《马龙，听我说》是一部由斯蒂文·莱利执导，马龙·白兰度主演的一部传记 / 纪录片类型的电影，文章吧小编精心整理的一些观众的影评，希望对大家能有帮助。
《马龙，听我说》影评(一)：Listen to Me Marlon (2015) Movie ｓｃｒｉｐｔ
(TAPE RECORDER CLICKS)
RANDO:
This is the beginning of the tape.
We're on mono and we're on microphone 1.
Okay.
ow listen,
let me tell you something that I did.
I've had my head digitized.
And they put this laser
and it goes around you like this...
and they digitized my face.
And I made a lot of faces
and smiled and...
and made a sad face and...
o they've got it all on digital.
And actors are not going to be real,
they're going to be inside a computer.
You watch, it's gonna happen.
o maybe this is the swan song
for all of us.
(ELECTRONIC NOISES)
Tomorrow and tomorrow and tomorrow...
creeps in this petty pace
from day to day,
to the last syllable of recorded time;
and all our yesterdays
have lighted fools the way
to dusty death.
Out, out, brief candle.
Life's but a walking shadow,
a poor player, that struts
and frets his hour upon the stage,
and then is heard no more.
It is a tale told by an idiot,
full of sound
and fury,
ignifying...
othing.
OLICE OFFICER: Copy. All available
units responding to a shooting.
MALE REPORTER:
olice came to a call to 911,
ut this was no ordinary address,
the caller no ordinary citizen.
Marlon Brando was on the line
to report a shooting at his home.
Misery...
has come to my house.
FEMALE REPORTER: Brando won an Oscar
for his performance in the 1954 film
On the Waterfront.
He was already being acclaimed
as the greatest American
film actor ever.
You take the good goods away,
and the kickbacks
and the shakedown cabbage
and them pistoleros and you're nothin'.
Hey, Stella.
INTERVIEWER:
You can bet that Marlon Brando's impact
on the world of movie acting
will still be felt 500 years from now.
I'm gonna make him an offer
he can't refuse.
MALE REPORTER: Marlon Brando was here
at his home at the time of the shooting,
ut police who questioned the actor
ay he did not witness it.
MALE REPORTER 2: The shooting
ut a spotlight on the private life
of one of Hollywood's
most reclusive stars.
RANDO: And it's been a struggle
to try to preserve sanity
and sense of reality
that is taken away from you by success.
RANDO: It will be
a highly personalized documentary
on the life activities of myself,
Marlon Brando.
We establish that he is a troubled man,
alone, beset with memories,
in a state of confusion and sadness,
isolation, disorder.
He's wounded beyond being able
to be social in an ordinary way,
he becomes like a mechanical doll.
Maybe he felt that he was treated badly.
And that he's angry about the treatment.
He's collecting bits
of information here, odd bits of film
to try to explain why are you this way？
Ten, nine, eight, seven, six,
five, four, three, two, one.
ow let your mind drift
ack,
way back in time
to a time when you were very young,
when you used to wake up in the morning,
ut on your clothes
while everyone was sleeping,
and walk down the sidewalk in Omaha
and sit underneath that big elm tree.
With the wind blowing the light,
the shadow of leaves.
It is like a wonderful, soft dream
and that soft wind calling.
That's a wind that you can trust.
You are the memories.
I've always in my life had
a strong sense that I had to be free.
tanding on that train, I was free.
I used to love to stand in the car
and listen to the rails.
(MIMICS RHYTHM OF A TRAIN'S MOVEMENT)
You know？
It's an eccentric kind of rhythm.
I arrived in New York with holes
in my socks and holes in my mind.
I remember getting drunk,
lying down on the sidewalk
and going to sleep.
obody bothered me.
I was always somebody who had
an unquenchable curiosity about people.
I liked to walk down the street
and look at faces.
I used to go to the comer
of Broadway and 42nd Street
in an Optimo cigar store.
I would watch people for three seconds
as they went by
and try to analyze their personality
y just that flick.
The face can hide many things.
And people are always hiding things.
I was interested to guess
the things that people
did not know about themselves.
What they feel, what they think,
why they feel.
How is it that we behave the way we do？
What is the answer？
Is there any answer？
There is something
that you need very deeply.
ome kind of contact,
ome experience
to give you a sense of fulfillment.
I had a great feeling of inadequacy,
that I didn't know enough,
that I didn't have enough education.
I felt dumb.
I became an actor
retty much by accident.
I went to the New School
for Social Research,
which is an extraordinary institution
of learning.
My teachers were all Jewish,
ecause the New School
was a clearing house
for Jews that escaped from Hitler.
They were very respected people.
The cream of academia.
Control over your lives
egins with this class.
RANDO: I studied with a woman
y the name of Stella Adler.
he was a fine actress,
a really wonderful actress.
The smell of the greasepaint
and lure of the theatrical experience
came out in her teaching technique.
ADLER:
The play has nothing to do with words.
You do not act words,
you act with your soul.
RANDO: I was very shy when I was a kid.
ensitive, very sensitive.
ADLER: In the theater,
the actor is the boss.
It's against the nature of human life
to withdraw.
RANDO: "Don't be afraid," she said.
quot;You have a right to be who you are,
where you are and how you are."
ADLER:
e in a state of honesty up there.
RANDO:
Allowing yourself to feel things,
to feel love or to feel rage.
ADLER: Speak out the thoughts
that are tormenting you.
RANDO: Everybody's got a story to tell,
omething they're hiding.
ADLER: Do not bring anything
in the present
that doesn't have the past.
RANDO: We develop the technique
of acting very, very early.
Even from the time we're a kid,
where we're throwing our oatmeal
on the floor
just to get attention from our mothers.
Acting is surviving.
Yeah, that's my mother.
That photograph there.
This is a portrait of my mom
when she was about forty.
And she was a marvellous person.
For instance, she dressed up a pet goose
we had for Santa Claus.
he made a Santa Claus out of it,
made a little red costume for it
and a beard and everything.
he was a very inventive
and artistic woman.
And I miss her very much.
I was given by my mother
a sense of the absurd.
he had false teeth.
Once in a while she'd laugh.
While she was laughing,
her teeth would come off her gums.
And the more I laughed,
the more she thought it was funny
and we both ended up laughing real hard.
My mother taught me a love for nature,
and a sense of closeness with animals.
You couldn't think of a tune
he couldn't play on the piano.
ot one.
I like remembering about her.
I used to love the smell of liquor
on her breath.
And her breath becomes very, very sweet.
It's a lovely fragrance.
My mother was an alcoholic.
We lived in a small town
and my mother was the town drunk.
he began to dissolve
and fray at the ends.
When my mother was missing.
Gone off someplace,
we didn't know where she was.
I used to have to go
and get her out of jail.
Memories even now
that fill me with shame and anger.
ADLER: You have to constantly act.
It is not important
to defend your faults in the theater.
It's important to overcome them.
RANDO: Stella very kindly invited me
into her home.
I then became part of her family.
When I was really suffering
and disjointed, disoriented with life,
he was always very loving towards me.
I'd never done anything in life
that anybody ever said I was good at.
he put her hand on my shoulders
and said, "Don't worry, my boy."
quot;I have seen you,
and the world is going to hear from you."
INTERVIEWER:
From the T-shirt clad Stanley Kowalski
in Streetcar Named Desire,
the role which catapulted him
to international fame,
we're very pleased
to have with us this morning
as our guest Mr Marlon Brando.
RANDO: Streetcar Named Desire
was very satisfying to be in,
ecause I thought
it was a wonderful play.
The story was superb
and the production was wonderful.
You must be Stanley.
Oh, hiya. Where's the little woman？
RANDO: It was a very explosive part
and it electrified everybody.
You want a shot？
LANCHE: No, I rarely touch it.
Well, some people, they rarely touch it,
ut it touches them often.
RANDO: I was quite nutty
when I was young
and I would have a lot of energy.
Rain forever.
RANDO:
'Cause you couldn't come out flat,
you couldn't come out slow.
After the play was over,
I felt like a million bucks.
I was off into the night
with sparkles and zest
to see whatever I could find.
How wonderful it was to drive around
on a motorcycle with just a T-shirt on.
Two, three, four o'clock in the morning.
ome small club
in the black section of town.
And I was screaming
when they were playing those drums.
I'd hear that shit,
it just used to take me to another land.
This is my moment,
I want to take this moment
and that was wonderful.
And then your life changes.
uddenly, there's a lot more girls
aying, "Hi, Mar."
When I was younger,
I was a fairly attractive kid.
I had a lot of derring-do and panache.
I was unpredictable and stimulating
for a lot of young girls.
(MIMICS CAT'S SCREECH)
RANDO: I was young and destined
to spread my seed far and wide.
Girls and fun and good food
and sense of health and purpose...
It can't get better than this.
othing in life
could be better than this.
I was always making jokes and teasing,
laying practical jokes on everybody.
(LAUGHS)
To be able to have money.
I never had any money.
My father was a traveling salesman.
I was making more in six months of work
than he made in ten years.
He measured everything by money.
He couldn't understand
how this ne'er-do-well son of his
could possibly do that.
If I have a scene to play
and I have to be angry,
there must be within you trigger
mechanisms that are spring-loaded,
that are filled with contempt
about something.
I remember my father hitting my mother.
I was fourteen.
ow that's how
I'm gonna clear the table.
Don't you ever talk that way to me.
RANDO: My old man was tough.
He was a bar fighter.
He was a man with not much love in him.
taying away from home,
drinking and whoring
all around the Midwest.
He used to slap me around,
and for no good reason.
And I was truly intimidated by him
at that time.
ow what kind of a queen
do you think you are？
You know that I've been onto you
from the start,
and not once did you pull the wool
over this boy's eyes.
RANDO: When things
are extremely painful to you,
you don't want them
in your consciousness,
you want to forget about them.
And you are the Queen of the Nile,
itting on your throne,
willing down my liquor.
You know what I say？ Ha-ha!
RANDO: You can imagine
having to go someplace every night
and go through all that,
get yourself upset...
To have to cry or to scream
or to be ruined in some way,
that's work.
That's hard work.
eople invariably associated me
with the part I played,
o that it was difficult to believe
that I didn't eat off the floor,
or that I, you know, didn't run up
the street with my shoes off,
and so it's been a hard thing
ort of living that down.
There is nothing about me
that is like Stanley Kowalski.
I hate that kinda guy.
I absolutely hate that person
and I couldn't identify with it.
The brute, dark character that
represented the beasts and the animals.
They sent me to a psychiatrist.
They thought I was going nuts,
losing my mind.
tella told me,
if you come to the theater
and you feel a hundred percent,
how eighty.
If you come and you feel sixty percent,
how forty.
If you come to the theater
and you only feel forty percent,
est to turn around and go home.
INTERVIEWER:
I was wondering if you have any plans
to return to the stage
in the near future.
RANDO: No, I don't have any immediate
intentions of returning to the stage.
(TAPE RECORDER CLICKS)
RANDO: The shouts of freedom
are also the rattling of chains.
RANDO:
You seem to be such a restless man.
Eyes always darting.
RANDO: I don't know,
I guess I've just got loose feet.
INTERVIEWER: I infer from that that you
do not thoroughly enjoy your profession.
Or you don't enjoy it at all.
RANDO: No, I think that people
do what they enjoy,
or else they don't do it.
eople do what they want to do.
If there are adverse conditions
that surround my work,
they are not adverse enough
to make me change activities.
If I hadn't had the good luck
to be an actor,
I don't know what I would've been.
I'd have probably been a con man.
A good con man.
Tell smooth lies, give impressions
of things that he thinks,
or appears to think
that he doesn't think.
ince I don't do anything else well,
and up to this time I haven't decided
what else I would like to do,
I might as well put all my energies
into being as good an actor as I can.
WOMAN:
ow will you turn your head for us？
ure.
WOMAN: Now around the other way.
ow all the way around.
All right. Thank you and stay around.
RANDO: Shakespeare said,
quot;There is no art to find
the mind's construction in the face."
And there should be such an art.
When the camera is close on you,
your face becomes the stage.
Your face is the proscenium arch
of the theater, thirty feet high.
And it sees all the little movements
of the face and the eye and the mouth.
You have the intensity to act.
I wanted very much
to be involved in motion pictures,
o I could change it
into something nearer the truth.
And I was convinced
that I could do that.
About my playing the tuba...
eems like a lot of fuss
has been made about that.
RANDO: In the '30s and '40s
you had a particular kind of acting.
You knew who you were gonna get
when you went to the movies.
Gary Cooper oats.
hredded Wheat Bogart.
Clark Gable Crunchy Fruit Loops.
They were just like breakfast cereals.
The same in every role.
Gestures of anguish and despair,
and that kind of acting became absurd.
The astounding thing
most people don't realize.
All motion pictures today,
all acting today,
tems from Stella Adler.
INTERVIEWER: Stella, so much
has been talked about Method acting.
What exactly is the Method？
All right, let's start at the beginning.
RANDO: Stella went to Paris
and studied
with Konstantin Stanislavsky,
the great Russian teacher,
rought back
her experience and knowledge
of this particular form of acting.
Reality, realness, carried by an actor
to achieve the truth.
This is the most modern technique.
RANDO: Everything that you do,
make it real as you can.
Make it alive, make it tangible,
find the truth of that moment.
Mr Stanislavsky understood that.
RANDO: And the style of acting
changed completely.
The first movie I ever did
was called The Men.
L played a paraplegic
and lived in a hospital
with paraplegics for three weeks.
hysicality is a tough thing.
I spent a lot of time just studying
everything they do.
I wanted to see how
they got in and out of their chairs.
The manner in which you crawled
from one place to another.
araplegics,
they do the most amazing things.
Races without their chairs,
I've seen guys walk on their hands.
They can do one-armed pull-ups,
they can do everything.
You have to know your subject,
you have to know your character.
utting yourself
in a different state of mind.
What they felt like,
what their frustrations were
knowing that they couldn't have sex.
RANDO AS KEN:
What am I gonna do, where am I gonna go？
I can't go out there anymore.
RANDO: He just sits there
and he marinates his mind.
In the intellect; that's all he's got.
ut your heart into it.
Get yourself up emotionally.
At night I think about it,
dream about it
and I wake up being absorbed by it.
eople have routines:
acting routines, dancing routines,
ainting routines.
The same thing over and over again.
Everything is a clich.
When an actor takes a little too long
as he's walking to the door,
you know he's going to stop
and turn around and say...
quot;Frankly, my dear, I don't give a damn."
RANDO:
Jersey Joe Walcott, terrific fighter.
He'd be boxing, he'd be throwing
ome punches and bing!
He'd have his fist in somebody's face.
You'd think it was coming out
of the southwest
and there it comes out of the northeast.
He would never let you know
where he was going to hit you.
You.
RANDO: Never let the audience know
how it's gonna come out.
What is your name？
RANDO: Get them on your time.
Emiliano Zapata.
RANDO: And when that time comes
and everything is right,
you just fuck, let fly.
O judgment, thou art fled
to brutish beasts,
and men have lost their reason.
RANDO: Hit them, knock them over.
With an attitude,
with a word, with a look.
I don't like cops.
RANDO: Be surprising.
Figure out a way to do it
that has never been done before.
You gotta put something down,
you gotta make some jive.
Don't you know what I'm talking about？
RANDO: You want to stop that movement
from the popcorn to the mouth.
Cry "Havoc,"
and let slip the dogs of war.
RANDO: Get people to stop chewing.
That this foul deed
hall smell above the earth.
RANDO: The truth will do that.
Damn, damn, damn, damn.
When it's right, it's right.
You can feel it in your bones.
Then you feel whole,
then you feel good.
It was pre-sixties.
eople were looking for rebellion,
and I happened to be at the fight place
at the right time
with the right state of mind.
In a sense, it was my own story.
Rebelling for the sake of rebelling.
WOMAN: Hello, Mr Brando.
I hope you don't think
I'm too crazy for making this recording.
I wrote you a fan letter once,
ut I don't know if you received it.
Once I saw a picture of you
with a white cat. Was it yours？
I'll bet you're one of the kindest,
most interesting fellows in Hollywood.
I suppose I'm judging the book
y the cover,
ut perhaps I'm not too far wrong.
Mr Brando？
I hope this isn't too personal,
ut I always say what I think,
o I won't stop now.
I admire you very much,
oth as an actor and a person.
Many, many other people
feel the same way.
I think one of the main reasons
that I admire you
is because you aren't afraid
to be yourself,
instead of being a carbon copy
of everyone else.
It would be a pretty dull world
if everyone behaved in the same way,
o three cheers for you, Mr Brando.
RANDO: I didn't intend to have
that extraordinary effect.
I became, very quickly, a cult hero.
And now I know that you're as anxious
as I am to find out what actor
has won the Oscar
for the best perfonnance of this year.
The winner is
Marlon Brando for On the Waterfront.
REPORTER: Marlon Brando,
an actor of very considerable talent.
The youngest actor
ever honoured in this way.
RANDO: When I saw the picture finally,
I was so embarrassed,
o disappointed in my performance.
It's much heavier than I imagined.
It's like carrying a monkey around
on your back.
They're asking me to put the finger
on my own brother.
RANDO: It's a very strange thing
this business of storytelling.
You don't always know when you're good.
You wanna hear my philosophy of life？
Do it to him before he does it to you.
RANDO: People will mythologize you
o matter what you do.
There's something absurd about it,
that people go with hard-earned cash
into a darkened room
where they sit
and they look at a crystalline screen
upon which images move around
and speak.
And the reason they don't have light
in the theater
is because you are there
with your fantasy.
The person up on the screen
is doing all the things
that you want to do,
they're kissing the woman
you want to kiss,
hitting the people you want to hit,
eing brave in a way
that you want to be brave.
The audience will lend themselves
to the subject.
They will create things
that are not there.
Listen to me, Terry, take the job.
Just take it. No questions, take it.
RANDO: There are times I know
I did much better acting
than in that scene
from On the Waterfront.
You don't understand.
I coulda had class.
I coulda been a contender.
I coulda been somebody.
Instead of a bum.
Which is what I am, let's face it.
RANDO: It had nothing to do with me.
The audience does the work,
they are doing the acting.
Everybody feels like they're a failure,
everybody feels
they could've been a contender.
Inferiority.
I've been very close to it all my life.
ED MURROW: Marlon,
I know your dad is in town tonight.
Is he hiding out somewhere？
RANDO: No, I'll get him in here. Pop？
Come on out.
ED MURROW: We'll ask Mr Brando
ome questions about his son
and I'm sure we'll get
the blunt and direct answers.
Good evening, Mr Brando.
I imagine you're just a bit proud
of your son right now, aren't you？
Well, as an actor not too proud,
ut as a man, why, quite proud.
ED MURROW: Mr Brando, tell me this.
Was he hard to handle as a child？
FATHER: I think he had the usual...
childhood traits.
I think he had probably a little more
trouble with his parents
than most children do.
ED MURROW: Marlon, in the interests
of justice and fairness,
would you like 30 seconds
to defend yourself？
Well, I don't feel
I need to defend myself.
I can lick this guy with one hand, so...
Let it go.
RANDO: We had an act
we put on for each other.
I played the loving son
and they played the adoring parents.
There was a lot of hypocrisy.
When what you are as a child
is unwanted, it's unwelcome,
then you look for an identity
that will be acceptable.
o I had a wide variety
of perfonnances in me.
ED SULLIVAN: I'm very anxious for you.
I know you haven't seen
all of the footage,
ut your light comedy performance
in Guys and Dolls
is really terrific, Marlon.
Well, I hope so.
I'm very anxious to see it.
In fact, I'm dying to see it.
How was Vegas？
aradise. For two weeks I gambled
in green pastures,
the dice were my cousins
and the dolls were agreeable
with nice teeth and no last names.
You don't believe I'm a sinner, do you？
I'm prepared to believe that you are the
iggest sinner I ever met in my life.
RANDO: It's part of an actor's trade
to be able to play in a light vein
and be an entertainer
as well as a serious storyteller.
And I feel that I perhaps have neglected
that part of my career up to this point.
When I go to set I have a lot of fun,
ecause it's a gay affair.
It's pleasant to look forward to,
it's a nice way to spend your day,
rather than be in the middle of a miasma
of seriousness and gravity.
As a kid, when I used to sell bottles
and cut lawns
to get my ten cents to go to the movie,
and I would escape everything.
That sense of good feeling,
that got me through the week.
Those moments were magical.
REPORTER: The glittering world premiere
at New York's Capitol Theater
for Samuel Goldwyn's multi-million
dollar production of Guys and Dolls.
# Your eyes are the eyes
it of a woman in love
it And oh, how they give you away
it Why try to deny...
RANDO: Most actors
want to get their name in the paper.
They like all that attention.
I very often am struck
with the illusion of success.
ometimes it's difficult
when you meet people
ecause you see
that they have prejudged you,
ot to be treated normally.
To have people staring at you
like an animal in a zoo,
or some strange creature
from a distant land.
What it does is remove you from reality.
(FANS SCREAM)
I can't stand it. I hate it.
I had no idea of how discomforting it is
ot to be able to be
just an ordinary person.
You can't imagine
how much of a panic it is.
Really, it scared me to death,
ecause they were hanging on,
they could've been run over or crushed.
It really is...
I've never seen
a really hysterical crowd.
It's a frightening experience.
RANDO: Relax, Marlon.
And breathe deeply now.
You don't need to feel frightened,
you don't need to be nervous.
You're very, very comfortable.
Deeply safe,
like when you were with Ermi,
when you slept in her arms,
when you received affection.
Remember those feelings.
he was a governess
hired by my mother.
Lovely Oriental skin.
he had very fine hair.
he was sleeping,
and through the windows
came the moonlight,
and illuminated her body.
I remember arranging myself
on her, over her,
and thinking that she was all mine,
that she belonged to me alone.
Everybody wants a guarantee
that their love is going to be returned.
quot;I'm going to love you till I die
and we're going to love each other
forever."
All of those adolescent and childish
concepts of what love ought to be.
I remember the night she left.
he went away to get married,
ut to a seven-year-old mind,
having been with someone intimately,
it was tantamount to desertion.
In a sense, my mother left me,
ecause she was alcoholic.
And so did Ermi.
It was from that date that I became
a miscreant, badly behaved.
- CAMERAMAN: Okay.
- Okay.
I'd like to begin by asking you
what consumes your thoughts
in your spare time, when you have any？
Well, my thoughts are...
INTERVIEWER: What do you do？
I'm interested in your face.
You're one of the prettiest
interviewers that I've...
INTERVIEWER: Thank you.
You're one of the most gracious hosts
I've ever met.
- Oh really？
- INTERVIEWER: Yes.
I hope to see you in Chicago.
(LAUGHTER)
- We'd like to see you in Chicago.
- We？
Is that the collective "we"
or is that the...
There are many people
who would like to see you in Chicago.
- But you don't？
- Certainly, I do.
Well, I'm representing WNAC in Boston
and our viewing audience
would love to know why you're here
and for you to tell us
about your latest movie.
Excuse me,
I didn't mean to touch your ankle.
Well, what can I tell you about it？
INTERVIEWER:
Oh, just some interesting things
that our audience would like to hear...
You talk out of the side of your mouth,
did you ever notice that？
- INTERVIEWER: No, I...
- You talk... It's channing.
TERVIEWER: Unintentional.
It's a physical idiosyncrasy,
ut it's a charming one.
We can't see your right eye.
Talking from the side of my mouth？
Wouldn't want to do that.
Would you like to tell us about behind
the scenes while making the picture？
How far behind the scenes？
(LAUGHTER)
RANDO: Answer me something, is it true？
There are some rumors about you
and Marlon Brando having a romance, huh？
WOMAN: Oh no, we're just good friends.
RANDO: Just good friends？
Well, it seems the other night,
you were going into Mr Brando's room
and not coming out until early morning.
Is that true？
WOMAN: Well, yes, it's true,
ut he is a perfect gentleman.
RANDO: He's a perfect gentleman. I see.
Is it true there was some love making
going on there？
The people in the next room seem to
have heard some thumping about and...
and some rattling of the bed itself.
WOMAN: Well, I slept with him.
RANDO: You slept with him？
Well, I don't...
WOMAN: In the same bed.
RANDO: Well, I don't know if we can
talk about this over the air, I mean...
I hope you folks listening in
will not be...
WOMAN: Just close your ears.
WOMAN 2:
You have what most men want.
You have a lady to fuck,
you have a woman who loves you,
you have a...
(BRANDO LAUGHS)
WOMAN 2: Guilty, aren't you？
RANDO: I'm not guilty.
It's just the... It's the tequila.
- WOMAN 2: It's the what？
- BRANDO: It's the tequila.
WOMAN 2: I got it.
RANDO: Past a certain point,
the penis has its own agenda.
It has nothing to do with you
and a lot of your decisions are made
y your penis and not by your brain.
REPORTER:
I'd like to show you a wedding picture.
A wedding that took place
on October 11th, 1957.
The man is Marlon Brando.
The woman？ A young Indian actress
and a model, Anna Kashfi.
RANDO: A good con man can fool anybody.
And the first person that you fool
as a con man is yourself.
he found out about other women
in my life
and I had women coming in the door,
going out the window...
The beast aspect of my personality
held sway
and overtook anything that was
reasonable, rational, moral or decent.
ecause if you haven't ever been loved,
or ever known love,
you'll never know where it is.
You don't know what it looks like
or sounds like.
You look in the most unlikely places
to find it.
REPORTER:
Marriage lasted but a few months,
ut a child was born out that coupling.
Christian Devi.
RANDO:
I can remember the baby breathing...
(BREATHES GENTLY)
Little tiny baby like that...
Then listening to the heart.
I didn't want my father
to get near Christian.
The day he was born, I said it to myself
with tears in my eyes in the hospital,
quot;My father is never going
to come near that child,
ecause of the damage he did to me."
INTERVIEWER:
Can I move on to your own acting career
and how your moral beliefs
have affected it？
For example, we associate you
with roles like On the Waterfront,
where you are a man
who is fighting a righteous cause,
a sort of underdog,
you've got the whole union machine
against you,
and then there's the roles
like the rebel leader in Viva Zapata!
Where you are for the poor.
Do you deliberately choose these roles？
Over your career you've deliberately
chosen roles that have
gone along with your political beliefs？
Yes, I think so.
ARRATOR: On December 23rd, 1787,
His Majesty's ship, Bounty,
ailed from England
ound for the South Seas,
culminating in the most famous mutiny
in history.
CAPTAIN BLIGH:
You can put it in one word. Fear.
Fear of punishment so vivid in his mind
that he fears it even more
than certain death.
In my years of service,
I have never met an officer
who inflicted punishment upon men
with such incredible relish.
It's sickening.
Then go and be sick in your cabin,
Mr Christian.
RANDO: Human hatred.
What is the answer？
Is there any answer to injustice？
I wanted to make pictures
that are meaningful to me.
CAPTAIN BLIGH:
You'd best join my war, Mr Christian,
for if I don't start winning soon,
the casualty list will be real enough.
RANDO: You bring part of yourself
to every character,
ut some parts
are closer to us than others.
Is the story true about
you going to school in Minneapolis？
I went to a military academy called...
Well, I won't tell you the name.
I had a terrible time there.
RANDO: My father sent me
to military school, away from home,
the one he had attended.
It was a cruel and unusual punishment.
The mind of the military has one aim:
to be as mechanical as possible.
To function like a human machine.
Individuality simply did not exist.
I had a lot of loneliness.
I spent most of the time
up in the library
reading the National Geographic
magazine about Tahiti.
I was entranced
y the expressions on their faces.
They had unmanaged faces,
o manicured expressions.
A kindness.
That's where I want to go,
that's where I want to be.
When I made Mutiny on the Bounty,
finally I got a chance to go to Tahiti.
I'd fallen in love with Tahiti.
It was everything I longed for,
everything I hoped it would be.
As soon as they'd say cut,
I'd take off my jacket,
dive into the water
and swim under the boats
and play on the beach.
The sky... I've never see a sky like it.
And the sunsets defy words.
My God.
I've only been here a short time.
I have been puzzled
every time I see Tahitians,
ecause I can't figure out
what they're thinking.
When you watch Tahitians,
it's like watching a wave,
or the wind in the palm tree,
or the palm tree itself.
They'll bring their drums
and their skirts,
and they'll laugh and dance
and drink and make love.
Full of laughter.
CAPTAIN BLIGH: Mr Christian.
Kindly satisfy your lust elsewhere.
Quite actually, sir,
we were simply discussing...
Acknowledge the order.
Lust to be satisfied elsewhere, sir.
Report on board immediately.
You bloody fool.
RANDO: Mutiny on the Bounty
was perhaps my very worst experience
in making a motion picture.
I never want to do that kind of picture
again as long as I live.
obody was agreed when we went in.
We all knew that it was impossible
to shoot that story.
It won't work. That will never work.
You can't have Christian standing aside
ot doing anything.
Keep him alive in the story.
I was never consulted
efore the writing was done.
And I cared a great deal
about this picture.
You put your life in the hands
of the director,
ecause the director can screw you up.
You're going too lightly, Quintal.
Lay on with a will
or you'll take his place.
RANDO: They can't direct actors,
they don't know what the process is.
How delicate it is
to create an emotional impression.
They cover up their sense of inadequacy
y being very authoritative,
commanding things.
INTERVIEWER: Didn't he say he wanted
to talk to you and explain it to you？
RANDO: He wanted to give me
a long "no", and I favor short "noes".
INTERVIEWER: No, I did...
RANDO: You can't argue with somebody
who's made up their mind.
Don't ever be intimidated by directors.
You bloody bastard.
You'll not put your foot on me again.
There was a great deal of friction,
confusion and desperation,
disappointment and disgust,
there were fist fights.
hip's company!
I'm taking command of this ship.
Mr Friar, I'll have the keys
to the arms chest.
You'll give him nothing!
RANDO:
Hey! I'm not your fucking stamp licker.
You're making a huge error.
Don't make it again.
I don't care if it costs me my job.
Marlon, talk about rage.
Talk about your own rage.
All my life I've questioned
why I should do something.
I had contempt for authority.
I would resist it, I would trick it,
I would outmaneuver it, I would do anything
rather than be treated like a cipher.
REPORTER:
Marlon Brando has been the subject
of a good deal
of controversial publicity.
He's been called a supreme egotist,
uncooperative, temperamental.
I've rarely seen
uch a range of vicious critiques.
RANDO: They were blaming me
for all the delays and everything.
They had to blame it on somebody,
o they blamed it on me.
Well, everybody has to have
a whipping boy and certainly the studio.
They have to find a scapegoat,
they have to find somebody.
I was the most logical person.
The sickening and endless variety
of lies.
They can hit you every day
and you have no way of fighting back.
I was very convincing
in my pose of indifference.
ut I was very sensitive
and it hurt a lot.
There are times when you think,
quot;What the fuck is all this for？"
quot;Christ, nobody's listening."
There's an old adage in Hollywood,
they say "if you have a message,
go to Western Union."
I didn't make any great movies.
There's no such thing as a great movie.
In the kingdom of the blind,
the man with one eye is the king.
There are no artists.
We are businessmen, we're merchants.
And there is no art.
Agents, lawyers, publicity people...
It's all bullshit.
Money, money, money.
If you think it's about something else,
you're going to be bruised.
I do want to ask you one thing
efore we run out of time, Marlon.
You've been quoted
in the papers as saying
that you are going to abandon acting.
Are you really going to do that？
I feel that I'd like to pursue some
other interests that I have long had.
And within two or three years,
I will have come to the end
of my career.
We're all gonna talk about civil rights,
we're all gonna go on the television
and say what we know,
ecause the country is ignorant.
(APPLAUSE)
lam really moved and motivated
y things that occur that are unjust.
I've always hated
eople trampling on other people.
I was in a quandary,
a philosophical quandary,
ecause I thought
if I am not my brother's keeper,
who am I？
Where does my life end and my sense
of responsibility for other lives begin？
lack bodies swinging
in the summer breeze,
and the smell of burning death.
You could stand so much of it
and to see these people
eing beaten and kicked and spit on.
That could've been my son lying there.
And I'm going to do as much as I can.
I'm going to start right now
to inform white people
of what they don't know.
The white man can't cool it
ecause he's never dug it.
And I am here to try to dig it.
King was in Memphis at the time.
He was striking for a small wage
increase for garbage collectors,
which was one of the best jobs
a black man could get.
ut I want you to know tonight
that we as a people
will get to the Promised Land.
RANDO: That speech where he says,
quot;I've been up to the mountain
and I've seen the Promised Land."
o I'm happy tonight,
I'm not worried about anything.
I'm not fearing any man.
RANDO: "I don't know
if I'm gonna get there with you,
ut I am not afraid tonight."
God, I still remember that.
Ah, Jesus. That's terrible.
He knew he was going to get killed.
REPORTER: Have you considered that
you may suffer bodily harm yourself？
Yes.
RANDO: I'm standing up,
ot for the black race,
I'm standing up for the human race.
All men are created equal.
This is life and death,
this is real life.
We're talking about human relations,
we're talking about human rights,
racial issues and that's why I care.
Get any and all reports from the
outh Pacific Commission in respect to
discovering what plants grow well
on atolls.
How to grow more vegetables
than you can imagine.
And whatever there is on wind power.
We'll get the full library
of information
from the South Pacific Commission.
It was after Mutiny on the Bounty.
I was up in the mountains on Tahiti.
And this guy said, "Do you see
that little island out there？"
And I said, "No, I can't see it."
He says, "Can't you see it？"
quot;it's called Tetiaroa."
I never was in a place that told me
to quit running the way this place does,
the way these people do.
If I've come closer to a sense
of peace, it would be there.
I didn't think of myself
as an owner of the island,
I just thought that I'd paid
for the privilege of visiting there.
I had nothing to give to them.
They had everything to give to me.
They don't care who you are,
they don't care what you do.
They don't know
that you're a movie star.
They couldn't care less.
You cannot lay dollars down
on the table and buy their soul.
Very warm, loving people.
They come up and put their arm
around you,
come and kiss you for no reason at all.
They just take love for granted.
INTERVIEWER: ls there any actress
that you've especially enjoyed
working with, and why？
(BRANDO LAUGHS)
RANDO: That is funny.
Don't look at me.
If you took some kid
and you brought him up in Tahiti,
he'd be a completely different kid.
He wouldn't have this cruel, mean
ociety killing him every day,
killing the life out of him.
All these kids of mine
are filled with love from Tahiti.
Here comes Cheyenne.
Hi, honey. She's going to give you
a little song here.
- Ready？
- (CHEYENNE SPEAKS FRENCH)
(CHEYENNE SINGS IN FRENCH)
(CHEYENNE LAUGHS)
RANDO: Ah, beautiful.
That's my very favorite song.
I love to hear you sing that.
Tahitians have the beauty
of sleeping children.
And when they waken,
they will waken into the nightmare
that the white man lives in,
the nightmare of the want of things.
MAN OVER PHONE: Hello. Don Wagner.
If you're back from vacation,
give me a call.
(HANGS UP)
WOMAN OVER PHONE:
I want to get a ｓｃｒｉｐｔ to Marlon Brando.
United Artists gave me your number.
(HANGS UP)
WAGNER OVER PHONE:
We're trying to locate you, Marlon,
and I don't know where you are.
If you get the message,
can you talk to us a little bit？
(HANGS UP)
AN OVER PHONE: Hello？
Hello？ I can't believe
there isn't somebody there. Hello？
H it-
RANDO:
I'm interested in making enough money
o I can say "fuck you" to money,
ut that's all.
Acting afforded me
the opportunity of time.
I didn't have to do anything.
I only had to do it once a year
for three months at the most.
It became just a way of making a living.
LAWRENCE JAMESON:
You're certainly unprincipled.
Lying and cheating
come naturally to you.
You're completely without moral qualms.
Yeah, you see, everybody's got
a good side if you look for it.
RANDO: Lying for a living,
that's what acting is.
All I've done is just learned
how to be aware of the process.
All of you are actors.
And good actors,
ecause you're all liars.
When you're saying something
you don't mean,
or refraining from saying something
that you really do mean,
that's acting.
Let me give you an example.
You're coming home, four o'clock
in the morning, reeking of whiskey,
and there she is, waiting at
the top of the stairs, your wife.
You wouldn't believe me, sweetheart.
You wouldn't believe
what happened to me.
Your mind is going 10,000 mph.
You're lying at the speed of light.
You're lying to save your life.
The last thing in the world
you want her to know is the truth.
You lie for peace,
you lie for tranquility,
you lie for love.
o, we all act.
ome people get paid for that.
In my experience, with the camera,
if you're a liar
or you're telling a lie,
you better be able to do it
with consummate skill.
If you're not thinking properly,
if you're not in your part,
it just shows up and there's nothing
you can do about it.
(BUZZER)
I was ridiculous in the part
that I played.
Everything went bad.
Take off those pajamas.
This is silly.
We'll see how silly this is.
(SQUEALS)
What is your name？
Candy.
RANDO: Probably the worst movie
I ever made in my life was called Candy.
Oh Jesus, Mother Mary.
How can you do that to yourself？
Haven't you got any fucking pride left？
I've lost the audience.
You can see it
when you walk into a restaurant.
quot;Are you still making movies？"
If you've made a hit movie,
you get the full 32-teeth display.
You gotta be somebody.
If you're not anybody,
you've committed a sin.
And you're on your own.
You're on a goat trail way up,
and you're alone.
= RANDO: Hello？
Hello？
ensitivity is too high.
The sensitivity is too high.
The neurotic individual's entire
elf-esteem shrinks to nothing
if he does not receive admiration.
To be admired and to be respected
is a protection against helplessness
and against insignificance.
And because
he's continually sensing humiliation,
it will be difficult for him
to have anyone as a friend.
I used to think I'd never grow up.
I thought that life would go on forever.
And then I worried,
omewhere in the middle years,
life is going away and I haven't done
this and I haven't done that.
I've been denied that experience,
I've denied myself that experience.
There was a famous dancer, Ulanova.
And she asked what would be her dream.
quot;If I can dance for one minute,
erfectly...
that is all I would ever ask."
Francis Coppola wanted me
for the part of the The Godfather,
ut the studio was fighting it.
It was demeaning to do a screen test,
ut I needed a part at that time.
I wasn't sure
I could play that part either.
I got some cotton and I put some here,
little bit of cotton down there.
(SPEAKS HOARSELY)
And the first thing you know,
I'm talking like this.
(NORMAL VOICE) Like I took a shot
in the throat or something.
(MUMBLES)
Mumbled my way through it.
The greatest fear an actor has is fear.
How you're gonna be judged.
I don't wanna get caught trying,
I don't wanna get caught being afraid
that my story, my pretending,
my lie
is going to be disbelieved.
That's gonna steal
your performance away.
You have to look at the cameraman,
the producer lurking in the comer
and say,
quot;I don't give a fuck about any of you."
And if by chance an honest man
like yourself should make enemies,
then they would become my enemies.
And then they will fear you.
RANDO: Putting on a mask,
uilding a life...
Little by little I got into this part.
And then suddenly,
omething gets a hold of you.
What is the nature of criminality？
Where does it come from？
We have this antiquated belief
in the myth of goodness and evil.
I don't believe in either one of those.
And I thought it would be interesting
to play a gangster,
ot from the point of view
that he was the bad guy,
ut that he was very gentle.
A hero.
It is not hard to do the big things.
You can act like a man...
RANDO: To scream and yell,
to get mad and to let somebody have it
right in the mouth.
It's much harder to do nothing.
They shot Sonny on the causeway.
He's dead.
(SIGHS)
RANDO:
Just to sit there and think is a lot.
I want all inquiries made.
I want no acts of vengeance.
This war stops now.
RANDO:
hakespeare addressing all artists.
uit the action to the word
and the word to the action.
To hold the mirror up to nature,
to show virtue her own feature,
corn her own image
and the very age and body of the time
its form and pressure.
There wasn't enough time, Michael.
There wasn't enough time.
We'll get there, Pop.
RANDO: Everything that we do
hould reflect the atmosphere
of our lives.
We're living now
in this mad, crazy, murderous world.
If I were brought up in that society,
I'd be like them.
Under certain circumstances,
you could do the same thing.
If anybody would ever try
to take advantage of my children,
hurting somebody that I love,
I'd fight for them,
I would kill them.
(TAPE RECORDER CLICKS)
CHRISTIAN OVER PHONE: Hi, Dad,
I hope you're feeling fine and, uh...
I don't know.
I'm just here. I'm working really hard.
When you come down, I was wondering
if you would send my schoolbooks,
'cause I'm kinda getting behind
on my schoolwork and... You know？
Well, I'll see you whenever
you come, if you come.
(HANGS UP)
FEMALE REPORTER: Marlon Brando's son
Christian has been kidnapped.
olice initially suspected
mafia involvement
following Brando's portrayal
of godfather Vito Corleone.
MAN: Marlon Brando told me,
quot;Mr Annes, we want him found,
we want him brought back
to Los Angeles,
o matter what it takes."
FEMALE REPORTER:
Annes flew into Mexico in a helicopter
and recovered the 13-year-old boy.
ARMES: Christian was found
with a bunch of hippie characters.
He had a terrible case of bronchial
eumonia and he could barely speak.
Why did they say they had him there
in the first place？
They stated they had the boy there
ecause Anna,
eing the mother of the boy,
romised them 10,000 dollars
to hide him out from Marlon Brando.
MALE REPORTER: Christian Brando was
the source of a lengthy custody battle.
FEMALE REPORTER:
A history which saw Christian
used as a pawn in a bitter divorce
and a string
of scandalous public headlines.
ANNA OVER PHONE:
I just happen to be his mother.
You are not anybody, is that clear？
(HANGS UP)
RANDO: When it comes to my son
and my children,
you're speaking to someone
that has a different impulse.
FEMALE REPORTER:
For the very private Marlon Brando,
the public spotlight
was once again painfully bright.
(DOG BARKS IN THE DISTANCE)
RANDO: This is the to-do list.
Check Christian's house
and get the door fixed.
Change the locks.
Make them larger.
Install camera
at the gate with radio transmission
at both gates.
ut lights on so we can see at night
who the fuck it is out there.
I'm not going to lay myself
at the feet of the American public
and invite them into my soul.
My soul is a private place.
If they think I'm going to bare my soul
for the next movie,
they're gonna choke
on their shrimp salad.
I don't know what to call you.
I don't have a name.
- You want to know my name？
- No, I don't want to know your name.
You don't have a name
and I don't have a name either.
o names here. Not one name.
ERTOLUCCI: I was curious
about the person in front of me,
and the person in front of me
was Brando.
RANDO:
ertolucci wanted to get a perfect
autobiographical sketch of myself
in this film.
He wanted me to be me.
ERTOLUCCI: I want the person I see
when I go to have dinner with him,
when we talk and quarrel and discuss.
RANDO: And I thought,
quot;I'm not going to do that."
quot;I'm not going to do that for you."
quot;What the fuck do you think I am？"
ERTOLUCCI: He was obsessed by privacy.
He never wanted anybody
to go deep inside him.
RANDO: Smart con people find out
where you want to go emotionally.
They find out what your direction is
and then they help you along with that,
reinforcing it,
guiding it to their own sweet ends.
Marlon, there is nothing to fear.
It's very important
to trust in this process.
ERTOLUCCI:
Marlon, say something about your past.
how in my film what you really are.
My father was a drunk.
Tough.
Whore-fucker, bar fighter,
uper masculine.
And it was tough.
My mother was very...
very poetic.
ut also a drunk.
ERTOLUCCI: Go deeper and deeper...
Every time more and more real.
Marlon was invading
the character of Paul.
RANDO:
You lied to me and I trusted you.
You lied and you knew you were lying.
Go on, tell me something sweet.
mile at me and say...
I just misunderstood.
Go on, tell me.
RANDO: Maybe you're desperate for love,
always have been in your life.
ut you've been distrustful of people.
Is there anything about them
that scares us,
that's dangerous, that's gonna hurt us？
'Cause a lot of people
are frightened to death of love.
(TRAIN APPROACHES)
Fucking God!
RANDO: Last Tango in Paris
was a very hard film for me.
I realized,
quot;You know you're naked, Marlon."
ERTOLUCCI: When he saw the movie,
he was shocked.
He felt betrayed by me,
ecause I stole from him
o many sincere things.
REPORTER: After his comeback
as the ageing romantic hero
of Last Tango in Paris,
and as the Godfather,
Marlon Brando is once again
the brightest
and most bankable of Hollywood stars.
(FANFARE ON TV)
RESENTER:
Live, the Academy Awards presentation.
The winner is...
Marlon Brando in The Godfather.
(APPLAUSE)
RESENTER: Accepting the award
for Marlon Brando in The Godfather,
Miss Sacheen Little-feather.
Hello. I'm representing Marlon Brando
this evening
and he has asked me to tell you
that he very regretfully cannot accept
this very generous award.
And the reasons for this being
are the treatment
of American Indians today
y the film industry... excuse me.
(BOOING AND APPLAUSE)
I beg we will meet
with love and generosity.
Thank you on behalf of Marlon Brando.
INTERVIEWER: Tell me then, way back,
when you were interested
in the Indians' fishing fights
efore it was fashionable to be so,
what triggered that？
What we have learned about the Indians
has been largely taught to us
y Hollywood and by motion pictures.
eeing Indians represented as savage,
as ugly, as nasty and vicious.
Everything we are taught about
the American Indian is wrong.
There have been 400 treaties
written by the United States
in good faith with the Indians
and every single one of them was broken.
We like to see ourselves
as perhaps John Wayne sees us.
That we are a country
that stands for freedom,
for tightness, for justice.
It just simply doesn't apply.
And we were the most rapacious,
aggressive, destructive,
torturing, monstrous people,
who swept from one coast to the other
murdering and causing mayhem
among the Indians...
(ONE PERSON APPLAUDS LOUDLY)
There is one Indian in here.
(LAUGHTER AND APPLAUSE)
ut that isn't revealed,
'cause we don't like
that image of ourselves.
I don't think the Americans
want to face the truth.
(WHISPERS)
We are all living on stolen land.
I've seen so many of my friends killed.
hot. Stabbed.
Where do you draw the line？
At what point do you say,
quot;God damn it, this is my turf."
quot;I was here first."
quot;One more step on this land
and you're gonna get it."
I was with Indian armed resistance
in Kenosha, Wisconsin...
insisting a piece of land
elonged to them.
(GUNSHOT)
Then I heard the rifle shot
from the National Guard.
(GUNFIRE)
ullets started sizzling by me.
(MIMICS THE HISS OF PASSING BULLETS)
Four feet away from death.
There was an effort
on the part of the government
to cover up the military involvement.
And any cover-ups
are going to be looked into.
After Watergate and all that corruption
going on, we just can't afford it.
INTERVIEWER:
Are most Indian phones tapped？
RANDO: Of course.
- INTERVIEWER: ls yours？
- BRANDO: Of course.
INTERVIEWER: Do you think that you
are considered a dangerous person
to the FBI？
RANDO: I'm putting myself on the line
and I have to make it my business
to find out,
and all these bones
are gonna come out of the graves.
o they lie.
Congressmen, presidents, all of them.
They lie when they're alone,
they lie when they're asleep.
They never see faces
without lies anymore,
except the dead ones.
They're the true assassins,
the true murderers.
Are you an assassin？
I'm a soldier.
You're neither.
You're an errand boy.
ent by grocery clerks.
To collect a bill.
RANDO: These are random notes
on the subject
of the picture Apocalypse Now.
Find out the details
of actual special forces operations
in the jungle of this kind.
I want to get
as many reports as possible.
Check the gruesome pictures
in Life magazine.
Also the pictures
that Larry Burrows took.
eople talk about how proud they are
of their son who died in Vietnam,
fighting for his country.
They had parents so hogwashed
that rather than alter
their belief system,
would kill their children.
Conviction of the myth is everything.
We need myths,
we live by myths.
We die for myths.
I read the ｓｃｒｉｐｔ and it was stupid.
It was awful.
I told Francis, "You are making
an enormous error."
This guy , Kurt, don'! misuse him.
I rewrote the entire ｓｃｒｉｐｔ.
And I have it all on tape.
I have a tape of everything.
Here is a story note.
The guy has to be intelligent.
He is without mercy,
ot because he's a merciless man,
ut simply because
that's the logic of it.
If you're gonna have a war,
you get all in or all out.
To kill without feeling,
without passion...
without judgment, without judgment...
RANDO:
I told Francis how I wanted to be lit.
Half shadow and half light.
He should be mysterious,
a mythological figure.
He is the heart of darkness.
RANDO AS KURTZ: Horror has a face,
and you must make a friend of horror.
Horror and moral terror
are your friends.
RANDO: And I felt myself coming apart,
litting in two, and it scared me.
And yet I've gone so far.
I don't think...
that I can ever return.
RANDO: And then I said to myself,
why are you so frightened？
Let the fear take you.
The horror.
RANDO: And go with the fear.
The horror.
My film is not about Vietnam.
(TRANSLATES INTO FRENCH)
- It is Vietnam.
- (TRANSLATES INTO FRENCH)
It was crazy.
REPORTER: Director Francis Ford Coppola
had to contend with shooting
in the Philippine jungle,
a raging civil war and Marlon Brando.
Coppola was appalled
when Brando arrived grossly overweight
and had to be filmed in shadowy light.
COPPOLA:
He was already heavy when I hired him.
ut he was so fat,
he was very, very shy about it.
REPORTER: But that was the least
of the director's problems.
ulling his notorious delaying tactics,
rando was up to his old tricks again
with endless ｓｃｒｉｐｔ conferences,
costing the production
hundreds of thousands of dollars.
COPPOLA: Clearly he had just
kind of left me in a tough spot.
RANDO: Francis Coppola, he's a prick,
a card-carrying prick.
I mean the cocksucker.
How could he do that to me？
I saved his fucking ass
and he shows his appreciation
y dumping on me.
Let the tension flow out of you.
Let it flow out of your mind.
Five, four...
Going down in an airplane.
oftly coming in.
One, zero.
You hear the Tahitians singing.
Far, distant laughter.
And it's just after the sun
has gone down.
A star comes.
The first star of the evening.
eace and love.
And I'm looking
at this very deep, indescribable night.
I think, "God, I've no importance."
quot;Whatever I do or don't do,
or what anybody does
is no more important than
the grains of sand that I'm lying on."
(SPORTS COMMENTARY ON TV)
RANDO: I've had 110 fights.
Lost twelve.
I'm really...
I've taken too many fucking punches.
I don't want to be stressed anymore.
(SPORTS COMMENTARY ON TV)
RANDO: You want me to play this guy？
I'll play that guy.
I'm just a service person.
ow, no more bullshit.
We come to
how are you going to fill up my pockets？
What are you gonna give me？
I've made as much as 14 million dollars
for 12 days' work
on a rather silly movie.
My friends, you know me to be
either rash nor impulsive.
And I tell you that we must evacuate
this planet immediately.
RANDO: I used to paste the cue card
on actors' faces.
It saved me a lot of time.
And I had things that I'd much rather do
other than studying the fucking lines.
I have found this other way to do it.
I had a pocket recorder
and I had a thing in my ear,
like a hearing aid.
Let's take a little walk.
Do you mind if I get on this side？
I got bum ears.
- Sure.
- My machine is on this side.
RANDO: I'd get fed lines,
just a suggestion of a line,
and then I'd take the line and mould it.
It's effective.
I was using it in that movie.
I can't even remember the name of it.
Your eyes are closing,
getting heavier and heavier.
Just think of all the good things
that you like.
Like apple pie and ice cream
and brownies and milk.
ut you must eat them
ot quite so often.
Day by day, minute by minute,
econd by second, you will lose fat.
When you get as fat as me,
you gotta start thinking,
quot;Well, what's the matter
with the machine？"
The machine isn't working right.
It's something out of balance here.
Food was always a friend.
When I was a kid,
I'd come home from school
and I'd open the icebox
and there'd be apple pie in there
and cheese and...
They'd say to me, "Come on, Mar,
why don't you be a pal and take me out？"
quot;I'm freezing in here."
The dishes were in the sink
and the house was unkempt.
I had the fear that everybody was dead
and pretending to be alive.
One time, my old man
was punching my mother
and I went up the stairs
and I went in the room.
And I had so much adrenaline,
and I looked at him
and I fucking put my eyes
right through him
and I said, "if you hit her again,
I am going to kill you."
(GUNSHOT)
(POLICE SIREN)
OLICE OFFICER: Copy. All available
units responding to a shooting.
REPORTER: The son of actor Marlon Brando
facing murder charges this morning.
32-year-old Christian Brando accused
of shooting his half-sister's boyfriend.
REPORTER 2:
Ayoung man, Christian Brando.
His half-sister, Cheyenne Brando.
And her boyfriend.
It was a triangle that proved fatal
and brought tragedy to the home
of one of the world's most famous stars.
LAWYER: "I shot him, man."
quot;But not on purpose."
quot;it was an accident."
REPORTER: The two men had quarreled
over Drollet's treatment
of Cheyenne Brando.
Mistreatment police say allegedly
included physical beating.
LAWYER:
quot;Two guys with a loaded gun, wrestling."
quot;it goes off and he's dead."
I saw Dag laying there
and I breathed into his mouth
and I called 911.
REPORTER: Asking leniency for his son,
rando said Christian's life had been
filled with struggle and unhappiness,
traumatized by a bitter divorce.
I think that
erhaps I failed as a father.
And certainly there were things
that I could've done differently,
had I known better at the time.
I am at fault in this.
And if I could trade places with Dag,
I would.
The total sentence imposed
is ten years in the state prison.
REPORTER: Cheyenne Brando is suffering
from mental and physical problems
and cannot travel here
to testify about what she knows.
Cheyenne is doing her best...
Excuse me... sorry.
REPORTER: Another personal tragedy
for actor Marlon Brando.
His 25-year-old daughter Cheyenne
has committed suicide at her home
in Tahiti.
Cheyenne Brando reportedly
had made several suicide attempts
efore hanging herself yesterday.
REPORTER 2: For Marlon Brando,
Tahiti will never quite be
the same again.
When in disgrace
with fortune and men's eyes,
I all alone beweep my outcast state,
and trouble deaf heaven
with my bootless cries,
and look upon myself and curse my fate.
RANDO: There are times
when you wake up in the morning
and you turn over and feel,
quot;Sh
《马龙，听我说》影评(二)：看片时的记录与想法
有关艺术的东西若要讲天赋一说，感受力定是关键。
马龙早年的不幸使他幸运的拥有一份强大的感受力。
他那源于“爱不得”而产生的安全感缺失，因而脆弱而敏感继而孤独。加上白羊座的帅气阳光自卑倔强。揉合出一团自相矛盾的魅力人格。由因这份魅力，他成了力与美的结合，似乎能在他身上窥视出人类的所有善恶。
＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝
马龙大概是可爱与“像我”的结合。形象魅力与人格魅力都十分出众。
同情是指可爱。我们让他们成为我们的朋友、家人或恋人。它们具有一种天生的可爱性，并能唤起同情。而移情却是一种更为深刻的反应。
移情是指“像我”。在主人公的内心深处，观众发现了某种共通的人性。人物的某些东西能够拨动观众的心弦。在那一认同的瞬间，观众突然本能地希望主人公得到他所欲求的一切。
－－－“越多共鸣感，主角就越丰满，更具力量和深度。一般来说，至少使用5个特质，若能用到6～7个可能会更好。”
－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－
以下是观片随笔
－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－
省钱录音
事件1枪击案
比较孤独
曾穷困潦倒
当演员是意外
i had a great feeling of inadequacy
theatrical expericence
在一个满是犹太老师的学校上学
ensitive
其实我们很早很早就会演戏
我们把麦子扔在地上
也只是为了引起妈妈的注意
演戏是生存之道
costume
its a lovely fragrance
妈妈很好
妈妈是酒鬼 然后失踪了
老师收养她
相信他能成名
《欲望号街车》
成名 充满活力 激情四射
你得让观众停止将爆米花塞进嘴里
《码头风云》获奥斯卡最佳男主演
观众会把自己投射在角色上
“你不明白
我原本可以闯出名堂
而不是一无是处的人
演习的是观众
每个人都觉得自己很失败”
看电影时的愉悦
能够帮助我渡过一周
illusion of success
这次黑人运动
与马丁路德金相识
爱自由
为了赚钱拍烂片
失去名声
如果一个神经质的得不到崇拜
他的自尊心彻底崩溃
被崇拜和受尊重会保护一个人 使他不会感到无助
不会感到自己渺小
由于他不断感受到羞辱
他会难跟任何人做朋友
你难道不知道你被视为史上最伟大的演员吗？
Tim才是史上最伟大的演员
它想吃东西的时候会假装爱我 给我出去
《马龙，听我说》影评(三)：马龙，我们听到了
年龄影响，我只看过你的《教父》，本以为你演绎了人生巅峰，却不想只是容颜衰退人生低谷后的回光返照。
惊艳于你年轻时的英俊，沦陷于你中年时的气宇。却不想因此片难过你的难过。
人的一生，无法用好坏善恶衡量，冷暖喜悲只允自知
马龙，我们听到了
可又能怎样呢
《马龙，听我说》影评(四)：很幸運的能再見關於你的最後一部作品
這輩子從來沒有如此迫切的想要去觀看一部影片,即使是這部片子又長又無趣,沒有動作戲,沒有特效,甚至是沒有對白.但只要有你-馬龍白蘭度,這就夠了.
白蘭度,你就是一個親愛的混蛋.你的英俊瀟灑快要蔓延了一整個世紀,可你卻毅然決然的轉身離開了我們,離開了這個世界.噢,該死的,你的母親,你的兒子,你的女兒也都是混蛋.可為什麼出身于混蛋家族的你卻是那麼的特別？
你對於生活,對於你自己的本身,對於電影行業,你總是有著令人感到詫異的看法.我很喜歡你說過的那句話.你從沒有拍過什麼偉大的電影,因為偉大的電影根本就不存在.盲人國里,獨眼稱王.也根本沒有什麼藝術家,都只是一群打著藝術名號賺錢的生意人.也沒有所謂的表演藝術,所有的表演都只是在說謊,所有的演員都只是好的謊言者.正因為你一直秉著自嘲,批評甚至揭露的態度,你才能在這條路上不忘初心,保持著你的氣質風度,讓我們見識到了一個劃時代的"教父"
你對於你私生活的保護是那麼的嚴密,你禁止外人探訪,討厭每日身後都是照相機快門的聲音,你想逃離那樣的生活,就像你在大溪地時所說的那樣,可是你卻需要依靠那樣的生活來生活.馬龍,你是我心中最為偉大的演員.儘管你的地位是世界巨星級,可是你不是一個好的明星.你拒絕透露絲毫自己的隱私,儘管你明知自己對於外界的評論是那麼的敏感,可你還是會憑著自己內心的喜惡來對外界的實物評頭論足.
你是那麼的深愛著你的家人,可是你和他們的關係卻並不是很友好.你視克里斯蒂安為"皇太子",可是他卻一次又一次的讓你失望.槍殺,吸毒,你所培養出來的兒子就是這個樣子,讓你為其傾盡家財,可他最後還是因為吸毒離開了人世,你的女兒也如是.時間最悲哀的莫過於白髮人送黑髮人,你最親近最深愛的兩個人就這樣的離開了你.在他們生命的最後,他們有沒有悔恨過？你有沒有悔恨過？你們註定是上不了天堂,不過即便如此,在下面能夠繼續陪著他們的你,應該是會幸福的吧.？
這應該是關於你的最後一部作品了,很榮幸我能活著看完.
馬龍之後,再無馬龍.
《马龙，听我说》影评(五)：比演技更重要
《马龙，听我说Listen to Me Marlon》是一部关于马龙白兰度（Marlon Brando）个人见解的作品，影片主要来源于马龙白兰度近期披露的生前录音资料以及马龙的影像资料。公开的珍贵录音时长近七小时，在提炼和加工之后，形成了这部时长95分钟的影片。就在这短短的一个半小时中，我们走向了马龙白兰度的内心世界，看到了我们以前无法看到的马龙的真实内心世界。
马龙白兰度是演员中的一个神话，甚至可以毫不客气地说“一个不想成为马龙白兰度的男演员不是好演员”。他位列AFI百年男演员第4位，但他与其他同在名单中的那些演员们相比却大相径庭，他的一生从始至终都被一种莫名的悲剧情感所包围，他的脸庞所独有的叛逆感是超越他所属的电影时代的英俊，只有他在中年之后仍然在电影中大放光彩，更有他激进的政治态度，他就是那个传奇——马龙白兰度。
首先，马龙是一个出色的演员，他对表演的看法与实践都体现了这一点。他常常在街上观察普通人，观看他们的表情并分析他们的性格，从中提升自己的演技，让自己的表演从真实生活中提炼，不成为亨弗莱鲍嘉等人千篇一律的表演方式，而要把角色变成真实的人物。他强调“人人都是演员或骗子，我们每天都在用即兴的表演欺骗身边的人”这个观点，反映了他的表演新派观点以及对旧派的讽刺，更表现了他对人生活的一种理解。我们难道不经常演戏应付别人吗，别人难道不经常演戏应付我们吗？可以说人人都是表演大师，随时在骗过身边的人。可是也正如马龙所说，我们做骗子时首先骗的人就是自己。
演员的演技做到马龙的程度已经实属不易，但影片为我们呈现出不仅仅是对演员、表演有深刻见解的马龙，还有比演技更重要的事，就是马龙的生活。
马龙的童年并不幸福，他生活在一个缺少母亲和充满暴力的家庭，童年的经历奠定了马龙多愁善感的一生，他没有被爱过，也不知如何爱别人。他只是想用自己认为的爱去爱他的孩子们，也许正是因为如此，他在老年要为自己的家庭承受巨大痛苦，一次次在媒体面前曝光，面对他所不愿面对的一切媒体与敌人。
马龙希望一个美丽的环境，停止演戏。他在演艺经历中来到了大溪地，一个印第安人安居乐业的世外桃源。他深受感动，他希望世界永远如同这个样子。但事与愿违，他不得不一次次为民权事业奔波，看着无辜的孩子在战争、游行中逝去，为那些无知愚蠢的父母、政府愤怒。他为黑人说话，为印第安人说话，希望美国能够平等地对待黑人与原住民。为了呼吁政府正视历史，更为此放弃了在《教父》的精彩演出而获得的金人。马龙的一生都在为社会困惑，困惑那些被扭曲的历史与思想。
马龙留下了这些录音记录了他长期的、压抑的情感。这些录音为我们呈现了那个神秘的马龙，我们可以与他一同看待他的事业、他的家庭、他的人生，去了解他、感受他的人生情感，去学习他的看法、见解。我们就坐在那里，静静看着马龙的影像，静静听着马龙感慨人生。
马龙在我们心中的形象也许还是那个数字模拟的蓝色人头，但是我们可以坐在那里，就在那里听你说，马龙。
《马龙，听我说》影评(六)：马龙·白兰度私人特辑：不讲角色，只讲自己
本来以为这个片子会大讲特讲马龙·白兰度对自己饰演过的经典荧幕形象的分析（或者讨论）什么的，可是看完了才发现这是一本私人日记选辑。
童年阴影
这个词几乎滥俗了。对于大多数人而言，这个话题是万试万灵的。因为没有人能保证自己的童年真的一道灰色的阴影都没有。被奉为“演技之神”的马龙·白兰度也有一个糟糕的童年（明星们似乎都爱谈这个，即使不爱，粉丝也爱），父亲冷酷、粗暴、到处风流快活，还经常性地虐待自己的妻子；母亲温柔、内心中有着些许的诗意，却是一个酒鬼，最终精神崩溃，不知所踪。他对“经常去警察局保释母亲”的往事深感痛心。这样的孩子，想要健康成长起来，心中没有一丝暴戾，确实很难。马龙·白兰度一生都在摆脱父亲留给他的伤害，与此同时，他成为了一个向往自由、想做自己、渴望被爱却又难以保持对周遭事物信任的人。这种悲剧性的人生，在他的家庭中重演。他成了一个自己努力摆脱悲剧命运却在无意中促成了它的人。他希望自己的孩子能在大溪地那样的地方成长，免受现代社会的精神戕害，可是他的女儿，却没能像他期望的那样“一直活在大溪地无与伦比的景色里”。
反抗权威
一个自卑的人，倘若突然爆发，力量惊人，往往有着令人瞠目结舌的感觉。历史学家们似乎也越来越关心英雄人物的自卑心理，拿破仑、希特勒、斯大林……仿佛这些人物心理中自卑的一面，正在悄然地改变着这个世界。马龙·白兰度坦诚自己在遇到斯特拉·阿德勒之前是一个无比自卑的人的。对于他的表演事业，他也说：”除了这个，好像自己什么都不会，既然还可以，那就努力做个优秀的表演者。”他的演艺事业起步后，名利双收，声称“我父亲永远也不会明白自己一无是处的儿子怎么会在6个月里挣得比自己过去十年还多！”，这无疑是对“用钱来衡量一切”的父亲的某种心满意足的“报复”。他为了钱，去接让自己鄙夷的烂片（比如《超人》）；他为了演好角色，不惜与科波拉决裂（《现代启示录》几乎让科波拉破产）；他可以让奥斯卡颁奖典礼尴尬；他为自己刚出生的儿子远离父亲的“伤害”而过度保护，却仍旧避免不了子女间的悲剧；他为黑人人权呐喊、为印第安土著民众声索权利；他做了几乎自己能做的任何事，去反对这个世界的他认为的“权威”，却最终落败。在《巴黎最后的探戈》这部他认为“暴露过多自己个人内心”的电影中，那个痛苦、孤独、茫然的形象似乎才最接近他自己的本身。
矛盾：最大的敌人是自己
他丝毫不避讳谈及自己对钱的喜爱，为了钱，他也会接演让自己后悔和鄙夷的片子。他享受着声望带来的自由（玩乐、漂亮女孩、聚会……），却对粉丝们的歇斯底里的追星感到震惊和不解。他对自己在《码头风云》中的表演很不满，尽管拿让他拿了奥斯卡。他成名后，开始感叹“想做一个普通人远比自己想象的困难”。他深谙明星总会难以逃脱“被神化”的过程，却无能为力。在《教父》的时候，他干脆找了一个看起来很荒谬的借口，拒绝了奥斯卡。他似乎对自己的每一部作品都不满意。我愿意相信这是他的真实想法。
他选择电影事业，是因为“每年只接一部片子，工作三个月，剩下的时间都可以做自己想做的事情”，比如去大溪地感受一下那里远离现代社会的宁静。为了保护自己和家人，他在自己的深宅大院中变得更加孤独、远离人群。
对于儿子的过度保护，也让他的儿子有了一个不正常的童年（这违背了他的初衷，好像除此之外，他也没有别的选择）。
他在心理治疗上花了无数的钱，却痛斥这些医生们为庸医，说他们只会拿“凿子和钻头对付你的大脑”。
他对钱的喜爱和挥霍，时常让自己陷入债务危机，就连《教父》这部让他迎来“翻身仗”的影片也是在200万片酬的诱惑下接手的。晚年，他更是留下了1100万英镑的巨额债务。他的风流债也很惊人，一生留下了6个自杀的情妇，还有大约25个不幸的子女。
一个伟大的演员、一个道德上的堕落者、一个孤独的人……恐怕这些都不足以定义这个影史上备受争议的人物。晚年，他终于明白了悲剧的所在，父亲也有一个悲剧的童年。家庭悲剧肯定不具备这种特殊的遗传性质，但是那些悲剧人物或许内心里一直都清楚自己想要逃避的什么，那就是他们或许不想成为那个真实的自己，一生徒劳地挣扎，却又回到了原点。
悲剧啊，悲剧。
《马龙，听我说》影评(七)：听马龙说
《马龙，听我说》
一部关于大明星马龙-白兰度的记录片，虽说是记录片，但似乎是马龙-白兰度主宰着一切，无论他的声音，他的影像，他的电影片断，以及他所表达出来的内容，他贯穿全片，作为一个演员，马龙-白兰度的气场以及魅力无以伦比，好的导演碰到这样的演员，三生有幸，但坏的导演，碰上这样的演员，简直如临大敌，水火不容。通过记录片，我们相信，马龙-白兰度在艺术上是有要求，作为演员，事实上不仅洞察人性，还要有看透生活本质的顿悟。这部记录片也是来自于圣丹尼电影节，导演通过整理了马龙-白兰度生平并未曝光的录音，还有马龙-白兰度所拍摄的视频，加上他所演绎的电影片断，剪辑拼凑成了一部完整的记录片。导演没有如一般的记录片那样，通过访问马龙身边的朋友家人等，去试图探究另一面的马龙，所幸马龙所存留下来的素材颇丰，也足以撑起整部记录片的厚度。从马龙的录音与拍摄视频来看，马龙没有作一名导演，非常可惜，在尽管他嘴上并不承认艺术，但对质量与作品上，他会有一把尺，马龙对整个人生与世界观，事实上是正确的，比如不能忍受军队的机械化管理，他认为每个人都一样，那这个世界不是太无聊了，他力求与众不同，特别在演员角色的表演上。他认为人生来平等，所以他站在黑人运动的立场，支持马丁-路德金，让他遭到了部分白人的唾弃，他说不是黑人问题，是人类的问题。他说也许每一个人都在演绎十岁之前的那种问题，也许十岁之前的经历，会左右着一个人漫长而短暂的一生。某一个角度上来看，马龙-白兰度也像一个独立思考的哲学家。这是部成功的记录片，不仅意境丰满，还充满深度哲思，关键在于有伟大的最佳男主角，马龙-白兰度。
《马龙，听我说》影评(八)：白兰度呀
看这个纪录片之前，我以为白兰度是男人中的男人，看完之后我认为他是「人」中的「人」——白兰度演了超人他爹不是没有道理的。他是公众人物里最接近尼采的超人本身的存在，然而在他的时代，在我们如今仍处于的时代，人们尚未准备好接受一个超人——或许我们已足够堕落，只是还没准备好被救赎；或许我们仍未堕落到只能寄望于超人的最谷底。无论如何，白兰度本身有能力成为超人，不过时候未到，他于是就成了超人的父亲——一个更温和的、更人性的，同时也因其对超人的培育而更具有力量、具有革命性的先辈式的存在。
在他身上，我看不到任何哗众取众的成分。即便是有时哗众，也是为了讥讽。他身上的人性的特征太强烈了，这让他无法成为一个专业的演员，尽管他在演技与舞台表现力上无可指摘——他无法被工匠化；虽说同时他也无法被商品化，马龙-白兰度却注定成为一个传奇巨星——隐藏在异常耀眼且鲜明的标签下的白兰度本身，就是一个传奇。即使仅仅是表面肤浅粗暴的标签，支持黑人平权、充满反叛精神的好莱坞愤青，也足以值得被凝视。然而他不是深渊；马龙-白兰度，他是一个真正的「人」。
这种时候太少了。这种能提醒我人之为人所具有的一切美好品质与伟大之处的人，太少了。我们一生中的大部分时候虽然不至于惨到「生而为人，我很抱歉」的地步， 却也极少有片刻能够引以为豪的、身为人类的自我意识——是真正的、简朴的不带任何其他修饰词的「人」，而非「现代文明社会人」 ，事实上我们常常将自觉属于后者而引发的自豪感误认为是前者。如果仅仅是「人」，还值得做么？脱去了金钱、权力、观念道德的文明印记，我们追求的「人」的衡量标准是什么？从纪录片中我们可以看出，马龙-白兰度自始至终都在思考这些问题，从他风头正盛、假笑屈就好莱坞工业的年轻时代，到臃肿苍颓、生活混乱无序且负债累累的老年时期……他几乎是天生一样的、自然而然地对这些问题予以关注，而他本可以有上万个理由远离它们——他没有受过高等教育，他是个被娱乐化了的电影明星，他是个风流成性的花花公子，他有钱，他忙着作为一个演员、一个明星的通告与应酬，档期之外又忙着酗酒飙车满世界睡女人……可这些皮肉竟没能改变他作为一个「人」的热情与潜能——仿佛这种潜能是深埋在他肌骨之中的，无法被侵蚀、抹除。
要我说，他太酷炫了。
《马龙，听我说》影评(九)：马龙，听我说
影片开始马龙苍老的声音本身就带有一种浓浓的寂寞孤独，本身对哲学与自身的思考让他在年轻的时候做了许多不为大众所理解的事情，这可能也为他日后家庭的破裂埋下了深深的伏笔。虽然他一再说是他父亲对他造成的阴影，但是一个单亲家庭成长过来的孩子肯定是需要爱与被爱的，但世俗的遭遇没能磨灭了他爱的能力却剥夺了他感知爱的能力，伴随他后半生的除了落寞苍老的背影还有更深的孤寂与焦虑。他有一双看透世人的眼睛，却看不透他的一生。他一生都在致力于维持家庭和睦，避免他童年的不美好出现在现在的家庭中，他带着孩子走进大溪地，他尽力保护个人领地--家庭与家人，但是正是这个他极力维护的东西，最后却让他听到了心碎的声音，不能不说这是一种打击。他年轻的时候是一个不羁的浪子，年老以后呢
Marlon and others
VI栽罗勒 4 2015-01-26 07:57:38
提示: 这篇影评可能有剧透
在Sundance影节看的影片公映第二场，导演在，马龙的女儿Rebecca也在。
映后有Q&A，Rebecca今天说了这么几句话，我把我能记住的记录下来。
-我的父亲自己没有享受过愉悦的童年生活，他与他家人的关系并不亲近。但他一直致力于让他的孩子，我们，和家人有足够的时间在一起，吃饭，嬉戏。
-他一共有10个孩子，但，可能有12个。
-我父亲死后，市面上出现一些有关我父亲的书籍和记录。但是，目前为止，这一部是最写实的。我觉得这部影片真正展示出了我父亲究竟是个什么样的人。
“你听到大溪地人的歌声，从远处传来的笑声。太阳刚刚下山，一颗星星出现，夜空的第一颗星星，和平与爱。我看着一望无际，无法用言语形容的夜晚，我心想：‘老天，我一点都不重要，无论我做什么或不做什么，或者任何人做的事情，都没有比我身下的沙粒更重要。’”
《马龙，听我说》影评(十)：Marlon Brando
1、你能相信这股风。A wind you can trust.
2、在剧场中重点不是捍卫自己的缺陷，而是克服自己的缺陷。
3、Marlon:有些人是很少碰酒，但是酒却经常碰他们。
4、莎士比亚说：你无法从一个人的面貌看出他的内心。但其实应该有办法。
There is no art to find the mind's construction in the face.There should be such an art.
5、只要对了就是对的，你骨子里也能感受到，then you feel whole,then you feel good.
6、没有人天生就是邪恶的。多数人只是想克服他们在10岁之前就积累起来的不好的情绪习惯。
7、每个人都有憎恨的能力，每个人都有爱的能力。如果我们积极的朝某一边发展，我们都可能成为杀人凶手或圣人。
8、我经常冥想，结果是我感觉平静多了，我有几度感受到真正的平静。
9、记者：你不知道自己被视为最伟大的演员之一吗？
Marlon:Tim才是史上最伟大的演员，它想吃东西的时候会假装爱我。给我出去。