Latest / Houselights: A Film Director Podcast / Death Proof and Inglorious Basterds - Quentin Tarantino | Houselights #217

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Death Proof and Inglorious Basterds - Quentin Tarantino | Houselights #217 · Houselights: A Film Director Podcast

• 0:03
  Speaker 1: Welcome to the ned Palty.
• 0:20
  Speaker 2: Welcome back to House Lights, specifically the House of Tarantino
• 0:23
  Speaker 2: as we go through this marvelous, marvelous maze of Tarantino's works,
• 0:28
  Speaker 2: and we are stopping along the way appropriately enough this
• 0:31
  Speaker 2: week with a double feature of our own. I will
• 0:34
  Speaker 2: get to what that is in a moment, but first
• 0:36
  Speaker 2: I will introduce myself. I am stuntman John Mills, and
• 0:39
  Speaker 2: I am joined by my esteemed colleagues Fetching Angenoux, Darren Moser,
• 0:44
  Speaker 2: and bartender Tristan Riddell, who's going to vouch for me
• 0:47
  Speaker 2: to give Darren a ride home. So if you can't
• 0:50
  Speaker 2: guess from that reference here, our first movie that we're
• 0:53
  Speaker 2: going to be talking about in our double feature is
• 0:55
  Speaker 2: going to be death Proof. Death Proof is going to
• 0:59
  Speaker 2: be the first movie that we talk about. We did
• 1:02
  Speaker 2: decide to watch the preferred question Mark version of death Proof, which.
• 1:07
  Speaker 3: Is the longer an hour longer.
• 1:09
  Speaker 2: I think it's twenty seven minutes, but half hours close enough, close.
• 1:14
  Speaker 4: Enough, which you wouldn't know from all the jump cuts,
• 1:17
  Speaker 4: because boy, were there a lot of them.
• 1:20
  Speaker 2: Let's let's jump into the jump cuts. Let's talk about
• 1:24
  Speaker 2: this right away, because death Proof in case anybody doesn't know,
• 1:27
  Speaker 2: was originally released as part of Grindhouse, which was supposed
• 1:31
  Speaker 2: to be a fun, chilly little experiment between Quentin Tarantino
• 1:35
  Speaker 2: and his good friend Robert Rodriguez, where they were trying
• 1:38
  Speaker 2: to recreate the Grindhouse the double feature feel of going
• 1:43
  Speaker 2: to a cheap theater in you know, in a small
• 1:46
  Speaker 2: town sort of thing, where these these B movie theaters
• 1:49
  Speaker 2: they charged two dollars and you'd go in, you get
• 1:51
  Speaker 2: these cheap movies that would be thrown together, or they'd
• 1:53
  Speaker 2: be low level releases. It's apparently a thing that Tarantino
• 1:57
  Speaker 2: likes to do on his spare time. So death Proof
• 2:00
  Speaker 2: was Tarantino's contribution to it, and it comes out in
• 2:03
  Speaker 2: two thousand and seven, and then on the heels of that,
• 2:07
  Speaker 2: Tarantino also puts together this longer version which is twenty
• 2:10
  Speaker 2: seven minutes longer, that was actually screened at the can
• 2:13
  Speaker 2: Film Festival in the Palm d'Or the competition, I believe.
• 2:16
  Speaker 2: And so my first question, the first question we always
• 2:19
  Speaker 2: get into, is we talked about where we were with
• 2:21
  Speaker 2: kill Bill. Darren. We know that you rented Kill Bill
• 2:24
  Speaker 2: Volume one, then you went right to the theater and
• 2:26
  Speaker 2: watched Kill Bill volume two. Tristan, we know that you
• 2:29
  Speaker 2: were super stoked for Kill Bill volume one and volume
• 2:31
  Speaker 2: two when they were coming out. We went through my
• 2:33
  Speaker 2: complex journey with it. But Darren, here we are with
• 2:36
  Speaker 2: death Proof, Grindhouse is coming out first. Were you excited
• 2:40
  Speaker 2: for Grindhouse? Was an experiment that you wanted to take
• 2:43
  Speaker 2: part in? Or did you say, you know what, I'll
• 2:45
  Speaker 2: wait for Tarantino's inevitable longer version that's going to come
• 2:48
  Speaker 2: out out of this, Like, how are you feeling about
• 2:49
  Speaker 2: death Proof?
• 2:50
  Speaker 5: Well?
• 2:50
  Speaker 4: Remember kill Bill was the only Tarantino I had seen
• 2:54
  Speaker 4: until we pus started podcasting about it. So I do
• 2:57
  Speaker 4: remember trailers for this. I think I think the part
• 3:01
  Speaker 4: I remember more from the trailers was actually the Planet
• 3:03
  Speaker 4: Terror with the you know, the girl.
• 3:05
  Speaker 5: With the machine gun leg.
• 3:07
  Speaker 4: I think everyone was interested in that, so I honestly
• 3:12
  Speaker 4: didn't even realize Kurt Russell was in this. I think
• 3:15
  Speaker 4: I remember a shot of like the now this you know,
• 3:17
  Speaker 4: I haven't watched the trailer in like a decade or two,
• 3:20
  Speaker 4: so but I remember, you know, the hood with the
• 3:23
  Speaker 4: skull on it and driving, So I this was practically
• 3:26
  Speaker 4: a blank slate going into this, and yeah, they it's
• 3:31
  Speaker 4: it's so interesting because I totally get what he's going for,
• 3:34
  Speaker 4: like the look like he nailed the look like it's
• 3:37
  Speaker 4: got the grime and the you know, just the bad
• 3:40
  Speaker 4: effects of film, like it's meant to look grungy. The
• 3:44
  Speaker 4: jump cuts weren't terrible like it. It was like just
• 3:49
  Speaker 4: enough of a cut to kind of give you a pause,
• 3:52
  Speaker 4: but not feel like, wait, did a real skip? Did
• 3:56
  Speaker 4: I miss a whole chunk of dialogue?
• 3:58
  Speaker 5: That's important?
• 3:59
  Speaker 4: But yeah, overall, yeah, I knew nothing going into this
• 4:03
  Speaker 4: except for what you two steam gentlemen were kind of
• 4:08
  Speaker 4: throwing some shade on it before it even even touched
• 4:11
  Speaker 4: the screen.
• 4:12
  Speaker 2: So you were completely inured to the promotion. You didn't
• 4:16
  Speaker 2: bother seeing it till now. Tristan, were you still riding
• 4:19
  Speaker 2: the Kill Bill high? Were you excited for this grindhouse
• 4:23
  Speaker 2: experiment and what Tarantino was going to do with his half?
• 4:25
  Speaker 3: I was absolutely excited. My wife and some of my
• 4:29
  Speaker 3: favorite movies, my wife and I his favorite movies are
• 4:32
  Speaker 3: Kill Bill and Sin City. And so the idea that
• 4:36
  Speaker 3: Tarantino and Rodriguez we're going to do a double feature
• 4:38
  Speaker 3: and it was going to be a throwback. Both of
• 4:41
  Speaker 3: us were stoked. We're like, we are there day one,
• 4:45
  Speaker 3: you know, opening day, We're going to be there. And
• 4:47
  Speaker 3: we went with a whole bunch of friends from college,
• 4:49
  Speaker 3: a big group, big group of us went to be fair,
• 4:52
  Speaker 3: we were very ignorant of the whole grindhouse genre, very ignorant.
• 4:56
  Speaker 3: We just thought it was going to be like pulpy
• 4:58
  Speaker 3: double feature, my wife and I because Planet Terror was
• 5:02
  Speaker 3: the first movie in Grindhouse. Then they had a whole
• 5:04
  Speaker 3: bunch of trailer like fake trailers, I think like Nick
• 5:06
  Speaker 3: Cage and Machette were in there, and then it was
• 5:09
  Speaker 3: Death Proof. I think probably halfway through Planet Terror, I
• 5:14
  Speaker 3: turned to my then girlfriend now wife and said do
• 5:17
  Speaker 3: you want to leave?
• 5:18
  Speaker 2: And she's like, understandable reaction.
• 5:20
  Speaker 3: She's like kind of, but we're with a lot of people,
• 5:24
  Speaker 3: so like we didn't want to be those people because
• 5:28
  Speaker 3: we were with other people, and we're like okay, And
• 5:30
  Speaker 3: then the trailers came and the trailers were awful and
• 5:34
  Speaker 3: showed some really horrific things, and like the people we
• 5:37
  Speaker 3: were live with were just like laughing their asses off,
• 5:40
  Speaker 3: and I turned to my wife and I was like,
• 5:41
  Speaker 3: do you want to leave now? And She's like no,
• 5:44
  Speaker 3: And then halfway through Death Proof, I was like, how
• 5:46
  Speaker 3: about now? Well, I asked my wife three times if
• 5:51
  Speaker 3: she wanted to leave during this double feature, and she
• 5:54
  Speaker 3: she bucked up. She was stronger than I was, and
• 5:56
  Speaker 3: it was such a horrible, horrible experience.
• 6:00
  Speaker 2: Do you think that that experience is you, Tristan? Do
• 6:04
  Speaker 2: you think that that experience though that leading with Planet
• 6:06
  Speaker 2: Terror and then you didn't let's just say, you didn't
• 6:08
  Speaker 2: plug into the humor of the fake trailers, right, No,
• 6:12
  Speaker 2: iically other people did, but you didn't plug into the
• 6:15
  Speaker 2: humor of the trailers. Do you think that that instantly
• 6:18
  Speaker 2: set the stage for you to give Death Proof? Like,
• 6:21
  Speaker 2: was it trying to dig out of a hole? And
• 6:23
  Speaker 2: that's why your first reaction was so bad?
• 6:26
  Speaker 3: It's quite possible, and I'm glad that you asked that.
• 6:29
  Speaker 3: I'm glad that you brought that up, because when because
• 6:31
  Speaker 3: I've bashed Death Proof and Planet Terror ever since I
• 6:35
  Speaker 3: saw in the theater, and I haven't seen either of
• 6:37
  Speaker 3: them since, and so Death Proof is the first time
• 6:40
  Speaker 3: I've seen this movie since the theater, and so when
• 6:44
  Speaker 3: I put it on, I was like, Okay, I know
• 6:46
  Speaker 3: I was bashing this last week, you know, when we
• 6:48
  Speaker 3: were talking about kill Bill and everything like that, and John,
• 6:51
  Speaker 3: you and I have traded barbes about it. Yes, but
• 6:53
  Speaker 3: I was like, I'm going to give this a fair shick.
• 6:55
  Speaker 3: I'm going to try to open my brain as much
• 6:56
  Speaker 3: as as much as possible with this. And no, no,
• 7:00
  Speaker 3: I was right the first time. It's But was it
• 7:02
  Speaker 3: as bad as I remember it?
• 7:04
  Speaker 5: No?
• 7:04
  Speaker 3: But I think Planet Terror is by far the worst
• 7:07
  Speaker 3: movie of the two.
• 7:08
  Speaker 2: See it's fascinating because I my full disclosure, my first
• 7:15
  Speaker 2: child was born mere months before Grindhouse came out, so
• 7:20
  Speaker 2: I couldn't go see it. I mean could I have. Yes,
• 7:23
  Speaker 2: I could, but I was a doting daddy and I
• 7:26
  Speaker 2: was like, there's no way. She's a few months old.
• 7:28
  Speaker 2: There's no way. As a matter of fact, I can
• 7:30
  Speaker 2: tell you that the first movie that I took some
• 7:35
  Speaker 2: quote unquote me time was because mommy was having like
• 7:37
  Speaker 2: a baby playdate thing and she's like, you have this afternoon.
• 7:40
  Speaker 2: And I made a huge blunder and saw Michael Bay's
• 7:43
  Speaker 2: first Transformers movie. That was my day off. That was
• 7:47
  Speaker 2: a movie that I legitimately considered walking out of myself
• 7:51
  Speaker 2: because by the time that I couldn't understand what the
• 7:54
  Speaker 2: hell was going on with the effects. I was like, ah,
• 7:56
  Speaker 2: and then I like looked at my watch. I was like,
• 7:57
  Speaker 2: now there are everybody's still there. Yeah, I'll write it
• 7:59
  Speaker 2: out anyway coming back to Grindhouse. So I miss it
• 8:03
  Speaker 2: and it was but I remember being in and out
• 8:06
  Speaker 2: of the theaters a lot faster than I anticipated, and
• 8:09
  Speaker 2: people mainly talked about Machete. They mainly talked about that
• 8:12
  Speaker 2: trailer and they didn't talk about the rest of it.
• 8:14
  Speaker 2: I was like, well, that's weird. But when it finally
• 8:17
  Speaker 2: got the home release, I said, Okay, well, you know what,
• 8:19
  Speaker 2: I'm going to watch Tarantino's movie. I don't care about
• 8:21
  Speaker 2: Rodriguez whatever. And I watched Death Proof, and I remember
• 8:25
  Speaker 2: my reaction then was huh, Like I felt like I
• 8:28
  Speaker 2: should like it, but I knew that I didn't like it,
• 8:31
  Speaker 2: and it led to great conflicting feelings within my heart
• 8:34
  Speaker 2: because I was like, okay, after the whole kill Bill
• 8:37
  Speaker 2: thing and then this, I was like, oh, no, do
• 8:39
  Speaker 2: I not like Tarantino anymore? I'm not sure. And the
• 8:42
  Speaker 2: thing is, look, we don't want to spend a lot
• 8:44
  Speaker 2: of time on death Proof. We all know you know
• 8:47
  Speaker 2: that none of us really love it at a minimum.
• 8:50
  Speaker 2: So what I want to do is I want to
• 8:51
  Speaker 2: ask the core question here. I think on this viewing
• 8:54
  Speaker 2: that I figured out a way that this could have
• 8:56
  Speaker 2: been a great thing slash grindhouse experiment. Like I have
• 9:02
  Speaker 2: that thing where I'm like, I could have fixed this,
• 9:05
  Speaker 2: which is pompous and it's what every fan says, but
• 9:08
  Speaker 2: I feel like I could have fixed this.
• 9:09
  Speaker 3: Before you talk about what you would do to fix it,
• 9:13
  Speaker 3: because we don't know what Darren thinks, I feel like
• 9:15
  Speaker 3: we should have him speak first.
• 9:17
  Speaker 2: I thought Darren gave us a nice overview there, but
• 9:20
  Speaker 2: I wasn't trying to get to the ending. You're absolutely right, Tristan,
• 9:24
  Speaker 2: Let's go a little deeper with this.
• 9:25
  Speaker 4: So okay, I mean overall, yeah, I mean I can
• 9:29
  Speaker 4: see because I'm viewing it not as a Tarantino fanboy.
• 9:34
  Speaker 4: So yeah, like I I mean, we all gave kill
• 9:37
  Speaker 4: Bill a five across the board, you know, like that
• 9:40
  Speaker 4: was just, oh my gosh, you know, pulling out all
• 9:43
  Speaker 4: the stops, the storytelling, the cinematography, the really long animated
• 9:47
  Speaker 4: part that we wish wasn't there, you know, all of that,
• 9:50
  Speaker 4: but this one, I I you know again besides the
• 9:53
  Speaker 4: shade you guys are throwing at it from the name drop.
• 9:57
  Speaker 4: You know, I went into it like I have no
• 9:59
  Speaker 4: idea to expect, so I think my expectations were set
• 10:03
  Speaker 4: appropriately and overall, like I enjoyed, you know, Kurt Russell's bit,
• 10:09
  Speaker 4: you know, I think he played that part really well. Again,
• 10:12
  Speaker 4: not knowing what to expect, I'm like, it's a very
• 10:14
  Speaker 4: small story, but told you know, over quite a bit
• 10:18
  Speaker 4: of time, and you know, on researching you know, his
• 10:21
  Speaker 4: love letter kind of to stunt people and that aspect
• 10:24
  Speaker 4: of it. So it wasn't I don't know. I guess
• 10:28
  Speaker 4: I didn't feel it was as terrible, like it's.
• 10:30
  Speaker 5: Not a good movie.
• 10:32
  Speaker 4: But I think I wasn't as judging it because it's
• 10:37
  Speaker 4: like if I go into a James Cameron movie, I'm
• 10:40
  Speaker 4: expecting a certain thing. I think that's kind of why,
• 10:43
  Speaker 4: you know, as we as we talked about Way of Water,
• 10:46
  Speaker 4: I kind of held off on that because I was like,
• 10:48
  Speaker 4: I'm not ready to watch this yet. I'm I'm worried
• 10:52
  Speaker 4: that it's going to be a dip on Cameron. And
• 10:54
  Speaker 4: then when we finally got around to it, I was like, Okay,
• 10:56
  Speaker 4: I'm posantly surprised. I actually really enjoyed this because was Avatar.
• 11:00
  Speaker 4: The anomaly was that the hype was everyone like wishing
• 11:04
  Speaker 4: they were in Pandora. I remember that time and it
• 11:06
  Speaker 4: was kind of crazy. Yeah, So approaching Death Proof just
• 11:09
  Speaker 4: watching it, I mean it is it a Tarantina movie
• 11:12
  Speaker 4: for sure, like all over the place, all of the
• 11:15
  Speaker 4: shots and uh, you know, but you know, bits of
• 11:18
  Speaker 4: black and white and bits of things like that.
• 11:20
  Speaker 2: But see, I want to hit on that, Okay, but
• 11:22
  Speaker 2: I still very much want to get to like how
• 11:24
  Speaker 2: we might see where we could fix it, because I
• 11:26
  Speaker 2: think there's a baseline concept here that that's fixable quote unquote.
• 11:31
  Speaker 2: But you mentioned a Tarantino photographing it. This is the
• 11:34
  Speaker 2: first movie where he receives a director of photography credit.
• 11:37
  Speaker 5: That's true.
• 11:37
  Speaker 2: And notice did you detect a difference in the way
• 11:41
  Speaker 2: the film looked compared to I mean, he's worked with
• 11:45
  Speaker 2: the legendary Robert Richardson by this point, he's worked with other,
• 11:48
  Speaker 2: you know, other fantastic cinema cinematographers through his entire career,
• 11:53
  Speaker 2: and he comes here and he does it on his own.
• 11:55
  Speaker 2: Did you detect a difference? Did you detect that he
• 11:58
  Speaker 2: no longer needs it, Like I'm fumbling over to say,
• 12:02
  Speaker 2: do you think that this is a director who's demonstrating
• 12:04
  Speaker 2: that he's telling the cinematographer what he wants, or are
• 12:08
  Speaker 2: you getting a sense of this is a director who
• 12:10
  Speaker 2: needs that cinematographer to help him polish what he wants.
• 12:13
  Speaker 4: I'll answer that by saying, how I felt about the
• 12:16
  Speaker 4: end of the chase sequence, Like the latter part of
• 12:19
  Speaker 4: the chase sequence, at the very end, I forgot I
• 12:22
  Speaker 4: was watching a movie as so far as I forgot that,
• 12:26
  Speaker 4: Oh yeah, there's a camera following them, there's a camera
• 12:30
  Speaker 4: over here choosing to shoot, oh in this way, Like
• 12:33
  Speaker 4: it all just disappeared. And then I thought about it
• 12:36
  Speaker 4: for a second. I'm like, oh, that's right. That's all
• 12:38
  Speaker 4: these shots and the swooping and the framing that had
• 12:42
  Speaker 4: to be thought of, but just I dropped into it
• 12:44
  Speaker 4: for that last part of the chase. So yeah, I'd
• 12:48
  Speaker 4: say Tarantino proves he can be his own cinematographer. Shuey
• 12:52
  Speaker 4: to be a cinematographer for every single future picture. I
• 12:55
  Speaker 4: guess it depends on the load of the film, but
• 12:58
  Speaker 4: I think he pulled it off.
• 12:59
  Speaker 2: Tristan, I'll say, right there, how do you think our
• 13:01
  Speaker 2: boy Quinton does with his first time as DP credit.
• 13:06
  Speaker 3: I think because the only complex situations or I should
• 13:10
  Speaker 3: say situation was the car chase. And I'm not trying
• 13:12
  Speaker 3: to diminish that. That's that was a big deal. And Darren,
• 13:14
  Speaker 3: I think you hit it on the head. I mean
• 13:16
  Speaker 3: that was there's really well done. It had to be
• 13:18
  Speaker 3: thought out. I thought it geographically it made sense, it
• 13:22
  Speaker 3: was it was well put together. It was a very
• 13:24
  Speaker 3: well shot car scene, car chase and everything like that.
• 13:28
  Speaker 3: But when you think about it, it's very this is
• 13:30
  Speaker 3: a very isolated movie. It's it's it's like there's a
• 13:34
  Speaker 3: lot of sitting and talking. There's a lot of standing
• 13:36
  Speaker 3: and talking. It's like, oh, we're at the we're at
• 13:38
  Speaker 3: the Quickie Maart, Like we're at the diner, We're at
• 13:41
  Speaker 3: the bar, we're in the car, we're at the barn.
• 13:44
  Speaker 2: And that's it.
• 13:44
  Speaker 3: Like have a conversation here, have a conversation. Here, have
• 13:47
  Speaker 3: a conversation here. You know, it's it's the opposite of
• 13:50
  Speaker 3: kill Bill. And so I think, like for him to
• 13:53
  Speaker 3: be a DP, this is the perfect test case. And
• 13:56
  Speaker 3: you know, like when you do something with the like
• 13:58
  Speaker 3: the car chase. You're working with the start and coordinator,
• 14:01
  Speaker 3: you're working with a production designer, you're working with you know,
• 14:04
  Speaker 3: tons of other people to get what you need to
• 14:06
  Speaker 3: do in order to make that work. So it's not
• 14:09
  Speaker 3: just it's not just him saying like holding a camera
• 14:11
  Speaker 3: saying let's go do this. You know, you know, like
• 14:14
  Speaker 3: he has a lot of help. But I'm not again,
• 14:16
  Speaker 3: I'm not trying to take anything away from him. I'm
• 14:18
  Speaker 3: just saying that this is a this is the perfect
• 14:20
  Speaker 3: project of his for him to be a DP. And
• 14:23
  Speaker 3: I think he did it well. It very much looked
• 14:26
  Speaker 3: like in teried you know film, but it was not
• 14:28
  Speaker 3: as complex as say, you know, pulp fiction or kill
• 14:32
  Speaker 3: Bill or what we're going to be talking about in
• 14:34
  Speaker 3: Glorius Bastard's So yeah with but it's it was very
• 14:39
  Speaker 3: weird because you know, you look at the cinematography of
• 14:42
  Speaker 3: the first half and then you look at the cinematography
• 14:44
  Speaker 3: of the second half, and it just adds to the
• 14:47
  Speaker 3: schizophrenic nature of this movie. Yes, where it doesn't it
• 14:51
  Speaker 3: doesn't feel like a movie. It's two short films smushed together. Yeah,
• 14:55
  Speaker 3: one common.
• 14:55
  Speaker 2: Thread, absolutely, and that's exactly where we're we can start
• 15:00
  Speaker 2: wrapping up the talk about death Proof is that's where
• 15:03
  Speaker 2: I think the opportunity to have fixed this is they're
• 15:06
  Speaker 2: two ways. The first way, I mean, the overall thing
• 15:09
  Speaker 2: that hinges on is to turn this into the double feature.
• 15:13
  Speaker 2: Instead of having Planet Terror and death Proof, you have
• 15:15
  Speaker 2: death Proof and death Proof too. If you really want to,
• 15:18
  Speaker 2: you have Rodriguez direct one of them. Looking at it,
• 15:21
  Speaker 2: I think Rodriguez could have worked with the first half.
• 15:24
  Speaker 2: I can't see Rodriguez shooting the second half. Okay, that's
• 15:27
  Speaker 2: a compliment to what you're saying, what you're both saying
• 15:29
  Speaker 2: with Tarantino with that car chase at the end, I've
• 15:31
  Speaker 2: never seen anything in Rodriguez's filmography. I'm not taking anything
• 15:34
  Speaker 2: away from him as a professional, but look at the
• 15:37
  Speaker 2: speeder chase in Book of Boba Fett. I don't see
• 15:40
  Speaker 2: him directing this car chase here. So Bang, you're welcome.
• 15:47
  Speaker 2: I did it, but I was waiting for that one.
• 15:49
  Speaker 2: But basically, instead of having a whole bunch of these
• 15:52
  Speaker 2: like fake trailers and everything, you have fake trailers in
• 15:55
  Speaker 2: the middle for death Proof too, And so you have
• 15:58
  Speaker 2: it Deathproof one and death Proof too. And that way
• 16:01
  Speaker 2: I think this would go through where it's the further
• 16:03
  Speaker 2: Adventures of Stuntman Mike sort of thing, and you turn
• 16:06
  Speaker 2: him into a serial killer? Are we? I really do
• 16:10
  Speaker 2: because I'm eighteen years too that it's cool to.
• 16:12
  Speaker 4: See two different directors approach the same material, like that
• 16:16
  Speaker 4: would be really interesting.
• 16:17
  Speaker 2: And it's the thing is it breaks my heart because
• 16:19
  Speaker 2: it is a waste of Kurt Russell. Kurt Russell showed up.
• 16:22
  Speaker 2: He is He's been in film since before film was invented.
• 16:26
  Speaker 2: I think I think he's just a spirit that was
• 16:28
  Speaker 2: captured on film and became a person. And it's so
• 16:31
  Speaker 2: effortless for him to be so incredibly charming when he
• 16:35
  Speaker 2: needs to be a stuntman Mike that when he does
• 16:37
  Speaker 2: become the killer, it's like no, like it's a thrill
• 16:41
  Speaker 2: to see him do that, and it's just it's such
• 16:44
  Speaker 2: a shame. Like I feel bad for him in a
• 16:46
  Speaker 2: sense because I'm like, ah, man, he really showed up.
• 16:48
  Speaker 2: He's like, yeah, now I'm in the cool kid movie
• 16:51
  Speaker 2: finally yay and ah he gets death Proof and it's
• 16:55
  Speaker 2: like ah okay. But considered as a movie lit star.
• 16:58
  Speaker 3: I know he's a movie star. He shows up. I
• 17:00
  Speaker 3: thought his scenes with a Rose McGowan were the best,
• 17:03
  Speaker 3: like when they were talking at the bar and when
• 17:05
  Speaker 3: the car. I didn't like how much they beat up
• 17:07
  Speaker 3: Rose McGowan, but like that it was really off putting obviously,
• 17:11
  Speaker 3: But yeah, like his scenes were the best, absolutely, But
• 17:14
  Speaker 3: like to add credence to what you're talking about, I
• 17:17
  Speaker 3: think that's the main crux of it, is that I
• 17:19
  Speaker 3: don't care about any of these characters because I don't
• 17:21
  Speaker 3: really know them that well. I didn't have time to
• 17:24
  Speaker 3: learn about them. There's a reason why Scream works and
• 17:27
  Speaker 3: this doesn't, and it's because you actually get to spend
• 17:30
  Speaker 3: time with the characters. Like it's meta and there's murdering happening,
• 17:34
  Speaker 3: and there's violence, but it's just gratuitous in this and
• 17:37
  Speaker 3: it's not in Scream because you don't give a damn
• 17:40
  Speaker 3: about anybody and the most charismatic person should not be
• 17:44
  Speaker 3: the killer.
• 17:45
  Speaker 2: Yes and yes and yes. So Darren, do you have
• 17:48
  Speaker 2: anything where like do you look at this and you're
• 17:50
  Speaker 2: like you said it yourself. It's like, this isn't a
• 17:52
  Speaker 2: good movie, but what could have made it a good
• 17:55
  Speaker 2: movie for you? What's it missing?
• 17:56
  Speaker 4: Two things I'll say like we were talking about Kerr Russell,
• 17:59
  Speaker 4: it made me think of, oh, it wasn't mission impossible.
• 18:02
  Speaker 5: It was Columbo.
• 18:02
  Speaker 4: Watching a Columbo episode where Dick van Dyke was the villain,
• 18:07
  Speaker 4: and it was so jarring because it's Dick van Dyke,
• 18:10
  Speaker 4: who is like not the bad guy like ever, and
• 18:14
  Speaker 4: so that was what I kind of felt like watching
• 18:16
  Speaker 4: ker Russell, especially when he's oozing the charm and and
• 18:20
  Speaker 4: all of that, and it's like, but you're you're not
• 18:22
  Speaker 4: right in the head.
• 18:22
  Speaker 5: You are a bad person.
• 18:24
  Speaker 4: I will say. Besides the end, you know Chase, which
• 18:27
  Speaker 4: obviously Tarantine was like I want to make a Chase movie,
• 18:30
  Speaker 4: and everything else leads up to that, I will say
• 18:33
  Speaker 4: there was one part I noticed, and it because of
• 18:36
  Speaker 4: how it made me focus. You're talking about the QUICKI
• 18:39
  Speaker 4: Mart scene when they make the phone call into the
• 18:44
  Speaker 4: Quickie mark. It was very interesting because I'm like, hmm,
• 18:47
  Speaker 4: why are we doing this because this very easily could
• 18:50
  Speaker 4: have been they both go into the QUICKI Mart and
• 18:52
  Speaker 4: they have the exact same conversation and everything plays out
• 18:56
  Speaker 4: the same. But I'm like, why are we choosing to
• 19:00
  Speaker 4: keep one outside and one inside and they're you know,
• 19:05
  Speaker 4: kind of watching in and out through the window. I
• 19:07
  Speaker 4: was expecting, you know, his car to pull up and
• 19:10
  Speaker 4: he snatches her or something. I felt tension, like just
• 19:13
  Speaker 4: that small moment of they're separated by the window. So
• 19:19
  Speaker 4: I'm saying that was a great thing, Like obviously nothing happened, really,
• 19:23
  Speaker 4: but I didn't know that, and so I felt way
• 19:27
  Speaker 4: more tension in that conversation than just if they had.
• 19:30
  Speaker 4: I think an amateur would have just put them both
• 19:32
  Speaker 4: inside and not had one call the other just to chat.
• 19:36
  Speaker 4: So that scene kind of stuck out to me. Again,
• 19:40
  Speaker 4: didn't really go anywhere, but I applauded what it was,
• 19:43
  Speaker 4: what it made me feel in you know, the not
• 19:46
  Speaker 4: in my stomach.
• 19:47
  Speaker 2: Tristan, anything that could have switched this around for you
• 19:50
  Speaker 2: and then your final rating, because honestly, I think we've
• 19:53
  Speaker 2: given death Proof it's due, and I want to move
• 19:55
  Speaker 2: on to the next film anyway.
• 19:56
  Speaker 3: Yeah, yeah, I mean, actually, there's a one thing I
• 20:00
  Speaker 3: want to mention, and I remember being pissed off about
• 20:02
  Speaker 3: it in the theater is in grindhouse. So when you
• 20:05
  Speaker 3: watch when you watch death Proof the home release, like
• 20:08
  Speaker 3: the extended home release, it's you have the first half,
• 20:11
  Speaker 3: which is all scratched up and crazy and everything like that.
• 20:14
  Speaker 3: And then the second half looks like a normal Tarantino film,
• 20:18
  Speaker 3: like there's no scratches, there's no no jump cuts or
• 20:20
  Speaker 3: anything like that. And when I saw Grindhouse in the theater,
• 20:24
  Speaker 3: that was not the case. Both halves were scratched up
• 20:27
  Speaker 3: and weird. But when you look at the Grindhouse home release,
• 20:31
  Speaker 3: it's the same as the When you look, yeah, when
• 20:33
  Speaker 3: you look at the Grindhouse release of death Proof, it
• 20:36
  Speaker 3: looks the same as the extended release. And so I
• 20:39
  Speaker 3: was like, wait, I don't remember that in the theater.
• 20:40
  Speaker 3: I remember. I remember being in the theater watching it
• 20:44
  Speaker 3: where it was all scratchy and weird, but it got
• 20:47
  Speaker 3: less and less as the car chase went on, and
• 20:50
  Speaker 3: that pissed me off because it was Tarantino showing off
• 20:54
  Speaker 3: his car chase scene. He says like, he's like, I
• 20:57
  Speaker 3: don't want I don't want these stupid scratches getting in
• 20:59
  Speaker 3: the way of the beauty that is my car chase scene.
• 21:03
  Speaker 3: And so him not sticking to his theme, Yes, I
• 21:06
  Speaker 3: remember making me angry and he erased all evidence of
• 21:09
  Speaker 3: that in the home releases.
• 21:11
  Speaker 2: It's jarring because I know that you know. His whole
• 21:14
  Speaker 2: meta commentary is like, oh, well, sometimes, you know, sometimes
• 21:17
  Speaker 2: you go and the print was cut up and it
• 21:19
  Speaker 2: was two different prints, and so it would actually be
• 21:21
  Speaker 2: better over here, and it's like, but the whole conceit,
• 21:23
  Speaker 2: the whole gag is that you're watching a bad print
• 21:27
  Speaker 2: and to do it like that's too much knowledge to
• 21:31
  Speaker 2: try to pack into my brain that oh no, no, no,
• 21:33
  Speaker 2: this is from a different print that they got and
• 21:35
  Speaker 2: they stitch together, and I'm like, what like that? How
• 21:37
  Speaker 2: does that work in your brain? Right? You know?
• 21:41
  Speaker 3: So I'm going to give it up two stars. I
• 21:44
  Speaker 3: don't find this film enjoyable. I'm never gonna watch it again.
• 21:46
  Speaker 3: I wanted to give it. I wanted to give it
• 21:48
  Speaker 3: more because of Kurt Russell. He's just so just Kurt
• 21:52
  Speaker 3: Russell just lands it. He's just so great in this.
• 21:55
  Speaker 3: But it's not enough. I feel like the women are
• 21:58
  Speaker 3: horribly written. So many of them act the same and
• 22:01
  Speaker 3: are written the same. And oh, I instinct enough, you know.
• 22:04
  Speaker 2: I'm glad you said that. I'm going to land with
• 22:05
  Speaker 2: two stars as well extra star for the car chase.
• 22:08
  Speaker 2: But without that car chase, it's one star movie, which
• 22:11
  Speaker 2: pains me. Because this is something I will go back
• 22:13
  Speaker 2: and watch because I constantly want to like it more
• 22:17
  Speaker 2: because of Kurt Russell. I'm like one of the biggest
• 22:19
  Speaker 2: Kurt Russell fans on the face of the planet, and
• 22:22
  Speaker 2: I will continually give anything that he's in too many
• 22:25
  Speaker 2: chances as a result. And I can say that, so
• 22:28
  Speaker 2: it gets two stars. Just it's one of those things
• 22:31
  Speaker 2: where he really in terms of the writing, especially Tarantino,
• 22:36
  Speaker 2: is writing his typical masculine character for women, and it
• 22:42
  Speaker 2: doesn't I think that's what doesn't translate. You go specifically
• 22:45
  Speaker 2: to that scene where they're talking in the table and
• 22:48
  Speaker 2: I'm like, oh, this is the opening of Reservur Dogs.
• 22:49
  Speaker 2: It's just with Rosario Dawson and friends, and I'm like,
• 22:52
  Speaker 2: and it doesn't work because I'm hearing the dialogue. I
• 22:55
  Speaker 2: hear mister white and mister Blonde and mister pink talking
• 22:57
  Speaker 2: around the table. That's not them, that it's not them there, Like,
• 23:01
  Speaker 2: it doesn't work. He hasn't adjusted or sat down with
• 23:05
  Speaker 2: a woman and said, hey, could you make this sound
• 23:08
  Speaker 2: like women talk as opposed to me and my dorky
• 23:12
  Speaker 2: guy friends when we're sitting around a table, Like I
• 23:14
  Speaker 2: think that's part of the translation problem there with the characters.
• 23:17
  Speaker 2: So Darren, it's a two from Tristan and a two
• 23:20
  Speaker 2: from me. This is your first time watching death Proof
• 23:23
  Speaker 2: extended version? Where are you landing?
• 23:24
  Speaker 4: Yeah, the same two across the board. I mean it.
• 23:28
  Speaker 4: It had enough for me with the car chase with
• 23:32
  Speaker 4: just again overall kind of a it's like he's going
• 23:35
  Speaker 4: back to his student film, Like it feels like.
• 23:38
  Speaker 5: A really really, really well made.
• 23:40
  Speaker 4: Student film, which and I think that's what I think
• 23:44
  Speaker 4: kind of nailed you, guys. Was your follow up to
• 23:47
  Speaker 4: Kill Bill? Like a magnum opus of filmmaking?
• 23:51
  Speaker 5: Was this so? And especially? And I want to give.
• 23:55
  Speaker 4: Tarantino credit as well, because I say, oh, I haven't
• 24:00
  Speaker 4: been a Tarantino fan, but I've seen a lot that
• 24:02
  Speaker 4: he's written as well, Like I really enjoyed Sin City,
• 24:07
  Speaker 4: which came out I think right before this five, so
• 24:10
  Speaker 4: this was seven.
• 24:11
  Speaker 2: Was he a writer on that one? I honestly don't remember,
• 24:14
  Speaker 2: because that's based on the Frank Miller graphic novel and
• 24:16
  Speaker 2: I know Rodriguez directed it. But I wouldn't be surprised
• 24:19
  Speaker 2: if Tarantino was this co screenwriter on that.
• 24:21
  Speaker 5: But he didn't think he was no, No, you're right,
• 24:24
  Speaker 5: he's not.
• 24:25
  Speaker 4: I what I was remembering is a behind the scenes
• 24:27
  Speaker 4: clip I saw where he directed a scene. He did
• 24:31
  Speaker 4: the scene with Benizil Del Toro and Bruce Willis where
• 24:36
  Speaker 4: he had the gun sticking out of his head, like
• 24:38
  Speaker 4: one of those little mini scenes.
• 24:40
  Speaker 5: He came in and.
• 24:41
  Speaker 4: Directed it, and I saw a clip of that, and
• 24:43
  Speaker 4: that befuddled my brain so well, I meanologies to the
• 24:46
  Speaker 4: writers of Sin City.
• 24:47
  Speaker 2: Well, I mean, but the thing is, he wrote true Romance,
• 24:50
  Speaker 2: Tony Scott directed it. I adore it. I think that's great.
• 24:54
  Speaker 2: He wrote Natural Born Killers and disavows it because of
• 24:57
  Speaker 2: what Stone did with it. He was a ghost on
• 25:01
  Speaker 2: Crimson Tide Polishes. But like when you watch the movie,
• 25:04
  Speaker 2: it's so obvious where he wrote, oh, it's like it hurts,
• 25:08
  Speaker 2: it's painful, like you like, Oh, Tarantino wrote that one.
• 25:11
  Speaker 5: These pages are blue, right exactly. There's very obvious.
• 25:15
  Speaker 2: It's very very obvious. But yeah, I think that. I think, honestly,
• 25:19
  Speaker 2: the story of death Proof over Time is that Tarantino
• 25:23
  Speaker 2: fell in love with the gag and should have just
• 25:26
  Speaker 2: let the gag be the gag and maybe produced this
• 25:29
  Speaker 2: and not try to direct.
• 25:31
  Speaker 5: And with the gag.
• 25:32
  Speaker 4: The gag becomes the ultimate darling, and he can't kill it, right,
• 25:36
  Speaker 4: so if it ever tugged on him to be like, hmm,
• 25:41
  Speaker 4: maybe I should have expanded this into its own movie.
• 25:45
  Speaker 4: Like now, one question I have because I didn't watch Grindhouse.
• 25:48
  Speaker 4: So his Grindhouse like five hours long? Is it literally
• 25:53
  Speaker 4: like a full double feature?
• 25:54
  Speaker 5: Okay, it's like.
• 25:55
  Speaker 2: Three hours or something like that.
• 25:57
  Speaker 3: It was, it was both films were ninety minutes and like,
• 25:59
  Speaker 3: what ten minutes of trailers in between? I want to say,
• 26:02
  Speaker 3: it probably wasn't even that much. You're right, yeah, got it?
• 26:06
  Speaker 4: Okay, and Tristan's World trailers are ten minutes long.
• 26:09
  Speaker 2: So Tarantino, a little too full of himself, falls in
• 26:12
  Speaker 2: love with a gag, can't walk away from it. Two stars.
• 26:15
  Speaker 2: This is the first real stumble in his filmography so far,
• 26:19
  Speaker 2: I think across the board from all of us, we agree,
• 26:21
  Speaker 2: and then he comes at us with Inglorious Bastards, which
• 26:25
  Speaker 2: is a very famously misspelled title, almost like he's making
• 26:29
  Speaker 2: fun of himself for his reputation as being a basically
• 26:36
  Speaker 2: functionally illiterate in terms of his spelling skills, which not
• 26:39
  Speaker 2: my words. Somebody else said that, And so we come
• 26:42
  Speaker 2: to Inglorious Bastards and it's his first real exercise in
• 26:46
  Speaker 2: it's not historical revisionism but historical fantasy.
• 26:50
  Speaker 5: It was historical fiction.
• 26:51
  Speaker 4: Yeah, but Bill events realish people, but a totally made
• 26:56
  Speaker 4: up story.
• 26:56
  Speaker 2: And so Darren, I know this is your first time
• 26:59
  Speaker 2: seeing it, so I'm more fascinated with this. But what
• 27:04
  Speaker 2: kept you away from Inglorious Bastards? What was it that
• 27:07
  Speaker 2: this wasn't the one that could compel you to say,
• 27:10
  Speaker 2: you know what, I like that kill Bill, I'll give
• 27:13
  Speaker 2: this one a try. What wasn't that didn't resonate with
• 27:15
  Speaker 2: you in the marketing?
• 27:16
  Speaker 5: That's a good question.
• 27:17
  Speaker 4: I mean, oh, nine, I was probably just watching Star
• 27:20
  Speaker 4: Trek too many times since that's what I wanted to
• 27:22
  Speaker 4: spend my tickets on.
• 27:24
  Speaker 3: No, gosh, I saw that like ten times.
• 27:26
  Speaker 5: See so, uh, you know, I saw the trailer.
• 27:30
  Speaker 4: I've seen clips you know nowadays, like you know, I've
• 27:32
  Speaker 4: seen I had seen a lot of the the main
• 27:36
  Speaker 4: kind of twist clips and stuff like that, like the
• 27:39
  Speaker 4: you know, the three in the Bar and stuff like
• 27:41
  Speaker 4: that before watching it this week. But yeah, back in
• 27:46
  Speaker 4: the back in nine, I don't know it. I think Honestly,
• 27:51
  Speaker 4: it was just kind of I knew I wasn't a
• 27:54
  Speaker 4: Tarantino fan and not, and so I didn't know really
• 27:58
  Speaker 4: the nu once. I think in my mind, I thought, oh, Tarantino,
• 28:02
  Speaker 4: a lot of swearing, a lot of blood, a lot
• 28:04
  Speaker 4: of gore, you know, a lot of intensity, and that's
• 28:07
  Speaker 4: usually not my cup of tea. Now, was that overall what.
• 28:10
  Speaker 5: This movie was? No, Like, I mean, it had all
• 28:13
  Speaker 5: of those elements.
• 28:14
  Speaker 4: But it wasn't like I wasn't recoiling from the you know,
• 28:19
  Speaker 4: from the film. Actually there's part there's parts of it
• 28:21
  Speaker 4: that I thought we're going to go farther that they
• 28:22
  Speaker 4: actually didn't. So so yeah, I think it just came
• 28:26
  Speaker 4: down to that is, you know, I wasn't living in
• 28:28
  Speaker 4: a tiny town with a single screen, you know, Monoplex.
• 28:32
  Speaker 4: But it was just not really still on my radar
• 28:36
  Speaker 4: and I was watching Star Trek too much.
• 28:37
  Speaker 2: Now, Tristan, were you stoked for this or did you
• 28:41
  Speaker 2: get it confused with the nineteen seventy eight Italian film
• 28:45
  Speaker 2: The Inglorious Bastards that this movie drew some inspiration from.
• 28:49
  Speaker 5: No.
• 28:49
  Speaker 3: I think I skipped this one in the theater because
• 28:52
  Speaker 3: I was so angry with Grindhouse.
• 28:55
  Speaker 2: Death Proof pissed you off, death Proof too.
• 28:57
  Speaker 3: Far, Planet Terror pissed me off so much that I
• 29:01
  Speaker 3: think I skipped in Glorious Past.
• 29:03
  Speaker 2: I have.
• 29:04
  Speaker 3: I'm not saying I did, but I have no memory
• 29:07
  Speaker 3: of watching it in the theater. And you know, maybe
• 29:09
  Speaker 3: I did, but I don't know. That's but that's that's
• 29:13
  Speaker 3: how angry I was, is that I don't even remember
• 29:16
  Speaker 3: seeing this in the theater.
• 29:17
  Speaker 2: If I did, I know that I did not see this.
• 29:20
  Speaker 2: By this point, I was a father two times over,
• 29:23
  Speaker 2: and so free time was even less of a thing. Actually,
• 29:27
  Speaker 2: my second child was born like six months before this
• 29:30
  Speaker 2: came out, but more than that, but like it was
• 29:32
  Speaker 2: born in November before this came out, So hands were
• 29:35
  Speaker 2: full at the time. And actually this came out in
• 29:39
  Speaker 2: August of that year. I had actually just started a
• 29:42
  Speaker 2: new job a few months. It was a time of
• 29:44
  Speaker 2: great change, basically, is what I'm trying to say. So
• 29:47
  Speaker 2: I did not get to see Inglorious Bastards in the theater,
• 29:49
  Speaker 2: but I know I knew that it was getting a
• 29:51
  Speaker 2: great rep like a lot of people were giving a
• 29:54
  Speaker 2: lot of love. So Tristan, you know, you don't remember
• 29:57
  Speaker 2: whether you saw this in the movie theater. Did you
• 30:00
  Speaker 2: this was not your first time attempting to revisit it
• 30:02
  Speaker 2: in years?
• 30:02
  Speaker 3: Or was it this? This was my second time seeing it?
• 30:06
  Speaker 3: I either want I either saw this in the theater
• 30:08
  Speaker 3: or I saw it right when it came out on video.
• 30:10
  Speaker 3: Mm hm, this was but this was my second time
• 30:14
  Speaker 3: watching the movie in since two thousand and nine.
• 30:17
  Speaker 2: So with the entire fictional historical World War Two thing, Darren,
• 30:23
  Speaker 2: I'll throw this to you first. Did it throw you
• 30:25
  Speaker 2: for a loop at all? That this? I mean in
• 30:27
  Speaker 2: my brain, this is the first time anybody has screwed
• 30:30
  Speaker 2: with the historicity of a film set in World War
• 30:33
  Speaker 2: Two that I think I ever saw. Did it throw
• 30:36
  Speaker 2: you for a loop at all? Encountering Brad Pitt as
• 30:39
  Speaker 2: the leader of not the Dirty Dozen going on all
• 30:42
  Speaker 2: of these Nazi killing missions.
• 30:44
  Speaker 4: Well, I mean, yeah, I'm sure it is the most
• 30:48
  Speaker 4: liberal take on history.
• 30:50
  Speaker 5: But I don't know.
• 30:52
  Speaker 4: I guess I always viewed war films through the lens
• 30:56
  Speaker 4: of like this is a retelling like I never you know,
• 30:59
  Speaker 4: maybe anything except for like Band of Brothers, which I
• 31:01
  Speaker 4: think was you know a lot of people have said,
• 31:03
  Speaker 4: like was just so crazy faithful, like to the point
• 31:07
  Speaker 4: where some of the actors were like, oh no, I
• 31:08
  Speaker 4: wasn't there. You can't put me in that scene because
• 31:11
  Speaker 4: my character wasn't. So yeah, I never really.
• 31:15
  Speaker 5: Viewed World War Two movies.
• 31:17
  Speaker 4: With that reverence of like, oh, this is what actually
• 31:20
  Speaker 4: actually happened, because you know, we have composite characters, we
• 31:23
  Speaker 4: have changes of timeline and things like that.
• 31:26
  Speaker 2: So but well, all I mean in the scale of
• 31:30
  Speaker 2: I don't know of any other movie in history that
• 31:33
  Speaker 2: actually kills Hitler. Good.
• 31:34
  Speaker 4: Yeah, that was going to say until the end, because really,
• 31:38
  Speaker 4: as it leads up towards the finale in the cinema,
• 31:42
  Speaker 4: you know, it rides on like, oh, yeah, this could
• 31:45
  Speaker 4: have I never assumed this was based on a historical tale,
• 31:49
  Speaker 4: but it was mostly historical ish until we hit the
• 31:53
  Speaker 4: end of the cinema and then it was like, oh,
• 31:55
  Speaker 4: we're just gonna kill Hitler and enjoy it now.
• 31:58
  Speaker 2: Tristan, do you think that that works in this context?
• 32:01
  Speaker 2: Do you think that the movie payoff of letting these
• 32:05
  Speaker 2: characters achieve their goal of wiping out the Nazi high command?
• 32:10
  Speaker 2: Does that affect your take on the movie at all?
• 32:13
  Speaker 2: Like to Darren's point, you can play along up to
• 32:16
  Speaker 2: a certain point. But the minute that you get everybody
• 32:18
  Speaker 2: in that theater and everything goes down, obviously it's all
• 32:22
  Speaker 2: just a fairy tale. But does that affect the viewing
• 32:26
  Speaker 2: experience at all?
• 32:26
  Speaker 3: No, not for me. I'm sure it was cathartic, you know,
• 32:29
  Speaker 3: for for a lot of people, for obvious reasons. And
• 32:32
  Speaker 3: to actually see that happen like with all you know,
• 32:35
  Speaker 3: like all four of them in one room getting their
• 32:37
  Speaker 3: just desserts, you know, like, yeah, it's you know, it's
• 32:39
  Speaker 3: awesome seeing Hitler machine gun to the face. But no, no,
• 32:44
  Speaker 3: I don't. It didn't really. It kind of I raised
• 32:46
  Speaker 3: my eyebrowt when, like, because I thought there was gonna
• 32:49
  Speaker 3: be some situation where like all four of them escaped
• 32:51
  Speaker 3: or something like that at the last minute. But then
• 32:53
  Speaker 3: when Hitler got a machine gun to the face, I
• 32:55
  Speaker 3: was like, okay, like we're going this route. And I
• 32:59
  Speaker 3: wish I could talk about another time that was cathartic,
• 33:03
  Speaker 3: where history was changed in one of Tarantino's films, But
• 33:06
  Speaker 3: I can't talk about that right now. Not yet there yet,
• 33:08
  Speaker 3: not yet.
• 33:08
  Speaker 2: We'll get there, well, we'll get there, but it is
• 33:12
  Speaker 2: it is interesting. I would think, you know what I
• 33:14
  Speaker 2: want to ask you about this, darn? Do you think
• 33:16
  Speaker 2: that you can sense in any way that Tarantino is
• 33:21
  Speaker 2: allowing himself to have more fun by divorcing himself from
• 33:24
  Speaker 2: history at that point from saying no, I'm allowed to
• 33:27
  Speaker 2: do this because your point, who thinks this is real? Anyway?
• 33:32
  Speaker 2: Why not do this?
• 33:33
  Speaker 5: Oh? Definitely, I mean this. I think you said it right. Fun.
• 33:38
  Speaker 4: It's fun in telling a fantastical story like where you
• 33:43
  Speaker 4: are gripped with the you know, the unsuspecting Jews, like
• 33:48
  Speaker 4: being sought by the not you know, the jew hunter,
• 33:51
  Speaker 4: Like what's the nicknames come out? You're like, okay, okay,
• 33:55
  Speaker 4: Like that's the kind of film it is. I was
• 33:57
  Speaker 4: almost going to say, because I was trying to look
• 33:59
  Speaker 4: up more World War II to I'm like, oh, well
• 34:01
  Speaker 4: it actually as far as I mean, it's taking it
• 34:04
  Speaker 4: in a more serious tone, but it's really no more
• 34:07
  Speaker 4: faithful to history than like Captain America the First Avenger,
• 34:11
  Speaker 4: like you know.
• 34:13
  Speaker 3: Her Brave Heart to Scottish and English history exactly.
• 34:17
  Speaker 2: So yeah, well, okay, yeah, you know, actually, you know what,
• 34:20
  Speaker 2: that's a fair point, Tristan. Why did it become a
• 34:24
  Speaker 2: thing for do you think it's strictly that the high
• 34:27
  Speaker 2: command thing, because to what you just said, history is
• 34:31
  Speaker 2: a plaything to Hollywood. Like we've talked about everything from
• 34:35
  Speaker 2: Malcolm X to JFK to The Doors to wait, if
• 34:40
  Speaker 2: I name any more Oliver Stone movies, I really feel
• 34:42
  Speaker 2: like I'll just make my point too well. But do
• 34:46
  Speaker 2: you think it's just Tarantino finally said, why can't I
• 34:48
  Speaker 2: have as much fun with this as everybody else does?
• 34:51
  Speaker 2: Why can't I be loose with it the way they are?
• 34:53
  Speaker 2: Nobody knows the real Like nobody's sitting down in Braveheart
• 34:56
  Speaker 2: is thinking about the real history of Robert the Bruce
• 34:59
  Speaker 2: and who was the real reformer and like William Wallace
• 35:01
  Speaker 2: and everything, or you know, I don't know if I'd
• 35:03
  Speaker 2: go that far. I'm just I'm just riffing, you know
• 35:06
  Speaker 2: what I'm saying.
• 35:07
  Speaker 3: I don't think Tarantino thought twice about it. I think
• 35:10
  Speaker 3: in his own Tarantino way, he was just like, you
• 35:12
  Speaker 3: know what, and then they get them, we get them
• 35:14
  Speaker 3: all together, and then Hitler gets a machine gun in
• 35:16
  Speaker 3: the face and people are reading the script are like, yeah, yeah, cool,
• 35:19
  Speaker 3: that's cool. It's cool. Then they just move on. I
• 35:22
  Speaker 3: don't think anybody like nobody cares it's a Tarantino film. Well,
• 35:25
  Speaker 3: it's supposed to. It's supposed to be witty and violent,
• 35:28
  Speaker 3: you know. It's It's one of those things where if
• 35:30
  Speaker 3: you present yourself as factual, then you're gonna be judged
• 35:34
  Speaker 3: by those facts. But Tarantino has never done that.
• 35:36
  Speaker 2: That's a fair point. That's a fair point. Now. You
• 35:39
  Speaker 2: know obviously the breakout and you mentioned the character Darren
• 35:42
  Speaker 2: by his nickname Hans Landa, who is played by Christoph Waltz,
• 35:46
  Speaker 2: who This was my first time ever encountering Chris fof
• 35:49
  Speaker 2: Waltz in any role, and I considered him when I
• 35:53
  Speaker 2: finally saw it a revelation. This was one of those
• 35:56
  Speaker 2: roles where I would classify this as Sam Jackson in
• 35:59
  Speaker 2: pulp fiction level, where this movie doesn't exist without him
• 36:02
  Speaker 2: so far as I'm like, it's a curious, fun little movie.
• 36:05
  Speaker 3: Without it, Tarantin will almost quit this film, to quit
• 36:08
  Speaker 3: making this film because they couldn't find the right haunts. Wow,
• 36:12
  Speaker 3: Like he legitimately they were going to wrap up production.
• 36:15
  Speaker 2: I never knew that. I never knew, Like in.
• 36:18
  Speaker 3: The casting process, in pre production, he was just like
• 36:21
  Speaker 3: he was talking with Laurence Bender and he's just like,
• 36:23
  Speaker 3: you know what, like maybe we don't do this, maybe
• 36:25
  Speaker 3: we don't do this one, maybe we do something else.
• 36:27
  Speaker 3: But then Christoph waltzs audition and they're like, Okay, all right,
• 36:29
  Speaker 3: we're gonna do it.
• 36:30
  Speaker 2: Well that that is absolutely serendipitous that they found him,
• 36:34
  Speaker 2: and I'm grateful. But Darren, do you think that, aside
• 36:37
  Speaker 2: from Waltz, because I think all of us would agree
• 36:39
  Speaker 2: that he's a key to this movie, I want to
• 36:42
  Speaker 2: ask you pointedly about Brad Pitt. How do you feel
• 36:45
  Speaker 2: about his performance in this film?
• 36:47
  Speaker 4: It's it's funny because he's kind of barely in it.
• 36:50
  Speaker 4: Like there's a lot of scenes that don't have Brad
• 36:54
  Speaker 4: Pitt in it, and maybe my mind kind of mixes
• 36:58
  Speaker 4: it in with like Fury, you know, where he in
• 37:00
  Speaker 4: every single shot and stuff like that. But you know,
• 37:03
  Speaker 4: I always say keep Brad Pitt in just for the
• 37:07
  Speaker 4: Italian line scene because it's so out of field or LAMI. Yeah,
• 37:14
  Speaker 4: and it's like is anybody like it's like an Italian
• 37:17
  Speaker 4: speaking with an American accent. Like it's just terrible. It's
• 37:21
  Speaker 4: absolutely terrible. But you know, I think in this movie
• 37:26
  Speaker 4: you can tell there are moments that are were dreamed
• 37:30
  Speaker 4: up in the storyboard, the walking out of the tunnel
• 37:33
  Speaker 4: as he's you know, killing Germans in the front, like
• 37:37
  Speaker 4: where we're introduced to his character. There's several moments for
• 37:40
  Speaker 4: brad Pitt that are you know, almost caricature of this
• 37:44
  Speaker 4: kind of American like you said, not dirty dozen, dirty
• 37:49
  Speaker 4: dozen kind of thing.
• 37:51
  Speaker 5: So, but yeah, I think he was. He was great
• 37:53
  Speaker 5: in it.
• 37:53
  Speaker 4: I didn't think he was gonna win any oscars on it,
• 37:55
  Speaker 4: but you know it was.
• 37:57
  Speaker 5: I could see George Clooney do it.
• 37:59
  Speaker 4: I could see a lot of actors doing that role,
• 38:01
  Speaker 4: but I was fine with Bradgett.
• 38:03
  Speaker 2: You can see Clooney in this type of role. I'm
• 38:05
  Speaker 2: not challenging you. I'm just I'm curious. That's the first
• 38:07
  Speaker 2: time I've heard Clooney dropped in that sort of way.
• 38:09
  Speaker 2: Are you basing that on, like you know his turn
• 38:11
  Speaker 2: in Oh Brother, Where art thou you think that would
• 38:14
  Speaker 2: that type of Clooney can pull this off.
• 38:16
  Speaker 4: I'm thinking just the softness of the voice where it's
• 38:19
  Speaker 4: a menacing kind of softness where you don't know and
• 38:23
  Speaker 4: then like he just like he grabs the guy's baseball
• 38:25
  Speaker 4: bat and clubbed you across that and you're like, whoa, whoa,
• 38:27
  Speaker 4: what where did that come from? But we're but we're
• 38:30
  Speaker 4: talking about Brad Pitts.
• 38:31
  Speaker 2: Yeah, Well, drested in the same question to you, how
• 38:33
  Speaker 2: do you feel about Pitt's performance here?
• 38:35
  Speaker 3: Well, I feel the same way about Pitts as I
• 38:37
  Speaker 3: do everybody else's. I think everybody showed up. I think
• 38:39
  Speaker 3: everybody was firing on all cylinders. Ryant, Diane Krueger, Eli Roth, Waltz, Fosspender,
• 38:45
  Speaker 3: Fossbender nailed it. God, absolutely frigging nailed it that scene.
• 38:51
  Speaker 2: And what I love is they don't over explain the three,
• 38:54
  Speaker 2: the holding up the hand, the gesture for the three
• 38:57
  Speaker 2: and the wrong way is what.
• 38:58
  Speaker 3: My father in law was voting that for months, saying like,
• 39:03
  Speaker 3: did you know? I'm like, Dad, if you're just going
• 39:06
  Speaker 3: to be quoting a movie that we both have seen,
• 39:09
  Speaker 3: don't say did you know?
• 39:10
  Speaker 2: Right? Right? But you know the thing is, it's I
• 39:13
  Speaker 2: think that you know, to speak to Fastbender's performance, I
• 39:16
  Speaker 2: think it's indicative of Tarantino with inglorious bastards, especially after
• 39:22
  Speaker 2: death Proof. I see the Tarantino that in my book
• 39:26
  Speaker 2: showed up in for Jackie Brown. It's strange to say
• 39:29
  Speaker 2: in a movie that has as much idiosyncrasies as this one.
• 39:33
  Speaker 3: I find this movie very similar to Jackie Brown in
• 39:36
  Speaker 3: very many ways.
• 39:37
  Speaker 2: Yeah, I was just going to say, he's more restrained
• 39:40
  Speaker 2: in his moments. He knows how much to give us.
• 39:43
  Speaker 2: He doesn't go over kill, Bill, there's permission to go
• 39:46
  Speaker 2: overboard with the genre that he's imitating. There. I think
• 39:49
  Speaker 2: we see a Tarantino getting his skill set back under control,
• 39:54
  Speaker 2: Like this is a Tarantino who's maybe been humbled a
• 39:56
  Speaker 2: little bit by Death Proof and said, Okay, I understand
• 39:59
  Speaker 2: I went too far, and he's back in here and
• 40:02
  Speaker 2: he's directing his actors in that way. But you mentioned Krueger.
• 40:07
  Speaker 2: Do you think that Krueger gets shorted in any way
• 40:10
  Speaker 2: in terms of the esteem given to the performers in
• 40:13
  Speaker 2: this movie? Because a lot of people talk about Walts,
• 40:16
  Speaker 2: a lot of people talk about Pitt. Do you think
• 40:18
  Speaker 2: that she does not get enough due for her role
• 40:20
  Speaker 2: here Inning Glorious Bastards.
• 40:22
  Speaker 3: I forgot she was in it, so yes, Like I
• 40:25
  Speaker 3: think because she looks so similar to Melianie Laurent, because
• 40:28
  Speaker 3: she's blonde hair, blue eyes, Like there's like there's two
• 40:31
  Speaker 3: women in this movie, and they're both blonde, Like, they're
• 40:34
  Speaker 3: both gorgeous with blonde hair and blue eyes, and they're
• 40:37
  Speaker 3: tiny and where it is, Yeah.
• 40:39
  Speaker 4: And go down the opposite side of the spiral stairs
• 40:42
  Speaker 4: so that it's a mirror.
• 40:44
  Speaker 5: It rhymes, yeah, the same thing. Like.
• 40:47
  Speaker 4: I mean, she performed well, but honestly, for the first
• 40:50
  Speaker 4: couple of minutes of that scene, I was like I
• 40:52
  Speaker 4: mistook her for the other character because there was very
• 40:56
  Speaker 4: little difference in her appearance and the way she talked
• 40:59
  Speaker 4: all of that. This is definitely one where you can't
• 41:02
  Speaker 4: do anything else while you watch it because there are
• 41:04
  Speaker 4: so many subtitles to get yourself through.
• 41:07
  Speaker 3: But yeah, I think this was wish. I'm sure that
• 41:10
  Speaker 3: there is a calculation. But this movie has to be
• 41:13
  Speaker 3: mostly foreign language, isn't it like non English?
• 41:16
  Speaker 5: I have fifty I would be sure.
• 41:18
  Speaker 2: I applaud Tarantino because I still recall enough German from
• 41:22
  Speaker 2: back when I was quasi fluent in it to know
• 41:26
  Speaker 2: that he's not cheating it too much. That there there's
• 41:28
  Speaker 2: actual there. Okay, Tristan, just because it's such a visual medium,
• 41:33
  Speaker 2: I don't want to overstate. Since everybody's watching along here
• 41:36
  Speaker 2: on this audio podcast. But Tristan just gave me the
• 41:39
  Speaker 2: stink eye on this. And the thing is, I'm not
• 41:42
  Speaker 2: saying that it is you know completely, you know that
• 41:47
  Speaker 2: that a native speaking German is gonna be like haha,
• 41:50
  Speaker 2: I can't tell the difference. I'm saying it's enough. It's
• 41:53
  Speaker 2: like a Raiders O Lost Arc type of movie where
• 41:55
  Speaker 2: it sounds right.
• 41:57
  Speaker 3: Because I understand German, and you know, reading the subtitles
• 42:00
  Speaker 3: and listening to it, I'm like not quite.
• 42:02
  Speaker 2: Now hold on a second though. Now. The thing is,
• 42:04
  Speaker 2: I'll throw the challenge flag on that because subtitles are
• 42:07
  Speaker 2: always clumsy translations for reading. That's how I know. That's
• 42:12
  Speaker 2: how I know the hotties in Return of the Jedi
• 42:14
  Speaker 2: is not a one to one because they I need
• 42:17
  Speaker 2: to read it at a certain speed. And Java is
• 42:18
  Speaker 2: saying a lot more than what's I'm hearing on screen.
• 42:21
  Speaker 3: I will that to you. I just looked it up
• 42:24
  Speaker 3: and uh, thirty percent of the film is English.
• 42:27
  Speaker 2: Yeah, buy that isn't that crazy?
• 42:30
  Speaker 3: Like that's cool?
• 42:31
  Speaker 2: He did a foreign language film. By today's OSCAR standards,
• 42:33
  Speaker 2: this should have been up for Best Foreign Picture, right, Yeah,
• 42:36
  Speaker 2: I mean he just should should have gotten to excuse me.
• 42:38
  Speaker 3: It's called international film.
• 42:40
  Speaker 2: Now, John, I'm so sorry. I'm going to be going
• 42:44
  Speaker 2: on my apology tour very shortly, and I will be
• 42:46
  Speaker 2: sitting there along.
• 42:47
  Speaker 4: All you have to do with everybody else, crawl over
• 42:49
  Speaker 4: the sands and let's just say you love everybody and
• 42:53
  Speaker 4: blow kisses like Roberto Benini.
• 42:55
  Speaker 5: That's all you got to do.
• 42:56
  Speaker 2: Thank goodness that I didn't write that on social media.
• 42:59
  Speaker 2: I would never or live it down. I apologize for
• 43:02
  Speaker 2: myself and all of my forebears.
• 43:03
  Speaker 3: So I want to complain about this film.
• 43:06
  Speaker 2: I want you to. I want you to because I
• 43:08
  Speaker 2: want to argue with you. Go ahead, I do, I do.
• 43:10
  Speaker 3: Okay, So here's the thing, here's why. This is what
• 43:13
  Speaker 3: I didn't like about the movie. This movie should have
• 43:16
  Speaker 3: been forty minutes shorter. And what I was talking about
• 43:18
  Speaker 3: with what I how I thought it was English?
• 43:23
  Speaker 5: Is that what you know?
• 43:24
  Speaker 2: English?
• 43:25
  Speaker 5: Too much?
• 43:25
  Speaker 3: English? I understood too much? No with Okay, the.
• 43:29
  Speaker 6: Opening scene of this movie is freaking phenomenal. This has
• 43:34
  Speaker 6: such a grandiose opening. It's grandiose in its subtlety. If
• 43:39
  Speaker 6: I could be contradictory, here, the way it's shot, the
• 43:43
  Speaker 6: way it's acted, like you want to talk about someone
• 43:45
  Speaker 6: who does who gets looked over. And the guy who
• 43:48
  Speaker 6: played the farmer, La les Padit, he was I mean,
• 43:52
  Speaker 6: this was I hate to use this word, but this
• 43:54
  Speaker 6: was a masterclass in acting. He from the word go
• 43:58
  Speaker 6: when he saw the Nazis comeing forth, you could see
• 44:01
  Speaker 6: it on his face. When he was sitting down, he
• 44:03
  Speaker 6: was emoting everything like he was a man who was
• 44:06
  Speaker 6: hiding in plain sight. And then you felt for him
• 44:10
  Speaker 6: when he turned on his friends, like that's a hard
• 44:13
  Speaker 6: thing to do because he wasn't a Nazi sympathizer, he
• 44:16
  Speaker 6: wasn't a collaborator.
• 44:17
  Speaker 3: He was a man who knew he was found out.
• 44:20
  Speaker 3: He knew he was found out. He was trying to
• 44:22
  Speaker 3: pretact himself and his daughters, but it got people killed,
• 44:25
  Speaker 3: and so you felt for him in that moment, and
• 44:27
  Speaker 3: he portrayed all of that anyway. I'm sorry I'm gushing now,
• 44:30
  Speaker 3: but like in Walt, you get that introduction of Walts
• 44:32
  Speaker 3: and that ridiculous pipe, and it's just it was so
• 44:36
  Speaker 3: the tension was palpable. It was fantastic. But here's the thing.
• 44:41
  Speaker 3: Every single scene after that was treated the exact same way,
• 44:47
  Speaker 3: and it was exhausting. It was absolutely exhausting and too drawn.
• 44:52
  Speaker 5: Out, too master class.
• 44:55
  Speaker 2: No, No, you can't have too much excellence in a
• 44:57
  Speaker 2: movie otherwise asking too much of.
• 45:00
  Speaker 3: No Rhythmically, it does not make sense. You cannot do that.
• 45:04
  Speaker 3: It felt like chunks that were just thrown at you, like,
• 45:07
  Speaker 3: here's a chunk that's too long, here's a chunk that's
• 45:09
  Speaker 3: too long. Here's a chunk that's too long. And within
• 45:12
  Speaker 3: each chunk is some great movie with some great acting
• 45:15
  Speaker 3: and some great scenes, but it's just too god dang long,
• 45:20
  Speaker 3: to the point where I almost didn't care if the
• 45:23
  Speaker 3: good guys won at the end because I just wanted
• 45:25
  Speaker 3: it to be over.
• 45:26
  Speaker 5: Wow.
• 45:27
  Speaker 2: I could not disagree with you more in this case.
• 45:30
  Speaker 2: This is one of those famous moments where you and
• 45:32
  Speaker 2: I are going to diverge completely because I will start
• 45:37
  Speaker 2: off with a little bit of agreement here. I'd say
• 45:39
  Speaker 2: it could be about ten minutes shorter. I think you
• 45:41
  Speaker 2: could shave some stuff off here. I think that there
• 45:43
  Speaker 2: are moments where Tarantino gets a little too caught up
• 45:45
  Speaker 2: in the scene. But I think that this and the
• 45:49
  Speaker 2: way he treats the narrative structure and when he takes
• 45:52
  Speaker 2: the breaks with the title cards he does it right.
• 45:56
  Speaker 2: It's I'm turning the chapter, okay, and this is this
• 46:00
  Speaker 2: how I'm going again. It's like Jackie Brown, there's a
• 46:03
  Speaker 2: novel structure type of thing going here, and I'll cop
• 46:07
  Speaker 2: to it. We all know how well I responded to
• 46:10
  Speaker 2: the way he put together Jackie Brown. I'm responding the
• 46:13
  Speaker 2: same way here. Where he is telling these chunks to
• 46:18
  Speaker 2: use your term completely, he is building everything completely. Where
• 46:23
  Speaker 2: does he get self indulgent in moments within those chunks
• 46:26
  Speaker 2: where certain things go on a little bit too long,
• 46:28
  Speaker 2: the build up to the bear beating the guy who
• 46:32
  Speaker 2: goes on to be in the strain. As another Nazi question,
• 46:35
  Speaker 2: your career choice is there. It's one of those things
• 46:38
  Speaker 2: where that part I'm like, okay, we could take a
• 46:41
  Speaker 2: minute or two off of here, we could take a
• 46:42
  Speaker 2: minute or two off of there. But forty minutes. That's nonsense.
• 46:46
  Speaker 2: I think that's crazy.
• 46:47
  Speaker 3: Do I think maybe not forty, maybe not forty, but
• 46:50
  Speaker 3: a good twenty five.
• 46:51
  Speaker 2: You're on record. No, no, no, no, I'm walking set forty.
• 46:55
  Speaker 3: I'm walking it back. I'm walking it back.
• 46:57
  Speaker 2: I think the jury will, Darren will decide in a
• 46:59
  Speaker 2: minute whether you can And I'm telling you. I get
• 47:03
  Speaker 2: what you're saying where that first scene is such a
• 47:06
  Speaker 2: showstopper that you're like wow, and you're completely done. But
• 47:10
  Speaker 2: then Tarantino comes in, and I think he does the
• 47:15
  Speaker 2: tone reversal perfect because then as Pitt comes in as
• 47:19
  Speaker 2: Aldo Rains, he's getting basically, we've set up Landa perfectly
• 47:25
  Speaker 2: and now in comes Rains and he gets his setup scene,
• 47:29
  Speaker 2: and I think it's a perfect setup scene for him.
• 47:32
  Speaker 2: I think that this works exactly the way that it
• 47:35
  Speaker 2: needs to, and I think that each chunk, again, to
• 47:39
  Speaker 2: use your term, pays off really really well. There are
• 47:42
  Speaker 2: a couple of things where I would snip out here
• 47:44
  Speaker 2: and there, but I do not think that he is indulgent.
• 47:47
  Speaker 2: I think that he is patient and Darren, you beat
• 47:50
  Speaker 2: the tiebreaker here? Am I right? Or is Tristan wrong?
• 47:53
  Speaker 4: Well, it's yeah. I mean that first scene is so amazing.
• 47:58
  Speaker 4: It's the kind of you know, makes you think of
• 48:00
  Speaker 4: like Tenant where they just showed like one huge chunk
• 48:03
  Speaker 4: of the movie as a trailer, because it's like, you
• 48:06
  Speaker 4: couldn't give it as a trailer trailer, Like if you
• 48:09
  Speaker 4: want people to watch this, just show them that whole scene.
• 48:12
  Speaker 5: Doesn't spoil anything.
• 48:13
  Speaker 4: It just wets your appetite for more. And yeah, although
• 48:17
  Speaker 4: you made me think, Tristan, does this movie need title cards? Like,
• 48:21
  Speaker 4: obviously it's chaptered like that, but why you could just like,
• 48:27
  Speaker 4: it's not like it's told.
• 48:28
  Speaker 5: Out of order.
• 48:29
  Speaker 4: It's not like the story doesn't progress. Yeah, you're jumping
• 48:32
  Speaker 4: from you know, maybe parallel storylines, but it doesn't necessarily
• 48:36
  Speaker 4: need that. But as far as the overall run time,
• 48:41
  Speaker 4: I don't know. I think overall it just built to
• 48:43
  Speaker 4: the climax and then it was boom, we're done.
• 48:45
  Speaker 5: I mean the movies.
• 48:47
  Speaker 4: As I was watching it, I'm like, bad, I'm looking
• 48:49
  Speaker 4: at my you know, tracking bar on the run time
• 48:52
  Speaker 4: and there's not a lot of time left. But we're
• 48:55
  Speaker 4: just getting to you know, back in the forest and
• 48:57
  Speaker 4: we're going to cross a Nope, Nope, movie's over.
• 48:59
  Speaker 5: Okay, Okay, we're done.
• 49:01
  Speaker 4: But I would say, yeah, so, I I don't agree
• 49:05
  Speaker 4: with Tristan. Forty minutes is preposterous. How could you even
• 49:09
  Speaker 4: say such a time?
• 49:10
  Speaker 2: Walking it back? He walked it back. He walked it
• 49:13
  Speaker 2: back to thirty minutes and twenty five seconds.
• 49:15
  Speaker 3: Do you think that thirty minutes or twenty five minutes.
• 49:18
  Speaker 3: I know, I'd say, like it can be two ten,
• 49:20
  Speaker 3: like two hours or two ten is what I'd say. Okay,
• 49:22
  Speaker 3: here's an example. Here's an example.
• 49:24
  Speaker 4: Yeah, give give us examples please, So if I'm covered,
• 49:27
  Speaker 4: I need time.
• 49:28
  Speaker 3: Fossbender is probably one of my favorite parts of the movie,
• 49:31
  Speaker 3: like his character. Like, okay, so when he comes onto
• 49:34
  Speaker 3: the screen and we see Mike Myers and a very
• 49:37
  Speaker 3: non Mike Myers role and I'm just like, holy crap,
• 49:40
  Speaker 3: that was cool. And then we see Churchill just sitting
• 49:44
  Speaker 3: sitting in the corner smoking a cigar, and that scene
• 49:48
  Speaker 3: is fantastic because you know, it's it's very you can
• 49:51
  Speaker 3: tell it's written by someone who loves some cinema, and
• 49:54
  Speaker 3: Tarantino loves doing that. He loves talking about movies in movies,
• 49:56
  Speaker 3: and Fosspender just nails the accent and like is suave
• 50:01
  Speaker 3: and everything he does talking with Mike Myers. It's a
• 50:04
  Speaker 3: great scene of I love those scenes. It's almost like
• 50:07
  Speaker 3: James Bond talking with you know. That scene was nice,
• 50:10
  Speaker 3: concise and you're like, okay, five minutes and then we
• 50:12
  Speaker 3: go doing the next scene and it's just like boom,
• 50:15
  Speaker 3: we're right and we're right. In the thick of it,
• 50:17
  Speaker 3: they're waiting for Dan Krueger, foss Spinner's talking with Brad Pitt.
• 50:21
  Speaker 3: Foss Spinner has that fantastic interaction with the other dude
• 50:23
  Speaker 3: who's like this pseudo psycho. He's sharpening his knife quick concise.
• 50:28
  Speaker 3: You get to know the characters a little bit better,
• 50:30
  Speaker 3: and then you go to the next scene, which lasts
• 50:33
  Speaker 3: five days, and you're just like, god, lord, like, it's
• 50:38
  Speaker 3: just like that scene in itself has some really really
• 50:42
  Speaker 3: great stuff, but it goes on so god dang long,
• 50:46
  Speaker 3: I should not be asking myself every fifteen minutes in
• 50:49
  Speaker 3: this movie. We're still in this location, We're still in
• 50:53
  Speaker 3: this scene, and so it's just like he gets it right,
• 50:56
  Speaker 3: and it's just Tarantino just like cranking it on this
• 51:00
  Speaker 3: screen for like twenty minutes.
• 51:02
  Speaker 2: Gosh, I disagree, Gosh, I disagree. I really do disagree.
• 51:06
  Speaker 2: I mean, I think that he is doing things that
• 51:09
  Speaker 2: are really fun, and I think that he is giving
• 51:13
  Speaker 2: these moments permission to breathe in a way that other
• 51:17
  Speaker 2: directors do not does.
• 51:18
  Speaker 3: Again, there's a difference between breathing and hyperventilating.
• 51:21
  Speaker 6: Men.
• 51:21
  Speaker 2: Please, Wow, that's I just don't I don't agree specifically,
• 51:26
  Speaker 2: because the moments that you're talking about I think works
• 51:30
  Speaker 2: so well. And if you want any sort of middle
• 51:34
  Speaker 2: ground between the two of us, I see what you're
• 51:36
  Speaker 2: saying where it almost functions like a series of short
• 51:39
  Speaker 2: films in that he's telling all of this story that
• 51:43
  Speaker 2: other directors would speed through. Other directors would go faster
• 51:47
  Speaker 2: through the scene in the basement bar, the basement pub thing. Yes,
• 51:52
  Speaker 2: other directors would go more quickly through that. I already
• 51:55
  Speaker 2: conceded the scene where the bear bear out of the tunnel. Yeah,
• 51:59
  Speaker 2: we could clip this a little bit. We could clip
• 52:02
  Speaker 2: here and there a little bit, but that's sort of
• 52:03
  Speaker 2: the story of any movie, especially any Tarantino movie. And
• 52:07
  Speaker 2: I can't wait for you, gentlemen, to get to Hateful
• 52:09
  Speaker 2: Eight because whoo boy, that one's gonna be fun. Well,
• 52:14
  Speaker 2: I'm the only one that's seen it, folks, as we're.
• 52:16
  Speaker 4: Talking about, you know, long scenes. I mean, when when
• 52:20
  Speaker 4: I was seeing the intro of Zolar with Daniel Bruhl,
• 52:25
  Speaker 4: which you know he amazing acting again in this scene
• 52:28
  Speaker 4: where he's I'm talking about the second time we see him,
• 52:31
  Speaker 4: not necessarily when they're at the cinema, but when she's
• 52:34
  Speaker 4: in the diner. There's a shot where like the other
• 52:37
  Speaker 4: German guy came in, and it was so similar to
• 52:40
  Speaker 4: the previous shot where the first German guy came in
• 52:43
  Speaker 4: to get his autograph that I thought the movie had
• 52:45
  Speaker 4: grindhouse shifted and it jumped back and or I had
• 52:49
  Speaker 4: bumped the mouse and it had rewound like five minutes,
• 52:52
  Speaker 4: and then I realized, No, it's a second person doing
• 52:55
  Speaker 4: the exact same thing. So yeah, there's a little room for.
• 52:58
  Speaker 2: I'm just glad to hear that you're watching it on
• 53:00
  Speaker 2: a computer screen the way Tarantino intended.
• 53:02
  Speaker 3: Which isn't that the only way to watch movies? Like
• 53:06
  Speaker 3: that's the that's how you watch movies the most, isn't it, Darren?
• 53:08
  Speaker 2: Like on your The most I think is I would
• 53:10
  Speaker 2: love to package up all of these shows and send
• 53:13
  Speaker 2: them to Tarantino just so he can hear about that,
• 53:15
  Speaker 2: so he can come to your house and give you
• 53:17
  Speaker 2: a five hour lecture about watching it on film owns.
• 53:19
  Speaker 5: I turned HDR on my monitor. That's right, right, I
• 53:23
  Speaker 5: should have that.
• 53:24
  Speaker 2: Yes, I'm just kidding.
• 53:25
  Speaker 4: Motion smoothing, Oh jeez. Yes, Well, I am a father
• 53:28
  Speaker 4: with children, and there's there's a couple of cuts in
• 53:33
  Speaker 4: this movie that I definitely wouldn't want them to walk
• 53:35
  Speaker 4: in on.
• 53:35
  Speaker 5: We'll say the say the least.
• 53:37
  Speaker 2: You know, the one that I find the most jarring,
• 53:39
  Speaker 2: And it's strange because I understand why it's there, is
• 53:43
  Speaker 2: we're getting a peek inside of Shoshana's brain as she
• 53:46
  Speaker 2: contextualizes the woman collaborator with with Gebels, but it feels
• 53:52
  Speaker 2: like there are other ways that could have been done.
• 53:55
  Speaker 2: It's a very Tarantino way to cut that specific type
• 53:58
  Speaker 2: of thing in there, like it's a real I don't
• 54:01
  Speaker 2: dislike it because I'm being prudish. I dislike it because
• 54:05
  Speaker 2: that specific thing is so jarring compared to the rest
• 54:10
  Speaker 2: of the scene that it's like it just that's that's
• 54:13
  Speaker 2: one of those moments where that feels like it's messing
• 54:15
  Speaker 2: up with the rhythm of what's happening in there. And
• 54:18
  Speaker 2: that's why I don't think that's a particularly successful drop in.
• 54:23
  Speaker 4: Well, and I mean that that brings up what I
• 54:26
  Speaker 4: said earlier where I thought there were parts where they
• 54:28
  Speaker 4: were going to go farther and I thought that at
• 54:31
  Speaker 4: the end, obviously they were going to make a film
• 54:33
  Speaker 4: and splice it in and it would be, you know, like, oh,
• 54:36
  Speaker 4: you're going to die and stuff. I thought they were
• 54:38
  Speaker 4: going to take it even farther and she and her
• 54:41
  Speaker 4: lover were going to make one of those films and
• 54:43
  Speaker 4: play it on the like yeah, which again, you know Tarantino,
• 54:48
  Speaker 4: I would not be surprised if that's where it went.
• 54:51
  Speaker 4: It obviously, the symbolism of you know, kind of nineteen
• 54:53
  Speaker 4: eighty fourish and all of that, of the giant you know,
• 54:57
  Speaker 4: yeeling head again, not where I thought was going.
• 55:01
  Speaker 2: Listen that that shot of her face projected onto the
• 55:06
  Speaker 2: smoke in the burning theater, that alone should have won
• 55:10
  Speaker 2: Robert Richardson some sort of something. And John Dykstra does
• 55:15
  Speaker 2: the practical and special effects here, he designs them. Legendary guy,
• 55:21
  Speaker 2: you know, thank thank you Dykstra for everything you've contributed
• 55:23
  Speaker 2: to film history.
• 55:24
  Speaker 5: Camera named after him, Yeah, camera.
• 55:27
  Speaker 2: So like it really shows, I think because if you
• 55:31
  Speaker 2: were to sit there and say to me, hey, where
• 55:34
  Speaker 2: are the special effects in Inglorious Bastards, I'd be like, oh, somewhere.
• 55:39
  Speaker 5: But good point.
• 55:40
  Speaker 4: How do you set a whole room on fire safely
• 55:43
  Speaker 4: and convincingly right and not endanger everybody?
• 55:47
  Speaker 2: But even that, even that requires the cinematographer. There is
• 55:52
  Speaker 2: some really close note taking and lining up to make
• 55:56
  Speaker 2: sure the look works with everything, and so you know,
• 55:59
  Speaker 2: there's a lot of a lot of applause to go around.
• 56:04
  Speaker 2: But I think that you know, we've talked about several
• 56:07
  Speaker 2: aspects of this. We're definitely we haven't just rounded third.
• 56:10
  Speaker 2: We're in the next inning by this point, because the
• 56:13
  Speaker 2: death Proof conversation I think took a little bit longer
• 56:15
  Speaker 2: than planned. So Darren, I'll throw it to you first.
• 56:19
  Speaker 2: Like we've talked about the length of the movie, we've
• 56:21
  Speaker 2: talked about the chapters, we've talked about those sorts of things.
• 56:24
  Speaker 2: What is it that works best for you about death Proof?
• 56:27
  Speaker 2: Not death Proof my God, works best for you about
• 56:30
  Speaker 2: Inglorious Bastards. It's been a long show, folks about in
• 56:34
  Speaker 2: Glorious Bastards And what is the one thing you wish
• 56:37
  Speaker 2: wasn't in in Glorious Bastards? What like? What what is
• 56:41
  Speaker 2: where are your two extremes here? What's the one thing
• 56:43
  Speaker 2: you're so grateful you saw? And what's the one thing
• 56:45
  Speaker 2: where you go, ah, you kind of skip.
• 56:47
  Speaker 4: That, you know, for the best thing, it's not even
• 56:50
  Speaker 4: a scene, it's the it's the just the gosh the
• 56:54
  Speaker 4: word I want to say, tone. All of the times
• 56:58
  Speaker 4: when there was like a German talking to either like
• 57:02
  Speaker 4: a Jew or a French citizen or something, they nailed that,
• 57:07
  Speaker 4: like I'm in the I'm in a cage with a bear,
• 57:10
  Speaker 4: like I like, you know, the Germans are like, oh, hey,
• 57:12
  Speaker 4: how you doing, how's your Thursday? And they're just like,
• 57:15
  Speaker 4: you are occupying my country, Like I hate you. I
• 57:19
  Speaker 4: Am not going to give you any satisfaction, any any
• 57:22
  Speaker 4: more of a reply than I need to to get
• 57:25
  Speaker 4: out of this moment because you know, you rolling up
• 57:29
  Speaker 4: on my house or you walking into my diner or are
• 57:31
  Speaker 4: you noticing me is a threat to my life. And
• 57:35
  Speaker 4: all of those scenes that the tension, the acting, I
• 57:40
  Speaker 4: think were beautifully done throughout the entire film, so that
• 57:43
  Speaker 4: that just that tone they captured. Because I'm like, yeah,
• 57:46
  Speaker 4: that seems hyper realistic. As far as things to take
• 57:50
  Speaker 4: out or just overdone, There's there's not much there's you know,
• 57:56
  Speaker 4: like Tristan said, you know, forty minutes of it was
• 57:59
  Speaker 4: way too stop long. But no, I honestly not much
• 58:05
  Speaker 4: comes to mind on the negative aspect. You know, I
• 58:08
  Speaker 4: think I enjoyed this movie I'm glad that it wasn't
• 58:12
  Speaker 4: overtly graphic, you know, I you know, the knowing that well,
• 58:17
  Speaker 4: let's say the scalping could have been a lot worse.
• 58:20
  Speaker 3: This is your this is your forty minutes, Darren, good lord,
• 58:25
  Speaker 3: this movie was graphic.
• 58:26
  Speaker 2: Overtly graphic. I'll contend with that one. Oh, I'll say
• 58:32
  Speaker 2: that the the the graphic nature of things, the violence
• 58:37
  Speaker 2: was more unsettling, even than the severed leg in Death Proof.
• 58:41
  Speaker 5: Leg.
• 58:42
  Speaker 2: Yeah, because it was.
• 58:44
  Speaker 3: I work with healthcare footage. Anyone who puts their legs
• 58:49
  Speaker 3: up on the dash or out the window while driving,
• 58:51
  Speaker 3: shame asking for that to happen.
• 58:53
  Speaker 2: Yes, they are.
• 58:53
  Speaker 3: I have seen the footage and it's not pretty. This
• 58:56
  Speaker 3: is your PSA. Don't do it, folks.
• 58:58
  Speaker 2: Decades ago I had a friend who would do that,
• 59:01
  Speaker 2: and if I were driving, I'd be like, no, you're
• 59:03
  Speaker 2: putting your feet down right now? No, Yes, that is
• 59:05
  Speaker 2: a great PSA, thank you very much.
• 59:07
  Speaker 4: This isn't smoky in the bandit. You're not frog putting
• 59:11
  Speaker 4: your leg out the wind.
• 59:12
  Speaker 2: No, No, nice callback right there. But all that to
• 59:15
  Speaker 2: say that the violence here is actually more unsettling because
• 59:19
  Speaker 2: Tarantino has a very while he's not obligated to history
• 59:23
  Speaker 2: itself in this context. Strangely, he feels more obligated to
• 59:28
  Speaker 2: the realism of violence, right, like that the scalping looks
• 59:32
  Speaker 2: super realistic, and even the shooting of people is like
• 59:36
  Speaker 2: really uncomfortable to me to watch this stuff, which I agree.
• 59:40
  Speaker 4: I guess it's got to just be a me thing,
• 59:43
  Speaker 4: like obviously, yes, that's like it's there's there's tons of violence,
• 59:46
  Speaker 4: there's tons of people being shot.
• 59:48
  Speaker 5: You know, blood everywhere, all of that, I.
• 59:50
  Speaker 4: Guess in my mind, And maybe it's less on the
• 59:53
  Speaker 4: visuals because I can kind of look at the visuals
• 59:56
  Speaker 4: and disconnect enough to be like, I know this is
• 59:58
  Speaker 4: fake for me. It's probably more the sound like there,
• 1:00:02
  Speaker 4: it wasn't overtly on like I mean, yeah, there's people
• 1:00:05
  Speaker 4: crying when they're getting you know, Swatska's carved on their head,
• 1:00:08
  Speaker 4: but overall, you know, like all the people being scalped
• 1:00:12
  Speaker 4: were dead already, they weren't scalping like a live person,
• 1:00:15
  Speaker 4: and hearing that like that, I think I would have like,
• 1:00:19
  Speaker 4: so I got so I will say that's where that's
• 1:00:22
  Speaker 4: the kind of thing where I'm like, I don't want
• 1:00:25
  Speaker 4: to watch this movie as a Tarantino movie, Like what
• 1:00:27
  Speaker 4: what is he going to put in front of me?
• 1:00:29
  Speaker 4: And you know, even Hitler getting shot a ton, it's
• 1:00:32
  Speaker 4: obviously a puppet, you know, Mannekin being shot with squibs.
• 1:00:37
  Speaker 4: So yes, I'm not saying this is his least violent
• 1:00:41
  Speaker 4: movie ever because obviously it's not. You know, I think
• 1:00:45
  Speaker 4: Walking Dead did more with a baseball bat that like
• 1:00:48
  Speaker 4: makes me squirmished than like this movie.
• 1:00:50
  Speaker 3: Man, why'd you have to bring that up?
• 1:00:51
  Speaker 2: I wasn't in the baseball bat era of Walking Dead,
• 1:00:54
  Speaker 2: So I'm good. Okay, So trist and the same question
• 1:00:56
  Speaker 2: to you, I mean cutting out the you know, obviously
• 1:00:59
  Speaker 2: the sixtiesven minutes that you were talking about earlier, but.
• 1:01:02
  Speaker 3: Like slashing and half folks slashing in half.
• 1:01:05
  Speaker 2: I want to death prove it right Nowps, yes they
• 1:01:07
  Speaker 2: should have been the other have a grindhouse folks. But
• 1:01:09
  Speaker 2: what's the one thing that you think was super successful
• 1:01:12
  Speaker 2: outside of that first scene that you already talked about,
• 1:01:14
  Speaker 2: And what's the one thing outside of the running time
• 1:01:17
  Speaker 2: that you think was could have lived without?
• 1:01:19
  Speaker 3: My my favorite scene is you know, I already did
• 1:01:22
  Speaker 3: mention it, but my favorite scene is with Fosspin or
• 1:01:25
  Speaker 3: Mike Myers and Churchill. I just for some reason, I
• 1:01:28
  Speaker 3: just absolutely love how that is filmed. I love how
• 1:01:31
  Speaker 3: it's filmed. I love how it's acted. It's just it's
• 1:01:34
  Speaker 3: it's perfect. It's it's so well encapsulated. Now obviously, like
• 1:01:38
  Speaker 3: my favorite scene is the opening and we get that, Hans,
• 1:01:40
  Speaker 3: and then I also love the scene with Waltz, like
• 1:01:43
  Speaker 3: the whole that's a bingal, you know, like yeah, like
• 1:01:46
  Speaker 3: shakes back and forth, Like who doesn't love that scene?
• 1:01:48
  Speaker 3: Like god, the guy I got an Academy Award for
• 1:01:50
  Speaker 3: it was so well deserved. What I could live without.
• 1:01:53
  Speaker 3: I don't like how they treated Dian Krueger's character, like
• 1:01:55
  Speaker 3: she gets shot, then she gets tortured by the Allies,
• 1:01:58
  Speaker 3: and then she gets strangled to death. I'm like, I
• 1:02:00
  Speaker 3: didn't really dig on that, like I it just it
• 1:02:03
  Speaker 3: felt unfair to that character. And I mean I could,
• 1:02:07
  Speaker 3: I could go on. There's a lot of things I
• 1:02:09
  Speaker 3: don't know, like and and I'm not going to mention
• 1:02:10
  Speaker 3: it because like John, you would hate me if I
• 1:02:12
  Speaker 3: said by true feelings about I could.
• 1:02:15
  Speaker 2: I could never hate you. Tristan, you know that.
• 1:02:17
  Speaker 3: I think respect for line was really boring. Okay, I
• 1:02:22
  Speaker 3: did I really, I really, I specifically Shoshana with a
• 1:02:26
  Speaker 3: Brule I cut it out, doesn't matter, doesn't even matter.
• 1:02:30
  Speaker 3: Like I I think she is fantastic, I really do.
• 1:02:33
  Speaker 3: I think she's a fantastic actress, and I think she was.
• 1:02:36
  Speaker 3: She did great on screen, but ultimately it just it
• 1:02:40
  Speaker 3: didn't interest me. I felt the bastards were way more
• 1:02:45
  Speaker 3: interesting to me than her storyline. I feel like, if
• 1:02:47
  Speaker 3: you wanted to cut it down, you could excise her
• 1:02:50
  Speaker 3: and it wouldn't change a thing.
• 1:02:51
  Speaker 2: Disagree. I don't disagree that there are certain moments that
• 1:02:55
  Speaker 2: could be trimmed there. I disagree about removing entirely, and
• 1:03:00
  Speaker 2: I disagree.
• 1:03:00
  Speaker 3: I mean with with a climax, you can't. You can't
• 1:03:03
  Speaker 3: remove her because of the climax.
• 1:03:05
  Speaker 2: No, no, But but like you know what I'm saying,
• 1:03:07
  Speaker 2: I know what you're saying, Understand what I'm saying. Where
• 1:03:09
  Speaker 2: it's like, get sort of the vibe of what you're
• 1:03:12
  Speaker 2: going for. I'm plugging into it. I hear what you're saying.
• 1:03:15
  Speaker 2: But I don't agree with it specifically because I think
• 1:03:18
  Speaker 2: her interactions with Rule are very interesting because of the
• 1:03:23
  Speaker 2: fact that in those interactions she is or rather the
• 1:03:28
  Speaker 2: film does a really fascinating thing where that character as
• 1:03:33
  Speaker 2: sort of like the Nazi Audie Murphy when he had Like,
• 1:03:37
  Speaker 2: he's such a complex character for Tarantino to have put there,
• 1:03:41
  Speaker 2: where he's suffering PTSD in a sense, but he's also
• 1:03:46
  Speaker 2: a monster, and his last act is not just to
• 1:03:50
  Speaker 2: kill Shoshana but also to try to force himself on her.
• 1:03:54
  Speaker 2: Like there's a whole, like really complicated thing going on there,
• 1:03:57
  Speaker 2: and I think it's really interesting where Tarantino for once
• 1:04:01
  Speaker 2: is going way deeper than a caricature and really examining
• 1:04:06
  Speaker 2: how complex human beings can be and how they can,
• 1:04:09
  Speaker 2: as Whitman might say, contain multitudes, where there are these
• 1:04:13
  Speaker 2: different levels that are held in tension within people and
• 1:04:17
  Speaker 2: they don't ever reconcile them really, And I think that's
• 1:04:21
  Speaker 2: why I love their interaction, That's why I love things playing.
• 1:04:24
  Speaker 2: But at the same time, in terms of the little cuts, Darren,
• 1:04:27
  Speaker 2: I agree with you that whole thing of like two
• 1:04:29
  Speaker 2: people coming to him, it's not a confusion thing, it's
• 1:04:32
  Speaker 2: a well you already did this like a minute ago.
• 1:04:35
  Speaker 2: Why are we doing this again? You're reinforcing Just have
• 1:04:39
  Speaker 2: him give an autograph that establishes it, right, away. That's fine,
• 1:04:42
  Speaker 2: and I think that you know, for me, the outside
• 1:04:46
  Speaker 2: of that opening scene, which is just fantastic. I think
• 1:04:50
  Speaker 2: that one of the greatest things that Tarantino does with
• 1:04:54
  Speaker 2: the character of Kinda is he gives him that scene
• 1:04:57
  Speaker 2: where he strangles Krueger's character, because it's almost as if
• 1:05:03
  Speaker 2: he realizes that the character is able to pull off
• 1:05:05
  Speaker 2: being so quirky that it's charming in a way that's
• 1:05:09
  Speaker 2: dangerous for the audience, and instead you root him very
• 1:05:14
  Speaker 2: squarely on. He is a personally terrible monster. He's awful,
• 1:05:20
  Speaker 2: and I think it's very important for that scene to exist,
• 1:05:24
  Speaker 2: and I think that's a great, great moment for it.
• 1:05:27
  Speaker 2: I would love to sit down with him and ask
• 1:05:29
  Speaker 2: him why he used Bowie's theme song from Cat People,
• 1:05:34
  Speaker 2: because it's interesting. But I'm not liked it. Oh I'm
• 1:05:37
  Speaker 2: not saying I didn't dislike it. I'm just curious about it.
• 1:05:41
  Speaker 2: I'm like, there were a thousand different things you could
• 1:05:43
  Speaker 2: have done. Why that in specific? Like that's the one thing.
• 1:05:47
  Speaker 2: I'm like, why that in specific? But here we are,
• 1:05:51
  Speaker 2: we have discussed all of these things, and I think
• 1:05:54
  Speaker 2: we're ready here for Tristan to hear how much you'll
• 1:05:58
  Speaker 2: truly disappoint me by giving your final thoughts and ratings
• 1:06:02
  Speaker 2: for inglorious Bastards.
• 1:06:04
  Speaker 3: I'm giving this three stars, and I think I call
• 1:06:07
  Speaker 3: it I'm being generous three stars because the performances are phenomenal,
• 1:06:12
  Speaker 3: just top tier performances. This is amazing acting across the board.
• 1:06:17
  Speaker 3: Everybody is firing on all cylinders. I think this is
• 1:06:20
  Speaker 3: lightning in a bottle when it comes to performances and
• 1:06:22
  Speaker 3: the actors that he got. And I think it's a
• 1:06:24
  Speaker 3: well written script. I think it's a well edited in
• 1:06:27
  Speaker 3: a micro level, I think Sally Mankey does an amazing job,
• 1:06:31
  Speaker 3: but I blame Taranteel for the macro editing. This easily
• 1:06:35
  Speaker 3: could have shaved off seventy five seventy eight eighty minutes,
• 1:06:39
  Speaker 3: and you know it would have been would have been
• 1:06:42
  Speaker 3: much better. So I give it. I give it three
• 1:06:45
  Speaker 3: three stars.
• 1:06:46
  Speaker 2: Too long time, I mean wow.
• 1:06:48
  Speaker 4: I think initially he wanted it to He was teetering
• 1:06:51
  Speaker 4: on making it a mini series, and so he already
• 1:06:53
  Speaker 4: had to condense it down to a feature length, but
• 1:06:56
  Speaker 4: just not enough condensing.
• 1:06:58
  Speaker 2: You know, he kicks that around. And when we get
• 1:07:00
  Speaker 2: to Hateful Light, we'll talk about his toying round with
• 1:07:02
  Speaker 2: the idea of mini series and whether he's a director
• 1:07:06
  Speaker 2: for that medium at all. But Darren will save you
• 1:07:09
  Speaker 2: for last, since this is your first viewing of it.
• 1:07:12
  Speaker 2: When I come back to this, I when I first
• 1:07:15
  Speaker 2: saw Inglorious Bastards, I gave it a solid five, loved it.
• 1:07:19
  Speaker 2: I think that Pitt whenever Pitt does a quirky character
• 1:07:23
  Speaker 2: like this, when it's Tyler Durden or Aldo Rains, he's
• 1:07:26
  Speaker 2: born for these things. I love him in this type
• 1:07:29
  Speaker 2: of role. I love the way that he effortlessly plays
• 1:07:35
  Speaker 2: comedy in a serious moment. I'm going to give him
• 1:07:38
  Speaker 2: the biggest compliment I can is here in this role
• 1:07:43
  Speaker 2: he enters Shatner territory where he's so perilously close to
• 1:07:47
  Speaker 2: self parody that he's in the he's in the danger zone,
• 1:07:51
  Speaker 2: but he's like right in the yellow right by the
• 1:07:54
  Speaker 2: red line. He's right there, and he's able to keep
• 1:07:58
  Speaker 2: it right where I I'll love him. And that is
• 1:08:01
  Speaker 2: a Shatner level of mastery of screen presence that very
• 1:08:06
  Speaker 2: few have ever achieved. And I think that there are
• 1:08:10
  Speaker 2: so many things that work incredibly well. While I would
• 1:08:13
  Speaker 2: not cut ninety seven minutes the way that Tristan would
• 1:08:16
  Speaker 2: there are a couple of moments that I think could
• 1:08:18
  Speaker 2: be pared down, and I think that there are a
• 1:08:20
  Speaker 2: couple of things where it's almost odd to say, but
• 1:08:25
  Speaker 2: he lingers on some of the violence too much. He's
• 1:08:30
  Speaker 2: having too much enjoyment with it. Like it's one of
• 1:08:32
  Speaker 2: those things where it's like, oh, I get while you're
• 1:08:34
  Speaker 2: showing that, you could cut that right now. Okay, this
• 1:08:37
  Speaker 2: is a little much, And so I think that's where
• 1:08:40
  Speaker 2: he runs in danger of his restraint, losing control of it.
• 1:08:43
  Speaker 2: So this time I'm going to wind up giving it
• 1:08:46
  Speaker 2: a four, but there's a lot of room here for
• 1:08:50
  Speaker 2: going back up to a five. So, Darren, where do
• 1:08:53
  Speaker 2: you land with your first viewing of Inglorious Bastards?
• 1:08:57
  Speaker 4: Yeah, just some final thoughts, Like it's interesting because I
• 1:09:00
  Speaker 4: think there's something about subtitled films in the fact that
• 1:09:06
  Speaker 4: it requires like a certain type of focus. And obviously,
• 1:09:10
  Speaker 4: you know, we all say like, oh, the first time
• 1:09:12
  Speaker 4: I'm watching something, or oh it's I'm in the theater.
• 1:09:14
  Speaker 4: Even in the theater, like you're controlling the fire hose
• 1:09:19
  Speaker 4: of information coming to you, you can look other places.
• 1:09:22
  Speaker 4: You can kind of you know, zone out a bit
• 1:09:25
  Speaker 4: or you can even get up and go get popcorn.
• 1:09:27
  Speaker 4: But with a subtitle movie, you are like locked in
• 1:09:31
  Speaker 4: and it's just it. So all that to say, I
• 1:09:33
  Speaker 4: think definitely this is the movie to have subtitle titles
• 1:09:36
  Speaker 4: of so much in other languages. But it would almost
• 1:09:40
  Speaker 4: be an interesting take if it was all dubbed, like
• 1:09:43
  Speaker 4: just what that would have been, like how that would
• 1:09:45
  Speaker 4: have come across. I'm not not abducating that for sure,
• 1:09:48
  Speaker 4: but the other two parts, you know, I will agree
• 1:09:52
  Speaker 4: with you about. You know, Brad Pitt chat all over
• 1:09:55
  Speaker 4: this for.
• 1:09:55
  Speaker 5: Sure, and I enjoyed performance.
• 1:10:00
  Speaker 4: But what kind of came to me in gathering my
• 1:10:03
  Speaker 4: final thoughts is it is the inglorious bastards, but like
• 1:10:06
  Speaker 4: they're kind of barely in the movie.
• 1:10:08
  Speaker 5: I mean, yeah, they're they're in the.
• 1:10:10
  Speaker 4: Final heist, you know, climax, but there's actually very little of.
• 1:10:15
  Speaker 5: Them like doing their thing.
• 1:10:18
  Speaker 4: It's not a hateful aid, it's not you know, they're
• 1:10:21
  Speaker 4: not hatefully, but the you know what I mean, you know,
• 1:10:23
  Speaker 4: the rough writers, the you know, the war heroes, like
• 1:10:27
  Speaker 4: it's not that movie, it really isn't. So it's almost
• 1:10:31
  Speaker 4: you know, false advertising of like this you're gonna get
• 1:10:34
  Speaker 4: a movie where they're they're doing all things like yeah,
• 1:10:36
  Speaker 4: they do that in like two scenes. And because of
• 1:10:40
  Speaker 4: how this is chaptered with the title cards, like they're
• 1:10:43
  Speaker 4: in their nice little box, and it really is a
• 1:10:45
  Speaker 4: completely different story, which I think is why you know,
• 1:10:48
  Speaker 4: Chris wal it's like he takes the cake, because it's
• 1:10:50
  Speaker 4: it's more his story, it's more other characters story.
• 1:10:54
  Speaker 5: So I would have liked to see a.
• 1:10:55
  Speaker 4: Little more of, you know, the what makes the Inglorias
• 1:10:59
  Speaker 4: Bastards interesting, Like you know, they're all interchangeable at this point,
• 1:11:04
  Speaker 4: really like there's there's nothing you know about well except
• 1:11:07
  Speaker 4: for the little one you know at the I will
• 1:11:08
  Speaker 4: say bj Novak did a good job on not making
• 1:11:12
  Speaker 4: me think about the Office while I was watching his scenes,
• 1:11:14
  Speaker 4: which that's that's saying something. So all that to say,
• 1:11:18
  Speaker 4: I'm also going to give this afore. I think for
• 1:11:21
  Speaker 4: the I often will bump things up a little bit
• 1:11:25
  Speaker 4: in my rating when a movie makes me feel something,
• 1:11:29
  Speaker 4: so whether or not, I'm not saying it's like, oh
• 1:11:32
  Speaker 4: my gosh, like the torment, but more of.
• 1:11:34
  Speaker 5: The tension man.
• 1:11:36
  Speaker 4: Like that again, that that first chapter was just your
• 1:11:40
  Speaker 4: white knuckle in the theater seat because you're even from
• 1:11:45
  Speaker 4: the beginning when he when he starts to see them
• 1:11:48
  Speaker 4: coming down the road, and you're like, oh, today's the
• 1:11:51
  Speaker 4: day I have to make choices, Like today was just
• 1:11:54
  Speaker 4: a normal day chopping this stump for no good reason,
• 1:11:58
  Speaker 4: and now I have to make decisions about who lives
• 1:12:01
  Speaker 4: and who dies, like you feel that shift in the character. So, yeah,
• 1:12:06
  Speaker 4: I actually enjoyed this story. I'll par you know, one
• 1:12:09
  Speaker 4: hundred and fifty five minutes out of it by the end,
• 1:12:12
  Speaker 4: and maybe it'll be something watchable.
• 1:12:16
  Speaker 5: I'm going to give it.
• 1:12:17
  Speaker 4: I'm going to give it four four scalps as it were.
• 1:12:21
  Speaker 2: Nice. Nice, Well, it's been a thrilling double feature, a
• 1:12:24
  Speaker 2: Death Proof and Inglorious Bastards, two very different cinematic experiences
• 1:12:29
  Speaker 2: and fun to discuss either way. So, gentlemen, we are here.
• 1:12:35
  Speaker 2: We're at a breaking point now because we've played with
• 1:12:38
  Speaker 2: history with Inglorious Bastards. Darren, what are we going to
• 1:12:42
  Speaker 2: discuss on the House of Tarantino next week?
• 1:12:45
  Speaker 4: Next week we're going to jump forward to twenty twelves.
• 1:12:49
  Speaker 4: Djangle unchained here on house Lights
• 1:12:52
  Speaker 1: Join the Revolution, Join the net Party,