June 28, 2025 • 27 mins
ICYMI: Hour Two of ‘Later, with Mo’Kelly’ Presents – Thoughts on the vote to expand the $750-million film tax credit in California; juxtaposed against a new survey the predicts the end of the moviegoing experience within the next 20 years AND recently resurfaced allegations of sexual harassment against actor Martin Kove on the set of ‘Cobra Kai’…PLUS – Mark Rahner has a review of the new Brad Pitt, Apple Original Films release ‘F1® The Movie’ In the Rahner Report - on KFI AM 640…Live everywhere on the iHeartRadio app & YouTube @MrMoKelly
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:08):
KFI later with Mo Kelly Live Everywhere on the iHeartRadio app.
Speaker 2 (00:11):
You can check us out on YouTube.
Speaker 1 (00:13):
Join the Migos, send us a chat message in the
motown Chat. We love talking about movies here. We want
to give you an update on some really important information
and also the forecast what is ahead for the industry.
California lawmakers have approved and expanded seven hundred and fifty
million dollar film tax credit program. You've heard us talk
(00:35):
about this. This would inspire and encourage movie makers to
do their business, film their movies and streaming shows here
in California. So it's more than double the amount, and
it's a win for studios, producers, unions, industry workers.
Speaker 2 (00:51):
And that's what I think you should do.
Speaker 1 (00:53):
You do what you can with what you have right
where you are to inspire more business, more or movies
being made right here in southern California. But I don't
know if that is the actual solution to the larger
question of how long will we be actually going to
the movies. There's making movies and how we consume movies.
(01:16):
It's one thing to say, yeah, we're going to have
more movies produced and filmed here in Southern California, But
are we actually going to go to the theater to see them?
And there's this other story which is running parallel to it.
And basically most movie theater executives think that the traditional
movie going experience has about maybe twenty years at most.
(01:37):
Left twenty years. I think it's much less than that.
I really do, and maybe I'm being pessimistic. I don't
think that in twenty thirty seven, per se, we will
still be consuming movies in the traditional way of driving
our ass to AMC, Regal or general cinema to sit down.
(01:59):
For that community, the experience of watching a movie. The
delivery systems have changed. All the first run movies we
get to see generally inside of forty five days at home,
and we've long talked about the better home experience.
Speaker 2 (02:14):
Just about everyone has.
Speaker 1 (02:16):
And there are other movies that we can watch, may
not be theater quality, but good enough to keep us
from actually going into the theater.
Speaker 3 (02:26):
I think giving it twenty years is high hopes because
they're still in the business. But within a twenty year span,
I don't know if there are going to be enough
movie theaters that are offering something other than come watch
this thing on the screen with a high deaf picture.
Now I know we have a mutual friend, Tom Cunningham
(02:47):
who went to go and see the matrix that.
Speaker 2 (02:49):
What is it called cosm?
Speaker 3 (02:51):
Cos Now that that I want to do. That's an
experience that looks great. But how many movie theaters can
do that? How many big your films are there to
go and watch at a cosm. It's a great experience,
but it's not universal for film.
Speaker 1 (03:06):
And yeah, it's not specifically for film. It's especially tailored
movie experience. They're not just putting it up on the screen.
If cosm if you're not familiar with it, it's about
an immersive experience. And they also show events. They sporting events,
not just movies. They have all sorts of events which
(03:26):
go on at COSM. So it's in addition to not
their bread and butter like that would make me want
to actually go watch a game. It looks really cool,
but you would be going to COSM if they're not
trying to see a movie. And going forward, I don't
know how you can have these four or five theaters
with seventy or eighty seats in them and that be
(03:48):
the draw for you to see the latest movie. No Honestly,
the draw is the latest movie coming straight to me.
That's why I think all of this is leading eventually eventually,
How how are you going to convince people to go
to and I'm gonna pick on AMC because there's the
largest one in the world. How are you going to
convince people to go to a physical building to watch
(04:09):
a movie on the screen which is technologically not much
better than what you have at home, the sounds system
or anything.
Speaker 3 (04:19):
The thing about AMC is they're trying to now sell
this experience of having these bars and starting to show games,
concerts and things like that. Because Monday through Friday, you know,
eat prey, buy some chocolate is not going to get
people in theaters. You need big budget films every week
(04:41):
to get people in, and that's not happening some of
these smaller indie films. You're not playing that at an
experienced thing like COSM or any of the forty X
theaters or anything like that. There's not enough big budget
films coming out in a calendar year.
Speaker 1 (04:55):
But there are enough, not necessarily big budget, but let's
say big Netflix budget, big Hulu budget, big Amazon Prime budget,
where they're spending you know, seventy eighty ninety million dollars
on these movies, and they are coming out far more
frequently than the actual big budget blockbusters in movie theaters.
(05:16):
Like we were talking about, The Old Guard Too comes
out next week. I know that's at least seventy million
that they spent on that, and that's gonna be on Netflix.
As far as I'm concerned, that means free, because Netflix
already has my money for the month. Yeah, So as
far as I'm concerned, that's in addition to what I
already plan to watch in Netflix. That for me, and
I can't speak for anyone else, that's enough because I
(05:39):
get enough movie level quality entertainment at home, and I
don't have to take time out of my day, let's say,
going to the movies like Mark Ronald does at midnight
and not getting home until three in the morning.
Speaker 2 (05:51):
I would rather do without that. Plus, drinks are free,
you have your food, and you can make your own popcorn.
And my easy chair is fantastic.
Speaker 4 (06:02):
Yes, I don't know the chairs, and some of these
theaters are pretty competitive. I finally got to the one
up at Porter Ranch near where Tula lives.
Speaker 2 (06:09):
It's nice. It may be nice, but is it driving
twenty minutes? Nice?
Speaker 4 (06:15):
Is this you got to get in the car, you
got to put on pants?
Speaker 2 (06:19):
No, that means a lot, because I like watching the
stuff with my draws.
Speaker 4 (06:21):
No. No, there are complications and some compromises you have
to make. But some movies you just want to see
in the theater, like you want to see twenty eight
years later in a theater.
Speaker 2 (06:32):
No.
Speaker 1 (06:33):
No, it'll be fine for me when I see it
on Netflix whatever, it only hits F one, I definitely
want to see in the theaters.
Speaker 2 (06:41):
That would be a good cause of one too. But
here's the point.
Speaker 1 (06:44):
They're not enough of those to change the trajectory of
movie theaters.
Speaker 2 (06:49):
I've been reading a little bit about.
Speaker 4 (06:51):
Why that is and why some of the movies in
theaters look so crappy now, and it has to do
with the flatway that they're filmed, so they can be
put together in editing and have special effects added to them.
A lot of movies that you see in theaters don't
look special anymore like older movies used to. They look
like the same kind of stuff you'd see on like
c W.
Speaker 1 (07:10):
And I wonder if they're made with the express intent of,
you know, knowing that it's going to be in a
television environment later on watch on a smaller screen.
Speaker 4 (07:24):
I think it's a production issue. I think they're shot
in such a way so that they're not really elaborately
lit and filmed on the spot, so that things can
be added later on in the process.
Speaker 2 (07:37):
Plus, it's a good point. We come to a not
her again, leave us alone, all.
Speaker 1 (07:46):
Of us, that indescribable feeling after like what's commercial?
Speaker 2 (07:55):
And we don't talk, don't text commercials before just Enterita.
Speaker 1 (08:01):
But somehow we've worn together.
Speaker 2 (08:05):
Dazzling images on a huge silver screen.
Speaker 4 (08:09):
So huge it's a girthy screen like this, I'll put
you out.
Speaker 5 (08:16):
Our heroes feel like the best part of us, and
stories feel perfect and powerful.
Speaker 2 (08:22):
Actress, she's really handing it up. They are theaters.
Speaker 3 (08:29):
Don't forget at AMC theaters. Starting what Tuesday, they're adding
another fifteen minutes or so of commercial.
Speaker 2 (08:37):
That's right, I forgot about that week.
Speaker 1 (08:42):
Yeah, so Mark for his run report next week will
report on the commercials.
Speaker 4 (08:49):
Listen if you don't. Nobody's more disgruntled about that than me.
I went to F one today and we're going to
talk about that shortly. The movie's more than two and
a half hours. Then you want to add another fifteen
minutes of commercials to that, Yeah, yeah, that's more.
Speaker 1 (09:04):
And I understand we're talking about the survival of movie theaters.
More commercials, more revenue. I get all that, but ultimately,
they need people in seats to buy the concessions. That's
why they make the money, the concessions. And if they're
not in seats, watching the movie and buying concessions, then
the extra.
Speaker 2 (09:21):
Commercials are just delaying the inevitable.
Speaker 4 (09:23):
Have you noticed how the people work in the counter
actually act personally dejected if you only want the movie
ticket and no food.
Speaker 3 (09:33):
Yeah, it's because they're not going to get that extra yeah.
Speaker 4 (09:35):
Yeah, yeah, they take it personally, So just the ticket,
then just the ticket, And that's why they have all
those specials and promotions and all the buckets.
Speaker 2 (09:44):
Yeah, I mean the bucket game is ridiculous. You know
you got the Oh there's a new Jaws one that
looks really cool. You eat your popcorn out of the
shark's mouth. Yeah, I want that. You know, there's a
Megan one too, you get it out of her head.
They're really trying.
Speaker 3 (09:56):
No, there are the Thunderbolts one you were eating out
of the limit Maine.
Speaker 2 (10:00):
Yeah, it was the giant dam out of all that.
And then there was that dirty looking one for Dune.
I like the Dune one was great.
Speaker 3 (10:08):
The new one for Fantastic four with the galactus head
it's eighty bucks. It's eighty bucks, but that's less than
the Herbie which which you can put your drink in
your your soda in your canyon. The Herbie robot transforms
into a full eating sinner.
Speaker 2 (10:24):
Okay, I want that. That's like one hundred twenty though,
got an issue.
Speaker 1 (10:28):
None of that is encouraging me to actually go to
the theater at the end of the day. None of that.
I don't need another popcorn dispenser. I don't need another souvenir.
I need a reason to go. You need to eat
popcorn out of Megan's head.
Speaker 2 (10:44):
Okay.
Speaker 1 (10:44):
If I am sins forty, we have a Martin Cove update.
We're lived everywhere in the iHeartRadio, so Chubingo. This is
the guy who says I don't go watch Pixar movies
because I'm an adult, and he says stuff like that.
Speaker 6 (10:55):
You're listening to Later with Moe Kelly on demand from
KFI AMM six.
Speaker 1 (11:03):
Forty is later with mo Kelly live on YouTube, Instagram,
Facebook and.
Speaker 2 (11:06):
The iHeartRadio app.
Speaker 1 (11:08):
I don't know if we were the first on the story,
but as far as KFI, we were really early on
the story regarding Martin Cove and how his behavior regarding
a fellow co star of Cobra Kai. We thought even then,
we said even on the air, Alicia Hannah Kim, we
(11:28):
thought that that behavior when he bit her arm, almost
drawing blood, tried to kiss her arm. After that, that
said to me, and I know it said to Tuala
that this is not the first time that this type
of behavior, questional behavior has probably availed itself. And now
today it's come out that Sony Pictures had investigated the
(11:51):
set behavior of Martin Cove. Evidently there was an incident,
or an alleged incident. He didn't put his hands and
didn't touch this extra. But according to the story, this
extra on set I Guess was a featured extra because
this happened over multiple instances. Martin Cove allegedly was leering
(12:13):
at her and making verbal pronouncements that made her feel uncomfortable.
When she went to I Guess, the directors and other
Sony management to explain her side of the situation, and
so Sony conducted an investigation. It did not turn up
anything tangible like he wasn't removed or formally reprimanded from
(12:35):
what we know. But obviously Martin Cove at best has
a judgment problem and is not real clear on how
his behavior can make women uncomfortable. Let me just say
like that, at best, at worst, this is a pervasive
behavior which is probably something that has been going on
(12:58):
for many many years and probably many many set locations. Hey,
he's been a working actor since the nineteen seventies if
I'm not mistaken, So if it's happening now, I'm inclined
to believe it was happening then. And Toula, you found
this story before I did, And when I saw it, it's like, yeah,
of course, you don't just start out biting someone's arm
(13:21):
in public, in front of her husband for everyone to see,
unless you have been routinely engaging in behavior that is
probably questionable or unacceptable. You know you're you've crossed that
line before, because for you to just walk up and
do this in front of you, of everyone, and bite
this woman's arm, yeah, there's probably other things that are
(13:43):
probably not acceptable.
Speaker 3 (13:45):
This is typical behavior, or this behavior is run the
mill for him, for him to do that in public
so comfortably, that's something he's done before. And you know,
when you really delve into this deadline report, you know,
according to sources within the report, yes, he was read
(14:05):
the riot Act and it was suggested that he remained
in his trailer for the rest of the filming of
the series. So this happened early enough where they couldn't
excuse him at the time. From the series, He's two
core two Cobra Kai. Cobra Kai is literally based on
his character, So I can see, I can see how
(14:27):
this didn't make the light of day until now.
Speaker 1 (14:30):
Well, let me flip it, and let's say that I
worked as an extra on some movie sets and some
TV sets many many years ago, and I know how extras,
even if you're a featured extra, extra just means you
don't have any lines. You can be a featured extra
not have any lines, and you'd be there for multiple days.
Let's say on Cobra Kai, you'd be one of the
(14:50):
fighters in the scenes. If you are an extra, you
are less than nobody, and it's easier to get rid
of the extra or remove the extra, than it is
to tell one of the stars Copra Kai is not
Cobra Kai without Martin cole Let's peak. Yeah, it is
easier to get rid of the extra, the problem extra,
(15:13):
than it is to tell Martin cole one of the stars,
stay in your trailer, do not come out. I'm reading
into this, but for me, it says to me that
there had to have been more than just one complaint.
There had to be a level behavior which was systemic
where they said, look, stay your ass and your trailer
(15:33):
from now on. Because you're talking about one complaint from
one extra, which is not even real specific as far
as either a physical contact. It's listed as leering, so
it's like he was staring at her and maybe made
some comments of offheaded, flirtatious comments. That's usually not enough
(15:54):
to get the star reprimanded. They would keep the extra
away or cut that personage check and say have a
nice day. It's easier to do it that way. Why
are you going to continue to flirt with liability?
Speaker 2 (16:07):
Yeah? Yeah, Well, this to me, if I was.
Speaker 3 (16:13):
A prosecutor and if this was my case to try,
I would submit this as prior reasoning rationale to show
that he has a history of this behavior.
Speaker 1 (16:25):
Yeah, this would be evidence as to pattern. Yeah, and look,
I'm not trying to say he's Bill Cosby. I'm not
trying to say that he is Diddy. I am saying
that usually there is a pattern underneath.
Speaker 2 (16:41):
It's not just one person. They're probably plenty more.
Speaker 1 (16:45):
And if not for this incident, there probably would not
have been any discussion of what had happened on the
set of Cobra Kai and I believe that there is
a cascading effect. You'll probably hear about more incidents because
this is not the only set that he was on.
And if he's biting women at eighty years old, he
was probably biting women at sixty five and seventy. I
(17:06):
may be wrong, but I doubt it. It's Later with
mo Kelly IM six forty. We have the Runner Report
when we come back on F one. That's coming up next.
Speaker 6 (17:15):
You're listening to Later with Mo Kelly on demand from
KFI A M six forty.
Speaker 2 (17:27):
Mark talks about pontificates about pop culture.
Speaker 7 (17:32):
Ron and Report with Mark Ronner.
Speaker 2 (17:44):
It's Later with Mo Kelly.
Speaker 1 (17:45):
We're live on YouTube, Instagram, Facebook, and the iHeartRadio app
Here comes Mark Ronner with the runner report Tonight.
Speaker 4 (17:51):
F one the movie not to be mistaken for F one.
The emphasis is key here, and as I mentioned a
couple of days ago, it's not a movie about one
of your function key, it's a movie about Formula one
racing with Brad Pitt.
Speaker 2 (18:04):
Or some of the trailer see like straight, straight and narrow,
No sugar, Why are you here?
Speaker 6 (18:13):
Sonny?
Speaker 5 (18:22):
When you look in the mirror, you see this rough
and tumble old school cowboy, doesn't take orders, goes his
own way. Huh A lone wolf.
Speaker 2 (18:46):
Well, I've news for you. Formula one is a team sport.
Speaker 5 (18:52):
It always was.
Speaker 2 (18:57):
Listen, let's get this straight. We all lose our jobs
if you can't run off America.
Speaker 7 (19:03):
No pressure.
Speaker 5 (19:04):
But the only question here is why does Sonny Hayes
come back to F one?
Speaker 4 (19:13):
I think it's really wonderful to APEX have given second chances.
Speaker 2 (19:16):
To the Oldnate. Why did he come back? And can
he pull off the miracle? F one?
Speaker 4 (19:21):
The movie is more than two and a half hours,
so haf that Brad Pitt plays a race car driver,
as you heard in the trailer, who's been sort of
bumming around for thirty years. After a traumatic event Capital
t Capital E, and he's recruited by Javier Bardam to
help save his failing race team with a cocky, up
and coming young driver played by Damson Idris in what
(19:43):
I think is his first big film role after plenty
of TV work. In that sense, F one is a
little like The Natural, but for people who like to
watch cars go around in circles for hours and may
have more tattoos than teeth. And before you say f
me about mocking race fans, I've driven a Formula race
car for a newspaper story. I've covered the first brickyard
four hundred in Indianapolis. I have earned the right to
(20:04):
this mockery. I even had some dental issues of my
own recently, but not of the leanne rhymes variety. If
you're only watching on the live stream hoping the choppers
are going to get launched across the room, I'm afraid
they're still attached. Actress the Irish actress Kerry Condon, who
you heard in the trailer. Remember her from the Banshees
of Inniseron. If you haven't seen that, watch it. She
(20:25):
plays the engineer in this movie and hookup interest of
Pitt who's nearly twenty years her elder. They have one
f she makes everything she's in better. F One's directed
by the perpetrator of top Gun Maverick, Joseph Kozinski.
Speaker 2 (20:38):
Oh, and you might be able to guess that even.
Speaker 4 (20:41):
If nobody told you just from watching this formula Race
movie is similarly say with me formulaic, and Pitt's character,
Sonny Hayes, is, as you heard in the trailer, a
bit of a maverick, a loose cannon.
Speaker 2 (20:56):
He takes too many risks.
Speaker 4 (20:57):
He's also an old school type who's not down with
the new ways of doing everything. He lives in a van.
His young teammate has a super mode apartment. He goes
jogging with the crew, the young guys hooked up to equipment,
simulators and stuff. You get a chat if you can
look at that scene that I think is in the
trailers with Pitt and the younger guy nearly coming to
(21:19):
brow blows, and you better get your head screwed on
right argument and not either laugh or grown. This movie
may be for you. Damn it, MO. It's not just
your career you're messing with here, it's mine too. How's
that is okay? F You was also written by Aaron Kruger,
who wrote Top Gun, Maverick as well as some Transformer movies.
Speaker 2 (21:41):
So let's just be clear eyed about what we're doing
with Arlington Road as well. He does some good stuff.
Don't you defend him? Don't have your chats.
Speaker 4 (21:51):
What I'm saying is that this is not material that
requires a lot of your brain's processing power and bandwidth. Okay,
I got to cut to the chase here, especially after
that interruption, so to speak. F one looks good, especially
on a big screen. It's a popcorn movie, but it
is a drag so to speak. We're hauling out all
the cliches here. It's a marginally enjoyable crowd pleaser of
(22:14):
a movie, but it's way too long. There's absolutely nothing
special about the bare bones, generic story, and even if
you happen to sort of passively like it in the
moment when the camera is whipping from the track back
to pit at the Wheel, which is kind of a
cool thing, the movie will not be remembered as any
kind of storytelling masterpiece.
Speaker 2 (22:31):
The dialogue sucks.
Speaker 4 (22:33):
In fact, even if you really just like looking at
sixty one year old Brad Pitt. F one mainly just
feels like a product. Here's your pull quote publicist f
one kind of a big skid mark.
Speaker 2 (22:44):
Now look, I like cars.
Speaker 4 (22:47):
I love movie car chase scenes, and I've written about them,
which you can google. We could do a whole show
just on those. Bullet's been on my mind lately because
Lalo Schiffrin, the composer of that, passed away yesterday. But
apparently it's hard to make a whole racing movie that's good. Apparently.
I love Steve McQueen, and his Leman movie sucks. I
(23:08):
love Michael Mann, but his Ferrari movie also sucks. You're
gonna throw Days of Thunder at me into that, I say,
and us Ferrari was good, Yes, it was. And now
that I'm thinking of it, Talladega Knights might yea the
best racing movie.
Speaker 2 (23:26):
Probably, yes.
Speaker 4 (23:27):
And because filmmakers have such a hard time making anything
interesting about driving around on a track for hours, that's
why Deathrays two thousand is an immortal masterpiece. And I
will fight you over that isn't that Carrody?
Speaker 2 (23:40):
Yeah? Yeah.
Speaker 4 (23:41):
Paul Bartel was the director, David Carridine was the star,
and young Sylvester Stallone also be careful driving home after
watching f one. Just like after when you've been playing
a video race game, you do not respawn after you crash,
and you cannot afford the kind of healthcare that Pitt
and Idris receive in the movie. Now, I know you
(24:01):
guys are going to see it regardless of what I say,
but you've been warned as of right now.
Speaker 2 (24:07):
Yeah, I'm gonna see it. It's okay, this was pointless. No,
what are you giving a reviewer or a warning? I
mean it's both, Okay, it's both. It's like, that's all
these are. How is it kind of slow though, like
outside of the racing, because that's I mean, that's all
I could go for anyway. Uh, well, like I said,
there's the whole script is just a delivery device for
(24:30):
the racing in the race, okay, And so if you
actually pay attention to what they're saying and doing between
the racing scenes, which are really frenetically shot and cut,
it's crap.
Speaker 4 (24:41):
I mean you're gonna see. If you look on Rotten Tomatoes,
it's got a pretty good rating. I think last time
I looked this morning, it was something like eighty three
percent positive.
Speaker 2 (24:49):
I'm in the minority of.
Speaker 4 (24:50):
That's up from thirty three thirty three percent positive.
Speaker 2 (24:54):
Yeah, it was really low to eighty three.
Speaker 4 (24:58):
Well, okay, that's news to me. But right now it's
got a vastly positive review. I am one of the outliers.
But if you go down the list and you look
at the reasons people say they like it, you're talking
about like a bunch of chimps who are fascinated by
an amulet being hung in front of them and shaken
around by somebody. What I'm saying is, you can trust me,
(25:20):
you cannot trust eighty three percent of the critics in
the United States.
Speaker 2 (25:23):
Let's see.
Speaker 1 (25:24):
That's a perfect example. It is a highly publicized movie.
Everyone knows about the movie because of Runner's report. I
don't feel the need to run to the theater to
see it, but I'll watch it thirty five forty days
from now, where it'll show up on Apple TV because
it's an Apple Film's production. So that's where we'll end up. Well,
(25:46):
this is the frustrating thing about it. It's a movie
that was made to be seen on a big screens.
Speaker 2 (25:51):
What I was thinking.
Speaker 4 (25:52):
But if you you know, if you're interested in using
your brain at all, you know, so it's a popcorn movie.
But you can have popcorn movies that aren't for morons
and buy moron.
Speaker 2 (26:03):
Wow. Wow, this sounds so personal like something.
Speaker 4 (26:11):
Oh no, let's be clear. I take insults to my
intelligence personally. I you know, if I take the time
to drive to a movie and pay to see it.
I pay to see these movies. I don't go to
the free screenings like all the other critics. I pay
like a normal human being. So if it's bad, I
take it personally. You have ruined half my day.
Speaker 1 (26:30):
But see that goes back to what we were talking about
earlier in the future of the movie theater going experience.
If for you to take it personally when you see
a bad movie, you're probably disinclined.
Speaker 4 (26:40):
To go to the movies all that Often, the choices
are a lot harder than they used to be. I mean,
as we've said before, you used to just decide, hey,
we're going to the movies on Friday night, and you
didn't really necessarily have one in mind.
Speaker 2 (26:52):
You just picked one. But not anymore so I don't
like that anymore. Those times are over. So f this movie,
that's your run over port kay, and then hey, shut
your time.
Speaker 1 (27:08):
K if I AM six forty were live everywhere in
the iHeartRadio app, k s.
Speaker 6 (27:13):
I and k O S t h D two Los Angeles,
Orange County.
Speaker 2 (27:18):
More stimulating talk
KFI later with Mo Kelly Live Everywhere on the iHeartRadio app.
Speaker 2 (00:11):
You can check us out on YouTube.
Speaker 1 (00:13):
Join the Migos, send us a chat message in the
motown Chat. We love talking about movies here. We want
to give you an update on some really important information
and also the forecast what is ahead for the industry.
California lawmakers have approved and expanded seven hundred and fifty
million dollar film tax credit program. You've heard us talk
(00:35):
about this. This would inspire and encourage movie makers to
do their business, film their movies and streaming shows here
in California. So it's more than double the amount, and
it's a win for studios, producers, unions, industry workers.
Speaker 2 (00:51):
And that's what I think you should do.
Speaker 1 (00:53):
You do what you can with what you have right
where you are to inspire more business, more or movies
being made right here in southern California. But I don't
know if that is the actual solution to the larger
question of how long will we be actually going to
the movies. There's making movies and how we consume movies.
(01:16):
It's one thing to say, yeah, we're going to have
more movies produced and filmed here in Southern California, But
are we actually going to go to the theater to see them?
And there's this other story which is running parallel to it.
And basically most movie theater executives think that the traditional
movie going experience has about maybe twenty years at most.
(01:37):
Left twenty years. I think it's much less than that.
I really do, and maybe I'm being pessimistic. I don't
think that in twenty thirty seven, per se, we will
still be consuming movies in the traditional way of driving
our ass to AMC, Regal or general cinema to sit down.
(01:59):
For that community, the experience of watching a movie. The
delivery systems have changed. All the first run movies we
get to see generally inside of forty five days at home,
and we've long talked about the better home experience.
Speaker 2 (02:14):
Just about everyone has.
Speaker 1 (02:16):
And there are other movies that we can watch, may
not be theater quality, but good enough to keep us
from actually going into the theater.
Speaker 3 (02:26):
I think giving it twenty years is high hopes because
they're still in the business. But within a twenty year span,
I don't know if there are going to be enough
movie theaters that are offering something other than come watch
this thing on the screen with a high deaf picture.
Now I know we have a mutual friend, Tom Cunningham
(02:47):
who went to go and see the matrix that.
Speaker 2 (02:49):
What is it called cosm?
Speaker 3 (02:51):
Cos Now that that I want to do. That's an
experience that looks great. But how many movie theaters can
do that? How many big your films are there to
go and watch at a cosm. It's a great experience,
but it's not universal for film.
Speaker 1 (03:06):
And yeah, it's not specifically for film. It's especially tailored
movie experience. They're not just putting it up on the screen.
If cosm if you're not familiar with it, it's about
an immersive experience. And they also show events. They sporting events,
not just movies. They have all sorts of events which
(03:26):
go on at COSM. So it's in addition to not
their bread and butter like that would make me want
to actually go watch a game. It looks really cool,
but you would be going to COSM if they're not
trying to see a movie. And going forward, I don't
know how you can have these four or five theaters
with seventy or eighty seats in them and that be
(03:48):
the draw for you to see the latest movie. No Honestly,
the draw is the latest movie coming straight to me.
That's why I think all of this is leading eventually eventually,
How how are you going to convince people to go
to and I'm gonna pick on AMC because there's the
largest one in the world. How are you going to
convince people to go to a physical building to watch
(04:09):
a movie on the screen which is technologically not much
better than what you have at home, the sounds system
or anything.
Speaker 3 (04:19):
The thing about AMC is they're trying to now sell
this experience of having these bars and starting to show games,
concerts and things like that. Because Monday through Friday, you know,
eat prey, buy some chocolate is not going to get
people in theaters. You need big budget films every week
(04:41):
to get people in, and that's not happening some of
these smaller indie films. You're not playing that at an
experienced thing like COSM or any of the forty X
theaters or anything like that. There's not enough big budget
films coming out in a calendar year.
Speaker 1 (04:55):
But there are enough, not necessarily big budget, but let's
say big Netflix budget, big Hulu budget, big Amazon Prime budget,
where they're spending you know, seventy eighty ninety million dollars
on these movies, and they are coming out far more
frequently than the actual big budget blockbusters in movie theaters.
(05:16):
Like we were talking about, The Old Guard Too comes
out next week. I know that's at least seventy million
that they spent on that, and that's gonna be on Netflix.
As far as I'm concerned, that means free, because Netflix
already has my money for the month. Yeah, So as
far as I'm concerned, that's in addition to what I
already plan to watch in Netflix. That for me, and
I can't speak for anyone else, that's enough because I
(05:39):
get enough movie level quality entertainment at home, and I
don't have to take time out of my day, let's say,
going to the movies like Mark Ronald does at midnight
and not getting home until three in the morning.
Speaker 2 (05:51):
I would rather do without that. Plus, drinks are free,
you have your food, and you can make your own popcorn.
And my easy chair is fantastic.
Speaker 4 (06:02):
Yes, I don't know the chairs, and some of these
theaters are pretty competitive. I finally got to the one
up at Porter Ranch near where Tula lives.
Speaker 2 (06:09):
It's nice. It may be nice, but is it driving
twenty minutes? Nice?
Speaker 4 (06:15):
Is this you got to get in the car, you
got to put on pants?
Speaker 2 (06:19):
No, that means a lot, because I like watching the
stuff with my draws.
Speaker 4 (06:21):
No. No, there are complications and some compromises you have
to make. But some movies you just want to see
in the theater, like you want to see twenty eight
years later in a theater.
Speaker 2 (06:32):
No.
Speaker 1 (06:33):
No, it'll be fine for me when I see it
on Netflix whatever, it only hits F one, I definitely
want to see in the theaters.
Speaker 2 (06:41):
That would be a good cause of one too. But
here's the point.
Speaker 1 (06:44):
They're not enough of those to change the trajectory of
movie theaters.
Speaker 2 (06:49):
I've been reading a little bit about.
Speaker 4 (06:51):
Why that is and why some of the movies in
theaters look so crappy now, and it has to do
with the flatway that they're filmed, so they can be
put together in editing and have special effects added to them.
A lot of movies that you see in theaters don't
look special anymore like older movies used to. They look
like the same kind of stuff you'd see on like
c W.
Speaker 1 (07:10):
And I wonder if they're made with the express intent of,
you know, knowing that it's going to be in a
television environment later on watch on a smaller screen.
Speaker 4 (07:24):
I think it's a production issue. I think they're shot
in such a way so that they're not really elaborately
lit and filmed on the spot, so that things can
be added later on in the process.
Speaker 2 (07:37):
Plus, it's a good point. We come to a not
her again, leave us alone, all.
Speaker 1 (07:46):
Of us, that indescribable feeling after like what's commercial?
Speaker 2 (07:55):
And we don't talk, don't text commercials before just Enterita.
Speaker 1 (08:01):
But somehow we've worn together.
Speaker 2 (08:05):
Dazzling images on a huge silver screen.
Speaker 4 (08:09):
So huge it's a girthy screen like this, I'll put
you out.
Speaker 5 (08:16):
Our heroes feel like the best part of us, and
stories feel perfect and powerful.
Speaker 2 (08:22):
Actress, she's really handing it up. They are theaters.
Speaker 3 (08:29):
Don't forget at AMC theaters. Starting what Tuesday, they're adding
another fifteen minutes or so of commercial.
Speaker 2 (08:37):
That's right, I forgot about that week.
Speaker 1 (08:42):
Yeah, so Mark for his run report next week will
report on the commercials.
Speaker 4 (08:49):
Listen if you don't. Nobody's more disgruntled about that than me.
I went to F one today and we're going to
talk about that shortly. The movie's more than two and
a half hours. Then you want to add another fifteen
minutes of commercials to that, Yeah, yeah, that's more.
Speaker 1 (09:04):
And I understand we're talking about the survival of movie theaters.
More commercials, more revenue. I get all that, but ultimately,
they need people in seats to buy the concessions. That's
why they make the money, the concessions. And if they're
not in seats, watching the movie and buying concessions, then
the extra.
Speaker 2 (09:21):
Commercials are just delaying the inevitable.
Speaker 4 (09:23):
Have you noticed how the people work in the counter
actually act personally dejected if you only want the movie
ticket and no food.
Speaker 3 (09:33):
Yeah, it's because they're not going to get that extra yeah.
Speaker 4 (09:35):
Yeah, yeah, they take it personally, So just the ticket,
then just the ticket, And that's why they have all
those specials and promotions and all the buckets.
Speaker 2 (09:44):
Yeah, I mean the bucket game is ridiculous. You know
you got the Oh there's a new Jaws one that
looks really cool. You eat your popcorn out of the
shark's mouth. Yeah, I want that. You know, there's a
Megan one too, you get it out of her head.
They're really trying.
Speaker 3 (09:56):
No, there are the Thunderbolts one you were eating out
of the limit Maine.
Speaker 2 (10:00):
Yeah, it was the giant dam out of all that.
And then there was that dirty looking one for Dune.
I like the Dune one was great.
Speaker 3 (10:08):
The new one for Fantastic four with the galactus head
it's eighty bucks. It's eighty bucks, but that's less than
the Herbie which which you can put your drink in
your your soda in your canyon. The Herbie robot transforms
into a full eating sinner.
Speaker 2 (10:24):
Okay, I want that. That's like one hundred twenty though,
got an issue.
Speaker 1 (10:28):
None of that is encouraging me to actually go to
the theater at the end of the day. None of that.
I don't need another popcorn dispenser. I don't need another souvenir.
I need a reason to go. You need to eat
popcorn out of Megan's head.
Speaker 2 (10:44):
Okay.
Speaker 1 (10:44):
If I am sins forty, we have a Martin Cove update.
We're lived everywhere in the iHeartRadio, so Chubingo. This is
the guy who says I don't go watch Pixar movies
because I'm an adult, and he says stuff like that.
Speaker 6 (10:55):
You're listening to Later with Moe Kelly on demand from
KFI AMM six.
Speaker 1 (11:03):
Forty is later with mo Kelly live on YouTube, Instagram,
Facebook and.
Speaker 2 (11:06):
The iHeartRadio app.
Speaker 1 (11:08):
I don't know if we were the first on the story,
but as far as KFI, we were really early on
the story regarding Martin Cove and how his behavior regarding
a fellow co star of Cobra Kai. We thought even then,
we said even on the air, Alicia Hannah Kim, we
(11:28):
thought that that behavior when he bit her arm, almost
drawing blood, tried to kiss her arm. After that, that
said to me, and I know it said to Tuala
that this is not the first time that this type
of behavior, questional behavior has probably availed itself. And now
today it's come out that Sony Pictures had investigated the
(11:51):
set behavior of Martin Cove. Evidently there was an incident,
or an alleged incident. He didn't put his hands and
didn't touch this extra. But according to the story, this
extra on set I Guess was a featured extra because
this happened over multiple instances. Martin Cove allegedly was leering
(12:13):
at her and making verbal pronouncements that made her feel uncomfortable.
When she went to I Guess, the directors and other
Sony management to explain her side of the situation, and
so Sony conducted an investigation. It did not turn up
anything tangible like he wasn't removed or formally reprimanded from
(12:35):
what we know. But obviously Martin Cove at best has
a judgment problem and is not real clear on how
his behavior can make women uncomfortable. Let me just say
like that, at best, at worst, this is a pervasive
behavior which is probably something that has been going on
(12:58):
for many many years and probably many many set locations. Hey,
he's been a working actor since the nineteen seventies if
I'm not mistaken, So if it's happening now, I'm inclined
to believe it was happening then. And Toula, you found
this story before I did, And when I saw it, it's like, yeah,
of course, you don't just start out biting someone's arm
(13:21):
in public, in front of her husband for everyone to see,
unless you have been routinely engaging in behavior that is
probably questionable or unacceptable. You know you're you've crossed that
line before, because for you to just walk up and
do this in front of you, of everyone, and bite
this woman's arm, yeah, there's probably other things that are
(13:43):
probably not acceptable.
Speaker 3 (13:45):
This is typical behavior, or this behavior is run the
mill for him, for him to do that in public
so comfortably, that's something he's done before. And you know,
when you really delve into this deadline report, you know,
according to sources within the report, yes, he was read
(14:05):
the riot Act and it was suggested that he remained
in his trailer for the rest of the filming of
the series. So this happened early enough where they couldn't
excuse him at the time. From the series, He's two
core two Cobra Kai. Cobra Kai is literally based on
his character, So I can see, I can see how
(14:27):
this didn't make the light of day until now.
Speaker 1 (14:30):
Well, let me flip it, and let's say that I
worked as an extra on some movie sets and some
TV sets many many years ago, and I know how extras,
even if you're a featured extra, extra just means you
don't have any lines. You can be a featured extra
not have any lines, and you'd be there for multiple days.
Let's say on Cobra Kai, you'd be one of the
(14:50):
fighters in the scenes. If you are an extra, you
are less than nobody, and it's easier to get rid
of the extra or remove the extra, than it is
to tell one of the stars Copra Kai is not
Cobra Kai without Martin cole Let's peak. Yeah, it is
easier to get rid of the extra, the problem extra,
(15:13):
than it is to tell Martin cole one of the stars,
stay in your trailer, do not come out. I'm reading
into this, but for me, it says to me that
there had to have been more than just one complaint.
There had to be a level behavior which was systemic
where they said, look, stay your ass and your trailer
(15:33):
from now on. Because you're talking about one complaint from
one extra, which is not even real specific as far
as either a physical contact. It's listed as leering, so
it's like he was staring at her and maybe made
some comments of offheaded, flirtatious comments. That's usually not enough
(15:54):
to get the star reprimanded. They would keep the extra
away or cut that personage check and say have a
nice day. It's easier to do it that way. Why
are you going to continue to flirt with liability?
Speaker 2 (16:07):
Yeah? Yeah, Well, this to me, if I was.
Speaker 3 (16:13):
A prosecutor and if this was my case to try,
I would submit this as prior reasoning rationale to show
that he has a history of this behavior.
Speaker 1 (16:25):
Yeah, this would be evidence as to pattern. Yeah, and look,
I'm not trying to say he's Bill Cosby. I'm not
trying to say that he is Diddy. I am saying
that usually there is a pattern underneath.
Speaker 2 (16:41):
It's not just one person. They're probably plenty more.
Speaker 1 (16:45):
And if not for this incident, there probably would not
have been any discussion of what had happened on the
set of Cobra Kai and I believe that there is
a cascading effect. You'll probably hear about more incidents because
this is not the only set that he was on.
And if he's biting women at eighty years old, he
was probably biting women at sixty five and seventy. I
(17:06):
may be wrong, but I doubt it. It's Later with
mo Kelly IM six forty. We have the Runner Report
when we come back on F one. That's coming up next.
Speaker 6 (17:15):
You're listening to Later with Mo Kelly on demand from
KFI A M six forty.
Speaker 2 (17:27):
Mark talks about pontificates about pop culture.
Speaker 7 (17:32):
Ron and Report with Mark Ronner.
Speaker 2 (17:44):
It's Later with Mo Kelly.
Speaker 1 (17:45):
We're live on YouTube, Instagram, Facebook, and the iHeartRadio app
Here comes Mark Ronner with the runner report Tonight.
Speaker 4 (17:51):
F one the movie not to be mistaken for F one.
The emphasis is key here, and as I mentioned a
couple of days ago, it's not a movie about one
of your function key, it's a movie about Formula one
racing with Brad Pitt.
Speaker 2 (18:04):
Or some of the trailer see like straight, straight and narrow,
No sugar, Why are you here?
Speaker 6 (18:13):
Sonny?
Speaker 5 (18:22):
When you look in the mirror, you see this rough
and tumble old school cowboy, doesn't take orders, goes his
own way. Huh A lone wolf.
Speaker 2 (18:46):
Well, I've news for you. Formula one is a team sport.
Speaker 5 (18:52):
It always was.
Speaker 2 (18:57):
Listen, let's get this straight. We all lose our jobs
if you can't run off America.
Speaker 7 (19:03):
No pressure.
Speaker 5 (19:04):
But the only question here is why does Sonny Hayes
come back to F one?
Speaker 4 (19:13):
I think it's really wonderful to APEX have given second chances.
Speaker 2 (19:16):
To the Oldnate. Why did he come back? And can
he pull off the miracle? F one?
Speaker 4 (19:21):
The movie is more than two and a half hours,
so haf that Brad Pitt plays a race car driver,
as you heard in the trailer, who's been sort of
bumming around for thirty years. After a traumatic event Capital
t Capital E, and he's recruited by Javier Bardam to
help save his failing race team with a cocky, up
and coming young driver played by Damson Idris in what
(19:43):
I think is his first big film role after plenty
of TV work. In that sense, F one is a
little like The Natural, but for people who like to
watch cars go around in circles for hours and may
have more tattoos than teeth. And before you say f
me about mocking race fans, I've driven a Formula race
car for a newspaper story. I've covered the first brickyard
four hundred in Indianapolis. I have earned the right to
(20:04):
this mockery. I even had some dental issues of my
own recently, but not of the leanne rhymes variety. If
you're only watching on the live stream hoping the choppers
are going to get launched across the room, I'm afraid
they're still attached. Actress the Irish actress Kerry Condon, who
you heard in the trailer. Remember her from the Banshees
of Inniseron. If you haven't seen that, watch it. She
(20:25):
plays the engineer in this movie and hookup interest of
Pitt who's nearly twenty years her elder. They have one
f she makes everything she's in better. F One's directed
by the perpetrator of top Gun Maverick, Joseph Kozinski.
Speaker 2 (20:38):
Oh, and you might be able to guess that even.
Speaker 4 (20:41):
If nobody told you just from watching this formula Race
movie is similarly say with me formulaic, and Pitt's character,
Sonny Hayes, is, as you heard in the trailer, a
bit of a maverick, a loose cannon.
Speaker 2 (20:56):
He takes too many risks.
Speaker 4 (20:57):
He's also an old school type who's not down with
the new ways of doing everything. He lives in a van.
His young teammate has a super mode apartment. He goes
jogging with the crew, the young guys hooked up to equipment,
simulators and stuff. You get a chat if you can
look at that scene that I think is in the
trailers with Pitt and the younger guy nearly coming to
(21:19):
brow blows, and you better get your head screwed on
right argument and not either laugh or grown. This movie
may be for you. Damn it, MO. It's not just
your career you're messing with here, it's mine too. How's
that is okay? F You was also written by Aaron Kruger,
who wrote Top Gun, Maverick as well as some Transformer movies.
Speaker 2 (21:41):
So let's just be clear eyed about what we're doing
with Arlington Road as well. He does some good stuff.
Don't you defend him? Don't have your chats.
Speaker 4 (21:51):
What I'm saying is that this is not material that
requires a lot of your brain's processing power and bandwidth. Okay,
I got to cut to the chase here, especially after
that interruption, so to speak. F one looks good, especially
on a big screen. It's a popcorn movie, but it
is a drag so to speak. We're hauling out all
the cliches here. It's a marginally enjoyable crowd pleaser of
(22:14):
a movie, but it's way too long. There's absolutely nothing
special about the bare bones, generic story, and even if
you happen to sort of passively like it in the
moment when the camera is whipping from the track back
to pit at the Wheel, which is kind of a
cool thing, the movie will not be remembered as any
kind of storytelling masterpiece.
Speaker 2 (22:31):
The dialogue sucks.
Speaker 4 (22:33):
In fact, even if you really just like looking at
sixty one year old Brad Pitt. F one mainly just
feels like a product. Here's your pull quote publicist f
one kind of a big skid mark.
Speaker 2 (22:44):
Now look, I like cars.
Speaker 4 (22:47):
I love movie car chase scenes, and I've written about them,
which you can google. We could do a whole show
just on those. Bullet's been on my mind lately because
Lalo Schiffrin, the composer of that, passed away yesterday. But
apparently it's hard to make a whole racing movie that's good. Apparently.
I love Steve McQueen, and his Leman movie sucks. I
(23:08):
love Michael Mann, but his Ferrari movie also sucks. You're
gonna throw Days of Thunder at me into that, I say,
and us Ferrari was good, Yes, it was. And now
that I'm thinking of it, Talladega Knights might yea the
best racing movie.
Speaker 2 (23:26):
Probably, yes.
Speaker 4 (23:27):
And because filmmakers have such a hard time making anything
interesting about driving around on a track for hours, that's
why Deathrays two thousand is an immortal masterpiece. And I
will fight you over that isn't that Carrody?
Speaker 2 (23:40):
Yeah? Yeah.
Speaker 4 (23:41):
Paul Bartel was the director, David Carridine was the star,
and young Sylvester Stallone also be careful driving home after
watching f one. Just like after when you've been playing
a video race game, you do not respawn after you crash,
and you cannot afford the kind of healthcare that Pitt
and Idris receive in the movie. Now, I know you
(24:01):
guys are going to see it regardless of what I say,
but you've been warned as of right now.
Speaker 2 (24:07):
Yeah, I'm gonna see it. It's okay, this was pointless. No,
what are you giving a reviewer or a warning? I
mean it's both, Okay, it's both. It's like, that's all
these are. How is it kind of slow though, like
outside of the racing, because that's I mean, that's all
I could go for anyway. Uh, well, like I said,
there's the whole script is just a delivery device for
(24:30):
the racing in the race, okay, And so if you
actually pay attention to what they're saying and doing between
the racing scenes, which are really frenetically shot and cut,
it's crap.
Speaker 4 (24:41):
I mean you're gonna see. If you look on Rotten Tomatoes,
it's got a pretty good rating. I think last time
I looked this morning, it was something like eighty three
percent positive.
Speaker 2 (24:49):
I'm in the minority of.
Speaker 4 (24:50):
That's up from thirty three thirty three percent positive.
Speaker 2 (24:54):
Yeah, it was really low to eighty three.
Speaker 4 (24:58):
Well, okay, that's news to me. But right now it's
got a vastly positive review. I am one of the outliers.
But if you go down the list and you look
at the reasons people say they like it, you're talking
about like a bunch of chimps who are fascinated by
an amulet being hung in front of them and shaken
around by somebody. What I'm saying is, you can trust me,
(25:20):
you cannot trust eighty three percent of the critics in
the United States.
Speaker 2 (25:23):
Let's see.
Speaker 1 (25:24):
That's a perfect example. It is a highly publicized movie.
Everyone knows about the movie because of Runner's report. I
don't feel the need to run to the theater to
see it, but I'll watch it thirty five forty days
from now, where it'll show up on Apple TV because
it's an Apple Film's production. So that's where we'll end up. Well,
(25:46):
this is the frustrating thing about it. It's a movie
that was made to be seen on a big screens.
Speaker 2 (25:51):
What I was thinking.
Speaker 4 (25:52):
But if you you know, if you're interested in using
your brain at all, you know, so it's a popcorn movie.
But you can have popcorn movies that aren't for morons
and buy moron.
Speaker 2 (26:03):
Wow. Wow, this sounds so personal like something.
Speaker 4 (26:11):
Oh no, let's be clear. I take insults to my
intelligence personally. I you know, if I take the time
to drive to a movie and pay to see it.
I pay to see these movies. I don't go to
the free screenings like all the other critics. I pay
like a normal human being. So if it's bad, I
take it personally. You have ruined half my day.
Speaker 1 (26:30):
But see that goes back to what we were talking about
earlier in the future of the movie theater going experience.
If for you to take it personally when you see
a bad movie, you're probably disinclined.
Speaker 4 (26:40):
To go to the movies all that Often, the choices
are a lot harder than they used to be. I mean,
as we've said before, you used to just decide, hey,
we're going to the movies on Friday night, and you
didn't really necessarily have one in mind.
Speaker 2 (26:52):
You just picked one. But not anymore so I don't
like that anymore. Those times are over. So f this movie,
that's your run over port kay, and then hey, shut
your time.
Speaker 1 (27:08):
K if I AM six forty were live everywhere in
the iHeartRadio app, k s.
Speaker 6 (27:13):
I and k O S t h D two Los Angeles,
Orange County.
Speaker 2 (27:18):
More stimulating talk
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I’m Jay Shetty host of On Purpose the worlds #1 Mental Health podcast and I’m so grateful you found us. I started this podcast 5 years ago to invite you into conversations and workshops that are designed to help make you happier, healthier and more healed. I believe that when you (yes you) feel seen, heard and understood you’re able to deal with relationship struggles, work challenges and life’s ups and downs with more ease and grace. I interview experts, celebrities, thought leaders and athletes so that we can grow our mindset, build better habits and uncover a side of them we’ve never seen before. New episodes every Monday and Friday. Your support means the world to me and I don’t take it for granted — click the follow button and leave a review to help us spread the love with On Purpose. I can’t wait for you to listen to your first or 500th episode!
Dateline NBC
Current and classic episodes, featuring compelling true-crime mysteries, powerful documentaries and in-depth investigations. Follow now to get the latest episodes of Dateline NBC completely free, or subscribe to Dateline Premium for ad-free listening and exclusive bonus content: DatelinePremium.com