Latest / Houselights: A Film Director Podcast / The Hateful Eight (2015) - Quentin Tarantino | Houselights #219

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The Hateful Eight (2015) - Quentin Tarantino | Houselights #219 · Houselights: A Film Director Podcast

0:03
Speaker 1: Welcome to the ned Palty.
0:21
Speaker 2: Welcome back to House Lights, specifically the House of Tarantino,
0:25
Speaker 2: where we are looking at the works of Quentin Tarantino
0:28
Speaker 2: in order. And we are here at his eighth film,
0:31
Speaker 2: The Hateful Eight, and I am one of your hosts,
0:35
Speaker 2: John Mills, and I am joined by professional hangman Darren
0:39
Speaker 2: Moser and suspicious haberdasherie clerk Tristan Riddell here to discuss
0:45
Speaker 2: The Hateful Eight, which for these two gentlemen, seated across
0:50
Speaker 2: this wooden table in the middle of a blizzard. This
0:52
Speaker 2: is their first time seeing and discussing this film, whereas
0:56
Speaker 2: I'm the old vet who has been through the war
0:59
Speaker 2: with this film times and am happy to go through
1:03
Speaker 2: and recount everything with you. So here we are film
1:05
Speaker 2: number eight from Quentin Tarantino, a movie that has two
1:08
Speaker 2: different versions that were released. One was the road Show edition,
1:12
Speaker 2: which was nineteen minutes longer than the addition that you
1:15
Speaker 2: will find in wide release or on the Blu Ray.
1:18
Speaker 2: And so we did watch the road Show edition this
1:21
Speaker 2: time because it is the preferred edition from mister Quentin Tarantino.
1:26
Speaker 2: We watched it digitally, of course, even though he avoided
1:28
Speaker 2: the use of any digital media as much as he
1:32
Speaker 2: could in the finishing of the Road Show edition. So
1:37
Speaker 2: here we are, and gentlemen, I want to just embrace
1:40
Speaker 2: this from the beginning. This is a very lengthy film.
1:44
Speaker 2: And Darren, I know that you're a particular fan of
1:47
Speaker 2: long films. In fact, every week after we record, you're like,
1:50
Speaker 2: I need longer films in my life. Please, we need
1:53
Speaker 2: to finally discuss The Cure for Insomnia, a legendary film
1:57
Speaker 2: that was seventeen hours long. I got to know, was
2:01
Speaker 2: this film pushing the envelope for you in terms of
2:04
Speaker 2: length or were you overjoyed to see what Tarantino could
2:08
Speaker 2: possibly keep you captive for for that long? No length,
2:11
Speaker 2: It actually didn't bother me for once his chapter approach,
2:15
Speaker 2: you know where the titles come up and say, you
2:18
Speaker 2: know the like it, Those are actually kind of evenly
2:21
Speaker 2: spread throughout you know the story, and so that kind
2:25
Speaker 2: of helped, you know, if I needed to take a
2:27
Speaker 2: pause or anything like that. I mean, it's obviously different
2:30
Speaker 2: watching at home in your own home entertainment versus in
2:34
Speaker 2: a theater where you know yours, you are there, you know,
2:38
Speaker 2: if you need some popcorn, you're running And this is
2:41
Speaker 2: definitely a movie you don't want to miss a line
2:43
Speaker 2: of dialogue because you're going to be lost if you
2:46
Speaker 2: if you miss anything. But yeah, no, Now I'm I'm
2:50
Speaker 2: curious that John, on something you said in your intro,
2:52
Speaker 2: you said that Tarantino was trying to stay.
2:55
Speaker 3: Away from anything digital. Did he did he shoot this
2:58
Speaker 3: on film and like cut it with a razor blade?
3:01
Speaker 3: Or was not taking it a step too far?
3:04
Speaker 2: Well, all I know is that doing the research for
3:06
Speaker 2: this which I have actually read about this before and
3:09
Speaker 2: I read about it again, But yes, they worked to
3:12
Speaker 2: avoid digital intermediaries in the processing for this film. They
3:16
Speaker 2: shot it in ultra panavision seventy millimeter, they used the
3:20
Speaker 2: special lenses, they went all out. This is Tarantino did
3:24
Speaker 2: homages to the grindhouse cinema with everything from kill Bill
3:30
Speaker 2: to death Proof to Django Unchained and this is his
3:34
Speaker 2: homage after Django to the big epic westerns of yesteryear.
3:41
Speaker 2: And so yes, they avoided the use of digital intermediaries
3:44
Speaker 2: as much as they could in process for this. Now
3:48
Speaker 2: for the wide release obviously they couldn't. But yes, his
3:51
Speaker 2: whole dedication to this because Tarantino so as someone who
3:56
Speaker 2: respects committing to a bit. Tarantino really is holding onto
3:59
Speaker 2: this film thing is as hard and long as he can.
4:02
Speaker 2: But Tristan, you didn't have the Netflix subscription where he
4:06
Speaker 2: mails you like an eight milimeter reel, because that's what
4:09
Speaker 2: I got.
4:09
Speaker 3: It just you know, popped in in a big box and.
4:13
Speaker 2: Hey, if I'm going to buy vinyl, I might as
4:15
Speaker 2: well buy that. But Tristan, I, you know, I saw
4:17
Speaker 2: your I go up. I have a feeling that you
4:20
Speaker 2: don't necessarily agree with Darren that the length of this
4:23
Speaker 2: film was warranted. So let's just go ahead and go
4:25
Speaker 2: after that right away.
4:26
Speaker 3: I put words in my mouth, John, I didn't say warranted.
4:29
Speaker 3: I just said like it was digestible, in fer enough, by.
4:34
Speaker 2: Fair enough, fair enough. So Tristan, the big question always you.
4:38
Speaker 2: You love to talk about macro and micro editing. How
4:41
Speaker 2: angry were you at the end of the Hateful eight
4:43
Speaker 2: road Show edition?
4:44
Speaker 4: Oh? God, for me, it was. And some of you
4:46
Speaker 4: might have guessed by the sound of my voice, I've
4:48
Speaker 4: been sick for about two weeks. No, you're yelling about your.
4:51
Speaker 3: Television after watching this movie.
4:53
Speaker 4: We know I was actually in a blizzard the entire time.
4:56
Speaker 4: That's Actually that's why I was one of the bodies
4:58
Speaker 4: on top of the stage. Coach thought I was dead.
5:01
Speaker 2: You know, method acting is something you really have to
5:03
Speaker 2: commit to, and sir, I salute you.
5:05
Speaker 4: Yeah. So with this one, it was it was interesting
5:09
Speaker 4: because you know how to watch it and be like, oh, wow,
5:11
Speaker 4: this is boring as hell, and then something interesting would happened,
5:14
Speaker 4: and then it kept going and I'm like, oh God, dang,
5:17
Speaker 4: this is boring as hell again. Then something interesting would happened,
5:19
Speaker 4: and then we got to the end. I was like, Wow,
5:21
Speaker 4: this is really interesting that we should have done more
5:23
Speaker 4: of this. And I think by the end of the
5:27
Speaker 4: by the end of the movie, I wasn't angry that
5:29
Speaker 4: I watched three hours and seven minutes of a movie.
5:31
Speaker 4: That's because that's fine. I'll watch a long movie if
5:33
Speaker 4: I think it's warranted. I think I was angry that
5:36
Speaker 4: I probably would have liked the theatrical more. But I
5:39
Speaker 4: don't have the constitution to go back and watch the
5:42
Speaker 4: theatrical and find out.
5:43
Speaker 2: Really, because I've seen both versions, and I can tell
5:47
Speaker 2: you I even watched it when it was released on
5:49
Speaker 2: Netflix in the four episodes or whatever, and I can
5:53
Speaker 2: tell you that very strangely, it doesn't work.
5:56
Speaker 4: I want to ask you about that. I want to
5:58
Speaker 4: ask you about that because you have you're a stickler
6:01
Speaker 4: with that stuff. You're like, if you're going to release
6:03
Speaker 4: these episodes, why release it as episodes? Release it as
6:07
Speaker 4: something cohesive together. Like just recently, and Or season two
6:11
Speaker 4: announced that it was going to be releasing three episodes
6:14
Speaker 4: at once, and we all know that from the previous
6:16
Speaker 4: season that three episodes constituted a story arc. And so
6:20
Speaker 4: a lot of people, including you, John, are asking a question,
6:23
Speaker 4: why are we adding opening titles and closing titles in
6:26
Speaker 4: between each of these episodes. If it's one story arc
6:29
Speaker 4: and you're releasing it all at once, why not give
6:31
Speaker 4: us a mini movie? And so my question is why
6:35
Speaker 4: does it work? If it's the same bloody material, Why
6:39
Speaker 4: does it work not episodically? Yet? Wait, I'm saying that weird?
6:43
Speaker 4: You know what I'm trying to say? Why does the
6:45
Speaker 4: road Show edition work and the Netflix episodes don't? Tell
6:48
Speaker 4: us why?
6:50
Speaker 2: In my opinion, it is because a film, regardless of
6:53
Speaker 2: whether you think, oh, this film was too long, this
6:55
Speaker 2: film was too short, what have you When you sit
6:58
Speaker 2: down and you write a whole work when you pose
7:00
Speaker 2: a whole piece of something, you are looking at it
7:03
Speaker 2: through that lens. You're saying, here's my beginning, here's my mill,
7:06
Speaker 2: here's my end, here are my chapter breaks. Here are
7:08
Speaker 2: those sorts of things. And then to go back and
7:11
Speaker 2: make what are arguably arbitrarily enforced breaks because you say, Okay,
7:16
Speaker 2: this is how long an episode quote unquote should be.
7:20
Speaker 2: Then you're going back and you're interrupting whatever flow that
7:23
Speaker 2: you had. So again, whether the film is too long
7:27
Speaker 2: or not, you're interrupting the flow that you had. From
7:29
Speaker 2: what you would say the macro perspective, there's a pacing
7:33
Speaker 2: thing too, because I think the pacing of Hateful Eight
7:35
Speaker 2: is part of the character of the film. It's supposed
7:38
Speaker 2: to be that sense of plotting, despair of it's that
7:42
Speaker 2: slow moving train through the whole time. And if you
7:45
Speaker 2: cut it up so that it's not the chapter breaks,
7:47
Speaker 2: it's the because it.
7:49
Speaker 4: Was was the Netflix episodes, not cut up by.
7:51
Speaker 2: Chapter, not strictly, no, not strictly.
7:54
Speaker 4: Okay, Okay, So okay, that's I think I can understand
7:57
Speaker 4: you're feeling about that much more now because I feel like,
8:01
Speaker 4: if they just cut it up by chapter, I'm like,
8:03
Speaker 4: what's a big deal. I mean, that's a natural. That's
8:05
Speaker 4: a natural.
8:05
Speaker 2: But the chapters are not of equal length throughout the
8:09
Speaker 2: whole film. And where is that better? Well, because the
8:11
Speaker 2: thinking basically it could maybe it could have worked if
8:15
Speaker 2: Tarantino would approach it differently. Let's put it that way,
8:18
Speaker 2: because it was just something where it never established its flow.
8:22
Speaker 2: And I think that might speak to part of what
8:24
Speaker 2: you're saying. Your problem with it was was you were like, Oh,
8:26
Speaker 2: I'm bored as hell, and then something interesting happens and
8:29
Speaker 2: it's like that.
8:30
Speaker 4: It's like an episode of Walking Dead.
8:32
Speaker 2: See the thing is, I'm gonna come let me come
8:34
Speaker 2: back to that. Darren. Do you agree with Tristan that
8:36
Speaker 2: this was primarily boredom with periodic interesting moments.
8:40
Speaker 3: Well, at first, I've pulled up the Extended Chapter edition
8:44
Speaker 3: on Netflix and they're really close. It's fifty to fifty one,
8:48
Speaker 3: fifty three and fifty six.
8:50
Speaker 2: But they have recaps at the beginning. We have every.
8:52
Speaker 4: Episode that's not good enough, Darren, that is not good enough.
8:55
Speaker 4: It needs to be fifty one seconds, and it needs
8:57
Speaker 4: to be fifty one minutes and thirty seconds exactly.
9:00
Speaker 3: Well, I would just skip the recap and the intro
9:02
Speaker 3: because why you know, honestly.
9:04
Speaker 2: Why I'm on there if you don't, if you don't
9:07
Speaker 2: want me to watch them, Darren.
9:08
Speaker 3: Well, why that's why they have the pop up button
9:11
Speaker 3: of skip intro.
9:12
Speaker 2: But now that's that's because you younger generation don't appreciate
9:16
Speaker 2: true television. That's why, well, given television.
9:20
Speaker 3: It makes me think of, you know, the difference between
9:23
Speaker 3: like modern cartoons and like these are nineties cartoons, meaning
9:29
Speaker 3: the the commercial break pause, you know, where you would
9:33
Speaker 3: have it's like done, done, done, and then it would
9:35
Speaker 3: just cut to black for a second and then come back.
9:37
Speaker 3: And watching that in the streaming era, watching older things,
9:41
Speaker 3: it's so jarring because you're like, wait, why did we
9:44
Speaker 3: why did we stop for a second? You know, because
9:47
Speaker 3: we know that there's a commercial break there, and that
9:50
Speaker 3: would you know, that's why things are Maybe we're talking
9:53
Speaker 3: about the transformers coming back after these messages, but you
9:56
Speaker 3: don't see that. And obviously modern nothing is made too,
9:59
Speaker 3: even if it is in broadcast television, they hide the cuts.
10:04
Speaker 2: Yeah, it's not pause like that. Well, I also want
10:07
Speaker 2: to say that it's the chapters themselves that are out
10:10
Speaker 2: of equal length. I don't care whether the Netflix episodes
10:13
Speaker 2: are the same length the chapters themselves in the film.
10:16
Speaker 3: So it could be like five minutes into chapter four
10:19
Speaker 3: and that's when chapter four comes up on the screen
10:21
Speaker 3: or something like that.
10:22
Speaker 2: It's not he rearranged stuff so that it's just basically
10:26
Speaker 2: the overall flow. Maybe I need to go back and
10:28
Speaker 2: rewatch it. Maybe I was just sort of bad mood
10:30
Speaker 2: when I watched it the first time.
10:32
Speaker 3: Well, but to answer your question though about the you know,
10:35
Speaker 3: stretches of boredom poigned by action, I can see where
10:39
Speaker 3: Tristan is coming from. But I was just really enjoying,
10:45
Speaker 3: you know, because you know, being a film major once
10:48
Speaker 3: upon a time, you know, one of the things I
10:51
Speaker 3: liked about this movie was the I mean, you really
10:54
Speaker 3: have two locations. You have like the stage coach and
10:56
Speaker 3: you have the habitatary. And so was very much like
11:01
Speaker 3: I watched this as a you know, as a film
11:05
Speaker 3: student view like, okay, here class, you're given a room
11:09
Speaker 3: and eight characters that and it's and because it's in
11:12
Speaker 3: this wild West setting of a lot comes down to
11:15
Speaker 3: what people say, A lot. A lot comes down to,
11:18
Speaker 3: you know, trust is super important and what you you know,
11:21
Speaker 3: trusting your gut of who you can trust. So yeah,
11:25
Speaker 3: there were definitely times between action where it's like, Okay,
11:28
Speaker 3: could that have been shorter? Yes, you know, it's a
11:31
Speaker 3: slow burn at times, but it just I think if
11:35
Speaker 3: this wasn't a Western westerns give that that kind of
11:40
Speaker 3: lawless era of everything is about consequences and risk, you know,
11:45
Speaker 3: because any you know, especially these people, you walk into
11:48
Speaker 3: a building, everybody has a gun. What's to stop everyone
11:52
Speaker 3: from shooting everybody else? Well, you have rules and law
11:55
Speaker 3: and deciding factors, but at the end of the day,
11:59
Speaker 3: you know, it's Tarantina move.
12:00
Speaker 2: They're all going to shoot themselves.
12:01
Speaker 3: But yeah, all that to say, I do agree that
12:04
Speaker 3: it could have been trimmed, but it wasn't necessarily something
12:08
Speaker 3: I hated about the movie.
12:10
Speaker 2: I like movies, Tristan see. I will fully, fully cop
12:15
Speaker 2: to the fact that I the first time I watched this.
12:18
Speaker 2: Now obviously this is your you guys, your first time
12:21
Speaker 2: watching it. Tarantino seems to release films around monumental times
12:25
Speaker 2: in life, at least for me, because why do I
12:28
Speaker 2: miss previous ones because you know, blah blah blah, I'm
12:31
Speaker 2: getting married, I'm doing it. About all this type of stuff.
12:33
Speaker 2: Hateful Eight is released in December of twenty fifteen, which
12:38
Speaker 2: was about a month after my third child was born.
12:43
Speaker 2: And even if I could have managed to drag myself
12:45
Speaker 2: to go to the AFI theater, because I was still
12:48
Speaker 2: living in the DC metro area at the time, I
12:50
Speaker 2: could have seen the road show edition in person, it
12:53
Speaker 2: would have been terribly irresponsible of me as a father
12:56
Speaker 2: to do show do so, and so I did not,
12:59
Speaker 2: And then of course it disappeared from theaters around me
13:02
Speaker 2: fairly quickly, because getting a three hour time slot on
13:07
Speaker 2: a movie that isn't an Avengers movie is incredibly difficult,
13:10
Speaker 2: you know, so because this was never going to light
13:13
Speaker 2: the box office on fire. And it's a western, like
13:17
Speaker 2: you know, I've seen all those chart graphs of you know,
13:19
Speaker 2: the rise and fall of musicals and westerns and sci
13:23
Speaker 2: fi and action and comedy and westerns. They're not super
13:26
Speaker 2: hot right now. Not that they're not good there, not
13:29
Speaker 2: what the average viewer is really chopping for.
13:31
Speaker 4: I want to talk to you guys about that. Okay,
13:34
Speaker 4: the composer John.
13:35
Speaker 2: What's his name, Ennio Morricone, I've heard it pronounced Morcone
13:38
Speaker 2: and Morriconi both I've heard it pronounced both ways.
13:42
Speaker 4: Let's say Marconi, because I think Falconi is better than Falcone.
13:46
Speaker 2: I agree.
13:46
Speaker 4: So he doesn't consider this a western, a western, a
13:49
Speaker 4: Western Where'd you stay last Night? It's more of a
13:51
Speaker 4: holiday in yes, So he doesn't consider this a Western,
13:55
Speaker 4: and so he approached this completely different musically he can.
13:59
Speaker 4: He said that he an adventure film, and as I
14:03
Speaker 4: was reading that, it kind of dawned on me that, like,
14:05
Speaker 4: I don't I feel like this movie. There are parts
14:09
Speaker 4: of it. I mean like you'd have to rework it,
14:10
Speaker 4: of course, and everything like that, But I feel like
14:12
Speaker 4: this could have been something in the vein if it
14:14
Speaker 4: wasn't for the bounty hunting, which is kind of I
14:16
Speaker 4: mean that that's a big if you know, like that's
14:19
Speaker 4: that's that's hard to say. But with the bounty huntering
14:23
Speaker 4: and like you know, like taking dead or alive and
14:25
Speaker 4: everything like that, this movie did not feel like a
14:28
Speaker 4: Western to me. Because to me, with all the Westerns
14:32
Speaker 4: that I've seen and in studying westerns and everything like that,
14:35
Speaker 4: there's one thing that you've heard me say on this
14:36
Speaker 4: podcast before is that landscape is incredibly important to Westerns
14:43
Speaker 4: and about the distance between now. While that is typically
14:47
Speaker 4: done in a physical space, I feel that Tarantino did
14:50
Speaker 4: a very good job of showcasing the distance in between
14:53
Speaker 4: and the landscape between the north and the south, within
14:55
Speaker 4: the within the habitatary. I think that was the blocking
14:58
Speaker 4: is very well done.
14:59
Speaker 3: Like it.
15:00
Speaker 4: If anything, the best thing about this movie is the
15:02
Speaker 4: blocking one in order to keep track of all of
15:06
Speaker 4: that and make sure where everybody is and where they
15:08
Speaker 4: shouldn't be. I mean that in itself is a feat
15:11
Speaker 4: of directing. But to me, there is nothing about this
15:13
Speaker 4: that absolutely screened Western besides the horses. Sorry sorry, yeah,
15:20
Speaker 4: besides the horses. No, Like, there's a few things. Like
15:23
Speaker 4: there's so many times where like you'll see a movie
15:27
Speaker 4: and it'll be like it's it's it's not really a
15:29
Speaker 4: Star Trek movie. It just has a Star Trek skin.
15:32
Speaker 4: To me, I feel it could be argued this isn't
15:33
Speaker 4: a Western movie, it just has a Western skin. What
15:36
Speaker 4: do you guys think about that?
15:37
Speaker 2: I will disagree on these grounds in that I think
15:42
Speaker 2: that you have plenty of instances in older Westerns where
15:47
Speaker 2: they have a contrast between the big expanses of being
15:51
Speaker 2: out west and then pulling inside to the smaller location.
15:55
Speaker 2: I understand what you're saying. I don't dismiss it. I'm
15:58
Speaker 2: saying that I think that the landscape establishing shots in
16:02
Speaker 2: the beginning firmly root it there to give you that
16:05
Speaker 2: sense of place. You understand you're occurring in a Western,
16:08
Speaker 2: which to me also carries a connotation of time time period.
16:13
Speaker 2: A Western only exists in my brain within a certain
16:16
Speaker 2: time period. And those opening shots boom, that's a Western.
16:20
Speaker 2: That's where you go and you pull everybody in. And
16:23
Speaker 2: I think that that is actually one of the strengths
16:26
Speaker 2: of the movie is you're aware of that outside and
16:28
Speaker 2: you're aware you can't escape. So it takes away the
16:31
Speaker 2: one thing in a Western that's typically a staple scene
16:35
Speaker 2: as somebody running off into the horizon trying to get
16:37
Speaker 2: away and getting gunned down anyway sort of thing. Instead,
16:40
Speaker 2: it starts big and then pulls in until eventually even
16:44
Speaker 2: going to the outhouses out of the question. When Obi
16:47
Speaker 2: goes out for the last time, he says, I'm never
16:48
Speaker 2: going out there again, and it's like, you realize even then,
16:52
Speaker 2: until this storm dies down, everybody's holding it or pooping
16:55
Speaker 2: in a corner sort of thing. So that's why I
16:57
Speaker 2: would go with a Western, Darren be the tie breaker.
17:00
Speaker 3: I mean, I mean, yeah, you watch the cinematicness of
17:03
Speaker 3: the opening shots, and even the title card of the
17:06
Speaker 3: overture is just you know, it's screaming, wide open, wide format, Lawrence.
17:13
Speaker 3: You know, all sorts of which you know are very
17:16
Speaker 3: synonymous with westerns. I mean, yeah, the it's interesting what
17:19
Speaker 3: you said about the music because I really do see that.
17:22
Speaker 3: It makes me think of where he was just told
17:26
Speaker 3: make music.
17:26
Speaker 2: And I'm paraphrasing highly.
17:28
Speaker 3: I don't remember the exact situation, but it was like
17:30
Speaker 3: make music and then he basically fit it to what
17:33
Speaker 3: he shot and it was so but it worked. It
17:36
Speaker 3: worked in a crazy way. It's not probably not exactly
17:39
Speaker 3: how it went down, but it was something like that.
17:42
Speaker 2: What you're saying there in Tristan correct me if I'm wrong.
17:44
Speaker 2: Isn't that the way Resnor works with Fincher is they
17:46
Speaker 2: like just make like nine billion hours of music and
17:49
Speaker 2: then they spot it.
17:50
Speaker 3: But it gave them like tone and things to hit.
17:53
Speaker 3: But it was very It wasn't like this is the
17:55
Speaker 3: space docking scene.
17:57
Speaker 4: I could be wrong, Darren, but like I mean to
17:59
Speaker 4: like a Resner and his partner. Oftentimes we'll just make
18:04
Speaker 4: just a crap ton of music and a lot of tones,
18:06
Speaker 4: and then Fincher will just take it and just throw
18:09
Speaker 4: it down. Darren with with Zimmer and Interstellar, I don't
18:13
Speaker 4: remember it being that vague. I'm not saying you're wrong, Yeah,
18:16
Speaker 4: but I thought I thought it was more. I think
18:19
Speaker 4: the main thing that that Nolan hid from Zimmer was
18:23
Speaker 4: he didn't tell him that it was a father daughter relationship.
18:27
Speaker 4: He just said father child relationship because he thought that
18:30
Speaker 4: if he told him it was a father daughter relationship
18:33
Speaker 4: it would alter what he thought it should be naturally,
18:36
Speaker 4: and because the like for a man, we're all girl dads,
18:40
Speaker 4: but like first sometimes like a father son relationship is
18:43
Speaker 4: mainly what we see in movies, and so Nolan didn't
18:45
Speaker 4: want Zimmer to for his brain to automatically go to
18:49
Speaker 4: something you know, more feminine, I guess intentionally. And so
18:53
Speaker 4: that's the only thing I remember him keeping a secret.
18:55
Speaker 3: Yeah, it's some mix of all of that where it
18:57
Speaker 3: wasn't necessarily secrets, but it was I think broad strokes
19:01
Speaker 3: of like the intent of the scene and the mood,
19:04
Speaker 3: which you know, you'd think it's almost like conducting without
19:07
Speaker 3: watching the movie first, you know, which is we would
19:10
Speaker 3: be like that's crazy, but well it worked.
19:12
Speaker 2: In the John Williams era. It's the complete antithesis of
19:16
Speaker 2: the way he works, which is like he looks at
19:18
Speaker 2: a you know, like a rough cut of it and
19:19
Speaker 2: comes up with stuff and everything. But so long as
19:22
Speaker 2: we're talking about the score, which did score Marconi his
19:26
Speaker 2: first and only Oscar. The music that he composed for
19:29
Speaker 2: it also brought in three unused tracks that he had
19:32
Speaker 2: originally composed for the Thing, and even used Reagan's theme
19:37
Speaker 2: from Exorcist to the Heretic. And I find all of
19:40
Speaker 2: that very fascinating because the two of you might know
19:43
Speaker 2: better than I do. But I remember very specifically that
19:46
Speaker 2: come what May, which was a beautiful song first performed
19:51
Speaker 2: in Mulin Rouge with you and McGregor and Nicole Kidman,
19:54
Speaker 2: who's bos Lerman movie, was originally written for his adaptation
20:00
Speaker 2: of Romeo and Juliet, And as such, unless I'm remembering
20:04
Speaker 2: very wrong, it was disqualified from consideration Best Original Song.
20:08
Speaker 2: So my question is is it just because those three
20:12
Speaker 2: tracks from the Thing were unused that, like, I know
20:15
Speaker 2: that some certain percentage of the soundtrack has to be
20:18
Speaker 2: original material in order for it to count toward the
20:21
Speaker 2: score nomination. That's like all these weird byzantine rules, you know,
20:25
Speaker 2: with the Academy and everything. But I'm guessing, I mean,
20:27
Speaker 2: shouldn't that have disqualified the score at some point? I
20:30
Speaker 2: don't want it to. I think this is a beautiful score.
20:32
Speaker 2: I love it.
20:33
Speaker 4: But you know, I mean, yeah, I mean you're you're
20:35
Speaker 4: one hundred percent right about Come what may and the
20:38
Speaker 4: history behind the awards, and it was ineligible for Academy
20:41
Speaker 4: Award for Best Song. But the thing is, it doesn't
20:44
Speaker 4: mean it could be different rules for score.
20:47
Speaker 2: But see that's that's sort of the thing that I
20:49
Speaker 2: would go to as well in defense of the film
20:52
Speaker 2: taking the time that it does, is those three tracks
20:56
Speaker 2: that he repurposed from the thing, I think really speak
20:59
Speaker 2: to the fact that this is kind of a horror
21:02
Speaker 2: film along those sane lines, because that's the whole idea
21:05
Speaker 2: of the thing as well, as you're trapped in a
21:07
Speaker 2: snowstorm and you don't know who you can trust inside
21:10
Speaker 2: the inside the small station that you're trapped in. So
21:14
Speaker 2: I think it was very apropos that he you know,
21:16
Speaker 2: I need tracks that evoke this and He's like, I
21:19
Speaker 2: got these three here that I didn't use for the thing,
21:21
Speaker 2: and this is basically the same idea.
21:23
Speaker 4: After a certain point, all of a sudden, Kurt Russell
21:25
Speaker 4: hears it and goes, wait a minute, Yeah.
21:28
Speaker 2: I know this song, but also I wanted to ask
21:33
Speaker 2: because there was a White Stripe song using this apple
21:36
Speaker 2: blossom when we're establishing Daisy Damergo, Tristan, I'll throw it
21:40
Speaker 2: to you first appropriate use. Did you get a kick
21:44
Speaker 2: out of it?
21:44
Speaker 4: I'm a gigantic White Stripes fan. I own every single
21:48
Speaker 4: one of their albums on vinyl. Jack White is a
21:50
Speaker 4: big vinyl fan, and so his vinyl releases are always
21:53
Speaker 4: heavy duty and extra quality. So I have all their stuff.
21:55
Speaker 4: I love all their stuff, and so when I heard that,
21:58
Speaker 4: I got a stupid grin on my face. I don't
22:00
Speaker 4: care if it was used inappropriately or not. Honestly, I'd say,
22:03
Speaker 4: ever since a Nightstale was Heath Ledger, I've been absolutely
22:07
Speaker 4: in love with music used out of time.
22:11
Speaker 2: That's completely fair. Darren. Are you in the Tristan camp
22:13
Speaker 2: with this or were you saying, what is this modern
22:15
Speaker 2: song doing in my eighteen eighties movie here?
22:17
Speaker 3: Which is it's really funny you say this just because
22:20
Speaker 3: at the time of this recording, the and Or season
22:22
Speaker 3: two trailer dropped like yesterday and it has a modern
22:27
Speaker 3: normal soundtrack played over it, and the internet is very
22:31
Speaker 3: divided on that fact. To say the least, but terrible,
22:36
Speaker 3: horrible song choice.
22:37
Speaker 4: I had to watch it again on mute.
22:39
Speaker 3: Yeah, it's not the best song. It has the word
22:42
Speaker 3: rebellion in it, which apparently is enough to put it
22:44
Speaker 3: in the trailer. But I think the energy it conveys
22:49
Speaker 3: I get and that's how I try to interpret it.
22:51
Speaker 3: But all that to say, yeah, no, I think this
22:54
Speaker 3: works fine. It didn't pull me out. You know, there's
22:58
Speaker 3: me except for the little bit of piano play. There's
23:00
Speaker 3: you know, there's no diagetic music. It's there's very there's
23:03
Speaker 3: more tone in this movie where it's kind of thinking
23:07
Speaker 3: back to I think it was The Dark Night, not
23:10
Speaker 3: Batman Begins, but I could be mixing those up where
23:13
Speaker 3: we started to have that long sustained bow pull that
23:17
Speaker 3: just created the Joker's tension, and I got very similar
23:21
Speaker 3: vibes from this movie of just yeah, just building tension.
23:26
Speaker 2: A lot of that.
23:27
Speaker 4: You know.
23:28
Speaker 2: I will also say that I'm not going to watch
23:30
Speaker 2: the and or season two trailer until they cut it
23:33
Speaker 2: into three pieces and then make me watch all three
23:36
Speaker 2: pieces at one time.
23:37
Speaker 4: But three even pieces, blisteringly.
23:41
Speaker 2: Even down to the millisecond or I'm out, I'm not
23:43
Speaker 2: even gonna bother.
23:44
Speaker 3: So the second piece is just gonna cut and then
23:46
Speaker 3: we'll just pick up in the third piece.
23:48
Speaker 2: It's just it's just insulting if you do it any
23:50
Speaker 2: other way. But also speaking of music, we might as
23:52
Speaker 2: well start talking about controversies with the film, and one
23:56
Speaker 2: of them that you know is has been since day
24:00
Speaker 2: one is what is known as the antique Guitar incident,
24:05
Speaker 2: wherein Jennifer Jason Lee is playing a period specific authentic
24:10
Speaker 2: guitar from that time period he's preserved and it was
24:15
Speaker 2: supposed to be swapped out between takes before Kurt russell
24:19
Speaker 2: smashes it, and of course it didn't happen. So we
24:21
Speaker 2: get a very real reaction from Jennifer Jason Lee when
24:24
Speaker 2: she goes whoa, whoa, and then suddenly it cuts and cuts, yes,
24:29
Speaker 2: because you can see her turning to the crew with
24:31
Speaker 2: panic in her face, like, didn't somebody tell them not
24:33
Speaker 2: to smash this one? Now, Darren, we know that Tarantino
24:38
Speaker 2: likes to court controversy from time to time. But I
24:40
Speaker 2: know this seems like a silly sort of question, but
24:43
Speaker 2: how we responsible? Was it of this director to borrow
24:47
Speaker 2: an antique piece and basically immortalize its eternal destruction on screen?
24:53
Speaker 3: Well? I think, and I mean I wasn't there, but
24:57
Speaker 3: it I think it comes down to was its screen
25:00
Speaker 3: did that he'd smash it? Or was that an impromptu
25:03
Speaker 3: decision by Kurt Russell? Because if it was scripted, then
25:07
Speaker 3: I'm looking at like the prop master, who should be
25:10
Speaker 3: like my one job today of filming is like as
25:14
Speaker 3: if it's a you know, prop weapon, It's like, I,
25:17
Speaker 3: you know, it's in his hands. I take it from
25:19
Speaker 3: you after this specific cut and I give you the
25:22
Speaker 3: other one. I'm holding the other one so you know,
25:24
Speaker 3: I'm ready to pass it to you like it should
25:27
Speaker 3: have been that. Anytime you're barring something, especially from you know,
25:30
Speaker 3: a museum or anything like, you should treat it with
25:33
Speaker 3: that reverence. Now, if it was you know, an impromptu smash,
25:37
Speaker 3: which I don't get that vibe from what I've heard,
25:41
Speaker 3: is just that it was scripted. But yeah, all that
25:43
Speaker 3: to say, if you're borring something. You're the steward of it.
25:47
Speaker 3: You have to treat it nicely. I don't feel he
25:49
Speaker 3: would go well, I would go so far as to
25:52
Speaker 3: say that he purposely did it for controversy, that I
25:55
Speaker 3: feel is a bridge too far.
25:56
Speaker 2: But again, I wasn't there.
25:58
Speaker 4: This reminds me of a story of Battlestar Galactica where
26:02
Speaker 4: Eric James almost he created an old sailing ship and
26:06
Speaker 4: a model of it, and at the end of the
26:07
Speaker 4: episode his character gets really really sad and like looks
26:10
Speaker 4: at it, picks it up, and then smashes it. Well,
26:12
Speaker 4: apparently he wasn't supposed to smash it. I wasn't scripted,
26:15
Speaker 4: and Edward jay Is almost just did it on his own.
26:18
Speaker 4: I don't know if I quite believe that. But the
26:21
Speaker 4: ship itself was on loan because it was like an
26:24
Speaker 4: exact replica. And this is what I don't understand, Like,
26:28
Speaker 4: this is why sometimes I don't always believe these stories,
26:30
Speaker 4: is because I've been on film sets. I've been on
26:33
Speaker 4: production sets. I'm in production now, that's my job, and
26:37
Speaker 4: there are times we have stuff we borrow stuff, whether
26:40
Speaker 4: it's medical equipment, athletic equipment, memorabilia, whatever it is. Every
26:45
Speaker 4: single person in earshot, every single person who's waiting in
26:48
Speaker 4: another room knows about this mcguffin, and we all like,
26:54
Speaker 4: some people are holding it with white gloves. Okay, so
26:58
Speaker 4: your prop master, production designer, your actor has to be
27:02
Speaker 4: some of the dumbest people on earth. If that happens,
27:05
Speaker 4: it's like right underneath making sure the gun's not actually loaded.
27:09
Speaker 3: Well, and I get the if they were planning on
27:13
Speaker 3: swapping it like it's scripted like that, it boils down
27:16
Speaker 3: to Okay that at least I can see the path
27:19
Speaker 3: to disaster. It wasn't a I'm just going to smash
27:22
Speaker 3: this thing, because obviously he knew not to smash the
27:25
Speaker 3: real one. But whatever transpired that he thought it would
27:29
Speaker 3: have been swapped, or what piece of information that miscommunicated
27:33
Speaker 3: to him that it was go time, You know, That's
27:36
Speaker 3: how I viewed it, because if it's scripted, especially, there's
27:39
Speaker 3: no way that Kurt Russell, he obviously assumed that it
27:43
Speaker 3: was good to go, and something in the communication broke
27:45
Speaker 3: down before.
27:46
Speaker 2: Then apparently somebody you're absolutely right, according to the sound mixer,
27:51
Speaker 2: somebody didn't communicate that to Russell, So either Russell already
27:54
Speaker 2: thought it was swapped out. I think the whole thing
27:57
Speaker 2: is avoidable because nobody definitely avoid Nobody on this recording
28:01
Speaker 2: would have been able to say that's not a period
28:04
Speaker 2: specific guitar. Why are you using that? Like this sort
28:07
Speaker 2: of thing. This is one of the things that drives
28:08
Speaker 2: me nuts about period films is when they're like, well,
28:10
Speaker 2: I need period specific things, like sometimes you can be
28:13
Speaker 2: close enough champ like, like, you know, I use.
28:15
Speaker 3: Old guns, don't use like a Baretta nine, like obviously
28:20
Speaker 3: the Western aren't using that. But it yeah, well, like
28:24
Speaker 3: it's even it's even beyond that. Like I remember when
28:26
Speaker 3: Unforgiven came out, oh so many years ago, somebody called
28:29
Speaker 3: out the fact that a character is drinking from a
28:32
Speaker 3: bottle and it was stamped a certain way on the back,
28:35
Speaker 3: and they said, oh, they didn't start stamping bottles like
28:37
Speaker 3: that till fifty years later, And I remember everybody else
28:40
Speaker 3: in the world.
28:41
Speaker 2: Was saying, what who cares? Yeah, you're like the one
28:44
Speaker 2: person who knows that. Who care?
28:46
Speaker 3: How many movies do we see where oh this is
28:48
Speaker 3: set in you know, fifty five, but that's a fifty
28:52
Speaker 3: seven corvette And it's like it's it's a corvette, like
28:55
Speaker 3: it doesn't.
28:56
Speaker 4: No one is really going to pick up on that.
28:58
Speaker 4: One of my favorite things, and this actually isn't. This
29:01
Speaker 4: is an opposite example because like so many times, you'll
29:04
Speaker 4: see idiots online who just live for that, like absolutely
29:08
Speaker 4: live for it to find mistakes like that. They feel
29:11
Speaker 4: like they've they've won something when they find those mistakes.
29:14
Speaker 4: But one thing is that, like, like we all know,
29:16
Speaker 4: I'm a gigantic Fincher fan, and when he was making
29:18
Speaker 4: mind Hunter and you were watching the behind the scenes
29:22
Speaker 4: of all the CGI that's in mind Hunter, because like
29:25
Speaker 4: the Fincher is known for using hidden CGI where it's
29:28
Speaker 4: not in your face whatsoever most of the time. Well,
29:30
Speaker 4: there was a scene in mind Hunter where the.
29:33
Speaker 2: What's what's the killer?
29:35
Speaker 4: What the BTK? Thank you BTK with the BTK guy was,
29:39
Speaker 4: you know, checking his mail and then walking away. As
29:41
Speaker 4: he's walking away, they're putting in trees, they're changing the sky,
29:44
Speaker 4: all normal stuff. But then all of a sudden, they
29:46
Speaker 4: remove all of the subtle ramps in the sidewalk, all
29:49
Speaker 4: the wheelchair accessible, all the curb cut sidewalks. There wouldn't
29:54
Speaker 4: be any curb cuts.
29:55
Speaker 3: But that's one of those things where you're just like
29:57
Speaker 3: it's so I wouldn't even notice it if it was there,
29:59
Speaker 3: but you would. But if someone pointed out, you'd be like, oh, yeah,
30:02
Speaker 3: there's curb cuts every five feet, like that wouldn't have been.
30:05
Speaker 4: But Fincher's obsessive enough to take care of it, and
30:09
Speaker 4: that that's I think that's great, A good thing. It's
30:12
Speaker 4: I think it's a it's a it's a good thing
30:13
Speaker 4: for a director to do. But when you're dealing with
30:15
Speaker 4: an antique guitar that's worth a lot of money and
30:17
Speaker 4: that somebody's borrowed and everything like that, everybody on set
30:20
Speaker 4: should know anyway.
30:22
Speaker 2: Yes, So that's just one of the many controversies attached
30:25
Speaker 2: to the film. In terms of the film itself, it
30:30
Speaker 2: was originally constructed to be a Django story, and so
30:38
Speaker 2: Marqust was supposed to be Django, and what prevented that.
30:44
Speaker 2: What prevented that was the fact that the script leaked online.
30:48
Speaker 2: So Tarantino said, screw you guys, and he was going
30:51
Speaker 2: to make it a novel, and then he had a
30:53
Speaker 2: live reading, and then after the live reading, he was like,
30:56
Speaker 2: I think I know I can make this work, and
30:58
Speaker 2: so then he rewrote it and brought all of these
31:02
Speaker 2: new characters in so, I mean, we just watched Jango Unchained, Darren,
31:07
Speaker 2: I'm gonna ask you, would this have worked with Djengo
31:11
Speaker 2: in that main role played by Sam Jackson's.
31:14
Speaker 3: It's so funny because again, we just watched Jengo and
31:18
Speaker 3: there's that scene where they're in the winter and they
31:20
Speaker 3: stop at a cabin, and it felt like the exact
31:23
Speaker 3: same Kevin Like, I know it wasn't you know, the
31:25
Speaker 3: same design or whatever, but the tone of it was
31:28
Speaker 3: very very similar. And again I loved his portrayal in this,
31:34
Speaker 3: but Tim Roth and as Wald, I'm not going to say,
31:40
Speaker 3: you know, it felt very much like like the Bounty
31:44
Speaker 3: hunted character from Djengo, like like his mannerisms, the way
31:49
Speaker 3: he was portraying things. He's a much more background character.
31:52
Speaker 3: So the fact that this was made right after Djengo
31:54
Speaker 3: like obvious, Like there's a lot of fingerprints across between
31:58
Speaker 3: the two. As far as the whole story, I mean, yeah,
32:01
Speaker 3: it's almost like they took that one scene where they
32:03
Speaker 3: visit the cabin and expanded it into an entire movie
32:06
Speaker 3: like that, you just didn't know what's happening in the back.
32:08
Speaker 2: Okay, same question to you, Tristan, does this work as
32:11
Speaker 2: a Jango story?
32:13
Speaker 4: No, because we know Django is the hero.
32:15
Speaker 2: He doesn't belong as a member of the Hateful Eight.
32:17
Speaker 4: Yeah, that's the main thing of this.
32:19
Speaker 2: You don't know who's the hero.
32:21
Speaker 3: You don't know what everyone's motivations are.
32:23
Speaker 2: I think to Tristan's point, I agree with you, Tristan,
32:26
Speaker 2: he can't be this despicable.
32:29
Speaker 4: He'd have to die once they got to the Habitatri.
32:32
Speaker 2: Yes, you could.
32:32
Speaker 4: You'd have to be like the first one to die.
32:34
Speaker 2: I'd be very interested because when that original script leaked,
32:38
Speaker 2: I didn't know about it, and if I did, I
32:40
Speaker 2: wouldn't have paid attention to it because I think that's
32:42
Speaker 2: just dirty pool.
32:44
Speaker 3: Sway, are you saying that he was writing this as
32:46
Speaker 3: like a sequel to Djengo or it leaked before he
32:49
Speaker 3: made Jengo.
32:50
Speaker 2: No, he wrote this as a follow up to Django,
32:53
Speaker 2: where Djengo was the main character. That script leaked and
32:57
Speaker 2: he walked away from it, the same way he walked
32:59
Speaker 2: away from this script that he wrote for his tenth film.
33:01
Speaker 2: That one leaked and he was like, screw you guys,
33:03
Speaker 2: I'm going home, and supposedly walked away from it, and
33:06
Speaker 2: then he was going to turn this into a novel.
33:07
Speaker 2: Then he had the stage reading and he was like, oh,
33:10
Speaker 2: I know how I can make this work now after
33:11
Speaker 2: the stage reading or whatever. Yeah, I don't think this
33:14
Speaker 2: works as a Jango film. The nature of it would
33:17
Speaker 2: have been very, very different, because to your point, Tristan,
33:20
Speaker 2: Django's a good person. I think I can see bits
33:23
Speaker 2: of where that original inspiration still sits. But you know,
33:27
Speaker 2: while this is called the Hateful Eight, Django just doesn't
33:31
Speaker 2: belong with these people, not in the least.
33:33
Speaker 3: So Django and the Hateful Eight.
33:36
Speaker 2: Yeah, Django and Seven Terrible People would be the Despicable Seven.
33:41
Speaker 2: Jango unchained Colon locked up with seven terrible People Colon.
33:46
Speaker 3: Yes, but these are way more, not way more. These
33:49
Speaker 3: are very interesting characters. Like I don't want Django in
33:53
Speaker 3: this because then I know so much more about this
33:56
Speaker 3: one character and I know nothing about everyone else, like
33:58
Speaker 3: I don't. That's part of this structure is honestly, like
34:02
Speaker 3: as it was going for the longest time for Goggin's
34:07
Speaker 3: character for the Sheriff, I didn't trust him because I'm like,
34:11
Speaker 3: you were just wandering down the road. You could have
34:13
Speaker 3: been with these guys, and you just came out this direction.
34:16
Speaker 3: You really come down to what do you really know?
34:20
Speaker 3: What do you absolutely for sure know based on these characters,
34:24
Speaker 3: and for most of the movie, it's not a lot
34:27
Speaker 3: until it's revealed and all of that.
34:30
Speaker 2: So Tristan, given the fact that these are all terrible people,
34:34
Speaker 2: I would argue that Warren is arguably heroic and he's
34:40
Speaker 2: the most not awful person. Is the way I'll state
34:43
Speaker 2: that of the group, he's been through a lot. He's
34:46
Speaker 2: used to convey a lot of the message of race
34:49
Speaker 2: relations and stuff like that, but he's given a very
34:51
Speaker 2: tricky moral situation wherein he relays a story intended to
34:57
Speaker 2: make Bruce Dearn's character of the old Confederate general pull
35:00
Speaker 2: a gun on him so he can justify shooting him,
35:03
Speaker 2: which closes a loop from when Kurt Russell's character says,
35:06
Speaker 2: that's the trouble with old people. Kick him down the
35:08
Speaker 2: stairs and call it an accident. It's no problem, but
35:10
Speaker 2: you can't shoot him. So the way Tarantino deals with
35:14
Speaker 2: the telling of that story, though, generates some controversy. I
35:18
Speaker 2: wanted to get your take on that with your first
35:19
Speaker 2: encounter with this film.
35:20
Speaker 3: Yeah, It's interesting because when I watched this actually partially
35:25
Speaker 3: on Netflix, just because I was having streaming issues, and
35:27
Speaker 3: I'm like, oh, it's on Netflix. Look, And when it
35:29
Speaker 3: starts playing, it pops up in the top corner. Hey
35:32
Speaker 3: rated this for graphic nudity and violence and you know
35:37
Speaker 3: all this uff, And I'm like, okay, not where I
35:40
Speaker 3: was expecting the graphic nudity. And it's it's so interesting
35:44
Speaker 3: because I mean, it's a it's a terrible scene, but
35:50
Speaker 3: it could also be just as despicable for the character
35:53
Speaker 3: not showing, because our minds are so much more powerful
35:57
Speaker 3: than whatever we would see. Uh Like, because I don't
36:00
Speaker 3: nothing about this movie. I didn't know what to expect.
36:02
Speaker 3: I didn't like, I said, That's all I knew was
36:03
Speaker 3: that warning that popped up in the top corner. So
36:06
Speaker 3: I was like, Okay, this is where we're going. We're
36:09
Speaker 3: gonna tell and we're gonna show, Like this is what
36:12
Speaker 3: we leave the confines of our special box of the story.
36:17
Speaker 3: That's what we're gonna go off and show. So yeah,
36:19
Speaker 3: I mean, I think you could have done it without show.
36:23
Speaker 3: I don't think showing conveyed more of an impact than
36:29
Speaker 3: just explaining it. It was more interesting seeing the reaction
36:33
Speaker 3: on General Smither's face. That is where the scene really
36:37
Speaker 3: comes through. But you're intercutting with that and just trying
36:40
Speaker 3: to see where this is all going. So again, like
36:43
Speaker 3: it's kind of interesting just how I don't know. It
36:46
Speaker 3: makes me kind of expand into just ratings and not
36:50
Speaker 3: like star ratings, you know PG, and then just how
36:53
Speaker 3: America is with like violence versus blood, versus gore, versus
36:58
Speaker 3: attack versus.
37:00
Speaker 2: Language, which we all know is it's just all out
37:02
Speaker 2: of whack.
37:02
Speaker 3: So all that to say, yeah, if the question is
37:05
Speaker 3: the need to be in there to convey that, no,
37:08
Speaker 3: I think you could still explain it, but just keep
37:11
Speaker 3: it in the mind's eye, which is you know, as
37:13
Speaker 3: we know, is way more powerful than anything you put
37:15
Speaker 3: on screen for shock value or whatever.
37:19
Speaker 2: Yeah, I completely plug into what you're saying, and you know,
37:24
Speaker 2: I would never discount it. I would never dismiss it,
37:26
Speaker 2: Like I completely plug into what you're saying and where
37:29
Speaker 2: you're going with that. But Tristan, this is your first
37:32
Speaker 2: encounter with it. What did it hit with you like
37:36
Speaker 2: this chord?
37:37
Speaker 4: Well, unfortunately, this was the first that was the first
37:40
Speaker 4: thing I saw of the movie. I can't remember how
37:42
Speaker 4: I saw it. I can't remember in what situation, and
37:45
Speaker 4: it really bothered me. It really bothered me. And I
37:47
Speaker 4: know that this is a very obvious thing to say,
37:50
Speaker 4: but I have a really hard time with sexual assault
37:53
Speaker 4: and rape in movies in cinema, which I know is
37:56
Speaker 4: weird because one of my favorite movies is Girl with
37:58
Speaker 4: the Dragon tat two, But that's a story of sexual assault,
38:01
Speaker 4: not just one where it's thrown in there. And it
38:03
Speaker 4: wasn't so much that the sexual assault was in it,
38:06
Speaker 4: but for some reason, it really bothered me that it
38:09
Speaker 4: was Sam Jackson.
38:10
Speaker 2: Hmm.
38:11
Speaker 4: I can't articulate why, but it really really bothered me
38:15
Speaker 4: that we saw Sam Jackson as a rapist. And I know,
38:20
Speaker 4: I know it's a movie. I know that he has
38:22
Speaker 4: played characters who have done terrible things throughout the years.
38:25
Speaker 4: I understand that. I know that it's cinema, none of
38:27
Speaker 4: it's real. I get that, I get that, but my
38:29
Speaker 4: lizard brain, you know, doesn't like to equate Sam Jackson
38:33
Speaker 4: with that kind of terror. And I was so I
38:35
Speaker 4: was scared of it. I was scared of the movie
38:37
Speaker 4: and I didn't watch it for ten years because of it.
38:39
Speaker 4: That that was the main reason I did.
38:41
Speaker 2: I had no idea this scene existed the first time
38:43
Speaker 2: I saw it. It's not it's obviously not something that
38:46
Speaker 2: I quote unquote relish see, like, it's not something I'm
38:49
Speaker 2: looking when I sit down to watch Hateful Eight, I'm
38:51
Speaker 2: not like, hmm, good, this isn't you know? It's like eh.
38:55
Speaker 2: I think Tristan I sort of approached it the same
38:57
Speaker 2: way that I think. You know, if you go back
38:58
Speaker 2: to our discussion about Girl Dragon Tattoo, you're like, there's
39:01
Speaker 2: a certain scene where like you just hit fast forward
39:03
Speaker 2: because you're like, I don't want to watch that. This
39:05
Speaker 2: doesn't quite go into that territory. But I think that
39:08
Speaker 2: Tarantino indulges the worst aspect of his nature with showing
39:14
Speaker 2: it as completely as he does. I think that there
39:17
Speaker 2: is a way to have that sort of play over
39:21
Speaker 2: Bruce Dern's reaction, because Darren, I agree with you. Bruce
39:24
Speaker 2: Dern pulling up the blanket looking like somebody's telling him
39:28
Speaker 2: a scary story. He doesn't want to hear it anymore.
39:30
Speaker 2: You actually have Goggins saying he's just telling the lie
39:33
Speaker 2: just to get you to pull that gun. Don't you
39:35
Speaker 2: listen to him like that line is very important.
39:39
Speaker 4: There.
39:39
Speaker 2: It's saying to the audience, none of what you are
39:41
Speaker 2: seeing is actually real, because if it were actually real,
39:46
Speaker 2: Sam Jackson's character is he's like the worst of the
39:48
Speaker 2: worst at that point. But does it need to be
39:51
Speaker 2: in there? No. I definitely think that Tarantino, if I
39:54
Speaker 2: were in the editing booth with him, I think if
39:56
Speaker 2: Sally Mankey was still or Sally mank I always forget
39:59
Speaker 2: how pronounce it, I think if she were in the
40:01
Speaker 2: booth with him, she would have talked him out of it. Probably.
40:04
Speaker 2: I definitely agree. Yeah, but I think that by his
40:06
Speaker 2: eighth film, without that strong voice sitting next to him,
40:10
Speaker 2: I think he's able to say, no, I need this
40:13
Speaker 2: in my film, whereas she would have said, I really
40:16
Speaker 2: don't think you do. Quentin Tarrant, I think that I
40:18
Speaker 2: think we can cut that one shot. I think we
40:20
Speaker 2: can cut that shot because it's really that one shot
40:23
Speaker 2: that is really the one where it just goes over
40:26
Speaker 2: the line and you're watching it at a certain point saying, okay,
40:29
Speaker 2: but I'm not going to see anything, right, I'm not
40:31
Speaker 2: going to see it, and then it goes to that
40:32
Speaker 2: one shot and you're like oh, oh, you didn't need
40:35
Speaker 2: to do that, you know, like it's that's the line
40:37
Speaker 2: where it just sort of crosses over. And it's weird
40:41
Speaker 2: because it's a three hour plus movie and it's a
40:44
Speaker 2: what seven second shot, but you're like, that's seven seconds
40:47
Speaker 2: could have gone right out and nobody would have missed it.
40:49
Speaker 3: So well, and because you mentioned, you know, Quentin's mannerisms
40:53
Speaker 3: totally detains the subject, what's with the narration? Because boy,
40:57
Speaker 3: that totally caught me off guard where he's like, and
41:01
Speaker 3: now we've returned to scene eight as we go back
41:04
Speaker 3: in to uh now is that not in your guys version?
41:07
Speaker 3: Did I mix something up?
41:09
Speaker 2: I might have. It sounds like I did. It's possible.
41:12
Speaker 4: I know.
41:13
Speaker 2: I know what you're talking about.
41:14
Speaker 3: Because part of this I did watch on Netflix because
41:17
Speaker 3: of my streaming issue, So maybe.
41:18
Speaker 2: That's only in the Netflix.
41:20
Speaker 3: But there's literally like they go back in and it's
41:23
Speaker 3: like and now or what is it? It's it's about
41:26
Speaker 3: the I think it's about the coffee.
41:28
Speaker 2: Or it's narration from Tarantino.
41:31
Speaker 3: Yeah, and it's like, you know, seeing interior like well
41:34
Speaker 3: it's not that far, but it's basically he's like, and
41:37
Speaker 3: now we go back to our heroes, and he's describing
41:39
Speaker 3: what's happening, and I'm like, why is this narration in here?
41:43
Speaker 4: That wasn't That wasn't in the road Show?
41:45
Speaker 2: Okay, so that's my narration? Yeah, well, I still you
41:50
Speaker 2: know what I actually want to ask in terms of
41:52
Speaker 2: road Show and stuff like that. You know, obviously the
41:54
Speaker 2: intermission is a part of this film. I think the
41:57
Speaker 2: intermission is needed, but I think it actually takes place
41:59
Speaker 2: at the wrong point. I think the intermission should have
42:02
Speaker 2: happened not when Senior Bob closes the piano, but it
42:06
Speaker 2: should have It should have happened after Warren gets shot.
42:09
Speaker 2: He's sitting, he's laying there or screaming, and that's where
42:13
Speaker 2: the intermission should happen, right, because you're like, what happens next?
42:16
Speaker 2: I've seen this person in the shadows underneath him fire
42:19
Speaker 2: up and he's been shot in the groin and he's screaming. Darren,
42:22
Speaker 2: did you think the intermission was in the right spot
42:24
Speaker 2: or would you have put it somewhere else?
42:26
Speaker 3: I mean, I did like the you know, the the sound,
42:29
Speaker 3: the you know again, that whole scene where he was
42:32
Speaker 3: playing the piano, and I started to think, especially as
42:35
Speaker 3: we started adding like the coffee and things like that,
42:37
Speaker 3: Like it started to make me think, did somebody switch
42:40
Speaker 3: and start playing music? And so he was actually over,
42:43
Speaker 3: Like you start to really pay attention to who is
42:46
Speaker 3: where in the frame. You know, we're starting to get
42:49
Speaker 3: that really interesting quick push focus as she's like looking
42:52
Speaker 3: over his shoulder and that it focuses on him and
42:54
Speaker 3: then it goes back to blurr and then goes back
42:55
Speaker 3: to focus. But yeah, I had no problem with where
43:00
Speaker 3: it cut. But I do think what you're saying, John,
43:03
Speaker 3: is a better cut would be like after the shotgun
43:08
Speaker 3: through the floor, because it's such a startling moment. It's
43:11
Speaker 3: like the beginning of the next act, Like you feel
43:14
Speaker 3: that things have changed in that moment.
43:17
Speaker 2: Tristan, you're fine with where the intermission is, or you
43:20
Speaker 2: think the entire movie should have been intermission?
43:22
Speaker 4: Yeah, I don't care.
43:22
Speaker 3: Okay, fair enough, What forty minutes exactly would you cut
43:26
Speaker 3: from this movie?
43:27
Speaker 4: Tristan, Now, I like, too honestly answer your question, I
43:30
Speaker 4: think that would have been too late. I think it
43:32
Speaker 4: would have been too late in the movie. Like, I
43:35
Speaker 4: understand your argument. I think it's a very strong argument,
43:39
Speaker 4: but from a logistical standpoint of where you're supposed to
43:42
Speaker 4: put an intermission, you don't put it that late in
43:44
Speaker 4: the game. You try to put it the halfway mark,
43:46
Speaker 4: at the two hour mark, you know, like if you
43:48
Speaker 4: have ninety minutes left, you put it there. You know,
43:50
Speaker 4: like if you think about like a two act play either,
43:52
Speaker 4: like the second act is always shorter, but you don't
43:54
Speaker 4: do it when you have thirty minutes left. That kind
43:56
Speaker 4: of thing.
43:57
Speaker 2: Yeah, I think the spot I'm talking about there was
43:59
Speaker 2: still oh almost an hour left in the film.
44:02
Speaker 4: But but that's the way to lopsided. That's what I mean.
44:06
Speaker 4: I hear you.
44:07
Speaker 2: I hear you.
44:08
Speaker 4: Thematically, I agree with you, but structurally I don't think
44:12
Speaker 4: that works. I love the tone shift. I think that
44:15
Speaker 4: you think that's that's a tone ship. It's an absolute,
44:17
Speaker 4: it's a it's a throwback in time. You start over
44:20
Speaker 4: and you see an alternate beginning, and so it absolutely
44:23
Speaker 4: makes sense to put it there. And to me, that's
44:25
Speaker 4: when things started getting interesting was that last hour. I
44:28
Speaker 4: was like, this last hour is pretty cool, Like I
44:30
Speaker 4: like this, and let's watch.
44:31
Speaker 3: Sometimes you know, I'll watch a movie where sequences are
44:34
Speaker 3: out of order, and I'm like this could have just
44:37
Speaker 3: been straight you know, straight through, but obviously that's not
44:40
Speaker 3: the case in this You need to not know anything
44:43
Speaker 3: about who is in there until much later, and if
44:46
Speaker 3: you were to be from the point of view of
44:48
Speaker 3: the stage coach, not from.
44:50
Speaker 2: The habitat shy at first.
44:52
Speaker 4: And of course, like six horse Juty, Minie Mink and
44:54
Speaker 4: Sweet Dave are like the coolest people ever, you know,
44:57
Speaker 4: of course, of course, and like the dude's named.
45:00
Speaker 2: Sweet Dave has a sweetheart. There you go, it just killed.
45:05
Speaker 4: And then like when they got shot, I was like, oh,
45:08
Speaker 4: at least they died quickly. No, no, they didn't.
45:11
Speaker 2: Okay, yeah, well.
45:12
Speaker 3: It's funny when that started, because you know, it's another
45:15
Speaker 3: six horse pulling a stage coach. And I fortunately noticed
45:19
Speaker 3: that because I think in The Hateful Eight, well not
45:21
Speaker 3: the Hateful Eight, the first stage coach they have one
45:24
Speaker 3: horse that is like a different color, and the second
45:26
Speaker 3: one they're all brown. Because at first I was like,
45:30
Speaker 3: did something glitch or is the movie starting over again,
45:34
Speaker 3: because obviously you're supposed to internalize that, but I thought
45:37
Speaker 3: it literally had skipped back to the beginning. I'm like, no,
45:42
Speaker 3: not the long snow again. I want to get back
45:45
Speaker 3: to the habitatreyt but and then you know we do.
45:47
Speaker 2: But so one last note before we close it out
45:51
Speaker 2: is I think and a lot of people did, because
45:54
Speaker 2: I believe she got an Academy Award nomination. I thought
45:58
Speaker 2: Jennifer Jason Lee was is Daisy Domergu And I think
46:01
Speaker 2: that it stands out because she's the only main female
46:05
Speaker 2: role in the entire thing. Tristan, do you think that
46:08
Speaker 2: Domergue works as a Tarantino character? Do you think that
46:11
Speaker 2: there's any artificial because there were some people that had
46:14
Speaker 2: problems with the Domergue character felt that she didn't ring
46:17
Speaker 2: true necessarily. Do you think that Domergue works or do
46:20
Speaker 2: you think that there were opportunities missed with the character.
46:23
Speaker 4: I felt like she was kind of a blank slate.
46:26
Speaker 4: I mean, I don't know. I mean, she got a
46:29
Speaker 4: nom for it, and you know, people like it. I'm
46:31
Speaker 4: sure people are angry as me sor what I've said
46:34
Speaker 4: so far already, but I guess I might as well
46:35
Speaker 4: pile on. But I think that role could have been
46:38
Speaker 4: played by anybody. Honestly, I don't think there was anything
46:42
Speaker 4: special about it. I don't think there was anything special
46:44
Speaker 4: about how I was written how I was performed, maybe
46:47
Speaker 4: the last little bit, but even then, I just that's
46:49
Speaker 4: one of those roles where I feel like when they say, like, oh,
46:52
Speaker 4: so and so was considered, so and so was considered,
46:54
Speaker 4: Warwick Davis was considered, you know, like when they saw
46:57
Speaker 4: all these say all those things, all those different names,
47:00
Speaker 4: I'm like, yeah, I feel like anybody could have played
47:03
Speaker 4: that role. But if you're when you're you're talking about
47:06
Speaker 4: like John Ruth as you know, Kurt Russell as Ruth,
47:08
Speaker 4: or Jackson as Warren, or Goggins as mannis like, no, no,
47:12
Speaker 4: those those people help define the role. But like with
47:16
Speaker 4: Roth's character, Durren's character, or even Madison's character. I'm a
47:20
Speaker 4: big Madison fan. Anybody could have played those characters. I
47:23
Speaker 4: feel like the Gang, like anybody from the Gang could
47:25
Speaker 4: have been played by anybody, and it doesn't really matter.
47:27
Speaker 4: And uh yeah, okay, fair enough.
47:31
Speaker 3: Darren, Like, yeah, I liked her performance, but I in
47:34
Speaker 3: a story like this where so much of it is
47:38
Speaker 3: communicated by talking, and she has like the least number
47:42
Speaker 3: of lines of one of the major players of anybody.
47:44
Speaker 3: So we're just not given a lot to go off of.
47:47
Speaker 3: We're given these tiny snippets of you know, she's acting
47:50
Speaker 3: her heart out in these tiny moments of her interaction
47:53
Speaker 3: and they're all great, but you know, she's not the
47:55
Speaker 3: most interesting person in the room. It's kind of like
47:58
Speaker 3: you're told she's the most interesting person, you're not shown
48:01
Speaker 3: she's the most interesting person.
48:03
Speaker 2: See this is where I'm going to break with the
48:04
Speaker 2: two of you, because I think that Lee does a
48:06
Speaker 2: great job of being present despite the fact that she's
48:10
Speaker 2: not given a lot of dialogue to start off with,
48:13
Speaker 2: so that when that tone shift happens and she does
48:16
Speaker 2: become a more active member of the cast, I think
48:19
Speaker 2: that's your payoff right there. Is you can sense all
48:22
Speaker 2: of that, the way that she first interacts with Sam Jackson,
48:25
Speaker 2: the way that she spits on the letter, the way
48:27
Speaker 2: that she does these things. I think that Lee brings
48:30
Speaker 2: something really electric to the role. I really, I really do.
48:35
Speaker 2: I think that she inhabits it. And I'm in that
48:39
Speaker 2: camp that would give her those accolades and those award
48:42
Speaker 2: nominations for her performance. So we've gone through so many
48:47
Speaker 2: aspects of the film, and though the film itself is
48:50
Speaker 2: roughly four or five days long, we'll keep it contained
48:54
Speaker 2: to our typical approximate hour, and for both of you
48:58
Speaker 2: it's your first time watching it. I'm gonna go first
49:01
Speaker 2: because I've seen it multiple times. I own this soundtrack
49:05
Speaker 2: on vinyl. I will warn you, because of Tarantino's habit
49:08
Speaker 2: of putting dialogue on soundtracks, do not play this soundtrack
49:13
Speaker 2: without headphones on, because it will surprise you as you're saying,
49:17
Speaker 2: they're like, yeah, I'm really into this, and then a
49:19
Speaker 2: dialogue snippet comes up and you go, oh, no, I
49:21
Speaker 2: hope nobody heard me listening to this, but brass tacks.
49:24
Speaker 2: I adore this film. I love it. It was, for
49:26
Speaker 2: a time my favorite Tarantino film. I am engaged by this.
49:30
Speaker 2: I'm engrossed by this film. I love the pacing, I
49:35
Speaker 2: love the uncomfortable stuff. I agree, I said already, I agree.
49:40
Speaker 2: He indulges his worst nature with the telling of the
49:44
Speaker 2: story to get the general angry. I think that could
49:46
Speaker 2: have been cut. But as we've often said, you know
49:50
Speaker 2: what film is perfect. It's all subjective and I'm looking
49:53
Speaker 2: at the whole. From the first time I watched this,
49:56
Speaker 2: I couldn't stop watching. It's it's a combination of the
49:59
Speaker 2: mute and the visuals and the fact that I'm watching
50:03
Speaker 2: a digital version of a movie that he was obsessively
50:06
Speaker 2: avoiding to be put together on digital, which feels like
50:10
Speaker 2: the ultimate victory for the audience. And so I come
50:13
Speaker 2: in with a rock solid five stars. I love this film.
50:17
Speaker 2: I will not apologize for it and to bring the
50:20
Speaker 2: audience down because I've angered half of the audience with
50:22
Speaker 2: my five stars, I will go to you, Tristan, to
50:26
Speaker 2: give a sweet save, to give succor to the half
50:30
Speaker 2: of the audience that hated this film.
50:32
Speaker 4: Go ahead, please, you think you think you think it's
50:35
Speaker 4: split down the middle like that, like you think that
50:37
Speaker 4: people hated and loved this film.
50:39
Speaker 2: That no, I think that Darren will speak for the
50:42
Speaker 2: piece of the audience that I just dismissed.
50:44
Speaker 4: Oh okay, I think I think Darren probably even the
50:47
Speaker 4: more rational person between the two of us.
50:49
Speaker 3: You get here in the room as you guys are talking,
50:51
Speaker 3: but oh my god, darn quiet, we're talking about you
50:54
Speaker 3: under the floorboards, Baba, here's my rating. I'm right into you.
51:00
Speaker 4: So I did not enjoy this movie. I don't know
51:03
Speaker 4: if you guys could tell that or not. You tipped
51:05
Speaker 4: it off. I did not enjoy this movie. I was.
51:08
Speaker 4: I'm glad I waited ten years and nine years to
51:10
Speaker 4: watch it. I don't feel like I missed anything. I
51:12
Speaker 4: think it's it's a slog It's one of those movies.
51:15
Speaker 4: And I've encountered a movies like this every once in
51:17
Speaker 4: a while where I'm like, why the hell was this made?
51:20
Speaker 4: Like this was not a story that needed to be told.
51:22
Speaker 4: And it's like when I watched The Witch, I was like,
51:24
Speaker 4: what a miserable film? Like why on earth did I
51:27
Speaker 4: watched that? Why would anybody like this? And I know
51:28
Speaker 4: I'm sure that people are. I'm gonna get letters for
51:30
Speaker 4: people like you didn't like The Witch? You just don't
51:32
Speaker 4: like movies?
51:32
Speaker 3: Is that the one with the double V? Like ye,
51:34
Speaker 3: I keep calling it the Vivich Like.
51:36
Speaker 2: I know, I make.
51:39
Speaker 3: Yes, it's like fan fantastic, Like you can't. You just don't.
51:43
Speaker 3: Don't do that, Just don't.
51:45
Speaker 5: If only they spelled rogue one with the number one
51:48
Speaker 5: no like formula one. Oh, yes, yes, that's what I'm
51:53
Speaker 5: looking for. Yeah, it's just I'm giving this two and
51:55
Speaker 5: a half stars. This movie is my second least favorite
51:58
Speaker 5: movie of Tarantino. I'll never watch it again. I won't
52:00
Speaker 5: watch the theatrical cut because I don't care. Yeah, these
52:04
Speaker 5: I thought most of the performances were blase and it
52:06
Speaker 5: was miserable.
52:07
Speaker 2: Well, we thank you for your rating, Tristan and Darren.
52:09
Speaker 2: Please let's rescue the rest of the audience that is
52:13
Speaker 2: on neither end of these polls and give us this
52:16
Speaker 2: straight clear shot home.
52:18
Speaker 4: Well.
52:18
Speaker 3: No, it's interesting because I think as we've all discussed,
52:21
Speaker 3: you know, and especially as you've led this discussion, sweet John,
52:25
Speaker 3: you know, within even hand, it was like there's things
52:28
Speaker 3: we've liked, and you've seen it from all the point
52:31
Speaker 3: of view. It's definitely that kind of a movie. I
52:33
Speaker 3: kind of go back to what I said in the
52:35
Speaker 3: very beginning of I looked at this in a filmmaking standard,
52:39
Speaker 3: like I think this movie. I'm not saying, oh, put
52:43
Speaker 3: this movie on a pedestal and be like this is
52:45
Speaker 3: what all movies need to be. But if you're like
52:47
Speaker 3: making movies and you want to talk about the process,
52:51
Speaker 3: you want to talk about tension, and you know, again, yeah,
52:55
Speaker 3: are all the characters like ten out of ten super engaging?
52:58
Speaker 4: No?
52:59
Speaker 3: Like do I think Kursole like killed it?
53:01
Speaker 4: Like?
53:01
Speaker 3: Yes, you know, So I think using this as a
53:05
Speaker 3: as a showcase of you know, clips of it to
53:08
Speaker 3: just be like, look at how they're building the tension here,
53:12
Speaker 3: you know, look out. Once we know about these characters,
53:15
Speaker 3: that tensions kind of released a bit like we're not
53:17
Speaker 3: as worried about our characters, you know, but now we are.
53:20
Speaker 3: So I'm giving this a four overall. You know, I
53:23
Speaker 3: would I want to rewatch parts of it. I want
53:26
Speaker 3: to deconstruct it. I want to look at how, you know,
53:31
Speaker 3: choices were made and things like that. There definitely scenes
53:34
Speaker 3: I will not be watching again, but you know, on
53:37
Speaker 3: digital Quintin, so I could watch whatever part I want.
53:40
Speaker 2: How dare you? How dare you not watch it? As
53:42
Speaker 2: a director intended, Darren?
53:44
Speaker 3: You know, I can't fit like but an eighth of
53:46
Speaker 3: a seventy millimeter screen in my garage.
53:49
Speaker 2: So that's that's how it's going to work. But you
53:51
Speaker 2: have to go buy your own theater. Now that's what
53:54
Speaker 2: Tarantino did.
53:55
Speaker 4: There we go.
53:56
Speaker 3: But yeah, I'm kind of glad we're out of the
53:58
Speaker 3: grind house era. I'm you know, I think this was Yeah,
54:02
Speaker 3: it's kind of a western that's not a western it
54:05
Speaker 3: but overall, for a movie that takes place in two locations,
54:10
Speaker 3: for something that uses nature. You know, a lot of
54:13
Speaker 3: times adventure movie, we don't get adventure movies with nature
54:16
Speaker 3: as often, where like the river is part of the
54:20
Speaker 3: villainy that's trying to kill our characters. It's like you
54:23
Speaker 3: feel that storm. And when they kind of jump to
54:26
Speaker 3: the past and it's like a beautiful sky day and
54:29
Speaker 3: you're like, oh, this is the place.
54:30
Speaker 2: Does look nice?
54:31
Speaker 3: It's just we showed up at the worst time possible
54:34
Speaker 3: to enjoy this building. Yeah, and just again, I love
54:39
Speaker 3: the Western aspect of the gun toting era, where what
54:44
Speaker 3: you say and the promises you make and your honor
54:48
Speaker 3: and the discussion that's everything. Everything hinges on that whether
54:53
Speaker 3: or not you shoot someone where they stand, whether or
54:55
Speaker 3: not you fear for your life. And I love seeing
54:58
Speaker 3: the characters break that down and come up with because
55:02
Speaker 3: you know, I'm thinking, like I don't know what to do. Okay, here,
55:05
Speaker 3: pop quiz, hot shot. You're chained to your bounty and
55:09
Speaker 3: you're in a room with seven individuals that you don't
55:12
Speaker 3: know what their allegiances are. How do you approach that?
55:15
Speaker 3: And I thought a lot of what the characters did
55:18
Speaker 3: was very smart, especially Kurt Russell, like disarm and defend,
55:22
Speaker 3: you know, move, and again it didn't work out for everybody,
55:26
Speaker 3: for anybody, but you can put that tagline on the
55:30
Speaker 3: on the poster. It didn't work out for anybody. But
55:34
Speaker 3: I will say I've always said I love smart villains.
55:37
Speaker 3: I love smart villains that are written well. And I
55:39
Speaker 3: will say the villainy of and the and the good
55:42
Speaker 3: choices again not perfect choices, but nobody was like stupid
55:47
Speaker 3: and like nobody was like I'm gonna slowly, you know,
55:51
Speaker 3: shift over here, and you're obviously going to see me
55:53
Speaker 3: reach for this gun. Like there was none of that.
55:55
Speaker 3: Everything was so choreographed. So yeah, it's a It was
56:00
Speaker 3: a really impressive movie.
56:02
Speaker 2: So for four star, Well there you go. And this
56:06
Speaker 2: is the eighth film from Tarantino. Was this the eighth film?
56:10
Speaker 3: I wasn't sure about that with all the hit film,
56:13
Speaker 3: you know, and now we're barrowing toward the ninth film.
56:17
Speaker 3: And so Darren, how are we going to close out
56:19
Speaker 3: the House of Tarantino? What is on the docket? Yes,
56:23
Speaker 3: we're approaching the end of Quentin Tarantino's career.
56:28
Speaker 2: Question mark.
56:29
Speaker 3: As we jumped to twenty nineteen with Once Upon a
56:32
Speaker 3: Time in Hollywood, here on house sits
56:36
Speaker 1: Join the Revolution, joined the Net Party,