(TAPE RECORDER CLICKS)
BRANDO: This is the beginning of the tape.
We're on mono and we're on microphone 1.
Now 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...
So 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.
So maybe this is the swan song for all of us.
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, signifying...
POLICE OFFICER: Copy. All available units responding to a shooting.
MALE REPORTER: Police came to a call to 911, but this was no ordinary address, the caller no ordinary citizen.
Marlon Brando was on the line to report a shooting at his home.
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'.
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, but police who questioned the actor say he did not witness it.
MALE REPORTER 2: The shooting put a spotlight on the private life of one of Hollywood's most reclusive stars.
BRANDO: And it's been a struggle to try to preserve sanity and sense of reality that is taken away from you by success.
BRANDO: 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.
Now let your mind drift back, way back in time to a time when you were very young, when you used to wake up in the morning, put 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.
Standing 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)
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.
Nobody 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 by 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.
Some kind of contact, some 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 pretty much by accident.
I went to the New School for Social Research, which is an extraordinary institution of learning.
My teachers were all Jewish, because 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 begins with this class.
BRANDO: I studied with a woman by the name of Stella Adler.
She 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.
BRANDO: I was very shy when I was a kid.
Sensitive, very sensitive.
ADLER: In the theater, the actor is the boss.
It's against the nature of human life to withdraw.
BRANDO: "Don't be afraid," she said.
"You have a right to be who you are, where you are and how you are."
ADLER: Be in a state of honesty up there.
BRANDO: Allowing yourself to feel things, to feel love or to feel rage.
ADLER: Speak out the thoughts that are tormenting you.
BRANDO: Everybody's got a story to tell, something they're hiding.
ADLER: Do not bring anything in the present that doesn't have the past.
BRANDO: 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.
She made a Santa Claus out of it, made a little red costume for it and a beard and everything.
She was a very inventive and artistic woman.
And I miss her very much.
I was given by my mother a sense of the absurd.
She 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 she couldn't play on the piano.
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.
She 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.
BRANDO: 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, she was always very loving towards me.
I'd never done anything in life that anybody ever said I was good at.
She put her hand on my shoulders and said, "Don't worry, my boy."
"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.
BRANDO: Streetcar Named Desire was very satisfying to be in, because 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?
BRANDO: It was a very explosive part and it electrified everybody.
You want a shot?
BLANCHE: No, I rarely touch it.
Well, some people, they rarely touch it, but it touches them often.
BRANDO: I was quite nutty when I was young and I would have a lot of energy.
BRANDO: '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.
Some 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.
Suddenly, there's a lot more girls saying, "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)
BRANDO: 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.
Nothing in life could be better than this.
I was always making jokes and teasing, playing practical jokes on everybody.
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.
Now that's how I'm gonna clear the table.
Don't you ever talk that way to me.
BRANDO: My old man was tough.
He was a bar fighter.
He was a man with not much love in him.
Staying 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.
Now 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.
BRANDO: 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, sitting on your throne, swilling down my liquor.
You know what I say? Ha-ha!
BRANDO: 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.
People invariably associated me with the part I played, so 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 sort 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.
Stella told me, if you come to the theater and you feel a hundred percent, show eighty.
If you come and you feel sixty percent, show forty.
If you come to the theater and you only feel forty percent, best to turn around and go home.
INTERVIEWER: I was wondering if you have any plans to return to the stage in the near future.
BRANDO: No, I don't have any immediate intentions of returning to the stage.
(TAPE RECORDER CLICKS)
BRANDO: The shouts of freedom are also the rattling of chains.
BRANDO: You seem to be such a restless man.
Eyes always darting.
BRANDO: 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.
BRANDO: No, I think that people do what they enjoy, or else they don't do it.
People 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.
Since 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: Now will you turn your head for us?
WOMAN: Now around the other way.
Now all the way around.
All right. Thank you and stay around.
BRANDO: Shakespeare said, "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, so I could change it into something nearer the truth.
And I was convinced that I could do that.
About my playing the tuba...
Seems like a lot of fuss has been made about that.
BRANDO: 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.
Shredded 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, stems 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.
BRANDO: Stella went to Paris and studied with Konstantin Stanislavsky, the great Russian teacher, brought 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.
BRANDO: 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.
BRANDO: 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.
Physicality 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.
Paraplegics, 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.
Putting yourself in a different state of mind.
What they felt like, what their frustrations were knowing that they couldn't have sex.
BRANDO AS KEN: What am I gonna do, where am I gonna go?
I can't go out there anymore.
BRANDO: He just sits there and he marinates his mind.
In the intellect; that's all he's got.
Put 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.
People have routines: acting routines, dancing routines, painting routines.
The same thing over and over again.
Everything is a cliché.
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...
"Frankly, my dear, I don't give a damn."
BRANDO: Jersey Joe Walcott, terrific fighter.
He'd be boxing, he'd be throwing some 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.
BRANDO: Never let the audience know how it's gonna come out.
What is your name?
BRANDO: Get them on your time.
BRANDO: 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.
BRANDO: Hit them, knock them over.
With an attitude, with a word, with a look.
I don't like cops.
BRANDO: 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?
BRANDO: You want to stop that movement from the popcorn to the mouth.
Cry "Havoc," and let slip the dogs of war.
BRANDO: Get people to stop chewing.
That this foul deed shall smell above the earth.
BRANDO: 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.
People 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, but 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 by the cover, but perhaps I'm not too far wrong.
Mr Brando? I hope this isn't too personal, but I always say what I think, so I won't stop now.
I admire you very much, both 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, so three cheers for you, Mr Brando.
BRANDO: 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.
BRANDO: When I saw the picture finally, I was so embarrassed, so 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.
BRANDO: 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.
BRANDO: People will mythologize you no 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, being 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.
BRANDO: 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.
BRANDO: 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.
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?
BRANDO: No, I'll get him in here. Pop?
Come on out.
ED MURROW: We'll ask Mr Brando some 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, but 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...
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.
BRANDO: 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.
So 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, but 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?
Paradise. 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 biggest sinner I ever met in my life.
BRANDO: 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, because 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...
BRANDO: 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.
Sometimes it's difficult when you meet people because you see that they have prejudged you, not 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.
I can't stand it. I hate it.
I had no idea of how discomforting it is not 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, because 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.
BRANDO: 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.
She was a governess hired by my mother.
Lovely Oriental skin.
She had very fine hair.
She 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.
"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.
She went away to get married, but to a seven-year-old mind, having been with someone intimately, it was tantamount to desertion.
In a sense, my mother left me, because 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.
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.
It's a physical idiosyncrasy, but 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?
BRANDO: 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.
BRANDO: 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, but he is a perfect gentleman.
BRANDO: 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.
BRANDO: You slept with him? Well, I don't...
WOMAN: In the same bed.
BRANDO: 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...
WOMAN 2: Guilty, aren't you?
BRANDO: 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.
BRANDO: 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 by 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.
BRANDO: A good con man can fool anybody.
And the first person that you fool as a con man is yourself.
She 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.
Because 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, but a child was born out that coupling.
BRANDO: I can remember the baby breathing...
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, "My father is never going to come near that child, because 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.
NARRATOR: On December 23rd, 1787, His Majesty's ship, Bounty, sailed from England bound 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.
Then go and be sick in your cabin, Mr Christian.
BRANDO: 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.
BRANDO: You bring part of yourself to every character, but 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.
BRANDO: 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 by the expressions on their faces.
They had unmanaged faces, no manicured expressions.
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.
I've only been here a short time.
I have been puzzled every time I see Tahitians, because 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.
BRANDO: 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.
Nobody 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 not doing anything.
Keep him alive in the story.
I was never consulted before the writing was done.
And I cared a great deal about this picture.
You put your life in the hands of the director, because the director can screw you up.
You're going too lightly, Quintal.
Lay on with a will or you'll take his place.
BRANDO: 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 by being very authoritative, commanding things.
INTERVIEWER: Didn't he say he wanted to talk to you and explain it to you?
BRANDO: He wanted to give me a long "no", and I favor short "noes".
INTERVIEWER: No, I did...
BRANDO: 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.
I'm taking command of this ship.
Mr Friar, I'll have the keys to the arms chest.
You'll give him nothing!
BRANDO: 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 such a range of vicious critiques.
BRANDO: They were blaming me for all the delays and everything.
They had to blame it on somebody, so 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.
But I was very sensitive and it hurt a lot.
There are times when you think, "What the fuck is all this for?"
"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 before 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, because the country is ignorant.
(APPLAUSE) lam really moved and motivated by things that occur that are unjust.
I've always hated people trampling on other people.
I was in a quandary, a philosophical quandary, because 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?
Black bodies swinging in the summer breeze, and the smell of burning death.
You could stand so much of it and to see these people being 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 because 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.
But I want you to know tonight that we as a people will get to the Promised Land.
BRANDO: That speech where he says, "I've been up to the mountain and I've seen the Promised Land."
So I'm happy tonight, I'm not worried about anything.
I'm not fearing any man.
BRANDO: "I don't know if I'm gonna get there with you, but 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?
BRANDO: I'm standing up, not 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 South 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?"
"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: 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 society 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)
BRANDO: 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.
WOMAN OVER PHONE: I want to get a script to Marlon Brando.
United Artists gave me your number.
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?
AN OVER PHONE: Hello?
Hello? I can't believe there isn't somebody there. Hello?
BRANDO: I'm interested in making enough money so I can say "fuck you" to money, but 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.
BRANDO: 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, because 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.
So, we all act.
Some 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.
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.
What is your name?
BRANDO: 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.
"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?
Sensitivity is too high.
The sensitivity is too high.
The neurotic individual's entire self-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, somewhere 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.
"If I can dance for one minute, perfectly...
that is all I would ever ask."
Francis Coppola wanted me for the part of the The Godfather, but the studio was fighting it.
It was demeaning to do a screen test, but 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.
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, "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.
BRANDO: Putting on a mask, building a life...
Little by little I got into this part.
And then suddenly, something 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, not from the point of view that he was the bad guy, but that he was very gentle.
It is not hard to do the big things.
You can act like a man...
BRANDO: 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.
BRANDO: Just to sit there and think is a lot.
I want all inquiries made.
I want no acts of vengeance.
This war stops now.
BRANDO: Shakespeare addressing all artists.
Suit the action to the word and the word to the action.
To hold the mirror up to nature, to show virtue her own feature, scorn 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.
BRANDO: Everything that we do should 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.
FEMALE REPORTER: Marlon Brando's son Christian has been kidnapped.
Police initially suspected mafia involvement following Brando's portrayal of godfather Vito Corleone.
MAN: Marlon Brando told me, "Mr Annes, we want him found, we want him brought back to Los Angeles, no 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 pneumonia and he could barely speak.
Why did they say they had him there in the first place?
They stated they had the boy there because Anna, being the mother of the boy, promised 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?
BRANDO: 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)
BRANDO: 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.
Put 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.
No names here. Not one name.
BERTOLUCCI: I was curious about the person in front of me, and the person in front of me was Brando.
BRANDO: Bertolucci wanted to get a perfect autobiographical sketch of myself in this film.
He wanted me to be me.
BERTOLUCCI: I want the person I see when I go to have dinner with him, when we talk and quarrel and discuss.
BRANDO: And I thought, "I'm not going to do that."
"I'm not going to do that for you."
"What the fuck do you think I am?"
BERTOLUCCI: He was obsessed by privacy.
He never wanted anybody to go deep inside him.
BRANDO: 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.
BERTOLUCCI: Marlon, say something about your past.
Show in my film what you really are.
My father was a drunk.
Whore-fucker, bar fighter, super masculine.
And it was tough.
My mother was very... very poetic.
But also a drunk.
BERTOLUCCI: Go deeper and deeper...
Every time more and more real.
Marlon was invading the character of Paul.
BRANDO: You lied to me and I trusted you.
You lied and you knew you were lying.
Go on, tell me something sweet.
Smile at me and say... I just misunderstood.
Go on, tell me.
BRANDO: Maybe you're desperate for love, always have been in your life.
But 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.
BRANDO: Last Tango in Paris was a very hard film for me.
I realized, "You know you're naked, Marlon."
BERTOLUCCI: When he saw the movie, he was shocked.
He felt betrayed by me, because I stole from him so 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)
PRESENTER: Live, the Academy Awards presentation.
The winner is...
Marlon Brando in The Godfather.
PRESENTER: 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 by 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 before it was fashionable to be so, what triggered that?
What we have learned about the Indians has been largely taught to us by Hollywood and by motion pictures.
Seeing 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)
But 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.
Where do you draw the line?
At what point do you say, "God damn it, this is my turf."
"I was here first."
"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 belonged to them.
Then I heard the rifle shot from the National Guard.
Bullets 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?
BRANDO: Of course.
INTERVIEWER: ls yours? BRANDO: Of course.
INTERVIEWER: Do you think that you are considered a dangerous person to the FBI?
BRANDO: 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.
So 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 an errand boy.
Sent by grocery clerks.
To collect a bill.
BRANDO: 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.
People 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, not because he's a merciless man, but 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...
BRANDO: 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.
BRANDO AS KURTZ: Horror has a face, and you must make a friend of horror.
Horror and moral terror are your friends.
BRANDO: And I felt myself coming apart, splitting in two, and it scared me.
And yet I've gone so far.
I don't think... that I can ever return.
BRANDO: And then I said to myself, why are you so frightened?
Let the fear take you.
BRANDO: And go with the fear.
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.
But he was so fat, he was very, very shy about it.
REPORTER: But that was the least of the director's problems.
Pulling his notorious delaying tactics, Brando 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.
BRANDO: 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 by dumping on me.
Let the tension flow out of you.
Let it flow out of your mind.
Going down in an airplane.
Softly coming in.
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.
Peace and love.
And I'm looking at this very deep, indescribable night.
I think, "God, I've no importance."
"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)
BRANDO: I've had 110 fights.
I've taken too many fucking punches.
I don't want to be stressed anymore.
(SPORTS COMMENTARY ON TV)
BRANDO: You want me to play this guy?
I'll play that guy.
I'm just a service person.
Now, 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 neither rash nor impulsive.
And I tell you that we must evacuate this planet immediately.
BRANDO: 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.
BRANDO: I'd get fed lines, just a suggestion of a line, and then I'd take the line and mould it.
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.
But you must eat them not quite so often.
Day by day, minute by minute, second by second, you will lose fat.
When you get as fat as me, you gotta start thinking, "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?"
"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."
POLICE 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."
"But not on purpose."
"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: "Two guys with a loaded gun, wrestling."
"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, Brando said Christian's life had been filled with struggle and unhappiness, traumatized by a bitter divorce.
I think that perhaps 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 before 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.
BRANDO: There are times when you wake up in the morning and you turn over and feel, "Shit! What a life."
God, I can't figure it out.
Why did it have to be this way?
I've had a hard year.
Maybe harder than you could possibly imagine.
You try to be as strong as you can be, but everybody reaches break point sooner or later.
Pain - I knew I had to deal with it.
I've spent thousands upon thousands of dollars on psychoanalysts and those guys do absolutely nothing but stick pliers and screwdrivers in your brain.
Life will have given me the truth and taken in exchange what's left of my youth.
It took me a while to realize, you gotta be your own analyst.
Unless we look inwards, we will not ever be able to clearly see outwards.
Nobody is born evil.
Most people are simply getting over bad emotional habits established in the first ten years of their life.
Christian was burdened with emotional disorders and psychological disarray.
The kind of trouble that I had in life.
I never tried to be like my father, but one inadvertently takes on the characteristics of one's parents.
When my father died, I imagined that he was slump-shouldered, walking to the edge of eternity.
He looked back and said, "I did the best I could, kid."
Finally I forgave my father, because I realized that I was a sinner because of him.
But he was a sinner, because his mother left him when he was four.
He didn't have a chance.
And through introspection and the examination of my mind, I feel as though I'm coming closer to the common denominator of what it means to be human.
Everybody is capable of hatred, everybody is capable of love.
If we stretched ourselves one way or another, we could become murderers or we could become saints.
I've done a lot of meditation.
The result is that I have felt much calmer and I've had moments of real tranquility.
Don't you realize that you're thought of as the greatest actor ever?
Tim's the greatest actor ever.
He pretends he loves me when he wants something to eat. Get outta here.
BRANDO: Many times I remember being down in the dumps and then I saw a movie that took me away for a few hours and I was completely restored.
And I realized, oddly enough, that actors make a contribution to people's lives, giving us a gift that you can't buy.
Something that they can imbue with power and beauty and magnificence.
Something beyond themselves and we do need that.
Acting is just making stuff up, but that's okay.
Life is a rehearsal, life is an improvisation.
I'm gonna have a special microphone placed in my coffin, so that when I wake up in there, six feet under the ground, I'm gonna say, "Do it differently."
Anthony. Come here, come here.
BRANDO: The death scene.
That's a tough scene to play.
You have to make them believe that you're dying.
I would hope it would be with one person.
It would be something simple, like playing tiddlywinks or... I don't know, jackstraws.
(ANTHONY CRIES) CORLEONE: Oh, no! (LAUGHS)
BRANDO: Try to think of the most intimate moment that you've ever had in your life.
Run down in there. Run in there.
ANTHONY: Where are you?
BRANDO: Marlon. Listen to my voice.
Just let go.
Just letting go.
Drift like a cloud in the sky.
Drifting into that special state, the state of peace of the boy that you remember, watching the elm leaves come down.
Don't hang on to thoughts, don't hang on to anything.
They're old tapes, no longer usable, no longer useful.
Put 'em aside. You don't need 'em.
You're there, you have arrived.
Your mind is becoming quieter and quieter.
Bliss is coming over you...
Until the next time.