Dr. Peter Weller
speaker
668 appearances
2 recordings
2 series
first heard Apr 2025
last heard Apr 2025
Dr. Peter Weller’s voice in public audio — every appearance, attributed to the second.
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Appearances
That there's sort of like the geisha effect. That they're just along for the ride. He said, but they're keeping a heavier score than you. And when this girl is saying she doesn't know, she is telling you the truth. Because she's actually admitting, I'm going to play. And I'm at the front of my own jam here, man. And I feel like playing, you know, you're the play thing, man.
I go, I am? He goes, yeah, yeah, but, you know, you're not going to see that until you're in your mid-30s.
Because you keep thinking that, like, they're girls.
They're not. And don't think it's so. Thanks, Riley. Thanks for that. So the only thing I ever saw before that, because I get my stuff from movies and stuff, you know?
I watch a Tennessee Williams movie, which is my favorite play. The first play I ever wrote called Orpheus Descending.
I got to perform for Tennessee twice. My very first performance ever on stage. Sticks and Bones for Tony Award voting, which is a black comedy about Ozzie and Harriet written by David Rabe. Won the Tony Award. Father of Lily Rabe has gone on. Wow. Yeah. And married to Jill, a great actress. Unmarried woman and so forth. And I see this.
movie called Fugitive Kind with Anna Magnani, arguably one of the most dynamic actresses ever in the history of time. and Brando, who, for my money and a lot of people's money, has changed the whole game, and there ain't nobody like him. Nobody inventive physically in a room.
Nobody, even my wife or her generous, goes, okay, this sexiest guy, no matter if he's overweight or not, the stuff he comes up with and invents. Okay, he was asked to do the play with Anna Magnani. He didn't do it. It's the first play Tennessee Williams writes in 1940. It never gets published as a play until 1958 or something like that.
Sidney Lumet comes back and does it with Tennessee's original idea of a play with Brando and Anna Magnani as a film. And Brando and Anna Magnani are, there is no dynamic more powerful than them. This is the most dynamic, powerful, and she's not like the bee's knees good-looking chick. But a force of nature. And Brando is ethereal. And as Kazan said, Brando is a woman walking around in a man suit.
But his whole vibe, he said his power, Kazan said it, Kazan is essentially the guy that put him on a map, it's feminine. At the studio, Kazan, I come into the actor's studio, I ask him one time, what do you mean by that? He says it is feminine. He says, you see this cliche of him and a wife beater screaming Stella. And this is before VHS and all that stuff. You see it again. He's whining.
He's screaming like a two-year-old girl. He's not going pumping his biceps. He's got his hands over his ears. And he's whining like, if I may say the cliche, of a little girl screaming at her dad.
Or mom or whatever. And I go, God, man. A guy that powerful physically can allow himself to be that much of what men call a wimp.
Has got a power beyond dreams in him. So I see this movie. And it's Tennessee Williams. And Tennessee Williams is best friends with Gore Vidal. Gore Vidal is going to become my best friend on the Amalfi Coast and convince me to buy my house.
He writes my recommendation at a grad school, and he's a guy I could talk about endlessly because I had never met a smarter guy or a funnier guy in my life than Gore Vidal ever in planet history time. And one of the first guys to admit that he's gay, I'm queer, you know, like, had the balls, like Burroughs, like Jean Genet, like Pasolini, like several of them, to go, yeah, I'm queer. Mm-hmm.
Because you guys have marginalized me, and I'm not of your gender, and I'm not of your jam, so fuck you. And those days you get shot for it. If not today, you get shot for it.
Pretty dangerous. So Gore is friends with Tennessee, and Tennessee is gay. Tennessee, Dick Cavett tried to be a smarty pants in 1972. He said, are you homosexual? To Tennessee, right? He's smoking his cigarette. And you're going like, oh, my God. Is that the dumbest fucking thing from some jammed up Anglican Brit?
To ask the granddaddy of theater poetics.
Yeah. You know, are you homosexual? And Tennessee goes, takes a puff off his cigarette and says, well, baby, let's just say I covered the water for you.
incredible is that a class act oh my gosh I said you can't have no more poetry than that man I love that so when he writes this thing this dead and night scene about a guitar player Cajun escapee from New Orleans who's now down in the bayou somewhere in the tibido working in a shoe store for an Italian immigrant with a bastard husband who's upstairs and the dead and night she wants to know who he is you gotta google the scene man yeah look at it fugitive kind Anna Magnani Brando okay
I'm paraphrasing this thing, but Tennessee is gay. And we don't know if he's ever been with a chick, but some of the most dynamic feminine characters ever written based on his mother and his sister, ever, ever written in the theater. See Cat on a Hot Tin Roof and shit. And she says to him, Anna Magnani says, Brenda, who are you? He says, I'm a bird. I'm a bird with transparent wings.
Showing 381–400 of 668 · page 20 of 34
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