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and he said will you go to Budd

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Schulberg that's the writer he wrote a

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script pulled on a waterfront you read

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the taxi scene with him and if he likes

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you you can play Marlon Brando's brother

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well I almost fell on the floor because

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Marlon Brando husband was doing a

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magnificent performance in streetcar

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named desire and my god you know this is

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a some colleague to work with and I went

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and read with Schulberg which was

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difficult because it was another thing

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in acting he stuttered well this is an

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acting thing when you work with somebody

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number one after the second day if

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they're terrible well they have a quirk

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well they have something you know you're

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not used to you must convince yourself

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that part of the character if you don't

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every time they do this odd thing of

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that your concentration is going to go

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and it takes you a couple of years to

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learn that so okay that's part of the

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character he that's fine that's fine you

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know anyway so why we went and did it

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and I was very pleased that was a

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nervous wreck you know and the rest more

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or less is history and sometimes I feel

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if I see the taxi scene one more time

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I'll shoot myself you know because this

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scene has become identified as one of

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the supposedly great scenes in cinema or

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something but I hope you don't have a

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gun because here it comes the taxis I

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had a hunch it might sneak in I didn't

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know you see the Venetian blonde yet it

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wasn't there when we walked on the set

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Kazan is saying how do how can I shoot

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the scene if you can see through the

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back of the cab and five feet away is

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the wall of the studio you were supposed

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to get a back projection and the thing

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that saved us one of the working men

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said you know I came to work in a cab

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that had a venetian blind and Kazan

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who's no fool said get me a bloody

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venetian blind and they put that in and

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we shot the scene any other thing is it

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forced them to stay

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close to the scene basically depended

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upon the two actors also a tad of

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attention for the actors and when you

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get to moments like that it's best to

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let the scene take your words going and

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I got so upset trying to save his life

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and I put the gun on so you've got to go

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you have to go threatening I'm so hoping

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you say oh you know okay but it was

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funny because the taxi was an old beaten

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up prop from TV studio and you know

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nobody knows what goes really goes on in

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the scene and then when I did my

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close-up but we did Brando's close-up

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and I was off-camera and when you're

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off-camera working with another actor

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you do your nut you overdo it to get

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help them with reaction and that's scene

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you might say I gotta tell you something

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I hate your guts you understand I hate

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you

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like that and acting is reacting so

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we're very dependent on each other and

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that's sort of a gun one home when it

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was time for my close-up I never got

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there it was a like a wounding I

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couldn't believe a man that talented

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would walk out and I had to do oh it's

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the lowest and I had to do my close-up

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with the stage manager sitting with his

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script saying I don't sound right so it

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must have burned his rear end we came

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out even on that scene when you pull a

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gun he just pushes it away with the

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tenderest thing and it's why is it why

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is it sooo remembered this film is it

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because of this sort of tenderness

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between the two brothers despite the

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fact well first of all I understand the

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story one of the grips was talking to

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Marlon or something and told him about a

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gun when the guy just pushed it away and

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being as talented and bright as he is he

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took that right away I didn't know he

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was going to do it first place when I

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work I don't

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like to know what people are going to do

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it takes away from the spontaneity and

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yeah what was your original course my

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questions second question is why was why

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is this scene sooo remembered why is it

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quoted so much I could have been a

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contender well number one because of

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Marlins talent but number two it's it's

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almost a love scene between two brothers

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I don't mean sexually but it's just

106
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there's such a feeling of simpatico

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between the two even though one is doing

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something wrong it's still your brother

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and he looks at me and I'm still his

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brother and that added a certain

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compassion and intensity I think did you

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know that it was different

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did it feel as if it was very different

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from other movies no that's a myth about

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the most it's like when I did Marty the

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act is so busy hoping he can do it he

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knows one thing in general it's a good

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script it's good actors good director

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and that's all you can't judge yourself

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in life and do anything whether you're

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an actor or not you can't do it and so

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you just go one moment at a time one

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scene at a time but you know basically