Latest / All The Right Movies / Reservoir Dogs (1992) | Ep. 7 - Part 1

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Reservoir Dogs (1992) | Ep. 7 - Part 1 · All The Right Movies

0:04
All the right. Movies.
0:06
Oh, you guys like to tell jokes and giggle and kid around, huh?
0:09
Giggling like a bunch of young Bros in the schoolyard?
0:13
Well, let me tell a joke. Five guys sitting at a bullpen
0:18
St. Quentin, wondering how the fuck
0:21
they got there. What'd we do wrong?
0:24
What should have we done? What didn't we do?
0:26
Whatever. That it's your fault.
0:27
My fault is for all that bullshit.
0:30
Finally, someone comes up with the idea.
0:32
Wait a minute. While we were planning this
0:36
caper, all we did was sit around and tell fucking jokes.
0:40
Got the message? Hear your names?
0:45
Mr. Brown. Mr. White.
0:48
Mr. Blonde. Mr. Blue.
0:51
Mr. Orange. Mr. Pink. 6 perfect strangers
0:55
are brought together for a diamond heist, but things go
0:57
badly wrong. They rendezvous at the meet up
0:59
point to try to figure out who's alive, who's not, who has the
1:02
stones, and who's the rat. Reservoir Dogs exploded under
1:05
the scene and changed independent cinema forever.
1:08
It made stars out of its largely unknown cast and placed Quentin
1:11
Tarantino as the savior of modern movie making.
1:14
My name is Luke and I'm here with Westie.
1:16
I don't know who's dead, I don't know who's alive, I don't know
1:18
who's caught, I don't know who's not.
1:20
And Matt? You're not Mr. Purple.
1:23
Some guy and some other job is Mr. Purple.
1:25
You're Mr. Pink. All the Right Movies are going
1:28
to bark all day about Reservoir Dogs.
1:49
Hi everyone, you're listening to All the Right Movies, a podcast
1:52
on classic and hit films full of iconic dialogue, some laughs,
1:56
but hopefully no 70 years. We'll see how it goes.
2:00
Today, we're going back to the 90s as we talk about Quentin
2:02
Tarantino's blistering directorial debut, Reservoir
2:05
Dogs. Before we do that, I'll just
2:09
check. Yeah, it's that time when we
2:11
talk about Patreon. Again.
2:12
Oh, Patreon. Yeah, I was thinking about that
2:15
actually, full time. You're OK.
2:16
Look, do we have one? We do.
2:19
Can you tell us more about it? If you really want me to, I.
2:22
Think it'd be a great idea, Yeah.
2:23
And. Then we talk about it on every
2:26
episode and you're probably out there listening and thinking,
2:28
Nah, not this again, But if you are thinking that, then that
2:31
must mean that you tune in regularly, which must mean
2:34
you're a fan of the show. Yes, obviously.
2:36
Right. Yeah, I would.
2:37
Petri on episodes are just like these.
2:39
It's the five of us talking about classic films, some
2:41
laughs, some insights, facts and figures as well.
2:43
You're bound to love it. There are three exclusive
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podcasts per month and access to our podcast archive, and there
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are currently around about just under 50 podcasts on there that
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aren't available elsewhere. Nice.
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So wow. I mean, that's huge.
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Yeah, got a gunship. Any support you can offer will
2:59
help us continue to bring these episodes to you, and more so if
3:02
you could support us, we'd love that.
3:04
Yes, we certainly would, guys. We.
3:05
Sure would, guys. Yeah, cough up you cheap
3:07
bastards. Go to patreon.com/all the Right
3:14
Movies to sign up and to make us happy.
3:17
Please do. Please.
3:18
He's losing his camera now. Really offensive apologies, but
3:22
you know, please give us some money.
3:23
It ties into the film. It's not just offence.
3:26
Yeah. Cough up motherfuckers.
3:31
So, Matt, why do you want to talk about Reservoir Dogs?
3:33
Because like him all over him. And that tends to be the
3:36
extremes that people have with Tarantino.
3:39
You can't deny that he is still such a massive voice in
3:42
Hollywood. Every film he makes is an event.
3:44
And considering he doesn't make like franchise films or
3:47
superhero films, that's quite something.
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So for me, it makes perfect sense that we do go back to the
3:52
beginning to see where it all started for him.
3:54
Because it's not like his debut was some kind of middle and
3:57
little indie effort either. That you look at, you go, well,
4:00
yeah, that was OK. You can see how do you know, a
4:02
bit of talent at the beginning, not like that at all.
4:05
He arrived fully formed with this film and the impact at the
4:09
time, it was like somebody like coming up behind you and just
4:12
setting up a handgun behind your head.
4:14
Where the fuck does that come from?
4:16
Who was this guy? You know, it was so fresh, was
4:19
so dynamic, and I think it's going to be really interesting
4:22
to talk about it because we know now where his career went, so
4:25
it's going to be really interesting to see where it
4:27
stacks up against what he would later do.
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So yeah, really looking forward to it.
4:30
Yeah, what about you, St. Yeah, one of the first films
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that I really remember, like loving and thinking it was mine.
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No one else gets this film. Like, I get it.
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It was one of them very first ones got on VHS and I watched it
4:41
that many times. It got to the point, you know
4:42
when if you rent something on a Saturday and it has to go back
4:45
on the Monday. My mom was like leaving for work
4:47
on the Monday morning and I was trying to get one more viewing
4:49
in. And I remember it was before
4:51
school and it was about half seven in the morning.
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She's like, I've got to take that tape back.
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And I was like, I just need 5 more minutes to watch it again.
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And I remember just watching it again going and then I went to
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school and was like talking about it and nobody else had
5:01
seen it. And I just remember thinking,
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oh, that's just, it's just so cool.
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And it's like something I could always fall back on and go, have
5:07
you seen Reservoir Dogs? Do you know what I mean?
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It was just a really cool statement.
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It was one of them things that just stuck.
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And I think when people see it now and even it's in its own
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time, isn't it? It hasn't even aged or it's,
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it's not a product of its time. It's just this timeless cinema
5:20
experience. And it's one of the ultimate
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heist films and one of the ultimate dialogue driven films,
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one of the best directed films I've seen.
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It ticks all the boxes for me. I'm I'm really excited to talk
5:30
about it. Yeah, well, I was pretty much
5:32
obsessed with Tarantino in the 90s and this film was banned in
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the UK, but there was so much buzz around it and Lord
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surrounding Tarantino as a filmmaker.
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I saw Pulp Fiction 1st and loved it.
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And when Reservoir Dogs was released in 1995, I bought the
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the VHS like USD, but I bought the IT came out in like a
5:49
special package, like a box set. It came with like a Zippo
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lighter and a toothpick. I don't know who I was kidding.
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15 year old. Walking around like a massive
6:00
tosser. More like, more like the funds
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than anyone else. 15 year old child, what an idiot.
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I've never seen anything or heard anything like it before.
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And very similar to Pulp Fiction.
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I watched it over and over, like for years and years, and then I
6:16
didn't go back to it for at least 15 years because I just
6:19
completely wore it out. Really great.
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OK. Looking at it in retrospect,
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it's really interesting to see where Tarantino started out and
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to see a lot of his hallmarks already there in his debut.
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Like you said, Matt, it's going to be a good one, yeah.
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Reservoir Dogs was produced by Lawrence Bender for Live America
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Inc and Doggy Dog Productions, distributed by Miramax Films and
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released on the 9th of October 1992.
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Filmed on location in earlier, it was written and directed by
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Quentin Tarantino and stars Harvey Keitel, Steve Buscemi,
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Tim Roth, Michael Madsen, Chris Penn, Lawrence Tierney and Eddie
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Bunker. Are you ready?
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Let's do it. Let's go to work.
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The beginning. We're straightened right from
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the off as a crew of conspicuously dressed heavies
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sit around drinking coffee, talking about pop music, tipping
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and fucking Charlie Chan. What do you think of the opening
7:13
team? It's amazing, isn't it?
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I just love it when over the titles, then you just get that
7:16
opening line. Let me tell you what Like a
7:17
Virgin is about. It's about a girl who digs a guy
7:20
with a big Dick. The entire song is a metaphor
7:22
for big Dicks Bang. And then you're in and that
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camera just moves around. Yeah, that camera works amazing.
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He's not bothered about it either, just goes pure black at
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times in the whole screen. You just kind of say anything
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and it's just moving around and the block is amazing with how
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many people are talking, but you never lost in it.
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The dialogue's just rears a sharp, but it's what they're
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talking about. It's just, it's just really,
7:42
really engaging, isn't it? It's really different, but at
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the same time very familiar. So I just loved it.
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It just pulls you into the world and you kind of get everybody's
7:49
personality just by what they're saying and how they're saying
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it. And there's lots of things in
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this like it shows Mr. Orange is a grass because he grasses Mr.
7:57
Pink up the jaw because he doesn't tip and he's the one who
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tells him. Shut up.
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Yeah, it just sets the scene all the way through.
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You know that Kaitel's kind of in charge.
8:05
You know that Mister Brown's full of shit.
8:08
You know that like, Mr. Blue is just like straight to the point.
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He's just not really going to take any shit.
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You know, Buscemi is going to be an absolute nightmare all the
8:15
way through. Just so thinning into the point.
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And you know, Madison's the hard man.
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You know, it's just, it's all in there.
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It shows a master at work. Yeah, it does.
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None of this makes any difference to the plot.
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This dialogue in like, the traditional narrative
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storytelling point of view. If it were any other director,
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I'd be thinking like, who cares about like, a virgin or 70s
8:35
radio or tipping waitresses? Just get to the good stuff, get
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to the action. And we don't even get to the
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action in the film. No.
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But what this does for me is certainly right into these
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characters. They're total scumbags, but I'm
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drawn to them because they've got, like, funny or interesting
8:48
or even outrageous things to say.
8:50
Magnetic. And I just want to hear more
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about them. Yeah.
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Yeah, definitely. Amazing stuff.
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What about you, Matt? I think it's the most fitting
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thing I can think of that in Tarantino's first ever film, his
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voice is the first everything you hear.
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Because that, that just sums them up, doesn't it?
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It's his voice, this is his story, his characters, and you
9:08
are going to sit and listen to him.
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And that just sums him up for the rest of his career,
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basically. I mean, it's quite an
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egotistical thing to do, I suppose, giving himself this
9:17
amazingly funny speech when he's surrounded by so many other,
9:20
like, seasoned and veteran actors.
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But that just sums up the confidence that he has in
9:24
himself that he's going to give himself this speech.
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And do you know what Madonna's reaction to this was?
9:29
Yeah. Yeah.
9:29
So send him a copy of the erotica album with a note that
9:32
said to Quentin, it's not about Dick, it's about love.
9:35
Madonna I. Bet he still disagrees.
9:39
Oh. No, it's not.
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Madame is wrong. But it's like you guys saying it
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just reveals a lot about each character individually and it
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kind of starts to foreshadow events as well.
9:49
So you can see everyone respects Joe, but you can tell that
9:52
Mister White has seen you enough to give him a bit of shit, but
9:55
not too much. He knows so, so much to push
9:57
him. When you see Blonde do that
9:59
shooty finger thing, I think that's quite for board and I
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think that is good. You know, kind of what what he's
10:03
going to be capable of. You can see Orange finds Mr.
10:06
White really funny. You can see how cold blooded Mr.
10:08
Pink is already because he's just so single minded about that
10:11
money rule, about more tipping, you know, and he's just quite
10:15
ruthless about it. I do agree with Mr. Pink.
10:18
I'm on board with this theory. Definitely, I love how Mr.
10:22
Orange is by the end. Yeah, yeah, my dollar back.
10:25
Yeah, he's convinced me. Mr. Orange has got his arm
10:27
around Mister White as well which I noticed again re
10:29
watching it which is really nice to show how close they are and
10:31
they almost like a flare. But more than anything, I think
10:33
even on repeat viewings, when you know what these men are
10:36
going to do and what they're capable of, you still think
10:38
they're really funny and the fun and you do want to hang out with
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them. And I think that's actually
10:42
quite clever by Tarantino because it starts to make you a
10:44
little bit complicit in what the end of doing by making you like,
10:48
really like these guys at the beginning and the thing by the
10:50
end you do question that. Fantastic.
10:53
Well, you mentioned there, Matt, about Mr. Brown's dialogue here.
10:56
There was this huge casting process of the film.
10:58
And obviously we'll get on to that later on when we come to
11:00
the actors. But one of the people who came
11:02
in to read for it was Tom Waits, the singer, which I mean,
11:06
that's, that's amazing. It would have been amazing.
11:08
Eggs and sausages, That's what he would have ordered in the
11:12
diner. Imagine that you'd just see it.
11:14
It's just that open and tightly. Just see a way to go.
11:16
Eggs and sausages and it cuts in the diner.
11:20
That would be. Tarantino said, I had Tom Waits
11:24
read this Madonna speech just so I could hear Tom Waits say those
11:27
lines. And he was blown away because we
11:29
had said his words were like poetry coming from a port
11:32
himself. He was blown away by it.
11:34
Amazing. And like you were seeing Matt,
11:37
it's him who opens up the dialogue.
11:38
But it was supposed to be Mr. Pink who was going to be
11:41
delivering this Madonna speech. But obviously when Quentin cast
11:43
himself, he did the old switcheroo.
11:45
Yeah, he won't. He wrote the part of Mr. Pink
11:47
for himself, didn't he? Yeah.
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That's why Mr. Pink's probably got the best lines and he's
11:51
probably got the most to any character.
11:53
And then Bishop, he just made him change his mind.
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Amazing. I love it when Blonde starts to
11:56
talk about the night the lights went out in Georgia.
11:59
Yeah. On the radio, Pink started to.
12:01
I love that song. He goes to take drink from his
12:03
coffee cup. He looks to realize that there's
12:05
none there and looks for a waitress.
12:07
Yeah. Lovely little detail.
12:08
Yeah, it's great. Six times though.
12:10
Fucking six cups of coffee. How long are they for?
12:12
Must be like an hour and a half. He'll be pissed like a
12:15
racehorse. I love it when White pops up and
12:20
he's completely assured, he said.
12:22
You don't have any idea what you're talking about.
12:25
Pointing a spoon at him. And it's a topic he obviously
12:29
knows a lot about, he's really passionate about.
12:31
And Pink's response? Fuck all that.
12:35
Brilliant. Split to the point no not having
12:38
it. Eddie Bunker's lines were
12:40
rewritten just so he has lines in the film, so they actually in
12:43
there for him and he delivers it really well, straight to the
12:45
point. Yeah, yeah, they create.
12:46
Yeah, yeah, borderline. Borderline.
12:49
Once you got in that papadon, preach as you doubt.
12:51
Yeah, I like her early stuff. I think that was like a first
12:55
two years of our career. Papadon Preach was a really
12:58
early record for Madonna. What did you do before that?
13:02
Mr. Blue, he's played by Eddie Bunker.
13:04
It's well known now, but this guy was an ex-con.
13:07
His first prison bid was theft and he was like 14 at the time.
13:10
And he was a career criminal up until he was 42.
13:13
And he went straight and became an author and a screenwriter.
13:16
He wrote Straight Time, star in Hoffman and Run Away a Train,
13:19
star in Void and Eric Roberts. Yeah, nice.
13:22
Yeah, surprising stuff. Being an ex-con, Bunker was
13:25
critical of the film's plot. He called it unrealistic.
13:28
It wasn't wild about the idea of a group of criminals all dressed
13:31
in black suits at a busy restaurant before the pull.
13:34
A diamond house said that just wouldn't happen, obviously.
13:36
And he also said that you wouldn't work with, like, people
13:38
you don't know really, really well.
13:39
Yeah. That's right.
13:40
Yeah. And talking about that, how
13:43
about those opening titles? Absolutely cool.
13:46
It's book. Really, really cool.
13:49
Amazing, it just shows what you can do on
14:04
a budget. Like this shot is really cheap.
14:07
It's just a group of weird looking dudes walking through a
14:09
parking lot in a cheap neighborhood.
14:12
Throw a great track in there, get some slow MO in there and
14:14
boom, super cool straight. Away just fell immediately.
14:18
Iconic didn't it? As soon as you watch this.
14:20
Oh yeah. This is going to be a title
14:22
sequence people are always going to talk about and always going
14:24
to remember. And like I say, it's just so
14:26
simple, but it disputes this effortless skill.
14:29
And and that takes me back to my point about the restaurant
14:32
saying that it's quite slave Tantino to make everything seem
14:35
so cool at the beginning, because obviously by the end of
14:37
the film. It's a blue bath, yeah.
14:40
Brilliant. I mean, we'll, we'll bring this
14:41
up as well, but everyone knows well that maybe they don't.
14:43
But this was based really heavily on City on Fire, which
14:46
came out in 1987 starring Chow Young Fat.
14:49
I'm not saying based on I'm saying stolen from as Tarantino
14:54
does really, really well, but that that whole walk that's in
14:57
the film. So if anything comes up with a
14:59
direct reference to that, I'll try and say, yeah, that's in
15:01
there. But this is it's pretty much
15:03
lifted exactly the same from it. Sunglasses, the group walk.
15:07
And but what he does, he does it so well.
15:09
And we'll talk about this on the Pulp Fiction episode.
15:11
He just lifts stuff that's just iconic or could be iconic and
15:15
doesn't stick and then just, like, lifts it up and elevates
15:18
it and just goes right. Well, this is mine now.
15:20
Fuck you. Yeah, this is mine.
15:22
That's normal. Walk is mine.
15:23
He's lifted it from somewhere unabashedly and made it iconic.
15:26
Which is. That's Quentin Tarantino, isn't
15:28
it? Yeah, he's right.
15:29
Sneaky bastard. Because he takes things that
15:31
nobody knows what he's talking about.
15:33
Yeah. Yeah.
15:33
Films that nobody's seen for 50 years.
15:36
Yeah. By the time the twig gets far
15:38
too late. Yeah, no, it's already iconic.
15:41
Yeah, do you know what the original track was supposed to
15:43
be apart from Little Green bag? Shoot, I don't.
15:47
Money by Pink Floyd. Oh yeah, which I think.
15:49
Would have been pretty good. Oh, it's far too on the nose, it
15:52
is. On the nose, that.
15:53
Would just stick out like a sore thumb based on the rest of the
15:56
songs in the soundtrack. This huge Pink Floyd song.
15:59
It would have cost more than Steelers wheel, I know that
16:01
much. It would be the fucking fortune
16:03
for money. Those suits, I mean, obviously
16:07
it's super cool. They aren't actually suits or
16:10
even black for that matter. The costume designer found a
16:13
load of 60 style jackets. There were dark colours, Navy
16:16
blue, grey and black and put them together with black jeans
16:19
and boots. And the DP, Andre Secular said
16:22
that the dark colours would photograph as black on the
16:24
screen. Risky move.
16:26
Risky move. And then Michael Madsen as well
16:28
as I haven't got any black shoes.
16:29
That's why he wears cowboy boots and that's where the razor comes
16:31
from. So it was all just these guys
16:34
adding to their own characters, which is an.
16:35
Evolving. Process.
16:36
Yeah, there's there's an individuality, I think with
16:38
every character. And I think the Quentin Tantine
16:40
was allowed people to just say, right who who are you?
16:42
Right. You're Mr. Orange, right?
16:43
Go and invent him then. He's on the page, but bring more
16:46
to it. Following this scene, we're
16:53
catapulted into Mr. White's cars.
16:55
He's trying to console Mr. Orange, who's taking a good
16:58
shot. They make it to the rendezvous
16:59
point and Mr. Pink shows up trying to act all professional.
17:03
We get a glimpse of Mr. White pre Heist and Jewel, the brains
17:06
of the outfit. Next up for us is the scene
17:08
where White and Pink end up in a tussle before Mr. Blonde shows
17:12
up at the warehouse. Matt, I bet you're a big Lee
17:15
Marvin fan, right? I love the guy.
17:18
What? Do you think of this?
17:21
Oh, I think it's great. I think if you don't know by now
17:24
that Tarantino is a director who's going to make you listen
17:27
as much as he's going to make you watch, then I think this
17:30
saying absolutely tells you that.
17:32
Because there's only like a brief could wait to the
17:35
aftermath of the heist to the action.
17:37
The rest of it is just in the dialogue.
17:39
But it doesn't matter. He's so completely hooked into
17:41
it. The way it's described, the way
17:43
that the delivering those lines, it's just as fascinating even
17:46
about this action than it would be seen it.
17:48
And I think part of that is because of how secular shot it.
17:51
I know that he did use the film stock that was normally used for
17:54
daylight because it really made the colours pop.
17:57
So by using for these and TV scenes that just more visually
18:00
interesting lookouts to Tarantine on you, he could hold
18:03
all those wide shots and he wouldn't have to keep cutting
18:05
away. So he could build the tension
18:07
just by holding white and pink in these long shots together.
18:10
Fantastic. But I think what's really
18:12
fascinating is how all the dialogue now starts to contrast
18:15
to the Dynasine. You know, that Dynasine, it's
18:17
funny, it's flippant, it's just about pop music.
18:20
And now the talk about killing people.
18:21
Everybody's having a great time. Yeah, yeah, yeah.
18:24
Yeah, nobody's having a great time now.
18:26
And the way they differentiate between killing people and
18:28
killing cops. Yeah, yeah.
18:31
No real. People repeat.
18:33
That's a really chilling line when you think about like,
18:35
right, these guys mean business. And I think it just UPS the
18:38
intrigue as to what's going on by an incredible bounce.
18:40
You think, where's everyone else?
18:41
You know, what exactly did Mr. Blonde do?
18:43
Because we're only hearing about it, you know, how did it all go
18:47
so badly wrong? And is there a rat or just sets
18:49
up all the potential conflict that's still to come?
18:52
Yeah, hilarious when Pink's on the ground and White's giving
18:55
them some little kicks. Tiny little kicks.
19:00
What do you think about this Westie?
19:04
I love it. The camera work in this, this
19:06
whole sequence is fucking phenomenal.
19:08
It reminds me of Michael Chapman's work in Taxi Driver.
19:11
It's just, it's, it's on a par with that.
19:13
The way the camera just holds down that corridor, the way you
19:16
see a toilet seat now, it just pans up and moves across and
19:18
then you see them at the bottom of the corridor.
19:20
And I love the fact that the whole place used to be a
19:22
Mortuary, which, again, is just has this real overshadowing in
19:25
the operation room and that they're trying to dissect it in
19:28
a room where bodies would have been dissected or autopsies
19:31
would have been. That's where they're trying to
19:32
figure out what's going on. And then you go outside and
19:35
you've got Mr. Blonde standing against a coffin or standing
19:37
next to coffins, you know, which shows his personality, sitting
19:40
on a hearse at one point. It's all in there.
19:43
And it's just, it's just so thick.
19:45
But then again, you just look at it.
19:46
Anyone else looks at it and it's just, oh, well, yeah, it's a
19:48
really interesting setting. It's visually interesting.
19:50
Looks like a warehouse, whatever.
19:52
But he takes all these elements and adds to it.
19:54
When pinks on the floor and whites over the top of them.
19:56
That shot is just iconic. It's just brilliantly done.
20:00
Just the body language, just the way that they're set up in that
20:02
frame. But just start pulling back.
20:04
It can't get any better. It can't care any better.
20:06
Oh, there's Mr. Blonde. Fuck me, that's better.
20:09
Say, how did he do that? It reminds me of the shot and
20:12
The Shining where Wendy's at the desk and the camera pulls out to
20:16
reveal Jack. Yeah, yeah, yeah, yeah, yeah,
20:18
yeah, yeah. Reader reminds us, Yeah.
20:20
The only thing that really puts me out of it a little bit is
20:23
that when you go to that wide shot and you've got pink and
20:25
white token and he gives him a cigarette and he lights his
20:27
cigarette and he just does that click for ages.
20:29
Yeah, yeah, yeah, yeah. Why are you doing that?
20:31
Obviously, it's what Tarantino wants him to do, but he.
20:33
Doesn't. And why doesn't he light it?
20:34
That's what that's what I'm getting at.
20:35
Why doesn't he light your cigarette?
20:36
Because I think. He would.
20:37
He goes to and then doesn't. And I thought it was going to be
20:40
because he thought it was a wide shot, but I'm pretty sure this
20:43
would just be A1 camera set up so he knows where the camera is.
20:45
So it's whether he lights pinks to calm him down then doesn't
20:48
light his because he lights one later.
20:50
I don't know A. Couple of minutes later.
20:52
But you know what doesn't matter?
20:54
Yeah, doesn't. We're still talking about it.
20:56
Well, exactly. I love the tales of blonde in
20:59
the store that tell this about this absolutely crazy madman.
21:03
Unpredictable, like a coiled spring.
21:05
Could go off at any moment. That's what we're told.
21:07
And then he shows up, he's the coolest customer in the world
21:10
when we first introduced to him and he's really funny.
21:13
He says heart's beating so fast, I'm about to have a heart attack
21:16
here. And he he's like the most
21:18
chilled out person I've ever seen in my life.
21:20
Everyone else looks really fucked and he just looks
21:22
amazing. It does.
21:24
Obviously slaughtered about what I would say 7-8 people the way
21:27
they've been talking, absolutely bam, bam, bam, yeah, bam, bam,
21:31
bam, bam. Absolutely brilliant.
21:34
So he's just slowed 8 people and then he's just gone what's
21:36
obviously Big Kahuna Burger and just got yeah, fries and a Coke.
21:39
Amazing. It's fantastic.
21:41
Nobody actually knows what White whispers to Mr. Pink when he,
21:44
before he brings the coal mountain, starts brushing his
21:45
hair. But yeah.
21:47
But it is subtitled in different releases, in international
21:49
releases. So in the Italian version, for
21:51
example, it says do you want me to give you a hand job, too?
21:54
Which I think is quite good. It's quite funny.
21:57
And then in the French version, it's like you don't want a
21:59
blowjob, by the way, which again, you know, Are these
22:02
places people? That's funny.
22:03
Trying to be Santino and then the Spanish version.
22:06
I'll comb your hair so you look handsome.
22:10
Isn't that nice? It's not lovely.
22:14
Love that. I love how absolutely crazy Mr.
22:17
White is losing his mind at Mr. Blood.
22:19
You nearly shot me, asshole. What I really like as well, it's
22:28
Pink's flashback to when he's running along the street, the
22:31
cops are chasing him and he comes around the corner and that
22:34
the camera move is, I mean, you know me, I love camera angles.
22:37
So that camera move that sweeps around the back and he starts
22:41
shooting and it just pushes really close into him and then
22:44
it cuts to the front shot. That's so well edited, It's so
22:47
well done. It's just really.
22:48
It is. I love that flashback sequence,
22:51
it's fucking brilliant. So laying the groundwork for the
22:53
next 30 years in movies. In the opening scenes, Tarantino
22:56
gives us iconic dialogue, cool characters and forgotten music
22:59
gems. More of the same place, yeah.
23:05
The director. The director of Reservoir Dogs
23:10
is, of course, the one and only Quentin Tarantino in his
23:13
official directorial debut. We've talked about him on our
23:15
Pulp Fiction and True Romance episodes generally, so go back
23:18
and check those out. Peter Bogdanovich called him the
23:21
single most influential director of his generation, right, Matt?
23:25
What do you think of Tarantino's work on Reservoir Dogs?
23:28
I think it's excellent. I wish I had the confidence for
23:31
anything in life that he's got for his debut film here because
23:35
he's just so shored and it's incredible.
23:37
He's working with actors who he's clearly admired for years
23:41
and years, but he doesn't seem overawed by them at all.
23:44
He's super focused on what this story is and the way that he
23:47
just takes you from scene to scene and backwards and forwards
23:51
in this storyline. It's always so clear where he's
23:54
taking. He's just demonstrating this
23:56
like, complete mastery of a story already, and he's clearly
24:00
working in a genre that he knows inside out.
24:02
And so he's like a kid in a playground.
24:04
And that's why everything I think, has this energy, because
24:07
you can tell that he loves directing actors.
24:10
You can tell that he loves taking dialogue off the page and
24:13
putting it on screen. He's demonstrating that he can
24:15
shoot action, but he's also demonstrating that he can make
24:18
you really, really laugh. And So what he's done with this
24:20
film is he's constructed something where basically he can
24:23
show off everything he's capable of in one film and he's got the
24:28
the confidence to pull it off. And that's why it's so exciting.
24:31
He's just demonstrating like a mastery of so many techniques,
24:34
you know, how to move the camera, how to edit, how to
24:37
interweave a narrative, how to leave a soundtrack over the top
24:40
of it and how to bring it all together.
24:42
And it's all just so tightly focused and so confident.
24:44
And I know one thing that he wasn't that confident about was
24:48
he did say he was going to need ADP who knew how to do lightning
24:51
because that was just one area he was just not sure about.
24:54
But he said the one thing I knew how to do, particularly for this
24:58
film is how to frame it. And I think you can tell that
25:01
it's just so well framed to me, just the way he frames all the
25:04
actors as well and all these long dialogue scenes, it's, it's
25:07
just so visually interesting. So for a debut, it's just
25:11
incredibly confident, incredibly assured and he just knew what he
25:14
was doing. It's an embarrassment of riches,
25:17
isn't it? It's incredible.
25:19
It really is. It is weird for me because QT
25:23
completely one-of-a-kind. It never been anyone like him
25:26
before or since. But like you've said, Westie, if
25:29
you look at all the inspiration he takes from other films, his
25:32
work could be seen as just a patchwork of everything that's
25:34
gone before him. So you mentioned City on Fire.
25:38
That includes a diamond heist, an undercover cop, a warehouse
25:41
setting and a Mexican standoff. I mean, if you said that to me,
25:44
that's Reservoir Dogs. Yeah.
25:46
Of course. It is, but then you've got the
25:48
heist element was inspired by the Killing Stanley Kubrick film
25:51
and a film called Kansas City Confidential.
25:55
They're taking appellant 123. The bad guys in that film have
25:57
colour coded names. And then the torture scene was
26:00
informed by Django from 66 and the big combo from 55 S All of
26:04
these elements and those are films not many people have even
26:07
heard of, let alone seen. Exactly.
26:09
But it takes style and it takes ability to be able to take these
26:13
influences and make them work For me.
26:16
I don't think it's his most assured film.
26:18
I think that's Pulp Fiction, and it sometimes feels a little bit
26:22
like the dialogue's a little bit stagey in this for me.
26:25
OK. But for a debut film, I mean, I
26:28
just a round of applause. God bless him.
26:31
Well done, Tarantino, because. Well done, well done.
26:34
God bless him. God bless us a lot because this
26:39
film made such an impact for me when I was a kid.
26:41
Like you were saying, Westie, this really, really felt
26:45
important to me and I was obsessed, completely obsessed by
26:48
the film. It's remarkable performance by
26:51
Tarantino, Yeah. What about USD?
26:53
You like his work? I think this is all right.
26:55
He's not seen it before. Yeah, it's all right.
26:57
I'll do. It's it's, it's the vibrancy in
27:00
this just a sign of someone who's done the homework.
27:02
You know, if you've ever gone into an exam, you fucking know
27:05
your homework. Like, yeah, I'm confident about
27:07
you go in and you just ticking them and you're like, fucking
27:09
yes, I'm going to get this is not a problem.
27:13
Boom, boom, boom. That's how this feels.
27:15
He's got his references. He knows that the cool, he knows
27:18
it's going to work. He knows he can't.
27:20
He can't fuck this up because he's just so confident with what
27:23
he's done. It's on the page to me.
27:25
I was trying to think for this because we spoke about Tarantino
27:28
loads and we've done the Pulp Fiction episode and we've
27:31
discussed it, you know, personally away from this, like
27:33
we always talk about Quentin Tarantino.
27:35
I'm just trying to think, well, how do I sum them up?
27:36
And I came up with this theory. Well, it's not a theory.
27:39
But wonderful. Well, it's not, of course.
27:42
Shall we settle in for this Westie?
27:46
It's more of a metaphor. OK, of course it is.
27:50
Like, imagine he's a bartender, right?
27:52
And he's got all of these different drinks behind him.
27:54
And all of these drinks are all of these inspirations, all the
27:56
films that he's seen, and it's drinks you've never heard of.
27:59
And individually, they taste greatest shots.
28:01
But what he does, he takes the most obscure drinks off that
28:04
shelf, puts it in a high, tall glass right in front of you,
28:08
puts ice in it and starts mixing these drinks and sticks a little
28:11
umbrella in the top and then gives you a red apple cigarette
28:13
and goes have a taste of that. And you taste it, and it's kind
28:17
of familiar and you know what all the layers are.
28:19
You kind of know where all the tastes are.
28:20
But you've never, ever, ever had that combination before.
28:23
And that's Tarantino. Wonderful.
28:25
Well, when he does his 10th film, then we know what his next
28:29
profession is. Bartender.
28:34
We talked about Cutie's amateur debut as a film maker, My Best
28:37
Friend's Birthday, on our True Romance episode, but there were
28:40
a couple of interesting movie and TV credits that he had in
28:43
the late 80s, early 90s. Yeah, he had a credit as a
28:47
production assistant on Dolph Lundgren's workout video in
28:49
1986. Production assistant is
28:54
basically him sweeping dog shit up from the parking lot so Dolph
28:58
wouldn't get his trainers dirty. We certainly wasn't lifting
29:02
weights with him, was he? In 1988, he appeared as an Elvis
29:08
impersonator in an episode of The Golden Girls, which is
29:11
crazy. And the residual checks from
29:13
that helped fund him right in Reservoir Dogs.
29:17
He's also credited as a associate producer on a film
29:20
called Pass Midnight from 91 starring Rooker Hauer and Clancy
29:23
Brown. He did some script rewrites and
29:25
got that credit to the associate producer.
29:28
So he's got a bit of a checkered past, but frustrated.
29:30
He was working at video Archives, frustrated at working
29:33
there and having success with my best friend's birthday that was
29:36
destroyed in a fire. He started writing scripts and
29:39
he bought a notebook and pens because he said you can't write
29:42
poetry on a computer. Yeah.
29:45
Yeah. Wes, do you take that stance,
29:46
don't you? Audio notes for these episodes
29:48
of Pen and Paper. They're all handwritten, yeah.
29:50
Yeah, yeah, yeah. It's just easy.
29:54
I can take it with this. Then I can, you know, if I think
29:56
of anything, I'll just write it down.
29:57
Really old fashioned. But he's right.
29:59
It's like he said that was like the power of God coming down
30:01
through his pen and just getting everything on the page.
30:03
What Michael Madsen said, he's like, you can't write this on a
30:06
computer. It needs to be there on the
30:07
page. So Tarantino written Reservoir
30:10
Dogs and give it to his pal Lawrence Bender.
30:13
And they were going to produce it themselves.
30:15
They were looking for finance and they've got a few bizarre
30:17
offers. One producer offered them 1.6
30:20
million if the ending was changed and that everybody came
30:23
back to life who was dead and the whole thing had been a Hawks
30:25
all along. What sounds like lost or
30:28
something? Sounds great.
30:29
Sounds ridiculous. That sounds like.
30:31
That sounds like the piss take I don't have.
30:33
Kiss kiss Bang Bang. You know right when he's being
30:35
killed. Comes back in the woods.
30:36
Like if Lincoln comes walking in.
30:42
Another one offered half a million, but only if his
30:44
girlfriend was cast as Mr. Blonde.
30:48
It doesn't work. Does.
30:53
It Tarantino actually considered that.
30:56
Because he. Did there's an option he set
30:59
about making the film with a 16 millimetre camera and $30,000
31:02
that they'd scraped together? He went to a screenplay workshop
31:05
put together by the Sundance Institute in 1991, and one of
31:08
the judges was Monty Hellman, who was an exit producer on the
31:12
film. He was going to direct it for a
31:14
spell. Another judge on there was Terry
31:16
Gilliam to give him this advice. When he asked how to bring his
31:19
vision to life, he said you have to understand as a director, you
31:23
don't have to do that. Your job is to hire talented
31:26
people who can do that for you. Your job is articulating to the
31:29
cinematographer and costume designer what you want on the
31:31
screen. And he said this just came like
31:33
a bolt of lightning, this mystical shaming thing that I
31:36
thought directing was just went boom.
31:39
I think what that did was take a lot of responsibility away from
31:41
him and it makes it more fun than it is like, I've got to
31:43
learn how to light or I've got to learn how to load film stock,
31:46
or I've got to learn, you know, what's going to look good on
31:48
screen costume wise. I don't know.
31:49
He was maybe thinking about absolutely every single aspect
31:52
of filmmaking. And once Gilliam just said look,
31:54
let go. Just do your vision.
31:57
Of the people to do. That yeah, someone else is going
31:59
to specialize in that. And that's filmmaking, isn't it?
32:01
It's a collective. Yeah, of course, collaboration.
32:03
I think that's why he does handwrite it, because then it
32:05
feels personal. It feels like it's his.
32:07
It's really strange that he doesn't use a computer for the
32:09
amount that he does. Copy and fucking paste.
32:11
But but. He does it by hand so it feels
32:17
legitimate. As we said, Tarantino was
32:21
originally going to pay Mr. Pink, Lawrence Bender was going
32:24
to be a nice guy Eddie, and he was going to get some of his
32:26
buddies to fill out the rest of the cast.
32:27
But that was until he came home to an answer machine message
32:30
from the one and only Harvard Keitel, who said that he loved
32:33
the screenplay. I just want to be involved in
32:35
it. So he was able to bring loads of
32:38
credibility to the production. He helped financially and it
32:41
boost the budget from 30,000 to 1.2 million.
32:45
I mean, can you? I mean, that's an amateur film
32:47
that Tarantino was going to be making and now it's a big
32:50
production, a relatively big production.
32:52
Keitel became aware of the script because Lawrence Bendick
32:55
gave the script to his acting coach, who gave it to his
32:57
ex-wife, who knew Harvey Keitel. It's not what you know
33:00
sometimes. So no Keitel, no QT.
33:02
I don't think he would have made as much of an impact with trying
33:05
to shoot this on 16 mil. I don't think he would have got
33:07
secular, I don't think he would have got.
33:09
Definitely he wouldn't have. Anybody wouldn't have anybody,
33:11
just be him and his maid. Obviously the key component of
33:14
any self respecting heist flick is the heist itself, which is
33:17
missing from this one. Because of its low budget, some
33:20
corners had to be cut and the heist in the film is showing off
33:22
screen. We see some of the action
33:24
beforehand and courtesy of flashbacks, we see some of the
33:27
immediate aftermath. And on this Tarantino said at
33:29
one point the reason for not showing the heist might have
33:31
been budgetary. But I always liked the idea of
33:34
never seen it and I kept that. Although it's not exactly
33:37
Rashomon, you do get the sense of characters, different
33:40
perspectives. When they talk about what
33:41
happened. For the first half, you wonder
33:43
if you'll ever see the heist, and in the second you realise
33:46
the movie's not about that, it's about other things.
33:49
Yeah. And The thing is as well, if you
33:51
make the heist off camera and you get people to talk about it,
33:54
you I know exactly what happened at the heist.
33:56
That's in me head. I've seen it.
33:57
I know where what the camera shots look like.
33:59
I know people's reactions because of the dialogue.
34:02
And I think you can make you can make that heist now seem really
34:05
elaborate, massive. You don't need budget for that.
34:07
You just need imagination. And I think that's where he's,
34:09
that's where he's genius. I agree.
34:11
I mean that detail when white and pink are talking about and
34:14
he says, you know, how old do you think that black girl was?
34:16
Yeah, 21 at most. Maybe 21?
34:20
Maybe 20 that to me, that just sticks in my head, just that
34:23
little detail and you think, you know, you don't need to see
34:26
anything because that alone just tells you all you need to know.
34:28
And The thing is as well, you can tell because pink and white
34:31
are appalled by it. That tells you all you need to
34:34
know exactly if they're appalled by what I don't want to see.
34:37
It. Yeah, yeah.
34:40
It's an unusual name for a film. Reservoir Dogs.
34:42
Do you know anything about how it came about?
34:45
There's a couple of theories. Yeah, shoot.
34:47
No, I don't know how to pronounce it, so I'm not doing
34:52
it A. Theory you're not going to go
34:53
into this is. This is amazing.
34:58
Well, Tarantino told potential investors that a reservoir dog
35:01
was gangster slang for French New Wave films, like a Banda
35:04
part, and it meant rat. It didn't, but he knew that it
35:08
would sound cool and that they wouldn't be familiar with the
35:10
films that he was referenced and they weren't going to check the
35:14
origin of it. There's a few different sources.
35:16
Firstly, the most popular story is that when Quentin was working
35:20
at Video Archives, he recommended this Louis Malle
35:23
film from 1987. It's called I'll Try and Get
35:26
This Right. Go For it.
35:27
Au revoir, a les enfant. Amazing less than compete, but
35:34
you have Yansi ho Maloney would have been called like the
35:36
incompetence. So he said this to a customer
35:41
who apparently mishearded and thought he'd said Reservoir Dogs
35:44
don't know how. They don't sound anything.
35:46
Definitely not, no. Particularly the way that I said
35:50
it. Well, maybe I'm saying it wrong.
35:51
No, I. Think you you said it with such
35:53
with such grand beauty that I don't think anyone would would
35:56
mistake it for anything else apart from exactly what it was.
35:59
OK. Yeah, yeah.
35:59
You're welcome. It's claimed that this film
36:04
wasn't in the store at the time QT worked there, and another
36:07
theory is it's a hybrid of that film that I've just pronounced
36:09
and I'm not going to try again. And Straw Dogs.
36:12
I suppose the only thing that matters is that the title's cool
36:16
and eye-catching, and this definitely is, yeah.
36:17
Yeah, all really interesting, but again, I think they're all
36:20
quite far fetched. It just sounds cool.
36:22
Yeah, really are sounds cool sounds.
36:24
Great. That's it.
36:25
And we've got a question here from one of our patrons, and
36:28
that's part of the benefit of being an ATRM patron.
36:30
You can ask us questions, we'll answer them on the show.
36:33
So our first one is from James Aussie Pew.
36:37
Hello, James. What up, James?
36:39
He asks. Can you think of a directorial
36:41
debut which made a bigger impact on cinema than Tarantino did
36:44
with Reservoir Dogs? Westie, Yes.
36:48
What do you think? Yes, Yes, I can.
36:49
Yes. Yes, there's a few.
36:51
Am I? Can I go first?
36:52
Am I going to steal all the Thunder here?
36:54
You can go. First, first of all, I think
36:55
Pulp Fiction made more of an impact on cinema than Reservoir
36:58
Dogs did. I think it was largely ignored
37:00
in the States and it only kind of we got attention when it came
37:04
out over here and we went absolutely mental for it in
37:06
Britain, just when it just absolutely went crazy.
37:09
But for me, I would say Citizen Kane probably is the ultimate, I
37:13
would say 12 Angry Men's up there.
37:15
I would say the Maltese Falcons up there.
37:18
And I would say for me personally, Night of the Living
37:20
Dead, I don't think that's made. That's made more of an impact, I
37:23
think than than anything else. Yeah, yeah, I agree.
37:26
I mean, if Restaurant Dogs is undeniably influential, but for
37:29
me it get kind of influential almost in a bad way because
37:33
after this film came out, there was so many kind of rip offs by
37:36
people who just didn't have Tarantino, Stalin, you know, you
37:38
couldn't move for like American crime indie films, could you,
37:41
with pop culture dialogue that just didn't have anything near
37:45
like the energy or the width of of this one.
37:48
But the DPS that I think it just saw or even more influential
37:52
pofferance where she's mentioned to me, Rob Reiner, This is
37:54
Spinal Tap, you know, influence comedy forever.
37:57
Yeah, you've got off that one in there.
37:59
John Lasseter, Toy Story. You know, look how that's
38:01
influenced animation ever since, completely revolutionized what
38:05
we expect from animated films. So even if that's not your
38:08
particular genre, you can't deny how in French that one is now.
38:11
They even mentioned Daniel and I reckon Eduardo Sanchez for The
38:14
Blair Witch Project when that came along.
38:17
Yeah, I mean, we're still watching found footage horror
38:20
films now, yeah. Out of all the episodes as well,
38:23
I would never have guessed that you'd managed to shoe horn Pixar
38:25
at the reservoir. Well done man.
38:31
Oh, when I saw this question I was like, yes, finally get John
38:34
Lasseter in there. We'll look at the torture scene.
38:36
He's got three or four references to fight him.
38:38
Nemo, you're like what? The fuck?
38:43
I'm pretty much the same as you fellas.
38:45
It got me thinking about the great directorial debuts and
38:48
actually I was going to ask, is this the best directorial debut
38:51
or is it up there before James came in with this question and
38:55
the ones that sprung to mind immediately, it was Sidney Lumet
38:57
and 12 Angry Men that I thought of.
38:59
I thought about the coins and blood symbol.
39:01
I thought about Sam Raimi and the Evil Dead.
39:04
But yeah, the granddaddy of them all is awesome.
39:07
Well, sits thinking, but. Yeah.
39:09
It was well received, it didn't recoup its money at the time and
39:12
it didn't get re evaluated until the 50s around 15 years later.
39:16
So we're think we're only looking at that in retrospect.
39:20
I think Tarantino's debut, the fact that he followed it up with
39:23
an even better film, those two as a package really, really did
39:26
have an impact on the industry. And I think that he did change
39:30
the way people approach movies, the way they were made, the
39:33
written marketed, the way they used music in the film as well.
39:36
I think that was a big shift. And I think he changed the
39:39
tropes a lot, Structure and and what mainstream audience
39:42
expected in films, Those did change as well.
39:45
And this being my era, I was in the thick of that.
39:47
And I got swept up with buying like, screenplays of movies I'd
39:50
already seen. Who, who used to do that?
39:52
Nobody would do that before Tarantino.
39:55
What fucking idiot. But then they're on the top
39:59
seller charts. Yeah.
40:00
Amazing. This introduced Quentin
40:02
Tarantino, and Quentin Tarantino made an incredible impact on
40:04
cinema, but not necessarily this film.
40:07
Yeah, so with Quentin Tarantino, young, hungry film maker
40:10
bringing his A game to his directorial debut.
40:12
Raw talent. Quentin Talentino, if you will.
40:16
Lovely. Thank you.
40:19
Another three or four days on that one.
40:24
The cast. The cast list in Reservoir Dogs
40:29
is limited. There are only 24 credited cast
40:31
members and five of them are voices on the radio.
40:35
We're going to talk about the man who made it all happen.
40:37
Firstly, that is Harvey Keitel. Is Mr. White.
40:40
Westie, What do you think of Mr. White and Keitel?
40:42
He's seasoned, he knows what he's doing.
40:44
When everyone feeds off him, you totally believe that he is that
40:46
guy like. Yeah, yeah, you definitely do.
40:49
It's not him necessarily playing the character, even though it
40:51
is. But I don't think, I mean, he's
40:53
amazing in Taxi Driver, he's amazing in Sister Actor,
41:00
brilliant, Bad Lieutenant, the Duelists, Mean Streets, I mean,
41:04
you go on. But it seems that you just got
41:05
such an an affection for the film, such an affection for the
41:08
material, such a love for the character and every single
41:11
character and the and the craft of filmmaking.
41:13
He's got such belief in Tarantino and he buys into it.
41:16
I think Tarantino uses him as that vessel to get that across
41:19
with the audience about how confident this is, how solid
41:21
this is. And apart from Winston Wolf, I
41:23
think this is probably favorite Cartel performance.
41:27
I think he absolutely nails it from the start.
41:29
You're with him every single up and down.
41:31
You're heartbroken by it, you're disgusted by him.
41:33
You're on his side, then you're not.
41:35
He's just the audience, I think. And I think he carries it
41:37
really, really well. Has that weight on his
41:39
shoulders, but then shoulders can take the weight easily.
41:42
I think we get the sense that he's like a good guy right at
41:44
the start, really compassionate about Orange's plight.
41:47
Good morals. Yeah, good morals.
41:49
He's like a sensitive fella. You do the right thing.
41:52
But this is all blown away with that double gun takedown with
41:55
the two cops near the end. And we would know this straight
41:58
away if the film was structured in the traditional way.
42:00
But we only get this right at the end of the film.
42:02
And like a lot of the characters, he seems like a good
42:04
guy, stand up guy, but he's ruthless and he says the choice
42:08
between doing 10 years and taking out some motherfucker in
42:11
or chase at all. And we see that played out at
42:13
the end. Love that.
42:14
Love that about the character. Fantastic.
42:16
So he uses that narrative as well and reinforces the
42:18
characters later on. Yeah, brilliant.
42:21
And I mean, it's Harvey Keitel. You can't go wrong.
42:24
He's heavyweight and this film kind of brought him back from
42:27
into focus after like a bad 80s. I mean, he was Razi nominated
42:31
for his role as Jesus Iscariot in The Last Temptation of
42:34
Christ, which I think it's slightly harsh.
42:35
That is but. He didn't have a good 80s.
42:37
Did you think he knew that this was going to bring him back?
42:39
Did he see that in the script? And he's, he's almost invested
42:42
in himself, hasn't he? Yeah, yeah, he's, he pushed
42:44
this, he pushed the budget up. He paid for casting in New York.
42:47
So he's obviously 100% behind the script and he firmly
42:50
believes in it. Yeah, I mean, if you've had a
42:53
bad decade and this falls into your lap and you know, you can
42:56
get it for cheap. You've got a new F and you
42:58
can't, of course. Yeah, to.
43:00
Make it happen. Yeah, and then after this, the
43:02
year later, bad Lieutenant. Yeah.
43:04
I mean, that's that's some choice to make, isn't it?
43:07
Wasn't sister act around the same time?
43:09
93 wasn't. It 93 so the year after.
43:11
So the year after he did Sister act and badly tended.
43:17
The man has range, what can you? Say some range.
43:21
I really love it when he's in the car with Nice Guy and Orange
43:24
and Pink and he's having a wheel of a time with this story that
43:27
Nice Guy's telling like the you're under a red sugar one and
43:30
he's just pissing himself laughing.
43:33
You love that line, don't you? Oh.
43:34
You're under the red sugar. That's brilliant.
43:37
See it all the time. You're sneaking up on people.
43:42
When nice guys telling the story involving the glue and the
43:45
stomach and the thing and White says was he all pissed off?
43:48
Really funny that. Yeah, you may have ever tell.
43:51
You need to take a piss. You had to do a handstand.
43:56
Brilliant. He's really chuckling.
43:58
It's brilliant. What do you think of him, Matt?
44:00
Yeah, he's great casting because like before this, I would always
44:04
associate Keitel. There's more of a support and
44:06
actor to sort of see him take like front, front and center.
44:09
It's really great because he does have the ability to to
44:12
carry the film and give it as he says that weight that it doesn't
44:15
need is that kind of dependable guy at the Harvard really.
44:18
And you know, for the fact that he would have been one of like
44:21
Tarantino's favorite actors because he loves that like tough
44:24
guy actor. But I think what's really
44:26
interesting is all these like little notes of vulnerability
44:28
that I think Keitel brings in. And you you see particularly
44:31
with those scenes with Orange after he's been shot, the way
44:34
he's strong to say how tender he is with him.
44:36
He's talking to him like he's a child.
44:38
He's gone. He's a tough.
44:39
Guy, yeah, you're going to be OK.
44:43
Say the goddamn words you. Know he can sense the panic in
44:47
his voice. At the same time, you know the
44:49
situation's got out of control and even he doesn't know how to
44:52
handle it. And in the end, he's devastated
44:54
to find out that he is the cop, you know, And you totally get
44:57
that out of Kaitels performance. You can see like he feels
45:00
betrayed by him. And I think Kaitel just hits all
45:03
those notes really, really well. But the other thing I find
45:06
interesting about White is a character though.
45:08
I think he's a man who's just slightly out of time now.
45:10
You know, he's older than most of the other dogs and he started
45:14
to get a little bit sentimental. He's he's thinking with his
45:16
heart and not his head. The way that he goes all in on
45:19
on contacting Orange. Yeah, exactly.
45:21
He's gone soft. And you see that he's gone all
45:23
in on protecting Orange over absolutely everything elsewhere
45:26
else. To think, even though he he will
45:28
still kill without hesitation, he still gets it completely
45:31
wrong at the end. Like who he who he stands by.
45:33
And. Yeah, so if he had used his head
45:35
and he thought logically about it, he could have quite possibly
45:38
got away with his life. So he started going a little bit
45:40
soft. And I think casting Kaitel or
45:42
someone like that is really interesting.
45:44
This film was used by a psychology professor to
45:47
illustrate the difference between a sociopath and a
45:49
psychopath. And the professor said, well,
45:52
the sociopath is someone who has a moral court who knows right
45:55
from wrong, but will still kill if if they need to, and that's
45:58
Miss Wright. Whereas a psychopath is someone
46:00
who doesn't have any moral court and will kill even when it
46:03
doesn't need to be done, just for the hell of it.
46:04
And that's Mr. Blonde. Nice.
46:07
And then find justification through it as well, like the got
46:09
what they deserved to set the alarm off that oops, that's it,
46:12
you know? When Tarantino went to Keitel's
46:15
house to discuss the film when he first on board, Kaitel was
46:19
interested to know how we came to write it and how we came up
46:21
with a story. He asked did he live in some
46:23
kind of like tough guy neighbourhood or where where
46:25
your family connected, that kind of thing?
46:27
Tarantino said no, no. And he said, well, how the hell
46:30
did you come to write this? And Q TS response.
46:32
I watch movies I've. Seen city on fire and.
46:38
No one else has. Yeah, give it 10 years.
46:45
Kaitel's name brought a load of cashier immediately.
46:47
They did a casting session in LA for two weeks, and then he
46:50
suggested going out to New York to do some casting there, and
46:53
Tarantino didn't want to because he didn't have the budget, so
46:56
Kaitel stumped up the money. What a guy.
46:58
Lovely, yeah. The New York casting sessions
47:00
picked up Michael Madsen, Tim Roth, G Buscemi, and there was a
47:03
whole host of unbelievable names that cropped up in this casting
47:06
session. We mentioned Tom Waits already.
47:09
Have you heard about any others? This script was sent to James
47:11
Woods, and his agent turned it down.
47:13
And he found this out later when you saw, like, Tarantino when
47:15
they'd met. Tarantino was I want to do for
47:17
Reservoir Dogs. He's like, what?
47:19
Yeah. Yeah.
47:19
He rejected the script. So he fired his agent that
47:22
night. Amazing.
47:25
Jimmy Woods, I'd love to see him in this.
47:27
He would have been great. It's pink.
47:29
He would have been amazing. I mean apparently he's a bit of
47:32
a Dick head, but I do like him as an.
47:33
Actor, we all speak for yourself.
47:42
Have you heard any of these names, Matt?
47:43
I don't know if it's from this audition, but no, Clooney went
47:46
up for Mr. White, didn't he? No, Clooney was.
47:49
In there, Yeah. Yeah, Clooney.
47:51
Yeah, so Clooney was in there, Christopher Walken, Seymour
47:53
Cassell, Vigor Mortensen and David Duchovny, who was told by
47:57
QTI. Like what you do?
48:00
I just don't know if I want to do it in my movie.
48:02
See haunting aliens or something.
48:04
I think that he didn't like what he did and that was his letting
48:08
down gently approach. Yeah, really that kind of.
48:11
Coffee in this. Yeah, I like what you do, but
48:13
what you do is shit. In other things I like.
48:18
What you do? Well, not in my stuff.
48:19
You're not good enough for me, but you know you're finding the
48:22
TV. TV in that Red Shoe Diaries.
48:24
Yeah, Red Shoe Diaries. You know you're a sex addict.
48:26
Get on with that. Samuel L Jackson and Ving Rhames
48:33
were in the frame to play a holdaway of the Copper in
48:35
Oranges flashbacks. Yeah.
48:37
Robert Forster auditioned for the part of Joe Obviously
48:40
Tarantino Custom in Jackie Brown.
48:42
Yeah, yeah. Matt Dillon for Mr. Blonde.
48:45
Nick Cage for Nice Guy, Eddie. Amazing.
48:49
And you might have liked this Westie Vincent Gallo for Mr.
48:53
Pink. I would love Gallo in there.
48:55
You would have been horrible too.
48:56
It was sleazy. Yeah, and Dennis Hopper and Tom
48:59
Sizemore were in the frame to play with Mr. Pink as well.
49:01
That's, I mean, that could have been a completely different
49:04
film. Totally different, yeah.
49:10
The man who got the gig is the professional Mr. Pink is Steve
49:13
Buscemi. Matt, what do you think of
49:16
Buscemi in this? It's my favorite performance.
49:19
He's great. Oh, he is great, yeah.
49:21
Fantastic. I mean, he is my favorite
49:23
performance in the film and he. Just speaking for Matt there.
49:29
Yeah, before you say anything, he's fucking great.
49:30
Let. Me.
49:32
Tell you. Yeah.
49:32
All right, Luke. I was going to say that I don't
49:34
want to. Influence you, but he is.
49:36
Wasn't going to slag him off. Go.
49:38
Here's my opinion. OK.
49:40
Yeah. No, Matt, we might as well just
49:42
go. Luke, you just tell everyone to.
49:43
Come back. If you could just say these
49:46
lines that I'm holding up to the letter.
49:50
No go out. Whatever you think of Buscemi,
49:53
Go. Well, he's shit, isn't he?
49:55
No. He's not.
49:56
Cut. You're out of there.
49:59
No, he's my favorite performance in the film, possibly even
50:02
Tarantino's favorite since how, you know, we've already
50:04
mentioned this. Tarantino did want Mr. Pink for
50:07
himself, and he told Buscemi you're going to have to deliver
50:10
a killer audition to get it away from me, which he obviously did.
50:13
And Riley. So I can't imagine Tarantino
50:16
doing this and bringing what Buscemi does because person in
50:19
the room and you see that right from the beginning in that
50:21
restaurant scene where everybody is talking about the tipping and
50:24
he cuts through it all. He cuts through all the
50:26
sentiment. He cuts through all this soft
50:29
hard at all. You know, we should feel sorry
50:30
for them. And he's like, no, we shouldn't.
50:32
She wasn't good enough and it's not my responsibility.
50:35
And that's that's. That's a sense of his character
50:39
and you. So brilliantly.
50:43
But what's really interesting? Though is that he's clever
50:46
enough to know to take his ego out of it.
50:48
Once he starts to see that Joe is getting annoyed by it, he's
50:51
like, OK, fine, I'll do it. Because he doesn't have that
50:53
alpha male ego to him because he knows it's not going to be
50:56
useful to him to be like that. So he's also thinking really,
51:00
really rationally and really logically.
51:01
That's probably why he is the one who got the diamonds and
51:04
stashed them and you see it in the warehouse as soon as he
51:07
comes in. He's the one who knows.
51:08
There's been the setup. He knows there's a rat.
51:10
Mr. White is kind of like bouncing off the walls about it.
51:13
Pink is the one trying to calm him down and get him to think
51:15
and to focus, you know? And you get that line that says,
51:17
all right, now you're using your fucking head because throughout
51:20
the film, he is pretty much the only one doing that.
51:22
And I love that bit when White and Blonde start to square up to
51:25
each other and Pink is in the background.
51:27
You can see he's just rolling his eyes.
51:28
Yeah, guys, guys. Yeah, he's fucking asshole.
51:32
No one is thinking. Straight and I just love that.
51:35
And he's also, I think he's probably the funniest character
51:37
in the film as well. So as much as he is still like a
51:40
bit of a bastard, I do kind of like the way he does get away at
51:44
the end. Or does he?
51:46
Well, we'll ask. We'll.
51:47
Ask later. We'll find out later.
51:48
Maybe we will. Yeah.
51:50
Look, look, I'll just tell you. Yeah, yeah.
51:54
Good words there, Matt. Well done.
51:58
Did I read them? OK, Very well done.
52:00
Yeah. OK.
52:00
Thank you. Very articulate.
52:02
Emailed him last night, didn't he?
52:06
Yeah, again, I mean. There's nothing else I could say
52:08
that's that's different to what Matt said or what probably what
52:11
you're going to say. Look, I think he is fantastic in
52:13
this. I love Buscemi anyway.
52:15
I don't think I've seen a bad performance in anything that
52:18
he's been in Lebowski. Even Connie, he's great in that
52:21
Tree's Lounge is brilliant. Fargo's amazing.
52:24
He's in Dead Man as well, Which is one of your favorite films?
52:26
This. He brings a real intelligence to
52:28
the script, them words on the page, but he just delivers them.
52:31
Such belief. I think it gives the character a
52:34
massive believability. And he's got a physicality as
52:36
well that you wouldn't expect from Buscemi when he's running
52:39
down the street. It's kind of you don't recognize
52:41
it. He just transforms into that
52:43
character. But again, like I said at the
52:44
top, I do think this character has a lot to do with Steve
52:47
Buscemi's natural character. I think he brings a lot of who
52:50
he is to the role, and he's perfect.
52:52
He's absolutely perfect as Mr. Pink.
52:54
And I think if anyone else had been in there, it would have
52:57
been a very, very different film, a very, very different
52:59
feel. I don't think anyone else could
53:01
have done it quite as well as he's done it here.
53:04
Yeah, I I totally agree. The character of Mr. Pink, he
53:07
has got a moral compass. Yeah, he sees himself that he
53:11
was thinking of just driving off because it's a set up.
53:13
He's got the diamonds, so he could have been out there with
53:15
the stones, which he gives up to nice guy later.
53:19
So again, he seems like this good guy, but he is a killer
53:21
just like the rest of them and a cop killer, no or less, which we
53:24
see in flashbacks. And like you mentioned, Matt, he
53:27
talks about that as if it's nothing, as if they're not even
53:29
humans, which is, I mean, abhorrent.
53:32
This is the stand out performance for me in the film.
53:34
It's Buscemi's energy and I think that everybody in the cast
53:37
would feed off that. Like you've been seeing Westie.
53:39
I think he just, he just radiates and he just makes the
53:43
screen come alive. He's fantastic.
53:45
This film made him what he is. I mean, he gave him a career
53:48
essentially. And I think although he has got
53:51
loads of nuances and he's got some good range, I think he's
53:54
been playing a variation of this character ever since.
53:57
Yeah, I think so. I think you're right.
53:59
I think these two that we're talking about here.
54:00
Kaitel and Buscemi are the stand out performers definitely and I
54:04
like the contrast between the two.
54:06
I think it's funny when they've got the cop and they're beating
54:09
them up, Pink goes to hit him and he hurts his hand and White
54:13
doesn't. Great.
54:18
OK. So before we wrap the cast list
54:21
up, we have one final question on the cast from Sharif Ahmed,
54:25
one of our patrons. Hello, Sharif.
54:26
Sharif Big. Question this, Yeah.
54:29
Big. One big one.
54:30
Here it comes. Which Mr. would each ATRM member
54:34
be now? We're going to go, all five of
54:36
us here. So, Westie, are you going to
54:39
answer this for us? I'm not going to be just the
54:41
only one. Answering it right, everyone's
54:43
going to have a bash. No, no, everybody's going to,
54:44
but you can go first. Fair enough, I've I've omitted
54:46
one of the. Misters because I didn't think
54:48
it worked. So I've got in reverse.
54:50
So I've got Pi as Mr. Blonde, obviously because he's a
54:54
psychopath and I've got John as well.
54:58
He is, isn't he? He's a nut case, but a lovable
55:00
nut case. So I will put him down as
55:02
blonde. Plus, he's pretty cool and I
55:03
don't like to admit that, but he is.
55:07
Saved there. Nice save, thanks.
55:09
John is Mr. Pink because. He just, he is the voice of
55:12
reason, isn't he really? He's just straight down the
55:14
line. He knows what what his goals are
55:17
and he tries to achieve them as quickly as possible.
55:20
Right. OK, I've got.
55:21
And now we're. Down to you guys, right?
55:23
So you're excited. Look, I've got you down as nice
55:25
guy Eddie. You're having a laugh, aren't
55:27
you? Straight in there.
55:30
Driving around listening to 70s tunes with a massive Samsung
55:33
phone, just turning up, everyone having a laugh, you barging in,
55:37
just going out of the fucking blue, giving everyone these
55:41
legs. Definitely nice guy Eddie.
55:43
Matt, I've got you as Mr. Orange because you're new to the crew
55:46
and I don't really trust you necessarily.
55:48
So you might be a rat Fairpoint and I'm down as Mr. Brown
55:51
because. I would definitely sit there in
55:53
the restaurant and say let me tell you what, like the Virgins
55:56
about loads of theories, loads of analogies and a pain in the
55:59
ass and probably dies early. That's my room.
56:05
Fantastic. OK.
56:07
What about you, Matt? Some of these we share actually,
56:10
Wesley. Is 100% Mr. Brown?
56:12
Yeah, absolutely. And it is because.
56:15
Of the. Endless theories, you know?
56:17
Yeah. You know, before we started.
56:19
This Wesley was like. Lads, do you know what Ray of
56:21
Light is really about? So it worked it out.
56:25
So yeah, Ray of Light never fucking.
56:28
Heard it like. The other one we do agree on is
56:34
Pi is Mr. Blonde, you know, I think they share the same kind
56:37
of dance moves, but also, as Wesley kind of alluded to, he's
56:41
so fascinated by serial killers. I think we all know he's like
56:44
one bad Newcastle result away from there whipping out a knife
56:47
and going to town on someone, isn't he?
56:49
Yeah. And Newcastle have lost 6/1.
56:51
Bam. Bam bam bam Luke, I've actually
57:01
got you down as Mr. Pink, because as we've established,
57:04
you don't tip. So yeah, that's fair enough,
57:06
actually, yeah. Absolutely makes sense.
57:09
And I've got jaundice, Mr. Orange, actually, purely because
57:12
Mr. obviously has the post of the Silver Surfer in this apt.
57:15
I can imagine John, how similar, so I think he would be Mr.
57:19
Orange. And then for myself, I've gone
57:20
for Mr. Blue simply because I do have a reputation on nights out
57:24
of getting drunk and then just wandering off and people don't
57:26
know where I've ended up, don't know where it's gone, don't know
57:28
where it's. Gone.
57:29
Yeah, you only say 3. Sentences get pissed and leave.
57:32
Yeah, yeah, pretty much, yeah. Yeah, so I'm Mr. Blue.
57:34
OK, Well, we. Have similarities, Westie,
57:40
You're obviously Brown. Well, obviously theories,
57:42
obviously, Obviously. And I have got John.
57:47
As orange for the same thing. He's a comic book fan,
57:50
obviously, but also I think it would be good as a copper, very
57:54
meticulous straight as a dye. So that's why I've gone as pink.
57:57
I think you'd. Just be better in that kind of,
57:59
well, you know, it's similar then we're going for Pi.
58:03
Nice guy, Eddie. Really.
58:04
Obviously it's a tracksuit. A tracksuit?
58:07
Yeah, yeah, obviously. Say no more.
58:10
And cowboy boots. Yeah, I'll take it back.
58:13
He's not blonde. He's definitely.
58:15
A nice guy, Matt. I'm tagging you as Mr. Blonde.
58:18
Really. Wow.
58:19
Yeah, wow. OK, I didn't say.
58:20
That coming a cool. Cool customer on the surface.
58:23
But I think there's a fire bubbling underneath there.
58:27
Definitely you get pushed. To the edge and you're.
58:28
Still blasting people away. Yeah, on certain topics I.
58:32
Would There you go, you see, just blast them.
58:34
Away with information though. Yes.
58:39
All right, Brett. Sessions.
58:44
More fuck based here in violence.
58:51
And me, Mr. White, because? It's you can't give yourself.
58:55
Mr. White Yeah, absolutely. Ridiculous.
58:58
That's it, self praise. No praise.
59:02
I am the. I am the.
59:06
I'm the star. I'm.
59:07
The one the level of. The put up the.
59:09
Finance. So then, Sharif, I hope we've
59:15
answered. Your question, why we certainly
59:16
haven't given a definitive answer, but no, you know, fun
59:18
nonetheless. Yeah, just take split, split the
59:21
averages, yeah. I'm definitely brown, but.
59:24
Yeah, that's all. Yeah.
59:28
So Kaitel and Buscemi stand out. Performers in the film and we'll
59:31
get to the rest of the cast as we go.
59:33
Lovely. Into the second act of the film,
59:41
we've had an intro. To Mr. Blonde, then he, Pink and
59:44
White attempt to beat out a confession from a chair bound
59:46
policeman before Nice Guy Eddie shows up to call the shots.
59:50
We're looking at the scene after Nice Guy Pink go out to pick up
59:52
the stones while Blondie stares to babysit Orange and the cop Q.
59:57
One of the most iconic scenes of the decade, not least for the
1:00:00
controversy it sparked. Matt, what do you think of this
1:00:03
thing? I think it's incredible and I
1:00:05
think let's. Credit Kirk Baltier, who plays
1:00:07
Marvin Nash, the copper because small role, but he is absolutely
1:00:12
phenomenal. I think you feel every bit of
1:00:14
sheer terror that is coming off this guy.
1:00:17
You can like practically smell the sweat coming off him as he
1:00:20
just begins to realize I'm not getting out of this and not only
1:00:23
that, he's going to go out in the most terrific way.
1:00:26
So I think from his perspective, this sequence is really, really
1:00:29
hard, random, you completely feel from.
1:00:32
And just in general, I think it's just like one long
1:00:35
extended, steadily increase in order of tension and it just
1:00:38
bills and bills. But the thing that makes a
1:00:41
really scare is how calm Mr. Blonde is about it all.
1:00:44
He's not bouncing off the walls, he's not raving, he's not
1:00:47
ranting, he's not yelling. He's just so calm about it all,
1:00:50
so softly spoken, so rational, like he says, you know, it's
1:00:53
amusing to me, the only reason he's doing it.
1:00:57
The bit I find. Really uncomfortable to watch
1:00:59
it, and it shows how much contempt he asked for Nash is
1:01:01
the way he keeps wiping his hand on him.
1:01:03
Total disrespect. Yeah.
1:01:05
And. He's almost like offended.
1:01:06
By this, if Nash has done that to him and it's not because
1:01:09
you've been like smacking this shit, been slicing them up.
1:01:12
Yeah, exactly. So of course you'll be covered
1:01:13
in plots. So that's like really like
1:01:15
inhuman touch. And I think it's just so
1:01:17
chilling. And then you get to that actual
1:01:19
ear cut. And I mean, that's got to be a
1:01:21
not a taxi driver, isn't it, where the camera just pans away?
1:01:24
Yeah, I always think of that shot.
1:01:25
Yeah. Sort of.
1:01:26
Even the camera con bad. Look at it.
1:01:28
But it's all this time so perfectly.
1:01:30
Like. It's a fantastic touch, the way
1:01:32
that blonde ambles out to get the gasoline, the camera follows
1:01:36
them, comes back in and stuck in the middle with you, you're
1:01:38
still playing perfectly In Sync. Yeah, it's fantastic touch.
1:01:41
I love that. As I say, it just keeps building
1:01:44
and. Building, you know, the gasoline
1:01:46
looks like it must really sting, you know, when it's going into
1:01:48
his ear. You know, Nash, he's just so
1:01:51
desperate to try to persuade him.
1:01:52
And Blonde is just, you're all through, you're all done, not
1:01:56
even giving him a second thought.
1:01:57
And just when you can't take any more, he's out of there.
1:02:00
You know, bam, bam, bam, bam. You think, thank fuck for that
1:02:04
because I could not watch any more of the scene.
1:02:06
I think it's just fantastically well done in retrospect.
1:02:10
It's another one of those scenes in this film that just felt
1:02:12
immediately iconic, like the opening in the restaurant, like
1:02:15
the credit sequence. You watch as you think you know
1:02:17
what people are going to be talking about.
1:02:19
This scene forever. Instantly iconic and this.
1:02:22
Was the one scene that I remember hearing about and
1:02:25
wanting to see. Before I was able to see it, I
1:02:27
was like nervous coming into it. Kind of the feeling I had when
1:02:30
watching the scenes in The Texas Chainsaw Massacre.
1:02:33
It was like building and, oh, there was something bad going to
1:02:35
happen, but I didn't quite know what yet.
1:02:37
Yeah. So it really has that impact.
1:02:39
But I think what they're seeing does really well is take us
1:02:42
completely by surprise. Of course, you know, the torture
1:02:45
is shocking, unexpected, and Christ knows where it's going to
1:02:48
end up. I mean, you don't really know
1:02:50
where it's going to lead to. But what takes me by surprise is
1:02:53
the fact that he gets blown away.
1:02:54
And for a second I'm thinking, I don't know where that's coming
1:02:57
from. And then we find out that Orange
1:02:59
is the Rat. Just excellent stuff, excellent
1:03:01
storytelling. And I didn't see that coming.
1:03:04
And I like that this isn't gradually revealed through the
1:03:06
like the flashbacks and back story.
1:03:08
We do get that after this, but it's just bang, blown away.
1:03:12
And there's a little bit of sick satisfaction there for me.
1:03:14
That blonde is out of there because the cop didn't deserve
1:03:17
any of this at all. Great make up job as well.
1:03:19
Oh, yeah. Yeah.
1:03:20
On the ear and the the cuts on a small budget.
1:03:23
Fantastic stuff. Yeah.
1:03:24
Terrific. Westie, what do you think of
1:03:26
this thing? It's fantastic.
1:03:28
It's just one. That totally sticks in your
1:03:30
head. You think of Reservoir Dogs, You
1:03:31
think of this scene. Yeah, you look at This is why
1:03:33
Michael Madsen was cast. You can see it.
1:03:35
The original song choice as well was going to be Ballroom Blitz
1:03:39
by Sweet. Imagine if it was Ballroom
1:03:41
Blitz. You'd be flying flying about.
1:03:44
All over the place. But this one has got a little.
1:03:47
Bit more of like a. More of a groove to it so it
1:03:49
seems even more it's even more creepy that it's got a really
1:03:52
upbeat song and it's like it's supposed to make you feel happy.
1:03:55
It's Steelers will. So it's supposed to make you
1:03:57
feel, you know, a little bit more joyous and there's gently
1:03:59
acoustic guitars and then he talks into the ear.
1:04:02
I find that it's funny guilt. I'm so.
1:04:04
Guilty. Laughing at it.
1:04:05
But it's funny and it just feels it is, and it's brilliant.
1:04:08
You know for a fact that he's justified this in his head.
1:04:11
He's a cop, he can do whatever he wants to.
1:04:12
He doesn't think about his actions.
1:04:14
And I think that's the brilliant thing about going out and
1:04:16
getting the petrol and bringing it back.
1:04:17
And his plan is to set fire to this guy.
1:04:20
But you can't do that. He hasn't thought it through.
1:04:22
Like, no, there's no clean resolution with that.
1:04:25
So you know, his state of mind in the heist, there's no
1:04:28
consequences for this guy. Every gets away with that.
1:04:30
He just does it. He does what he needs to do in
1:04:32
that moment and he constantly lives in that moment, doesn't
1:04:34
think about the past, doesn't think about the future.
1:04:36
He's in that moment and it is terrifying.
1:04:38
And I remember the guy who played the couple auditioned
1:04:40
like four times for the role, absolutely dying to get in
1:04:43
there. But you see, again, you need
1:04:45
that kind of energy he brings the opposite energy that Madison
1:04:49
brings. This is probably up there in my
1:04:52
favorite. There'll be top 20 shots easily
1:04:55
in the history of cinema when Orange wakes up and he shoots
1:04:58
him and he cuts the Orange shooting.
1:05:00
And that camera just, it just moves round and it waits and
1:05:03
it's slow and it's steady and it waits and it waits and it waits.
1:05:06
And as it just finishes blondes in the shot and drops to the
1:05:11
floor, Yeah, just as it comes around.
1:05:13
So you noise out there that is someone who really loves cinema
1:05:16
and knows how powerful a camera shot can be and a camera move
1:05:19
can be because it's resolution for the audience.
1:05:22
It's a full stop. It's an end.
1:05:24
Yeah. He waitress the fault of the
1:05:25
floor. And then you get that sound
1:05:26
design as well. Bonf.
1:05:28
He's done. Yeah.
1:05:29
It's incredibly well written, incredibly well acted.
1:05:31
One of me favorite scenes probably of all time.
1:05:34
Michael Madden really wanted to play Mr. Pink.
1:05:36
When they were doing the auditions and he auditioned and
1:05:38
he went through all the scenes with Tarantino and he did a
1:05:40
great job, he thought, yeah, Tarantino said to him after he'd
1:05:43
all said and done. Just looked him dead in the eye
1:05:45
and said you're not Mr. Pink, you're Mr. Blonde or you're not
1:05:48
in my movie. Amazing.
1:05:50
But Madison was really. Nervous about doing this?
1:05:52
Dance and in the script it said Mr. Blonde maniacally dances
1:05:56
around so no stage directions. And he thought to himself, well
1:05:59
what the fuck does that mean? Like Mick Jagger or what?
1:06:02
What the fuck am I going to do? Imagine him bringing the Jagger?
1:06:05
I'd love that nice guy Eddie coming in and they're just like
1:06:07
Bowie. And Jagger off dancing in the
1:06:08
screen. He didn't even practice to get
1:06:12
settled for this scene. And he's thinking, fuck, fuck,
1:06:14
fuck, what am I going to do? And then the music kicks in, and
1:06:17
in the far reaches of his mind, he thinks about this Jimmy
1:06:20
Cagney film that we saw years ago, and he did this little jig
1:06:23
thing. So Madsen just went with it, and
1:06:26
they did about four takes in the moment when he breaks into the
1:06:28
dance, the first take, That's what we see on screen.
1:06:31
Oh, amazing. Well, don't.
1:06:33
I. Give you tonight I got to feel
1:06:37
something right? I'm just scared in case I fall
1:06:41
off my chair and one and I'll get downstairs.
1:06:50
It's almost like an irony. That just a shuffle.
1:06:59
Just he's almost. Taunting him.
1:07:00
It's just taking the piss. You know what, it works really
1:07:02
well that way. QT got loads of walk outs.
1:07:05
During the scene when he was touting it around the festival
1:07:07
circuit and he counted the most was 33 and he got to the Citrus
1:07:11
Horror Festival in Spain and he thought, well, this is my
1:07:13
audience. There's nobody going to walk out
1:07:16
especially they've just screamed Peter Jackson's brain dead.
1:07:19
So it's going to it's going to be fine killing people with a
1:07:23
lawnmower straight. And then five.
1:07:26
People walked out and one of which.
1:07:28
Was Wes Craven unbelievable in an interview?
1:07:30
Craven said. When I was out in the lobby,
1:07:32
this kid came pounding out from the shadows at me, and he said,
1:07:35
you're Wes Craven, right? And I said, yeah.
1:07:38
And he said, and you're leaving because you can't take it.
1:07:40
And I said yeah. And he said, I've just scared.
1:07:42
Where's craving? Fucking hell.
1:07:45
Really, Tarantino? That isn't it.
1:07:47
Yeah, it didn't get. A home video.
1:07:50
Certificate in the UK until 1995.
1:07:52
Because of this scene, I think what makes the impact is Nash
1:07:57
beforehand. He's squirming around in his
1:07:59
chair and he's weak, bending. He's begging for his life
1:08:01
basically. And I think it's the age-old.
1:08:04
It's what you don't see. Like we've said when we discuss
1:08:07
7, and like we said when we discuss Texas Chainsaw, those
1:08:09
films do a really great job of leaving it up to your
1:08:12
imagination to fill in the blanks and you fill it in with
1:08:15
these horrendous images you don't see.
1:08:17
And that's exactly the same in this film.
1:08:19
And I think it's helped by what happens before with the slashing
1:08:22
of his face, and then what happens after when he's covered
1:08:24
in fuel and the cameras circle in the action.
1:08:27
Where? In the thick of it as well.
1:08:29
Perfectly planted in your mind's eye.
1:08:31
Yeah. What about Michael Madsen in the
1:08:33
film generally? How do you feel about his
1:08:34
performance? I think he does really well in
1:08:36
the film. I love that.
1:08:37
You say his loyalty and I love his flashback sequence.
1:08:40
I love that little wrestle he does with Chris Penn in the
1:08:42
office where they just say a couple of brothers.
1:08:45
It's a bit weird. It is a bit weird.
1:08:48
You can see he's. Just a ticking time bomb that
1:08:50
doesn't do anything. And then when he needs to do
1:08:52
something, he just explodes into it.
1:08:55
Just without remorse, just without thought.
1:08:56
He's just this machine. And I think that's why Joe gets
1:08:59
him on board, because he is. He's dependable and he's got
1:09:01
loyalty, but he's just fucking crazy.
1:09:04
And you can kind of see that with Madison's performance.
1:09:06
It's just behind the eyes. I think there are layers there.
1:09:08
When which? Makes them difficult to read,
1:09:10
unlike the other characters, but you don't necessarily know
1:09:13
what's going down. He's saying they're deep and
1:09:15
brooding his performance unless it always strikes.
1:09:17
Me is the type of performance of someone who knows that they're
1:09:21
probably never, ever going to get a character as good as this
1:09:24
again, so they're going to make the most of it.
1:09:27
No disrespect room, but I don't think anyone who would say
1:09:30
Martin is a great actor, you know, it's not like the likes of
1:09:32
like Scorsese or Spielberg have come like knocking on his door
1:09:36
over the air. So I think he's read this and
1:09:37
he's gone, right? This is the one.
1:09:39
This is quite possibly going to be the only one I'll ever be
1:09:43
remembered for. So he just savers like every bit
1:09:46
of dialogue, every scene he's given.
1:09:49
And because of that, it's weird things here, but he kind of
1:09:51
gives the character a lot of joy just because he puts so much
1:09:54
into it. And he's just so like alive and
1:09:57
electric in every scene. And that's why Blonde, I think
1:10:01
it's such an enticing but dangerous character because of
1:10:03
this energy that Martin brings. He just radiates menace and he
1:10:07
radiates violence. And I did say that, you know,
1:10:10
Buscemi gives my favorite performance and film and he
1:10:12
does, but I think in Madsen's favor, I think on on the page,
1:10:17
Mr. Blonde is fairly two-dimensional cycle.
1:10:20
Everyone else has much more depth and layers to work with
1:10:23
until he doesn't. So in a way he kind of gives the
1:10:26
most in terms of performance because he has to bring the most
1:10:29
because there's not as much on the page for him to work with.
1:10:33
So he really deserves credit for that.
1:10:35
And I think he sent it up creating just one of the all
1:10:37
time great cycles in cinema. You know, once you've seen him
1:10:40
in this, even if you never see Martin in anything again, or you
1:10:43
never remember another Michael Martin performance, you're
1:10:45
never, ever going to forget Mr. Blonde.
1:10:47
And that's entirely down to Martin.
1:10:49
Lovely. You mentioned Kirk.
1:10:51
Bolts Matt, the guy who plays Marvin Nash, the cop.
1:10:54
Yeah, he asked Madson for some help prepping this scene.
1:10:57
He wanted to do some research. So, unbeknown to Bolts, Madson
1:11:02
woke them up at the crack of dawn, dragged them in the trunk
1:11:05
of his car, locked it and drove around downtown LA with all its
1:11:08
bumpy roads. And he even stopped off at a
1:11:11
Taco Bell for a pit stop. Back I leave loads of potholes.
1:11:16
In, didn't you? Yeah, absolute.
1:11:18
Bastard. That's Madison torn.
1:11:21
Car as well. Isn't it?
1:11:22
Yeah, it is. Yeah, that's right.
1:11:23
Yeah, they couldn't. Afford it?
1:11:25
Bolts ad libbed this small but. Really powerful line when he's
1:11:29
being tortured. I've got a kid at home, maybe to
1:11:31
get his own back because this resonated with Madison, whose
1:11:34
son was 18 months old at the time, and he had to take some
1:11:37
time out to compose himself. And this takes in the final cut,
1:11:40
and it's quite loud in the mix. I'm sure you'll have heard it.
1:11:43
You can hear somebody in the background saying, oh, no, no,
1:11:46
really. Yeah, I've not that if you.
1:11:48
Listen back to it or you Watch back to it you.
1:11:49
Will pick it up. It's really loud in the mix,
1:11:52
right, right, OK, QT said about. This scene, it wouldn't.
1:11:55
Be as disturbing without the song because you hear the guitar
1:11:57
string, you get injured, you tap in your toe and you're enjoying
1:12:00
Michael Madsen doing his thing, doing his dance, and then boom,
1:12:04
it's too late. You're a cool conspirator.
1:12:05
Yeah, he knows what you're doing.
1:12:07
Yeah, it's brilliant. He does, Absolutely.
1:12:16
Well, back-to-back as we're. Looking at the segment directly
1:12:18
after this scene, that gives us a back story to Mr. Orange.
1:12:23
Matt, do you want to take her away?
1:12:24
I have to be honest, it is my least favorite.
1:12:26
Part of the film where it builds up this back.
1:12:30
Story as a. Cop and I particularly don't get
1:12:33
along with these scenes withhold aware where he's like rehearsing
1:12:37
his back story. And I do wonder what Tarantino
1:12:40
thinks of these scenes now like looking back as a much more
1:12:42
experience director. Because these scenes are the
1:12:45
ones that stick out for me as ones that definitely come from a
1:12:47
first time director, someone who's maybe just a little bit
1:12:51
too fond of their own words and doesn't like to cut stuff out or
1:12:54
maybe hasn't quite worked out how to make a scene work.
1:12:57
It just doesn't have the same feel as the rest of the film for
1:13:00
me, doesn't have the same vibe. It always feels like he's just
1:13:03
kind of shoe haunted in a little bit.
1:13:05
And also, I think by the time you see Orange kill Mr. Blonde,
1:13:09
I just want that story to continue.
1:13:11
And I think, you know, I don't want another flashback.
1:13:13
And I know I do need it because I do need to find out about Mr.
1:13:16
I'm just getting into that crew. But honestly, I want to stick
1:13:19
with the kind of stuff that's happening in the present day.
1:13:22
It does have one that I really like though, which is that when
1:13:25
he is giving his story to jaw into Mr. White and he makes up
1:13:28
that story and you get that kind of flashback, see him going into
1:13:32
the to the bathroom with the drugs and the police are there.
1:13:35
And the thing I like about that is it is actually really tense,
1:13:37
but it's completely fictional. It didn't happen at all.
1:13:41
And you kind of forget about like, oh, fucking alley might
1:13:43
get caught and you're like, well, no, he clearly isn't going
1:13:45
to get caught because it didn't happen.
1:13:47
Yeah, so I do really like that, but it just feels a little
1:13:52
shoehorn in for me. It's definitely me least
1:13:55
favorite part of the film, right.
1:13:56
I do like that bit in the. In the bathroom where he's
1:13:59
telling the story, the jaw and Mr. White, and then it flips and
1:14:03
the cameras circling him and he's talking to the police in
1:14:06
the bathroom, telling them that story.
1:14:08
Yeah. That's really, really clever
1:14:09
that. I really like that.
1:14:10
Excellent. Yeah, that cop's great.
1:14:12
The bathroom. Buddy, I'm going to shoot you in
1:14:14
the face. I love that guy.
1:14:19
Yeah, just such cartoonish cop characters, doesn't They got the
1:14:22
dog there and the dog starts barking and then it's silently
1:14:24
bargain. And when he puts his finger
1:14:26
against the the hand dryer does like a shape of a goodness if
1:14:29
he's kind of like, how many times have you used a public
1:14:33
hand? Dryer and done that, it's 20,
1:14:35
yeah. Goes out to meet them as well.
1:14:37
When he's in his apartment. And that apartment, I don't know
1:14:39
if you know, it was built on top of the Mortuary set that the
1:14:42
got, and it was made to look more like an apartment.
1:14:45
Brilliant. But he shuts the door when?
1:14:47
He's going to go back. Out and he kind of, he thinks to
1:14:49
himself, right, and he can sight himself up here and he shuts his
1:14:51
front door exactly the same as like a shape of a gun and then
1:14:54
talks in the mirror again. So there's all this kind of
1:14:56
foreshadowing that works in it. But I agree with Matt.
1:14:59
I think it is the weakest part of the film.
1:15:01
Not meaning it's bad, it's just because the rest of the film's
1:15:03
so fucking good and so well paced and so believable.
1:15:08
I just think this is a bit easy for him to get into this crew
1:15:11
telling a story about just some dope in a bag.
1:15:14
And yeah, the commode story, yeah.
1:15:16
But what I do love about? This sequence is 2.
1:15:18
Things one is the editing from when he starts the commode story
1:15:23
and it goes to different locations and the editing just
1:15:26
gets tighter as he tells the story and it just gets sharper
1:15:29
and he gets more refined with his story.
1:15:30
And he's in front of the graffiti and he tells that part
1:15:34
of the story and then it cuts when he's like, motherfucker,
1:15:36
I'm trying to watch the Lost Boys.
1:15:38
It just gives that little bit of feeling like cuts.
1:15:40
And then he's all right, OK, he's in the restaurant with them
1:15:43
and he's talking to them and now he's delivering exactly what
1:15:45
we've seen. But we know how refined it is.
1:15:47
So I think Tim Ross performance in that is absolutely brilliant.
1:15:50
And the second thing I like about it is when he first walks
1:15:52
into the diner. My hair was like that from 1992
1:15:55
to 1997. 2007. I fucking wish.
1:16:04
Now 9297, that is exactly what my.
1:16:07
Hair looked like and every time I watch it I go Jesus Christ,
1:16:10
that's like every school photograph I had taken.
1:16:15
I think us talking about. This film now is that it came
1:16:18
out in 95 over here, so we've seen it God knows how many
1:16:21
times. So it's easy to see this bit is
1:16:23
a bit thin, but if you watch this for the first time, it's
1:16:25
probably just exactly what's needed to carry that part of the
1:16:29
character. I think, I think it comes under
1:16:31
scrutiny when. You get some rewatch,
1:16:33
particularly this sequence, and I'm with you fellas.
1:16:36
He gets into that crew very, very easily without any
1:16:39
questions asked, really. And I think Orange is the most
1:16:43
Quentin Tarantino like character in the film.
1:16:46
Like Clarence in True Romance. He's quite cool, but a little
1:16:49
bit geeky with it as well. He references comic books.
1:16:52
He says Joe looks like Thing from the Fantastic.
1:16:54
Yeah, yeah. And he really does.
1:16:56
He also looks like the bulldog from Tom and Jerry.
1:16:59
Spike. Looks like that guy as.
1:17:01
Well. And Orange has got posters of
1:17:03
Silver Surfer on his wall in his apartment.
1:17:06
So that I mean, that's Tarantino through and through.
1:17:08
What I really like about this segment is that the film's non
1:17:11
linear anywhere. And this segment is a flashback.
1:17:14
So we're going back. But then there's even a
1:17:16
flashback in this segment when we're being told about the
1:17:19
commode story. I really like that part of it.
1:17:22
And I do like the moment in the bathroom.
1:17:24
Like you've been seeing the dog barking in slow more and and
1:17:28
you're thinking, yeah, yeah, you're right.
1:17:29
Shit, is he going to get out of your life?
1:17:31
But it is. It's just a story.
1:17:33
What do you think about Tim Roth in the film generally?
1:17:35
Not just this scene, but as Mr. Orange?
1:17:37
I think he holds his weight. I think he's.
1:17:39
Refreshing in the role. I think his accent's really
1:17:42
good. You wouldn't think he was
1:17:43
British for a second, but he holds up against everybody else.
1:17:46
I think the scenes with him and Harvey Keitel, especially when
1:17:48
they're kind of in the car and he's talking, talking through
1:17:51
like who's going to do what in the heist, and that gives you
1:17:53
even more back story to what happens.
1:17:55
I think they're really good. Their chemistry is really good.
1:17:58
You've got to buy the fact that Mister White really cares about
1:18:01
this guy. And I think he is a guy that you
1:18:03
care about. But at the same time, Roth plays
1:18:05
it with his inexperience. I think he doesn't play it with
1:18:08
too much confidence. He's he's got this cockiness to
1:18:11
it. And I think that really, really
1:18:12
works. It's a really good performance.
1:18:14
I think Tim Roth's a really underrated actor.
1:18:17
Oh, I'm going to have to go against you.
1:18:18
Hey, Westie. Don't worry about it.
1:18:21
I do like Tim Roth. And, and I think it's all
1:18:24
because of this film, because I really like this film.
1:18:26
I've got it in my heart, but I don't think he's fantastic
1:18:30
generally and I don't think that's any surprise to me that
1:18:32
he hasn't gone on to the heights of Buscemi and being like a
1:18:36
really well respected actor. And the main thing I don't like
1:18:39
is the accent. I don't think it's great when he
1:18:42
gets shots and he's freaking out and he seems to be a little
1:18:45
short toned for some reason. And when he's telling the
1:18:48
commode story in front of that graffiti wall, his accent is
1:18:50
just all over the place for me. I can hear some cockney in there
1:18:54
for sure. I feel like he hands it up a
1:18:56
little bit in the warehouse, flailing all over the place.
1:18:59
I'm a little bit, If I'm watching that with somebody new,
1:19:01
I'd be a little bit embarrassed. The way he's acting when he's
1:19:04
shot. I mean apologising for him.
1:19:08
I'm sorry about you. I'm.
1:19:09
Sorry about listen, I'm sorry. About this he has been shot.
1:19:12
In the stomach, but he's taking the.
1:19:13
Piss now. I'm going to apologize on his
1:19:17
behalf. Yeah, if he was here, he would.
1:19:19
Apologize. In person it's.
1:19:21
The second most painful place to be shot.
1:19:23
But he's taking the piss. I mean, I've never been shot,
1:19:27
but I'm pretty sure. I wouldn't be hearing like this.
1:19:30
Act accordingly. That's a.
1:19:32
Confidence statement that like that is.
1:19:35
Pretty. Sure, all thing to say that like
1:19:39
he hired. A dialect.
1:19:40
Coach to help him with his LA accent.
1:19:42
Didn't work. And she was really, really, she
1:19:46
was really hard. On Roth.
1:19:47
On his ass all the time. So he suggested that she play
1:19:50
the woman in the car who shoots him and then he blows her.
1:19:53
Oh, nice, right. OK, I am with.
1:19:56
You. On this, Luke, I think it is
1:19:58
bound up with it being my least favorite part of the film.
1:20:02
But I don't think he's great. I think he's good.
1:20:04
I think he's fine, but a lot of the issues that you have, I
1:20:08
have. I don't find his American accent
1:20:10
particularly convincing. And compared to everyone else, I
1:20:13
feel his performance is a bit theatrical.
1:20:16
Like particularly when he's rehearsing the story and he's
1:20:18
given the story and he's got to make the story really convincing
1:20:22
Our person, He wouldn't find it convincing that it feels a bit
1:20:24
over rehearsed to me. And he just doesn't seem to fit
1:20:28
in in terms of style of acting with everyone else.
1:20:31
Everyone else feels really grounded and really realistic.
1:20:34
And I don't really get that from Roth, but I'm not saying he's
1:20:37
bad. And there are two really good
1:20:39
bits that he does do, but I think it's quite telling that
1:20:42
these bits don't involve dialogue.
1:20:44
And it's the expression on his face when he sees White kill the
1:20:46
two cops and he's just devastated, but he's got to hold
1:20:49
it on it. And then just after that, when
1:20:51
he kills the woman civilian and he's like, oh, fuck, he's just
1:20:54
killed a woman in this. And you can see, again, he's
1:20:56
just devastated by that. He's just pulled up, doesn't he?
1:20:59
Yeah, yeah, yeah. That's right, he can't even
1:21:01
dwell. On it because he has to be.
1:21:02
Rushed off. So like those bits are really
1:21:04
good, but it is pretty much kind of every little bit of dialogue
1:21:07
he has. It just doesn't ring true for
1:21:09
me, the two bits. He loves when he's not speaking.
1:21:14
Yeah, very much yeah. I love it when he's not talking.
1:21:19
I was trying to dance around that a bit, but basically.
1:21:21
Yeah, when he's not talking, he's absolutely fine.
1:21:23
Fantastic that. Line that he's got that you
1:21:26
said. Westie, I'm trying to watch the
1:21:27
fucking Last Boys. He's all over the place.
1:21:30
Yeah. I, I think he's, he's given the
1:21:34
most kind. Of overwritten dialogue in a
1:21:36
sense that that whole rehearsal, it's definitely something that I
1:21:39
think Tarantino loves the idea of that scene in this back
1:21:43
story, so he's just going to put it in there.
1:21:44
But I just don't think it quite works and I don't think Roth is
1:21:47
good enough to make it work. Shame.
1:21:50
Harsh. Slammed Roth.
1:21:52
Slammed. Bam bam bam.
1:21:57
A strange casting process for. Roth he refused to read for any
1:22:01
roles point blank, just said no to any auditions.
1:22:04
QT actually said that he was quotes shit at reading looks
1:22:08
like. There we go.
1:22:10
But he was looking for an actor with a bit of.
1:22:12
Pedigree to bring a bit of class to the film.
1:22:14
And he was aware of Roth's background in kind of art house
1:22:17
movies like Vincent and Theo from 1990, so Tarantino decided
1:22:22
to get him quotes. Shit faced, Yeah, that's
1:22:25
British. Slang for drunk for our.
1:22:27
Overseas listeners, use it at your own.
1:22:29
Will shit face. Yeah, brilliant.
1:22:31
And he was able to lock him down to.
1:22:33
Some line readings while he was drunk.
1:22:34
So despite being under the influence, it did convince
1:22:37
Tarantino that he was the man. Yeah, fair enough.
1:22:40
So. Bloody and brutal the 2nd.
1:22:42
ACT pulls no punches. Nope.
1:22:51
There's only one place to start on the crew for Reservoir.
1:22:53
Dogs, obviously. That's Tarantino again as the
1:22:55
writer, surely renowned film critic.
1:22:58
Elvis Mitchell called. Tarantino's writing Part Robert
1:23:00
Towne, part Chester Himes, and part Patricia Highsmith.
1:23:04
Westie, what do you think of the writing?
1:23:06
Well, I mean, it's fucking flawless, isn't it?
1:23:07
Let's. Be honest to to a certain point.
1:23:09
I mean, to get Keitel on board, he's read it.
1:23:11
Everyone who reads it wants to be in it to the fact that James
1:23:14
Woods fired his agent because he wasn't in it like this.
1:23:17
This script would have been absolutely electric, much like
1:23:19
these other scripts were. It must have been such a
1:23:21
fruitful experience just reading this page after page after page.
1:23:24
And the fact that it's so non linear as well, and it takes you
1:23:27
flashbacks and it takes you forward, but it's so well
1:23:29
constructed. It's just feels like a solid,
1:23:32
solid piece of work. It's great.
1:23:34
And it took him 3 1/2 weeks. I know, crazy, just his
1:23:37
dialogue. As well, like how does he come?
1:23:39
Up with this dialogue when you hear him talking and he isn't
1:23:42
that cool. Like it's not him.
1:23:43
I don't know. I don't know where he gets it
1:23:45
from. I don't know if he's got like,
1:23:47
it seems like he's got 50 people, like tied up somewhere.
1:23:50
And he just kind of goes around, asks them all what's going to be
1:23:52
a cool line. It gives us a cool line.
1:23:54
And then it's like writes it down.
1:23:55
Like, how's all of this come from one guy's brain?
1:23:58
It's just ridiculously good. It's so full of ideas.
1:24:01
It's so fresh at that time. It's so vibrant.
1:24:04
And like I say, he's taken all of them cool influences,
1:24:07
everything that he knows is good and he's transferred it and he's
1:24:10
made it his own in the screenplay.
1:24:13
And he's got such confidence with that.
1:24:14
And that's because of his love of cinema.
1:24:16
He knows how powerful cinema is and he trusts his instincts.
1:24:20
If something moves him or if something makes him feel good or
1:24:22
if something good, you say something like sitting on fire
1:24:25
and he sees them guys walking and he just goes I'm doing that
1:24:28
but I'm doing it my way because it's made him feel something so
1:24:30
he wants to transfer that to other people.
1:24:32
And to read this at that time would have just been absolutely
1:24:35
massive. 272 uses of the word fuck as well on the screenplay,
1:24:40
which is quite tame. Quite honestly, but it.
1:24:45
Is quite tame for him, yeah. That non linear structure.
1:24:48
That you talk of, obviously that's Tarantino's go to and I
1:24:51
think it's really effective here and I don't think it's ever
1:24:54
confusing, but it slowly reveals itself.
1:24:57
I love that we don't get to see the bank heist, but I feel like
1:25:00
I have seen this because it's talked about in such detail
1:25:03
during the arguments between white, blonde and pink.
1:25:06
Like you two said earlier on, it's in my head.
1:25:09
I can picture Mr. Blonde going crazy and plug in the staff,
1:25:12
bam, bam, bam. And that's absolutely in the
1:25:15
writing for me. And Tarantino has painted this
1:25:18
really vivid picture in my head, and I can see that bank height
1:25:21
and I can see every little nuance of it.
1:25:22
Amazing. I just think it's remarkable.
1:25:25
How? Apparent his voice was early on
1:25:28
like everything that he's become first or is in this already it's
1:25:31
not like he he discovered these things as he went on straight
1:25:35
away you've got you know the this snappy dialogue you've got
1:25:38
the pop culture references the really obscure pop culture knows
1:25:42
that everybody. Wants to know because it seems
1:25:45
cool and everybody wants to get on board with it.
1:25:47
Yeah, exactly. I mean as soon as that like
1:25:49
dynasty. Ends I want to like, look up
1:25:51
what all those songs are. They're talking about this part
1:25:53
from Madonna. I don't have a clue what any of
1:25:54
them are, but but there must be good to be talked about like
1:25:57
that. So you've got that, you've got
1:25:59
the insults, you've got like how creative he is with the
1:26:02
swearing, which is really funny. But I think he's also written
1:26:05
this one in particular very, very cleverly.
1:26:08
He's written this as someone who knows even if he gets this made,
1:26:11
he's not going to have a large budget.
1:26:13
So he's not going to show you the ice for Sock because he's
1:26:16
not going to have the money to do.
1:26:17
That's why I put it in there to begin with.
1:26:19
When he knows, he can illustrate it.
1:26:21
As you guys have said, just as follow the dialogue, you know,
1:26:24
so he's written like 80% of this take place in an abandoned
1:26:28
warehouse because he knows that's going to be cheaper
1:26:30
rather than building some like elaborate set that's not going
1:26:33
to bring anything extra to the film.
1:26:35
So why do that? And because he's doing that,
1:26:38
because he's writing it in that really clever way, it gives them
1:26:41
the room to work on everything else that's going to make this
1:26:44
stand out. So that's why the dialogue
1:26:45
shines, that's why the plot itself is so involving.
1:26:48
That's why the characters are so good.
1:26:50
Because he's clever enough to know if this is a success and I
1:26:54
get money, that's when I'm going to do my bigger films.
1:26:56
That's when I'm going to do the really ambitious stuff.
1:26:59
But now I'm just going to focus on the stuff I know I can do and
1:27:02
do it really, really well. So it's.
1:27:03
It's a really clever screenplay. Yeah.
1:27:06
Amazing. I mean you both.
1:27:07
Mentioned the dialogue and just a huge breath of fresh air in
1:27:11
the industry, these pop culture references that everybody was
1:27:14
hip to after Tarantino had made this and made Pulp Fiction.
1:27:18
You've got a favorite line, Matt.
1:27:20
Yeah, I'm going for Mr. Blonde. Saying to Mr. White, are you
1:27:23
going to bark all day a little doggy or you going to bite?
1:27:26
Partly because it's just that mentioned Martins delivery
1:27:29
already, how laid back it is, how dry he is.
1:27:32
But also, I just think we've all been in that kind of situation
1:27:35
where two people are having a heated argument, could be two
1:27:38
friends and one of them says something that goes over the
1:27:40
line. Oh shit, shit, it's going to
1:27:44
kick. Off.
1:27:45
Mr. Pig? Yeah.
1:27:47
Exactly. Guys brilliant.
1:27:50
It's such a good, like, tough guy, but the dialogue but no
1:27:53
swearing in it, which is quite useful thing for Tarantino.
1:27:56
Yeah, that line. I love it.
1:27:57
Amazing. Westy.
1:27:59
Yeah, mine's Mr. White when he says in.
1:28:00
The diner at the start, it feels like, it's almost like a John
1:28:03
Wayne kind of line. When he says you shoot me in a
1:28:05
dream, you better wake up and apologize.
1:28:07
Yeah. That is a brilliant, brilliant
1:28:10
line that. And then he actually just like
1:28:12
shoots him. Yeah.
1:28:13
Everyone's there. You know, that's one of them.
1:28:15
It's a stand out of that whole sequence.
1:28:17
You know, that that line was probably the whole sequence is
1:28:19
based around that line. Yeah.
1:28:21
Fantastic, I'm going. For one, that probably one of
1:28:24
the first lines that I heard before I'd seen the film.
1:28:26
And because it's on the soundtrack, it's Mr. White
1:28:29
talking to Mr. Orange. He says the manager knows better
1:28:33
than to fuck around. So if you get one that's giving
1:28:35
you static, he probably thinks it's a real cowboy.
1:28:37
So you've got to break that son of a bitch in two.
1:28:39
Just classic QT. Super cool dialogue.
1:28:43
Yeah, yeah. Giving somebody static was just.
1:28:46
Well, that's amazing. That sounds amazing to me.
1:28:48
Yeah, yeah, yeah. Break that son of a bitch in
1:28:50
two. I thought you're going to say
1:28:52
like it was on the soundtrack. So it would be in Stephen Wright
1:28:54
saying Behemoth, which is. A dream of favorite thing ever,
1:29:03
as with most Tarantino films. Are we calling it a Tarantino
1:29:07
verse? Is that a thing or have we
1:29:08
coined that or? I don't think we've coined it,
1:29:10
but I'll definitely go. Along with it, yeah, it sounds
1:29:12
good, I think. I think it's the thing.
1:29:13
Yeah, yeah, yeah. Reservoir Dogs references some
1:29:16
of his future films. The wolf is on the phone at
1:29:19
Jimmy's. He says you're a good man, Joe.
1:29:21
That could be Joe from this film.
1:29:24
And obviously Mr. White. He's in Joe's office.
1:29:26
Alabama, hell of a woman. Good little thief mentioned Big
1:29:30
Kahuna Burger on the radio. There's an ad for Jack Rabbit
1:29:33
Slims, very nice. And Joe asked Mr. White about
1:29:37
somebody named Marsalis or more certainly Marcellus.
1:29:40
Well as that. And finally, Victoria Vega is
1:29:43
Vincent Vega's brother. Vincent, obviously.
1:29:45
Travolta in Pulp Fiction. Yeah, brilliant he had actually.
1:29:49
Had an idea. For a spin off of these two
1:29:50
brothers, Michael Madsen said I'd be Victoria Vega's twin
1:29:54
brother and John Travolta will be Vincent's twin brother.
1:29:56
I don't know why he's been so convoluted there.
1:29:59
Why didn't you just say Victoria and Vincent with twin brothers
1:30:01
and. Why he's got to say twin just
1:30:05
put brothers. In there.
1:30:07
They don't look. Anything alike and he says we're
1:30:10
both on a flight. From LA having just been
1:30:12
released from prison and neither one of us knows that we're the
1:30:15
twin of the other one and we're both on our way back to Elliot
1:30:18
to avenge the death of our brother.
1:30:20
Sound good to you? I would like to have seen the
1:30:22
Vega brothers movie. I think that would have been
1:30:24
great, but it would have been great at about, you know, 98 or
1:30:27
something like that. Now it's yeah, yeah, it's not.
1:30:29
Now forget about it. It's.
1:30:31
Totally gone. What do you think about?
1:30:32
Tarantino's performance in the. Film, obviously he loves to slip
1:30:35
himself in his films cameo, but he's got bigger part here.
1:30:38
Yeah, I think it's absolutely. The best he's been in one of his
1:30:42
own films. But you can take that however
1:30:44
you want that. Kind of that.
1:30:48
Yeah. Pretty much.
1:30:50
Is that it? Oh.
1:30:51
Yeah, Yeah, that's it. No more discussion.
1:30:54
Yeah, it's, I mean, it's not his.
1:30:56
Worst performance? No, it isn't.
1:30:58
No, it's not. He's been.
1:30:59
Better, but it feels like. Someone's little brother who
1:31:01
comes along and hangs, hangs out with the lads and he's just
1:31:04
trying to be cool and he's trying to be hip and he's trying
1:31:06
to have these lines and he's just trying to mix in with
1:31:08
everyone else. And it's everyone in the open
1:31:10
sequence when the walk in and it goes to all the guys and they
1:31:13
look cool. And then it goes to Tarantino
1:31:15
with these horrible little beardy thing and he's just like
1:31:18
smug as fuck. And he's like, yeah, this is my.
1:31:22
I'm in this. There's my name.
1:31:23
I'm yeah, I think he's. Delivery of the Madonna speech.
1:31:28
Is good. Yeah, that is good.
1:31:30
I think that's all right. Well, I mean, you know, for
1:31:33
Tarantino, but his line reading in the earliest scene is
1:31:37
terrible. When he says Mr. Brown sounds
1:31:39
like Mr. Shit, it's awful. I really don't like it.
1:31:41
Not really your hardline to deliver either, is it really?
1:31:44
It shouldn't be, it's the only performance.
1:31:46
I've ever seen where someone. Gets shot in the head and you
1:31:48
don't believe it. Yeah, yeah.
1:31:52
Yeah, that doesn't make sense. Yeah, you just go.
1:31:54
Yeah, that's makeup. He's.
1:31:55
Just oh shit. Go, go.
1:32:02
Go, go, go. Next up, we get to talk about
1:32:06
the. Soundtrack for the film, all
1:32:08
right. Yeah, Wesley.
1:32:10
What do you think of this? Soundtrack I love it I love all
1:32:12
of these soundtracks I. Think this is a really strong
1:32:15
element of the film and I think it ties everything together.
1:32:17
I think there's some bits in here that again, like his
1:32:19
dialogue, the taste he's got for cinema and for music, for
1:32:23
entertainment, for anything. Then he's got such patience
1:32:25
where he listen to stuff or he'll watch things that no one
1:32:27
else has got the patience to watch, or he listened to albums
1:32:30
that no one else has got the patience to check out, to
1:32:32
express himself. And I think he expresses himself
1:32:35
really, really well and he's got the balls to do it because he
1:32:38
knows it's cool and he knows it works.
1:32:41
And having Steven Wright on there just really works as well.
1:32:45
Capability super sounds of the 70s.
1:32:46
There's no way I would turn that radio station off if it is
1:32:49
amazing the money. Going towards the soundtrack.
1:32:52
Was on Steelers wheel right was to get that song stuck in the
1:32:56
middle with you. That was the only one.
1:32:57
He was the only one he wanted. Said anything else will work on
1:32:59
top of. That.
1:33:00
So they managed to get that by striking a deal to make an
1:33:02
album, a soundtrack record. So they actually made a record
1:33:06
as well as a film. So he's not only smashing his
1:33:09
debut film, he's also smashing like his debut album of like,
1:33:13
his mix tape. Yeah, yeah.
1:33:15
Nobody had an. Idea Nobody had a.
1:33:17
Fucking clue who the 567 eights were.
1:33:19
And he's in a in a shop in Japan and he hears him and he's like,
1:33:22
that's it. Boom.
1:33:23
He just knows. He knows what's going to work.
1:33:26
I think it's absolutely unreal. And the only person who could
1:33:29
come close, and I would say they're on a par, is Quentin
1:33:32
Tarantino, Marty Scorsese. That's it.
1:33:35
And I've got a question for both of you guys.
1:33:37
If you could have somebody's record collection, but you can
1:33:40
only have Scorsese's or Tarantino's record collection,
1:33:43
the whole collection. OK, Who's would you have?
1:33:46
Obviously, Scorsese's you. Go Scorsese, obviously.
1:33:49
Right. OK, because Scorsese.
1:33:51
Picks like the Stones and Cream and The Ronettes and I know
1:33:55
they've done a million more better, well as good songs as
1:33:58
the ones on his soundtracks. I can't imagine Urge Overkills
1:34:02
got too many great tracks. Scorsese's collection just
1:34:06
sounds like your collection, so you just have the same shit.
1:34:10
That's something different. You're basically like, oh, the
1:34:11
5678. No I'd.
1:34:14
Go with Tarantino. Just.
1:34:15
Because I think I'd find more like hidden gems in there, stuff
1:34:19
that I just never heard of. Yeah, it would take it's far
1:34:23
too. Long to get to those gems.
1:34:24
You'd be thinking, fuck this, stick the stones on give me
1:34:28
shelter three times. Yeah, exactly.
1:34:31
Yeah. Very similar.
1:34:34
To you, Westie, I think Tarantino's soundtracks are up
1:34:37
there with Scorsese. They're woven into the fabric of
1:34:40
the film. And the difference being that
1:34:41
Scorsese uses those acts, Van Morrison, the Storms, Tarantino
1:34:45
uses the Grass Roots and George Baker selection.
1:34:48
So they're largely unknown gems that have been given, like, a
1:34:51
second life by Tarantino and a soul intrinsically linked to his
1:34:55
films. Those songs.
1:34:56
Come on, you think of that film. Yeah, the soundtrack meant so
1:34:59
much to me in the early 90s. I listened to it endlessly and
1:35:02
even before I'd seen the film, so those iconic lines of
1:35:05
dialogue were just etched in there and made the film even
1:35:08
more tantalising. The fact that it was banned over
1:35:10
here as well was just agonising and needed to see it.
1:35:13
Yeah, I'll struggle to think of any.
1:35:15
Other film where I'm watching it in the soundtrack's playing and
1:35:18
I get the feeling that the characters are listening to the
1:35:21
music. I think so many films just put
1:35:23
them over the top. You never really feel that the
1:35:26
characters are listening to the music choices, whereas here I
1:35:29
think they absolutely are. And the whole sound like it's
1:35:32
just a peek in a Tarantino's head, isn't it?
1:35:34
You imagine he's absolutely the type of guy who he already has
1:35:37
like hundreds of mixtapes probably.
1:35:40
He already has like huge lists of obscure like girl balls in
1:35:43
the 60s who he wants to use and Japanese imports and all that
1:35:47
type of stuff. So when he's constructed this
1:35:50
world, it's just another Ave. for him to put his own
1:35:53
personality into it. These songs in particular, the
1:35:56
fact that they're all so upbeat, they're all so poppy, that just
1:35:59
contrasts completely to what we're seeing on the screen,
1:36:02
Tarantino said. He came up with the idea of
1:36:04
this. Sounds of the 70s thing, because
1:36:06
there are always these radio stations in LA that have these
1:36:08
special weekends like More Town or The Beatles.
1:36:11
He said he wanted to go for 70s bubble gum sound because it
1:36:14
reminded him of the songs that were around when he grew up.
1:36:17
He said the sugariness of it, the catchiness of it really
1:36:20
lightens up. A rough, rude film.
1:36:23
Yeah, that's absolutely true, isn't it?
1:36:24
I mean, he takes. Stuff that isn't really cool and
1:36:27
makes it cool, like the fact that it ends.
1:36:30
Mr. White gets shot, he shoots Mr. Orange.
1:36:33
I'm going to fucking blow you away, right?
1:36:35
And he's just, he leaves the FRIB.
1:36:36
There's that amount of time that it holds on that doorway.
1:36:40
And then Harry Nelson Coconut. Yeah, like who?
1:36:45
You'd listen to that a million times and go right and put this
1:36:48
over the end credits of the really cool heist movie.
1:36:50
And you're like, Nah, that's not.
1:36:51
There's no way on in 100 years that's going to work.
1:36:54
And if it fucking does, I really don't know if it does.
1:36:58
Doctor. It's cool.
1:37:00
They like Karen Nelson's cool. They like coconut.
1:37:02
I think so, anyway. I like Karen Nelson, don't like
1:37:05
that song. Come on, I put that out there.
1:37:06
What would you put on the end? I don't know Sam the Garfunkel.
1:37:12
The bridge of a troubled water the.
1:37:14
Boxer. Matt, have you got a?
1:37:18
Favorite. Track in there?
1:37:19
Yeah, my favorite track is Blue. Swede and hooked on a feeling.
1:37:24
Oh yeah. That is huge, isn't it?
1:37:27
That's so loud in the mix when it comes on.
1:37:31
Yeah, yeah, that chanting at the beginning.
1:37:35
And it is. It's just that really poppy,
1:37:39
upbeat song contrasted to the people that it's soundtrack and
1:37:42
all these violent criminals. And the only other film I've
1:37:45
seen this used in is Guardians of the Galaxy.
1:37:48
So I think it's quite funny that the only of the film is like a
1:37:51
big marvelful in Tarantino's ultraviolent debut.
1:37:57
Very nice. I'm gonna go for I.
1:37:59
Gotcha. By Joe Texan that you got away.
1:38:03
From me, didn't you? I fucking.
1:38:04
Love it. What a fucking tune that is.
1:38:06
And the way it's used. And I'm a sucker for, you know,
1:38:09
drop out all the instrumentation and just put that beat in there
1:38:12
and hit me just like talking over the top of it.
1:38:13
It's cool as fuck anyway. But I listen to that song and I
1:38:17
listen to the soundtrack much like you look before the film
1:38:19
came out and I thought this is going to be some scene where
1:38:21
this is used. It's going to be fucking huge.
1:38:23
And it just intercuts between nice guy Eddie talking on the
1:38:25
phone to them beating up the cop.
1:38:28
But you don't you don't really get any of that drop out with
1:38:30
that drum beat. Not that really hooky bit.
1:38:32
It's just well, I got you. It's in and they're just kicking
1:38:34
them around and then it cuts the nice guy at his radio.
1:38:37
So it goes diegetic to non diegetic and then it's on the
1:38:39
soundtrack and then it kind of switches between the two.
1:38:41
Doesn't use that song for impact, even though it
1:38:44
definitely could. They could ramp.
1:38:46
I don't want the soundtrack and just make it feel totally
1:38:48
different. I love that song anyway.
1:38:49
I loved you amazing. It's a little obvious, but I'm.
1:38:52
Going to have to go with little Greenback.
1:38:54
Well, of course, George being a selection.
1:38:56
Definitely not massive, obviously.
1:38:58
Not this was just like the. Soundtrack of my.
1:39:02
Teenage years, this song, absolutely amazing.
1:39:06
Yeah. It was just, it just meant
1:39:07
everything to me. And it really felt as though
1:39:10
this film, this soundtrack, I was getting a little older.
1:39:14
It just I felt more adult. And this film and this song
1:39:18
personified that. Love it.
1:39:19
Amazing. And I think amazing.
1:39:21
Use in the film as well. Yeah, unbelievable.
1:39:24
So armed with probably the most. Important screenplay and
1:39:26
soundtrack of the decade. QT couldn't go wrong and he
1:39:29
didn't the. End The third act of the film
1:39:37
takes us to the end. Of the first act of the film as
1:39:39
our crew were gathered together and given aliases to hide their
1:39:42
identities. Matt, what do you think of this
1:39:46
scene? The scene, I think the placing
1:39:47
of it. Like when it happens in this
1:39:49
film is interesting because obviously by now we know that
1:39:52
some of these guys are dead. We know that Orange is a cop, we
1:39:55
know the conflict that's gone on, we know who's really falling
1:39:58
out with who. So to have it here when they're
1:40:00
all together as buddies before it all kicks off, it just gives
1:40:03
a much more of a dramatic irony than it would at the beginning
1:40:07
of the film. If you had this to begin the
1:40:08
film, it would be absolutely nothing.
1:40:10
But put it all in, yeah, it would be completely forward.
1:40:13
But here, once you've seen what's gone on, it just makes it
1:40:16
all the more effective and all to think it's a really funny
1:40:18
scene. And I think after kind of like
1:40:20
all the violence you've seen yet, it's a bit of a release
1:40:23
because you need a bit of a laugh.
1:40:24
It's welcome light relief, isn't it?
1:40:26
Yes, definitely, yeah. And I think that's what the
1:40:28
scene. Gives you.
1:40:29
I love. That there's some of the guy on
1:40:32
another job is Mr. Purple. Yeah, that's just a great little
1:40:35
detail. I love that this ain't no
1:40:36
goddamn City Council meeting. It's the way he delivers it as
1:40:42
well, like. Some of the guy answering the
1:40:44
job is the you'll miss. Like pink, you're getting told
1:40:49
off of your. Granddad isn't.
1:40:52
It I. Think there is a really great.
1:40:53
Shots in this scene as well. The camera scans left to right
1:40:56
and right to left on all of the crew while Joe's telling this
1:40:59
story, and it scans everybody apart from Orange, who at least
1:41:03
to last, and zooms right into his face.
1:41:06
Yeah, yeah. Great stuff that.
1:41:08
Love it. Yeah.
1:41:09
It'd be really interesting if this was actually.
1:41:11
As it is, but placed earlier in the film, and you get that zoom
1:41:14
into orange and you get that maybe it might have been a bit
1:41:17
more intriguing. But I do love where he's put it
1:41:19
here. You do need this.
1:41:21
It's funny. Buscemi is really funny in it.
1:41:23
Yeah. And the dialogue is right.
1:41:25
It's it's it's what you're thinking.
1:41:26
And then it's spoken. It's like everyone's going to
1:41:28
argue about who's Mr. Black. And that's exactly what would
1:41:31
happen. Yeah.
1:41:32
That's the coolest name. I want to be Mr. Black.
1:41:34
Mr. White. You've got a cool sound of name,
1:41:35
Mr. White, but Mr. Pearl will trade.
1:41:37
Nobody's trading, you kind of see.
1:41:41
That it's just. You can see why.
1:41:42
The heist didn't quite go right because you see they're not all
1:41:45
on the same page, that they're not really taking it
1:41:48
particularly seriously. The Jewel has got these guys
1:41:50
together and they don't work as a group.
1:41:53
And he's put that at the end of the film when you already know
1:41:55
that, and I think that's genius. They're not team players, are
1:41:57
they? No, not at all.
1:41:59
Well, Joe? Cleared by Lawrence Tini.
1:42:00
We haven't spoke about him yet, so this is our chance.
1:42:04
Yep, David Kerr of the new. York Times said he.
1:42:07
Was not so much an actor as a frightening force of nature.
1:42:10
I believe that. Yeah.
1:42:12
Wesley. What do you think?
1:42:13
It reminds me of like Kurt in. Apocalypse Now, he's like really
1:42:18
like angry granddad. Like if you, if you're trying to
1:42:22
like show your granddad how your Game Boy works, he's like,
1:42:24
what's this? A Game Boy?
1:42:26
And he says this isn't a boy and he just doesn't understand
1:42:29
anything. He's just pissed off.
1:42:30
I don't. Want to play any?
1:42:31
Games, you know, he's just that kind of guy where he's just
1:42:34
completely devoid of any bullshit whatsoever.
1:42:37
He's devoid of any humour whatsoever.
1:42:39
Yeah, but I do think you can say that TNA is is struggling a bit
1:42:43
with some of these lines. He just think it's overly
1:42:44
complicated when it really isn't.
1:42:47
Yeah, straight, straight down the line.
1:42:49
And I know there's a really great, great bit when when the
1:42:52
state of the white is like, I need you cool, can you be cool,
1:42:54
which comes off a scene with Tiani and Madsen where Tarantino
1:42:58
just showed and they started losing it.
1:43:00
They started big room between these like Lawrence, I need you
1:43:02
cool. Can you be cool and actually put
1:43:04
that in the script, which is brilliant.
1:43:06
So I think he's great. And I love the fact he
1:43:08
references probably the highlight of his career, which
1:43:11
is Dillinger, which came out in 1945, I think, where he played
1:43:14
the part of John Dillinger. And he's like, yeah, he's dead,
1:43:16
dead as Dillinger. Is it like his career is over
1:43:19
and this is the last thing he's going to do?
1:43:20
It would have just passed out nice guy Eddie, and he would
1:43:22
have just moved on. Yeah, brilliant.
1:43:24
I like that he's. Basically just barking these
1:43:26
names out when he's dishing them out.
1:43:28
Mr. Blunt. Mr. Blunt.
1:43:32
I mean, he's great. I mean, he brings so.
1:43:34
Much authenticity to this role does need because as well as
1:43:38
being an actor famously, he act like quite a troubled life got
1:43:41
in a trouble with the law quite a few times.
1:43:44
So he he knows that life and he brings that to it.
1:43:46
And but what I think is great is how much everybody does respect
1:43:49
him because you see evidence is terrified of him.
1:43:51
Quite frankly, even Mr. White knows not to push him too far.
1:43:55
He is the only person in the film that Mister Blonde shows
1:43:58
any kind of deference to. No, he's he's the only person
1:44:01
Mr. Blonde doesn't try to wind up or kill, basically.
1:44:04
And that's just they're like how like intimidating Teeny is.
1:44:08
But that's a great story where because he did used to get in a
1:44:10
lot of trouble in his youth and apparently in the 1950s, he and
1:44:14
Eddie Bunker got into an actual proper fist fight in some car
1:44:17
park in Los Angeles. Regarding the Bunker, Teeny
1:44:19
didn't even remember it happening.
1:44:24
But that's all the growth for all these.
1:44:26
Years. Tarantino puts him in the same
1:44:28
film. Brilliant.
1:44:29
No wonder Mr. Blues Dead Tears just killed him.
1:44:33
So yeah, he's great. He's.
1:44:34
Authentic. He's intimidating for, you know,
1:44:37
fairly small role. I think he's one of these
1:44:39
characters. You just don't forget him as
1:44:40
soon as you see him. Yeah, he's amazing.
1:44:43
You fellas have. Mentioned it, but he'd been
1:44:44
working in films since the 40s. He was in Dillinger loads of
1:44:48
rolls, but he had built up this really bad reputation and a lot
1:44:51
of it was down to him being an alcoholic.
1:44:53
He said that he threw away seven different careers through drink
1:44:56
alone and his rap sheet I. Mean.
1:45:00
This. He's totally wild.
1:45:01
It included loads of arrest for drunken behaviour, drunken
1:45:04
brawling. This happened about 20 times.
1:45:06
He assaulted police officers, he was stabbed in a bar brawl and
1:45:10
he was questioned by police for being present at an apparent
1:45:13
suicide and finally sent to a mental hospital for being found
1:45:17
Quartz dishevelled in a church. I mean, we can laugh about it
1:45:23
now. I have.
1:45:24
No idea what he was up to there. Amazing.
1:45:27
Disheveled. He continued this bad behaviour
1:45:32
on. Set, and it was just a constant
1:45:33
thorn in Tarantino's side. Tarantino called him a
1:45:36
directorial school on fire. He had a hard time with the
1:45:42
dialogue. Saying it was too convoluted,
1:45:44
too repetitive, and we've got some audio here which will play
1:45:48
of him messing up his line. So here he comes.
1:45:51
OK, somebody, somebody comes up with the.
1:45:53
Phone finally so fucking I fuck up, I fucked.
1:45:56
I'll keep going. Stop.
1:45:59
You don't say anything about you.
1:46:00
Anything but you. I'm up.
1:46:02
It's because it's so fucking repetitive.
1:46:05
It was no good. Fuck it.
1:46:08
And what do you think about that?
1:46:09
Fantastic, isn't it? That's not that complicated.
1:46:13
Absolutely nailed on. Yeah, he doesn't understand it
1:46:18
like English. It's just words.
1:46:22
Just read the words. You've been doing it.
1:46:23
Your whole life, that's your career.
1:46:25
You're an actor. Wasn't he on?
1:46:27
Like, didn't he have to break his?
1:46:28
Parole to be in this film anyway.
1:46:31
Well, he shot at his nephew. In a drum in the range during
1:46:33
filming, yeah. What the fucking nightmare.
1:46:37
But he's great in. It he's so good when Tarantino
1:46:40
was talking to him between. Scenes he would just be like
1:46:43
face to face talking to him and he would often just walk away
1:46:46
from a mid conversation without saying any words.
1:46:49
And this happened in the last 20 minutes of shooting in the final
1:46:52
week. And Tarantino grabbed his arm.
1:46:55
Come back Lawrence, I, I need to speak to you about this.
1:46:57
And Tini got so pissed off and shoved Tarantino back.
1:47:01
And Tarantino in an absolute rage said fuck you, you fat.
1:47:05
Fuck your fucking fire. Take your fat fucking ass off my
1:47:09
fucking set of. Course he did.
1:47:15
And they both left the set. And the crew broke out in
1:47:17
applause. But like 20 minutes later they
1:47:19
had carried on. They apologised to be hugs and
1:47:22
kisses. Yeah, brilliant.
1:47:25
But an amazing story. He went out.
1:47:26
For drinks with Michael Madsen, and after quite a few, he went
1:47:30
to the bathroom and he'd been a weird while and Madsen heard
1:47:33
honking cars outside. He looked out and saw Teany
1:47:36
bottomless in the middle of the road, pointing and shouting at
1:47:40
passing cars bottomless. Pants down.
1:47:47
Dishevelled Worth. Of a time.
1:47:50
Sounds like Oliver Reed. After this sequence were taken
1:48:04
back in. Time to the scene of the crime
1:48:06
where things go badly wrong. Then it's classic Tarantino fear
1:48:09
for the film's finale. Of course, it's a Mexican
1:48:11
standoff, Matt. This scene, well, I think it's
1:48:14
inevitable it was going to end. Like, this wasn't it.
1:48:16
Nobody was going to be left standing or getting out live at
1:48:19
the end of this film. So I like how he kind of holds
1:48:22
his nerve and it doesn't really give a happy ending for anybody,
1:48:25
even though you do come to like some of these people, even even
1:48:29
though you really shouldn't. But you know, Tarantino knows
1:48:31
how it should end. I like how he doesn't take it
1:48:34
off the top. I think of this, it ended up
1:48:36
with a big convoluted shoot out. It would have been ridiculous.
1:48:39
So like, how kind of he just boiled down to the absolute
1:48:41
basics. However, I do think it's the one
1:48:44
part of the film for me where I think you can maybe tell that
1:48:47
we're working to a little bit of a time limit.
1:48:50
It does feel a little bit like, oh lads, you know what?
1:48:53
We've only got like 45 minutes left to shoot what we're going
1:48:56
to do. Should we just have them shoot
1:48:58
each other at the same time? Everyone fall down?
1:49:00
Yeah, that's all right. That'll work, right?
1:49:03
But what I really like about the scene, though, is how it
1:49:06
contrasts everyone who has survived to this point to how we
1:49:09
saw them at the beginning. Because at the beginning they
1:49:11
were funny, they were witty, you wanted to hang out with them.
1:49:14
But by the end, we can see they're all actually really like
1:49:17
quite pathetic, the petty, the just quarreling.
1:49:20
We've seen that they're nothing more really than violent thugs.
1:49:23
And ultimately the way they all die, it's pretty silly.
1:49:26
And I don't mean that as a negative.
1:49:28
Actually, I think Tarantino knows that it it's actually
1:49:30
pretty silly the way the fog gone out.
1:49:32
And I think what he's doing is he's undercutting them as as
1:49:35
characters. I think he's seen, you know
1:49:36
what? These are not the people you
1:49:37
thought they were at the beginning of the film.
1:49:39
I think if anyone watches this and comes out and thinks are all
1:49:42
those guys, they're really cool. Weren't there?
1:49:44
Honestly, I think they've probably misread the film a
1:49:46
little bit. Yeah, they don't deserve a
1:49:48
hero's death. No, absolutely not.
1:49:50
They'll go out. Like, pretty ridiculously, this
1:49:52
has been planned all the way. Through This is how Tarantino
1:49:55
wanted to end this film. It comes straight out of City on
1:49:58
Fire. It's in that, yeah, it's exactly
1:50:01
the same, pretty much. The Mexican standoff is one of
1:50:04
them great, great cinematic tropes where it just definitely,
1:50:07
it shows there's no trust, but everyone is as powerful as each
1:50:10
other, and everyone's then an individual at the end.
1:50:12
There's no hierarchy. Everyone just has to make a
1:50:14
decision and because of their lifestyles, that's why they die
1:50:18
that way. And I think it's fantastic.
1:50:20
And the shine for me in this whole sequence is Chris Penn.
1:50:23
I think he's just fantastic from the moment he comes back to when
1:50:27
he shoots the cop to when Orange gives his story about Blonde and
1:50:31
he goes. So you're trying to tell me this
1:50:33
very good friend of mine who did four years for my father, he's
1:50:36
just now. Out of the.
1:50:38
Fucking blue. Why don't you tell me what?
1:50:42
Really. Happened, you know, and then
1:50:43
comes in and he's just gives that final line like stop
1:50:47
pointing that foot and gun at my dad and I think that's such a
1:50:51
powerful delivery of that line, but he just adds that gravitas
1:50:55
to it. It's just that theatrical punch
1:50:58
in the air. He's great all the way through
1:50:59
it. But in this scene especially,
1:51:02
it's it's, it just blows my hair back.
1:51:04
It's just amazing. Just really, really great
1:51:07
performance. And I love it.
1:51:08
I think. I think it's a brilliant end
1:51:09
into a brilliant film. They haven't worked together
1:51:12
once. And the only person who gets
1:51:13
away is the person who's not involved in this squabble.
1:51:16
And it's pink, but he doesn't really get away because he hear
1:51:18
the cops outside shout, get down on the floor.
1:51:21
What? Yeah.
1:51:21
And there's gunfire, isn't there?
1:51:23
There's gunfire. And then the cops come in.
1:51:25
I think this scene like the iconography.
1:51:27
Of this scene, the Mexican standoff is such just visually
1:51:30
just looks at me as it looks really cool.
1:51:32
Tarantino knows that. I think the close up on Mr.
1:51:36
White's face when he finds out that Orange is the rat is pure
1:51:41
pain, that he's backed this person all the way and you can
1:51:44
see it's a great performance from Kaiser.
1:51:46
He only points that gun at him as well you can.
1:51:47
See whereabouts he's pointing. But you know, it's like on his
1:51:50
head or it's on his face. It's like he's definitely going
1:51:53
to do it. It's really painful.
1:51:55
I know he needed to for the story.
1:51:56
And for the film to resolve. But Orange didn't need to do
1:52:00
that. He could have just kept it to
1:52:01
himself. Maybe he felt compassion.
1:52:03
Maybe he felt complicit in everything, but then it would
1:52:06
have been wide open, wouldn't? It.
1:52:08
Yeah, exactly. Yeah, tied up and I think.
1:52:10
Pink is hilarious. In this he's.
1:52:11
Back in a way, when they've all got their guns up.
1:52:13
It was supposed to be fucking professionals.
1:52:15
Yeah. Yeah.
1:52:16
Even by then, he's still trying to make that.
1:52:18
Point. Yeah, he's so, like, proud of
1:52:20
himself as a professional. Yeah.
1:52:22
You mentioned about Chris Penn there.
1:52:23
Westie, Matt, thoughts on Chris Penn?
1:52:25
Yeah, I mean Chris Penn in this the thing that.
1:52:27
Really makes me laugh is that terrible track suit was his own.
1:52:31
You know, he provided his own costume for this, which is just
1:52:34
absolutely ludicrous. Yeah, he's got no top on
1:52:36
underneath. But just like gaudy jewelry?
1:52:39
Hold on a second. What do you mean terrible?
1:52:41
I think that's. Fucking outstanding.
1:52:44
That's amazing. I'd wear one right now.
1:52:48
Like in terms of performance? I'm sorry you have to disagree
1:52:51
with you guys on Chris Penn and this.
1:52:54
I mean, really? Yeah.
1:52:56
I just think look at who else is in this film.
1:52:58
You're Tim Roth. Tarantino used him again,
1:53:01
Keitel. Tarantino used him again,
1:53:03
Beshebi, Tarantino used him again, Madsen, Tarantino used
1:53:06
him again a few times and he never did with Penn.
1:53:08
And I think that says a lot. I just think Nice Guy Eddie's
1:53:11
probably like the worst character by far in the film
1:53:14
because he doesn't even have like Mr. Blunt's charm to him.
1:53:16
He's just horrible. And I think Penn is just, he
1:53:20
just doesn't work for me, this Mexican standoff like.
1:53:23
Nice Guy goes down, but he doesn't have a gun pointed at
1:53:26
him. There were T-shirts made at the
1:53:27
time. Who shot Nice Guy?
1:53:29
Eddie Yeah, and it's supposed to be White who shoots Jewel, then
1:53:32
turns round and shoots Nice Guy before he can fire one off.
1:53:35
The squib on Kaitel's body went off that shade too soon, so he's
1:53:39
going down as he fires and turns to get his second shot off.
1:53:43
And it's not a really in Nice Guy's direction, but I think
1:53:47
it's really good. Edit in the mask it because I'm
1:53:50
not really like instantly. I'm not asking that question and
1:53:52
Tarantino decided to leave it this way to make it ambiguous.
1:53:55
I don't think it's ambiguous at all.
1:53:56
I think it's fairly. Obvious that he he gets off the
1:53:59
two shots he gets off Joe and then he he does nice guy.
1:54:01
I think it's it's fairly obvious to me.
1:54:03
I don't think I've ever really questioned it to that degree.
1:54:05
No, not ambiguous at all for me. Yeah, I'll agree that I've
1:54:09
never. Like, found it frustrating
1:54:11
trying to work out who shot who. I was founded fairly clean, to
1:54:14
be honest, to understand. Yeah, I don't think he's got
1:54:17
enough time to shoot two people. When he's got a gun pointed at
1:54:19
him, that's my only issue with it and we'll find out when you
1:54:22
get shot. See how you do.
1:54:25
I'll. Behave respectfully and not.
1:54:27
Like Mr. Orange, of course. Shoot 3 people and go down
1:54:31
silently with dignity, with dignity.
1:54:36
So a classic. Story of crime.
1:54:37
Doesn't appear, but told in a unique way by an enormous
1:54:40
talent, of course. Reception and award Reservoir
1:54:48
Dog's success was built by. The word of mouth buzz around
1:54:51
the festival circuit where it was screened a full 10 months
1:54:54
before general release. It wasn't a gargantuan success.
1:54:58
On a budget of 1.3 million, it returned 3 million.
1:55:01
Still pretty good for a debut Indy flick as well.
1:55:04
Yep. Yeah, definitely on Rotten
1:55:05
Tomatoes. Reservoir Dogs.
1:55:07
Has 92% and on IMDb it's got 8.3 out of 10.
1:55:12
Pretty high. Pretty high.
1:55:13
Yep, Yep. There was some mixed comments at
1:55:16
the time. The Wall Street Journal said the
1:55:18
only thing Mr. Tarantino spells out is violence.
1:55:22
All right, here we go. You know what?
1:55:24
I mean misunderstood. Roger Ebert, our old pal, gave a
1:55:27
2 1/2 out of four blessing. Yeah.
1:55:31
And he said. It was made on a low budget, but
1:55:33
the part that needs work didn't cost money.
1:55:36
It's the screenplay. Now that we know Quentin
1:55:38
Tarantino can make a movie like Reservoir Dogs, it's time for it
1:55:41
to move on and make a better one.
1:55:43
Which he did, But I think Roger might have regretted those words
1:55:46
in the years afterwards. Yeah, swinging to miss that one,
1:55:50
isn't it? Yeah, yeah.
1:55:51
You know whose films I really love?
1:55:52
Roger. Rebert's Films.
1:55:56
But Rolling Stone gave it four out of four empire.
1:55:58
Gave it five out of five and said it's the perfect debut
1:56:00
movie, full stop. They spelled out the full stop.
1:56:03
They didn't. I'm not just punctuating here.
1:56:06
Part of the quote. OK, in the years?
1:56:08
That followed sight and sound place.
1:56:10
Reservoir Dogs in their top 200 greatest films ever made, Empire
1:56:14
rated number 97 and voted at the greatest independent film of all
1:56:18
time, right? Not bad for a debut movie that
1:56:20
was almost shot on the cheap in black and white with the
1:56:23
director's buddies as the stars. Yeah, totally different beast.
1:56:27
That, yeah, all the rank you need to be the ranking.
1:56:33
We've worked out who the rat is. Who?
1:56:37
Has the Stones and who's left alive.
1:56:39
But what we haven't done is work out the score for Reservoir
1:56:41
Dogs. So we're going to take care of
1:56:43
that right now. Matt, what do you score
1:56:46
Reservoir Dogs out of 10? This is one where I'm a bit
1:56:49
conflicted. About it because in my head I'm
1:56:51
balancing how this film felt at the time to how I feel about it
1:56:56
now, knowing what Tarantino would go on and do.
1:56:59
And for me, he did make a few films better than this.
1:57:04
I do probably prefers later stuff, and I want to bear that
1:57:06
in mind in case we do get to those films for for classic
1:57:10
episodes. But as a debut, it is
1:57:12
incredible. It's remarkably confident in
1:57:15
itself, it's incredibly entertaining, and it's got great
1:57:17
characters, memorable dialogue, some sequences that go from
1:57:21
hilarious to incredibly tense. And to do all that in a debut is
1:57:26
just really, really striking. But there are aspects of the
1:57:30
film that I don't like. A couple of the performances I'm
1:57:32
really not keen on one particular sequence of the film.
1:57:36
I don't really like it all. And it's it's quite an important
1:57:39
one. That kind of central
1:57:40
relationship between white and orange is one that I don't
1:57:44
really buy all that much. So it's a film that I do go back
1:57:49
to quite a bit and I will always be happy to watch it, but it's
1:57:53
not going to get the full marks for me.
1:57:54
It does lose a few for those aspects or putting it in the
1:57:58
broader context of Tarantino's career, it gets an 8.5.
1:58:02
Wow, OK. When you said.
1:58:03
It loses a few marks. I thought you were going to give
1:58:05
it a seven. Oh no, no, no panic.
1:58:08
In there like. Well, that's.
1:58:10
That's been ridiculous about it. Let's really.
1:58:12
Record that. No, no.
1:58:15
Say what you meant to say, Matt. Not what Luke tells you to say.
1:58:21
Matt can't be here at the moment.
1:58:22
But he scored it as a 9.5. Westie, what about you?
1:58:27
I love. This film, it's, it was a huge.
1:58:29
Influence on me. When I first saw it, it felt
1:58:31
like I was seeing something completely brand new, even
1:58:34
though it's the rehash of maybe, you know, 20 different films
1:58:37
that Tarantino's seen that I haven't.
1:58:39
But it really made an impact on me and it was just cool and it
1:58:42
was just accessible and it was funny and it was violent and it
1:58:47
just made sense and it was just a pleasure to watch it.
1:58:49
It still is. I mean, I don't know how many
1:58:50
times I've seen it, so many, but I still have such confidence.
1:58:54
If anyone hasn't seen it, I've got such confidence to sit next
1:58:57
to anybody who hasn't seen it and go watch this and they'll
1:59:00
go, Oh yeah, right. That was fucking brilliant.
1:59:03
It's impossible to dislike. It's impossible to say it's a
1:59:05
bad film. It's impossible to ignore its
1:59:09
impact it had and its influence and its confidence and its
1:59:13
vibrancy. And it's such a a wonderful,
1:59:17
wonderful film by such a hungry and young filmmaker.
1:59:21
But at the same time, it's so disciplined, it's so tight.
1:59:24
It knows exactly what it wants to be.
1:59:26
The whole orange back story on re watches kind of brings it
1:59:29
down a little bit. It does slow the pace a little
1:59:32
bit, but it's an incredible film.
1:59:34
Pulp Fiction for me is a slightly better film because it
1:59:37
has a little bit more to it. It's agreed ambitious.
1:59:41
There's more to get your teeth into.
1:59:42
But that's not to say that this isn't fantastic.
1:59:45
But this feels like just one of the stories from Pulp Fiction
1:59:48
and it's so and it's just drawn out a little bit further.
1:59:51
But for the bits that do bring it down on RE watches, which is
1:59:53
basically Orange is back story, it loses half a point for that.
1:59:57
So I'm going for 9.5. Wow 9.5 big.
2:00:01
Scores. Do you want to rethink your
2:00:02
score, Matt, or do you want to do what I tell?
2:00:05
You, Matt, or you're not Mr. Purple.
2:00:09
You're not. 8.58.5 is on a different podcast.
2:00:12
This is a 9.5. As I said, I was obsessed with.
2:00:18
This film like 25 years ago, if I was written it then it would
2:00:22
be a 10 all day long. Like you said, Matt, it's not a
2:00:24
10 now for me because it's not Tarantinos best film.
2:00:28
That's Pulp Fiction for me. Yeah, you can see Tarantinos
2:00:31
talent here, but it's not full throttle and I don't think it's
2:00:34
anywhere near as confident as Pulp Fiction.
2:00:37
But I have nothing but admiration for the film and
2:00:39
Tarantino's journey from nobody video store geek to the coolest
2:00:43
man in Hollywood. Like overnight Cinderella story.
2:00:47
It's simple, well worn plot, but it's all in Tarantino's dialogue
2:00:51
and direction. Obviously helped by a talented
2:00:53
cast and crew as well. But I have a bit of problem with
2:00:57
the way that the dialogue is delivered.
2:00:59
And like I said, it's not Pulp Fiction.
2:01:02
So therefore it's a nine out of 10.
2:01:04
OK? As always on Twitter, followers
2:01:06
have been voting on Reservoir Dogs and we've got some comments
2:01:08
that I've picked out. First of all, OK, so from
2:01:11
Christopher Smith at all that Chris Smith, he said beautifully
2:01:15
brutal in its simplicity, a robbery gone wrong, big money
2:01:19
and big egos. Nice, well written and the
2:01:21
performances are incredible. 10 out of 10 unless you give me one
2:01:24
more than it's 11 out of 1110 out of 10, then 10 out of 10,
2:01:28
then that's. Fine, Leave it.
2:01:29
Leave. It there.
2:01:29
Don't overcomplicate things. It's not Spinal Tap.
2:01:34
Adam Wareham at Adam Wareham. Said it's good, but suffers from
2:01:37
comparisons to Cuties later work.
2:01:40
It's got great dialogue and looks stylish, but doesn't have
2:01:42
the fun pizzazz or confidence of Pulp Fiction.
2:01:45
Agreed. Yeah, yeah, yeah.
2:01:47
I think he's on the money there. And finally, Scotty.
2:01:50
Hammers at Fit for Footy said five.
2:01:53
Give me Kubricks the killing over this any day.
2:01:56
Five out of five. Five out of 10.
2:02:01
So I'd watch the killer. And then I'd watch this after
2:02:02
it. Yeah, it's great.
2:02:04
There he goes. 10. And back, so a mixed bag of
2:02:08
reviews there. With all the scores combined,
2:02:11
Reservoir Dogs averaged 888. .5. 8.5.
2:02:18
Matt. You're on the money.
2:02:19
Oh, yes. All right.
2:02:21
Eight. .5 out of 10 Well done. Matt OH Western River Rd.
2:02:24
It. Was .5 off?
2:02:26
That wasn't it. 8.5. Right, I'm leaving.
2:02:31
I'll see you there. There's going to be a Mexican.
2:02:33
Stand off here. So with the Twitter score and
2:02:37
hours. Combined, that gives Reservoir
2:02:39
Dogs 35.5 out of 40. You can look at the leaderboard
2:02:42
of all the films that we've covered so far in the podcast.
2:02:44
Go to alltherightmovies.com/leaderboard.
2:02:48
Again, to support what we're doing here and to hear more of
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2:03:38
Out to Maxim Sheera. Lovely.
2:03:40
Welcome, Maxim. She was just just.
2:03:42
Signed up just for the shout out.
2:03:43
Probably leave for tomorrow I imagine.
2:03:45
Yeah, yeah, we'll. Put this out and it'll be gone.
2:03:50
Hopefully not for all show notes.
2:03:52
Credits and references that we. Used in production of the
2:03:54
podcast. You can visit
2:03:55
alltherightmovies.com/podcast/reservoir. Hyphen Dogs.
2:04:00
Join us next time on all the Right movies.
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