# Las marcas de fábrica de los actores

An episode of [Lloviendo cine](https://invisiblenetwork.ai/podcast/1657439655), 29 Apr 2024, 30 min.

Audio: https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/59682498/lloviendo_marcas_actores.mp3

En el programa de hoy de Lloviendo cine nos adentramos en las marcas de fábrica de los actores. Y de las actrices. Vamos a poner ejemplos de las marcas registradas de esos intérpretes para repasar las principales características de tal o cual actor cuando interpretan sus papeles en el cine. Las músicas del podcast proceden de: https://musopen.org/music/30798-string-sextet-op-40/

## Transcript

[0:10] Here we are again because we have simply come here, because here begins one
[0:34] more show of your favorite podcast I watching ending, which you are all pertinent
[0:39] and conveniently invited. You don' t need any kind of entry, you
[0:43] don' t need any permission. The doors are wide open one more show
[1:10] of raining cinema in which we have thought about brand names. If you remember
[1:18] and if you don' t, here we are to remind you a few
[1:23] shows. We talked about the factory brands of some directors, those elements that
[1:32] characterized the cinema or the style of making cinema of a certain filmmaker It could
[1:38] already be a technical aspect. The participation in these films of that particular director,
[1:49] of a certain actor, the way of interpreting these actors. Well,
[1:56] this time we' re going to talk about brand names, but not directors,
[2:00] but actors, the main actors in those films, as well as some
[2:07] other actress. Are we going to talk about those ways of acting, those
[2:14] actors, those actresses that wake us up this or that actor? What wakes
[2:20] us up this or that actress when we see a man leading the cast of
[2:42] a film and, in doing so, when we discover what those actors and
[2:46] those actresses' brands are, are we going to try to avoid the most
[2:53] obvious, what comes out of sight that tick or, that gesture that we
[2:59] have already learned from that actor or that actress? Well, at least we
[3:01] already say it. Let' s try to avoid the most obvious, and
[3:07] let' s also try to stop at those aspects that go unnoticed by that
[3:14] actor or that actress and that, however, characterize that actor or that actress
[3:20] in their way of focusing a character, because practically in all their films we
[3:25] already say that it can be a tick, it can be an expression,
[3:30] it can be a custom acquired. Over the years of that interpreter there have
[3:37] been and will be examples throughout the history of cinema. We are going to
[3:42] stop, as we do almost always in great names, so that we all
[3:47] have in mind, so that we all have it easier, clear examples in
[3:53] this case of brands of actors, as for example, we have it well
[3:59] recent, we read des de la a la zeta in recent weeks, Marlon
[4:03] Brando. What was Marlon Brando' s brand name? We already said Marlon
[4:12] Brando, even if the script doesn' t come, even if it doesn
[4:16] ' t require the character or the situation, chewing gum every two times three.
[4:21] That way of interpreting realistic from the method are islands that Marlon Brando learned
[4:29] in his young years, because it involved incorporating aspects like that free improvisation in
[4:38] form, in this case, of chewing gumlet. And that he did already
[4:43] in the Law of Silence, or he ended up doing it in films like
[4:46] The Last Tango in Paris and Marlon Brando. We passed on to the three
[4:53] most famous brothers in the history of cinema or at least the history of comedy,
[4:55] Don Groucho, Don Chico and Don Jarpo. What are the brands of
[5:00] these three brothers, for we begin by harpo you will say the most obvious
[5:09] their horn, which was their way of communicating, especially with Chico Marx.
[5:15] But we stayed with two other aspects brands of Hartfomarx, the first of them
[5:21] chasing girls to be possible blondes and the bottom of that raincoat, from which
[5:29] he could draw the most unexpected artifacts that can be found in the bottom of
[5:36] that raincoat. And, indeed, Marx' s harpo brand, that gabardine
[5:44] and Marx' s grouch, which was his brand, for, beyond his
[5:49] mustache, more false than a four- pesetas hard one in the form of
[5:55] bitumen painted just before the scene and beyond the classic mask costume, with his
[6:01] eyebrows, his Mostacho and his nario. The brand of groach more for raining
[6:08] cinema was to break that fourth wall and do so with all the naturalness of
[6:16] the world, as if it were almost obligatory to address the viewer to increase
[6:24] a certain aspect, as apart from the world of the theater from which the
[6:30] three Marx brothers came to comment on a certain aspect of Miss Claypol or the
[6:39] typical heavy one who always tried to adorn Margaret Dumont in any of the films
[6:46] in which she appeared next to the Marx brothers. But we have Chico Chico
[6:48] Marx, and it is that, given the vindication and vindication spirit of a
[7:09] program like myself watching cinema, we cannot miss the opportunity to claim Don Chico
[7:15] Marx, Don Leonard Mars, which is the brand that characterized the third of
[7:24] the brothers, for that eternal patience of being the other, his discreet presence,
[7:30] almost invisible, being the link between the other two. In addition to
[7:39] that eternal Italian accent, also more false than a hard four pesetas lost in
[7:46] the depths of dubbing. Amen also to that piano, that unmistakable piano that,
[7:54] in the manner of harp with its harp, put the musical note in
[7:59] the films of the Marx brothers, tonadillas and dances to use. Apart from
[8:05] Don Groucho, you are vindicated again Don Chico Marx and that of times that
[8:11] will be lost already we continue with those great of humor, Don Charles Chapin.
[8:20] What was the brand name, the trademark of Charlotte, the character with
[8:24] which will always associate the name of Charles Chape What is that brand We dare
[8:30] to say that kick in the ass that tipped all his rivals, those who
[8:37] wanted to rob the girl, those Keiston cops who did nothing but to mark
[8:43] her life, those annoying diners who bitterened the only piece of food that could
[8:48] be eaten from Estrangis throughout the day, kicks in the ass that already began
[8:58] to give when Charlotte' s character in its beginnings was not exactly the most
[9:03] charming, but rather a bordering and unpleasant guy. There you have the first
[9:18] shorts Charlotte appeared in to check it out, and the brand name of Baster
[9:24] Keaton. We wouldn' t dare say also that the girl, the girl
[9:31] who always ended up taking the good baster kit Amen of the most obvious thing,
[9:39] Baster Keaton didn' t need double to perform the most risky scenes that
[9:48] carried out something similar. We could say Leave Loyd Yes, the one with
[9:52] the redone glasses and the one with the famous scene hanging from the clock on
[10:00] that façade of a New York building, from the movie. By the way,
[10:03] we never remembered the title of that film and conical scene from the history
[10:09] of cinema, the fly man and the greats of humor. We' re
[10:13] going to the Western grand to talk about a certain actor, to talk about
[10:18] John Wayne. Well, John Wayne, in fact, has also appeared in
[10:24] the western movie halls, because the brand of West movies is the brooding of
[10:30] all parishioners who, without trade or profit, populate the western movie halls.
[10:41] When the turn stranger appears in those halls, whether Alan lad, Gary Cooper
[10:50] or John Militar, the piano or piano stops playing, the parishioners look up
[10:56] at the poker game and all head towards the turn stranger with their eyebrows pointed.
[11:09] How many times will we have seen that scene by a certain parishioners who
[11:18] seemed to be always the same in all the films, it seems that they
[11:24] did not move from the set that were part of the tretcho. Amen that
[11:30] one of those parishioners, apart from raising his eyebrows, throws a spit to
[11:37] the spithole. You' re not going to see if you hadn' t
[11:41] fallen into the same thing. You are no longer going to see in the
[11:46] same way a film of the west and Catarin gebur What was its brand,
[11:52] because for raining cinema, it seems that the good one of Catarine was always
[12:01] in a hurry to leave. It would seem that when he finished his scenes,
[12:05] he went out to play sports, It would seem that he was always
[12:13] dressed with a short pants and a tennis racket in his hand. It looks
[12:16] like he' s going to swim a massage. As soon as I finish
[12:22] that scene, it seems like it' s over for him to have on
[12:28] the plane that he was in a hurry that he has to go loose and
[12:35] the phrase that a car is waiting for me at the door And if we
[12:39] talk about Katani Keput, we have to talk about Betty Davis. What was
[12:41] his trademark, since it always seemed like he started every scene as if he
[12:48] had just had the fight of the century just before starting that plan, as
[12:56] much as he dissimulated it with that smile that is or could do it.
[13:01] She was noticed and clear then opened the gores that way and paid for it
[13:07] by that actor or that actress in front of her and what was the brand
[13:13] of fred Aster for offering ester. It seems like he' s always asking
[13:22] himself why and asking people who you are, too. It looks like fred
[13:30] Aster always hangs a question mark over his head. As long as I wasn
[13:37] ' t dancing. And jin Kelly, on the other hand, looks like
[13:43] he' s asking Diestro and Sinister if you want to dance? It would
[13:48] seem that jin Kelley knew nothing else and Kari Gran had no pain at all
[13:56] at all in any pledge to go to that fourth wall. What we have
[14:03] said about Groucho Marx was a certain kind of actor who seemed to be in
[14:11] free rein to perform certain actions and it also seemed that there was not found
[14:20] in the script that fourth wall break that or privileges of being who you were
[14:26] Don Groucho Mars or don carigran. And if we' re talking about Carigran,
[14:31] we' re talking about James Stewart, that kind of tragic, melancholy,
[14:39] unhappy, resigned smile, as if he had assumed his role that things
[14:43] are never going to go as expected. And, of course, the back
[14:48] of the neck, James Stewar' s neck, and, as he said,
[15:07] we believe it was Don José Luis García, the back of Robert Ual
[15:13] ' s neck, the best ever to make a counterplane in the history of
[15:15] cinema. A talking neck, a acting neck. And Jamestin acted in his
[15:22] three films as if he knew something was going to happen to him, as
[15:31] if he didn' t have them all with him, as if he always
[15:37] had a fly behind his ear. And Jack Lemon, which was the trademark,
[15:41] the brand name of Don Jack Lemon, as it is a custom in
[15:48] which not everyone has Kaido And from now on you will see with other eyes
[15:52] the films of Jacklemon, scene in which Jacklemon meets another actor or another actress
[15:58] It is actor or that actress says his sentence the plane ends Jack Lemon,
[16:06] which gives in plan and theory, has to finish the scene. Well,
[16:15] before there' s a chain or a cast, Jacklemon repeats quietly or mumbles
[16:22] the words that the other actor or the other criz just told him. Examples.
[16:32] There' s the end of your skirts and we' re not going
[16:37] to say it anymore. There you have one of the most vibrant endings in
[16:41] film history. To check it out, Email Gibson will skip in time what
[16:48] was the Australian actor' s brand name. Well, we said that one
[16:55] of Charles Chaplin' s trademarks was to kick any of his rivals in the
[17:00] ass. Well, that' s where the shots go with Don Mellibson,
[17:07] because there was a time when we had a lot of each other out.
[17:11] By contract, mel Gibson had to teach that part in which Charlet chap gave
[17:18] a painful kick amen as Don Carlos Pumares would say, mel Gibson also had
[17:27] a time when he had to disorbite his eyes. And Mrs Marly Strift,
[17:34] which is the registered trademark of the most nominated actress in the history of the
[17:41] Oscars, because for raining cinema, if it doesn' t, it would
[17:48] seem like it would finish all of her scenes with a smile, with that
[17:55] half smile, at least, we already say that it gives that impression,
[18:00] even if sometimes it' s a lawless smile, of those that she can
[18:07] only make and those that only an actress like her can forgive. In addition
[18:12] to another great brand, Marill Street' s irritable accents. There was also
[18:18] a time when Mary Streept did not act, imitating foreign accents, which reported
[18:27] to her more than a dark one. And Jack Nicholson, what' s
[18:33] the trademark that, danger isn' t just naming Don Jack Nicolson, what
[18:38] ' s his make mark? That eyebrow tic being evil, that repeating someone
[18:47] ' s role flew over the cuckoo' s nest to eternity. Well,
[18:53] out of cameras, out of the world of cinema, we all have a
[18:59] more than iconic image of Jack Nicholson with those dark glasses, not so much
[19:04] in his movies, that also curious that the poster of the best impossible movie
[19:11] is a Jack Nicholson with gaff of sun. It all seemed like an internal
[19:18] joke by the director of the film, James le Brooks, an old acquaintance
[19:22] of Don Ja Nicholson in one of the films that reported one of his oscars
[19:26] to the American actor, the Kany Force and Don Robert de Niro. We
[19:33] ' re moving over swampy grounds like Robert de Niro' s brand name.
[19:41] We are not going to stop at its more than a thousand- one gestures,
[19:49] but it seems that it always comes from acting in another film. It
[19:56] would seem that he did so without a solution of continuity. So he wouldn
[20:00] ' t have stripped himself of the characteristics of the previous character. It would
[20:07] seem that he incorporated aspects of that other character, from that other film to
[20:12] the new one in which he has just entered at some point in his life.
[20:17] Robert stripped Niro of that introspection. What also the method forces its actors
[20:23] to understand a character And if we say Robert de Nero, we have to
[20:30] tell the pacino that it seems that he has to look twice who his cast
[20:37] partner is? What can be another explanation for those eyes not already disorbited,
[20:44] those eyes out of themselves ever in their life blinked at the pacian And as
[21:03] it points us to our collaborator in the shadow, Don Juan Solo, the
[21:10] babblings of the vast majority of Boody Allen' s partner actors and with it
[21:18] we are referring to John Kusa, Kenneth Branak, Jesse to Isenberg, Wen
[21:22] Wilson or Niafarro himself. If these actors do not have this innate babbling of
[21:34] the character Buddy Allen, they incorporate it on the fly when they play their
[21:41] sosias. And even if I didn' t do The Buddy Allen, Big
[21:48] Hugh' s babbling in half- haired rascals or rather I would have said
[21:53] the hu Grant babblings in any of his movies. Those babbling and lurking can
[22:00] end up being a little indigested and a little irritating. And Ryan Gosling has
[22:10] a brand name, because until recently we considered him a good actor. We
[22:17] continue to do so, but it would seem that in his last films he
[22:23] acts by looking in the mirror at the best of every mirror, which he
[22:30] does not need to ask who the beautiful sea is. Julia Roberts. By
[22:33] the way, it' s been a while since he broke the mirror because
[22:38] there was a time. Let' s move on to George Clooney, who
[22:45] makes his movies look silly, but of course they don' t run,
[22:52] and Charlie Teyron looks ugly or enough or normal. What sets him apart from
[22:59] George Cunet is that here he does run the weird thing in Charlisterón that complains
[23:04] about beautiful woman and Nickel Kingman, because Nicole Kingman wants to be like before,
[23:12] when she was a good actress, when she had those mohines of her
[23:18] time. Tom Cruz moins certainly didn' t miss it either. And how
[23:23] Julia Robs risks looking so much into the mirror and Bill Murray keeps quoting himself
[23:33] in every movie. It is as if he lived in a continuous inner monologue
[23:44] and Leonardo DiCaprio, that God does not forgive makes too many efforts to be
[23:51] a good actor, which is fine what to get to be a good actor,
[23:56] but it is that sometimes it seems that he has to go to the
[24:07] bathroom constantly and Marcot Robby Margot Robby wants to be like them, Who are
[24:12] they like them. I think we just named them, but we have more.
[24:18] Tom Crus lately that he is doing Peter Pan is greening the laurels where
[24:26] a few years ago at Grid Berman we loved it, we loved it,
[24:33] but it seems that he had a pingel to translate on the march the English
[24:40] dialogues of his fellow castors, which took half a second to think about,
[24:45] as was said in English the sentence that followed him and Emmaston we love.
[24:52] We think she' s a great actress, but it seems that she has
[24:57] to learn, she has to take an express chair course to be credible on
[25:03] the role in question. It is obvious to say what Jean Pierre Leo'
[25:07] s trademark is, or rather we would have to say which is the registered
[25:14] trademark of Antuandouannel, the registered trademark of Densall Washington. And this happens on
[25:18] every paper. What I have to do more to get another oscar amen of
[25:26] the smile and the ways to act inherited from Syni Poitier, registered trademark of
[25:33] Joaquin Phoenix, even if I did of Jesus Christ, would scare us not
[25:41] to trust him and what to say of Loyuelo, Kurdouglas or the forced miopia
[25:47] of the gaze of Clinisbood, like Jack Nicholson, of someone ground on the
[25:52] nest of the cuckoo, my forced and inherited opia of the trilogy of s
[25:59] Sergio Leon Merelly Monroe' s dollar to lengthen the last syllable of his phrases,
[26:07] not anymore in a languished way, but as if he were to close
[26:11] his eyes and fall asleep, being a little evil to give the replica to
[26:18] the actor, not looking in his eyes, but looking at the wall And
[26:23] it was noticed that Robert Mitchum had a contract with caleras and it seemed that
[26:32] hanfrey boardlo had some mark of Geneva. Evidently, from the White House,
[26:37] the man with compassion and until one more show of your podcast has arrived,
[27:52] I watch cinema in which we have talked about the brands of actors of all
[27:57] time, those ways of acting, those customs acquired by these actors that characterize
[28:06] each of those roles we have given you duties. From now on, when
[28:14] you see a movie of all of them or you have to apply on those
[28:21] brands, on those trademarks, maybe even discover, you will find some that
[28:30] has been overlooked. He hopes that the programme will have been of your liking.
[28:37] We do not dismiss you until next week, in which we will talk
[28:41] about a subject that, as we always think of in the coming days,
[28:45] until then, we have only very much to thank you for your attention,
[28:49] much more your patience and make you the final culinary recommendation of all the yain
[28:56] dociin eat much banana, which is very plain authentic sea of this program.
[29:02] And especially when you see the ice, you know what you have to do.
[29:06] Find your cloud. We all have one and when you have entered into
[29:11] trust and conversation with her, you have to tell her loudly and clearly what
[29:17] rains cinema par ten

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