August 19, 2025 • 32 mins
ICYMI: Hour Three of ‘Later, with Mo’Kelly’ Presents – A look at the highs and lows from the Weekend Box Office…PLUS – Thoughts on all the changes coming to ‘MSNBC’ after being spun off from NBCUniversal AND the reason movie studios are looking beyond the U.S. to make films - on KFI AM 640…Live everywhere on the iHeartRadio app & YouTube @MrMoKelly
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
You're listening to Later with Moe Kelly on demand from
KFI AM six forty.
Speaker 2 (00:06):
It's Later with mo Kelly Live everywhere in the iHeartRadio
app And you might have heard Mark Roner a little
bit earlier talk about some of the box office returns.
Now I'm going to go just a little bit deeper.
You had the number one movie overall weapons and I
think twelve Have you seen it yet?
Speaker 3 (00:24):
No, it would not be I asked him about seventy
or eighty times if he'd go with me.
Speaker 2 (00:31):
Okay, it's not that scary. It really isn't. But you know, yeah,
it's the kids.
Speaker 4 (00:36):
And the running around.
Speaker 5 (00:37):
You know, my daughter's already talking about walking home from school. No,
not about to deal with something that that that just
the theme of it hits home. No, all right, you
miss it out. It's number one movie this week.
Speaker 2 (00:50):
It actually gained two hundred and forty eight theaters, which
is a nice upward trajectory. It has a total gross
uh one hundred and forty nine million, And for a
psychological thriller, that's pretty damn good, Pretty damn good.
Speaker 3 (01:07):
I think Mark's review helped. Yeah, they owe me big time.
Speaker 5 (01:11):
Yeah, literally, I knew no one that was talking about
this film until you win saw it, Like, I don't know,
no real reviews there's it was such a hush hush
Mom's the word. And literally I think every outlet started
talking about it after the RUNA report.
Speaker 3 (01:26):
It's going on my best of list for the year.
It's really good and the last act is just berserk.
Speaker 4 (01:32):
I did it, No, it is, And.
Speaker 2 (01:33):
I don't understand why anyone want to do another version
of Freaky Friday. But you know there's an audience out
there for it and people are going to see it.
It's brought in eighty six million so far, and people
are really thirsting after Jamie Lee Curtis. They are like,
I didn't know she was. She was rocking like that.
Jamie Lee Curtis has always been fine. Yeah, so it's
(01:56):
weird to me now you're discovering her.
Speaker 4 (02:00):
See you in the movie? Was it perfect? True lies?
True lies?
Speaker 2 (02:03):
Would you dance around that black thoughts?
Speaker 4 (02:06):
Yes? Fire? Let me just say, let me officially go
on the record.
Speaker 2 (02:12):
Jamie Lee Curtis, she could get it, could get it,
she could get it twice on you think she is
twice on mid sixties.
Speaker 4 (02:19):
I think see I want.
Speaker 3 (02:20):
To only there was some way to look this up,
Jamie Lee, you're never supposed to look up a woman's age, Well,
you're you're never supposed to ask a woman her age.
You can always look it up. Yeah, you're supposed to
look it up and then throw it in her face,
so to speak.
Speaker 5 (02:38):
If that's how you do it, Mark, I mean, I'm
throwing it okay, and nobody too.
Speaker 2 (02:43):
I was talking about this with Mark. Nobody Too came
in third place this week. It's opening week, brought in
nine million domestically, five million international for.
Speaker 4 (02:54):
Nine million what docars dollars? Yeah, and that's actually gonna
be my point one.
Speaker 2 (02:57):
It's a soft week overall, not a lot of big
movies out there. And you know, no one really was
asking for a sequel to Nobody What was fun?
Speaker 4 (03:06):
And everybody loves Bob oden Kirk.
Speaker 2 (03:08):
After I did too, but I didn't need to see
it again. You know, another chapter in that story.
Speaker 3 (03:13):
I guess the fact that I didn't even bother going
to review it probably says something. I mean, what what
is there even to say? Okay, it's the same guy
doing the same thing another movie, right, but his motivations
are different. I don't care this time his family is involved.
Speaker 4 (03:29):
Yeah, yeah, yeah, I saw the trailer. Yeah yeah.
Speaker 2 (03:32):
It was a cheap way to make some money off
some ip you already owned.
Speaker 4 (03:36):
We've seen it before.
Speaker 2 (03:37):
Fantastic four is Holding On came in fourth this week,
brought in nine million. It's total of four hundred and
seventy million. Is going to struggle to make five hundred
million and a half a billion mark they want to,
but I don't know if it's going to get there.
Speaker 4 (03:50):
That's a shame. That's such a shame.
Speaker 3 (03:52):
Yeah, people must be burned out or something, because that
is easily one of the better Marvel movies.
Speaker 4 (03:56):
Yeah it is.
Speaker 5 (03:57):
I think I don't know it's and I don't think
it's hate against Pedro Pascal or anyone in the crew.
Is just kind of like one of those like I
don't know, and you know, I think, though, Mark, I
think this speaks to the popularity or lack thereof, of
the comic book as a whole. It's never been a
big seller. They've always been known. There's a huge swell
(04:19):
of popularity early on and in some stories in between,
but that's never been a book that's been high on
any bestseller list.
Speaker 4 (04:27):
I don't know.
Speaker 3 (04:27):
I can't argue with that, but I'm skeptical because that
was one of Marvel's, like top titles from the early
sixties on it is.
Speaker 4 (04:36):
Top titles from the nineteen sixties.
Speaker 3 (04:39):
Oh Godworld, Hey, no, it predates me, but that was Marvel's.
Speaker 4 (04:45):
That was shut Up.
Speaker 3 (04:47):
That was Marvel's answer to the Justice League, and stan
Lee and Jack Kirby did that, and it was I
don't know. I love those first couple of hundred issues
of the Fantastic four.
Speaker 2 (04:58):
Yeah, but I know that most people were going to
see this movie are not comic book enthusiasts, and I
know the people who are going to see this movie
more likely than not have some memory of the previous
three iterations of Fantastic four four.
Speaker 4 (05:12):
Excuse me.
Speaker 3 (05:13):
There were the two from Fox, that awful one with
Miles Teller as Reid Richards, and then that Roger Corman
one that was made just to hold on to the rights,
which I will defend to my death. It's it's heart
was in the right place, even though you know, maybe
not up to today's standards as far as the effect.
Speaker 2 (05:31):
Tony, you are a Marvel fan, You're a comic book enthusiast.
But I don't think you had any real desire to
see this movie. No, they got Galactus, right, finally, what
else do you want? Silver Surfer? Correct?
Speaker 4 (05:44):
See, can't keep having this conversation. What for shame Tony?
Speaker 2 (05:51):
He's like saying they didn't get Clark, can't correct it.
And the stories about Valsad I went deep there. I know,
I know, but toly I won't. I just I can't.
I can't get past it. It's one of those things.
Speaker 5 (06:07):
I dig it because if a movie has Liam Neeson
in it, I'm never gonna go see it. I don't
care if he's in I don't care if he stars
as Magneto. That means I just won't be watching any
X Men films. Is this really the same thing, though?
Speaker 2 (06:18):
M yeah, because yeah, I have to agree with Mark.
You know, okay, all right, that's true, because you know
you have a thing against an actor, not just that's
your property.
Speaker 4 (06:27):
That's true. You know you're not going to see a
Liam Neeson taking four.
Speaker 2 (06:31):
You're not gonna see a police Squad two, Naked Gun
three whatever.
Speaker 4 (06:36):
Now, I will not watch a Liam Neeson memorial. Okay, okay.
And on that note, yeah.
Speaker 1 (06:43):
You're listening to Later with Moe Kelly on demand from
k if I Am six forty.
Speaker 2 (07:05):
Can't find mister mom'kelly live everywhere in the iHeartRadio app
And maybe you tuned in a little bit later than
usual tonight and you were wondering, well, where is the
live video simulcast. Well, I'm getting ready to go on
vacation starting Tuesday night at about ten o'clock, and so
we gave Daniel and Carnesia the rest of the weeks
off of this month. I'll be gone for the rest
(07:27):
of the month, so there's no need to do the
video simulcast.
Speaker 4 (07:30):
So it's not gone away.
Speaker 2 (07:31):
It's just as on hiatus, like I will be on
hiatus through the end of the month, and Tula will
be here some of the days to help produce, and
Mark should be here. I don't know. He may be
taking some time off as well. I don't know about Tony.
I don't know anything anymore. Everything's upside down. But that's
why you don't have the video simulcast tonight. And I
know Mark is very upset about that because he loves
(07:52):
seeing himself on camera.
Speaker 3 (07:53):
Oh yeah, my hair is looking good today, So we're
really robbing people of something good hair day.
Speaker 4 (07:57):
Huh, yeah, it happens sometimes. Don't shake your head, Tony.
In fact, you're not allowed to shave it. Shake your head,
you have no hair.
Speaker 2 (08:07):
You heard Mark Runner speaking of Mark Runner, make mention
of how MSNBC is going through a change of sorts.
It's changing his name, is changing its logo, and its
changing its location. It's now going to be called My
Source News Opinion World. How in the frick did they
(08:30):
come up with something so horrible to name a network.
Speaker 3 (08:34):
They paid a lot of money for that, for the
focus group and the marketing.
Speaker 2 (08:38):
You know that that cost a millions My Source News
Opinion World. What does that mean? What does that mean?
My Source News Opinion World or MS now? And as
we said in the first segment, nothing good has MS
at the front of it, not multiple sclerosis, not MS thirteen.
Speaker 4 (09:03):
Nothing MS is good.
Speaker 2 (09:08):
And now you want to rebrand it as MS now
as opposed to MS later or MS earlier or MS
in a day or two.
Speaker 3 (09:16):
They need a mask gud like some woman named miss now. No,
Tony doesn't hand out rimshot now. I expect nothing. Don't worry.
Speaker 2 (09:27):
The shift is part of an effort to distance itself
from the NBC heritage and establish its own identity. Of
the plan spin off of the bulk of NBC Universal's
cable networks later this year, so it's not just MSNBC,
but CNBC is being spun off USA Network, Oxygen and
E Network. And the new ms NOW logo is features
(09:48):
a blue, white and red color scheme like all news
channels too. It's always red white and blue white, red,
blue white, blue red, some sort of concoction. And MSNBC
will no longer use the iconic Peaco peacock logo because
it will no longer be a part of NBC Universal.
Speaker 4 (10:08):
So they're just clean the house over there, well.
Speaker 2 (10:10):
The cleaning house, and they've spun it off MSNBC and
a lot of the news portion and some of the
entertainment channels under that Universal Comcast conglomerate. They were not
making as much money as they needed to, and so
they just spun them off.
Speaker 4 (10:26):
And I honestly, and you also.
Speaker 2 (10:28):
Heard Mark talking about Newsmax and they're sixty seven million
dollar settlement. Combined that with Fox News is seven hundred
and eighty seven million dollar settlement. CNN is struggling cable news.
You can't see my air quotes is in a bad
place across the board. And I think a lot of
(10:50):
these conglomerates, I'm sorry marketing me in to cuntr off,
a lot of these conglomerates are looking at the next
thing beyond cable news.
Speaker 4 (10:58):
Go ahead, Mark Well.
Speaker 3 (10:59):
That Newsmax settlement is after they already paid a forty
million dollar settlement to a different voting machine company.
Speaker 4 (11:05):
So that's two for news man, dominion and smart matter.
Speaker 3 (11:07):
Yep.
Speaker 2 (11:08):
So if I were to look at this big picture,
I think cable news as we once knew it has
already hit its apex, and it's on its way down
across the board. It's it's a little bit more obvious
with some than others. It's more obvious with the CNN
and an MSNBC. But Fox News is not immune and
Newsmax is definitely not immune. So I think this is
(11:30):
just a cultural shift as far as how we're getting
our information. But you know, MSNBC MS now, you should
have just got rid of the MS altogether.
Speaker 5 (11:43):
I mean, if they want to keep the MS, that's fine,
but don't make an acronym out of NOW just because
you want to have it.
Speaker 4 (11:48):
That's stupid.
Speaker 2 (11:49):
Just call it now, yes, just now, like they had
News Nation that would have been fine, something like that.
It's neutral. You know news today.
Speaker 4 (12:00):
That sucks. Just something like that. But MS, why did you?
Why do you try?
Speaker 2 (12:04):
I know they're trying to hold on to the MS
for the point of reference to MSNBC.
Speaker 4 (12:10):
I got that.
Speaker 2 (12:11):
Let it go, Let it go. You know, there are
times that I would argue that you'd hold on to it.
We talked about HBO when it went away from HBO
Max to just Max. It's like, no, no, no, everyone
knows it by HBO, and as long as you have
the opportunity to use it as part of your name,
you keep it.
Speaker 4 (12:29):
It's legacy, it's heritage. MS. No, you don't gain anything
by that. No.
Speaker 3 (12:36):
And they're not changing their programming to my knowledge. Ah,
so I still has like Rachel matt On all that right.
Speaker 2 (12:41):
Yeah, at this point, there are no scheduled programming changes.
I don't know if they're going to be able to
keep everyone for the same price, but.
Speaker 3 (12:50):
I know their ratings have taken a huge dip, especially
since Mattow went down to one day a week. I
know that CNN's ratings are absolutely in the toilet. So
some's got to get Fox's ratings are still pretty good
despite that seven hundred eighty seven million dollar settlement.
Speaker 2 (13:04):
And I never understood why they had Rachel Mattow only
one day a week. I know that was a negotiated
thing where she wanted to have time to do other projects,
but you don't get any continuity in programming when it's
just Rachel Mattow, who is a star for the network
one day a week, just Mondays.
Speaker 4 (13:21):
It was always weird.
Speaker 2 (13:22):
Her four day a week replacement didn't pan out. Alex
Wagner and you know.
Speaker 3 (13:28):
Play the hits, no, and Jen Saki, who was a
pretty good press secretary, not such a great broadcaster if
you're going by the fact that she starts every show
and every sentence with either okay or so.
Speaker 4 (13:41):
It drives me out of my mind.
Speaker 2 (13:42):
And I've noticed that a lot of these individuals are
simply not getting the adequate training to be a broadcaster, orse,
or news presenter or commentator. Because to your point, Mark,
we're just talking about the little things, the crutches, the
verbal crutches, the things which detract from the polish and
(14:05):
presentation of that way.
Speaker 5 (14:07):
Where is paramount in this is paramount in this equation
because I know they're about to lay off some I
don't know, ungudly amounts of people.
Speaker 3 (14:19):
They said that the layouts are coming. They're going to
be painful. I know they have uh some news new Yeah.
Speaker 2 (14:26):
Yeah, well they have, they have the sixty Minutes, they
have CBS News. But as far as the table, so
that's not paramount. Universals not connected. That's just a merger.
When you have a merger, you're going to get rid
of half the employees. But this is specific to the
cable news industry where yeah, Fox may be doing well
ratings wise, but I would wonder in two to three
(14:48):
years if they're in the same position. I think from
an industry standpoint, cable news is going through a recession
of sorts and people are are looking for other sources,
maybe because they're tired of the of the high political
partisanship and it gets boring. You know, you tune into
any of these networks, you see the same people talking
(15:10):
about the same things the same way with with the
with the same viewpoint every single day.
Speaker 3 (15:17):
Maybe you should get Daniel to pitch our show to
some of those networks that are failing.
Speaker 4 (15:24):
Here's here's the god's honest truth.
Speaker 2 (15:27):
It's not necessarily pay to play, but you have to
be walked in by the right person. It's not like
they're just looking for the most time to watch a
Fox News, watch a CNN, watch an MSNBC. Their regular
commentators are the same people every day for just about
every show.
Speaker 4 (15:46):
Yeah, that gets really tedious too.
Speaker 3 (15:48):
But by the way, I think one of their studios
is right next door to us, So you could lie
in wait for Laurence O'Donnell and just jump him on
the way on his way out.
Speaker 4 (15:55):
You could.
Speaker 2 (15:56):
But see the problem is they have you have showbookers,
and you have the network people. The show bookers, they
only have their three or four people that they'd like
to use. They have the paid commentators which you're supposed
to use, and so it just gets real repetitive. You
just see the same people night after night offering opinion,
and then every once in a while you will get
(16:18):
a free agent like me who was not being represented
by a publicist, who will come in and offer a
somewhat different voice.
Speaker 3 (16:25):
Did I tell you I was on a guest on
MSNBC a number of years ago when I was still
at the Seattle times they had me on to talk
about I think a Star Wars movie, which show? It
was on Ron Reagan's show, and then after that I
got booked like three times on Olberman's show, but it
didn't work out for one reason or another. I think
I'm not quite sure they knew what to do with
me because I incorporated humor.
Speaker 4 (16:49):
And sometimes that can be seen as showing up the host.
Speaker 3 (16:52):
Oh yeah, possibly Reagan was a nice guy, though Oberman.
I never wound up talking to.
Speaker 4 (16:59):
I did MSMBE I want to say, two or three times.
Speaker 2 (17:03):
Once with Chris Matthews, Oh god, and I was opposite
Stephen A.
Speaker 4 (17:06):
Smith.
Speaker 2 (17:08):
I wish I could find a video. It's like you
could hear my eyes rolling at this guy. And once
with Joy Reid. Did CNN at least one hundred and
fifty times, at least one hundred and fifty times.
Speaker 4 (17:20):
Now, do you get paid for this? Because I didn't
get paid.
Speaker 3 (17:21):
No. No.
Speaker 4 (17:22):
The only way you get paid, and I'm glad you
mentioned that.
Speaker 2 (17:25):
The only way you get paid If you see someone's
name as contributor, If they say mo Kelly, who's a
contributor to Spectrum News, that means I'm getting paid a
contributor to CNNCNN contributor, MSNBC contributor. That means they're getting paid.
And the only way you can do that is usually
you have a publicist who's basically doing a quid pro
quo relationship with the show booker because there's a kickback involved.
(17:48):
Just letting you know, it's very difficult to get those
paid jobs, and everyone's trying to get them because not
only they're lucrative that you know, you get seen by
millions of peace people.
Speaker 3 (18:00):
Yeah, you understood getting your foot in the door and
all that, but you know, after about the fourth call
from them, with no discussion of any compensation whatsoever, I
was like, how much are you making?
Speaker 4 (18:11):
Oh?
Speaker 2 (18:11):
CNN strung me along for a long time to wallowed
tell you there are times I'd leave here out of
the studio and I'd go down to this. Uh they
had a studio on Sunset and about Koega, and I
would go there when just before the pandemic. So we're
actually in studio and I'm staring at a black screen
talking to the anchor who may be in Atlanta. And
did that for like three or four years, and they
(18:32):
kept string me along, say hey, we want to get
you in the deal, We'll pay you that and it
just never materialized. So I stopped doing CNN, and I
have no problem to tell them that.
Speaker 4 (18:39):
Yeah.
Speaker 3 (18:39):
No, and I think this conversation pretty much guarantees will
never be booked on anything again. I just did Spectrum today. Yeah,
Moe Kelly, Spectrum contributor. Well, you didn't say anything rotten
about Spectrum.
Speaker 4 (18:54):
Why am I going to bite the hand of feets?
There we go.
Speaker 1 (18:56):
You're listening to Later with Moe Kelly on demand KFI
AM six forty.
Speaker 2 (19:05):
Cayfy mister Bill Kelly. An ongoing conversation we have is, hey,
why is the movie industry leaving California? And we try
to explain it to folks who don't follow it as
closely as we do here on the show.
Speaker 4 (19:19):
It's not just one thing. It's a variety of things.
Speaker 2 (19:21):
It's not just Governor Gavin Newsom hasn't done this, or
you know, Maryair and Bass hasn't done this, So the
La County Supervisors haven't done that. No, we're competing against
the rest of the world because the rest of the
world makes movies too.
Speaker 4 (19:34):
We're also competing against technology.
Speaker 2 (19:36):
It's costs less to make a movie in the sense
of you don't need a full blown set for movies
like you used to. A lot of it is post
production and CGI magic. For example, like the Ice Cube
horrible movie World of the World, that could have been
produced in someone's living room for all we do. Okay,
(19:57):
you didn't have to do that one in LA It
might have been at at ice Cubes house.
Speaker 4 (20:01):
It is rec room for all we know. You could
see the green screening like in his hairline. You can
see how bad it was. It was so bad.
Speaker 2 (20:09):
But I would saying that is an example of how
movies don't need a particular filming location like Once upon
a Time.
Speaker 4 (20:20):
Marvel has shown that.
Speaker 2 (20:22):
And Marvel used to be one of the biggest supporters
of the Georgia filming community. Yes, those jobs were leaving
California because Georgia offered something better than California. California has
since tried to increase the tax credits which are offered.
But also Georgia was competing with the United Kingdom, and
(20:45):
Marvel said, well, we're gonna take our movies now to.
Speaker 4 (20:47):
The United Kingdom.
Speaker 2 (20:48):
Think about all the Star Wars movies were they shot
in La. No, they were usually shot in London or
other places in the United Kingdom.
Speaker 4 (20:56):
Pinewood, Pinewood. Okay, so this has been a global issue
for quite some time.
Speaker 2 (21:02):
The rest of the world has finally caught up to
what California could offer. You don't need the big universal
studios backlot anymore.
Speaker 4 (21:11):
You just don't unless you're possibly filming a Western.
Speaker 5 (21:15):
Oh, another film in the film that you want to see,
the Nolan film.
Speaker 2 (21:23):
But that's yeah, that's one movie out of how.
Speaker 4 (21:28):
Many, you know, That's what I'm saying. No, No, it doesn't.
Speaker 2 (21:31):
It doesn't mean that those big studios don't provide a service,
and they don't necessarily offer things that other studios can't.
But the fullness of the movie industry doesn't rely on
what the big movie studios would necessarily offer. You with
an iPhone and someone with some editing software could feasibly.
Speaker 4 (21:53):
Make a movie.
Speaker 2 (21:55):
It may not be the highest of quality, but it's
a movie they could probably get on a couple places.
Speaker 4 (21:59):
Yeah.
Speaker 2 (22:00):
Yeah, the technology is such now, And we saw this
in the music industry. I meant to make this point
some other time. In the music industry in the late
nineteen nineties, you had this proliferation of technology where people
were able to start doing not only their demo tapes
but their actual albums at home. They would probably go
(22:20):
to like Ernie Grumman mastering for the final product, but
as far as making of the albums, it didn't have
to be a capital. Students didn't need to be in
LA That's why you saw these satellite areas like Atlanta
blew up, Houston blew up. Of course you can go
to New York, but there were a number of places
that people couldn't make music.
Speaker 4 (22:39):
It's not unlike that with movies. Now you can make
movies just about anywhere.
Speaker 3 (22:42):
Yeah, And I mean you got to think like even
with television production where so much of it left California
went to Canada because their streets and sites, It's like, yeah,
that could mimic almost any city in the world. And
that's why so much production went there. And even when
you look at how Louisiana and Detroit were giving such
(23:02):
incredible tax breaks, Alabama incredible tax breaks. But for the
filming dutry when it comes to also also also the
need to connect around the world, because why as a
film company are you fighting to make films for people
in the US who are just complaining about everything. Everything
(23:24):
is either too woke or to this or that, and
they're not going while people around the country are like,
just give me some entertainment. I want to go see it.
Speaker 2 (23:31):
You have cheaper labor in the UK, you have cheaper
locations in the United States. I mean, like Tulsa, king
is Filmware Tulsa. You know, you don't have to be
tied to California. You don't have to be tied to
Los Angeles. There any number of places which can seem
(23:52):
like a Midwestern Midwestern scape for any type of show
set in the Midwest, for example. Know the movie the
whole industry has changed so much, and I think there
has not been enough discussion of that. It's not just
a matter of tax and centives because I don't necessarily
need to spend that much money to make the same
(24:14):
movie in another state or another country as opposed to
LA Why do I need to rely on tax and centives?
Let me just go to the UK, where the labor
is cheaper and everything else is cheaper. And you know,
and maybe I'm shooting a movie like Mission Impossible, where
we're gonna hit five or six different locations in Europe
(24:36):
and have everything over there.
Speaker 4 (24:37):
Yeah, it just makes more sense.
Speaker 2 (24:39):
It's more than just how are you letting the movie
industry leave California. It's not that simple. There's so much more.
And what does it mean to make a movie in California?
Does that mean that the principal photography is here, but
all the post production is everywhere else?
Speaker 5 (24:56):
I mean, you got to think about it. Making movies
in California. It's almost the exact same thought process as
record companies making music. Like back in the days, that
was the onliest way and now it's like, like you said,
anyone can create mixed master music at their house and
put it on any social Spotify what they can do
(25:18):
whatever with the music and still become large. The concept
of just you can only film one place that's so antiquated.
I mean you can tell you looking at Alien Earth,
I don't know where they could have shot at all,
and on the green screen in Thailand. No one knows
because it just looks phenomenal. That doesn't have to be
shot in California. It can be shot anywhere.
Speaker 2 (25:38):
Man. Yeah, that technology is not exclusive to us, and
also the capabilities are just about everywhere. You know, the
cost of this technology has decreased. And look, since you
mentioned it, where was Alien Earth film locations?
Speaker 4 (25:57):
I love Google?
Speaker 2 (26:00):
Okay, it was filmed in Bangkok and parts of southern Thailand.
Speaker 4 (26:04):
That's why you go there it is. I'm like, that
was not filming it.
Speaker 5 (26:07):
It looked like it was shot in locations some places
and then they allowed you know, AI to fill in
some of the rest. But I'm like, yeah, I'm sure
it cost them next to nothing to film and do
the post production there, and.
Speaker 2 (26:19):
It'd be cost prohibitive to do that same production in
California because the seashi you would need even more green
screen and more post production as opposed to using a
somewhat natural city scape as a backdrop. We're gonna check
it with George Noorra. Will we come back k if
I am six forty left everywhere? Did I heart radio app?
Speaker 1 (26:37):
You're listening to Later with Moe Kelly on demand from
KFI AM six forty.
Speaker 2 (26:55):
KIM six forties Later with Kelly, We're live everywhere? I
heard radio app. Let's find out what's going on with George?
Speaker 4 (27:01):
How you doing, sir, good mister Kelly. Lot's going on tonight.
Speaker 2 (27:04):
We're going to talk about artificial intelligence and then later
on your soul on Coast to Coast my.
Speaker 4 (27:11):
Soul, just specifically my soul. Yes, I'm taking your soul
out and we're going to talk about it. Can you
at least give it back to me when you're done. Absolutely,
it's going to be a short segment. Damn you, damn you,
and damn you all of y'all who laughed at that. George,
you don't have to take that. What Hey, hey, George,
(27:34):
how long are you going to be in California? Because
I have to set up a lunch between you, me
and Mark Runner. I'll let you know this week.
Speaker 2 (27:40):
Okay, sounds good. Okay, buddy, all right, have a good show.
Thanks now, see Mark, you have to be nice to
me for a while. Okay you're paying? Yeah, I probably am,
probably am. And for those just want to remind people
if you just tune in and you said, hey, where
is the where's where's the video simulcast? I couldn't find
you on YouTube tonight. Well, we're positive because they're going
(28:02):
to be going on vacation and didn't make sense to
ask Daniel or Carnesia to come in when I'm not
going to be in the rest of the week.
Speaker 4 (28:08):
I'll be in tomorrow.
Speaker 2 (28:10):
That'll be my last official day and then I'm going
on vacation for the rest of the month, and so
we'll resume on the other side of Labor Day, so
you won't have to wonder did something happen?
Speaker 4 (28:20):
Did something change? Yeah, I'm just.
Speaker 2 (28:21):
Going on vacation. That's all well deserves and I don't
have to deal with any of this. Well no, all right,
yeat on a boat right? Oh yeah, I'm getting on
a plane and then the boat. Are you getting on train?
Speaker 4 (28:37):
Well? Yeah, we probably will get on. Italy has some
high speed trains.
Speaker 2 (28:41):
We're going to take that to tour to tie in
countryside and then get on the ship for the cruise.
Speaker 1 (28:46):
Nice.
Speaker 4 (28:48):
So you know whats y'all? Were there? Mark going to
get you on a cruise one of these days? Not
going to happen.
Speaker 3 (28:55):
Are you sure there's nothing we can do to get
you on a ship? Knock me unconscious like mister Tea
in the A team so specific though you want ba
to punch you in the mouth. I just slip some
mickey into my milk or something, and milk, you're right,
(29:17):
I haven't had milk, and baas, I haven't.
Speaker 4 (29:21):
Had milk more than ten years.
Speaker 3 (29:27):
That's because it's weird for adults to drink milk.
Speaker 2 (29:30):
But I used to really like milk in well into
my adulthood and something I would drink. But now it's like,
I can't even stand the thought of it.
Speaker 3 (29:37):
It's crazy to me to just look at it like
a big tumbler of milk and think about drinking that
thing down.
Speaker 4 (29:42):
That's insane.
Speaker 2 (29:42):
I drink a lot of it as a kid, and
I really did enjoy it. But I want to say,
somewhere my thirties, you just got to be less and
less appetizing with just the thought of it just started
to repulse me.
Speaker 3 (29:55):
It's hard to explained. Maybe you're getting a little intolerant.
Speaker 4 (29:58):
No, no, no, that is part of it.
Speaker 3 (29:59):
No physically and also lactose INTOLLERLK lactose intolerant and generally intollerans.
Speaker 4 (30:05):
I'm a general ahole. I'm self aware in that regard.
Speaker 2 (30:08):
But as far as milk itself, I did appreciate the
taste of it. Like if I would go to McDonald's
or something, i'd always get cartn or two of milk,
one of those little cartons.
Speaker 3 (30:19):
Well, that kind of goes with the polo shirt and
the white undershirt. I think I think it just it
fits into the big picture. That's not even milk. That
wasn't an insult.
Speaker 2 (30:29):
No, I'm just trying to figure out how you're connecting
these dots.
Speaker 3 (30:31):
I just think that it contributes to the overall persona
that you've built up over the years. Polo shirt, white undershirt,
toy you want to take this one. I don't know
what milk okay, look I like milk and cerea. I
still eat cereal on the weekend. I'm like, yeah, if
I'm going to eat anything that's like the day. If
I eat during the day, like in the morning, I
(30:53):
typically skip breakfast, lunch, all that I eat, you know,
my meal when I pretty much want to get here.
But on the weekend, after sleeping in, it's big bowl
of cereal.
Speaker 5 (31:01):
Time kind of cereal. Right now, it's Lucky charms. I
think last week it really crunch. Okay, okay, mark quit
and say your thing here what They're magically delicious. The
same reason you don't watch Pixar movies. Oh I'm an adult,
thank you. You're an adult that's missing out. Your whole
(31:23):
mouth is hating.
Speaker 4 (31:23):
You right now?
Speaker 3 (31:24):
What for not eating like a bowl full of solid sugar.
What are you talking about? It is a bowlful of.
Speaker 5 (31:30):
Lucky jars, has some grain in it, something for texture. Yeah, okay,
not just marshmallows. Oh, the marshmallows are the best part. Actually,
those hard little marshmallows.
Speaker 4 (31:40):
Yes, they gets soft and milk.
Speaker 3 (31:42):
Yeah, because they're they're fun to crunch in your mouth.
But also they make really good projectiles. You can put
somebody's eye out with one of those marshmallows.
Speaker 4 (31:49):
And you know this.
Speaker 2 (31:50):
How never mind? Okay, if I am six forty, we
will see you tomorrow. That'll be my last day in studio.
We're live everywhere on the iHeartRadio app Hey
Speaker 1 (31:59):
Fi kost H D two, Los Angeles, Orange County more
stimulating talk.
You're listening to Later with Moe Kelly on demand from
KFI AM six forty.
Speaker 2 (00:06):
It's Later with mo Kelly Live everywhere in the iHeartRadio
app And you might have heard Mark Roner a little
bit earlier talk about some of the box office returns.
Now I'm going to go just a little bit deeper.
You had the number one movie overall weapons and I
think twelve Have you seen it yet?
Speaker 3 (00:24):
No, it would not be I asked him about seventy
or eighty times if he'd go with me.
Speaker 2 (00:31):
Okay, it's not that scary. It really isn't. But you know, yeah,
it's the kids.
Speaker 4 (00:36):
And the running around.
Speaker 5 (00:37):
You know, my daughter's already talking about walking home from school. No,
not about to deal with something that that that just
the theme of it hits home. No, all right, you
miss it out. It's number one movie this week.
Speaker 2 (00:50):
It actually gained two hundred and forty eight theaters, which
is a nice upward trajectory. It has a total gross
uh one hundred and forty nine million, And for a
psychological thriller, that's pretty damn good, Pretty damn good.
Speaker 3 (01:07):
I think Mark's review helped. Yeah, they owe me big time.
Speaker 5 (01:11):
Yeah, literally, I knew no one that was talking about
this film until you win saw it, Like, I don't know,
no real reviews there's it was such a hush hush
Mom's the word. And literally I think every outlet started
talking about it after the RUNA report.
Speaker 3 (01:26):
It's going on my best of list for the year.
It's really good and the last act is just berserk.
Speaker 4 (01:32):
I did it, No, it is, And.
Speaker 2 (01:33):
I don't understand why anyone want to do another version
of Freaky Friday. But you know there's an audience out
there for it and people are going to see it.
It's brought in eighty six million so far, and people
are really thirsting after Jamie Lee Curtis. They are like,
I didn't know she was. She was rocking like that.
Jamie Lee Curtis has always been fine. Yeah, so it's
(01:56):
weird to me now you're discovering her.
Speaker 4 (02:00):
See you in the movie? Was it perfect? True lies?
True lies?
Speaker 2 (02:03):
Would you dance around that black thoughts?
Speaker 4 (02:06):
Yes? Fire? Let me just say, let me officially go
on the record.
Speaker 2 (02:12):
Jamie Lee Curtis, she could get it, could get it,
she could get it twice on you think she is
twice on mid sixties.
Speaker 4 (02:19):
I think see I want.
Speaker 3 (02:20):
To only there was some way to look this up,
Jamie Lee, you're never supposed to look up a woman's age, Well,
you're you're never supposed to ask a woman her age.
You can always look it up. Yeah, you're supposed to
look it up and then throw it in her face,
so to speak.
Speaker 5 (02:38):
If that's how you do it, Mark, I mean, I'm
throwing it okay, and nobody too.
Speaker 2 (02:43):
I was talking about this with Mark. Nobody Too came
in third place this week. It's opening week, brought in
nine million domestically, five million international for.
Speaker 4 (02:54):
Nine million what docars dollars? Yeah, and that's actually gonna
be my point one.
Speaker 2 (02:57):
It's a soft week overall, not a lot of big
movies out there. And you know, no one really was
asking for a sequel to Nobody What was fun?
Speaker 4 (03:06):
And everybody loves Bob oden Kirk.
Speaker 2 (03:08):
After I did too, but I didn't need to see
it again. You know, another chapter in that story.
Speaker 3 (03:13):
I guess the fact that I didn't even bother going
to review it probably says something. I mean, what what
is there even to say? Okay, it's the same guy
doing the same thing another movie, right, but his motivations
are different. I don't care this time his family is involved.
Speaker 4 (03:29):
Yeah, yeah, yeah, I saw the trailer. Yeah yeah.
Speaker 2 (03:32):
It was a cheap way to make some money off
some ip you already owned.
Speaker 4 (03:36):
We've seen it before.
Speaker 2 (03:37):
Fantastic four is Holding On came in fourth this week,
brought in nine million. It's total of four hundred and
seventy million. Is going to struggle to make five hundred
million and a half a billion mark they want to,
but I don't know if it's going to get there.
Speaker 4 (03:50):
That's a shame. That's such a shame.
Speaker 3 (03:52):
Yeah, people must be burned out or something, because that
is easily one of the better Marvel movies.
Speaker 4 (03:56):
Yeah it is.
Speaker 5 (03:57):
I think I don't know it's and I don't think
it's hate against Pedro Pascal or anyone in the crew.
Is just kind of like one of those like I
don't know, and you know, I think, though, Mark, I
think this speaks to the popularity or lack thereof, of
the comic book as a whole. It's never been a
big seller. They've always been known. There's a huge swell
(04:19):
of popularity early on and in some stories in between,
but that's never been a book that's been high on
any bestseller list.
Speaker 4 (04:27):
I don't know.
Speaker 3 (04:27):
I can't argue with that, but I'm skeptical because that
was one of Marvel's, like top titles from the early
sixties on it is.
Speaker 4 (04:36):
Top titles from the nineteen sixties.
Speaker 3 (04:39):
Oh Godworld, Hey, no, it predates me, but that was Marvel's.
Speaker 4 (04:45):
That was shut Up.
Speaker 3 (04:47):
That was Marvel's answer to the Justice League, and stan
Lee and Jack Kirby did that, and it was I
don't know. I love those first couple of hundred issues
of the Fantastic four.
Speaker 2 (04:58):
Yeah, but I know that most people were going to
see this movie are not comic book enthusiasts, and I
know the people who are going to see this movie
more likely than not have some memory of the previous
three iterations of Fantastic four four.
Speaker 4 (05:12):
Excuse me.
Speaker 3 (05:13):
There were the two from Fox, that awful one with
Miles Teller as Reid Richards, and then that Roger Corman
one that was made just to hold on to the rights,
which I will defend to my death. It's it's heart
was in the right place, even though you know, maybe
not up to today's standards as far as the effect.
Speaker 2 (05:31):
Tony, you are a Marvel fan, You're a comic book enthusiast.
But I don't think you had any real desire to
see this movie. No, they got Galactus, right, finally, what
else do you want? Silver Surfer? Correct?
Speaker 4 (05:44):
See, can't keep having this conversation. What for shame Tony?
Speaker 2 (05:51):
He's like saying they didn't get Clark, can't correct it.
And the stories about Valsad I went deep there. I know,
I know, but toly I won't. I just I can't.
I can't get past it. It's one of those things.
Speaker 5 (06:07):
I dig it because if a movie has Liam Neeson
in it, I'm never gonna go see it. I don't
care if he's in I don't care if he stars
as Magneto. That means I just won't be watching any
X Men films. Is this really the same thing, though?
Speaker 2 (06:18):
M yeah, because yeah, I have to agree with Mark.
You know, okay, all right, that's true, because you know
you have a thing against an actor, not just that's
your property.
Speaker 4 (06:27):
That's true. You know you're not going to see a
Liam Neeson taking four.
Speaker 2 (06:31):
You're not gonna see a police Squad two, Naked Gun
three whatever.
Speaker 4 (06:36):
Now, I will not watch a Liam Neeson memorial. Okay, okay.
And on that note, yeah.
Speaker 1 (06:43):
You're listening to Later with Moe Kelly on demand from
k if I Am six forty.
Speaker 2 (07:05):
Can't find mister mom'kelly live everywhere in the iHeartRadio app
And maybe you tuned in a little bit later than
usual tonight and you were wondering, well, where is the
live video simulcast. Well, I'm getting ready to go on
vacation starting Tuesday night at about ten o'clock, and so
we gave Daniel and Carnesia the rest of the weeks
off of this month. I'll be gone for the rest
(07:27):
of the month, so there's no need to do the
video simulcast.
Speaker 4 (07:30):
So it's not gone away.
Speaker 2 (07:31):
It's just as on hiatus, like I will be on
hiatus through the end of the month, and Tula will
be here some of the days to help produce, and
Mark should be here. I don't know. He may be
taking some time off as well. I don't know about Tony.
I don't know anything anymore. Everything's upside down. But that's
why you don't have the video simulcast tonight. And I
know Mark is very upset about that because he loves
(07:52):
seeing himself on camera.
Speaker 3 (07:53):
Oh yeah, my hair is looking good today, So we're
really robbing people of something good hair day.
Speaker 4 (07:57):
Huh, yeah, it happens sometimes. Don't shake your head, Tony.
In fact, you're not allowed to shave it. Shake your head,
you have no hair.
Speaker 2 (08:07):
You heard Mark Runner speaking of Mark Runner, make mention
of how MSNBC is going through a change of sorts.
It's changing his name, is changing its logo, and its
changing its location. It's now going to be called My
Source News Opinion World. How in the frick did they
(08:30):
come up with something so horrible to name a network.
Speaker 3 (08:34):
They paid a lot of money for that, for the
focus group and the marketing.
Speaker 2 (08:38):
You know that that cost a millions My Source News
Opinion World. What does that mean? What does that mean?
My Source News Opinion World or MS now? And as
we said in the first segment, nothing good has MS
at the front of it, not multiple sclerosis, not MS thirteen.
Speaker 4 (09:03):
Nothing MS is good.
Speaker 2 (09:08):
And now you want to rebrand it as MS now
as opposed to MS later or MS earlier or MS
in a day or two.
Speaker 3 (09:16):
They need a mask gud like some woman named miss now. No,
Tony doesn't hand out rimshot now. I expect nothing. Don't worry.
Speaker 2 (09:27):
The shift is part of an effort to distance itself
from the NBC heritage and establish its own identity. Of
the plan spin off of the bulk of NBC Universal's
cable networks later this year, so it's not just MSNBC,
but CNBC is being spun off USA Network, Oxygen and
E Network. And the new ms NOW logo is features
(09:48):
a blue, white and red color scheme like all news
channels too. It's always red white and blue white, red,
blue white, blue red, some sort of concoction. And MSNBC
will no longer use the iconic Peaco peacock logo because
it will no longer be a part of NBC Universal.
Speaker 4 (10:08):
So they're just clean the house over there, well.
Speaker 2 (10:10):
The cleaning house, and they've spun it off MSNBC and
a lot of the news portion and some of the
entertainment channels under that Universal Comcast conglomerate. They were not
making as much money as they needed to, and so
they just spun them off.
Speaker 4 (10:26):
And I honestly, and you also.
Speaker 2 (10:28):
Heard Mark talking about Newsmax and they're sixty seven million
dollar settlement. Combined that with Fox News is seven hundred
and eighty seven million dollar settlement. CNN is struggling cable news.
You can't see my air quotes is in a bad
place across the board. And I think a lot of
(10:50):
these conglomerates, I'm sorry marketing me in to cuntr off,
a lot of these conglomerates are looking at the next
thing beyond cable news.
Speaker 4 (10:58):
Go ahead, Mark Well.
Speaker 3 (10:59):
That Newsmax settlement is after they already paid a forty
million dollar settlement to a different voting machine company.
Speaker 4 (11:05):
So that's two for news man, dominion and smart matter.
Speaker 3 (11:07):
Yep.
Speaker 2 (11:08):
So if I were to look at this big picture,
I think cable news as we once knew it has
already hit its apex, and it's on its way down
across the board. It's it's a little bit more obvious
with some than others. It's more obvious with the CNN
and an MSNBC. But Fox News is not immune and
Newsmax is definitely not immune. So I think this is
(11:30):
just a cultural shift as far as how we're getting
our information. But you know, MSNBC MS now, you should
have just got rid of the MS altogether.
Speaker 5 (11:43):
I mean, if they want to keep the MS, that's fine,
but don't make an acronym out of NOW just because
you want to have it.
Speaker 4 (11:48):
That's stupid.
Speaker 2 (11:49):
Just call it now, yes, just now, like they had
News Nation that would have been fine, something like that.
It's neutral. You know news today.
Speaker 4 (12:00):
That sucks. Just something like that. But MS, why did you?
Why do you try?
Speaker 2 (12:04):
I know they're trying to hold on to the MS
for the point of reference to MSNBC.
Speaker 4 (12:10):
I got that.
Speaker 2 (12:11):
Let it go, Let it go. You know, there are
times that I would argue that you'd hold on to it.
We talked about HBO when it went away from HBO
Max to just Max. It's like, no, no, no, everyone
knows it by HBO, and as long as you have
the opportunity to use it as part of your name,
you keep it.
Speaker 4 (12:29):
It's legacy, it's heritage. MS. No, you don't gain anything
by that. No.
Speaker 3 (12:36):
And they're not changing their programming to my knowledge. Ah,
so I still has like Rachel matt On all that right.
Speaker 2 (12:41):
Yeah, at this point, there are no scheduled programming changes.
I don't know if they're going to be able to
keep everyone for the same price, but.
Speaker 3 (12:50):
I know their ratings have taken a huge dip, especially
since Mattow went down to one day a week. I
know that CNN's ratings are absolutely in the toilet. So
some's got to get Fox's ratings are still pretty good
despite that seven hundred eighty seven million dollar settlement.
Speaker 2 (13:04):
And I never understood why they had Rachel Mattow only
one day a week. I know that was a negotiated
thing where she wanted to have time to do other projects,
but you don't get any continuity in programming when it's
just Rachel Mattow, who is a star for the network
one day a week, just Mondays.
Speaker 4 (13:21):
It was always weird.
Speaker 2 (13:22):
Her four day a week replacement didn't pan out. Alex
Wagner and you know.
Speaker 3 (13:28):
Play the hits, no, and Jen Saki, who was a
pretty good press secretary, not such a great broadcaster if
you're going by the fact that she starts every show
and every sentence with either okay or so.
Speaker 4 (13:41):
It drives me out of my mind.
Speaker 2 (13:42):
And I've noticed that a lot of these individuals are
simply not getting the adequate training to be a broadcaster, orse,
or news presenter or commentator. Because to your point, Mark,
we're just talking about the little things, the crutches, the
verbal crutches, the things which detract from the polish and
(14:05):
presentation of that way.
Speaker 5 (14:07):
Where is paramount in this is paramount in this equation
because I know they're about to lay off some I
don't know, ungudly amounts of people.
Speaker 3 (14:19):
They said that the layouts are coming. They're going to
be painful. I know they have uh some news new Yeah.
Speaker 2 (14:26):
Yeah, well they have, they have the sixty Minutes, they
have CBS News. But as far as the table, so
that's not paramount. Universals not connected. That's just a merger.
When you have a merger, you're going to get rid
of half the employees. But this is specific to the
cable news industry where yeah, Fox may be doing well
ratings wise, but I would wonder in two to three
(14:48):
years if they're in the same position. I think from
an industry standpoint, cable news is going through a recession
of sorts and people are are looking for other sources,
maybe because they're tired of the of the high political
partisanship and it gets boring. You know, you tune into
any of these networks, you see the same people talking
(15:10):
about the same things the same way with with the
with the same viewpoint every single day.
Speaker 3 (15:17):
Maybe you should get Daniel to pitch our show to
some of those networks that are failing.
Speaker 4 (15:24):
Here's here's the god's honest truth.
Speaker 2 (15:27):
It's not necessarily pay to play, but you have to
be walked in by the right person. It's not like
they're just looking for the most time to watch a
Fox News, watch a CNN, watch an MSNBC. Their regular
commentators are the same people every day for just about
every show.
Speaker 4 (15:46):
Yeah, that gets really tedious too.
Speaker 3 (15:48):
But by the way, I think one of their studios
is right next door to us, So you could lie
in wait for Laurence O'Donnell and just jump him on
the way on his way out.
Speaker 4 (15:55):
You could.
Speaker 2 (15:56):
But see the problem is they have you have showbookers,
and you have the network people. The show bookers, they
only have their three or four people that they'd like
to use. They have the paid commentators which you're supposed
to use, and so it just gets real repetitive. You
just see the same people night after night offering opinion,
and then every once in a while you will get
(16:18):
a free agent like me who was not being represented
by a publicist, who will come in and offer a
somewhat different voice.
Speaker 3 (16:25):
Did I tell you I was on a guest on
MSNBC a number of years ago when I was still
at the Seattle times they had me on to talk
about I think a Star Wars movie, which show? It
was on Ron Reagan's show, and then after that I
got booked like three times on Olberman's show, but it
didn't work out for one reason or another. I think
I'm not quite sure they knew what to do with
me because I incorporated humor.
Speaker 4 (16:49):
And sometimes that can be seen as showing up the host.
Speaker 3 (16:52):
Oh yeah, possibly Reagan was a nice guy, though Oberman.
I never wound up talking to.
Speaker 4 (16:59):
I did MSMBE I want to say, two or three times.
Speaker 2 (17:03):
Once with Chris Matthews, Oh god, and I was opposite
Stephen A.
Speaker 4 (17:06):
Smith.
Speaker 2 (17:08):
I wish I could find a video. It's like you
could hear my eyes rolling at this guy. And once
with Joy Reid. Did CNN at least one hundred and
fifty times, at least one hundred and fifty times.
Speaker 4 (17:20):
Now, do you get paid for this? Because I didn't
get paid.
Speaker 3 (17:21):
No. No.
Speaker 4 (17:22):
The only way you get paid, and I'm glad you
mentioned that.
Speaker 2 (17:25):
The only way you get paid If you see someone's
name as contributor, If they say mo Kelly, who's a
contributor to Spectrum News, that means I'm getting paid a
contributor to CNNCNN contributor, MSNBC contributor. That means they're getting paid.
And the only way you can do that is usually
you have a publicist who's basically doing a quid pro
quo relationship with the show booker because there's a kickback involved.
(17:48):
Just letting you know, it's very difficult to get those
paid jobs, and everyone's trying to get them because not
only they're lucrative that you know, you get seen by
millions of peace people.
Speaker 3 (18:00):
Yeah, you understood getting your foot in the door and
all that, but you know, after about the fourth call
from them, with no discussion of any compensation whatsoever, I
was like, how much are you making?
Speaker 4 (18:11):
Oh?
Speaker 2 (18:11):
CNN strung me along for a long time to wallowed
tell you there are times I'd leave here out of
the studio and I'd go down to this. Uh they
had a studio on Sunset and about Koega, and I
would go there when just before the pandemic. So we're
actually in studio and I'm staring at a black screen
talking to the anchor who may be in Atlanta. And
did that for like three or four years, and they
(18:32):
kept string me along, say hey, we want to get
you in the deal, We'll pay you that and it
just never materialized. So I stopped doing CNN, and I
have no problem to tell them that.
Speaker 4 (18:39):
Yeah.
Speaker 3 (18:39):
No, and I think this conversation pretty much guarantees will
never be booked on anything again. I just did Spectrum today. Yeah,
Moe Kelly, Spectrum contributor. Well, you didn't say anything rotten
about Spectrum.
Speaker 4 (18:54):
Why am I going to bite the hand of feets?
There we go.
Speaker 1 (18:56):
You're listening to Later with Moe Kelly on demand KFI
AM six forty.
Speaker 2 (19:05):
Cayfy mister Bill Kelly. An ongoing conversation we have is, hey,
why is the movie industry leaving California? And we try
to explain it to folks who don't follow it as
closely as we do here on the show.
Speaker 4 (19:19):
It's not just one thing. It's a variety of things.
Speaker 2 (19:21):
It's not just Governor Gavin Newsom hasn't done this, or
you know, Maryair and Bass hasn't done this, So the
La County Supervisors haven't done that. No, we're competing against
the rest of the world because the rest of the
world makes movies too.
Speaker 4 (19:34):
We're also competing against technology.
Speaker 2 (19:36):
It's costs less to make a movie in the sense
of you don't need a full blown set for movies
like you used to. A lot of it is post
production and CGI magic. For example, like the Ice Cube
horrible movie World of the World, that could have been
produced in someone's living room for all we do. Okay,
(19:57):
you didn't have to do that one in LA It
might have been at at ice Cubes house.
Speaker 4 (20:01):
It is rec room for all we know. You could
see the green screening like in his hairline. You can
see how bad it was. It was so bad.
Speaker 2 (20:09):
But I would saying that is an example of how
movies don't need a particular filming location like Once upon
a Time.
Speaker 4 (20:20):
Marvel has shown that.
Speaker 2 (20:22):
And Marvel used to be one of the biggest supporters
of the Georgia filming community. Yes, those jobs were leaving
California because Georgia offered something better than California. California has
since tried to increase the tax credits which are offered.
But also Georgia was competing with the United Kingdom, and
(20:45):
Marvel said, well, we're gonna take our movies now to.
Speaker 4 (20:47):
The United Kingdom.
Speaker 2 (20:48):
Think about all the Star Wars movies were they shot
in La. No, they were usually shot in London or
other places in the United Kingdom.
Speaker 4 (20:56):
Pinewood, Pinewood. Okay, so this has been a global issue
for quite some time.
Speaker 2 (21:02):
The rest of the world has finally caught up to
what California could offer. You don't need the big universal
studios backlot anymore.
Speaker 4 (21:11):
You just don't unless you're possibly filming a Western.
Speaker 5 (21:15):
Oh, another film in the film that you want to see,
the Nolan film.
Speaker 2 (21:23):
But that's yeah, that's one movie out of how.
Speaker 4 (21:28):
Many, you know, That's what I'm saying. No, No, it doesn't.
Speaker 2 (21:31):
It doesn't mean that those big studios don't provide a service,
and they don't necessarily offer things that other studios can't.
But the fullness of the movie industry doesn't rely on
what the big movie studios would necessarily offer. You with
an iPhone and someone with some editing software could feasibly.
Speaker 4 (21:53):
Make a movie.
Speaker 2 (21:55):
It may not be the highest of quality, but it's
a movie they could probably get on a couple places.
Speaker 4 (21:59):
Yeah.
Speaker 2 (22:00):
Yeah, the technology is such now, And we saw this
in the music industry. I meant to make this point
some other time. In the music industry in the late
nineteen nineties, you had this proliferation of technology where people
were able to start doing not only their demo tapes
but their actual albums at home. They would probably go
(22:20):
to like Ernie Grumman mastering for the final product, but
as far as making of the albums, it didn't have
to be a capital. Students didn't need to be in
LA That's why you saw these satellite areas like Atlanta
blew up, Houston blew up. Of course you can go
to New York, but there were a number of places
that people couldn't make music.
Speaker 4 (22:39):
It's not unlike that with movies. Now you can make
movies just about anywhere.
Speaker 3 (22:42):
Yeah, And I mean you got to think like even
with television production where so much of it left California
went to Canada because their streets and sites, It's like, yeah,
that could mimic almost any city in the world. And
that's why so much production went there. And even when
you look at how Louisiana and Detroit were giving such
(23:02):
incredible tax breaks, Alabama incredible tax breaks. But for the
filming dutry when it comes to also also also the
need to connect around the world, because why as a
film company are you fighting to make films for people
in the US who are just complaining about everything. Everything
(23:24):
is either too woke or to this or that, and
they're not going while people around the country are like,
just give me some entertainment. I want to go see it.
Speaker 2 (23:31):
You have cheaper labor in the UK, you have cheaper
locations in the United States. I mean, like Tulsa, king
is Filmware Tulsa. You know, you don't have to be
tied to California. You don't have to be tied to
Los Angeles. There any number of places which can seem
(23:52):
like a Midwestern Midwestern scape for any type of show
set in the Midwest, for example. Know the movie the
whole industry has changed so much, and I think there
has not been enough discussion of that. It's not just
a matter of tax and centives because I don't necessarily
need to spend that much money to make the same
(24:14):
movie in another state or another country as opposed to
LA Why do I need to rely on tax and centives?
Let me just go to the UK, where the labor
is cheaper and everything else is cheaper. And you know,
and maybe I'm shooting a movie like Mission Impossible, where
we're gonna hit five or six different locations in Europe
(24:36):
and have everything over there.
Speaker 4 (24:37):
Yeah, it just makes more sense.
Speaker 2 (24:39):
It's more than just how are you letting the movie
industry leave California. It's not that simple. There's so much more.
And what does it mean to make a movie in California?
Does that mean that the principal photography is here, but
all the post production is everywhere else?
Speaker 5 (24:56):
I mean, you got to think about it. Making movies
in California. It's almost the exact same thought process as
record companies making music. Like back in the days, that
was the onliest way and now it's like, like you said,
anyone can create mixed master music at their house and
put it on any social Spotify what they can do
(25:18):
whatever with the music and still become large. The concept
of just you can only film one place that's so antiquated.
I mean you can tell you looking at Alien Earth,
I don't know where they could have shot at all,
and on the green screen in Thailand. No one knows
because it just looks phenomenal. That doesn't have to be
shot in California. It can be shot anywhere.
Speaker 2 (25:38):
Man. Yeah, that technology is not exclusive to us, and
also the capabilities are just about everywhere. You know, the
cost of this technology has decreased. And look, since you
mentioned it, where was Alien Earth film locations?
Speaker 4 (25:57):
I love Google?
Speaker 2 (26:00):
Okay, it was filmed in Bangkok and parts of southern Thailand.
Speaker 4 (26:04):
That's why you go there it is. I'm like, that
was not filming it.
Speaker 5 (26:07):
It looked like it was shot in locations some places
and then they allowed you know, AI to fill in
some of the rest. But I'm like, yeah, I'm sure
it cost them next to nothing to film and do
the post production there, and.
Speaker 2 (26:19):
It'd be cost prohibitive to do that same production in
California because the seashi you would need even more green
screen and more post production as opposed to using a
somewhat natural city scape as a backdrop. We're gonna check
it with George Noorra. Will we come back k if
I am six forty left everywhere? Did I heart radio app?
Speaker 1 (26:37):
You're listening to Later with Moe Kelly on demand from
KFI AM six forty.
Speaker 2 (26:55):
KIM six forties Later with Kelly, We're live everywhere? I
heard radio app. Let's find out what's going on with George?
Speaker 4 (27:01):
How you doing, sir, good mister Kelly. Lot's going on tonight.
Speaker 2 (27:04):
We're going to talk about artificial intelligence and then later
on your soul on Coast to Coast my.
Speaker 4 (27:11):
Soul, just specifically my soul. Yes, I'm taking your soul
out and we're going to talk about it. Can you
at least give it back to me when you're done. Absolutely,
it's going to be a short segment. Damn you, damn you,
and damn you all of y'all who laughed at that. George,
you don't have to take that. What Hey, hey, George,
(27:34):
how long are you going to be in California? Because
I have to set up a lunch between you, me
and Mark Runner. I'll let you know this week.
Speaker 2 (27:40):
Okay, sounds good. Okay, buddy, all right, have a good show.
Thanks now, see Mark, you have to be nice to
me for a while. Okay you're paying? Yeah, I probably am,
probably am. And for those just want to remind people
if you just tune in and you said, hey, where
is the where's where's the video simulcast? I couldn't find
you on YouTube tonight. Well, we're positive because they're going
(28:02):
to be going on vacation and didn't make sense to
ask Daniel or Carnesia to come in when I'm not
going to be in the rest of the week.
Speaker 4 (28:08):
I'll be in tomorrow.
Speaker 2 (28:10):
That'll be my last official day and then I'm going
on vacation for the rest of the month, and so
we'll resume on the other side of Labor Day, so
you won't have to wonder did something happen?
Speaker 4 (28:20):
Did something change? Yeah, I'm just.
Speaker 2 (28:21):
Going on vacation. That's all well deserves and I don't
have to deal with any of this. Well no, all right,
yeat on a boat right? Oh yeah, I'm getting on
a plane and then the boat. Are you getting on train?
Speaker 4 (28:37):
Well? Yeah, we probably will get on. Italy has some
high speed trains.
Speaker 2 (28:41):
We're going to take that to tour to tie in
countryside and then get on the ship for the cruise.
Speaker 1 (28:46):
Nice.
Speaker 4 (28:48):
So you know whats y'all? Were there? Mark going to
get you on a cruise one of these days? Not
going to happen.
Speaker 3 (28:55):
Are you sure there's nothing we can do to get
you on a ship? Knock me unconscious like mister Tea
in the A team so specific though you want ba
to punch you in the mouth. I just slip some
mickey into my milk or something, and milk, you're right,
(29:17):
I haven't had milk, and baas, I haven't.
Speaker 4 (29:21):
Had milk more than ten years.
Speaker 3 (29:27):
That's because it's weird for adults to drink milk.
Speaker 2 (29:30):
But I used to really like milk in well into
my adulthood and something I would drink. But now it's like,
I can't even stand the thought of it.
Speaker 3 (29:37):
It's crazy to me to just look at it like
a big tumbler of milk and think about drinking that
thing down.
Speaker 4 (29:42):
That's insane.
Speaker 2 (29:42):
I drink a lot of it as a kid, and
I really did enjoy it. But I want to say,
somewhere my thirties, you just got to be less and
less appetizing with just the thought of it just started
to repulse me.
Speaker 3 (29:55):
It's hard to explained. Maybe you're getting a little intolerant.
Speaker 4 (29:58):
No, no, no, that is part of it.
Speaker 3 (29:59):
No physically and also lactose INTOLLERLK lactose intolerant and generally intollerans.
Speaker 4 (30:05):
I'm a general ahole. I'm self aware in that regard.
Speaker 2 (30:08):
But as far as milk itself, I did appreciate the
taste of it. Like if I would go to McDonald's
or something, i'd always get cartn or two of milk,
one of those little cartons.
Speaker 3 (30:19):
Well, that kind of goes with the polo shirt and
the white undershirt. I think I think it just it
fits into the big picture. That's not even milk. That
wasn't an insult.
Speaker 2 (30:29):
No, I'm just trying to figure out how you're connecting
these dots.
Speaker 3 (30:31):
I just think that it contributes to the overall persona
that you've built up over the years. Polo shirt, white undershirt,
toy you want to take this one. I don't know
what milk okay, look I like milk and cerea. I
still eat cereal on the weekend. I'm like, yeah, if
I'm going to eat anything that's like the day. If
I eat during the day, like in the morning, I
(30:53):
typically skip breakfast, lunch, all that I eat, you know,
my meal when I pretty much want to get here.
But on the weekend, after sleeping in, it's big bowl
of cereal.
Speaker 5 (31:01):
Time kind of cereal. Right now, it's Lucky charms. I
think last week it really crunch. Okay, okay, mark quit
and say your thing here what They're magically delicious. The
same reason you don't watch Pixar movies. Oh I'm an adult,
thank you. You're an adult that's missing out. Your whole
(31:23):
mouth is hating.
Speaker 4 (31:23):
You right now?
Speaker 3 (31:24):
What for not eating like a bowl full of solid sugar.
What are you talking about? It is a bowlful of.
Speaker 5 (31:30):
Lucky jars, has some grain in it, something for texture. Yeah, okay,
not just marshmallows. Oh, the marshmallows are the best part. Actually,
those hard little marshmallows.
Speaker 4 (31:40):
Yes, they gets soft and milk.
Speaker 3 (31:42):
Yeah, because they're they're fun to crunch in your mouth.
But also they make really good projectiles. You can put
somebody's eye out with one of those marshmallows.
Speaker 4 (31:49):
And you know this.
Speaker 2 (31:50):
How never mind? Okay, if I am six forty, we
will see you tomorrow. That'll be my last day in studio.
We're live everywhere on the iHeartRadio app Hey
Speaker 1 (31:59):
Fi kost H D two, Los Angeles, Orange County more
stimulating talk.
Later, with Mo'Kelly News
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