Speaker 1: We're waits. Welcome back, Midnight viewers to Anthologies Attack, where
Speaker 1: we look at anthologies of every genre. Back with us
Speaker 1: from his time wandering the wasteland of the cinema scene
Speaker 1: the festival circuit is our good friend, Antonio Lapore. Welcome
Speaker 1: back to Antonio, good eye mind.
Speaker 2: Since I was out in the undoves and the outland
Speaker 2: and the no, yeah, I haven't watched The Road Warrior,
Speaker 2: no very long time. How you doing, father, Good to see.
Speaker 1: You, Good to see you. You've been busy.
Speaker 3: I have been busy.
Speaker 2: We've been playing some film festivals with our short film
Speaker 2: at Living Ben, which has been pretty cool. We just
Speaker 2: won the care Film Awards, which is I believe in
Speaker 2: West Virginia. We did really well with that and we're
Speaker 2: getting ready now to just relax for the holidays and
Speaker 2: get back into the into the in the new year.
Speaker 1: Right on. That's exciting news and other exciting news, ladies
Speaker 1: and gentlemen and smith mars. This is our one hundredth
Speaker 1: episode of Midnight Reviewing as such were. We've decided to
Speaker 1: do a very special movie, and by that a very
Speaker 1: terrible movie. This is all happenstance. If I had planned
Speaker 1: it better, I would have had something fucking awesome for
Speaker 1: us to talk about. Instead, we're going to talk about
Speaker 1: a pretty good movie.
Speaker 3: Now.
Speaker 1: Came out on Christmas Day nineteen ninety five, written and
Speaker 1: directed by Alison Anders, Alexander Rockwell, Robert Rodriguez, Quentin Tarantino.
Speaker 1: This is for Room this year.
Speaker 4: The Merrimax Films takes great pride in extending to you
Speaker 4: an advance invitation to celebrate Lou Yu's Eve at the
Speaker 4: most senior hotel, when a dozen of the most unusual
Speaker 4: guests ever.
Speaker 3: Will check in.
Speaker 1: We have resbis.
Speaker 4: And alone Bell Hop named dead on his first day
Speaker 4: on the job.
Speaker 3: All you have to do is hold the fort the
Speaker 3: night's cake.
Speaker 4: Okay is in for the night of his life.
Speaker 2: Kaya, what's the problem.
Speaker 1: I haven't got a problem.
Speaker 4: I've got problems, plural. My children are staying here tonight
Speaker 4: watching TV. Something happens to my children, they wouldn't want
Speaker 4: to be you.
Speaker 1: The five of us are a coven, a coven of.
Speaker 4: Witches, oven full of witches, a cover of witches. Jimmy,
Speaker 4: that's not a face you can trust to this hotel
Speaker 4: by myself. Are you saying, my wife cheese?
Speaker 1: I've got to.
Speaker 3: Want you to. I am not gonna cut off long
Speaker 3: as little.
Speaker 4: Hell a night, aren't.
Speaker 1: I'm starting a situation here which I can possibly begin to.
Speaker 5: Explained Tim Ross, Antonio Banderes, Jennifer Bials, Olaria Golino, Madonna, Ioni, Sky,
Speaker 5: Lily Taylor, Marissa Tomae and Tamlin Tomita in a new
Speaker 5: film from directors Alis Anders, Alexander Ruckwell, Robert Rodriguez, and
Speaker 5: Quentin Tarantino Four Rooms.
Speaker 4: I've had a real bad night.
Speaker 3: Oh Rimmy.
Speaker 2: This is the anthology I feel that every genexer and
Speaker 2: every millennial has seen.
Speaker 3: In every boomer, I guess if you're over thirty, you've
Speaker 3: seen this movie.
Speaker 2: I think it is most probably the most quintessential anthology
Speaker 2: from the nineties, I guess, and more than anything, it's
Speaker 2: like the.
Speaker 3: Most cliche nineties movie ever made.
Speaker 2: If there's a trope or a cliche or something wacky from.
Speaker 3: A nineties movie, this has got it.
Speaker 2: I think the only thing that's missing is someone walking
Speaker 2: around with interviewing people with a high eight.
Speaker 1: Camera, and that person should be played by Steve Buscemi.
Speaker 1: The only other Indie Darling missing from right, he's sky at.
Speaker 2: It and Lily Taylor and Antonio Bandeiras and just like everybody,
Speaker 2: Paul Calderone.
Speaker 1: It was an indie fest extraordinaire. Let's just set the
Speaker 1: thing up. It is New Year's Eve, completely unrealized New
Speaker 1: years If. In fact, if you didn't tell me that
Speaker 1: it was news, if characters didn't say it a few times,
Speaker 1: I wouldn't know. It was New Year's New Year's Eve
Speaker 1: at the Mont with the mon Signor hotel where the
Speaker 1: new bell hop Ted played by Tim Roth, is experiencing
Speaker 1: his first night. And we get four rooms, four stories,
Speaker 1: four directors, each chronicling what happens to poor Ted before that.
Speaker 1: Did you see this movie in the theater?
Speaker 3: I don't remember.
Speaker 2: I'm sure I must have because my college, Oh, we
Speaker 2: had just started college.
Speaker 3: I don't know if I did. I think this might
Speaker 3: have been a videotape on I don't know. I don't
Speaker 3: remember seeing it.
Speaker 1: I showed this film as a projectionist, and so I've
Speaker 1: seen this movie one thousand times. I've seen parts of
Speaker 1: this movie one thousand times. I've watched one segment of
Speaker 1: this movie one thousand times. Okay. To score this total
Speaker 1: nineties package, they picked the perfect recording artist. The entire
Speaker 1: score is performed by Combustible Edison, who were the lounge
Speaker 1: heroes of the early nineteen nineties. They were the standard bearers.
Speaker 1: I certainly had I swinger their nineteen ninety four debut.
Speaker 1: I played that until it fucking broke. And then this
Speaker 1: movie came out. And at the same time that this
Speaker 1: movie came out, and I was so excited to see
Speaker 1: that Combustible Edison were doing a major soundtrack, and it
Speaker 1: still am for them. Obviously I appreciate their success, but
Speaker 1: at the same time I discovered Martin Denny and Escavel
Speaker 1: and the actual lounge music from the nineteen sixties, which is,
Speaker 1: why are you going to listen to this pale imitation
Speaker 1: if you can actually just go back and listen to
Speaker 1: the originals. In fact, they do lots of covers, and
Speaker 1: God blessed them. They took lounge music very seriously, where
Speaker 1: most artists in the nineties were turning it like a joke,
Speaker 1: like Richard Cheese and Lounge against the Machine, Bustable Edison
Speaker 1: seemed to be trying to make music that was from
Speaker 1: the fifties and sixties and not of the of the times.
Speaker 1: So they're used wall to wall here, some to great
Speaker 1: effect and some too much less effect. Our first story though,
Speaker 1: unless you want to talk about combustible Edison, You got
Speaker 1: any thoughts on commuscial Edison.
Speaker 3: No, it was they weren't really my thing.
Speaker 2: I guess I was still obsessed with smashing Pumpkins and Beastie.
Speaker 3: Boys when they broke. I remember when Richard Cheese started breaking.
Speaker 2: But no, I after Bustle Edison, Aside from the quintessential
Speaker 2: nineties name, really.
Speaker 3: Didn't leave much of an impact on me.
Speaker 2: I think I thought the music was just there. It
Speaker 2: didn't really stand out. It would have stut out more
Speaker 2: if they would have brought them, like some weird Italian
Speaker 2: jazz or something like that in it. If they would
Speaker 2: have brought, like when you were talking, some weird, some
Speaker 2: cool ass like Japanese jazz from the sixties or something
Speaker 2: like that, Yeah, that might have been a little bit
Speaker 2: more memorable.
Speaker 1: Yeah. Ultimately, they are a gateway drug to the originals.
Speaker 1: If your if lounge music is you're seeing, and in
Speaker 1: my case it really really is. But I still appreciate
Speaker 1: their place in history. In fact, I saw them perform
Speaker 1: in Los Angeles a million years ago. They were great.
Speaker 1: They've been broken up since ninety nine, just like the
Speaker 1: entire nineties. I guess they had to go out with
Speaker 1: that century because I.
Speaker 2: Get into the nineties, it was this like that, and
Speaker 2: then the swing thing a couple of years later, Like
Speaker 2: it was the nineties were a weird time, Like you
Speaker 2: want to try to explain to kids that we were
Speaker 2: all really into swing music for six months, like we
Speaker 2: all at least bought one of those shirts and said
Speaker 2: money a lot.
Speaker 1: But the nineties did feel like a time of pillaging
Speaker 1: every decade that had come previously to pull out the
Speaker 1: coolest thing that we'd all get obsessed with for exactly
Speaker 1: ten minutes.
Speaker 2: Yeah, there was a lot to be like it was
Speaker 2: something and this was all baby Internet period, you know
Speaker 2: what I mean. There wasn't any anything really connecting anybody
Speaker 2: except for zines, reallyccasional AOL chat room.
Speaker 3: So like the way this stuff just exploded, it was weird.
Speaker 2: And all of a sudden, one movie comes out and
Speaker 2: everybody's dressing like Vince Vaughan and talking like that, and
Speaker 2: then all of a sudden, nope, we're into raves now.
Speaker 3: They started to us.
Speaker 1: Just the funny thing about the entire swingers movement was
Speaker 1: By the time that movie came out and I went
Speaker 1: and saw it, I thought, and because that was the
Speaker 1: scene in Los Angeles the entire time, So in my mind,
Speaker 1: that was the rest of America. So when suddenly everyone
Speaker 1: is dancing to jump jive in and suddenly gap ads
Speaker 1: are featuring swing dancing, I was like, really, I don't know.
Speaker 1: It just struck me funny that they were just chronically
Speaker 1: what was going on around them, and then that affected everybody.
Speaker 2: Yeah, I think they just My writing partner matchhof Run
Speaker 2: and wrote we wrote a nightclub movie set in the
Speaker 2: early two.
Speaker 3: Thousands or whatever.
Speaker 2: I think, if you're twenty five and you're out and
Speaker 2: you're about and you're trying to get laid and have
Speaker 2: a good time, you're going to write a movie about it.
Speaker 2: If you're is that one was saying, right, yea a
Speaker 2: nascent filmmaker, you're gonna write movies about your experiences. And
Speaker 2: swingers was really Jon Favreau. Hey, I'm out in LA
Speaker 2: I'm a struggling actor. Here are my struggling actor friends,
Speaker 2: and we stink of getting late or I stink it
Speaker 2: get late, and there you go.
Speaker 3: He built his career on it.
Speaker 1: Yeah, that was ultimately one of the benefits of the
Speaker 1: independent film scene that was burgeoning in the early nineteen nineties.
Speaker 1: That was a good that was a good product, a
Speaker 1: poor product. Let's say starts with an episode entitled The
Speaker 1: Missing Ingredient in the Honeymoon Suite here at the Mond
Speaker 1: Senior Hotel. This one has written and directed by Alis
Speaker 1: and Anders. This one stars Ione Sky, Madonna, Valeria Galino,
Speaker 1: Lily Taylor, basically all the female wondered darlings. They're a
Speaker 1: coven of witches. They've gathered in the Honeymoon Suite to
Speaker 1: resurrect a goddess. Each of the witches has brought an ingredient.
Speaker 1: Ione Sky is supposed to bring Seamen, but she's still
Speaker 1: a virgin, so she swallowed the calm. That's the whole
Speaker 1: fucking thing.
Speaker 3: Yeah, I didn't even remember that.
Speaker 2: I just I think I remember I was just crushing
Speaker 2: so hard on Madonna in the early and mid nineties
Speaker 2: and late eighties. They're pretty much what the two thousand anyways,
Speaker 2: she was I loved Madonna was.
Speaker 3: Yeah, and then a Rubbert dress and I'm just like, oh,
Speaker 3: I'm all for that.
Speaker 2: And I remember there was boobs. Ione Sky boobs, I guess,
Speaker 2: but wow, it really doesn't play anymore like I'm like, Wow,
Speaker 2: these are all white ladies and they're annoying and there's
Speaker 2: not a lot of interest going on here. I thought
Speaker 2: it like Agatha all along did that that segment better
Speaker 2: on Disney Plus last month. That was much They were
Speaker 2: much more entertaining, which is on that show than this.
Speaker 3: But this was one thing before we even get into
Speaker 3: this whole movie.
Speaker 2: What I noticed about every filmmaker in this is they
Speaker 2: all reverted back to film school or that I'm going
Speaker 2: to be experimental and try all of the wacky shit
Speaker 2: that people do in short.
Speaker 3: Films that really don't make any sense and make short films.
Speaker 3: They all did them in this movie. The only one
Speaker 3: that really works is the Rodriguez.
Speaker 2: One, and the rest of them wow, and the Rodriguez
Speaker 2: one barely even works, but at least it's entertaining. But
Speaker 2: I think they just all fall back and everything was
Speaker 2: really gimmicky, and I don't know.
Speaker 3: There wasn't a lot of soular charming, which is weird
Speaker 3: because she's really good.
Speaker 2: I still think about Grace of My Heart and what
Speaker 2: a great movie that is, or how I like or
Speaker 2: harsh vida loga is she's a good movie maker.
Speaker 1: Oh and the sublime gas food lodging and the gas
Speaker 1: food lodging.
Speaker 3: Yeah, so I don't know. I think they're just ah.
Speaker 2: I think they just all got hide is some cocaine
Speaker 2: and we're gonna just do whatever. Because this wasn't exciting
Speaker 2: at all, and the ending was like really abrupt, Well
Speaker 2: here's the girl now.
Speaker 3: And then cut.
Speaker 1: The last day that Reservoir Dogs played at my theater,
Speaker 1: Quentin Tarantino and Alice and Anders attended, and they came
Speaker 1: out into the lobby and I was speaking with Quentin
Speaker 1: Tarantino for some time and then stepped back while somebody
Speaker 1: else was talking to him, and then I noticed that
Speaker 1: Alie and Anders was standing there, and I said, I'm
Speaker 1: so sorry I haven't acknowledged you. This be really annoying
Speaker 1: that everyone thinks he's the genius. And she said, no,
Speaker 1: he's just really hot, right, So she was very cool,
Speaker 1: and I love her and I love her work. But yeah,
Speaker 1: you're right. This is a nothing of a thing. This
Speaker 1: is not only this is more than a nothing of
Speaker 1: a thing. This is an episode about the power of
Speaker 1: female sexuality that plays coy with female sexuality. It's all
Speaker 1: sort of winking, blushing, not in any way taking control
Speaker 1: of this situation. What ends up happening plot wise is
Speaker 1: she fucks Ted and gets him to come into the
Speaker 1: caldron basically, but it's all like dancing around it. She
Speaker 1: doesn't even say you're here to fuck me if he
Speaker 1: has to do this whole routine where they've you got
Speaker 1: to go in and entertain her quote unquote, oh my goodness.
Speaker 3: Yeah, it's nineteen ninety five. I'm pretty sure. I remember
Speaker 3: nobody was apprude.
Speaker 2: In nineteen ninety five, So I don't know why they're
Speaker 2: trying to be cute. I feel like she's going for
Speaker 2: like almost a cartoon of some almost like a high
Speaker 2: these stilts cartoony situation, much like Rodriguez did with his
Speaker 2: Maybe that's it.
Speaker 3: I don't know, but yeah, it was like the.
Speaker 2: Jokes were stale, that nobody had any chemistry with each other,
Speaker 2: and it was just really weird, and everybody too poos
Speaker 2: Madonna as an actor. But Madonna's like breathless mahoney, so
Speaker 2: anybody could kiss my ass. Breath's mahoney is amazing in
Speaker 2: her weird kind of Madonna kind of w So I
Speaker 2: know Madonna, can I know Ione's guy, okay, But Lily
Speaker 2: Taylor is fucking amazing and she's boring and she's.
Speaker 3: The most interesting one.
Speaker 1: I like Ioni's guy a lot. Actually, Yeah, the thing is,
Speaker 1: you're right. I think the script is written as a cartoon.
Speaker 1: It's not directed like a cartoon though not just the
Speaker 1: fact that it's very sort of standard setups on what
Speaker 1: is clearly a set. That's a big fucking no on
Speaker 1: midnight viewing. It don't make it look like a set.
Speaker 1: This is a fucking major motion picture too. We're usually
Speaker 1: dealing with television series. They get two days to film something,
Speaker 1: and if they don't, if they can make a set
Speaker 1: look like a fucking real space, then so can Alice
Speaker 1: and Andrews. That was really disappointing on the rewatch actually,
Speaker 1: and then the only visually interesting stuff is there's a
Speaker 1: bunch of montages, like of the Witches dancing set to
Speaker 1: Cabustable Edison. That stuff's great.
Speaker 3: But I liked the montage You're right, I did. It
Speaker 3: was pretty, but it wasn't a lot going.
Speaker 1: No, And that's pretty much it. Oh, let's stemp back
Speaker 1: for a second. Talk about Tim Roth here because he
Speaker 1: is our character. He starts off effectively silent, as if
Speaker 1: they're doing We're going to get the Bell Boy with
Speaker 1: Jerry Lewis, where he's just going to wander through the frame,
Speaker 1: and that's what I was expecting. But that goes out
Speaker 1: the window almost immediately. He starts talking crazy. But his
Speaker 1: performance in the start and in this episode in particular
Speaker 1: is so frenetic and weird.
Speaker 2: It is weird. I remember liking it when I was
Speaker 2: a kid. I'm thinking, man, he is just a ham
Speaker 2: and cheese sandwich in this thing. Like he is all
Speaker 2: over the place and getting progressive more British as the
Speaker 2: movie goes along.
Speaker 1: Now that I actually like the like the more he
Speaker 1: gets worn down by these fucking horrible gets. The accident, Yeah,
Speaker 1: the accident just goes out, like all pretense goes out
Speaker 1: the window. But he's so ticky, and I don't know,
Speaker 1: it's a lot of actorly business going on here. It's
Speaker 1: a lot of attempting to be like Alec Guinness in
Speaker 1: the early Ealing comedies or something and just not quite
Speaker 1: nailing it.
Speaker 3: I did.
Speaker 2: I took British cinema one summer in college and we
Speaker 2: watched a couple of those the Lady Killers. Yeah, I'm
Speaker 2: gonna take a break here and I'm gonna do the
Speaker 2: Tim Roth Appreciation Society because I love Tim Roth. He
Speaker 2: is always borderline overactive, so he takes it to the
Speaker 2: point where he goes and inch more it's gonna be
Speaker 2: too much, but where he's at, like Tim Burton's Planet
Speaker 2: of the Apes is one of the worst things you
Speaker 2: ever see, except for that unbelievable makeup that Rick Baker did,
Speaker 2: Like it is just I can see why he retired
Speaker 2: not long after because he didn't get better than that.
Speaker 3: And Tim Roth as as Fade or whatever his name.
Speaker 2: He is, dare I say, magnificent, and it annoys me
Speaker 2: that he hasn't played.
Speaker 3: More of those roles because he is unreal in it.
Speaker 2: I'd love to see him do a Batman villain or
Speaker 2: something like Cobra commander or something like so stupid and
Speaker 2: over the top that I know that he would just
Speaker 2: make it delightful. I have loved him and carry Oldman obviously,
Speaker 2: since Rosencrantz and Guildensterner are dead. As a high school
Speaker 2: nineties theater kid, that was like you had to watch
Speaker 2: that movie or else you weren't allowed to be in
Speaker 2: the class you so like. I watched that movie repeatedly
Speaker 2: as a kid, and I watched it last year on Prime.
Speaker 1: It's oh yeah, it's well, it's a great play to begin.
Speaker 1: It reads like water, it just flows, and those two
Speaker 1: guys at that time. I think that movie has problems.
Speaker 1: I think Tom Stomford wasn't the guy that directed. I
Speaker 1: think it looks really good and I think they're great
Speaker 1: in it. But there are some problems to it, sure.
Speaker 3: But I don't care. There's so good in it that
Speaker 3: I don't.
Speaker 1: It's a performance piece and you're not going to be
Speaker 1: let down.
Speaker 2: And this one, I think it's the different directors handling
Speaker 2: the same character, giving inconsistent direction to him because he's
Speaker 2: all over the book.
Speaker 3: It is just frantic his performance.
Speaker 2: And had he just played it like Jerry Lewis or
Speaker 2: even better in a more buster Keatney wide eyed innocence
Speaker 2: and I would I.
Speaker 3: Might might have played a little better. Oh, four directors
Speaker 3: is a lot, man.
Speaker 2: I don't know about anthologies and different director So I
Speaker 2: like one director making five different little movies in there.
Speaker 3: Maybe that would be an interesting thing. I don't know.
Speaker 3: I'm just talking out loud, I guess thinking aloud.
Speaker 1: But I'm in my mind. I've been doing this long
Speaker 1: enough now that I'm of that mind that for an
Speaker 1: anthology to truly work beginning to end, it has to
Speaker 1: have the same director at the helm. If he wants
Speaker 1: to change the style of each segment, fucking fantastic, go
Speaker 1: for it. But it's a little much when you task
Speaker 1: four separate filmmakers to come up with four separate plot
Speaker 1: lines and then jam them all together. It's I think
Speaker 1: it can be done if they then hand their four
Speaker 1: scripts to a fifth screenwriter who then weaves all the
Speaker 1: stories throughout and turns it into a real movie, and
Speaker 1: then lets one of them direct it.
Speaker 2: Yeah, that's a little that's a little more makes them
Speaker 2: more sensible. That's why pulp fiction is a classic, because
Speaker 2: it's an anthology one vision though.
Speaker 1: That's why creep Show works so well.
Speaker 2: That's why creep Show works well. That's why the Ballad
Speaker 2: of Buster Scrugs work so well. And those are four
Speaker 2: different movies in there, four different styles. One's a musical
Speaker 2: for Foxakes, but man, one of them is no exit basically.
Speaker 1: But like Antonio, we really ought to be doing Buster
Speaker 1: scrugs for the hundredth episode here.
Speaker 2: But no, I think doing I think four rooms is
Speaker 2: appropriate because I think this is one that everybody has
Speaker 2: seen and it's fun. Sometimes it's fun to take the
Speaker 2: piss out of something. But yeah, that alex and Anders
Speaker 2: bit just fell flat. But Tim Roff has moments of
Speaker 2: greatness in here. There are little splashes of great Tim
Speaker 2: Ross stuff in it, but for the most part he's
Speaker 2: just hamming it up with no guardrail.
Speaker 1: He gets a little bit better in Room four oh four,
Speaker 1: The Wrong Man. This is Alexander Rockwell's contribution here. We
Speaker 1: have okay. The setup is he gets a call to
Speaker 1: come to room four oh nine. It's actually room four
Speaker 1: oh four that he enters, and there's a party going
Speaker 1: on with Lawrence Bender turning in a terrible performance in
Speaker 1: a film littered with terrible performances, Tim Roth, Ted finds
Speaker 1: himself in a hostage situation. Angela played by Jennifer Beals,
Speaker 1: is tied and gagged in a chair and David Proval,
Speaker 1: always fucking fantastic David Proval, who's her husband, Siegfried, who
Speaker 1: is convinced that she's having an affair, and he's decided
Speaker 1: that Ted is the suitor wackiness and sus.
Speaker 3: Wackiness and susan Oh. I love Jennifer Beals has been in.
Speaker 2: My heart since I was nine, ten, eleven years old.
Speaker 2: But I saw The Bride, which is a really cool
Speaker 2: take on the Frankenstein movies, and I recommend that I
Speaker 2: haven't seen it in a million men. I was in
Speaker 2: love with her and that everybody's all flashed as I'm.
Speaker 3: Like, no, The Bride, She's so pretty in it.
Speaker 1: And then she's Clancy Brown as the monster in The Bride. Right,
Speaker 1: he calls himself a victor.
Speaker 2: Yes, and the guy David David Rappaport David Rappaport.
Speaker 1: He eventually committed suicide, didn't he?
Speaker 3: He sure did?
Speaker 1: And I remember that it's a drag.
Speaker 3: Yeah, it's a real drag. It's a good actor too.
Speaker 1: I love that movie The Bride as well. I've liked
Speaker 1: her off and on that it depends on the role,
Speaker 1: depends on the performance. Having rewatching this, I loved her here.
Speaker 1: I thought she was fucking great. I remember from initially
Speaker 1: seeing this movie that the first two segments were okay,
Speaker 1: The Rodriguez one was great, and the Tarantino one sucked.
Speaker 1: That's what I took it away, And now I took
Speaker 1: away the Alice and Andres one is potentially the worst
Speaker 1: one here. This one's really good.
Speaker 2: Yeah, you know, I found myself enjoying this one a
Speaker 2: little bit. You're Richie from the Sopranos. I just every
Speaker 2: time I see him, I just like, oh, Richie, all right,
Speaker 2: he's gonna be a comeback.
Speaker 3: Let me enjoy it.
Speaker 2: It was some weird twists in there. I thought the
Speaker 2: gay stuff was, like, there's a lot of weird gay
Speaker 2: jokes in this movie, like the like even beginning with
Speaker 2: the Aleixan Anderws one, She's like, you're not my mother.
Speaker 3: She's like, yes I am, and why are you sleeping
Speaker 3: with me?
Speaker 2: And then it just keeps going through the Tarantino one,
Speaker 2: We're not gonna ask you do any weird gay stuff?
Speaker 3: And then this one if I slept with another man?
Speaker 3: I don't know. It was a lot of that was
Speaker 3: that just the nineties everything was gay jokes.
Speaker 1: So yeah, that was that's everyone getting used to gay
Speaker 1: talking about gay people all the time, you know.
Speaker 2: Which is we because like Alexan Andrews movies are pretty queer,
Speaker 2: so like I don't.
Speaker 1: Like, yeah, I don't necessarily think they're slamming gay folks here.
Speaker 1: I don't think they're punching down at them.
Speaker 2: But I think this is the first time folks that
Speaker 2: they're getting used like you say, they're getting used to.
Speaker 1: It's entering the conversations now, even in hostage situations with
Speaker 1: potential cuckholds.
Speaker 3: But Jennifer Beals like her performance in this movie Reminded
Speaker 3: is probably the best one in the.
Speaker 1: Movie, absolutely insistant. She her character reappears in the final
Speaker 1: sege too, and just reinforces what we're saying right now.
Speaker 1: She's definitely the best performance in the way. You know
Speaker 1: how good her performance is. She's good with the gang
Speaker 1: because she has.
Speaker 2: The prettiest brunette eyes in the world. They just and
Speaker 2: she uses them so well and she just tells a
Speaker 2: story with us. Yeah, she's really good. I was happy
Speaker 2: to see her on The Mandalorian? Was it she on
Speaker 2: the Mandalorian or Boba Mandalorian a couple years ago?
Speaker 1: I might have been Boba Fet.
Speaker 3: Was Boba Fet? She played a madam on it and
Speaker 3: Star Wars.
Speaker 1: Yeah, and then they like killed her and.
Speaker 6: They blew her up and I'm like no, And she
Speaker 6: is got to be pushing sixty and looks good as
Speaker 6: she did in the nineties. Man, she's a beautiful lady,
Speaker 6: and I'm I've always been sad that she isn't Julia Robert.
Speaker 1: That's a really good point.
Speaker 2: You're right, because she's such a good actress and she's
Speaker 2: so endearing and she's so lovely. I don't understand why
Speaker 2: she wasn't in a hundred rom coms. I don't know
Speaker 2: why she doesn't have an oscar or anything like that.
Speaker 2: She's Yeah, I don't.
Speaker 1: People wrote her off because she didn't do that dancing
Speaker 1: and flash dance.
Speaker 3: Yeah, they wouldn't let her. Who could do that dancing?
Speaker 1: Other could do that dancing and flash dance. Look, ultimately,
Speaker 1: they just should have cast the dancer to perform the
Speaker 1: dancers role and cast Jennifer Bial's in some other thing later,
Speaker 1: which she would have done. Anyway, do you find that.
Speaker 2: With There are certain actors and you wonder, man, why
Speaker 2: weren't they bigger?
Speaker 3: What did Julia Roberts do that she did they get
Speaker 3: those parts?
Speaker 1: I'll tell you, I'll tell you what. Julie Ryanberts has
Speaker 1: a smile that is wide enough to fill up a
Speaker 1: television screen.
Speaker 2: That is true, but Jennifer Bial's eyes are big enough
Speaker 2: too for that, So I don't know.
Speaker 1: A smile conquers eyes A a an inviting smile over
Speaker 1: a smile with the eyes. A smise, if you will,
Speaker 1: will win every time. So that's why a big dough
Speaker 1: eyed person like Mary Elizabeth Winstead is only going to
Speaker 1: get so far. But someone with a smile so wide
Speaker 1: that it seems like the top of their head is
Speaker 1: going to fall off will always get more attention.
Speaker 3: I think that's a fair assessment. I do.
Speaker 2: We'll get to my other another one who I hold
Speaker 2: in kind of the same level as Jennifer Bial's when
Speaker 2: we get to that intlude when Ted makes a phone call.
Speaker 2: But I'd like to get back to finish up this
Speaker 2: one because Alexander Rockwell, I don't know.
Speaker 1: That should have been Kevin Smith, probably, I think in retrospect. Yeah,
Speaker 1: I mean he was making some making some movies at
Speaker 1: the time Lewis and Frank and no, what did he do?
Speaker 1: Oh you know what, I'm sorry, I take it back.
Speaker 1: He did in The Soup, which at the time, with
Speaker 1: Seymour Cassell and Steve Buscemi, was as about Indie nineties
Speaker 1: as you can get and it's a really fucking good movie.
Speaker 3: Okay, there you go.
Speaker 1: So I think off of the back of that is
Speaker 1: what he got. Also, Seymour Cassell came to my theater
Speaker 1: to see In the Soup because we put it out
Speaker 1: and we put and I did this, actually, I said,
Speaker 1: put his name over it. Seymour Cassell in in the Soup,
Speaker 1: and he came into the theater specifically to thank whoever
Speaker 1: put his name above the Title's great. And then a
Speaker 1: month later, when the marquee came down and we put
Speaker 1: up something else, he came in again and was like,
Speaker 1: what the fuck happened? Where's my name?
Speaker 2: He is such an underappreciated character actor in Rushmore.
Speaker 1: Oh my god, is his dad?
Speaker 3: Hearts The Dad is the most beautiful, heartbreaking, understated and
Speaker 3: solo performance. You wouldn't think the the delivery of a
Speaker 3: line do you like that mustache? Are you fond of keeping?
Speaker 3: It would be so magical, but that man.
Speaker 2: Somehow managed to make that simple line sound like Shakespeare.
Speaker 3: Like, oh my god. He's just such a lovely actor.
Speaker 1: Yeah, And if he was in an episode of Flight
Speaker 1: of the Concourd's called the Tough Brents where they're trying
Speaker 1: to form a gang. So he's a representative of old
Speaker 1: school gangs what they used to be in New York.
Speaker 1: He used to be part of the Little Enchanters, which
Speaker 1: I highly encourage everyone to go check that one out. Yeah,
Speaker 1: that's how Alexander Alexander Rockwell got involved.
Speaker 3: Ultimately, he was married to Jennifer Beald at the time.
Speaker 1: Was he really?
Speaker 3: He? And I googled him watching it After watching.
Speaker 1: It, Thank god he was, because whatever got him in
Speaker 1: this movie was the right choice. Like I agree with
Speaker 1: somebody like Kevin Smith or and he does, and the
Speaker 1: other independent filmmakers might have filled in here. And Kevin
Speaker 1: Smith was at Mirramax too, so it's weird that they
Speaker 1: didn't just poured him on over.
Speaker 2: Yeah, Kevin's I've always felt that, like people love or
Speaker 2: hate Kevin Smith, and I've always really admired him because
Speaker 2: even though not everything he's done is perfect, but he
Speaker 2: just made stupid shit about stuff that he liked, and
Speaker 2: he got in there, and I feel like he would
Speaker 2: go home pretty early while these people were out partying
Speaker 2: and cooking up stuff like four rooms, he was already
Speaker 2: passed out, or he was back in his room with
Speaker 2: his wife or whatever girlfriend he has, you know what
Speaker 2: I mean. I always felt like he didn't belong in
Speaker 2: the room, and he knew he didn't want to even
Speaker 2: be in the room.
Speaker 1: This film does feel like four people sitting in a
Speaker 1: room together at a party, going, yeah, I got an idea. Well,
Speaker 1: I got an idea.
Speaker 3: I got an idea, So I think maybe that's it.
Speaker 3: I got my tarantine. It was for me.
Speaker 2: It was that trinity of filmmakers at that age. It
Speaker 2: was Tarantino, Robert Rodriguez, and Kevin Subith. Those were the
Speaker 2: three guys that that said to me, go be a
Speaker 2: movie maker. I give you permission to say the Screw
Speaker 2: the fact that your folks don't have money to send
Speaker 2: you to a great brad school, Screw the fact that
Speaker 2: you don't live in LA and don't really like living
Speaker 2: in LA because it's big. If it's scary and you're
Speaker 2: very anxious, you can still do it. Wherever you are,
Speaker 2: you can do it.
Speaker 3: You can.
Speaker 2: It took me a while to figure out how. Twenty
Speaker 2: years later, I finally okay.
Speaker 3: Not I forget it.
Speaker 1: But they set you on the path.
Speaker 2: They set you on the path, and to them, so
Speaker 2: anytime they make anything.
Speaker 3: I will always be there for that. Tarantino has probably
Speaker 3: had the more consistent of careers.
Speaker 2: Even I've been hanging out with some more filmmakers lately
Speaker 2: and some younger folks, and they're like.
Speaker 3: Oh, I didn't really Guarantino. I'm like, really, how did?
Speaker 2: Is it just our generation that just want bananas for them?
Speaker 2: And then everybody afterwards don't like him.
Speaker 3: I don't know.
Speaker 1: There's hope, there's hope.
Speaker 2: I'm the Kevin Smith front. He's they're finally going to
Speaker 2: re release Dog Book.
Speaker 3: So that's my favorite movie is real.
Speaker 2: Yeah, I was a Catholic school kid, so I liked
Speaker 2: all that Banana's Catholic school stuff, even though the movie
Speaker 2: suffers in spots and Clerk's is a masterpiece.
Speaker 3: But I have a really.
Speaker 1: Soft spot for Well. I have to have a conversation
Speaker 1: about that. At another time, I was like Red State
Speaker 1: a lot, but I liked I think Red States is
Speaker 1: the best thing.
Speaker 3: Yeah, Red State is should do more stuff like that.
Speaker 3: But anyways, back to this one.
Speaker 2: So we've gone through Alexander Rockwell saying we know that
Speaker 2: that Richie from.
Speaker 3: The Sopranos, what's the actor's name? David is so menacing
Speaker 3: and so silly.
Speaker 1: How is that pot?
Speaker 2: Yeah, I don't know how that works. And his chemistry
Speaker 2: with Jennifer Beals is great. So this might actually be
Speaker 2: the best movie out.
Speaker 3: Of the bunch.
Speaker 1: I kind of think it is.
Speaker 2: Yeah, now that I watch it as a grown up,
Speaker 2: I'm like, Okay, this is a more mature film.
Speaker 3: There's more, it's a more complete film.
Speaker 1: And speaking to the what you mentioned about the Alison
Speaker 1: Anders thing, each of these segments is written like a cartoon,
Speaker 1: but only Alexander Rockwell and Robert Rodriguez understood that they
Speaker 1: needed to make that visual as well, because there are
Speaker 1: flights of fancy moments here, like when Ted first walks
Speaker 1: into the room, he gets cold cocked with a gun
Speaker 1: and suddenly he's drifting and we get a scene of
Speaker 1: him floating in the clouds holding a baby who's also
Speaker 1: dressed like a bell hop before he comes back to earth.
Speaker 3: Yeah, it's trying.
Speaker 2: Stuff, and it's trying to it's not half assing it.
Speaker 3: I kind of hear.
Speaker 2: Alison Andrews's bit was a little half assed, and Tim
Speaker 2: Tarantino's bit was just shot on cocaine because I can't.
Speaker 3: And that is the most half assed thing I've ever seen.
Speaker 3: I'm like, I can't believe who directed that. I can't
Speaker 3: who shot that.
Speaker 1: Oh we'll get there.
Speaker 2: Yeah, but back to this is more very I think
Speaker 2: he understood the assignment. It's not perfect. It drags a
Speaker 2: little bit, but it's pretty good. And I like the
Speaker 2: fact that it all starts off with misunderstandings, you know
Speaker 2: what I mean.
Speaker 3: It plays like a proper screenplay.
Speaker 1: I have a little screwball comedy.
Speaker 2: Yeah, And it's a little screwball comedy and even has
Speaker 2: a nice surprise at the end as I was faking
Speaker 2: it but I know you love me, and then they
Speaker 2: have this kind of weird reconciliation and then it ends
Speaker 2: all wacky.
Speaker 3: Yeah.
Speaker 2: I enjoyed that one. I found myself. That's the one
Speaker 2: that I've forgotten had existed.
Speaker 1: And this one is plain speaking and frank when it
Speaker 1: comes to sexuality. Where the last one was being all COI,
Speaker 1: this one could have been koy and gotten away with
Speaker 1: it instead. When Jennifer Beals gets the gag out of
Speaker 1: her mouth and she's like, come on, Ted, when she's
Speaker 1: trying to get revenge, She's like, quick, come my, whip
Speaker 1: out your cock. He's got a huge cock Like suddenly
Speaker 1: everyone's speaking frankly like adults.
Speaker 3: Yeah, and she delivers that so, oh.
Speaker 1: My god, she's killer in that scene.
Speaker 2: And she is, which is weird in them, like she's
Speaker 2: got more agents, see that the witches do. Yes, she's
Speaker 2: a more confident woman and a better written woman than
Speaker 2: the witches are, which is weird. She's not very well
Speaker 2: written in the Tarantino part and she's just a Tarantino
Speaker 2: woman and that scene.
Speaker 3: But well, yeah, her presence.
Speaker 1: Carries absolutely sorry, no, it does carry over now because
Speaker 1: having rewatched it as adults, just like this one is
Speaker 1: so much more elevated in my mind than previous. Just
Speaker 1: her presence in the Tarantina one made me like that
Speaker 1: this much more just this much. You can't see, folks,
Speaker 1: but the fingers are very.
Speaker 3: Close toge like I'm crushing your head exactly.
Speaker 1: Mid crush. Okay, speaking of crushes. From three to nine,
Speaker 1: The Misbehaviors, written and directed by Robert Rodriguez, not going
Speaker 1: to take anything away from this, even if I'm pumping
Speaker 1: up the fame of the wrong Man is the best
Speaker 1: segment in this movie. This one's pretty fucking great.
Speaker 3: This is the most memorable one.
Speaker 2: This is the one that everybody remembers as being the
Speaker 2: good one.
Speaker 3: I think that the raw call one.
Speaker 2: I guess you gotta appreciate and look back through another
Speaker 2: lens or what have you. But this one, yeah, this
Speaker 2: was the one that I remember liking. I didn't like
Speaker 2: it as much this time. I thought it was really
Speaker 2: uneven and sloppy, and the jokes weren't funny.
Speaker 1: Yeah, it's it needs another pass through the editing process.
Speaker 1: Even though this is at twenty four minutes, the shortest
Speaker 1: segment of the entire thing, you can always tighten it
Speaker 1: further and further. Running time is a big issue here,
Speaker 1: and we'll talk about that sort of near the end.
Speaker 1: But the story here is Antonio Banderaz and his wife
Speaker 1: played by Tamlin Tamita, are going out to a New
Speaker 1: Year's Eve party. They have two children, both dressed to
Speaker 1: the nines, who are terrible misbehaviors and they need ted
Speaker 1: to watch them for five hundred dollars, not three hundred
Speaker 1: five hundred. It is a frenetic cartoon where any and
Speaker 1: everything will go wrong. Oh, I meant, I forgot to
Speaker 1: mention the other star of this episode on the television,
Speaker 1: The Dancing Girl featured the that the young boy is
Speaker 1: not supposed to be watching. That's Selma Hayek.
Speaker 3: Oh wow, really is it? I need to go see
Speaker 3: that again. I don't even pay it. I didn't even
Speaker 3: notice that.
Speaker 1: It's all I noticed her immediately and when yeah, when
Speaker 1: I first saw the movie. And so I've seen this
Speaker 1: segment a million times. I don't know how much of
Speaker 1: the story I've seen. I'm just always scanning for the TV.
Speaker 3: This is right before Dustill Dawn.
Speaker 2: Now you talk about the editing, and it's Robert Rodriguez
Speaker 2: is a really good editor. So that's shocking that it's
Speaker 2: not as good like it's the pacing is off.
Speaker 3: Some of the stuff is great there, like when the.
Speaker 2: Little girl's dialing the phone and he does those really
Speaker 2: quick insert I love that shit. It really gives you
Speaker 2: that Rodriguez flavor to it. And Antonio Benderis is like
Speaker 2: at his coolest and he's and he's an underrated actor.
Speaker 3: He's very good.
Speaker 2: He's got great timing, man like, his comedic timing is great,
Speaker 2: and he's good with those kids. You basically this is
Speaker 2: the audition for Spike Kid. This short because everything that
Speaker 2: happens and then short happens in SPI kid.
Speaker 1: I will say this until the revelation of Jennifer Beal's
Speaker 1: fantastic performance here, Antonio Bandera's performance was the one that
Speaker 1: I always remembered. The close up of him saying behave
Speaker 1: it lives in my mind. I hear the word behave
Speaker 1: or behavior, Antonio Banderas is there to say the word.
Speaker 3: For me, and his mustache is spectator.
Speaker 1: And he's really funny here. And I just on the roundup.
Speaker 1: I just talked about the movie Thirteenth Warrior where he
Speaker 1: did it way underrated and he's fucking great in it.
Speaker 2: That online and in conversation that moved for some reason
Speaker 2: and was like, oh, that's garbage, and I'm like, i'mber watching.
Speaker 3: I guess it isn't flopped, but I remember saw this
Speaker 3: is fucking great.
Speaker 1: At the time, the budget was reported at one hundred
Speaker 1: and fifty million, the producers claim it was ninety million.
Speaker 1: It ended up only making sixty million, So yeah, it
Speaker 1: was a flop and it was easy to dismiss, but
Speaker 1: I don't think it was because of the quality. I
Speaker 1: know that it was a troubled production and that the
Speaker 1: first sort of the assemblage was really bad, and so
Speaker 1: there was lots of reshoots and recuts and whatever.
Speaker 2: It made its money back eventually on the lucrative home
Speaker 2: video market that no longer exists in its murdered Hollywood.
Speaker 2: That's why where everybody's broke the studio system. They don't
Speaker 2: have DVDs, VHS tapes to sell anymore, and like all
Speaker 2: you got it goes.
Speaker 3: It goes from the movie theater to HBO in three months.
Speaker 3: What is that?
Speaker 2: I had to wait a year before it was on
Speaker 2: HBO and I was like six months it came out
Speaker 2: on video.
Speaker 1: Yeah, like that was a great system, and then you
Speaker 1: had to buy it or rented.
Speaker 2: These studio system has become a corporate, a corporate thing,
Speaker 2: and when that when the pandemic hit, they attacked it
Speaker 2: like a corporate thing and just gave us everything we
Speaker 2: could get in and start spending money. But then realize that, yeah,
Speaker 2: now we were spoiled. We want Netflix only now we
Speaker 2: don't want to go out to the theater and we
Speaker 2: don't want to wait six months for video. Can just
Speaker 2: get it on Netflix. My TV's one hundred inches long
Speaker 2: now or whatever it is. I've got a movie theater
Speaker 2: in my house.
Speaker 3: Who cares.
Speaker 1: It's gonna be hard to get a movie like Four
Speaker 1: Rooms made. I'll tell you that, it is absolutely hard.
Speaker 3: I don't know.
Speaker 2: Netflix seems to throw money. It's an established filmmaker, but
Speaker 2: they were all they had, all were established indie filmmare
Speaker 2: so it was a different world. Like the indie scene
Speaker 2: in the nineties was Magic Man. It was awesome. Granted
Speaker 2: there's a lot of evil behind it now, and you
Speaker 2: would learn about Harvey Weinstein and his.
Speaker 1: Yeah, but Mirra Max was a big part of the
Speaker 1: indie scene. But they weren't the only party only ones.
Speaker 2: Yeah, No, I took I remember when I first started.
Speaker 2: I took meetings at Artisan That was the other early one.
Speaker 2: There was a bunch of little houses. It was cool.
Speaker 2: But the idea was like, you can make a movie
Speaker 2: and get it into sun Dance and someone could give
Speaker 2: you a million dollars for it, and now you've got money.
Speaker 3: To make another movie. And it's that pipeline.
Speaker 2: Now is Yeah, only sun Dance is the only place
Speaker 2: that you're gonna play and you can get a job
Speaker 2: at it. But even then you're not gonna necessarily to
Speaker 2: get a million bucks. Netflix will buy it. That's the thing.
Speaker 2: Though maybe Netflix will buy it. But it's not the same.
Speaker 2: It sucks because like Little our House cinemas were cool,
Speaker 2: Like it was a great date on Friday night. You
Speaker 2: go to the movies and you go get coffee afterwards,
Speaker 2: and it wasn't expensive. It was for everybody. No, it's
Speaker 2: all luxurious. You're gonna put your tickets online beforehand, you got.
Speaker 3: The twenty dollars.
Speaker 2: They get in there and everything is I don't know,
Speaker 2: it's not the same anymore.
Speaker 3: It's not cool anymore.
Speaker 1: If you were to sell something at Sundance, would you
Speaker 1: then be the Man from Hollywood? Here in the Penthouse.
Speaker 1: We've reached the Penthouse. In there the Man from Hollywood,
Speaker 1: written and directed by Quinton Tarantino.
Speaker 2: Before we get to the Pendhuse, though, we've got to
Speaker 2: get to Betty.
Speaker 1: Oh my god, Betty. Yeah, okay, let's talk Betty.
Speaker 2: Because out of nowhere, I'm talking about the other one
Speaker 2: from the Jennifer Mike almost like my Jennifer Beals, like
Speaker 2: the little she got a little further.
Speaker 3: Than Jennifer Bials.
Speaker 2: But the great, the beautiful, the multi talented genius of
Speaker 2: an actor, Maurrissitomee.
Speaker 3: That's the other one.
Speaker 2: Why was she not Julia Roberts And she wanted Oscar
Speaker 2: right up the bat and she was consistently good. But
Speaker 2: she always has starred and stuff and was but not
Speaker 2: Julia Roberts level, not halle Berry level or whatever it is,
Speaker 2: that little f step above.
Speaker 1: I'm comfortable with where marisitome ended up, honestly, like she's
Speaker 1: always doing consistently fucking good work. Check her out in
Speaker 1: the Wrestler. She was fucking great in that.
Speaker 3: Do you want an Oscar for that?
Speaker 2: No?
Speaker 3: She got nominated for an.
Speaker 1: Oscar as well. She should. There's a to me. This
Speaker 1: movie is wildly underrated, crazy stupid love with Steve Carell
Speaker 1: and Julianne Moore. Marisa Toomey plays a teacher who has
Speaker 1: an affair with Steve Carell in it, and she's fucking
Speaker 1: hilarious in it.
Speaker 3: And people talk about my cousin Vinnie and her winning
Speaker 3: in Oscar, All that was bullshit. Have you seen my
Speaker 3: cousin Vinnie? Have you seen how incredible that performance of
Speaker 3: hers is?
Speaker 2: Like my cousin vic for one thing is an underrated movie, Like, yeah,
Speaker 2: it's supposed to be always a goofy comedy. No, it's
Speaker 2: a really brilliant courtroom movie that's disguised as a wacky comedy,
Speaker 2: and that's really cool.
Speaker 3: But she is unbelievable in them.
Speaker 2: He's one of the finest comedy comedic performances any actor
Speaker 2: has ever given. And for a comedic performance to win
Speaker 2: an oscar, that's something else, something else.
Speaker 1: I do think that part of it was the Four
Speaker 1: Brits in the One American. I think if anything was
Speaker 1: influenced that regard, it might have been that. But that
Speaker 1: I'm not taking anything away from hers.
Speaker 3: She even got nominated for that though. Yeah.
Speaker 1: So the sequence here, the sequence here talking about here
Speaker 1: is when The Misbehaviors finally ends with a beautiful tableau.
Speaker 2: Yeah, that is what the dead girl and the Yeah,
Speaker 2: I will give Rodriguez that, So like the Rodriguez, he's there,
Speaker 2: but it needs another cut.
Speaker 1: Yeah, but that leads us to Ted quitting basically, so
Speaker 1: he goes and calls his boss at her home. But
Speaker 1: apparently there's been some raging New York' save party and
Speaker 1: everyone's out and the only people left are stoned and
Speaker 1: playing a Rambo video game. Sitting in the middle as
Speaker 1: Marissa Toome. She answers the phone she gives great stoned.
Speaker 3: Yeah, she does.
Speaker 2: I feel like somebody is drawing from experience there. She
Speaker 2: lit that thing, She lit that pipe and just kept
Speaker 2: looking at the video game and was still on the phone,
Speaker 2: like I've seen that.
Speaker 1: That's exact thing.
Speaker 3: I wish there was more of her.
Speaker 1: I do too. You figure, why couldn't she be fit
Speaker 1: more in This is a Tarantino wrote this segment.
Speaker 2: I feel like that could have been a framing sequence.
Speaker 2: Have gone back to her more than once in the movie,
Speaker 2: and I might have given a bit more of a uniformity.
Speaker 1: To it, given us Ted a little bit more of
Speaker 1: his own character where it's not just reacting to people
Speaker 1: but giving us his opinions on what he's going through.
Speaker 3: And then Betty is Kathy Griffin sure.
Speaker 1: Is this is not her first role though I was
Speaker 1: in pulp fiction.
Speaker 2: Yeah, A knowing Garantino, it's the same.
Speaker 1: Character, Yeah, probably, But yes, we.
Speaker 3: Get to Tarantino's bit. Now the Penthouse.
Speaker 1: Now, I said it's written by Tarantino, but really it's
Speaker 1: written by Roald Dahl. Roll Doll had a short story
Speaker 1: adapted into an Alfred Hitchcock presents called The Man from
Speaker 1: the South, and that is what they're playing on here,
Speaker 1: We've got a rich asshole Hollywood. I guess he's a
Speaker 1: movie star. He's not. Is he a director or a
Speaker 1: movie he's a movie director.
Speaker 3: He's basically yeah, I think he's a director. They don't
Speaker 3: really explicitly say.
Speaker 2: They just say his you movie opened at and his
Speaker 2: next one is going to open that.
Speaker 3: So I'm assuming he's playing a director.
Speaker 1: Yeah, I don't know. It's vague. But here's the thing.
Speaker 1: So it's spoiled filmmaker, film actor or whatever having his
Speaker 1: New Year's Eve party. They've placed a bet based on
Speaker 1: the Man from the South story the Man from Rio
Speaker 1: and which is in the Roll Doll story. This man
Speaker 1: has a lighter and he's pretty proud of that lighter.
Speaker 1: And this old man says, hey, I bet you can't
Speaker 1: do that lighter so many times. I'll bet you my car.
Speaker 1: You can have my car, and if you lose, I'm
Speaker 1: going to chop off one of your fingers and keep it.
Speaker 1: And so it's a very tense thing where the guy's
Speaker 1: slowly flicking the lighter over and over again, and it
Speaker 1: ends up getting stopped by the man's wife, who you
Speaker 1: realized in the last moments of the story and the
Speaker 1: original television thing that she has no fingers, she has
Speaker 1: one finger, maybe that she's been doing this with him
Speaker 1: and she actually has everything. The guy doesn't even have
Speaker 1: a car to bet with. So that's what Tarantino is
Speaker 1: either thinking we already know or hoping that we don't.
Speaker 2: So he's basically doing a meta remake of the of
Speaker 2: the Alva Hitchcock Presents that he saw when he was
Speaker 2: like that Bewitched movie with.
Speaker 1: If Cairella is paul N's character, Yeah, that.
Speaker 2: One and Nicole Kidman and Will Ferrell, so where they're
Speaker 2: the actors doing a remake of Bewitched and she's actually
Speaker 2: really a witch.
Speaker 3: It's like, okay, okay, so I get where he's coming from.
Speaker 3: I didn't realize that was actually the thing that he sucks.
Speaker 2: This is terrible, Like he should be ashamed of himself
Speaker 2: for that, And like the deep peat is.
Speaker 1: Andre Andre Sekula.
Speaker 3: Yes, and it looked like a college kid shot it.
Speaker 1: Speaking of sets that look like sets, what the fuck?
Speaker 3: Yeah, I didn't even look like a hotel room.
Speaker 2: It was like the lighting was really it was all
Speaker 2: really really harsh shadows that were like not very attractive
Speaker 2: and camera work was shit, and he's I'm gonna put
Speaker 2: the camera in the corner of the room and I'm
Speaker 2: gonna like awkwardly move it around and I'm gonna walk backwards,
Speaker 2: and I'm like, this is a littit at all, and
Speaker 2: I don't think of.
Speaker 1: This guy's There's a moment early on where Tarantino plays
Speaker 1: the lead character by the way, everybody, In case you
Speaker 1: needed even more reason not to watch this one, there's
Speaker 1: a shot where he is walking toward the camera and
Speaker 1: the thought being that Ted is behind us, because that's
Speaker 1: where his eyeline is the entire time he walks up,
Speaker 1: and for the first three or four lines he's talking
Speaker 1: off camera, presumably to Ted, and then he turns to
Speaker 1: the camera and continues talking as if were Ted. It
Speaker 1: is so weird.
Speaker 3: Yeah, there's a lot of that in there.
Speaker 2: But okay, so you hear me like, I just want
Speaker 2: to love folks like well, I have just up at
Speaker 2: arms about the cinematography and it because, like I mean,
Speaker 2: this guy' shot all fiction.
Speaker 3: This guy shot what else? He shot reservoir dogs.
Speaker 1: He did a whole bunch of homicide Life on the Street,
Speaker 1: which is fucking great.
Speaker 2: I remember that show absolutely so like he's got He's
Speaker 2: done a lot of things.
Speaker 3: I don't know. This is just Terry made.
Speaker 1: Guess as his agent slash manager popping into the frame.
Speaker 1: Every once in a while we get Bruce Willis, Yeah.
Speaker 3: Who's uncredited in this movie? Because us sad?
Speaker 1: Why isn't Bruce Willis the man from Hollywood? Why isn't
Speaker 1: he playing Tarantino's role? Why hadn't they switched? If they
Speaker 1: had switched, this would be ten times more tolerable, right.
Speaker 3: A lot better.
Speaker 2: So the thought I was having watching is is Tarantino lampooning.
Speaker 1: Himself that's what he wants us to think?
Speaker 3: Or is he just acting himself?
Speaker 2: Because have you heard that anecdote from oh Fiona Apple, Yeah,
Speaker 2: about him and pt Anderson Hi on cocaine, just talking
Speaker 2: about how many.
Speaker 3: They are and she's just oh my god.
Speaker 2: And she ended up breaking up with Betterson anyways, but
Speaker 2: she's being just like a gas on how pompous and
Speaker 2: full of themselves these people are, and how up their
Speaker 2: own asses they are.
Speaker 1: She described it as hell on Earth.
Speaker 2: I believe Hell on Earth, and I'm just like, wow,
Speaker 2: I wish I would have read this when I was
Speaker 2: twenty two years old, or whatever, because I might have
Speaker 2: maybe given myself a little more agency as a young
Speaker 2: guy thing.
Speaker 3: I'm not as good as the Magnificently.
Speaker 2: No, they're just assholes who got lucky with something really good.
Speaker 2: They get one really cool thing and they won the
Speaker 2: right place at the right time, and the right guy
Speaker 2: saw that.
Speaker 1: Over on midnight viewing the horror anthology podcast We Deal With,
Speaker 1: We dealt with Night Gallery a lot. Night Gallery had
Speaker 1: a habit of doing blackout sketches, and now anytime an
Speaker 1: episode of whatever we're watching, they have the one basic
Speaker 1: premise that they've stretched out to twenty two minutes. We
Speaker 1: just call it a blackout, and this is that he
Speaker 1: saw the Man from the South on Alfred Hitchcock Presents
Speaker 1: and thought, wouldn't it have been better if the light
Speaker 1: didn't work the first time? There was no tension at all.
Speaker 1: They just chopped off the finger and then that's the end.
Speaker 3: Yeah, Like it was a short film written by a
Speaker 3: college kid.
Speaker 2: I feel like that's somebody's master's thesis at some twenty
Speaker 2: four year old dudes master's thesis or his production three
Speaker 2: with me like it reminds me of a guy I
Speaker 2: will name, But it was the guy who we used
Speaker 2: to go to school with and wrote. His shorts were basically, Oh,
Speaker 2: I heard this joke that Tarantino did in a movie,
Speaker 2: and I wanted to make that into something like a short,
Speaker 2: and it was like one a one note thing like that,
Speaker 2: like the finger of getting chopped opper. I think it
Speaker 2: was about a pool shot, but he was a one
Speaker 2: note short. I'm like, that's boring, and we ended up
Speaker 2: doing Me and Matt short. But anyways, long story short,
Speaker 2: it feels really amateurist, and I'm thinking, I thought you
Speaker 2: were quitting Tarantino.
Speaker 3: Why did you write this just boring dialogue.
Speaker 2: It's a poorly directed Paul Calderon is just overacting, Bruce
Speaker 2: Willis is on the phone literally phoning it in, and
Speaker 2: then Jennifer Beals has just wasted, wearing the exact same
Speaker 2: outfit that Thurman was wearing at one point in pulp fiction,
Speaker 2: with the nose shoes and there's the feet, just like
Speaker 2: you're not letting her do anything and it's all up
Speaker 2: to her to do it with her.
Speaker 1: Eyes, which she does what she does, but.
Speaker 3: Man, yeah, what a waste. It's just so disappointing. It's weird.
Speaker 3: Tarantino's makes really good movies. But when when he sucks,
Speaker 3: he really sucks. Now.
Speaker 1: I mentioned earlier that there was a running time issue
Speaker 1: for this movie.
Speaker 3: It was a half hour longest short.
Speaker 1: The initial cut of this movie was two hours and
Speaker 1: thirty minutes. Okay, word came down. You can have an
Speaker 1: hour and forty five minute movie, right. That means forty
Speaker 1: five minutes need to go. Robert Rodriguez turned in a
Speaker 1: twenty four minute segment. They're not going to touch it.
Speaker 1: Tarantino refuses to cut anything. The forty five minutes has
Speaker 1: to come out of Rockwell and Anders ouch.
Speaker 2: But but like Tarantino's is the one that probably could have
Speaker 2: used the most cutting, because he really just like, how
Speaker 2: long does that money?
Speaker 3: The money counting gag? Tho?
Speaker 2: It's like a ten minute gag. I got one hundred
Speaker 2: dollars and then they just keep counting more money, but
Speaker 2: it just never ends. And I'm just like, who's editing this?
Speaker 3: Why is this taking so long? Why that should just
Speaker 3: be like three shots?
Speaker 2: You're done so well, stack one money stack, big bigger
Speaker 2: stack of money, big giant stack of money. Reaction shot,
Speaker 2: So you need to tell that story. I don't know
Speaker 2: why he goes on and on and on.
Speaker 1: And ten minutes to that's what that should have been
Speaker 1: ten minutes.
Speaker 3: And you know what else this reminds me of.
Speaker 2: It reminds me of every bad Tarantino ripoff movie from
Speaker 2: that came out after pul Fiction.
Speaker 1: It does feel that way with.
Speaker 2: These, like with the long theories and the long like
Speaker 2: dialogue about nothing shit. Okay, look we get it, ROYAUI cheese.
Speaker 3: But everything is that.
Speaker 2: It was like ten hours of everything he cut out,
Speaker 2: of all the shit from his other stuff. Oh, I
Speaker 2: really want to use this, this treatise on whatever he's
Speaker 2: talking about.
Speaker 3: I can't even remember. And I watched it this morning
Speaker 3: and I read him and he's such a shitty actor.
Speaker 1: He really is.
Speaker 3: He like, I can't say how much I love and
Speaker 3: Glora's Bestard. I love that movie.
Speaker 2: I love Hate Fulate like I love a lot of
Speaker 2: Tarantino movie.
Speaker 3: But man, he cannot act it. When he goes up
Speaker 3: in pulp Fiction, it's unbearable. I think he just wanted
Speaker 3: to say the D word on screen.
Speaker 2: There's no reason that his dialogue should have gone on
Speaker 2: that long.
Speaker 3: And now to cast himself as the lead in is Ooh.
Speaker 3: But in his defense, he never did it again.
Speaker 1: I think that he recognized that this opportunity doing an
Speaker 1: anthology film was the only time that people were going
Speaker 1: to accept him as the lead, so he went for it.
Speaker 1: And I admire that, but it didn't help.
Speaker 3: No, because then from here, I take it back, he
Speaker 3: did do it again, because obviously his most famous movie
Speaker 3: role is next.
Speaker 1: In Dustill Dawn, and he's good in that. I think
Speaker 1: he's a terrible actor, but I liked him in that movie.
Speaker 2: But I don't know how they I guess I guess
Speaker 2: since he's playing his brain isn't quite like he's probably
Speaker 2: a little under underdeveloped, a little undercooked, because I can't
Speaker 2: imagine him and George Clooney being brothers.
Speaker 1: But then he also he turns into a Frankenstein monster
Speaker 1: instead of.
Speaker 3: To Frankenstein vampire.
Speaker 2: And then you know he did write the I'm going
Speaker 2: to write the Hottest woman in the Universe's role to
Speaker 2: put her foot in my mouth.
Speaker 1: Listen, any of us would have done that.
Speaker 3: I would have picked something else.
Speaker 1: Oh sure, depending on how well I knew Salama right.
Speaker 2: Oh my god, I don't know how I've been able
Speaker 2: to direct. I don't know, like I can't help. But
Speaker 2: I'm a hopeless romantic, I really am. And man, I'm
Speaker 2: a hike as something else still to this day, and
Speaker 2: if you aren't anymore, she's really good actor, spectacular actress. Yes,
Speaker 2: absolutely everything she does is spectacular. Her comedic timing is wonderful,
Speaker 2: even in those in like those stupid grown ups movies,
Speaker 2: and she carries herself really well in those. And you know,
Speaker 2: if I would like to see her direct more, Freida
Speaker 2: is great. She's awesome in that she's just yeah, she's
Speaker 2: I've always thought she's I think she's rated. I think
Speaker 2: everybody appreciates Salma Hyak and no one's gonna say anything.
Speaker 1: How could that? She's fucking awesome, I mean, you know,
Speaker 1: and look at her. Yeah, and just on top of
Speaker 1: everything else, because she's she's a really good actress, right,
Speaker 1: and the great producer and you look like that. Stop it,
Speaker 1: just stop it.
Speaker 3: On thirty Rock when she plays the.
Speaker 1: Nerd, oh my god, I'm gonna have to do a
Speaker 1: Sma cast.
Speaker 3: Yeah, Salma cast. Oh my goodness. But this bit is
Speaker 3: such a disappointment at all levels. It's just too bad.
Speaker 3: I'm glad they had fun making it.
Speaker 1: I guess evidently there there were some like let's say
Speaker 1: bruised egos here now, because you two have to cut
Speaker 1: your shit down. In fact, Antonio, there was a there
Speaker 1: was supposed to be a stinger at the end that
Speaker 1: harkened back to the Alice Anders story. There was another
Speaker 1: bit with the goddess that was supposed to occur, and
Speaker 1: Tarantino announced he would be directing that and Alice and
Speaker 1: Andrews was like, well, it's my segment. Why would you
Speaker 1: be doing that? And he was like, I just I'm
Speaker 1: just doing all the incidental stuff. So I don't know
Speaker 1: how good friends they were at the end or are
Speaker 1: now or whatever, but.
Speaker 3: I yike, oh, I don't know who was the goddess.
Speaker 1: Diana was played by Amanda They cut an it. He's
Speaker 1: a presenter of the Big Breakfast.
Speaker 3: It's a weird move.
Speaker 2: I don't know how I even count. It was like
Speaker 2: almost it was like not even finished. The best part
Speaker 2: of the movie was the cartoon stuff. It was the
Speaker 2: animated at the beginning. She just made the whole.
Speaker 3: Movie a cartoon.
Speaker 1: Yeah. It's set a vibe that the rest of the
Speaker 1: film could not handle to it.
Speaker 3: I think it wanted to be that and it couldn't,
Speaker 3: and that's a hard thing to do.
Speaker 2: Like we did a we just did a forty eight
Speaker 2: hour film challenge.
Speaker 3: We've never done that.
Speaker 2: Like we're really meticulous filmmaker, That's why we don't have
Speaker 2: a huge flungerings. We take forever on everything. So I'm like,
Speaker 2: let's see if we can just bang it out. And
Speaker 2: we did and we got through it. But it's funny
Speaker 2: and it works. Making shit funny is hard and it's
Speaker 2: not for everybody. And I don't and I don't see
Speaker 2: anybody with comedy chops in this movie. And I feel
Speaker 2: that you're trying to make broad comedy and the only
Speaker 2: one who gets broad comedy is Rodriguez and Roco gets
Speaker 2: it a little more, but nobody really.
Speaker 1: He's a four unfunny filmmakers making a comedy. This is
Speaker 1: Steven Spielberg making nineteen forty one.
Speaker 3: Yeah, this is a.
Speaker 2: This should be a Marx Brothers movie. This should be
Speaker 2: a Jerry Lewis movie.
Speaker 1: Like that's exactly what it needs to be. Like like
Speaker 1: I said, this pakes this takes place on New Year's Eve?
Speaker 1: Where are the festivities others? Like in one room where
Speaker 1: it just seems like a bunch of assholes screaming over music. A.
Speaker 2: Lawrence Bender has the same credit in this as he
Speaker 2: does in Pulp Fiction. What is long haired Yuppi's come?
Speaker 1: He does seem that way?
Speaker 3: Good on him. Though he made a lot of movies.
Speaker 1: Is he's producing still Larry's bastard? He did Capone, he
Speaker 1: did Goreta. I's got a movie coming out called How
Speaker 1: Kids Roll?
Speaker 3: He made my college years. His movies made me happy.
Speaker 1: With the Golden Raspberry Award, Oh did it? And well
Speaker 1: deserved no, because they gave it to Madonna. Yeah, but
Speaker 1: I can think of a thousand other worst things worse
Speaker 1: the outfit? How about the set decorator? How about they
Speaker 1: get the fucking award.
Speaker 3: I've seen shorts shot at hotel rooms in vegasm.
Speaker 1: Most of these don't look cinematic at all. Alison Anders
Speaker 1: and Tarantinos, the book ends of this just seem like
Speaker 1: they're from television series.
Speaker 2: Yeah, they're really flat. And I'm thinking again the pedigree,
Speaker 2: like you just guys, the guys that just made pulp Fiction,
Speaker 2: come do this. I just assumed cocaine.
Speaker 1: He assumed something alcohol. Yeah, cocaine seems like that that
Speaker 1: the movie would have energy. This movie has no I.
Speaker 3: Have any energy. The only one who had any energies
Speaker 3: Tim Roth, and he had.
Speaker 1: A little too much energy at the start too.
Speaker 2: Yeah, he was like doing this whole like physical thing
Speaker 2: where he was just I don't know, honestly spastic that
Speaker 2: right word, but it looked like he was having sea
Speaker 2: shows as he was walking around.
Speaker 3: It was really weird. Man.
Speaker 1: This is just proof of anthology model. You're gonna have
Speaker 1: ups and down, and in some cases the downs are
Speaker 1: so down that you might not even recommend the movie.
Speaker 1: Do you recommend?
Speaker 3: No, no, no no.
Speaker 2: For Alison Anders, I go recommend I he is a
Speaker 2: guess who lodging? I love Brace of My Heart? You know,
Speaker 2: definitely that. What should we see from Alexander Rockwell.
Speaker 1: Instead in the soup? Check out in the soup immediately
Speaker 1: it's great.
Speaker 3: What about Rodriguez? What's your favorite one from him?
Speaker 1: Ooh? Might be from Dustill Down.
Speaker 2: Honestly, yeah, I was gonna say Dustill Don is great.
Speaker 2: I'm a big fan of Once upon a Time in Mexico.
Speaker 2: It's a neat It's an interesting movie.
Speaker 1: I like these spy kids movies.
Speaker 3: Yeah.
Speaker 2: I like Sin City a lot. We did an episode
Speaker 2: of yes, but from Dustill down is I think it's
Speaker 2: really cool. It's a jarring transition in there, but man,
Speaker 2: it's I think I always thought it worked. I always
Speaker 2: thought it was really unique and it played really well.
Speaker 2: I don't think I don't think Tarantino gonna directed that though.
Speaker 1: Oh no, no, for so that's rodrigueze it Tarantino recommend
Speaker 1: over this.
Speaker 2: I think Glorious Bastards I love and glorious Bastards. I
Speaker 2: also am very fond of Jackie Brown and I am
Speaker 2: fond of those two Kill Doll movies.
Speaker 1: But if I were to recommend to Quentin Tarantino movie,
Speaker 1: I would do it once upon a time in Hollywood.
Speaker 3: Yeah, that's pretty good.
Speaker 1: Thank you, pretty best thing. All right, ladies and gentlemen,
Speaker 1: thank you once again for joining us here at end
Speaker 1: Folingu's Attack an Tony. When you're not here and you're
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Speaker 1: here at midnight viewing Anthologies Attack one hundred episodes.
Speaker 3: Congratulations, good night y'all. Siss s, sneaking
Speaker 2: Sass,