Speaker 1: Dark Destinations may be end Times Night's creature.
Speaker 2: Why would a few more casually struggle.
Speaker 3: Me because of their blood? Will join yours a.
Speaker 1: Radio drama anthology.
Speaker 2: You are wrong how you figure Every mark on Mongo
Speaker 2: is hunting you down.
Speaker 3: Not you, your partner, he said, I didn't have a
Speaker 3: ray gun.
Speaker 1: Full cast performances set in the haunted corners of the globe.
Speaker 2: Darkness is coming for you. That's the fear that taunts me.
Speaker 1: Dark Destinations by fatherm Alone at Weirdingwaymedia dot Com.
Speaker 4: Weird Billy Ray was a preacher's son from where his
Speaker 4: daddy would visit. He come alone one to gather around
Speaker 4: his daughter talking cousin, really would take me a walk hander.
Speaker 1: To the backyard.
Speaker 2: We go Walkndre. Then he look into my hand.
Speaker 4: Laura knows the massive fact. The only one who could
Speaker 4: ever teach me what does son of a preacher man,
Speaker 4: The only vone who could ever teach me what? The
Speaker 4: son of a preacher man who won't he won't.
Speaker 3: Welcome back Midnight viewers to Anthologies Attack, where we sample
Speaker 3: the anthologies of every media and genre. I am your host,
Speaker 3: father alone and with me as always as my co host.
Speaker 3: The director of Space and detective to Antonio Lapour, how
Speaker 3: are you, Antonio a Padre?
Speaker 2: How you doing today?
Speaker 3: I'm doing well, and today we are taking a look
Speaker 3: at one of the most obvious anthologies, one of the
Speaker 3: most popular anthologies, if not the most popular anthology of
Speaker 3: all time. So obvious? How did we not see it before?
Speaker 3: This one came out October the fourteenth, nineteen ninety four,
Speaker 3: Directed by Quentin Tarantino, Written by Roger Avery and Quentin Tarantino.
Speaker 3: This is pulp fiction.
Speaker 5: Miramax Films is proud to present one of the most
Speaker 5: celebrated motion pictures of the year, the winner of the
Speaker 5: nineteen ninety four Palm d or the Best Picture of
Speaker 5: the can Film Festival.
Speaker 3: Come on, just getting a care?
Speaker 2: That's that interested in going out of town? I'm sorry,
Speaker 2: and he asked me about take care of the lot
Speaker 2: is gone?
Speaker 1: You take care of me.
Speaker 2: Man, just may short a good time. We'll shut you
Speaker 2: don't get around.
Speaker 3: This is a more testic one.
Speaker 6: I do believe Mark Dallas, my husband, your boss told
Speaker 6: you to take.
Speaker 5: Me out and do whatever I wanted.
Speaker 1: You can.
Speaker 5: Night of a fight.
Speaker 3: You may feel a slight stak. Try it only hurt.
Speaker 4: It never helps.
Speaker 2: Your hand slopes down. I have to say, play the
Speaker 2: match as you get found.
Speaker 4: You could have sat the deal a lot of danger
Speaker 4: on Twitter.
Speaker 2: I'm prepared to start for.
Speaker 3: Oh, I'm sorry? Did I break your concentration?
Speaker 2: Get down?
Speaker 7: You got a corpse in a car minus say heading
Speaker 7: the garage? Take me too?
Speaker 2: Don't you hate that? Hey? What uncomfortable?
Speaker 5: Silences John Polson, Samuel L. Jackson, Uma Thurman, Harvey Kaige,
Speaker 5: Jim Rock, Amanda Plumber, Maria de Madeiras Bing Rings, Eric Stalks,
Speaker 5: Rosanna Marquette, Christopher Walker, and Bruce Willis.
Speaker 2: Looking So for Friends Friend looking.
Speaker 5: A new film directed by Quentin Taranteter, Oh, fiction about friends?
Speaker 2: Best, of course you're gonna do that.
Speaker 3: Basically, I'm just gonna walk there.
Speaker 2: What's you mean, walk to Earth? You know, like Caine ful.
Speaker 3: Miserly for everybody surf music Ray.
Speaker 2: Had in the movie.
Speaker 3: No, not at all. That was just kind of the
Speaker 3: genius part of it. Antonio, What is your history with
Speaker 3: pulp fiction?
Speaker 2: Well, considering I.
Speaker 6: Was a teenager there getting into college studying film at
Speaker 6: the time, every other film school nerd this movie was
Speaker 6: the bible at that point, Like it was the biggest
Speaker 6: thing since Jesus, Like every dorm room that I went to,
Speaker 6: every apartment somebody had.
Speaker 2: My very own bedroom had that fucking poster on the wall. Yeah,
Speaker 2: I am holding right here the published screenplay of pulp
Speaker 2: fiction Hooray.
Speaker 6: Which everybody had, which is obviously not the screenplay. It's
Speaker 6: just pretty much a transcription of the liquid. Still, everybody
Speaker 6: had this. Although she was huge, man, it was it
Speaker 6: was life. I saw it with my almost girlfriend at
Speaker 6: the time, joscely and and uhu leu intellectual nerdy girl too,
Speaker 6: and we went had pine cigarettes and coffee afterwards.
Speaker 2: And talked to like four hours about the brilliance of
Speaker 2: this movie, like what it did at the time.
Speaker 6: It was it was.
Speaker 2: Revolutionary that normal people saw this kind of movie.
Speaker 6: This kind of movie has existed before, non linear and
Speaker 6: stuff like that, like it's been there, but it was
Speaker 6: the first time like suburbanites and city folk and the
Speaker 6: US went about this thing that weren't.
Speaker 2: From like Greenwich village or something.
Speaker 6: I think it's the first time mainstream audience has got
Speaker 6: a whiff of like how interesting film can be and
Speaker 6: how am on guard it can be, at least for
Speaker 6: the first time since the.
Speaker 3: Seventies, would you say, avant garde was more palatable to
Speaker 3: them because this was somebody tanking all the detritus that
Speaker 3: cinema and snobs had turned their noses up at, and
Speaker 3: he made that accessible but shot through kind of an
Speaker 3: artistical lens.
Speaker 2: Yeah. Absolutely, man, It's there's a thing.
Speaker 6: That's something I mean, I've always wanted to strive for
Speaker 6: with my work, and now that we're starting to make
Speaker 6: some stuff come out, I've always wanted to strive for
Speaker 6: being able to bring highbrow to everybody, like, hey, look,
Speaker 6: this is like this great stuff here that that you're
Speaker 6: not kind of catching onto.
Speaker 2: Let's have a look at it.
Speaker 6: Let's let's take a look at I don't know, maybe
Speaker 6: I'm sounding a little pretentious, but I like the idea
Speaker 6: of everybody being able to enjoy art and stuff that
Speaker 6: comes may come across this pretentious or Americans aren't gonna
Speaker 6: get new wave French cinema.
Speaker 2: But if or or they're not gonna get Fellini.
Speaker 6: But if Tarantino's kind of reinterpreting these kind of ideas
Speaker 6: that these old masters came up with and and putting
Speaker 6: a pop culture felt into a pop culture lens, I
Speaker 6: think it helps people like Wow, I can understand complex things.
Speaker 2: Not everything has got to be straightforward. Even George Lucas
Speaker 2: kind of did that as I'm wearing an extreme fighter
Speaker 2: T shirt with Star Wars.
Speaker 6: He kind of took stuff from Carosawa and and and
Speaker 6: and mythological studies by Joseph Campbell and worked it into
Speaker 6: the most pop culture, mass consumable thing ever. But people
Speaker 6: kind of understand to hear it was journey out a
Speaker 6: little bit more. Could you explain it to them in
Speaker 6: terms of Luke Styel Warner, Oh.
Speaker 2: I got it.
Speaker 3: I think your parallel to George Lucas is the most
Speaker 3: apt one of all time, because why George Lucas worked
Speaker 3: was because he and his ilk the movie Bratt Generation, Spielberg,
Speaker 3: de Palma, not so much Copola, but you know, the
Speaker 3: the usual suspects. But Lucas in particular said all the
Speaker 3: B movies. I like the B movies more. Let's make
Speaker 3: a movies out of those B movies.
Speaker 6: And that's what Yeah, you know, I used to say
Speaker 6: that when I was in school, and with my friends said, yeah,
Speaker 6: that's a great way to look at it.
Speaker 2: And I'll argue the Coplat well he made he took
Speaker 2: the B move The Gangster Movie was a bing movie,
Speaker 2: maybe a B plus movie because Warner Brothers had made
Speaker 2: a bazillion of them. But you know, and he made Godfather.
Speaker 2: But yeah, it's definitely the elevation of the.
Speaker 6: B movie into into into the mainstream making making art
Speaker 6: out of what people consider trash. Even Dick Donner when
Speaker 6: he made Superman, his whole point was, I want to
Speaker 6: make something like this, like a John Ford movie, not
Speaker 6: not George Reeves flying around on waters. I want you
Speaker 6: to believe this guy's flying. I don't want Superman who
Speaker 6: look foolish. I want him to look like an American ICoD.
Speaker 6: And you see all the Kansas stuff in that movie,
Speaker 6: John Fortone, I.
Speaker 3: Think we can both agree that after nineteen ninety four,
Speaker 3: the cinema landscape was sort of irrevocable, irrevocably changed by
Speaker 3: pulp fiction.
Speaker 2: Oh absolutely, for for for good and bad.
Speaker 6: Because for all the positive and influence from that, movies
Speaker 6: like Train Spotting Out, which I think is the other
Speaker 6: great masterpiece of the on the nineties, on the mid nineties, there.
Speaker 2: You spawned a lot of lave Mass wannabes. Though there's
Speaker 2: a lot of eight Heads and Duffel bands, in two
Speaker 2: Days in the Valleys, and all of those movies.
Speaker 6: That I'll try to take the ensemble and here's some
Speaker 6: wacky crooks and we're in la and here were and.
Speaker 2: Only pulp section pulls it off.
Speaker 3: One of those films that you're mentioning was One Night
Speaker 3: at mccool's, who my late wife Jessica believed to be
Speaker 3: the worst movie ever made, just period. Is that the
Speaker 3: one that he didn't know was that the one that
Speaker 3: the Tarantino no you're thinking, no, you're thinking of destiny
Speaker 3: turns on the radio. Okay, no, no, no, this one
Speaker 3: is with Michael Douglas. It is a bald faced Clinton
Speaker 3: Tarantino rip off a film. There were a lot of
Speaker 3: movies that came out at the same time that all
Speaker 3: shared the same sort of seventies exploitation film as high
Speaker 3: art aesthetic, and because Tarantino broke through nobody's business, everyone
Speaker 3: kind of became an imitator of his, which was not
Speaker 3: true for the sort of firs the at least the
Speaker 3: early half of the nineties. I don't think anyone was
Speaker 3: trying to ape his style, but certainly in the latter
Speaker 3: half of the nineties. Oh yeah, it was a waste
Speaker 3: Land of Tarantino clones.
Speaker 2: Was that Suice Kings and Oof and things that do
Speaker 2: in Denver while you're dead?
Speaker 3: Oh no, no, no, no, no, no, no, no, no, no, no,
Speaker 3: you take that back. No, I no, I read that
Speaker 3: one long before pulp fiction. No, no, it's the meme play.
Speaker 3: The screenplay was was this unproduced spec script that was
Speaker 3: being passed around Hollywood when I when I had first there,
Speaker 3: I moved to la in nineteen ninety one. Here's my tent.
Speaker 3: Here's my experience with pulp fiction. I moved to Los
Speaker 3: Angeles when I'm in nineteen ninety one, and I got
Speaker 3: a job at a movie theater in Cinta, Monica. It
Speaker 3: was a two screen house, an art house cinema calendar
Speaker 3: at first, and then we started showing new releases because
Speaker 3: independent films sort of started getting real big and Kim.
Speaker 3: One of the first movies I showed as a projectionist
Speaker 3: was A Reservoir Box. So I've seen that movie seven
Speaker 3: million times. If it was on the screen I was watching,
Speaker 3: I played the soundtrack in between, like I read the screen.
Speaker 3: And at this point I had enough friends in the industry. Yeah,
Speaker 3: I had enough friends in the industry. Then I could get.
Speaker 3: I was getting screenplays that the screenplays that you heard
Speaker 3: were being passed around. I was so one of them
Speaker 3: I got was Things to Do in Denver when You're Dead,
Speaker 3: which I maintain could never be made into the movie
Speaker 3: that the script promises because the script was so fucking good.
Speaker 2: Oh yeah, yeah, tells that the movie was kind of
Speaker 2: like up and down, up and down. Yeah.
Speaker 3: And the problem there is the direction, because that cast
Speaker 3: is really fucking good and the writing comes through in
Speaker 3: a lot of ways, but there's just something off about
Speaker 3: the film.
Speaker 6: Yeah, you can't beat the Iron Godzilla. You are Japan,
Speaker 6: No man, Jean Williams of the.
Speaker 3: Best performance, critical Billy critical.
Speaker 2: Bill, that's right. Everybody then had the names gentlemen?
Speaker 6: Was it?
Speaker 2: What was his name? Gentleman?
Speaker 1: To me?
Speaker 3: The saint, that's right. So one of the scripts I
Speaker 3: was able to read was Pulp Fiction. I got it
Speaker 3: about a year before the movie came out. Wow, So
Speaker 3: I was primed for the movie. And oh another one
Speaker 3: I got to read before it was made was Natural
Speaker 3: Born Killers, And I have a whole story about that.
Speaker 3: Well we can talk about on another podcast. But so
Speaker 3: I basically if Tarantina had a script out there. I
Speaker 3: was able to get my grubby hands on them, including
Speaker 3: True Romance, which this was still pre True Romance. On
Speaker 3: the last day we were showing Reservoir Dogs, Tarantino and
Speaker 3: Alison Anders came to watch it, and I came downstairs
Speaker 3: because during the run of the film, every one of
Speaker 3: the Reservoir Dogs had stopped by to watch the movie,
Speaker 3: and they all had signed the Reservoir Dogs poster. So
Speaker 3: I brought it down for Tarantino to sign, and he
Speaker 3: did and then was standing with me alone in the
Speaker 3: lobby for a while and thanked me for all the
Speaker 3: TLC on keeping the print looking as good as it did,
Speaker 3: and then we talked about that for a little while,
Speaker 3: and then I told him that I had read Natural
Speaker 3: Born Killers, and he was sort of taken aback a while,
Speaker 3: you huh huh, like how did you read that? But
Speaker 3: then immediately went into what do you think? And it
Speaker 3: was his script, so it wasn't what we ended up getting,
Speaker 3: the only sort of bastearized version. I liked his script
Speaker 3: a lot. If it had been made as like a
Speaker 3: two million dollar independent movie, it would have been fucking
Speaker 3: awesome and not that bloated sort of student film that
Speaker 3: we got.
Speaker 2: A student though. It pretty good.
Speaker 3: So I liked that pulp fiction script a lot. I
Speaker 3: liked his movie a lot. And then I saw the
Speaker 3: movie and I was not as knocked out by the
Speaker 3: movie as everybody else. I liked the script a lot more.
Speaker 3: And my problem with it was, and I think my
Speaker 3: problem with most popular media is I have a problem
Speaker 3: with the fan base less than less than the art itself.
Speaker 2: Sure, I can, I can. I can understand that.
Speaker 3: Because you can't imagine the frenzy in Los Angeles time
Speaker 3: for Quentin Tarantino and for for this fractured timeline that
Speaker 3: he invented some And the thing of it was, he
Speaker 3: didn't fracture any timeline if you were to take if
Speaker 3: you take pulp fiction and string it chronologically, it's not
Speaker 3: really much of a movie at all. If you take
Speaker 3: the movie The Killing, Stanley Kubrick's The Killing, which is
Speaker 3: a fractured timeline, tells a story all out of order.
Speaker 3: If you if you cut that into a linear timeline,
Speaker 3: it's a fucking great movie. Still, because that's a movie.
Speaker 3: What this movie is and why we're getting to discuss
Speaker 3: it here, is it's an anthology it's started with some
Speaker 3: characters that sort of overlap, so I was less inclined
Speaker 3: to think this movie was as genius as everyone was
Speaker 3: sort of making it out to be like on that level,
Speaker 3: and then on another level, it also came to light
Speaker 3: that Quentin maybe didn't do all of writing on this movie.
Speaker 2: Yeah, how how much do you think is Avery in that?
Speaker 6: The legend is always that Avery just came up with
Speaker 6: a little bit of the of the Butch story and
Speaker 6: on that and then that was everything else is quite
Speaker 6: I don't know, I can't I couldn't tell you.
Speaker 2: I feel like there's got to be more Roger Avery.
Speaker 3: And though well let's get into that, shall we. Yeah,
Speaker 3: Tarantino and Avery buddies at video archives constantly.
Speaker 2: Before we go on. What did you tell him? What
Speaker 2: did you think about Natural Warren Killers? Would you tell
Speaker 2: him what about that?
Speaker 3: I told him I thought it was really good. And
Speaker 3: then at the time, the rumor of casting was Michael
Speaker 3: Madson and Juliette Lewis, and he was really excited about
Speaker 3: Juliette Lewis, but he thought Michael mat And might not
Speaker 3: work out. But it's basically should be him. Even though
Speaker 3: he was at the time he was no longer going
Speaker 3: to do the movie, and then I told him I'm
Speaker 3: really looking forward to pulp fiction. And then that sort
Speaker 3: of threw him, put him aback a little bit again,
Speaker 3: and he said, oh, that that one's going to be
Speaker 3: really good, and at which point Alison Anders rejoined us,
Speaker 3: and then we talked about gas Stood Lodging because that
Speaker 3: had also come out earlier in there, and I just
Speaker 3: thought it was fucking fantastically she did.
Speaker 2: She did greats in my heart right, Yes, that's a.
Speaker 3: Great movie man, Yeah, me via Loka and yeah, yeah,
Speaker 3: she's fantastic. Yeah, So yeah, it was. Yeah, it was
Speaker 3: a weird sort of interaction with them. So then yeah,
Speaker 3: and then of course I went in some pulp fiction
Speaker 3: just like everybody else, and then I saw it again.
Speaker 3: But I sort of treasured the script more than the.
Speaker 6: Interesting What what was it about the script that you
Speaker 6: liked more, that worked more for you on the page
Speaker 6: and on the street.
Speaker 3: It wasn't as clumsily directed as we ended up getting.
Speaker 6: Wow, oh yeah, it's on the second movie. First time
Speaker 6: with well, I mean, he had he had actors on
Speaker 6: of No on Reservoir.
Speaker 3: Dogs, Reservoir Dogs. Rizvore Dogs is a stage plane. It's
Speaker 3: really it is. It's easy to shoot that movie. Yeah,
Speaker 3: and that the artistic flourish of moving the camera away
Speaker 3: from mister Blonde as he's taking the era off was
Speaker 3: about as artistic as that movie got. Keep going new
Speaker 3: wave wild here in pulp fiction, which is great. It's
Speaker 3: great to bring a sort of European sensibility to American audiences, especially.
Speaker 2: I'm like eighteen.
Speaker 6: Nineteen years older when that came out, so for me
Speaker 6: it was like I hadn't never seen anything like it.
Speaker 6: I hadn't gotten exposed to anything European. Really pretty good
Speaker 6: at the video store at that point, but everything was
Speaker 6: guys the movie brats or orson Wells movies or something
Speaker 6: like that. I hadn't gotten into any.
Speaker 2: Any European guys.
Speaker 6: And even until his day after, I like Felidi though
Speaker 6: I do happens just even half is one of the
Speaker 6: coolest things ever made.
Speaker 2: And of course heavily referenced to this one.
Speaker 3: Heavily so Avery Tarantino writing screenplays together, rewriting each other's screenplays.
Speaker 2: Now they both put the same video they work did
Speaker 2: they both work there? Okay?
Speaker 3: Both working in video archives, right, So there's this pattern
Speaker 3: of Roger Avery writing an idea in either abandoning the
Speaker 3: idea or just writing some writing it to the point
Speaker 3: where it's unsatisfying. Right, the idea is there, but the
Speaker 3: movie is noted, and Tarantino con takes these movies and
Speaker 3: rewrites them. So one of I think, I think it's
Speaker 3: called Open Road. Basically that was a Roger Avery script
Speaker 3: that spawned both True Romance and Natural Born Killers, like
Speaker 3: initially that that was that was one movie. It was
Speaker 3: about Clarence in Alabama on the run like killers, and
Speaker 3: also the fictional versions of them were involved and anyway,
Speaker 3: so Tarantino split those up and rewrote the made him
Speaker 3: his own obviously, right, But Roger Avery's involved in both
Speaker 3: of those. Right. They decide that they're going to make
Speaker 3: a short film to get noticed, and then they think
Speaker 3: that that's not going to get them anywhere, that they
Speaker 3: need a bunch of short stories and they'll each direct
Speaker 3: a segment of a film. They'll get a third. At
Speaker 3: the time, the rumors it was going to be Adam
Speaker 3: Riskin was going to provide a third third short film, right,
Speaker 3: and that ends up not happening. They can't get it together.
Speaker 3: Tarantino script ends up becoming Reservoir Dogs, and Avery's becomes
Speaker 3: a script called Pandemonium Rains. After Reservoir Dogs is a success,
Speaker 3: they get together in Amsterdam and they bring together all
Speaker 3: of their material, right, and there's a segment of the
Speaker 3: plot basically, Pandemonium Rains is about this boxer who kills
Speaker 3: this guy in the ring and double crosis is a
Speaker 3: gangster and he's got a gold watch that he needs
Speaker 3: to get better, right, and then the whole fucking he'll
Speaker 3: build the fuck in butch and yeah, right, so that's.
Speaker 2: All in there. Pandemonium Rains is a terrible title.
Speaker 3: Oh my god, it's the worst. And somebody, actually, I
Speaker 3: think is making a movie called Pandemonium Rains right now
Speaker 3: because they're trying to trying to draft off of the
Speaker 3: is all.
Speaker 6: Those all those movies we're talking about from the nineties
Speaker 6: that we're trying to cash it on. The pulp fiction
Speaker 6: thing was they all had terrible titles, all these really
Speaker 6: like over overworthy titles and stuff, And I'm like, you're
Speaker 6: ribbon off pulp fiction.
Speaker 2: What the title is?
Speaker 3: So Tarantino had in his pocket the Marcellus Wallace's Wife story. Okay,
Speaker 3: he had that was going to be his segment when
Speaker 3: they came back to this. So now the second segment
Speaker 3: is the gold Watch. That's Roger avery segment. He's only
Speaker 3: going to be writing it, not directing it. Now Tarantino
Speaker 3: has to come up with the third segment.
Speaker 6: Right.
Speaker 3: Avery leaves Amsterdam believing that this is now pulp fiction
Speaker 3: written by Quentin Tarantino and Roger Avery. He supplied the
Speaker 3: third segment, the middle segment, right, Yeah, So Tarantino comes
Speaker 3: up with the bullets not hitting Jules and Vincent's miracle
Speaker 3: thing and then the gun going off, and that's the
Speaker 3: consequence for the rest of that, right, Except both of
Speaker 3: those gags were written by Roger Avery. Oh wow, or
Speaker 3: an initial draft of True Romance. So Tarantino has written
Speaker 3: the first segment of the thing, the second segment belongs
Speaker 3: to Now he'll do a total rewrite, obviously of the Goldwatch.
Speaker 3: He will completely Tarantino is said, and there's no question
Speaker 3: he's the author of this movie, right. But the last
Speaker 3: segment that he has no story for, he uses as
Speaker 3: the basis another of Roger Avery's were and then fleshes
Speaker 3: the rest of that out. And then there's the end
Speaker 3: of our movie, right, and then they make the movie,
Speaker 3: and then that story conflicate to see the Tarantino himself
Speaker 3: or Tarantino's lawyer basically say take this one hundred and
Speaker 3: fifty thousand dollars to Roger Avery and it'll be a
Speaker 3: stories by credit or you can get nothing at all.
Speaker 3: That all was kind of in the gossipy air, even
Speaker 3: down to the lowly projectionist at a movie on the
Speaker 3: outskirts of Hollywood. All of that was kind of roiling
Speaker 3: at the time that this movie came out, So it
Speaker 3: kind of curtailed my enjoyment of the film a little bit.
Speaker 3: But that's just my experience with it.
Speaker 2: Wow, that is that is That is the key. As
Speaker 2: they would say, well, no kidding, I mean I guess it. Tribes,
Speaker 2: I don't know. And not only that.
Speaker 3: Antonio right now, listen, I told you I watched Reservoir
Speaker 3: doct one billion times. I had to post ni by
Speaker 3: the whole cast. I had the script at all of
Speaker 3: his scripts. I was a goddamn convert to Quentin Tarantina, right.
Speaker 2: Yeah.
Speaker 3: At the same time, there was a video tape being
Speaker 3: passed around. Calm, You're not fooling anybody that some film
Speaker 3: students had cut together sequences from Reservoir Dogs and City
Speaker 3: on Fire. That shocked me when I saw that, when
Speaker 3: I saw how much had been taken from that movie.
Speaker 3: And you know what, Obviously, people remake movies all the time.
Speaker 3: You say it yourself. Star Wars is a remake of
Speaker 3: Hidden Fortress, and at least construction that movie wouldn't be
Speaker 3: if it weren't for that film, and the parallels are
Speaker 3: just there. Nevertheless, with hearing what was going on about
Speaker 3: pulp fiction and this sort of revelation from that videotape
Speaker 3: that I had a whole other worldview of what the
Speaker 3: rest of America was getting about Quentin Tarantino during his
Speaker 3: ascendancy during the nineteen nineties.
Speaker 2: My buddy and Klee Tada had a poster in his
Speaker 2: dorm room. Yeah, a pulp fiction poster.
Speaker 6: Mindy, you were all filmed students fiction poster, and right
Speaker 6: next to you had a poster of Tarantino, like in
Speaker 6: a blue seventies tu seed doing finger guns and it's
Speaker 6: a huge show time on top Quentin tarant I'm like, Wow,
Speaker 6: they've turned a movie director into a rock star. And
Speaker 6: I think a lot of that was he had a
Speaker 6: really good a really good team. You have to promote him,
Speaker 6: really really did. I'm not trying to take my I
Speaker 6: always love his movies. I can talk good and bad
Speaker 6: about them. There's they're they're both good bad things about them.
Speaker 6: They always entertain. But yeah, A lom would just say
Speaker 6: it is really interesting. I have a T shirt the
Speaker 6: Pulp Fiction logo on it, and whenever I go anywhere,
Speaker 6: I get stopped four times in that day.
Speaker 2: Oh I love your shirt man. People in this movie, people,
Speaker 2: I think this is this is the art movie for
Speaker 2: for middle of America. This is this is the most palatable,
Speaker 2: fancy movie they they've seen.
Speaker 3: And let's talk about the movie itself, because the hint
Speaker 3: putting the signed, the history of the movie mine yours,
Speaker 3: it's whatever. Let's start with the cast of this movie,
Speaker 3: because really it's it's a knock your socks off kind
Speaker 3: of who's who of independent artists.
Speaker 6: He's really lucky that Michael Manchin ended up had to
Speaker 6: do it was already on white ear, because I don't
Speaker 6: think Michael Manchin is charming as John Travolta is. John
Speaker 6: Travolta is just walking is walking charm? I tell you,
Speaker 6: he's just this charming dude. He was one of the
Speaker 6: he's so charming and so you remember him that. He's
Speaker 6: one of the first celebrities. I remember this thing was
Speaker 6: a little kid. I know who he was because my
Speaker 6: sisters loved Saturday Nights.
Speaker 3: Ever so like he was a sweathog Oh my god man.
Speaker 6: Which I fell in love with that show when I
Speaker 6: was in high school. They would run it like a
Speaker 6: nigked Knight or something and shows hilarious. And but again
Speaker 6: that you watch that show as you go back and
Speaker 6: you watch it either the movie Start Walking On every
Speaker 6: time he's on Scream. Yeah, he's a really good He's
Speaker 6: a talented, talented guy. My sisters that was both their
Speaker 6: biggest crush was John Travalda and he ended this day.
Speaker 2: Oh he's so cute.
Speaker 3: The funny thing about his comeback, right, is that I
Speaker 3: think he was hot as lava up until around Blowout,
Speaker 3: which is like nineteen eighty four thereabouts, right, Yeah, And
Speaker 3: after that he continued working. He sent a ton of stuff.
Speaker 3: He had a bunch of popular movies with those look
Speaker 3: who talk, Look Who's talking movies.
Speaker 6: Yeah, he did what was the old I mean the
Speaker 6: other movie we I remember him coming out with when
Speaker 6: I was like ten to eleven or something like that
Speaker 6: was one with him and Harry give me a second.
Speaker 2: Ari gross the professionals, what is it?
Speaker 3: The professional that's professional?
Speaker 6: And they get conscripted by the KGB to like hitp
Speaker 6: up Russia's state Americans fight that they had done up somewhere.
Speaker 6: So they were training all these rushes in the Americans,
Speaker 6: and they brought in John Travolta and its power of
Speaker 6: them allet to make the place tool like the four
Speaker 6: Man's Bill mar that guy.
Speaker 3: It's weird because I remember seeing the poster for that,
Speaker 3: like hanging in the look. Oh yeah, we like a
Speaker 3: little dance yeah that thing.
Speaker 2: Yeah yeah.
Speaker 3: But my point is from eighty four to ninety four,
Speaker 3: that's ten years and he kept working that whole time.
Speaker 2: Yeah.
Speaker 3: Fine. It seemed like there was this cultural shift where
Speaker 3: collectively we blamed John Travolta for the lameness of the
Speaker 3: nineteen seventies, like human and then.
Speaker 2: The Bee Gees both suffered.
Speaker 3: Yeah, all the kitschy cheesiness of the seventies, and we
Speaker 3: love it. Look, we love I love every aspect of
Speaker 3: the nineteen I mean not all of it. I don't
Speaker 3: love racism.
Speaker 6: But but the funny thing is is that I think
Speaker 6: always found and I've heard this somewhere I can't, I
Speaker 6: think a documentary or something. But a lot of the
Speaker 6: backlash DIP was rooted and almost alban racism because there
Speaker 6: was a lot of gay people, a lot of black
Speaker 6: dudes making a lot of black folks making disco music.
Speaker 2: They did has just changed the name the house music.
Speaker 2: It's not like they went away, but a lot of
Speaker 2: that they got blamed for.
Speaker 6: And yeah, John t Walda was literally the post boy
Speaker 6: light suit pointy dance.
Speaker 2: And that's literally like the smallest point of that. Because
Speaker 2: there's good music.
Speaker 6: These are the best movies I had great music, I
Speaker 6: don't know, but they got cheasy towards the end there.
Speaker 3: So Tarantino is sort of renowned for resuscitating people's careers,
Speaker 3: and it kind of begins right here because previous to
Speaker 3: this was Reservoir Dogs, and that's just a bunch of
Speaker 3: great character actors, which you can never go wrong when
Speaker 3: you get a group of character actors together, no matter
Speaker 3: their level of fame. But here in this sort of
Speaker 3: big budget quote unquote eight point five million was the
Speaker 3: budget on this movie. By the way, which when they
Speaker 3: sold the distribution rights overseas they got eleven million.
Speaker 6: I will say this about the Wine Team brothers, they
Speaker 6: were very good producers, a very good I mean they're
Speaker 6: not the producers of a very good there were. They
Speaker 6: were a very good studio. If you were quinnin Deretino
Speaker 6: or Robert Rodriguez or one of these cool directors, they
Speaker 6: really knew how to promote you, and they really knew
Speaker 6: how to fight to get an Astar nomination. Of course,
Speaker 6: the fact that they're all evil stumbags is when Harvey
Speaker 6: Wantee's gonna die in jail and rightfully sel because he's
Speaker 6: just twisted and evil. That explains a lot of Man,
Speaker 6: I'm sure how many guns were.
Speaker 2: Blake pointed at people? They get that eleven million dollars?
Speaker 3: Whatever is well in this case, thank god they got it.
Speaker 2: Yeah.
Speaker 3: It was a great Yeah, standal noted with the with
Speaker 3: the Lion Steins.
Speaker 2: Yeah, you can't. You can't even talk about the learnings
Speaker 2: go back. I'm sorry about that.
Speaker 6: No, you can't even talk about this period of cinema
Speaker 6: without addressing them, because it's like very responsible for most
Speaker 6: of it. They clerks, they bought did they buy did
Speaker 6: they buy El Mariacci. No, they didn't buy El Mariocci
Speaker 6: telling you about it, Mariaji, but.
Speaker 2: They put out his other they put it up dustled.
Speaker 3: On right, Oh yeah, and everything after that for a while, pretty.
Speaker 2: Much when we were in school.
Speaker 6: The whole point that first time in the late nineties
Speaker 6: early two thousands, the whole point was they get picked up,
Speaker 6: make an Indian get picked up by Mirrormax. That was
Speaker 6: the whole point and the turnout. But there's this kind
Speaker 6: of dark history behind it. Is weird because I'm assuming
Speaker 6: that many of these filmmakers and anchors and stuff.
Speaker 2: Had to have known this shit was going on. So
Speaker 2: it's kind of like, I don't know, put kind of
Speaker 2: a dark cloud over that time period a little bit.
Speaker 3: Oh it does. Every time a great movie from the
Speaker 3: past that I want to revisit begins with the Mirramax logo.
Speaker 2: Yeah.
Speaker 3: Here's the thing. Like the reason Reservoir Docs played at
Speaker 3: my theater is Mirrormax figured out they could four wall
Speaker 3: us very early on, so we were a kind of rotate.
Speaker 3: We had two screens, but one of them was always
Speaker 3: a Mirrormax film. Enchanted April played for about a fucking.
Speaker 2: Year, and I saw in jan to April in the theater.
Speaker 2: For God's sake. That was the nineties. You went and
Speaker 2: saw these little weird art house movies because it was
Speaker 2: the cool thing to do. You can see them and
Speaker 2: you or I saw Trained Money, Gold Coast.
Speaker 3: Wow.
Speaker 6: They used to have a little tiny movie theater there
Speaker 6: and it was at our house and we played all
Speaker 6: these weird movies.
Speaker 2: I saw pulp fiction like a Friday midnight show. It
Speaker 2: was a cool little movie theater. And they all disappeared.
Speaker 3: But yeah, I felt very privileged as a projectionist in
Speaker 3: LA at the time because I worked at the New
Speaker 3: Wheelshire Theater, which was the sister theater of the New
Speaker 3: Art Theater, which is the sort of more of renowned
Speaker 3: calendar houses in Los Angeles. It's a one screen house,
Speaker 3: and I worked over there as well. I also worked
Speaker 3: at the Samuel Goldwyn Pavilion Cinema, which is the sort
Speaker 3: of prestigious art house but in a mall. The same
Speaker 3: mall if you ever see the Tom Petty video for
Speaker 3: Free Following where he's just riding up and down an
Speaker 3: escalator pipe. Them all nice, but yeah, I worked in
Speaker 3: there and also worked at the New BEV back when
Speaker 3: Sherman was the owner. But I did feel very privileged
Speaker 3: because at the time I was not only at my
Speaker 3: theater getting a lot of fantastic independent in European film,
Speaker 3: but every theater was cool with Is that okay if
Speaker 3: I come watch a movie, like, Hey, I'm the projectionist
Speaker 3: at the New wheelsher Can I come watch a movie?
Speaker 2: Yeah?
Speaker 3: And it was never a problem. The state of movie
Speaker 3: theaters when when it finally when digitalized stopped being a
Speaker 3: projectionist was such that they were limiting passes for employee.
Speaker 3: Like the whole reason you would work in a movie
Speaker 3: theater it.
Speaker 2: Was the Three Movies.
Speaker 1: Yeah.
Speaker 6: We had a buddy with fetal school buddy he worked
Speaker 6: at he was a projectionist at one of the theaters,
Speaker 6: and we went to every Friday morning or whenever he
Speaker 6: was working. Hey we're here, Colonian dude, or we would
Speaker 6: watch stuff. He would get the print a week earlier
Speaker 6: whatever it is, or a few days early, and we
Speaker 6: didn't go watch it when he was can it.
Speaker 2: There's a lot of movie like Diet.
Speaker 3: Yeah. So I got to see every independent film you
Speaker 3: can think of the early nineteen nineties and into the nineties,
Speaker 3: I was privy to and Tarantino was fucking huge, and
Speaker 3: the point I was getting at earlier, and I obviously
Speaker 3: the stamp of Merrimax it sucks. But the resuscitation of
Speaker 3: career aspect of Tarantino's filmography begins here and begins rightfully
Speaker 3: so with Travolta. And it's like now, in retrospect, was
Speaker 3: not that hard. Just give the man a role in
Speaker 3: a serious movie and let him do his thing, because
Speaker 3: it was never a question that Travolta was talented. It's
Speaker 3: just that he got painted with such a heavy cultural
Speaker 3: brush that everyone just sort of forgot somehow, But thank
Speaker 3: god Tarantino did not.
Speaker 6: Well. If you know, if you ask anybody who's the
Speaker 6: main character of that movie Bill, they say Vincent Vega
Speaker 6: is the main character.
Speaker 2: Mega isn't the main character. There's no main character, but.
Speaker 6: His presence is such that of course the most memorable
Speaker 6: character is is Jewels. But still you still know them.
Speaker 2: Okay, he's the leading man here. Yeah.
Speaker 3: The other and the other big casting coup for the movie,
Speaker 3: the reason they got the eleven million dollars. I don't
Speaker 3: think there are any guns drawn was Bruce Willis a
Speaker 3: huge movie star and being the lead in this movie.
Speaker 6: He was the one of the big free or him
Speaker 6: as fortunate aggre where they were like and Stallone had
Speaker 6: the restaurant.
Speaker 3: I was just gonna say they were open a planet
Speaker 3: Hollywood somewhere on. One of the Triumvirate was going to
Speaker 3: be there and to have such Hollywood royalty beyond royalty
Speaker 3: smack dab in the center of this movie. Really, this
Speaker 3: movie is about butch.
Speaker 2: Yeah, and this is his best performance.
Speaker 6: It was, oh John Mcclaindehard. Yet everybody loved Diehard. Die
Speaker 6: Hard is is apple Pie Man. Everybody loves that movie.
Speaker 6: But Bruce Willis is best acting.
Speaker 2: Is this movie? Then this is You are with him.
Speaker 6: You feel every scene that he goes through this well,
Speaker 6: you're with him, and he is. I don't think you
Speaker 6: could have cast anybody better than nineteen ninety four for this.
Speaker 2: Maybe Mickey Rourke, but I don't think he would have
Speaker 2: been likable as Bruce Willis.
Speaker 3: No that Bruce Willis is effortlessly charming. It's why we
Speaker 3: like him so that the camera fucking loves him, say
Speaker 3: Mickey Rourke.
Speaker 2: Cose, I know Tarantino, who was he was on his list?
Speaker 6: If Mickey Rourke had played that part when he was
Speaker 6: teasing his girlfriend, it would have been really.
Speaker 2: Made yeah, rather than playful.
Speaker 6: A question, why is this innocent with his monster, because
Speaker 6: I don't think Mickey Yorke can play tender and play
Speaker 6: gender in his way.
Speaker 3: He can play it his scene partner there is Maria
Speaker 3: de Madero's who was all the world was a buzz
Speaker 3: because of her role in Henry and June, the first
Speaker 3: of the n SEE seventeen movies Look Out Everybody.
Speaker 2: Also featuring Uma Thurman.
Speaker 3: Correct, Yeah, who's up front and center here? So obviously
Speaker 3: Quinton was a big fan of Henry and Jared. Maybe
Speaker 3: it was that poster or all that leg leading.
Speaker 2: Down to a foot, which leads is this is his
Speaker 2: first foot?
Speaker 3: Yeah, well this is the first sort of time we
Speaker 3: can where we can linger on a female. That his
Speaker 3: historic burial debut views all dudes in suits.
Speaker 6: But you know the funny thing with him and the feet,
Speaker 6: it's like, it's not just feet, it's not just lady,
Speaker 6: it's dirty feet.
Speaker 3: It is dirty feet, but souls will always be soiled.
Speaker 2: But yeah, I love I love that character. Butching this
Speaker 2: he plays this, he's a very traditional Hollywood hero. He's
Speaker 2: got to got a William Holden thing going on in this.
Speaker 6: Yeah, I love that arc a lot, is it my
Speaker 6: I don't have a favorite part of the movie, my
Speaker 6: fair part of the movies.
Speaker 2: Whatever, I mean, Jackson John Street, that's my favorite part
Speaker 2: of the movie.
Speaker 3: Would chunky to know that, as written books was much
Speaker 3: more of prank and in reality, had they cast Mickey
Speaker 3: Mark it would have been perfect for what was originally written.
Speaker 3: There you go, I see Bruce Willis brought that shot.
Speaker 2: Yeah, that's that's why he's a moot sar not an
Speaker 2: actor can act and do all kinds of things.
Speaker 6: But if police starting just walk in her room in
Speaker 6: the high on here and then it was all yes,
Speaker 6: I'm just yes, I'm I'm charmed.
Speaker 2: It's just that thing, and Bruce Willis definitely had that.
Speaker 3: Maria de Madeiro's has a stop motion puppet of Tim
Speaker 3: Burton's design quality to her.
Speaker 2: Can she does little the eyes?
Speaker 3: How is she not his latest muse?
Speaker 2: Now there? I guess that was during the deca Marie years.
Speaker 3: Yeah, well you can't.
Speaker 2: Then you can't meet Lisa Marie.
Speaker 3: Who would who would do such a thing? What was
Speaker 3: he thinking? I mean, look, if it's going to be anybody.
Speaker 3: I guess Helen and bottom Carter is fucking phenomenal like town.
Speaker 2: Yea.
Speaker 3: I should not be discussing Tim Burton's love life on
Speaker 3: a podcast. None of my goddamn business. It's just that
Speaker 3: in the land of Muses, Tim Burton is the king. Yes,
Speaker 3: let's look at some of this the rest of the
Speaker 3: cash here, because you know, we mentioned Samuel Jackson. I
Speaker 3: don't think there's anything we can say about Sam Jackson
Speaker 3: at this point except he was like a nuclear explosion
Speaker 3: on the scene when this movie came out.
Speaker 6: Sam Jackson, I just want to say I feel bad
Speaker 6: for the dude who plays Tim mister Orange's boss and
Speaker 6: in Reservoir Dogs is every time he said it would
Speaker 6: be what's a territ.
Speaker 2: I was so above for that too.
Speaker 3: Oh yeah, yeah, yeah, that's very right, right, And and
Speaker 3: I think Sam Jackson had auditioned for a Reservoir Dogs. Yeah.
Speaker 3: I don't know how that didn't happen. But the for me,
Speaker 3: the megaton explosion in this movie was the performance of
Speaker 3: mister Ving Raimes as Marcellus Wallace. I had not I've
Speaker 3: never seen anything like that man, and he is the
Speaker 3: He's the center of gravity of the entire Tarantino verse.
Speaker 3: As far as I'm concerned, rewatching it definitely confirmed that
Speaker 3: what a fucking great villain and what a great hero simultaneously.
Speaker 2: He's cool man in this movie, Ving Rams Marcella's Wallace.
Speaker 6: He does not look like a bitch. Let's say that
Speaker 6: he is a bad ass character. It's just he's the kingpin,
Speaker 6: he's the god. Probably he's all these kind of cool things,
Speaker 6: like but through that seventies.
Speaker 2: Blackspotation weighs almost. But yeah, it's a great performance file.
Speaker 2: It's and it's just subtle and slow and precise and
Speaker 2: everything every work he makes is a choice too, Like
Speaker 2: everywhere he saw he sings every word almost in this
Speaker 2: great In this.
Speaker 3: Movie, he reminds me of Humphrey Bogart. Really, yeah, I
Speaker 3: get the same Humphrey Bogart vibe. I got the same
Speaker 3: I know fucking everything, and I can be the most
Speaker 3: charming one in this room, but I'm also the most
Speaker 3: murderous one if I'm pushed in any way. Bogart threw
Speaker 3: that sort of attitude off, and Ving Raims is a
Speaker 3: more subtle version of that. I don't know that everyone
Speaker 3: thinks about Bogart that way, but I certainly do and
Speaker 3: I definitely feel that. Here. The other thing I like
Speaker 3: about this performance, and it's mainly due to him, because
Speaker 3: the writing is this is it is. It is b
Speaker 3: C cinema elevated to more artistic merit. But the thing
Speaker 3: about Los Angeles movies is any attempt to give us
Speaker 3: a Los Angeles crime lord, one who rules the city
Speaker 3: of l A. There have been tons of New York
Speaker 3: crime lords. There's been tons of Chicago crimes, and I've
Speaker 3: believed a lot of them Miami as well, but l A,
Speaker 3: I never believe any of them, whereas Marcellus Wallace seems
Speaker 3: to be the first Los Angeles kingpin that I believe,
Speaker 3: fully realized and definitely believable.
Speaker 6: I guess yeah, because you as I think they're ambiguous
Speaker 6: almost about it, like how what like how big of
Speaker 6: a crime would is?
Speaker 2: How much crime?
Speaker 1: Is he?
Speaker 2: Actually you don't know any of these questions.
Speaker 6: You know, you just know that he's in charge, and
Speaker 6: he really just delivers that and with his President's delivered
Speaker 6: to that. I like it, you know, and I think
Speaker 6: I'm like, I'm sured Tarantino wakes of every day. Thank
Speaker 6: you thanking God that somebody nicked his head shaving.
Speaker 2: It's that put the put the band aid on and
Speaker 2: get all this and his years of discourse on what
Speaker 2: the mand aid means.
Speaker 3: Oh, we'll get there. But others in the cast I
Speaker 3: just want to want to mention is when they get
Speaker 3: to Jack Rabbit Slims. The guy playing Dean Martin is
Speaker 3: Joe Polano, who's Captain Rhodes the lead character and Day
Speaker 3: or the lead villain Day of the Dead. Was it
Speaker 3: really yeah?
Speaker 2: Wow, I never noticed that.
Speaker 3: Absolutely. I picked my at right away on a big screen,
Speaker 3: but it's almost impossible not to say them when you're
Speaker 3: viewing him at home. Well, yep, definitely. Joe Plata right that.
Speaker 6: You'll always get drawn to the Jerry Lewis and it's
Speaker 6: so loud. I annoy did that restaurant doesn't actually exist?
Speaker 6: Because I'm like, if we had that Vegas, so you
Speaker 6: get a job there, then like put a wig on
Speaker 6: v Orson Wells for the day is walkroing over the rune.
Speaker 3: In La At the time, there was a chain of
Speaker 3: restaurants called Cafe Fifties, and I know this helped inspire
Speaker 3: Jack Rabbit Slims. It wasn't as elaborate as this. It
Speaker 3: was basically a diner and they dressed in fifties attire
Speaker 3: and the jukeboxes only played fifties music, and it was
Speaker 3: burgers and fries and whatever it was. It was whatever
Speaker 3: it was. Yeah, it was fine. Obviously, this was tarantino
Speaker 3: spun out version of the most excessive, immersive experience you
Speaker 3: can have of all of this nineteen fifties neon nightmare.
Speaker 6: Yeah, that's really cool. The budding was I was, when
Speaker 6: were you watching this last night? I realized, Wow, this
Speaker 6: really is a set.
Speaker 3: Oh it really looks like this is there's no ceiling, Yeah,
Speaker 3: not at all, kind of.
Speaker 6: Creat the sixties Batman shows sat almost like, yeah, here's
Speaker 6: the set, literally no ceiling up top.
Speaker 2: But that's okay. I think it works for the movie.
Speaker 6: I want to get back to Samuel Jackson the Week,
Speaker 6: because we wide we're off on a tangent about both
Speaker 6: the other cop guy.
Speaker 2: Samuel L. Jackson is the King.
Speaker 6: I think he's the best movie star of the last
Speaker 6: fifty years, Like every one of his movies does no
Speaker 6: matter what he's in. When he's on screen, you're like, hey,
Speaker 6: Sam Jackson, all right, hooray, I just a forty six, forty.
Speaker 2: Seven years old they hi movie, He's not this is he's.
Speaker 6: Breaking out as a grown up, right, and we don't
Speaker 6: have young it's Sam Jackson's in middle aged.
Speaker 2: And old now. But like he walks, he owns that
Speaker 2: screen so much and it's weird.
Speaker 6: It buzzs me out that he didn't win an Oscar
Speaker 6: that year, but he lost to Mark Landau. Playing Bella
Speaker 6: Lugosi in that performance is sublime, So I would see
Speaker 6: very difficult walking up the oscar. The other got immortality,
Speaker 6: I guess. But he I think the most bankable movie
Speaker 6: star too, Like he has more one hundred million dollar
Speaker 6: movies than anybody here to me know, He's in three
Speaker 6: Star Wars movies, ten Marvel movies like Jurassic Park.
Speaker 2: Yeah, I'm Jackson man.
Speaker 6: I just he's just a delight. And every story I've
Speaker 6: heard about him is that he's cool. And then to
Speaker 6: work with he shows up on these early. He knows
Speaker 6: all his lines and he hits every single mark. It
Speaker 6: only needs one or two jakes like the Dream. You
Speaker 6: wonder why people keep hiring him. I just love this
Speaker 6: guy and that speech.
Speaker 2: I know it's cliche. But man, when he guts that
Speaker 2: speech even today, well great make Jackson for your well,
Speaker 2: his nostrils flared, his eyes just seemed to dilate out
Speaker 2: of nowhere. Oh, it's just that's like perfection whatever that
Speaker 2: that performance they're gonna be playing that performance loster clips
Speaker 2: or examples a fine movie acting whatever retrospective are years like,
Speaker 2: it's one of the most performances ever.
Speaker 6: I can go on about it, but I just love
Speaker 6: sending back to his movies. You what that's like Jerry Curl,
Speaker 6: he looks ridiculous.
Speaker 2: With that jar.
Speaker 3: Yeah, it seems no one but him could make the
Speaker 3: Jerry Curl cool, right.
Speaker 2: Have you heard the story of his audition. No, his
Speaker 2: audition was he came in.
Speaker 6: With a cheeseburger and he ate the cheeseburger, finish the
Speaker 6: cheen burder left, and he just stared menacingly.
Speaker 2: At them while he was eating it. And then he's
Speaker 2: got it. And that seeing she's whitening in that scene,
Speaker 2: it's just such an altput.
Speaker 6: Dog kind of like leader of the pack things. I'm
Speaker 6: here and man handle you, nomin eat your food. I'm
Speaker 6: gonna drink for drink.
Speaker 3: Oh yeah, straight that we'll get we'll break down which
Speaker 3: of the stories we like best sort of eventually. I
Speaker 3: just want to kind of wrap up the cast here
Speaker 3: because the other sort of standouts for me or at
Speaker 3: the beginning of the movie, which is Tim Roth and
Speaker 3: Amanda Plumber was dumping and Honey Bunny as a wrap
Speaker 3: around segment for our anthology movies. You can do worse.
Speaker 3: And at the time, Tim Roth was basically nobody except
Speaker 3: off of Reservoir Dogs. But I'd already seen Rosencrantz and
Speaker 3: Gildenstern her dad at that point, because I was already
Speaker 3: obsessed with Gary Oldman thanks to Sid Nancy so Oh
Speaker 3: and my God, the cook, the thief, his wife and
Speaker 3: her lover like I was. No one was more excited
Speaker 3: than me that Tim Rocks was getting play here in America.
Speaker 2: And Gilbin's Sturd Dad and gilbins Urder Dad.
Speaker 6: Of course I'd seen it because I was a theater kid,
Speaker 6: so that was like a required viewing, like you had
Speaker 6: to watch that with.
Speaker 2: Nail and I like all these like English movies did that.
Speaker 2: We're just required for something.
Speaker 6: I kne who Tim Roth was, but he's really good
Speaker 6: on this, he said, no, the fact that it ut
Speaker 6: he be English is just that little extra bit of interesting.
Speaker 3: That Yeah, that floored me because previous in restorts they
Speaker 3: made him an American and I had read the script
Speaker 3: and the entire time heard it as an American. So
Speaker 3: that yeah, nice surprise and nice because he so rarely
Speaker 3: gets to speak in his regular voice.
Speaker 2: Yeah, he's great.
Speaker 3: Like times he's an ape h. Sometimes he's an ape
Speaker 3: ripley gene calm down.
Speaker 2: Yes, yes he is.
Speaker 6: Always wanted him to play cob commander for some reason,
Speaker 6: like ember M'd still be Greiers cover commander.
Speaker 3: You would have been great at Cobra would and a
Speaker 3: man of Queen of the Yeah.
Speaker 2: And she has this creepy quality about her that she
Speaker 2: plays up so well. Man, I love it. That's a
Speaker 2: that's a girl. That's a gal that's going to stock
Speaker 2: you after you guys break up. It sucks a fit.
Speaker 2: She plays that part really well.
Speaker 3: I remember her very well from the World Accordington gar Oh. Yeah,
Speaker 3: Robin Williams first attempt to prove prove his his legitimacy
Speaker 3: as a as a dramatic thespian.
Speaker 2: Hell.
Speaker 3: Yeah, she was great in that. She's great, she's great
Speaker 3: in this. But let's get into the end, nuts and
Speaker 3: bolts of these stories, these the three Towns, the Vincent
Speaker 3: Vange one more cast. Yeah, please Thurman, Oh my fucking head,
Speaker 3: Jesus Christ.
Speaker 2: Yeah, it was a little I was a boy when
Speaker 2: I saw the Adventures of Baron Munchaus. It's still one
Speaker 2: of my favorite movies.
Speaker 6: The first time I ever saw her and was like,
Speaker 6: I was low from like twelve or thirteen all the
Speaker 6: way through up to tell whatever modern day she was.
Speaker 2: I loved her so much and she was at that age,
Speaker 2: Oh my god. And she's a great miss movie.
Speaker 3: She's literally the goddess of love in Baron Munchow's actually venus. Yeah,
Speaker 3: and when she appears in that half shell, it it
Speaker 3: made sense.
Speaker 2: I true did, absolutely did.
Speaker 3: Speaking of ut Gary Oldman, he too was a big
Speaker 3: fan of him and the they were married at that time.
Speaker 2: They were married. She's got a type she likes so kind.
Speaker 3: Of like when they broke up, he said of her,
Speaker 3: you try being married to the goddess of love.
Speaker 2: She didn't get cherchold, but it's so cool. You try
Speaker 2: to be married to the chorus of love.
Speaker 3: Must be tough.
Speaker 2: Yeah, I know, he was Dracula.
Speaker 6: It was a cool actor man he was just like
Speaker 6: sitting there persons was Dracula, and then I cast it
Speaker 6: in Nancy and then just following them every.
Speaker 2: Every time he's on screen. It is great. Care'tfully he
Speaker 2: may Commissioner Gordon interesting. But anyways, back to back to
Speaker 2: littlem with Thurman, I'm still Tucker and ain't go with
Speaker 2: that haircut. Forget about it. They're gonna screw me up. Man,
Speaker 2: those bettings, let me tell you.
Speaker 6: And she's a terrible person, but they all are called
Speaker 6: through a guy's jacket to start slorting whatever in his pocket.
Speaker 2: The strict it.
Speaker 3: But you do if you're missing you do. If your
Speaker 3: misses me, you do.
Speaker 6: Yeah, I guess if he misses me a whiles. But
Speaker 6: this part really put her on this into the A
Speaker 6: list man.
Speaker 2: She really flew up with this. I mean, she's that poster.
Speaker 6: Man that.
Speaker 2: That poster. I had that poster open all through college
Speaker 2: and first apartment.
Speaker 3: I had the first draft of that poster with where
Speaker 3: the cigarettes are still lucky strikes before lucky strengths suit
Speaker 3: oh wow, play on their golden the golden apples there.
Speaker 3: But then they immediately followed it with another one she
Speaker 3: where they basically just redded out the Lucky Strike logo,
Speaker 3: so it was just a red circle her hand was
Speaker 3: resting on. That's that was a great poster though, treasured
Speaker 3: that boster. Yeah, what was the other sermon? Let's talking
Speaker 3: about therurmad for a second. Yeah, because yeah, she's the
Speaker 3: She's the kind of the movie doesn't work without her
Speaker 3: because breaking the stories apart, the first story that Vincent
Speaker 3: Vega and Marcella Swallace's wife to me is the best
Speaker 3: story in here for a lot of the reasons we've
Speaker 3: already mentioned. Particularly you said that opening scene where we
Speaker 3: get to the ferocity of jewels. As a character, he's very,
Speaker 3: very scary, like those fucking those are a bunch of
Speaker 3: young punks and are probably fucking over the wrong people.
Speaker 3: But I don't wish jewels on anybody.
Speaker 6: And the one thing is is the first batch his
Speaker 6: second scene, because this first scene in the car is
Speaker 6: that this the friendlyest guy driving and yeah.
Speaker 2: Geez all right, and then all of a sudden, whoo,
Speaker 2: that's that's what I love this part. That party is.
Speaker 3: And but the funny thing is so that that bit
Speaker 3: of danger leads us into this sort of romantic evening.
Speaker 3: And we've already mentioned the charm of John Travolta. Thank
Speaker 3: god he was caster. Thank god Miason wasn't it.
Speaker 2: Michael Madson, I don't, I know, wouldn't have believed her
Speaker 2: falling for Michael.
Speaker 3: Madson, No, because he's so goofully charged. Michael Madson would
Speaker 3: have been nodding out on heroin. John Travolta is is
Speaker 3: just a happy fella. Yeah, he's just got what he
Speaker 3: needed in the right dosage. But you know, it's a
Speaker 3: two hander. If if Uma Thurman hadn't been as equally
Speaker 3: interesting and as dynamic as John Travolta, and then the
Speaker 3: story wouldn't work, and then well then what we have?
Speaker 3: Pandemonium raining ranning.
Speaker 2: So the son starts out there there there are all
Speaker 2: the way they're gonna get the case with the golden
Speaker 2: light inside it from from Frank Waally and his and
Speaker 2: his and Phil lebar and and those guys.
Speaker 3: And Alexis ar Cat hidden in the other room. Yes,
Speaker 3: that's right, the late great Alexis ar Cat.
Speaker 2: Alexis ar Cat who can't shoot straight.
Speaker 3: Maybe or maybe it was divine.
Speaker 2: Divine intervention for the coke and pepsi.
Speaker 3: Now open scene you mentioned, Okay, the the the switch
Speaker 3: that gets flipped on Jules's character. We could see him
Speaker 3: affable and and and fun.
Speaker 6: He has along his art is a bunch of different emotions,
Speaker 6: but they're all very sudden changes.
Speaker 2: Though he's his room. He's this charming guy one second,
Speaker 2: of ruthless killer on the next second. Then now then
Speaker 2: he's a philosopher.
Speaker 3: Originally going to be replayed by Lawrence Fishburn was offered.
Speaker 2: The role Oh Wow, kicking himself to the dead.
Speaker 3: But fish Will wanted to be the lead in movies
Speaker 3: at this point, didn't want to be a supporting character
Speaker 3: in anything. Yeah, should be, but you know what he's
Speaker 3: he's he's Morpheus at this point, like he's he's doing Okay,
Speaker 3: he's in the John Wick ones too, So yeah, he's
Speaker 3: an apocalypse now, you know what I mean, he's an apocalypse.
Speaker 3: Now he's.
Speaker 2: He's in He's a deep covered I love that movie.
Speaker 2: Cool movie.
Speaker 6: So they so they get the case back and then
Speaker 6: they go off on their merry way and they go
Speaker 6: and we move into the what is the Butcher story next? No?
Speaker 2: No, now that's the date?
Speaker 3: Is the next the date?
Speaker 2: Yeah?
Speaker 3: The meat of the of the story, yeah, which is
Speaker 3: in the script initially when Vincent gets to her place,
Speaker 3: she has this quiz, this pulp pop cultural the scene
Speaker 3: you know ooftah, Yeah, thank goodness, it's not there.
Speaker 2: It's the most like cliche nineties thing imaginable.
Speaker 6: She's walking around with the video camera interviewing and are
Speaker 6: you an elvisman or a Beatles man?
Speaker 2: Do you like this or do you like that? Boxers
Speaker 2: are brief. I'm like, oh, how sex.
Speaker 3: Lies and video teap Yeah. What's great is now that
Speaker 3: it's missing. When they reference it later, it just sounds
Speaker 3: like they know something about each other that we're not
Speaker 3: privy to. Yeah, exactly fills in the mystery. Just well,
Speaker 3: it is just a light bulb in a in a briefcase.
Speaker 3: But what could possibly be in there?
Speaker 6: The theories were always like, oh, it's Morseller's Wallace his
Speaker 6: soul because he's got the band aid on the back.
Speaker 3: Of his head, or what's the combination? Is six sixty
Speaker 3: six on the end?
Speaker 2: Yeah? Oh it is six six six? Yeah?
Speaker 3: Yeah. I always thought it was a ripoff of Kiss
Speaker 3: Me Deadly. Robert Oliders has kissed Me Deadly. It has
Speaker 3: it has a glowing briefcase that you're not sure what
Speaker 3: is in it, but it's it's it's most likely it's
Speaker 3: radioactive material. It's used as a metaphor for the horrors
Speaker 3: of nuclear warfare, of course.
Speaker 2: But interesting thought device that the the the suitcase like
Speaker 2: it's unanswered mcguffin, and like it works in this movie,
Speaker 2: it generally doesn't work. Now they JJ Abram didn't good
Speaker 2: it and his Mission Impossible movie. There was a McGuff
Speaker 2: in the whole movie and d you don't even know
Speaker 2: what it is.
Speaker 3: But here's the thing. It's a mcguffin that needn't be
Speaker 3: a mcguffin at all, because it only shows up in
Speaker 3: this story basically, and then we see them hand the
Speaker 3: case off. It's not like we keep yes with it.
Speaker 2: We're done with it.
Speaker 3: It's as it's as significant as the old clutch Cargo cartoons,
Speaker 3: because they feature that in this movie too, a little
Speaker 3: longer than they featured that briefcase. Where's the theory on
Speaker 3: that the clutch cargo maybe is the devil?
Speaker 2: And I cares yeah, And you can go into all
Speaker 2: these all these theories.
Speaker 6: I'm just like, I think I have hardly written numerous
Speaker 6: screenplays directly.
Speaker 2: One for two.
Speaker 6: I can say this some guy high or drunk writing it,
Speaker 6: and then it's pretty much the explanation of all of it.
Speaker 3: I think Tarantein would be cool. I think he purposefully
Speaker 3: obfuscates things in order to get people to talk. I
Speaker 3: think he liked that he's never really told us what
Speaker 3: a reservoir dog is, but nevertheless, like it's bastards with
Speaker 3: an e, right, Like these are just little idiosyncrasies he
Speaker 3: throws in that make people go, huh, I wonder what
Speaker 3: that means, and they all do, so God.
Speaker 2: Bless him, yeah, and good for him being good at that.
Speaker 3: Because I don't give a shit about that briefcase.
Speaker 2: Once it's out, it's gone. I don't care.
Speaker 3: Yeah, I'm more interested in what else is going on
Speaker 3: in that scene, and then more interested in the in
Speaker 3: the entire data afterwards. I said that Travolta is effortlessly charming,
Speaker 3: and my god, he really is in this scene, but
Speaker 3: not only when he arrives. A thousand memes were launched
Speaker 3: with the green screen of him sort of stumbling around
Speaker 3: like he doesn't what he's doing. It is a goofy
Speaker 3: stoner charm at work here that continues into the conversation
Speaker 3: when he's describing to her or he wants to ask
Speaker 3: her about what Marcellus Wallace did to Tony Rocky horror
Speaker 3: in regards to her, the amusement on his face that
Speaker 3: Travolta Trifolta is so fucking good in this movie. Man,
Speaker 3: nobody else could have played this part.
Speaker 2: I write that scene a logo because it's their chemistry
Speaker 2: is wonderful, but you guys just sitting around like in
Speaker 2: the sewing circle and just got.
Speaker 6: And it's like, how g is literally the more mature
Speaker 6: character at this point, and this movie is probably the
Speaker 6: most well inception of her drug use.
Speaker 2: She's very mature. Or when they get to the they
Speaker 2: get the Jack Gravit saloon, she turns into a teenager.
Speaker 3: She doesn't get out there very often. She's going there
Speaker 3: Marcel Marcellus hates it there.
Speaker 6: Yeah, she gets she wants one of his She's turned
Speaker 6: down by his little cigarettes. But she asked him like
Speaker 6: like a teenage girl. She has a little puppy dog.
Speaker 3: Guy.
Speaker 2: She got knew the dance contest, and of course the
Speaker 2: dance contest.
Speaker 6: The references in this scene, so everyone's automatically assuming. The
Speaker 6: big pop culture retens in the scene is John Oh.
Speaker 6: John Travolta's dancing right, sadly not if you were not realizing.
Speaker 2: That in eight and a half or but that they're
Speaker 2: doing literally the same dance.
Speaker 3: Well, they got some aristo CAATs in here too.
Speaker 2: Oh he got the aristic cats.
Speaker 3: Wow, definitely some arist cats going on, and of course the.
Speaker 2: Bat toucy that's exact due when I was we're the
Speaker 2: bout DC.
Speaker 3: Now here's the thing about this story in its entirety,
Speaker 3: including the opening with with Jules and Vincent. Here's where
Speaker 3: the curse of Quentin Tarantino comes in. And it's not
Speaker 3: a curse on him or anything he's doing. It's a
Speaker 3: curse on the rest of us. Because those imitators we mentioned,
Speaker 3: what they take away from a scene like Jules and
Speaker 3: Vincent driving in the car and the way to the
Speaker 3: job is oh, pop culture references is enough. The conversations.
Speaker 3: People began to relate to these criminals because they were
Speaker 3: having conversations that you and I might have, Yeah, thinking
Speaker 3: about things that you and I might talk about, and
Speaker 3: that was rare in a crime film. They're always just
Speaker 3: talking about the job, or the past, or their own
Speaker 3: past or what their future is going to be once
Speaker 3: they get through this job. But here's guys about TV shows.
Speaker 2: Yeah.
Speaker 6: Sure, And for example, Goodfellows, which is one of the
Speaker 6: greatest movies ever made. But still you watch that movie,
Speaker 6: all their conversations are about their life, about their world.
Speaker 6: They don't talk about, Hey, did you hear that? Did
Speaker 6: you hear that new recon that by by Frank Sinatra,
Speaker 6: What a great tool that is. No one ever talks
Speaker 6: like that movie. They're always talking about who got whacked
Speaker 6: or when the wife is learning or whatever.
Speaker 2: So yeah, this is definitely new thing.
Speaker 6: That Also, at around the same time Kevin Smith was
Speaker 6: doing in Parks these idiots talking about nothing, and what Seinfeld.
Speaker 2: Was doing on TV just a bunch of people sitting
Speaker 2: around talking about bullshit.
Speaker 3: It's the paramount of the zenith, the apotheosis of pop
Speaker 3: culture obsessed as generally generationally as we were, and obsessed
Speaker 3: about the sort of same topics. But what I mean
Speaker 3: by the curse is what people took away from that is, well,
Speaker 3: I have those conversations. I'll just write those conversations now,
Speaker 3: having no idea the skill that's going into that dialogue,
Speaker 3: and that yes, they're talking about a fucking bullshit action
Speaker 3: television series. But that pays off later because one of
Speaker 3: the characters is actually on that television series. And what
Speaker 3: else What we ended up getting is just a bunch
Speaker 3: of either tough guy talk or fucking talking about one
Speaker 3: of the most egregious Tarantino imitators to me is that
Speaker 3: five thousand or three thousand Miles to Graceland, that Kurt Russell,
Speaker 3: Kevin cost Or impersonating movie. Yeah, Jesus Christ. At one point,
Speaker 3: the ar Kent Boy, what's the youngest our ket boy?
Speaker 2: David Arquette.
Speaker 3: David Arquette just starts like pitting celebrities against each other
Speaker 3: in conversation. All right, would you pick this guy versus
Speaker 3: this guy? Conversation that no one would ever have just
Speaker 3: for the sake of making references. Seth MacFarlane has made
Speaker 3: an entire career. The reference is enough, so but.
Speaker 6: The reference in like the way they're talking about, for example,
Speaker 6: the scene between jewels and and Vincent in the car.
Speaker 6: They're going back and forth about the difference is the
Speaker 6: European differences versus the American differences.
Speaker 2: But you're telling you that the characters Vincent his adventures,
Speaker 2: he wants to try new things, he likes to know
Speaker 2: in different places. He's kind of a snob.
Speaker 6: Jules is fascinated by all of this stuff because he's
Speaker 6: probably never left La.
Speaker 2: He's the king of La.
Speaker 6: By the end of the by he wants they will
Speaker 6: walk the earth, so I feel. And the other guy's like,
Speaker 6: why do you want to do all this crazy adventure stuff?
Speaker 2: Well you did. There's the kind of like they're telling
Speaker 2: you where the characters are, Like the way they speak,
Speaker 2: what they're talking about shows you who these people are.
Speaker 5: Yeah.
Speaker 3: So the phenomenon of Tarantino making art house and low art,
Speaker 3: low low exploitation film sort of palatable for American audiences
Speaker 3: is made even more palatable because they're talking like we
Speaker 3: think we talk. Yeah, And that's the that's the thing.
Speaker 3: We've flattered ourselves into thinking that we're all clever and
Speaker 3: that we all speak this way. But none of us
Speaker 3: speak this way because no one knows this. But to
Speaker 3: the point that all of it is feeding the story
Speaker 3: at hand. Yeah, it isn't just there to clue us
Speaker 3: in that they're just like us.
Speaker 2: It does humanize the movement, but again it feeds the story.
Speaker 2: Everything kind of moves the story along.
Speaker 6: There's there's definitely the action is there was the seque
Speaker 6: of action. Everything service is the next scene. It's not
Speaker 6: like they're not just talking idly.
Speaker 2: I guess.
Speaker 3: And had they included that quiz scene, the question scare scene,
Speaker 3: then it would have damned this movie forever to being
Speaker 3: just one of those its own imitator in a way.
Speaker 2: Yeah, that's funny, that's absolutely true. I been here a figure.
Speaker 2: She said, don't be a square, she means a rectangle.
Speaker 3: Oh my god. Or were they thinking there's no bit
Speaker 3: to Eric stalls his house?
Speaker 5: Oh?
Speaker 1: Yes?
Speaker 3: In the very distracting Roseanne Arquet. She's the watten miscast
Speaker 3: person in this movie because she has a nothing part
Speaker 3: and every time I'm just like, hey, Roseenne Arquette, every
Speaker 3: time she's on screen.
Speaker 2: Yeah, thanks Jody.
Speaker 3: But the rest of the scene with Lance is great.
Speaker 3: I know I knew Lance. If any drug dealers ever
Speaker 3: you knew Lance if you were lucky to get Lance
Speaker 3: as a drug dealer, because he was laid back in
Speaker 3: fun and you could show no d.
Speaker 2: That's looking hilarious and it's you know, the weird thing
Speaker 2: is the languages they use. Just do folks really talk
Speaker 2: like that? I don't.
Speaker 6: I've known a million people, man they drop, they don't
Speaker 6: drop as many inbounds as the characters of this movie too.
Speaker 2: So I feel like there's a little bit of.
Speaker 6: I'm making everything little hyper realistic, hyper cool, hyper energy,
Speaker 6: if you will, and like you have to like sometimes
Speaker 6: take Guarantea with a boat a grain assault a little bit,
Speaker 6: because he starts getting a little edge.
Speaker 2: Lordy, I guess there's the way to to push it,
Speaker 2: Like how far, how shocking can I be with my
Speaker 2: language here? How much can I piss people off?
Speaker 3: Yeah, he was a big adherence too. I'm going to
Speaker 3: push the envelope and any pushback at all, you're denying
Speaker 3: my artistic right to do that because this is movie
Speaker 3: violence and it's movie dialogue. It's it's not real, it's
Speaker 3: not anything to do with the real world. And in
Speaker 3: a lot of ways I agree with him, But in
Speaker 3: a lot of ways he is just being sort of
Speaker 3: a petulant child with trying to push the boundaries through
Speaker 3: the language and stuff, because no, I don't how casually
Speaker 3: people use a sort of derogatory terminology here. It's it
Speaker 3: does not existly, not in any scenario I've ever been in.
Speaker 2: And you know the funny you watch this stuff and
Speaker 2: he's mature, he doesn't as much anymore, you know, I mean,
Speaker 2: growing up, getting older, aging, grow wisdom. Maybe it was
Speaker 2: I don't need to shock you. Wonder what I'm doing.
Speaker 3: Well, we live in a world now where that Joe
Speaker 3: not in front of the Mexicans from once upon a
Speaker 3: time in Hollywood that is enough to get people in
Speaker 3: a furor never mind what he was doing in ninety four.
Speaker 3: It was the last game imagine now, oh boy, oh no,
Speaker 3: we would not be able to get away with any
Speaker 3: of this, not that he should have to begin with.
Speaker 3: And that's just even artistically. It was just like just
Speaker 3: calm down, man, You've already got us, Like the od
Speaker 3: itself will be shocking.
Speaker 2: Yeah, I mean always just the Lionslabaya, so and so?
Speaker 2: Are we in Inglewood? Are we in Condon? We're Bloyne
Speaker 2: is It's okay? I got it cool?
Speaker 3: Yeah, But we'll get to the final story in Tarantino
Speaker 3: because it's it's most agreeious there for me, where his
Speaker 3: character Jimmy is just so casual that the is this
Speaker 3: dead blank storage, Like I don't care how close they
Speaker 3: were as friends, there's a dead man in the trunk
Speaker 3: of the car. Is the race of him even relevant
Speaker 3: at all, Like he's he's just a bloody mess at
Speaker 3: this point, he doesn't even have a head.
Speaker 2: I think he wrote that word that wine.
Speaker 6: It was just like.
Speaker 3: Yeah, just like this is some tough guy ship.
Speaker 2: Yeah, and then gaust himself in it. Okay, I get
Speaker 2: to do it. I get the point. I like to direct,
Speaker 2: and I like to throw myself in.
Speaker 6: An interesting part my stuff. I don't want to yellow movie.
Speaker 6: But he's not a very good actor, so it's always
Speaker 6: kind of okay.
Speaker 3: Mind, Now here's the scene. I think most people remember
Speaker 3: the the od scene where they have to use the
Speaker 3: adrenaline need to chakra back to to life. It's now
Speaker 3: for pushing the envelope. This in and of itself, to me,
Speaker 3: is for mainstream Hollywood. This this sort of scene where
Speaker 3: characters are casually doing heroin and then having to be
Speaker 3: stabbed with a needle into their heart and pump full
Speaker 3: of adrenaline too shock them back to life. That's a
Speaker 3: lot for Middle America.
Speaker 6: I think when they really make the heroin sexy too
Speaker 6: at the front at the fun end, when he does
Speaker 6: it that the baseline of the surf music and the
Speaker 6: close up to the gear and the slow motion of
Speaker 6: the head putting it in his vein and the blood
Speaker 6: going into the very sexy, very really really sexy, and
Speaker 6: then which is growth. But at least they show you
Speaker 6: what's gonna happen, though there's a pin of a weird him.
Speaker 2: Showing both ends of it, I think is an interesting dichotomy.
Speaker 3: I guess, well, you mentioned train spawning earlier, but there's
Speaker 3: a speech in that whereas it feels fucking fantastic. Of
Speaker 3: course it does, or else we wouldn't do it. So
Speaker 3: the look they like it or not, there is a
Speaker 3: romantic sign to drug use and the fact that look,
Speaker 3: I always used to check with that. John Travolta was
Speaker 3: a chunky chunky in this movie because hero and addicts
Speaker 3: tend not to have that sort of girth. Then he
Speaker 3: has not calling him fan or anything. I'm just saying
Speaker 3: craft Services was good on pulp fiction because he was.
Speaker 3: He was in answerdam for Right for three years. That character,
Speaker 3: which we found through some of this brilliant dialogue without
Speaker 3: just mentioning fucking who's the boss or yeah, for no
Speaker 3: good reason.
Speaker 6: Eric Stultz was really good. I feel like I'm watching Eric,
Speaker 6: so I'm like, Wow, he's just the dude and the
Speaker 6: big ol'boosi like that is that wasn't he an LA
Speaker 6: official storter slacker outset?
Speaker 3: Oh my god, Yeah, I saw plenty of them. Like
Speaker 3: I said, I knew lens. Yeah, I knew a couple
Speaker 3: of different lences honestly.
Speaker 2: And the other gal in there, she was Ronna Gallagher
Speaker 2: from She's in a Phantom Menace. Yeah, she's in the
Speaker 2: kid blown up in the first scene.
Speaker 3: Yeah, those are the three things I know her from. Yeah,
Speaker 3: so fucking Irish had hurt he list the goaldon. Here's
Speaker 3: the thing. I like this scene as much as anybody,
Speaker 3: the the od scene.
Speaker 6: Right.
Speaker 3: But of course, the plagiarism of Quentin Tarantino kind of it. Really,
Speaker 3: it kind of gets it's a little out of hand sometimes, man,
Speaker 3: Because if anyone has seen American Boy, a profile of
Speaker 3: Stephen Prince documentary Martin Scarcese he made in the nineteen seventies, well,
Speaker 3: Stephen Prince is he's in Taxi Driver. He's the guy
Speaker 3: who shows up with the guns and the pills.
Speaker 2: Oh wow, yeah, I know what you're talking about.
Speaker 3: Yeah, because he was that guy, right really, Yeah, they
Speaker 3: basically wrote him as himself into taxi driver. And in
Speaker 3: this documentary he's sitting around and saying as he sells
Speaker 3: heroin to people, and he has to be ready, and
Speaker 3: how he has a medical book and a big, fat
Speaker 3: magic marker because you're going to need a fat tip
Speaker 3: so you're not going to missed because you got a
Speaker 3: needle and it's this big, and tells a story about
Speaker 3: how he had to do exactly what we see in
Speaker 3: this movie. Kind of a drag, right.
Speaker 2: Yeah, it is kind of a drag. That was a
Speaker 2: brilliant writer, is not he just.
Speaker 3: Found Let's move on because we're gonna we're not. We're
Speaker 3: not going to see an end to this sort of thing.
Speaker 3: And and we're stumbling right into the greatest bit of wait,
Speaker 3: who wrote what? Well, who's taking credit for what?
Speaker 6: Here?
Speaker 3: We're talking about the gold Watch. This is the story
Speaker 3: of Butch Coolidge, who's a basically now going to be
Speaker 3: a washed ump boxer, who is who has agreed to
Speaker 3: throw a fight from Marcellas Wallace and instead makes beense
Speaker 3: on himself and basically kills the guy in the ring
Speaker 3: and then goes on the lamb and then they they're
Speaker 3: they're reunited in the most terrible of ways.
Speaker 2: Yeah, in the most most terrible of ways.
Speaker 3: I think there's a reason this is the centerpiece of
Speaker 3: the movie, because this is the real story going on here, right,
Speaker 3: everything sort of peripheral.
Speaker 2: That everybody, everybody goes back for every story links to.
Speaker 3: This one, including that that that opening, not that, not
Speaker 3: the not the diner scene necessarily, but we certainly meet
Speaker 3: Butch early at Marcellus Wallace's bar.
Speaker 2: Oh yeah, what do you do with Peluca? Yeah, they
Speaker 2: did instantly want to kill each other like it's it's.
Speaker 3: Good, and then it pays off like that. I liked
Speaker 3: how aggressive they were to each other and and how
Speaker 3: silently that plays out in the end. But I like
Speaker 3: this story quite a bit. I think we spend a
Speaker 3: little too much time with Maria di Madeiro's because that
Speaker 3: dialogue is not spectacular. That's that feels like the writing
Speaker 3: of a young man trying to understand women and their
Speaker 3: fortunate in their delicacies. Yeah, I want to It sounds
Speaker 3: like Tarantina was on the European circuit with reservoir dogs
Speaker 3: and some French girls said that to him, and he thought, oh,
Speaker 3: that's interesting.
Speaker 2: Yeah, right, because I know I've known a lot of
Speaker 2: women in my diamonds. I've never done Curry don't like that.
Speaker 2: And she is not very bright either. I feel like
Speaker 2: she's very it's.
Speaker 3: Very trusting of Butch, Yeah, very childlike. But then Butch,
Speaker 3: like Marv in Sin City, he's he he'll do right
Speaker 3: by his girl. Yeah, she's she's never in any danger
Speaker 3: as long as she's around at that time.
Speaker 6: Right.
Speaker 2: But he does get better. But I like the way
Speaker 2: he like his performance in it. He's really rough on
Speaker 2: man and then he knows on.
Speaker 6: A line, I know I'm getting too angry. I'm sorry,
Speaker 6: I'm sorry, I'm sorry, I'm sorry. It's an interesting way
Speaker 6: that he knows that he is getting really overwhelmed with
Speaker 6: anger right now, and he brings her back, and it's
Speaker 6: it really works in real.
Speaker 3: When the characters are talking plot that they come alive
Speaker 3: here in this story, Like whatever Tarantino's rewrite of rodre
Speaker 3: Avery's work here, it's seems best when it's focusing on
Speaker 3: the matter at hand. The superfluous stuff that we like
Speaker 3: about the initial story is unnecessary here. It has to
Speaker 3: be plot driven. These characters are under fucking under the
Speaker 3: gun quite literally. The earlier stories were the gun people.
Speaker 2: So they go from here, he leaves her and he
Speaker 2: goes back to the apartment. Get some, get some.
Speaker 3: Oh no, let's let's step back, because here's the big
Speaker 3: misstep for me in this entire movie is the cab ride.
Speaker 3: Oh yeah, with as Morel de Viello Little bos right,
Speaker 3: who was a character from a short film that they
Speaker 3: had seen called Curdled, which then they helped get made
Speaker 3: into a feature. It's terrible. She's terrible. The scene is terrible.
Speaker 3: The fucking rear projection nineteen fifties black and white footage
Speaker 3: is clumsy.
Speaker 2: They don't use it it all on the rest of
Speaker 2: the movie. On the others of the color.
Speaker 3: Now, there's something to be said for the artifice of
Speaker 3: the rear projection, and to Palma is the king of
Speaker 3: that in all of his movies. But like as a
Speaker 3: as a comment on the artificiality of it here, this
Speaker 3: movie doesn't need that and it doesn't need this scene.
Speaker 3: This scene adds nothing to me. I wish it cut
Speaker 3: from him at the fucking thing to him in the
Speaker 3: payphone and then reuniting with Maria de Maderos.
Speaker 6: Yeah, there's a much going on there because he gives
Speaker 6: you all the information on the phone call I.
Speaker 2: Killed the guy in the ring and on my way
Speaker 2: out of here. Yeah, it doesn't really do anything.
Speaker 3: Why do we have this? Why do we have this
Speaker 3: non involved character discussing bullshit?
Speaker 2: But she's got a foot that he's gonna get do
Speaker 2: a close upon?
Speaker 3: Do we get a close up of her foot?
Speaker 6: Oh?
Speaker 2: Yeah, barefoot? She's driving the cab with no shoes on.
Speaker 3: Ah, it all makes sense now, I wasn't paying attention.
Speaker 3: Well almost forgiven.
Speaker 2: The besteam men o. I right that scene too.
Speaker 3: It's just so skippable and really you could exercise it
Speaker 3: really quickly. I'm not going to. I'm sure there must
Speaker 3: be a cutout there via Lobo's free cut.
Speaker 6: Right. The movie is great, but you know it's funny,
Speaker 6: doesn't play as well as I remember. Now when I
Speaker 6: was watching it again, and you know, I'm watching it,
Speaker 6: I'm wondering how much coverage is he getting?
Speaker 2: Are he's shooting it?
Speaker 6: Okay, I've got of getting disengaged with it now, I'm
Speaker 6: wondering how he was making it and what and he
Speaker 6: storyboard this scene?
Speaker 2: Is this what exactly what he wanted to shoot?
Speaker 6: Or?
Speaker 3: Yeah? And there's enough of rough edges that it it
Speaker 3: beckons for that sort of speculation. Yeah, particularly when this
Speaker 3: stuff gets clumsy, as it does a lot, I agree
Speaker 3: with you. I was not a fan of the movie,
Speaker 3: particularly back in the day for all of the other
Speaker 3: sort of writery reasons, but I always thought it was
Speaker 3: well made and whatever. And rewatching it now, I'm like,
Speaker 3: it's really feels like a sophomart film. It feels like
Speaker 3: a big budget student film in a lot of ways.
Speaker 3: But someone who just went to NYU and not or
Speaker 3: not I n YU somewhere in Europe. Basically, yeah, I did.
Speaker 6: Maybe say that it's pretty cool, Like what makes that
Speaker 6: movie really? The performance, isn't it. The performances are so.
Speaker 2: Well tasted. I mean, the actors are all very incredibly
Speaker 2: well cast.
Speaker 6: Performances are all just dynamite, and they really they take
Speaker 6: that crazy dialogue of his and.
Speaker 2: Really make meals out of it and it works.
Speaker 6: The movie's great, and but it's very it's not it's
Speaker 6: not as polished as as Jackie Brown. Jackie Brown a
Speaker 6: much more motorm movie, or as interesting as in Glorious
Speaker 6: Bastards or or some of his other stuff. I love
Speaker 6: the Glorious Bastards.
Speaker 3: The opening of this sequence is the gold launch speech
Speaker 3: by Christopher walk and telling him that his father smiled
Speaker 3: it up his ass, and then he did the same
Speaker 3: the N word situation with Quentin Tarantino. This speech is
Speaker 3: the equivalent of the N word, but an eloquent way
Speaker 3: of doing it. If you want to shock people, like
Speaker 3: tell them a story about this watch is important and
Speaker 3: how it got there.
Speaker 2: It is about this.
Speaker 3: And person to do it to Gino ret monologues.
Speaker 6: For I feel like he's a frustrated actor, and he
Speaker 6: writes stuff that he knows actors are really gonna like
Speaker 6: to say.
Speaker 3: And whatever plagiarism. He's never stealing anyone's words. No, his
Speaker 3: dialogue is always his, unless, of course they're not his,
Speaker 3: Like my name is Buck and I'm ready to fuck,
Speaker 3: which is just taken directly from an alligator I believe about.
Speaker 3: Oh by god, Yeah, I mean there are whole swallows
Speaker 3: of dialect, like, for instance, remember I mentioned that there
Speaker 3: was a movie showing the parallel, or a videotape came
Speaker 3: out of Parallel between Reservoir Dogs and City on Fire.
Speaker 3: They made one for pulp fiction as well, a follow
Speaker 3: a video type called You're Still Not Filling Anyone and
Speaker 3: There's an Italian crime movie that begins with the Ezekiel quote,
Speaker 3: like a crawl of it, and in fact, at a
Speaker 3: certain point in the same film, a character says that
Speaker 3: he's going to get medieval on somebody, and you know what,
Speaker 3: that's fine whatever. Everyone steals from everybody. Like I'm sure
Speaker 3: there are songs out there that a seasoned musician could say, well,
Speaker 3: you can tell the artist just took this riff from
Speaker 3: him and took that backbeat from that song. You know
Speaker 3: what I mean.
Speaker 2: I've done marginal lines of Face Detective I stole from
Speaker 2: another movie.
Speaker 3: Everyone does it. Everyone wants to pay homage and repurpose
Speaker 3: the thing that we loved about something else. But it
Speaker 3: just gets egregious here.
Speaker 2: Yeah it does. That's all right, but it does.
Speaker 6: It's more valuable because he's like doing obscure lifting, right.
Speaker 3: And I'm not saying he has never been that. He
Speaker 3: hasn't been upfront about these things. If you were to
Speaker 3: speak to the man, he would tell you everything, every
Speaker 3: influence on everything. Yeah. My late wife Jessica used to
Speaker 3: work at a video store in Los Angeles called Eddie
Speaker 3: Brands and the nineties into the two times since Eddie
Speaker 3: Brant was the only one that was still all videotape,
Speaker 3: and they had everything. If you've heard of a movie,
Speaker 3: they had the movie right. So it was a bit renowned,
Speaker 3: and the clientele was a bit, including Tarantino, who gave
Speaker 3: her an entire set of kill Bill dolls, the action
Speaker 3: figures that like he had in his car because he
Speaker 3: had just gotten a boxer of them or something, including
Speaker 3: the including the Quentin Tarantino Crazy eighty eight figure, like
Speaker 3: the exclusive one. So so she was pretty friendly with him,
Speaker 3: and in talking about like kill Bill, which was about
Speaker 3: to come out, he said, oh, I'll tell you exactly
Speaker 3: where the movie comes from. And he went to the
Speaker 3: shelves and took down every videotape of every influence that
Speaker 3: was going to show up in the movie. And then
Speaker 3: of course she watched all of those and was like,
Speaker 3: oh wow, Okay. So I'm not saying he hasn't been upfront.
Speaker 3: It's just that we are so lazy as students of
Speaker 3: cinema in this country that none of us have any
Speaker 3: idea what's going on.
Speaker 2: I saw I saw a.
Speaker 6: Quote online the other day and I can't I can't
Speaker 6: tell you words a tribute I can'not remember where it's from,
Speaker 6: but it was. There are two kinds of filmmakers. One
Speaker 6: is an architect and the other an archaeologist.
Speaker 3: There you go. Yeah, I don't begredge the guy for
Speaker 3: fucking repurposing ship at all. That the hip hop idea
Speaker 3: has been floated about Garantina, that he's sort of remixing
Speaker 3: stuff and he's popular culture, and through that lens I
Speaker 3: can I can get behind it. It's just that Roger
Speaker 3: Avery wrote the gold Watch. Roger Avery came up with
Speaker 3: the conceit of the magic bullets and the magic gun
Speaker 3: going off that gives us our triumphant heroes Samurai like
Speaker 3: strut on out of the diner. I don't think Tarantino
Speaker 3: gets interesting as a writer until he runs out of
Speaker 3: old stuff to recycle. Okay, I think up until let's say,
Speaker 3: Jackie Brown, he did not. After that, he no longer
Speaker 3: has Roger Avery to pull on his source material to
Speaker 3: rewrite in the Tarantino style. And I think that's when
Speaker 3: his writing sort of sharpens and it becomes less dependent
Speaker 3: on previous material and more on what so. Yes, there
Speaker 3: is a series of movies called Django from the nineteen seventies,
Speaker 3: but he fashions a thing that has absolutely nothing to
Speaker 3: do with her.
Speaker 2: Yeah, I run jangle too' it's it's it's brutal. It's
Speaker 2: a brutal movie. It's really really well. Mate's got great performance,
Speaker 2: isn't it?
Speaker 3: Because what was the the the basis for The Departed,
Speaker 3: the Depart, Ortal Affairs, Infernal Affairs, Right, Okay, The Departed
Speaker 3: is definitely one a remake of Infernal Affairs. A lot
Speaker 3: of different plot points, all the dialogue is different basically,
Speaker 3: but it is a remake. City on Fire is one
Speaker 3: the blueprint for reservoir docs. Yeah, I mean, yeah, he
Speaker 3: just rewrote the shit, but he's not calling it a remake.
Speaker 3: I mean, look, I don't know. I struggle with this
Speaker 3: man because obviously Kurosawa had to write a letter to
Speaker 3: Sergio Leoni saying, I think you remade my movie when
Speaker 3: a fistful of dollars came out, So there's precedent for
Speaker 3: geniuses doing That's not that I'm saying in any way, Tarantino,
Speaker 3: it's a genius, And don't anything I've done.
Speaker 6: I've got something that we lifted right out of seven
Speaker 6: cent We lifted from Seven's Amori.
Speaker 2: So look at it. You people to do it.
Speaker 3: Nevertheless, it just was it was. It was a lot
Speaker 3: with with Tarantino back in the day, and and this
Speaker 3: movie sort of me as much fun as I have
Speaker 3: with this film, it feels the most laden with with
Speaker 3: appropriation of other people's work and other people's material.
Speaker 6: Yeah, I said, we do something lifting from some exemi
Speaker 6: go more like the way Lucas lists from Hidden Fortress. Okay,
Speaker 6: it's this kind of story, but then we're going to
Speaker 6: go off to something crazy. And Tardino sometimes doesn't really
Speaker 6: go off that far off.
Speaker 3: With it gives you the scene he like goes, oh,
Speaker 3: I like this movie, this is z Grade. Movie has
Speaker 3: one great moment in it. I'm just going to take
Speaker 3: that moment and work it into my plot. Yeah, but
Speaker 3: you know, you know, coming from there are people out
Speaker 3: there bashing their heads against the wall trying to come
Speaker 3: up with the original material because they've seen that movie too,
Speaker 3: and they admired that moment too, but they just don't
Speaker 3: feel like they can take it.
Speaker 6: Yeah, because there really discussion like what he lives and
Speaker 6: what he does the list, but you know, all artists
Speaker 6: steal at the end of the day, he's just really
Speaker 6: blatant about it.
Speaker 2: But I think I think he takes pride.
Speaker 3: He does, and he, like I said, he's upfront about
Speaker 3: what he's what, what is inspirations quote unquote are so
Speaker 3: and more power to him. I just think on rewatching
Speaker 3: this movie, even divorcing myself from the that controversy and
Speaker 3: the Weinstein controversy. This movie's okay. I think it's over
Speaker 3: long as an anthology movie. It should have been. It
Speaker 3: could have been one hundred minutes.
Speaker 2: Yeah, you can shop, like is it?
Speaker 6: You can shop the taxi scene out when you guess
Speaker 6: they need spent a little less time with everybody else.
Speaker 3: There's there's a lot of there's a lot of fat
Speaker 3: in this. Do we even need to really talk about
Speaker 3: the final story?
Speaker 2: I mean, you know, you mean, what what what is
Speaker 2: there to say about the final story other than than.
Speaker 3: This is where the liberal Yeah, And I don't necessarily
Speaker 3: even like that all that much. I like, I liked
Speaker 3: his dialogue. I like it just felt like to me,
Speaker 3: a a a suave riff on Jean Renaud's character from
Speaker 3: The Thumb Nakita, okay, And that character was so single
Speaker 3: minded and wonderful, And I don't know. It just it
Speaker 3: hurt the rest of the scene for me, that they
Speaker 3: have this superhero who swoops in and sort of saves
Speaker 3: the day. I liked watching Vincent and Jules like stumbling everything. Yeah,
Speaker 3: and it's a day of six mockina kind of an
Speaker 3: ending in a way. But what's stupid is the solution
Speaker 3: is they could have figured that out on their own.
Speaker 3: In fact, Marcellus Wallace could have just told them that
Speaker 3: over the phone.
Speaker 6: There is a lot of that in the movie though,
Speaker 6: Like the whole the bullets missing them is again that
Speaker 6: that going on, and even I think.
Speaker 3: Even but I think a character like Winston Wolf cheapens
Speaker 3: the rest of that thing because this is a character
Speaker 3: out of a comic book or a dime novel. When
Speaker 3: we're trying our best to already signed with characters from
Speaker 3: a B movie who have gone through a potentially religious experience.
Speaker 2: That here he is God helping them again.
Speaker 3: I just yeah, like it's a it's a I don't know,
Speaker 3: it's a bit much, but you know, look, I'm not, no, no,
Speaker 3: not picking on Harvey kayk Tell's performance here or anything.
Speaker 3: I think he's as charming as Harvey Kinell can be here.
Speaker 2: Harvey Cattel should have played Wolverine in the eighties.
Speaker 3: Oh my god, you're absolutely right.
Speaker 2: Yeah, there's a convict book out there, Havoc and Wolverine.
Speaker 6: It was a team up, fully painted, and a guy
Speaker 6: paints Wolverine A Wannerdrew Banel. Literally, he just copied a
Speaker 6: picture of Harvey Kayitell. I'm like, it's Wolverine. Anyways, I digruss.
Speaker 2: But but the thing with the the wolf triving about
Speaker 2: that se there's a couple of things in that scene
Speaker 2: that I really like. I like the coffee stuff. I
Speaker 2: particularly like the fact that lots of cream, wats of sugar,
Speaker 2: and every piece of cinema, television, film, everything, every person
Speaker 2: drinks their fucking coffee black or he's He's like, here's
Speaker 2: a copy, and I got black coffee. I know two
Speaker 2: people who do that.
Speaker 3: I'm one of them.
Speaker 2: Yeah, you and I know another guy.
Speaker 3: Yeah, I know, we're rich.
Speaker 2: They addressed that he liked to create up and sugar.
Speaker 2: I like that. And and I've been asking this one
Speaker 2: question since I saw this movie. We're in a tuxedo
Speaker 2: at o'clock in the morning.
Speaker 3: He was at a brisk Is that where he was yeah.
Speaker 2: They don't explain that in the movie though anywhere.
Speaker 3: No, but I think it's going on in the background
Speaker 3: when when he's.
Speaker 2: I have to I have to look. Even noticed him
Speaker 2: last night I were watching it.
Speaker 6: Not scene, okay, fair enough, because I always fantasy he's
Speaker 6: like coming from an after hours pub and he's at
Speaker 6: the after party.
Speaker 3: And then when they get to the fucking the junk yard,
Speaker 3: Julius Sweeney shows up for no reason as another character
Speaker 3: who Tarantino just liked her off of Santai Live, I guess,
Speaker 3: and just wanted to give her, give her a few
Speaker 3: lines because what's going on there.
Speaker 6: In the end the going back to Butch and Marcellus
Speaker 6: Wallace Kathy Griffin.
Speaker 3: Is the Yeah, but her character makes sense. There are right, but.
Speaker 2: This is Julius Sweeney being there for no reason.
Speaker 3: For no reason, so that fucking wolves can break the
Speaker 3: fourth wall to pieces.
Speaker 2: He was probably rewriting It's pat at the time.
Speaker 3: And yeah, there was a lot of Tarantino at this time.
Speaker 3: He was, but he was ever.
Speaker 6: Just to hit that joke, say what is it like,
Speaker 6: either say good night Gracie joke or whatever you riff
Speaker 6: on it because she's not there. What Butch and we
Speaker 6: it's a real quick about the about bunch of Marcella's
Speaker 6: Wallace and that and the gimp.
Speaker 3: Oh yeah, this is that's see. To me, that's the
Speaker 3: most memorable part of the movie that a mainstream American
Speaker 3: movie has has that in it. Yeah, has a what
Speaker 3: seems like a fucking straightforward double cross flick. Getting on
Speaker 3: the lamb turns into those two characters who have been
Speaker 3: at each other's throat, like forced through an ordeal, but
Speaker 3: like we have a sign of deliverance. Who was showing
Speaker 3: that in a movie you'ret and.
Speaker 2: In deliberatec they kind of like brave it a little bit.
Speaker 2: This one. You can see that and.
Speaker 3: It's oh boy, it's dreadful.
Speaker 2: But like Howard Adman and those guys, don't that, Oh Jesus.
Speaker 3: That's the thing. He's got a couple more flies. But yeah,
Speaker 3: they have a camp who's just constantly on call for
Speaker 3: this sort of thing. So who knows how many people
Speaker 3: have been assaulted and brutalized by these fucking rednecks.
Speaker 2: Yeah, I just like to think these guys exist.
Speaker 6: I don't know like that that is just the vitreless
Speaker 6: characters like I have come up if you're almost a
Speaker 6: cartoon of those two.
Speaker 3: Guys, right, but they e that scene doesn't feel like
Speaker 3: it No, that.
Speaker 2: Scene is just disgusting. It is, Yeah, I'm disgusting. It's
Speaker 2: just brutal and it's and it's not about the sectuality
Speaker 2: and that, but it's just.
Speaker 6: The dominant, the the the the the idea of just
Speaker 6: we're gonna find these guys just it's just really fucked up.
Speaker 6: And to see it to having the grown men, that's
Speaker 6: the thing. It's always like some weak little girl or
Speaker 6: something like that or some kid and this is two bruisers.
Speaker 6: They have to go up through this that this this
Speaker 6: ship man. That's that's a tough scene. And I think
Speaker 6: people people of Middle America.
Speaker 2: Like really took that dart scene. Although I do like
Speaker 2: the bugs bunny level of him picking out butch picking
Speaker 2: out weapons. It's just pretty good.
Speaker 3: You need it, you need some levity at that moment
Speaker 3: before before we get to the brutality of the bigger
Speaker 3: and to.
Speaker 2: Settle on the tory. Henso sort oh yeah, well of course, yeah,
Speaker 2: that seem's just that's brutal and to see that the
Speaker 2: poor and it just sucks. And big range is the
Speaker 2: one who's gonna go. Bruce Wilas's character got gots fair that.
Speaker 3: That I agree with you. By the way, Bruce Willis
Speaker 3: is best performance because the moment after everything has gone
Speaker 3: down and Peter Green is already on the ground bleeding,
Speaker 3: it's one static shot with fingerings in the foreground and
Speaker 3: Bruce Willi is balancing himself on that samurai sword in
Speaker 3: the back and even though he's just done this thing,
Speaker 3: and even though they've triumph together, he's still fucking terrified there. Yeah,
Speaker 3: and it's great and it plays from across the room.
Speaker 3: It would play at the back of the theater if
Speaker 3: he was on stage. Yeah, So anyway, I love that.
Speaker 2: Yeah. I just liked which he picks up the chade thaw.
Speaker 2: He just starts like playing with is this there's a sword?
Speaker 3: It made me think at the time watching it, like
Speaker 3: what really? I think the chain sound is probably more
Speaker 3: definitely more damage for the Yeah, might be a little
Speaker 3: a rule, but they'd hear you coming, well, they'd hear
Speaker 3: you coming.
Speaker 2: Here, you're coming.
Speaker 6: Yeah, he's trying to get it on if he's surprised.
Speaker 2: Not good for surprise.
Speaker 6: The ending of the picture in back in the in
Speaker 6: the in the coffee shop where they shot The Big
Speaker 6: Lebowski and everything other other movie ever shot in.
Speaker 3: La Yeah, that's what the hot hawth Arm grill. I
Speaker 3: think it's in hawth Art. I've been to it.
Speaker 6: Yeah, nay, The Big Lebowski. I want to sit here.
Speaker 6: I don't finish my coughee. This is a family restaurant again.
Speaker 6: That scene is just owned by Sam Jackson. That should
Speaker 6: be more than anything, because it's Jonathan Olden Vincents Vegas.
Speaker 2: Story's already done. He did. He doesn't matter anymore. This
Speaker 2: is this is Jules its scene, this is Jewels the
Speaker 2: story now, and he's great in it. That's the best
Speaker 2: dialogue in the movie. I think is his right there?
Speaker 2: That speech. I like that, or at least his performance.
Speaker 3: Is just I think it's his performance. I think Tarantino's
Speaker 3: analysis of the Ezekiel speech is kind of parochial, schoolboy
Speaker 3: in nature. I don't think he gets to any sort
Speaker 3: of depth beyond the surface of maybe this is you,
Speaker 3: maybe this is me. No, maybe I'm you, Maybe this
Speaker 3: is you. Yeah, it's Sam Jackson. Just like we are
Speaker 3: seeing this couple who have dabbled in crime embarking on
Speaker 3: a new life of crime where they're going to do
Speaker 3: this from now on, they're gonna rob diners like this
Speaker 3: and random people instead of shop owners running up a
Speaker 3: guy against the ultimate criminal who is giving up the life.
Speaker 3: So what we're seeing is Jewels rejecting crime wholesale for
Speaker 3: a narrow path, and we believe it because Samuel Jackson
Speaker 3: makes us believe it.
Speaker 2: Yeah, he's he was I'm trying ringo, I'm joying. Yeah,
Speaker 2: every every word is a meal for him. Man, he
Speaker 2: really just he's just one of the lies and sings
Speaker 2: his dialogue. Man, it's just I'm always Sam Jackson. I
Speaker 2: want that guy.
Speaker 3: And Vincent is just proves what an idiotot is.
Speaker 2: And what an idiot.
Speaker 6: And you're seeing this is like now from well because
Speaker 6: first you're seeing it from almost Gerolda's perspective where he's
Speaker 6: the star. Right.
Speaker 2: But el Sam, this is drugs movie though, so you
Speaker 2: know you're the goofy side kick.
Speaker 3: And that's the thing that knocked people out about this movie,
Speaker 3: the fact that we had a character die in the
Speaker 3: middle segment and then come back again in a triumphant way.
Speaker 3: I think that really ignited people's imagination as to how
Speaker 3: you fracture a timeline.
Speaker 2: Yeah. I remember my I had a cousin. She came
Speaker 2: home and she was mad at because she they had
Speaker 2: gone to us.
Speaker 6: He pulpiction because she heard me talking about how cool
Speaker 6: it was and what a great movie was. To wait,
Speaker 6: bro kick them. I'm like, yeah, it takes place earlier
Speaker 6: in the movies. Just there are three different little stories.
Speaker 2: This story. He's alignment like a boy.
Speaker 6: How do we wrap this up walking out triumphantly out
Speaker 6: of a coffee shop?
Speaker 3: Yeah, with what the surf music playing. And that's the
Speaker 3: other aspect of Tarantino movies is the soundtrack. He's supernowned
Speaker 3: to the soundtracks. James Gunn recently has picked up the
Speaker 3: jukebox soundtrack Mantle from Tarantino. Edgar Wright I think as well.
Speaker 3: But they all owe a huge debt of a huge
Speaker 3: dent to Smart Scarsese. He was the king of needle drop.
Speaker 2: Yeah.
Speaker 3: Absolutely, Yeah, there was nothing innovative going on here. It's
Speaker 3: just that the songs were always really fucking cool on
Speaker 3: Tarantino soundtracks, unless they weren't. There's plenty of dogs on
Speaker 3: these soundtracks too, girl.
Speaker 2: I mean, but you urger overkill covers great that scenes
Speaker 2: because the dancing stuff is always iconic. I guess people
Speaker 2: remember that ship.
Speaker 6: But if we're always up, he's just net to nut
Speaker 6: surf music and there's no water in it.
Speaker 2: I always thought that was interesting.
Speaker 3: No, and that's the great thing. And living in Los
Speaker 3: Angeles at the time, this was the Los Angeles that
Speaker 3: I experienced more often than not. The all of the
Speaker 3: he's not shown the Hollywood Sign. They're not like cruising Sanemaer.
Speaker 3: It's like it's these alleyways and vacant lots and then
Speaker 3: these little bursts of jack Rabbit slim kind of things,
Speaker 3: but mainly grubby little apartments like that's Los Angeles. But
Speaker 3: it's also this surf culture, like you can't get away
Speaker 3: from it. So it's only wholly appropriate. Listen, I heard
Speaker 3: more surf music when I was in Los Angeles than
Speaker 3: I think I've ever in a part of the country.
Speaker 3: It's just it's so to me that part of the
Speaker 3: way the movie is shot and the way the movie
Speaker 3: is scored is a bit of a triumph because it
Speaker 3: does capture Los Angeles in a way that it hadn't
Speaker 3: been I think at that point, other than some stuff
Speaker 3: in the seventies, and that was out of necessity. That
Speaker 3: was like, well, we don't have a permit, so it's
Speaker 3: shooting an alleyway.
Speaker 2: Alleyways are good place the shit they had, They use
Speaker 2: them in every single Batman movie.
Speaker 3: Well, that man lives in alleyways absolutely now.
Speaker 6: But she is a cultural I think is a cultural touchstone.
Speaker 6: It's really one of the more import movies of the nineties. Definitely,
Speaker 6: everybody says it's the most important one. Okay, maybe my
Speaker 6: favorite nineties indie movie that is Trainspotting.
Speaker 2: That's the one I love the most.
Speaker 6: So when I go back and I reference more than
Speaker 6: anything of the filmmaking is so energetic, and I noticed
Speaker 6: in this one he's not. Definitely he is not the
Speaker 6: polished filmmaker that he is.
Speaker 2: He becomes in this. This is not his best directed film.
Speaker 6: The cinematography is nice, but I think he hits his
Speaker 6: Strida when he when he gets Robert Richardson starts shooting
Speaker 6: his movies and they just have they take on this
Speaker 6: ethereal quality that reminds you. Because Richardson, I love him
Speaker 6: so much, he reminds you that you're watching a movie
Speaker 6: sometimes because he overlip stuff or he does that that
Speaker 6: halo lighting on your head. And there's that real fantasy
Speaker 6: element to him that I think plays really well with
Speaker 6: Taratino's movie comic book universe that he operates in this
Speaker 6: kind of hyper realistic SENDEMDS exploitation movie universe is where
Speaker 6: Hitler got nunned down by Jewish, oh Jewish American soldiers
Speaker 6: rather than blowing his brains out in a bunk or
Speaker 6: be with everybody not by it by Russians.
Speaker 3: Yeah, the remix ethos behind Tarantino's work finally sort of
Speaker 3: started paying off dividends when he was, like I said,
Speaker 3: writing more original material, yeah, and realizing that like he
Speaker 3: can remix history itself like that, to me is far
Speaker 3: superior to him, Like just coppying some scene from some
Speaker 3: Grade and Z exploitation movie that only he and seven
Speaker 3: other people have seen.
Speaker 2: Were they ridiculously happy?
Speaker 6: Ending in Django right where the horses are dancing, hits
Speaker 6: up after all this, and he's got sunglasses on him
Speaker 6: and got really cool clothes and then.
Speaker 2: Right off into the into the into the sunrise or
Speaker 2: whatever it is.
Speaker 6: I really like the way he perverts rearranges the cliches
Speaker 6: and tropes as he got older.
Speaker 3: Yeah, any pulp fiction will be on his tombstone, but
Speaker 3: his more original work was to come. And I will
Speaker 3: also say, as we're wrapping this thing up, everyone should
Speaker 3: go check out Olive Roger Avery's work because his stuff
Speaker 3: is always interesting. Check out you want to see a
Speaker 3: twist on crime movies, heist movies. Check out Killing Zoe's
Speaker 3: fucking fantastic man, like really just great independent filmmaking. Check
Speaker 3: out Rules of Attraction. His his adaptation of the Brendy
Speaker 3: Stonellis novel.
Speaker 2: It's is a challenge of a movie.
Speaker 3: It's difficult.
Speaker 2: You got to participate in watching that.
Speaker 3: Yeah, But as far as visual style, Jesus, oh wow,
Speaker 3: makes the book like it's better, like it's it's an
Speaker 3: adaptation where the film is better than the book and
Speaker 3: it's because of the filmmaker. So I didn't. Of course.
Speaker 3: He wrote the script for BeO Wolf with Neil Gaiman,
Speaker 3: the Robinson Maxx movie, and he's written a ton He's like,
Speaker 3: I don't know, he needs to be making more movies there, right,
Speaker 3: Oh yeah, they do a podcast together everything now so
Speaker 3: and God bless and anyway, I just want people to
Speaker 3: know that your fondest memory of Quentin Tarantino is not
Speaker 3: his best movie and what works about it is mainly because.
Speaker 2: Of Roger Avery, and I will say it's that cast.
Speaker 3: Yeah, I mean ultimately the movie works because it's the
Speaker 3: movie and not the words behind it, particularly when you
Speaker 3: get a cast like this together. But they didn't improvise.
Speaker 2: They sure did it all right, father Malone?
Speaker 3: Right on until next time, an Tonio. Where can people
Speaker 3: find you? If they're looking for you?
Speaker 2: Here?
Speaker 6: You can check us out at swamp Media do here.
Speaker 6: You can check us out at swamp media dot com.
Speaker 6: You can see so my work every Anspacedetectivemovie dot com.
Speaker 6: We've got some new short films dropping later this year,
Speaker 6: so please give us a follow. We're at swamp Media
Speaker 6: group on Instagram.
Speaker 3: Right on, you go do that immediately. As for me,
Speaker 3: you're checking out mid nine to doing check it out
Speaker 3: a lot. It's on twice a week now Mondays is
Speaker 3: Fonda Malone's weekly round up, and then Fridays is alternating
Speaker 3: between the Horror Anthology podcast where we're taking Tis from
Speaker 3: the dark Side and the show you're listening to ow
Speaker 3: to Now Anthologies Attach. You can find all of that
Speaker 3: stuff at Weirdingwaymedia dot com, where we are a proud
Speaker 3: member the music for midnight viewing, the music for everything
Speaker 3: I do on weirding Way Media. It's provided by HP
Speaker 3: who has his own show that I co host sometime
Speaker 3: or a co host all the time. That's night. Mister
Speaker 3: Walter's Taxi podcast. Can give that one to listen to
Speaker 3: if you would until next time. What's a good line
Speaker 3: of dialogue from this movie? It's all pretty good. What's
Speaker 3: my favorite line? What's your favorite line?
Speaker 2: Oh, my favorite line. That's a hard one. That's a
Speaker 2: hard one. A pick. There's a lot of the line
Speaker 2: of this.
Speaker 3: So right out with you to say that one we
Speaker 3: should have fucking shotguns, we should have fucking
Speaker 2: Zagun with this dealt