Mexican Beef Recipes Biography
Source:- Google.com.pkA collection of personal effects from Brando's estate fetched $2,378,300 at a June 30, 2005 auction at Christie's New York. His annotated script from The Godfather (1972) was bought for a world record $312,800. "Godfather" memorabilia were the most sought-after items at the 6.5-hour auction, which attracted over 500 spectators and bidders and multiple telephone bids. Brando's annotated film script originally was figured to sell at between $10,000 and $15,000, but brought more than 20 times the high end of the pre-auction estimate. The previous record for a film script bought at auction was $244,500 for Clark Gable's Gone with the Wind (1939) script, which was auctioned at Christie's New York in 1996. A letter from "Godfather" writer Mario Puzo to Brando asking him to consider playing the role of Don Corleone in the movie version of his novel was bought for $132,000. A photograph of Brando and former lover Rita Moreno in The Night of the Following Day (1968), the only piece of film memorabilia he kept in his Mulholland Dr.home, was bought for $48,000. A transcript of a telegram from Brando to Marilyn Monroe after her 1961 nervous breakdown was bought for $36,000. His extensive library of over 3,600 books was sold in lots, some of which fetched over $45,000; many of the books were annotated in Brando's own hand.
Shortly before his death, his doctors had told him that the only way to prolong his life would be to insert tubes carrying oxygen into his lungs. He refused permission, preferring to die naturally.
Was a licensed amateur (ham) radio operator with the call signs KE6PZH (his American license) and FO5GJ (is license for his home in French Polynesia). For both licenses, he used the name "Martin Brandeaux".
His decision to play the title role in The Island of Dr. Moreau (1996) turned out to be an offer that he definitely should have refused. He received the Worst Supporting Actor Razzie Award, beating Burt Reynolds, who was nominated for Striptease (1996), by a single vote. The vote was cast by Razzie award founder John Wilson, who always chooses to vote last.
At the time of his death at the age of eighty, Brando had been suffering from congestive heart failure, advanced diabetes and pulmonary fibrosis (damage to the tissue inside the lungs resulting from a bout of pneumonia in 2001). Doctors had recently discovered a tumor inside his liver, but he died before they could operate to remove it.
In a 1966 review of Brando's film The Chase (1966), film critic Rex Reed commented that "most of the time he sounds like he has a mouth full of wet toilet paper."
Rode his own Triumph 6T Thunderbird, registration #63632, in The Wild One (1953).
Contrary to popular belief, Brando was not an atheist. At his son's trial, where he supposedly revealed his atheism and refused to swear upon a Bible, his actual words were, "While I do believe in God, I do not believe in the same way as others, so I would prefer not to swear on the Bible".
Apocalypse Now (1979) was based on the novel "Heart of Darkness" by Joseph Conrad. Years after "Apocalypse Now" was released, a television film was made of Heart of Darkness (1993), which featured Ian McDiarmid in a small role. McDiarmid also appeared in Dirty Rotten Scoundrels (1988), a remake of Bedtime Story (1964), a '60s comedy in which Brando appeared.
Both of his Oscar-winning roles have been referenced in the Oscar-winning roles of Robert De Niro. DeNiro played the younger version of his character, Vito Corleone, in The Godfather: Part II (1974). Brando's first Oscar was for On the Waterfront (1954), where his famous lines were "I coulda had class. I coulda been a contender. I could been somebody." DeNiro imitates this monologue in Raging Bull (1980), which won him his second Oscar.
When cast as Col. Kurtz in Francis Ford Coppola's Apocalypse Now (1979), Brando had promised to lose weight for the role, as well as read Joseph Conrad's novel "Heart of Darkness", on which Coppola's script was based. Coppola had envisioned Kurtz as a lean and hungry warrior; the character of Kurtz in the Conrad novellas was a wraith and weighed barely more than a child despite his great stature, due to his suffering from malaria. When the 52-year-old Brando -- who had already been paid part of his huge salary -- appeared on the set in the Philippines, he had lost none of the weight, so Coppola and cinematographer Vittorio Storaro were forced to put Brando's character in the shadows in most shots. In the penultimate appearance of Kurtz in the film, when he appears in silhouette in the doorway of his temple compound as the sacrificial bull is lead out, a very tall double (about 6'5") was used to try to give the character a greater physical stature, rather than just Buddha-like belly-fat that girded the 5'10" Brando. He didn't get around to reading the novella until many years later.
He did not like to sign autographs for collectors. Because of this, his own autograph became so valuable that many checks he wrote went uncashed--his signature on them was worth more than the value of the check itself. Ironically, his secretary Alice Marchak remembered a time when a fan asked for his autograph. Brando promptly signed the fan's autograph book twice. Brando then told the fan that he had heard that one John Wayne autograph was equal to two Marlon Brando's on the collector's market.
After clashing with French director Claude Autant-Lara, Brando walked off production of Rouge et noir (1954).
In his 1976 biography "The Only Contender" by Gary Carey, Brando was quoted as saying, "Like a large number of men, I, too, have had homosexual experiences, and I am not ashamed."
It was his idea for Jor-El to wear the "S" insignia as the family crest in Superman (1978).
Is mentioned in Robbie Williams' song "Advertising Space".
His performance as Terry Malloy in On the Waterfront (1954) is ranked #2 on Premiere Magazine's 100 Greatest Performances of All Time (2006).
His performance as Paul in Last Tango in Paris (1972) is ranked #27 on Premiere Magazine's 100 Greatest Performances of All Time (2006).
Was the first male actor to break the $1-million threshold when MGM offered him that amount to star in Mutiny on the Bounty (1962), its remake of its own 1935 classic. Brando had turned down the lead role in David Lean's masterpiece Lawrence of Arabia (1962), which had been offered by producer Sam Spiegel, because he didn't like the lengthy shooting schedule. Ironically, "Bounty" itself wound up with an extensive shooting schedule due to a snail-pace schedule caused by a plethora of problems due to location shooting. With overages due to the extended shoot, Brando pocketed $1.25 million for the picture (approximately $8 million in 2005 dollars). Elizabeth Taylor had previously broken the million-dollar mark for a single picture with her renegotiated contract for Cleopatra (1963). Both films went vastly over schedule and wildly over budget and wound up hemorrhaging rivers of red ink despite relatively large grosses, though Taylor's flick outshone Brando's in the area of fiscal irresponsibility and wound up bankrupting its studio, 20th Century-Fox. Seventeen years later, after almost a decade of failure that caused him to be considered "box office poison" in the late 1960s/early 1970s (a string of flops that began with the failure of the "Bounty" remake), Brando became the highest paid actor in history with a $3.7-million up-front payment against a percentage of the gross for Superman (1978), a role that required his presence on the set for 12 days, plus an additional day for looping. Steve McQueen earlier had priced his services at $3 million a picture but had gotten no takers (many in Hollywood at the time believed he had deliberately set his price that high so he could take some time off). It was the price he quoted Francis Ford Coppola for his services for Apocalypse Now (1979), but Coppola refused to meet his demands and McQueen stayed off the screen for four years. Brando later appeared in the Coppola film in what is a supporting performance for a leading man/superstar salary of at least $2 million plus 8% of the gross over the negative cost. Brando made more money from his share of "Apocalypse Now" than from any other picture he appeared in; it financed his own retirement from the screen during the 1980s. After a decade off screen, so potent was the Brando name that he reportedly was paid over $2 million (donated to charity) for a supporting role in the anti-apartheid drama A Dry White Season (1989). Even toward the end of his life, when most of his contemporaries other than Paul Newman were no longer stars (Tony Curtis's asking price reportedly had dropped to $50,000 in the early 1990s) and could no longer command big money (Newman was the exception in that the financially secure superstar didn't ask for big money), Brando could still command a $3-million salary for a supporting role in The Score (2001).
The Chase (1966) producer Sam Spiegel was quite fond of Brando, who won his first Best Actor Oscar in the Spiegel-produced Best Picture winner On the Waterfront (1954). Spiegel was worried that motorcycle enthusiast Brando would kill himself like James Dean had, in an accident (Brando had had lacerated his knee while biking before filming began). Spiegel constantly queried "Chase" director Arthur Penn as to whether Brando had brought his motorcycle with him to the filming. When Brando got wind of this, he had the bike brought over to the set on a trailer and left on the lot to play a joke on Spiegel, who quickly arrived at the shooting to see that Brando didn't drive it. When Spiegel found out it was all a joke, the normally taciturn producer laughed heartily. Spiegel originally had acquired the property that became "The Chase" in the 1950s and wanted Brando to play the role of Jason 'Jake' Rogers and Marilyn Monroe to play his lover, Anna Reeves. By the time production began in 1965, Brando was too old to play the role of the son, and took the part of Sheriff Calder instead. Brando was paid $750,000 and his production company, Pennebaker, was paid a fee of $130,000 (Marlon's sister Jocelyn Brando was cast in the small role of Mrs. Briggs). Brando did not like the part, and complained that all he did in the picture was wander around. He began referring to himself as "The Old Lamplighter." However, many critics and cinephiles consider Sheriff Calder one of his best performances.
According to Lawrence Grobel's "Conversations with Brando" (NY: Hyperion, 1991), Brando ultimately made $14 million from Superman (1978). The Salkinds, producers of the movie, tried to buy out his share of the profits for $6 million, but Brando refused and had to file a lawsuit to recover what was owed him.
Was paid $3 million for 10 days work on The Formula (1980) (approximately $8.5 million in 2005 terms). Brando told Lawrence Grobel ("Conversations with Brando") that the movie, which he only made for the money as he was broke, was ruined in the editing room, with the humor of his scenes cut out. In his autobiography, Brando -- in a caption for a picture from the film -- recounts that George C. Scott asked him during the shooting of the film whether he, Brando, would ever give the same line-reading twice. Brando replied, "I know you know a cue when you hear one." The two both played chess together during waits during the shooting. Scott said that Brando was not that good a player.
Brando had to sue Francis Ford Coppola to get all the money owed to him from his percentage of the profits of Apocalypse Now (1979). Brando characterized the people in the movie industry as "liars" to Lawrence Grobel (who conducted his 1979 Playboy interview): "Even Francis Coppola owed me one-and-a-half million and I have to sue him. They all do that, as they make interest on the money . . . so they delay paying . . . It's all so ugly, I hate the idea of having to act, but there's no other way to do it".
The producers of the film adaptation of Sir Peter Shaffer's play Equus (1977) were interested in casting either Brando or Jack Nicholson in the lead role of Dr. Martin Dysart. The part went instead to Richard Burton, who had to "screen-test" for the role by agreeing to appear in the play on Broadway. Burton did, got rave reviews and a special Tony award, and won his seventh and last Oscar nomination for the role. In his diary, Burton wrote that in the late 1950s, he was always one of the first actors producers turned to when Brando turned down a role.
Became quite friendly with Elizabeth Taylor while shooting Reflections in a Golden Eye (1967). He agreed to pick up her Best Actress Award for Who's Afraid of Virginia Woolf? (1966) from the New York Film Critics Circle. When Brando made his appearance at the NYFCC Award ceremony at Sardi's on January 29, 1967, he badgered the critics, querying them as to why they hadn't recognized Liz before. He then flew to Dahomey, Africa, where Taylor was shooting The Comedians (1967) with husband Richard Burton to personally deliver the award. Brando later socialized with the Burtons, visiting them on their famous yacht the Kalizma, while they plied the Mediterreanean. Brando's ex-wife Anna Kashfi, in her book "Brando for Breakfast" (1979), claimed that Brando and Burton got into a fistfight aboard the yacht, probably over Liz, but nothing of the incident appears in Burton's voluminous diaries, in which Burton says he found Brando to be quite intelligent but believed he suffered, like Liz did, from becoming too famous too early in his life. He recognized Brando as a great actor, but felt he would have been more suited to silent films due to the deficiency in his voice (the famous "mumble"). As a silent film star, Burton believed Brando would have been the greatest motion picture actor ever.
His performance as Stanley Kowalski in A Streetcar Named Desire (1951) is ranked #85 on Premiere Magazine's 100 Greatest Movie Characters of All Time.
His performance as Terry Malloy in On the Waterfront (1954) is ranked #69 on Premiere Magazine's 100 Greatest Movie Characters of All Time.
His monumental portrayal of Vito Corleone in the masterpiece The Godfather (1972) is the #1 Greatest Movie Character of All Time in Premiere Magazine.
Was unable to raise the $10-million bail initially required of his son Christian Brando (Christian Brando) in the May 16, 1990, slaying of his sister Cheyenne's boyfriend Dag Drollet. After a two-day preliminary hearing in early August 1990, the presiding judge ruled that enough evidence had been presented to try Christian on first-degree murder charges. At that time the judge refused to lower the $10-million bail due to what he termed evidence of the Brando family's failure to cooperate with he court, specifically citing Cheyenne's flight from the United States to avoid helping the police investigation. However, two weeks later the same judge reduced Christian's bail to $2 million, which Marlon was able to post by putting up his Mulholland Drive house as collateral. He soon accepted a cameo role in the film Christopher Columbus: The Discovery (1992) for $5 million, according to Variety, the bible of the Hollywood trade papers.
Brando's friend, actor William Redfield, mentioned him prominently in the memoir he wrote about the 1964 stage production of "Hamlet" (later transferred to film as Hamlet (1964)) directed by John Gielgud and starring Richard Burton. In "Letters from an Actor" (1967, Viking Press), Redfield -- who played Guildenstern -- said that Brando had been considered the Great White Hope by his generation of American actors. That is, they believed that Brando's more naturalistic style, combined with his greatness as an actor, would prove a challenge to the more stylized and technical English acting paradigm epitomized by Laurence Olivier, and that Brando would supplant Olivier as the world's greatest actor. Redfield would tell Burton stories of Brando, whom the Welsh actor had not yet met. Redfield sadly confessed that Brando, by not taking on roles such as Hamlet (and furthermore, by betraying his craft by abandoning the stage, thus allowing his instrument to be dulled by film work), had failed not only as an actor, but had failed to help American actors create an acting tradition that would rival the English in terms of expertise.
He worked for union scale on the anti-apartheid film A Dry White Season (1989) with the proviso that the producers donate $3 million (which would have been his normal fee) to charity. When Brando was interviewed by Connie Chung for her TV program Saturday Night with Connie Chung (1989), broadcast on October 7, 1989, he said he was upset with the picture and mentioned the charitable gift the producers had made on his bequest to show his commitment to toppling apartheid in South Africa. Brando could be generous at that time, as he appeared to be set financially for life due to his profit participation in Apocalypse Now (1979) and the $14-million settlement he won from Superman (1978) producer Ilya Salkind. However, the defense of his son Christian Brando, who was arrested for murder on May 16, 1990, reportedly cost his father as much as $5 million, so Brando was forced to go back to work after almost a decade away from the screen, but for the anti-apartheid picture and what he intended as his career swan-song, The Freshman (1990), for which he was paid $3 million (approximately $4.7 million in 2005 dollars). When he died in 2004, Brando left an estate valued at more than $20 million.
Turned down the role of the Sundance Kid in Butch Cassidy and the Sundance Kid (1969) after Paul Newman took over the production from Steve McQueen. McQueen, who was obsessed with Newman as his rival as a movie actor and superstar, had bought the script from William Goldman, originally called "The Sundance Kid and Butch Cassidy". McQueen was slated to play "The Sundance Kid". When he dropped out and Newman took over the production, the title was reversed and Brando was offered the role. He declined in order to film Burn! (1969) with Gillo Pontecorvo. Brando earlier had dropped out of Elia Kazan's The Arrangement (1969) shortly after the assassination of Dr. Martin Luther King. Brando told Kazan he could not star in a run-of-the-mill movie after King's assassination. Instead, he opted for "Burn", which was a pro-revolutionary story about a rebellion of African slaves in the Caribbean.
The very last film role that was ever offered to him was Rayburn in Man on Fire (2004), less than a year before he passed away. The role instead went to Christopher Walken.
Turned down the role of Earl Partridge in Magnolia (1999).
Turned down the role of the Headless Horseman in Sleepy Hollow (1999).
Was considered by director Tim Burton for the role of The Penguin in Batman Returns (1992). "Batman" creator Bob Kane was relieved that he wasn't cast, as he considered Brando the "wrongest possible choice for the role.".
Keith Richards's son, Marlon Richards is named after him.
Signed on to appear in director Sidney Lumet's adaptation of the play Child's Play (1972) as schoolteacher Joseph Dobbs, but backed out just before principal photography was to begin when he realized James Mason had the better part as his schoolteacher rival. According to Bob Thomas' "Brando: Portrait of the Artist as a Rebel", Brando quit the production when he realized his flagging career would soon be revitalized by the The Godfather (1972). A last-minute replacement, Robert Preston was signed to take over the role, and though a fine actor, he bombed in the performance due to over-projection of his voice (Preston had been playing mainly in the theater in the previous decade). Brando subsequently was sued by producer David Merrick. Ironically, both Brando and Mason were rivals for the part of Viktor Komarovsky in Doctor Zhivago (1965). Both were offered the role by David Lean, and both turned it down.
Was offered the part of Viktor Komarovsky in Doctor Zhivago (1965) by double-Oscar winning director David Lean. However, a month went by and Brando failed to respond to Lean's written inquiry into whether he wanted to play Komarovsky, so the director offered the part to James Mason, who was a generation older than Brando. Lean decided on Mason, who initially accepted the part, as he did not want an actor who would overpower the character of Yuri Zhivago (specifically, to show Zhivago up as a lover of Lara, who would be played by the young Julie Christie, which the charismatic Brando might have done, shifting the sympathy of the audience). Mason eventually dropped out and Rod Steiger, who had just won the Silver Bear as Best Actor for his role as the eponymous The Pawnbroker (1964), accepted the role.
Is mentioned in the Billy Joel song "We Didn't Start the Fire".
Made the Top 10 Poll of Money-Making Stars, as ranked by Quigley Publications' annual survey of movie exhibitors, five times from 1954 to 1973. He debuted at #10 in 1954, and climbed to #6 in 1955 before falling off the list in 1956. He again made the list, as #4, in 1958. He did not appear on the list again until 1972, when he was ranked the #6 Box Office star after the extraordinary success of The Godfather (1972). He made one last appearance in 1973, going out as he had come onto the list, at #10.
Supported John F. Kennedy in the 1960 presidential election.
Idol of Julie Christie.
Posthomously received the 'Stella Adler' Award for Lifetime Achievement, presented by his friend and neighbor Warren Beatty to his son Miko C. Brando.
Brando's decision to send a Mexican actress named Maria Cruz - calling herself Sacheen Littlefeather - to refuse his Best Actor Oscar for The Godfather (1972) at the The 45th Annual Academy Awards (1973) brought widespread condemnation. At the ceremony Clint Eastwood remarked he didn't know whether he should dedicate the Oscar he was presenting to "all the cowboys shot in John Ford's westerns". Michael Caine, nominated for his performance in Sleuth (1972), angrily condemned Brando's actions while Rock Hudson remarked, "Sometimes to be eloquent is to be silent.".
He was a close friend of the reclusive singer Michael Jackson for many years, even appearing in his music video "You Rock My World" in 2001. The last time Brando left his bungalow in Hollywood was to stay at Jackson's Neverland Ranch in the summer of 2003.
Brando's children: 1) From first marriage (with Anna Kashfi) = Christian Devi Brando aka Christian Brando (b. 1958); 2) From second marriage (with Movita Castaneda) = Miko C. Brando (b. 1961) and Rebecca Brando Kotlinzky (b. 1967); 3) From third marriage (with Tarita Teriipia) = Simon Teihotu Brando (b. 1967), Stefano Brando (b. 1967) and Tarita Cheyenne Brando (b. 1970 and d. 1995); 4) From liaisons with Maria Christina Ruiz, his maid = Ninna Priscilla Brando (b. 1989), Myles Jonathan Brando (b. 1992) and Timothy Gahan Brando (b. 1994). Also adopted 3 children: Petra Brando-Corval (daughter of Brando's assistant, Caroline Barrett), Maimiti Brando and Raiatua Brando.
His character Ken Wilcheck in his cinema debut The Men (1950) has the nickname "Bud", which was his own nickname as he was a "junior". (Brando's father, Marlon Brando Sr., later worked for his company Pennebaker Productions, which was named after his mother, the former Dorothy Pennebaker.) The only other film in which Brando goes by the name which his family and intimate friends called him is The Night of the Following Day (1968).
After he received his first Academy Award nomination (Best Actor for A Streetcar Named Desire (1951)), Brando impishly told the Hollywood press corps that he would not attend the ceremony but would send a cab driver in his place to pick up the Oscar, should he win the award. Indeed, Brando did not attend, and some columnists claimed that a cabby actually was in attendance in Brando's seat at Los Angeles' RKO Pantages Theatre the night of ceremony of March 20, 1952. Alas, Brando was the sole "Steetcar" acting nominee not to win that night as Humphrey Bogart took home the gold, so the question can never be satisfactorily resolved.
Jay Kantor was a lowly mailroom clerk at Lew Wasserman's talent agency Music Corp. of America when he was sent to pick up Brando and drive him to the agency. Impressed by the young man, Brando promptly appointed him his agent (Kantor was the inspiration for the character of Teddy Z in the 1989 TV series The Famous Teddy Z (1989)).
Sean Penn told writer Charles Bukowski that Brando put scripts from producers into his freezer, in order to use them as targets in skeet shooting. Brando would take the frozen scripts and have them tossed in the air into the canyon below his home at night, and then proceed to blast them into smithereens with a shotgun while they were on the fly. By freezing the scripts, the pages were stiff and made for better "clay pigeon" substitutes. The practice is mentioned in one of Bukowski's poems. Bukowski also wrote about Brando in his short story "You Kissed Lilly", in which Lilly masturbates while watching Brando in a movie on television. The story is part of the collection "Hot Water Music" (1983).
Turned down the role of Vulcan in The Adventures of Baron Munchausen (1988). Director Terry Gilliam was summoned to Brando's Mulholland Dr. home in Los Angeles to discuss the part, but it became apparent that Brando really wasn't interested in taking the part. Nonetheless, Gilliam treasured the time he got to spend with Brando. The part later was played by Oliver Reed, who spent his time drinking and trying to seduce Uma Thurman, who was a virgin at the time.
Was Oliver Stone's first choice for the role of Richard Boyle in Salvador (1986). However, Brando had become notoriously reclusive by the time the project got underway and turned down the role.
He was an avid user of the Internet in his final years, often going into chat rooms to start arguments.
Subject of the song "I'm Stuck in a Condo with Mr. Marlon Brando" by The Dickies.
Grandfather of Tuki Brando, son of Brando's daughter Cheyenne, the three children of Teihotu Brando, Michael Brando son of Christian Brando, the children of Michael Gilman and Shane Brando and Prudence Brando, from Miko C. Brando, among others.
Originally considered too young at 23 to play Stanley Kowalski in the Broadway version of "A Streetcar Named Desire", and the producers of the show tried to get 34-year-old Burt Lancaster, newly a huge star in movies thanks to The Killers (1946). When Lancaster was unable to get permission from the film studio, Brando was given the part and became an overnight sensation.
Turned down Edmund Purdom's role in The Egyptian (1954).
Turned down Gary Cooper's Oscar winning role in High Noon (1952).
Turned down Charlton Heston's Oscar winning role in Ben-Hur (1959).
He was originally cast in John Wayne's role as Genghis Khan in The Conqueror (1956), but backed out at the last minute.
A large part of his estate was bought by entrepreneur Keya Morgan.
Brando was sought for the role of Bull McCabe in The Field (1990), but Richard Harris was cast instead.
Is related to four presidents of the United States: James Madison, John Tyler, Zachary Taylor, Jimmy Carter; and to Gen. George S. Patton.
He was sought for the role of O'Brien the interrogator in Nineteen Eighty-Four (1984), along with Sean Connery and Paul Scofield. Scofield accepted the part, but had to drop out of shooting after breaking his arm and was replaced by Richard Burton.
Turned down Stacy Keach's role in American History X (1998).
In 1999 the American Film Institute named him the fourth Greatest Male Star of All Time.
His Mulholland Drive home once shared a driveway with his The Missouri Breaks (1976) co-star Jack Nicholson. Nicholson later bought Brando's home from his estate.
Mentioned in The Killers' "The Ballad of Michael Valentine".
Brando's first Oscar nomination for A Streetcar Named Desire (1951) marked his first of 4 consecutive nominations, a feat he shares with Jennifer Jones (1943-1946), Thelma Ritter (1950-1953), Elizabeth Taylor (1957-1960) and Al Pacino (1972-1975).
His favorite comedians were Charles Chaplin, Stan Laurel & Oliver Hardy, W.C. Fields, Wally Cox, Woody Allen, and Don Rickles. He did, however, consider The Marx Brothers "embarassing".
Former brother-in-law of Eliot Asinof.
Encouraged Johnny Depp to get himself a private island just like his one in Tahiti.
In the summer of 1995, he started shooting a movie called "Divine Rapture" in the tiny Irish village of Ballycotton, County Cork. His co-stars were Johnny Depp, Debra Winger and John Hurt. Marlon was playing a priest in the film and he had dyed his hair red for the part. Shooting began, but was never completed due to lack of financing.
Biography in: "The Scribner Encyclopedia of American Lives". Volume 7, 2003-2005, pages 43-46. Farmington Hills, MI: Thomson Gale, 2007.
His favorite movie was Henry V (1989) which starred and was directed by Kenneth Branagh.
Was fluent in French.
In a 1989 TV interview with Connie Chung, Brando told her that he contributed his entire salary for A Dry White Season (1989) to an anti-apartheid group in South Africa with the understanding that M.G.M. would make a similar contribution. The movie was the first Brando had made in nine years. Brando quoted his salary at $3.3 million plus 11.3% of gross. He claimed that M.G.M. reneged on its own matching contribution to the group and that he was uncertain how much the group received from M.G.M. because of his percentage. Brando's anger with M.G.M. over reneging on its charitable contribution and for cutting his scenes (which he felt were a more forceful indictment of apartheid and had been done to prevent South Africa's then-apartheid government from banning the studio's films) was felt to be one of the reasons that Brando gave his first interview in many years.
His idols are Fredric March, John Barrymore and Spencer Tracy.
While making Mutiny on the Bounty (1962) in Tahiti, Brando fell in love with the place. So, in 1966, he purchased Tetiaroa, a small atoll located approximately 30 miles north of Tahiti. Tetiaroa is to be the site of a lavish new ecological hotel called The Brando. Consisting of 30 deluxe fares (villas), it will be the only hotel on Tetiaroa.
In the last three years of his life, Marlon filmed a series of classes of him giving acting lessons to Sean Penn, Jon Voight and Nick Nolte. Marlon intended to call the series "Lying For A Living" and to sell DVDs of it on shopping channel QVC to raise money. The DVDs were never released publicly following his death.
His ashes were scattered in Tahiti and Death Valley.
He died in 2004 at the age of 80, from obesity, pulmonary fibrosis, diabetes, cardiac failure, and an enlarged liver suggesting cancer.
Finished first in MSN's "The Big 50: Cinema's Greatest Legends" poll in March 2009 (Robert De Niro finished runner-up with Al Pacino in third place).
He allegedly refused to be interviewed for Hearts of Darkness: A Filmmaker's Apocalypse (1991) (a documentary about the making of Apocalypse Now (1979)) because he claimed Francis Ford Coppola still owed him $2 million.
His Sacheen Littlefeather controversy at the Oscars resulted in the Academy setting stricter rules that nominees cannot send someone else to accept the award onstage or address the audience, and only the presenter is allowed to accept on the winner's behalf. Exceptions are made in the case that the honoree genuinely could not attend due to illness or death.
One of only four actors to win two Oscars for films that also won Best Picture (the others being Jack Nicholson, Dustin Hoffman, and Gene Hackman). In addition, he and Dustin Hoffman are the only actors to win two Best Actor Oscars for films that won Best Picture.
Huge fan of professional wrestling.
Producer Robert Evans said that Brando was signed for the part of Don Corleone in The Godfather (1972) for $50,000 plus a percentage of the gross on a sliding scale: after the film hit a $10 million threshold, Brando would receive 1% of the gross for the next $10 million and an additional 1% for every $10 million up to 5% when the film grossed over $60 million. (Thus, Brando would receive $100,000 for the second $10 million; $200,000 for the third $10 million; $300,000 for the fourth $10 million; $400,000 for the fifth $10 million; and 5% of everything above that. In desperate need of cash, Brando's attorney called Evans and requested a $100,000 advance. Charlie Bluhdorn, who owned Paramount, demanded that he surrender his points for the cash, and Brando did. Upon its release, "The Godfather" became the top-grossing film of all time. Evans estimated that Brando lost $11 million by selling back his points. Brando was so angry, he refused to appear in The Godfather: Part II (1974) unless he was compensated for his bad deal. Paramount refused. When the studio considered him for the lead in The Great Gatsby (1974), he pushed aside his agent and demanded an unprecedented $4 million fee, seeking to make up for his lost money. Paramount cast Robert Redford instead.
Brando was a great fan of French actress Arletty, who had played Blanche Blanche Dubois on the Paris stage and was in a film he greatly admired, "Children of Paradise." When he went to Paris, he made it a point to meet her but was disappointed, calling her a "real tough bird.".
Acquired the nickname of 'Bud' to distinguish himself from his father whom he disliked.
His mother co-starred with a young Henry Fonda in Eugene O'Neill's "Beyond the Horizon" at the Omaha Community Playhouse.
When asked to contribute to his biography for the theater program of "I Remember Mama," Brando claimed he was born in Calcutta and had a Great Dane whom he feeds "dehydrated cubes of dog food.".
While he was at the Actors Studio, Brando directed Julie Harris in a modern version of "Hedda Gabler" set in Nebraska.
When shooting "The Men," Brando stayed in the one bedroom apartment of actor Richard Erdman. Brando slept on the couch and was a voracious eater. Brando, who was being paid $40,000 for his role, never offered to help with expenses or restock the refrigerator for Erdman, who was being paid only $5000.
Brando agreed to appear in "Candy" as a favor to friend Christian Marquand, who helped with Brando's negotiations with the French government in purchasing the Tahitian island of Tetiaroa.
Brando donated his $25,000 salary for his one day of work on "Roots: The Next Generation" to the American Indian Movement.
Brando enjoyed talking to strangers on other islands or passing boats on his ham radio anonymously. He didn't used his real name, and often called himself "Mike" or "Matin Bumby" and spoke in very believable French, German, and Japanese accents.
Between 1981 and 1983 Brando received multimillion offers to play Al Capone, Pablo Picasso, and Karl Marx but turned them down.
Playing the role of Stanley Kowalski, Brando had to describe the Napoleonic Code. Later in his career he would play the role of Napoleon.
He appeared with Glenn Ford in The Teahouse of the August Moon (1956) and Superman (1978) while his elder sister Jocelyn Brando worked with him in The Big Heat (1953).
Personal Quotes (125)
The more sensitive you are, the more likely you are to be brutalised, develop scabs and never evolve. Never allow yourself to feel anything because you always feel too much.
The only thing an actor owes his public is not to bore them.
An actor is at most a poet and at least an entertainer.
Would people applaud me if I were a good plumber?
I don't know what people expect when they meet me. They seem to be afraid that I'm going to piss in the potted palm and slap them on the ass.
I put on an act sometimes, and people think I'm insensitive. Really, it's like a kind of armour because I'm too sensitive. If there are two hundred people in a room and one of them doesn't like me, I've got to get out.
If you're successful, acting is about as soft a job as anybody could ever wish for. But if you're unsuccessful, it's worse than having a skin disease.
[on one of his most famous characters, Stanley Kowalski from A Streetcar Named Desire (1951)] Kowalski was always right, and never afraid. He never wondered, he never doubted. His ego was very secure. And he had the kind of brutal aggressiveness that I hate. I'm afraid of it. I detest the character.
I don't want to spread the peanut butter of my personality on the mouldy bread of the commercial press.
The most repulsive thing you could ever imagine is the inside of a camel's mouth. That and watching a girl eat octopus or squid.
With women, I've got a long bamboo pole with a leather loop on the end. I slip the loop around their necks so they can't get away or come too close. Like catching snakes.
If there's anything unsettling to the stomach, it's watching actors on television talk about their personal lives.
[on Frank Sinatra] He's the kind of guy that when he dies, he's going up to heaven and give God a bad time for making him bald.
[on his unforgettable role in The Godfather (1972)] I went home and did some rehearsing to satisfy my curiosity about whether I could play an Italian. I put on some makeup, stuffed Kleenex in my cheeks and worked out the characterization first in front of a mirror, then on a television monitor. After working on it, I decided I could create a characterization that would support the story. The people at Paramount saw the footage and liked it, and that's how I became the Godfather."
[when asked how he spent his time away from the camera] People ask that a lot. They say, "What did you do while you took time out?", as if the rest of my life is taking time out. But the fact is, making movies is time out for me because the rest, the nearly complete whole, is what's real for me. I'm not an actor and haven't been for years. I'm a human being - hopefully a concerned and somewhat intelligent one - who occasionally acts.
Regret is useless in life. It's in the past. All we have is now.
Acting is the expression of a neurotic impulse. It's a bum's life. Quitting acting is a sign of maturity.
[on the impact of The Godfather (1972)] I'd gotten to know quite a few mafiosi, and all of them told me they loved the picture because I had played the Godfather with dignity. Even today I can't pay a check in Little Italy.
Acting is an empty and useless profession.
[on his characterization of Terry Malloy in On the Waterfront (1954)] [The role] was actor-proof, a scene that demonstrated how audiences often do much of the acting themselves in an effectively told story.
[on directing] I did it once. It was an ass-breaker. You work yourself to death. You're the first one up in the morning . . . I mean, we shot that thing [One-Eyed Jacks (1961)] on the run, you know. You make up the dialog the scene before, improvising, and your brain is going crazy.
[on the Academy Awards, to Connie Chung after his Best Supporting Actor nomination for A Dry White Season (1989)] That's a part of the sickness in America, that you have to think in terms of who wins, who loses, who's good, who's bad, who's best, who's worst . . . I don't like to think that way. Everybody has their own value in different ways, and I don't like to think who's the best at this. I mean, what's the point of it?
[on the Academy Awards, Connie Chung TV interview, 1990] What do I care? I've made all the money I need to make. I won a couple of Academy Awards if I ever cared about that. I've been nominated I don't know how many times and I'm in a position of respect and standing in my craft as an actor in this country. So what the hell, I don't need to gild the lily.
[after accepting the Best Actor Oscar for On the Waterfront (1954) at the 27th Academy Awards ceremony] I can't remember what I was going to say for the life of me. I don't think ever in my life that so many people were so directly responsible for my being so very, very happy.
If the vacuum formed by Dr. [Martin Luther King's] death isn't filled with concern and understanding and a measure of love, then I think we all are really going to be lost here in this country.
[on Malcolm X] He was a dynamic person, a very special human being who might have caused a revolution. He had to be done away with. The American government couldn't let him live. If 23 million blacks found a charismatic leader like he was, they would have followed him. The powers that be couldn't accept that.
It is a simple fact that all of us use the techniques of acting to achieve whatever ends we seek.... Acting serves as the quintessential social lubricant and a device for protecting our interests and gaining advantage in every aspect of life.
It seems to me hilarious that our government put the face of Elvis Presley on a postage stamp after he died from an overdose of drugs. His fans don't mention that because they don't want to give up their myths. They ignore the fact that he was a drug addict and claim he invented rock 'n' roll when in fact he took it from black culture; they had been singing that way for years before he came along, copied them and became a star.
I'm one of those people who believes that if I'm very good in this life I'll go to France when I die.
Even today I meet people who think of me automatically as a tough, insensitive, coarse guy named Stanley Kowalski. They can't help it, but, it is troubling.
A movie that I was in, called On the Waterfront (1954): there was a scene in a taxicab, where I turn to my brother, who's come to turn me over to the gangsters, and I lament to him that he never looked after me, he never gave me a chance, that I could have been a contender, I coulda been somebody, instead of a bum ... "You should of looked out after me, Charley." It was very moving. And people often spoke about that, "Oh, my God, what a wonderful scene, Marlon, blah blah blah blah blah." It wasn't wonderful at all. The situation was wonderful. Everybody feels like he could have been a contender, he could have been somebody, everybody feels as though he's partly bum, some part of him. He is not fulfilled and he could have done better, he could have been better. Everybody feels a sense of loss about something. So that was what touched people. It wasn't the scene itself. There are other scenes where you'll find actors being expert, but since the audience can't clearly identify with them, they just pass unnoticed. Wonderful scenes never get mentioned, only those scenes that affect people.
Most people want those fantasies of those who are worthy of our hate - we get rid of a lot of anger that way; and of those who are worthy of our idolatry. Whether it's Farrah Fawcett or somebody else, it doesn't make a difference. They're easily replaceable units, pick 'em out like a card file. Johnnie Ray enjoyed that kind of hysterical popularity, celebration, and then suddenly he wasn't there anymore. The Beatles are now nobody in particular. Once they set screaming crowds running after them, they ran in fear of their lives, they had special tunnels for them. They can walk almost anyplace now. Because the fantasy is gone. Elvis Presley - bloated, over the hill, adolescent entertainer, suddenly drawing people into Las Vegas - had nothing to do with excellence, just myth. It's convenient for people to believe that something is wonderful, therefore they're wonderful.
If Wally [Wally Cox] had been a woman, I would have married him and we would have lived happily ever after.
America has been good to me, but that wasn't a gift.
I have eyes like those of a dead pig.
The only reason I'm in Hollywood is that I don't have the moral courage to refuse the money.
Privacy is not something that I'm merely entitled to, it's an absolute prerequisite.
I don't mind that I'm fat. You still get the same money.
This is a false world. It's been a struggle to try to preserve my sanity and sense of reality taken away by success. I have to fight hard to preserve that sense of reality so as to bring up my children.
I always enjoyed watching John Wayne, but it never occurred to me until I spoke with Indians how corrosive and damaging and destructive his movies were - most Hollywood movies were.
[on John Wayne's 1971 interview with Playboy magazine] That doesn't need a reply, it's self-evident. You can't even get mad at it; it's so insane that there's just nothing to say about it. He would be, according to his point of view, someone not disposed to returning any of the colonial possessions in Africa or Asia to their rightful owners. He would be sharing a perspective with B.J. Vorster if he were in South Africa. He would be on the side of Ian Smith. He would have shot down Gandhi [Mohandas K. Gandhi], called him a rabble rouser. The only freedom fighters he would recognize would be those who were fighting Communists; if they were fighting to get out from under colonial rule, he'd call them terrorists. The Indians today he'd call agitators, terrorists, who knows? If John Wayne ran for President, he would get a great following . . . I think he's been enormously instrumental in perpetuating this view of the Indian as a savage, ferocious, destructive force. He's made us believe things about the Indian that were never true and perpetuated the myth about how wonderful the frontiersmen were and how decent and honorable we all were.
Everybody ought not to turn his back on the phenomenon of hatred in whatever form it takes. We have to find out what the anatomy of hatred is before we can understand it. We have to make some attempt to put it into some understandable form. Any kind of group hatred is extremely dangerous and much more volatile than individual hatred. Heinous crimes are committed by groups and it's all done, of course, in the name of right, justice. It's John Wayne. It's the way he thinks. All the crimes committed against Indians are not considered crimes by John Wayne.
I don't see anybody as evil. When you start seeing people as evil, you're in trouble. The thing that's going to save us is understanding. The inspection of the mind of Eichmann [Adolf Eichmann] or Himmler [Heinrich Himmler] . . . Just to dispense with them as evil is not enough, because it doesn't bring you understanding. You have to see them for what they are. You have to examine John Wayne. He's not a bad person. Who among us is going to say he's a bad man? He feels justified for what he does. The damage that he does he doesn't consider damage, he thinks it's an honest presentation of the facts.
Three or four times, I've pulled a gun on somebody. I had a problem after Charles Manson, deciding to get a gun. But I didn't want somebody coming in my house and committing mayhem. The Hillside Strangler victims - one of the girls was found in back of my Los Angeles house. My next-door neighbor was murdered, strangled in the bathroom. Mulholland Drive is full of crazy people. We have nuts coming up and down all the time.
[1976] Homosexuality is so much in fashion it no longer makes news. Like a large number of men, I, too, have had homosexual experiences and I am not ashamed. I have never paid much attention to what people think about me. But if there is someone who is convinced that Jack Nicholson and I are lovers, may they continue to do so. I find it amusing.
I know I'm not an easy person to get along with, I'm no walk in the park.
[on Burt Reynolds] I disagree with the thought process of people like him, who is a totally narcissistic person who epitomizes everything wrong with being a celebrity in Hollywood.
[on Cheyenne Autumn (1964)] That was worse than any other film, because it didn't tell the truth. Superduper patriots like John Ford could never say that the American government was at fault. He made the evil cavalry captain a foreigner. John Ford had him speak with a thick accent, you didn't know what he was, but you knew he didn't represent Mom's apple pie.
Mexican Beef Recipes Recipes In Urdu Kerala Style Easy Panlasang Pinoy Pakisani Healthy With PIctures Filipino Style For Kids Asian
Mexican Beef Recipes Recipes In Urdu Kerala Style Easy Panlasang Pinoy Pakisani Healthy With PIctures Filipino Style For Kids Asian
Mexican Beef Recipes Recipes In Urdu Kerala Style Easy Panlasang Pinoy Pakisani Healthy With PIctures Filipino Style For Kids Asian
Mexican Beef Recipes Recipes In Urdu Kerala Style Easy Panlasang Pinoy Pakisani Healthy With PIctures Filipino Style For Kids Asian
Mexican Beef Recipes Recipes In Urdu Kerala Style Easy Panlasang Pinoy Pakisani Healthy With PIctures Filipino Style For Kids Asian
Mexican Beef Recipes Recipes In Urdu Kerala Style Easy Panlasang Pinoy Pakisani Healthy With PIctures Filipino Style For Kids Asian
Mexican Beef Recipes Recipes In Urdu Kerala Style Easy Panlasang Pinoy Pakisani Healthy With PIctures Filipino Style For Kids Asian
Mexican Beef Recipes Recipes In Urdu Kerala Style Easy Panlasang Pinoy Pakisani Healthy With PIctures Filipino Style For Kids Asian
Mexican Beef Recipes Recipes In Urdu Kerala Style Easy Panlasang Pinoy Pakisani Healthy With PIctures Filipino Style For Kids Asian
Mexican Beef Recipes Recipes In Urdu Kerala Style Easy Panlasang Pinoy Pakisani Healthy With PIctures Filipino Style For Kids Asian
Mexican Beef Recipes Recipes In Urdu Kerala Style Easy Panlasang Pinoy Pakisani Healthy With PIctures Filipino Style For Kids Asian
Mexican Beef Recipes Recipes In Urdu Kerala Style Easy Panlasang Pinoy Pakisani Healthy With PIctures Filipino Style For Kids Asian
Mexican Beef Recipes Recipes In Urdu Kerala Style Easy Panlasang Pinoy Pakisani Healthy With PIctures Filipino Style For Kids Asian
Mexican Beef Recipes Recipes In Urdu Kerala Style Easy Panlasang Pinoy Pakisani Healthy With PIctures Filipino Style For Kids Asian
No comments:
Post a Comment