• 51:28
  Speaker 1: see it as like you know, the next street car
• 51:30
  Speaker 1: named desire uh. In fact, for Rusa Bulk, who recognized
• 51:35
  Speaker 1: and love from the craft, had said, and this this
• 51:39
  Speaker 1: was another film, by the way, Dr Mareau, was a
• 51:40
  Speaker 1: film that was so weird there had to be a
• 51:42
  Speaker 1: documentary about making it. There was a bolts in the
• 51:45
  Speaker 1: documentary and she says that once upon a time she
• 51:48
  Speaker 1: caught him on a good day and she went to
• 51:50
  Speaker 1: Brando and said, excuse me, mr Brando, I'm wondering how
• 51:53
  Speaker 1: our characters should interact on screen or what your take is.
• 51:56
  Speaker 1: And then he told her, Dodley, no one is going
• 52:00
  Speaker 1: to watch the movie, so just relax and have a
• 52:02
  Speaker 1: good time. Don't worry about it. And to find you
• 52:06
  Speaker 1: another weird along. Yeah. You know, it's funny, you you
• 52:11
  Speaker 1: you did two movies that have productions so troubled they
• 52:16
  Speaker 1: have documentary. There's one about Apocalypse now too, called Hearts
• 52:18
  Speaker 1: of Darkness of Filmmakers Apocalypse that came out nine one.
• 52:22
  Speaker 1: I have not seen it, but i've seen clips of
• 52:23
  Speaker 1: it and it's got like, you know, there were all
• 52:25
  Speaker 1: kinds of other problems on that shoot, like you know,
• 52:27
  Speaker 1: weather and and I think a lot of equipment got
• 52:29
  Speaker 1: damaged and you know, really just horrible kind of trials
• 52:32
  Speaker 1: of the damned kind of stuff. Um, but that's apparently
• 52:35
  Speaker 1: a very very great documentary. Yeah, yeah, it is. It's
• 52:39
  Speaker 1: worth the watch. Um. I don't know it's still on Netflix,
• 52:41
  Speaker 1: but I would, of course, you know, I would say
• 52:45
  Speaker 1: for you all if you haven't seen Apocalypse Now. Watch
• 52:47
  Speaker 1: Apocalypse Now first, and then watch the documentary Now is
• 52:51
  Speaker 1: actually an excellent classic, you know, iconic film. The Island
• 52:55
  Speaker 1: of Dr Moreau just kind of is you know, like
• 52:57
  Speaker 1: we said, Yeah, we were talking off off Mike or
• 53:01
  Speaker 1: before about the Stanling who kind of had a nervous breakdown,
• 53:05
  Speaker 1: you know, and there's a document This is all on
• 53:06
  Speaker 1: the documentary. He was kind of like stalking the set,
• 53:08
  Speaker 1: you know, from The Four of the Woods, kind of
• 53:11
  Speaker 1: like creeping around watching the new director. He was out
• 53:15
  Speaker 1: of the public eye for a long time and came
• 53:16
  Speaker 1: out with a Nicolas Cage movie a handful of years ago,
• 53:18
  Speaker 1: also based on kind of maccob source material called The
• 53:22
  Speaker 1: Color Out of Space, which I think is great. So
• 53:25
  Speaker 1: I hope he continues making weird movies because he's obviously
• 53:28
  Speaker 1: a real creative dude. Yeah, it's it's really awesome and
• 53:31
  Speaker 1: it's got some we were talking about. It's kind of
• 53:33
  Speaker 1: like the third act of Nicolas Cage's career. So he's
• 53:37
  Speaker 1: he's doing a lot of cool stuff. He's doing Mandy,
• 53:39
  Speaker 1: he did um Pig, which I knew you love noel Um.
• 53:42
  Speaker 1: I do want to say we are We talked a little,
• 53:44
  Speaker 1: a little bit about this off air before we began
• 53:47
  Speaker 1: rolling today. Um, I do feel we are ethically bound
• 53:50
  Speaker 1: to say that despite the funny stuff about Brandow, which
• 53:54
  Speaker 1: will will end with more funny stuff, so it's done,
• 53:57
  Speaker 1: absolute slog. He was also a very prop lomatic dude.
• 54:01
  Speaker 1: And he did sexually assault so one on camera in
• 54:05
  Speaker 1: a film Last Hango in Paris. Yeah. Yeah, using wet
• 54:11
  Speaker 1: a stick of butter. Correct. Yeah, And the director knew
• 54:16
  Speaker 1: it was going to happen and did not stop it.
• 54:19
  Speaker 1: And it was like a setup on those forum you know,
• 54:21
  Speaker 1: the actor playing opposite him. Yes, that is correct, and
• 54:26
  Speaker 1: no one got in trouble, which is where I say
• 54:29
  Speaker 1: this all the time on different shows. But it astonishes
• 54:32
  Speaker 1: me when you hear these stories about celebrities getting away
• 54:35
  Speaker 1: with and and you know very well to do people,
• 54:37
  Speaker 1: world leaders getting away with all sorts of horrible, horrific things.
• 54:40
  Speaker 1: And then I think, like I can't get out of
• 54:43
  Speaker 1: a library. Fine, you know what I mean? This is
• 54:46
  Speaker 1: like a world I don't understand. I don't anyway, So yes,
• 54:51
  Speaker 1: he has done horrible things. Um, he also kept that's
• 54:55
  Speaker 1: also a thing with directors that we see Loton, we're
• 54:58
  Speaker 1: kind of talking about in the last episode for this,
• 55:00
  Speaker 1: which is kind of goes back to the directors just
• 55:02
  Speaker 1: using their actors as props and whatever, because that was
• 55:07
  Speaker 1: such a common thing that has come up in a
• 55:09
  Speaker 1: lot of these movies to end up on the list
• 55:10
  Speaker 1: that we're going through, like the Greats List. A lot
• 55:13
  Speaker 1: of times what the director did was not warned the
• 55:15
  Speaker 1: actor and that's how they got the amazing reaction that's
• 55:18
  Speaker 1: so real, And that was totally just a common practice
• 55:22
  Speaker 1: of directing for the longest time. I mean, I hope
• 55:26
  Speaker 1: they're doing it less now, but it has just recently
• 55:28
  Speaker 1: come out of fashion. That's what it feels like, yeah,
• 55:31
  Speaker 1: or directors, directors and stars just being absolute monsters in
• 55:35
  Speaker 1: real life. I mean Polanski is still allowed to make
• 55:37
  Speaker 1: movies and when awards, right, oh yeah, he still gets
• 55:40
  Speaker 1: I think he's still the French are still shielding him
• 55:43
  Speaker 1: from prosecution here, but also like his film still get
• 55:46
  Speaker 1: Oscar Nam's sometimes. You know, it's very weird. They're still
• 55:50
  Speaker 1: very very little accountability said, but back then even less
• 55:55
  Speaker 1: a total boys club, like the director Bernardo Berto Lucci.
• 55:59
  Speaker 1: You know it was an Italian director. I mean they
• 56:00
  Speaker 1: shot this in Europe, so I mean there probably were
• 56:03
  Speaker 1: maybe a little less oversight even over there, and that
• 56:06
  Speaker 1: kind of tradition, Um, maybe even a little more a
• 56:09
  Speaker 1: thing in Europe, but absolutely kind of hijacking, you know,
• 56:14
  Speaker 1: the these people, these with woman's emotions, you know, and
• 56:17
  Speaker 1: like for the sake of getting like a shocking take
• 56:20
  Speaker 1: or whatever. It's pretty gross. Yeah. He He also did
• 56:25
  Speaker 1: really crappy stuff to other other co stars or other
• 56:29
  Speaker 1: actors and scenes with him. For an example, he had
• 56:33
  Speaker 1: he was filming a scene in a film, in a
• 56:36
  Speaker 1: show called The Nightcomers sparely a bondage scene. He tied
• 56:40
  Speaker 1: the actor Stephanie Beacham to the bed and then he
• 56:45
  Speaker 1: left and he ate lunch, which is like, I don't
• 56:48
  Speaker 1: think that's a That's a real dick move, isn't it. Um,
• 56:51
  Speaker 1: I mean it's basically I would say that's people should
• 56:57
  Speaker 1: have consequences. Um. He also I wanted to end on
• 57:01
  Speaker 1: some of his very weird, weird stuff. Now we've acknowledged that. Um.
• 57:06
  Speaker 1: He got paid a ton to be in Superman, directed
• 57:10
  Speaker 1: by Richard Daughter, and he almost was what's his name?
• 57:17
  Speaker 1: I think it's right, You're absolutely right. So he was.
• 57:21
  Speaker 1: He is briefly in the film very briefly in the
• 57:24
  Speaker 1: film as the white haired patrician father of the child
• 57:30
  Speaker 1: that will go on to become Superman. He got paid
• 57:33
  Speaker 1: a ton for what he was doing. Uh, and he
• 57:36
  Speaker 1: also almost wasn't in it because he was he tried
• 57:41
  Speaker 1: to convince the director. He almost walked away when he
• 57:44
  Speaker 1: was arguing with the director over what this character should
• 57:46
  Speaker 1: look like. His suggestion was a green suitcase or maybe
• 57:50
  Speaker 1: a bagel, because we don't know what aliens look like.
• 57:54
  Speaker 1: That was like, maybe he should look like a bagel
• 57:57
  Speaker 1: or in the s and Superman would still be a
• 58:00
  Speaker 1: super bad. He gave some options. You know, you don't
• 58:03
  Speaker 1: want to be a dictator about and hadonas his dad
• 58:06
  Speaker 1: is a bagel. It makes total I mean that's fun.
• 58:09
  Speaker 1: I like, I don't not like that, you know, but
• 58:11
  Speaker 1: I watch that. Ever, Yes, yeah, so he also, um,
• 58:19
  Speaker 1: he would also do some things like he did raise
• 58:22
  Speaker 1: awareness of injustice towards Native American communities. There's that. Uh.
• 58:27
  Speaker 1: He got in a fight with a baboon, a spitting
• 58:32
  Speaker 1: fight he won. Did he tell that story about there? Yeah,
• 58:40
  Speaker 1: it was what happens. He spent so he spent so
• 58:46
  Speaker 1: well and the baboon was just shamed and like walked
• 58:48
  Speaker 1: away Baboon never spat again. So, uh, they're employees. There's
• 58:57
  Speaker 1: so many weird facts here. Pretty much every film Brando
• 59:02
  Speaker 1: works on. I think through like the mid part of
• 59:05
  Speaker 1: his career to the end is gonna have a bizarre
• 59:08
  Speaker 1: behind the scenes story because the guys just wiling out. Uh.
• 59:12
  Speaker 1: But this also makes me think, like in the case
• 59:15
  Speaker 1: of Chaplain, we see a perfectionist, right, it was a
• 59:18
  Speaker 1: very cruel man as well. Um, but we don't see
• 59:24
  Speaker 1: we don't see quite this same off stage absurdism or
• 59:29
  Speaker 1: you know, surrealness. One of my questions after just doing
• 59:32
  Speaker 1: a little bit of Brando facts was this, how did
• 59:36
  Speaker 1: this guy like function in society? You know, what the
• 59:40
  Speaker 1: point of fame or you just don't have to write.
• 59:44
  Speaker 1: You can just live in your little bubble and like
• 59:46
  Speaker 1: make a movie when you feel like it. I mean,
• 59:48
  Speaker 1: I think he remained quite wealthy. Uh. He does seem
• 59:52
  Speaker 1: like the kind of dude that maybe would have squandered
• 59:54
  Speaker 1: his money Nicholas Cay style and like t Rex Skulls
• 59:56
  Speaker 1: and you know, weird culty houses. But like, I think
• 1:00:00
  Speaker 1: he probably was well off. And I mean, you know,
• 1:00:02
  Speaker 1: I know seed some of these jobs before the money.
• 1:00:04
  Speaker 1: But I think he got to that level where he
• 1:00:05
  Speaker 1: just had all this you know, cash, he could just
• 1:00:08
  Speaker 1: kind of you'd have to be a normal person anymore. Yeah,
• 1:00:11
  Speaker 1: and maybe this is where we start to wrap it
• 1:00:14
  Speaker 1: up today, because we started exploring Brando through Chaplin. Uh.
• 1:00:20
  Speaker 1: They worked together on a film called A Countess from
• 1:00:23
  Speaker 1: Hong Kong in nineteen sixty six. Chaplain is seventy seven.
• 1:00:27
  Speaker 1: He's directing. I can't remember which child bride he has
• 1:00:31
  Speaker 1: at this point, but uh, he Brando has horror stories
• 1:00:36
  Speaker 1: about this guy, and he says he's good. He's like
• 1:00:37
  Speaker 1: he is a comic genius. I will admit that he's like.
• 1:00:40
  Speaker 1: But I watched him punch his son in the face
• 1:00:42
  Speaker 1: on Christmas Day. He doesn't give any of his eleven
• 1:00:46
  Speaker 1: children any money. Uh. He makes people reshoot scenes over
• 1:00:51
  Speaker 1: and over again and doesn't tell them how to improve.
• 1:00:54
  Speaker 1: He just like, like you would have his literal sons
• 1:00:57
  Speaker 1: do these scenes and would make him do it again,
• 1:01:00
  Speaker 1: and he would just keep telling them how much they sucked,
• 1:01:02
  Speaker 1: Like this is not the fun guy you picture from
• 1:01:05
  Speaker 1: those tramp movies. Uh. And uh he said that he would.
• 1:01:12
  Speaker 1: One day he came under set fifteen minutes late, which
• 1:01:15
  Speaker 1: is actually really good for Brando. Later, uh, he goes
• 1:01:19
  Speaker 1: on to set fifteen minutes late, Chaplin explodes and then
• 1:01:24
  Speaker 1: humiliates him, and he says, in front of the whole cast,
• 1:01:27
  Speaker 1: Chaplin berated me, embarrassing me, telling me that I had
• 1:01:30
  Speaker 1: no sense of professional ethics and now I was a
• 1:01:32
  Speaker 1: disgrace to our profession. And that was the time he
• 1:01:36
  Speaker 1: stood up to him. And this is so like, uh,
• 1:01:39
  Speaker 1: unnecessarily dramatic. I want to see what you guys think,
• 1:01:42
  Speaker 1: he told Chaplin. He said something like, very well, I
• 1:01:47
  Speaker 1: am going to return to my dressing room. I will
• 1:01:49
  Speaker 1: wait there for exactly twenty minutes, and if you do
• 1:01:53
  Speaker 1: not arrive to apologize to me within that twenty minutes,
• 1:01:57
  Speaker 1: then I'm leaving on the next plane out of here.
• 1:02:00
  Speaker 1: And then apparently Chaplain does relent and go apologize. So
• 1:02:06
  Speaker 1: they they eventually finished the just what happened with like
• 1:02:14
  Speaker 1: just hitting massive egos against each other, as we are
• 1:02:16
  Speaker 1: doing with our top popcorn met Frederick feud. Of course
• 1:02:19
  Speaker 1: I was going to ask was that contest he was
• 1:02:23
  Speaker 1: talking about? Hey, I also have I have a little joke.
• 1:02:28
  Speaker 1: I don't know if you can use this language wise.
• 1:02:30
  Speaker 1: But Chaplin may have played a little tramp, but in
• 1:02:33
  Speaker 1: reality he was a big that's perfectly Thank you so
• 1:02:42
  Speaker 1: much for coming back on to part two of these
• 1:02:46
  Speaker 1: bizarre behind the scenes stories from the world of film.
• 1:02:50
  Speaker 1: Uh Leanna, Sienna, it's been amazing. We do have a
• 1:02:55
  Speaker 1: quick can we get like a breaking news cue? All right,
• 1:03:02
  Speaker 1: So we have heard back from your nemesses, Mr Frederick.
• 1:03:09
  Speaker 1: He says, I said, um, you once told them you
• 1:03:13
  Speaker 1: were going to start a rival podcast called popcorn. And
• 1:03:16
  Speaker 1: he remarks, and he said, this is correct. However, upon
• 1:03:19
  Speaker 1: further consideration, I hereby bow to their show. I won't
• 1:03:23
  Speaker 1: be making cat popcorn. At which point, no, not to
• 1:03:26
  Speaker 1: volunteer all of us. But I said, you and I
• 1:03:28
  Speaker 1: could try to negotiate on his behalf, you know, before
• 1:03:32
  Speaker 1: the tar here for But what about the not followback
• 1:03:35
  Speaker 1: on social media? I think that's where the true beef
• 1:03:38
  Speaker 1: begins in this era. Well, we'll be talking to We'll
• 1:03:42
  Speaker 1: be talking to Matt on our other show. Actually just
• 1:03:45
  Speaker 1: a bit so many I can bring it up there too,
• 1:03:49
  Speaker 1: spread it around. Tell the whole podcast was industry. We
• 1:03:52
  Speaker 1: have started a celebrity sting big so Dellas where can folks,
• 1:03:57
  Speaker 1: find your pre existing podcast, the one that we're that
• 1:04:01
  Speaker 1: you're doing right now called Toss Popcorn. Our podcast Toss Popcorn. Well,
• 1:04:05
  Speaker 1: you can find it anywhere that you want to stream
• 1:04:07
  Speaker 1: podcast specifically, some good ones would be the I Heart
• 1:04:11
  Speaker 1: podcast app, Apple Podcasts, Spotify, etcetera. And we are all
• 1:04:16
  Speaker 1: over social media at Tossed Popcorn. Matt come on, dude, yes, yes,
• 1:04:25
  Speaker 1: uh and thinks, of course, as always to our super
• 1:04:28
  Speaker 1: producer Mr Max Williams, thinks for our ridiculous historians, thinks
• 1:04:32
  Speaker 1: to Casey Pegram, friend of the show. No, I know,
• 1:04:36
  Speaker 1: we've got more people to thank, including my nemesis, Math McVeigh,
• 1:04:40
  Speaker 1: our nemesis Jonathan Strickland. But I wanted to. I wanted
• 1:04:43
  Speaker 1: to thank you man, because this is a two parter
• 1:04:45
  Speaker 1: that we planned in advance, and I think we all
• 1:04:48
  Speaker 1: had a great time. Can we do like a power
• 1:04:50
  Speaker 1: high five or we leap into the air and then
• 1:04:51
  Speaker 1: it makes like a cartoon explosion effect in our hands. Yeah,
• 1:04:55
  Speaker 1: we just did that to the magical Podcasting. I've been
• 1:04:58
  Speaker 1: toying with the idea of making ma to my nemesis,
• 1:05:01
  Speaker 1: but he's just so damn nice. It's really hard to
• 1:05:04
  Speaker 1: get that one off there. I mean, no, you're not
• 1:05:06
  Speaker 1: good enough to be my nemesis. This is good, good fight, okay.
• 1:05:14
  Speaker 1: Or you know what, maybe I I retract all those
• 1:05:17
  Speaker 1: nice things I just said about Max, and it's on buddy,
• 1:05:19
  Speaker 1: it's on you. And we have spent too many hours
• 1:05:21
  Speaker 1: in a hot tub together to be nemesis. Oh that's true.
• 1:05:25
  Speaker 1: I remember the hot tub times. Yeah, we we We've
• 1:05:28
  Speaker 1: been in a hot tub together on a couple of occasions.
• 1:05:30
  Speaker 1: Matt and I knew each other in a previous life.
• 1:05:32
  Speaker 1: There were others. Also, it's still hot tub days. Why
• 1:05:35
  Speaker 1: why can't I go into the hot tub? You can
• 1:05:38
  Speaker 1: man the virtua starting up. What is a zoom call
• 1:05:42
  Speaker 1: if not a virtual hot tub? That's what you know.
• 1:05:44
  Speaker 1: We're all in these waters, navigating these bubbly waters together. Um.
• 1:05:48
  Speaker 1: You can also find ridiculous history on some of the
• 1:05:50
  Speaker 1: social media. We have an Instagram um called Ridiculous History.
• 1:05:54
  Speaker 1: We have a Facebook group called Ridiculous Historians that you
• 1:05:58
  Speaker 1: too can be a member of. You know, so allow
• 1:06:00
  Speaker 1: us as individual human people on the internet. I am
• 1:06:02
  Speaker 1: at how now Noel Brown exclusively on Instagram you can
• 1:06:05
  Speaker 1: get a sneak peek and maybe some spoilers for the
• 1:06:08
  Speaker 1: research I'm doing on various shows, as well as my
• 1:06:10
  Speaker 1: misadventures that I don't always announce in advance. By checking
• 1:06:14
  Speaker 1: me out on Twitter at ben Bowland h s W,
• 1:06:18
  Speaker 1: where I'm currently campaigning for a book at program for adults.
• 1:06:22
  Speaker 1: I think more people would read if we knew. You
• 1:06:25
  Speaker 1: got pizza at the end. You can also find some
• 1:06:27
  Speaker 1: party yeah exactly. You can also find me on Instagram
• 1:06:31
  Speaker 1: at ben Bowland bow L. I in named in a
• 1:06:34
  Speaker 1: burst of creativity Max Williams, the rumors are true, my friend,
• 1:06:39
  Speaker 1: you have a you have apparently not just a hot tub,
• 1:06:43
  Speaker 1: but a Twitter account. I am resent. That is true.
• 1:06:47
  Speaker 1: That is true. I do have a Twitter count. You
• 1:06:48
  Speaker 1: can find me yet at at l Underscoring Max Williams,
• 1:06:52
  Speaker 1: We're all mostly just you know, reach tweet what Ben
• 1:06:54
  Speaker 1: says occasionally common and troll him or and a lot
• 1:06:57
  Speaker 1: of stuff about sports, and of course Star Trek cantroll me. Bro.
• 1:07:00
  Speaker 1: I'm not on Twitter, so I will get on Instagram
• 1:07:03
  Speaker 1: perfect them. I guess you guys just have to catch
• 1:07:08
  Speaker 1: up at the hot tub. I am an outcast on
• 1:07:12
  Speaker 1: this show. We'll see you next time, folks. For more
• 1:07:22
  Speaker 1: podcasts for my heart Radio, visit the i heart Radio app,
• 1:07:25
  Speaker 1: Apple podcast, or wherever you listen to your favorite shows.