Latest / Houselights: A Film Director Podcast / Pulp Fiction (1994) - Quentin Tarantino | Houselights #214

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Pulp Fiction (1994) - Quentin Tarantino | Houselights #214 · Houselights: A Film Director Podcast

• 0:03
  Speaker 1: Welcome to the net party.
• 0:20
  Speaker 2: Welcome to House Lights, where we shine a spotlight on
• 0:22
  Speaker 2: the directors who define cinema. I am your co host,
• 0:26
  Speaker 2: Tristan Rudel, your Travolta, comeback for the evening, here to
• 0:29
  Speaker 2: serve up a royale with cheese of movie insight. Joining
• 0:33
  Speaker 2: me as always are my partners in cinematic crime, Darren
• 0:37
  Speaker 2: the Fixer Moser, a man with a plan for every occasion,
• 0:41
  Speaker 2: and John Ezekiel twenty five seventeen Mills, whose next plan
• 0:46
  Speaker 2: is to simply walk the earth. Tonight, we're diving into
• 0:49
  Speaker 2: Quentin Tarantino's pulp fiction, so let's hit the diner and
• 0:53
  Speaker 2: get a five dollars shake. Nice all right, folks. So
• 1:08
  Speaker 2: this is our second four way foray into the House
• 1:11
  Speaker 2: of Tarantino, and I am excited, I am stoked, I
• 1:17
  Speaker 2: am ready and per usual with the House of Tarantino. Darren,
• 1:24
  Speaker 2: this is your first time witnessing this palm d your
• 1:28
  Speaker 2: winning film.
• 1:30
  Speaker 3: Sure, I'm sure it did win that, and I think
• 1:33
  Speaker 3: there were some also some Oscar noms in regards. But yes,
• 1:38
  Speaker 3: this was my first time watching pulp fiction. Only my
• 1:41
  Speaker 3: two good friends could convince me to load up this film.
• 1:46
  Speaker 3: But I did, and we're going to talk about it.
• 1:48
  Speaker 4: We had to sneak back to the apartment to get
• 1:52
  Speaker 4: our copy of pulp Fiction and Hi Jinx ensued thereafter
• 1:56
  Speaker 4: led to this podcast.
• 1:57
  Speaker 1: So there you go.
• 2:00
  Speaker 2: I made in nineteen ninety four with a runtime of
• 2:02
  Speaker 2: two hours and thirty four minutes, rated R very rated R.
• 2:06
  Speaker 2: It was directed by Quentin Tarantino, written by Quentin Tarantino
• 2:11
  Speaker 2: as well as Roger Avery, even though he doesn't get
• 2:14
  Speaker 2: the written credit, and starring. Here's some of the cast folks,
• 2:20
  Speaker 2: John Travolta, Uma Thurman, Samuel Jackson, Bruce Willis, Tim Roth,
• 2:25
  Speaker 2: Amanda Plummer, Phil Lamar, Frank Wally Burs Steers, Ving Raims,
• 2:32
  Speaker 2: Paul Calderon, Rosanna Arquette, Eric Stoltz, and the list goes on.
• 2:39
  Speaker 4: And on and on, and it was a see the
• 2:42
  Speaker 4: thing is, once again, I'm pulling my old man card
• 2:46
  Speaker 4: here because I don't think either one of you saw
• 2:47
  Speaker 4: this in the movie theater, but I did. I saw
• 2:50
  Speaker 4: it five times in the movie theater, maybe six, but
• 2:53
  Speaker 4: I seem to recall five as the magic number on
• 2:55
  Speaker 4: that one. Had a girlfriend at the time, sick of
• 2:58
  Speaker 4: seeing pulp fiction. By the time we broke up because boy,
• 3:03
  Speaker 4: I can't. We'll get into all the history stuff that's
• 3:06
  Speaker 4: out there and everything like that. But as somebody who
• 3:09
  Speaker 4: lived through it, the frenzy of pulp fiction was that
• 3:13
  Speaker 4: was like an absolute I don't know if I'm using
• 3:17
  Speaker 4: the term right, watershed moment for like being a film
• 3:20
  Speaker 4: fan sort of thing. All of a sudden, it was
• 3:22
  Speaker 4: cool to love movies because Tarantino, with this one entry
• 3:28
  Speaker 4: made it cool to walk around citing movies and talk
• 3:32
  Speaker 4: about movies and talk about cool music and everything like that,
• 3:34
  Speaker 4: Like Reservoir Dogs. Did you know it made a splash,
• 3:37
  Speaker 4: but not like a big splash like.
• 3:39
  Speaker 1: This one did.
• 3:40
  Speaker 4: The minute this one the Palm door at the can
• 3:44
  Speaker 4: Film Festival. It was a full court publicity press for
• 3:49
  Speaker 4: this movie, and they got people hyped and everybody was
• 3:53
  Speaker 4: ready for it to happen. And then when it hit,
• 3:56
  Speaker 4: it hit big with.
• 3:58
  Speaker 1: The gen X crowd, like huge. It was. It's hard
• 4:02
  Speaker 1: to overstate and.
• 4:03
  Speaker 2: This was I mean that gen xers at this time
• 4:07
  Speaker 2: was the first generation to kind of toy around with
• 4:09
  Speaker 2: the Internet, and this was one of the first movies
• 4:13
  Speaker 2: to ever advertise on the Internet, and so they really
• 4:16
  Speaker 2: nailed the demographic.
• 4:18
  Speaker 4: There they did, they did, And I mean let's just
• 4:22
  Speaker 4: jump right to the box office here.
• 4:25
  Speaker 1: Okay.
• 4:25
  Speaker 4: So Reservoir Dogs had a budget of like one and
• 4:27
  Speaker 4: a half million, made like two million something like that.
• 4:30
  Speaker 1: This had a budget.
• 4:31
  Speaker 4: This had a budget of like eight and a half million,
• 4:33
  Speaker 4: and it made almost two hundred and fourteen million, okay.
• 4:38
  Speaker 1: And ninety four dollars in ninety four dollars a lot.
• 4:41
  Speaker 1: Which of those five showings?
• 4:44
  Speaker 4: I guarantee you I was using a student discount to
• 4:46
  Speaker 4: get a four dollars ticket on at least three of them.
• 4:50
  Speaker 4: So you know, it was a lot harder to get
• 4:52
  Speaker 4: to this specific you know, bell Weather. But on top
• 4:56
  Speaker 4: of that, it's two and a half hours. It's an
• 4:58
  Speaker 4: award winner at the big nerdy you know, French Film Festival.
• 5:03
  Speaker 4: Nobody talked about the Can Film Festival. Yes, people talked
• 5:07
  Speaker 4: about it, but like it wasn't a hip thing to
• 5:09
  Speaker 4: talk about.
• 5:10
  Speaker 1: After this, suddenly everybody knew about this. Oh yeah, to
• 5:13
  Speaker 1: the Can Film Festival.
• 5:14
  Speaker 3: You did cons Kinka goodness?
• 5:17
  Speaker 1: Sure, sure, oh my goodness. What's coming out next year? Yeah?
• 5:21
  Speaker 2: Now, Darren, you know you and I are younger than
• 5:24
  Speaker 2: this old man, and yes, so, but you've been around
• 5:27
  Speaker 2: for a long time.
• 5:28
  Speaker 3: You went to film school as a film student.
• 5:30
  Speaker 2: Yeah, yeah, yeah, so you obviously were aware of this
• 5:35
  Speaker 2: of this movie. You were I'm sure you've seen many
• 5:37
  Speaker 2: scenes you know, before you even saw the whole thing
• 5:42
  Speaker 2: in sequence. But what did you know about this movie
• 5:46
  Speaker 2: before watching it? What did you know leading up to it?
• 5:50
  Speaker 1: Yeah?
• 5:50
  Speaker 3: I mean, yeah, this is definitely one that permeated a
• 5:53
  Speaker 3: little more just because again it's out there, especially nowadays,
• 5:57
  Speaker 3: where there's a little short clips of everything everywhere. So
• 6:00
  Speaker 3: you know, that's the thing about the new Internet to
• 6:03
  Speaker 3: just kind of feed you tiny thirty second bits of movies,
• 6:07
  Speaker 3: because that's how I want to watch a movie in
• 6:10
  Speaker 3: thirty second increments vertically with someone making Chinese food on
• 6:14
  Speaker 3: the lower half of the screen. Really, that's its peak
• 6:17
  Speaker 3: cinema right there. But yeah, like i'd seen the clip
• 6:21
  Speaker 3: of the swing dance you know that they're doing. I didn't.
• 6:26
  Speaker 3: And i'd heard the audio clip of like the Nixon impersonator.
• 6:29
  Speaker 3: I didn't know why he was talking like a Nixon impersonator.
• 6:34
  Speaker 1: That's what you Nixon?
• 6:36
  Speaker 2: Do you know now that.
• 6:37
  Speaker 1: It's not Nixon?
• 6:39
  Speaker 3: Well, who was that? I thought he had a big
• 6:41
  Speaker 3: like vote Dick button on Ed Sullivan. Oh, no, you're right,
• 6:47
  Speaker 3: you're right. Yeah, at least I recognized one of the
• 6:50
  Speaker 3: Marilyn Monroe's. But so there was there was that I knew,
• 6:57
  Speaker 3: what was it? You know, I knew that there was
• 7:00
  Speaker 3: as like the needle scene where she gets stabbed in
• 7:03
  Speaker 3: the heart, like just from a like a cursor, like
• 7:06
  Speaker 3: not actually seeing it. But I don't think I knew
• 7:09
  Speaker 3: that Bruce Willis was in this, you know, I didn't
• 7:12
  Speaker 3: know being rams within this, Like there were many, you know,
• 7:15
  Speaker 3: actors that I didn't know. I knew the whole you know,
• 7:17
  Speaker 3: honey bunny, you know, like I love you, honeyboy, and
• 7:20
  Speaker 3: then they jump up and start, you know, brandishing their
• 7:23
  Speaker 3: guns around. Honestly, the the homage that comes to mind
• 7:30
  Speaker 3: is like the two second shot of you know, seventy
• 7:33
  Speaker 3: Sam and Elmer Fudd in Space Jam where they're just
• 7:37
  Speaker 3: like they hold up their guns and you hear like
• 7:39
  Speaker 3: the twang and it's over like again. If you if
• 7:42
  Speaker 3: you've seen you know, this movie, then you know what
• 7:45
  Speaker 3: that means. If you don't, it just goes right over
• 7:47
  Speaker 3: your head. But yeah, but that was about it, like
• 7:50
  Speaker 3: not a whole lot and what actually helped me so
• 7:55
  Speaker 3: in watching it, because you know, I was starting to
• 7:59
  Speaker 3: get into the and then it kind of started to
• 8:01
  Speaker 3: jump and I'm like, hmm, okay, yes, sharit. You know,
• 8:05
  Speaker 3: I see what you're doing here. So I did pull
• 8:07
  Speaker 3: up a little tiny bit on the narrative structure because
• 8:12
  Speaker 3: I needed that to kind of like digest like what
• 8:14
  Speaker 3: am I looking at? And so once I knew that
• 8:17
  Speaker 3: it was an out of order sequencing thing, that helped
• 8:20
  Speaker 3: me digestive like, Okay, we're going to jump around because
• 8:22
  Speaker 3: like someone will be dead and then he's in the
• 8:24
  Speaker 3: next scene and I'm like, Okay, What's what's going on?
• 8:27
  Speaker 3: So that kind of helped me keep the course. But
• 8:33
  Speaker 3: it's going to be interesting to talk about the tension
• 8:35
  Speaker 3: or lack thereof that that gives, because that's going to
• 8:38
  Speaker 3: be a major part of my discussion.
• 8:40
  Speaker 2: Before we go into the discussion of the Meat on
• 8:45
  Speaker 2: the Bone. One thing I kind of I want to
• 8:47
  Speaker 2: put a little thing I want I want to put
• 8:50
  Speaker 2: this movie in perspective of when it was released. This
• 8:53
  Speaker 2: came out in nineteen ninety four, and here's some other
• 8:55
  Speaker 2: movies that came out in nineteen ninety four. Interview with
• 8:59
  Speaker 2: The vamp Are, Clear and Present Danger, Shawshank, Redemption, Forest Gump,
• 9:06
  Speaker 2: The Lion King, Speed, Legends of the Fall, Dumb and Dummer,
• 9:14
  Speaker 2: The Mask, Star Trek, Generations, Mary Shelley's Frankenstein D two,
• 9:22
  Speaker 2: Beverly Hills, Cop.
• 9:23
  Speaker 3: Three D two, The Mighty Ducks, You Gotta Say.
• 9:26
  Speaker 2: The Mighty True Lies, Natural Born Killers, Blown Away, Next
• 9:32
  Speaker 2: Karate Kid. This was a huge year, huge weir not
• 9:35
  Speaker 2: only okay, so not only was it a huge year,
• 9:38
  Speaker 2: but Shawshank and the pulp Fiction came out on the
• 9:42
  Speaker 2: same day.
• 9:44
  Speaker 4: Which is freaking mind blowing because oh my lord, that
• 9:49
  Speaker 4: is that is sort of like the the endless internal
• 9:51
  Speaker 4: argument with myself as to which one I loved more.
• 9:55
  Speaker 4: But the thing is, what I love about it is
• 9:58
  Speaker 4: they would make an ultimate double feature because they represent
• 10:01
  Speaker 4: two very different types of filmmaking, right It's so interesting,
• 10:06
  Speaker 4: and I think that there, I think it's beautiful that
• 10:09
  Speaker 4: they came out on the same day because they're so
• 10:12
  Speaker 4: different because of the fact that there's a specific illustration
• 10:19
  Speaker 4: right there where something can be so radically different but
• 10:22
  Speaker 4: trigger the same sort of emotional response within you.
• 10:26
  Speaker 1: And I mean, so.
• 10:27
  Speaker 4: Long as you like both films, which We'll get to
• 10:31
  Speaker 4: Joey's discussion about pulp fiction later.
• 10:34
  Speaker 2: But what's funny about these two films together is that
• 10:39
  Speaker 2: it's interesting that they both came out. Not only did
• 10:41
  Speaker 2: they come out of the same year, they came out
• 10:43
  Speaker 2: on the same day, and they both made a lot
• 10:44
  Speaker 2: of money. They both became classics, and they're both movies
• 10:49
  Speaker 2: that have even though one got its name, where like
• 10:53
  Speaker 2: oh Man, you Got Shawshanked is when you see a
• 10:55
  Speaker 2: movie on television and you end up watching all of it,
• 10:58
  Speaker 2: no matter where it is in the timeline. But pull
• 11:02
  Speaker 2: fiction is the same exact way. Is that whenever it's
• 11:05
  Speaker 2: on or no matter what point it is, you sit
• 11:10
  Speaker 2: down and watch it. And now, Darren, you maybe that
• 11:14
  Speaker 2: was Maybe that's a good thing because it's already jumbled
• 11:17
  Speaker 2: up alder together anyway, So it doesn't put.
• 11:19
  Speaker 3: The TV version of this movie because it exists.
• 11:23
  Speaker 2: It exists.
• 11:24
  Speaker 3: Gosh, Okay, it's a little shorter, I'm assuming, because my goodness.
• 11:28
  Speaker 1: This this movie.
• 11:29
  Speaker 2: When a movie makes that much money, like you, you,
• 11:33
  Speaker 2: they find a way, they find a way to get
• 11:35
  Speaker 2: a PG. Thirteen version, even if it's as ridiculous as
• 11:38
  Speaker 2: this is what happens when you find a man in
• 11:39
  Speaker 2: the Alps.
• 11:42
  Speaker 1: Yeah.
• 11:43
  Speaker 4: Them, Yeah, you know, Darren, actually get that reference.
• 11:47
  Speaker 1: No, no, Geez doesn't matter.
• 11:50
  Speaker 2: People at home, they're they're laughing.
• 11:52
  Speaker 1: Yeah, I'm sure they didn't.
• 11:54
  Speaker 4: Uh you know I I what I got to ask you, Darren,
• 11:57
  Speaker 4: since this is your first time watching it, you said,
• 11:59
  Speaker 4: you know, like, so you were struggling with the time
• 12:04
  Speaker 4: jumping every so often, because that was I remember specifically
• 12:08
  Speaker 4: on the Howard Stern Show, of all places, he laughed
• 12:15
  Speaker 4: about the fact that this one best original screenplay because
• 12:20
  Speaker 4: his joke was that somebody dropped the script and they
• 12:23
  Speaker 4: put it back together in the wrong order, and that's
• 12:26
  Speaker 4: why the movie turned out that way. Do you and
• 12:29
  Speaker 4: you alluded to this? I don't think we should wait, Like,
• 12:32
  Speaker 4: do you feel that it undercut the tension or like
• 12:37
  Speaker 4: it worked against the narrative of the film in your opinion?
• 12:40
  Speaker 3: I yeah, I would say so, because the tensest part
• 12:45
  Speaker 3: for me in the entire movie was the was the
• 12:50
  Speaker 3: gold watch. I was on the edge of my seat,
• 12:54
  Speaker 3: and because it's like and again it's great storytelling where
• 12:58
  Speaker 3: you're like, oh, gonna get away, and he didn't get
• 13:03
  Speaker 3: his watch, which means he has to go back and
• 13:05
  Speaker 3: get it, and it's like, so he made it to
• 13:07
  Speaker 3: like you feel that good narrative pacing of okay, he
• 13:10
  Speaker 3: makes it to the door and there's a gun there,
• 13:13
  Speaker 3: you know, and then so anyway, but that whole sequence,
• 13:16
  Speaker 3: even after he shot Vincent and and supposedly got away,
• 13:21
  Speaker 3: I'm like, I still don't trust it. I don't trust
• 13:24
  Speaker 3: that he's okay, even when he got you know, his
• 13:27
  Speaker 3: his wife or girlfriend and and they're like right, you know,
• 13:31
  Speaker 3: he's like, okay, we're well actually that was a little later,
• 13:34
  Speaker 3: but all all that whole that whole sequence from and
• 13:38
  Speaker 3: again loving the like who should be walking by right
• 13:42
  Speaker 3: in front of him? Uh was? And that it's just
• 13:46
  Speaker 3: that whole bit. I was just white knuckle on my
• 13:51
  Speaker 3: chair because I I connected with this character. I'm like, oh,
• 13:55
  Speaker 3: this is just a guy, like he's in a bad situation.
• 13:57
  Speaker 3: He you know, he has the love of his life
• 14:00
  Speaker 3: if he wants to get out of town. But and
• 14:02
  Speaker 3: I'm just thinking, don't go back for the watch. Don't
• 14:04
  Speaker 3: go back for the watch. It's not worth it. Christoph
• 14:07
  Speaker 3: Rockett spun a yarn. I don't think it's even true.
• 14:09
  Speaker 3: It doesn't even matter, you know, it suggests but yeah,
• 14:12
  Speaker 3: that whole so all that to say, you know, and
• 14:16
  Speaker 3: then we see like Vincent gets shot, so then later
• 14:21
  Speaker 3: like and either the diner sequence or where they're trying
• 14:25
  Speaker 3: to get away like I know at the end of
• 14:28
  Speaker 3: his story, So there was no tension around Vincent after
• 14:32
  Speaker 3: that moment.
• 14:33
  Speaker 4: But see why it always worked for me and why
• 14:36
  Speaker 4: it still does is because of the fact that Jewels
• 14:40
  Speaker 4: is electric Jewels and Vincent that chemistry. You cannot overstate
• 14:45
  Speaker 4: the chemistry between Sam Jackson and John Travolta in that opening,
• 14:48
  Speaker 4: Like you're just there and you believe that these are
• 14:51
  Speaker 4: two guys that if they're not friends, they at least
• 14:55
  Speaker 4: get along well enough. Like it's two very strong personalities
• 15:00
  Speaker 4: with each other. And I think Tarantino does a terrific
• 15:04
  Speaker 4: thing with the way he undercuts and puts together the
• 15:09
  Speaker 4: fact that Vincent shows up in the Gold Watch to
• 15:14
  Speaker 4: you know, talk to Marcellus.
• 15:15
  Speaker 1: He winds up not being the one to talk to him,
• 15:16
  Speaker 1: but he.
• 15:17
  Speaker 4: He shows up to go to Marcellus when the dead
• 15:22
  Speaker 4: boxer is there, but it's not him that goes. But
• 15:25
  Speaker 4: the way it's shot, it never really calls attention to
• 15:28
  Speaker 4: the fact that Jewles is missing. And initially you go, oh, well, okay,
• 15:34
  Speaker 4: I guess you know, it's just their interchangeable parts of
• 15:36
  Speaker 4: the crew. And I always love the fact that when
• 15:39
  Speaker 4: you then go back, you get the explanation for why
• 15:43
  Speaker 4: Jewles isn't there and the fact that it's you know,
• 15:48
  Speaker 4: I just I love the fact that Jewles having his
• 15:51
  Speaker 4: little epiphany moment is why he's not there, and it's
• 15:56
  Speaker 4: what saves him. If Vincent had just listened to him
• 15:59
  Speaker 4: and heard what he had to say, Vincent doesn't die
• 16:02
  Speaker 4: in that bathroom. And I think that's I think that's
• 16:06
  Speaker 4: a beauty. I actually think that's a beautiful thing because
• 16:09
  Speaker 4: of the fact that you can then replay it and
• 16:13
  Speaker 4: jump back and you go, oh, wait a minute. Of course,
• 16:17
  Speaker 4: he couldn't leave with Jules. He can't even be a
• 16:22
  Speaker 4: he can't even avoid conflict at the bar with Butch.
• 16:27
  Speaker 4: He when when he's when he's trying to stare him down.
• 16:29
  Speaker 4: And you know, I aint your friend Peluca, like why
• 16:34
  Speaker 4: why bait that sort of thing? But I think I
• 16:38
  Speaker 4: mean so for me, it's like, yeah, I get what
• 16:40
  Speaker 4: you're saying about the tension, but I love the payoffs
• 16:44
  Speaker 4: so much because it it It is a way to
• 16:51
  Speaker 4: have your climax of the film, where traditionally the climax
• 16:55
  Speaker 4: of a story is and give you it, you know, the.
• 16:57
  Speaker 1: To use the fancy word the day new mal so
• 17:00
  Speaker 1: that you can have that come down. I've always loved.
• 17:03
  Speaker 3: That because the climax really is, you know, the box
• 17:06
  Speaker 3: are getting away in a way that is like one
• 17:09
  Speaker 3: of the climaxes of the movie. And then but I
• 17:13
  Speaker 3: totally understand and agree that the ending has to be
• 17:17
  Speaker 3: the ending, like you can't. Like there's a part of
• 17:20
  Speaker 3: me that want to wants to watch it in story order,
• 17:22
  Speaker 3: like find a cut of that just to see what
• 17:25
  Speaker 3: that is like. But I don't want it to end
• 17:29
  Speaker 3: on the motorcycle riding off in the distance. I want
• 17:31
  Speaker 3: to end on them walking out of the diner, because
• 17:33
  Speaker 3: that is the correct ending.
• 17:36
  Speaker 1: M yeah, yeah, I okay.
• 17:41
  Speaker 2: So one thing that I liked about this walkthrough is
• 17:45
  Speaker 2: that I really did think about the non linear structure,
• 17:48
  Speaker 2: and I very much enjoy nonlinear structure. And I felt
• 17:52
  Speaker 2: like Tarantino did a good job of making Vincent the
• 17:59
  Speaker 2: touchstone because he's virtually in every story and the way
• 18:06
  Speaker 2: like basically, if you see him in his suit, you
• 18:10
  Speaker 2: know where he is if you see him in his
• 18:14
  Speaker 2: like depending on where you see him in a suit.
• 18:17
  Speaker 2: And then if you see him in you know, if
• 18:19
  Speaker 2: he's bloodied in a suit, you don't understand what's going on.
• 18:21
  Speaker 2: If he's in you know, Tarantino's clothes, you know what's
• 18:26
  Speaker 2: going on and where he's at, so like if he's
• 18:28
  Speaker 2: if he's at the if he's at the bar in
• 18:32
  Speaker 2: the clothes, you know it's after the diner, but you
• 18:35
  Speaker 2: don't know that it's after the diner until you've seen
• 18:37
  Speaker 2: the diner the second time. And it's just there's there's
• 18:41
  Speaker 2: so many moments and when you see him with Butch,
• 18:45
  Speaker 2: you realize, well, that's the last we see of Vincent,
• 18:49
  Speaker 2: you know, in chronological order. And also I really liked
• 18:52
  Speaker 2: at the beginning of Butcher's story where you see you
• 18:56
  Speaker 2: see Vincent and you also see Ama again and you
• 18:59
  Speaker 2: don't know when this is until Mia says, oh, I
• 19:04
  Speaker 2: never thanked you for dinner last night, so casually, and
• 19:07
  Speaker 2: there was just all those little moments that gave it away,
• 19:11
  Speaker 2: that told you exactly where you were in the story.
• 19:14
  Speaker 2: And that's that's something that I really appreciated this watch,
• 19:19
  Speaker 2: and my like, I never recommend anything to my parents
• 19:25
  Speaker 2: that has nonlinear storytelling. They are, like, my mom texted
• 19:30
  Speaker 2: me just the other day saying, I'm on season four
• 19:33
  Speaker 2: of Loss and I have no idea what's going on.
• 19:37
  Speaker 2: And season four was this season that the introduce flashed forwards.
• 19:40
  Speaker 2: She so, you have three timelines that you have to
• 19:43
  Speaker 2: deal with in every episode. But I love it because
• 19:47
  Speaker 2: it like it. It's like a scavenger hunt. To me,
• 19:50
  Speaker 2: it's like trying to figure out where you are. And
• 19:55
  Speaker 2: not to completely disagree with you, Darren, but the tension.
• 19:59
  Speaker 2: I I feel like too much tension is put forward
• 20:05
  Speaker 2: on who's going to survive or if somebody is going
• 20:09
  Speaker 2: to survive. I feel like this is a movie where
• 20:12
  Speaker 2: tension comes from the situation and how it's going to
• 20:15
  Speaker 2: be resolved, how they're going to get out of it.
• 20:18
  Speaker 2: Like you know, like Marvin got shot in the face.
• 20:22
  Speaker 2: You didn't see it coming, you didn't know what was
• 20:23
  Speaker 2: going to happen. But you know that Jules and Vincent
• 20:29
  Speaker 2: are going to make it. But it's really just how
• 20:32
  Speaker 2: they're going to make it. How are they going to
• 20:34
  Speaker 2: get out of this situation? And you know with but
• 20:39
  Speaker 2: with Butch, you have no idea if he's going to
• 20:42
  Speaker 2: make it out of this situation. But then when he
• 20:45
  Speaker 2: does make it out of the situation, the tension isn't
• 20:47
  Speaker 2: whether or not he's going to live. The tension is
• 20:50
  Speaker 2: is he going to intervene?
• 20:53
  Speaker 1: And right?
• 20:54
  Speaker 2: So to me, I feel like if you I feel like,
• 21:00
  Speaker 2: you know a lot of people have that complaint when
• 21:01
  Speaker 2: it comes to prequels where they're just like, oh, well,
• 21:04
  Speaker 2: we know, you know, Captain Pike is going to survive,
• 21:06
  Speaker 2: so what does it matter? You know, Like, I feel
• 21:10
  Speaker 2: like if you have good enough storytelling, how you get
• 21:13
  Speaker 2: there is also Yeah, it's how you get there, and
• 21:16
  Speaker 2: it's it's it's not the tension of are that is
• 21:18
  Speaker 2: he going to survive? It's the tension of how is
• 21:20
  Speaker 2: he going to get out of this one?
• 21:24
  Speaker 3: Yeah? And I will say like like when Vincent showed
• 21:26
  Speaker 3: up in the bathroom, that's that surprised me because I
• 21:29
  Speaker 3: you know, i'd never we'd never seen him use that
• 21:32
  Speaker 3: giant gun, you know we had, so I was not
• 21:35
  Speaker 3: expecting that. I was expecting someone to be in there.
• 21:38
  Speaker 3: Once they did the sound cue that you knew someone
• 21:40
  Speaker 3: was in the bathroom. So yeah, it I honestly, because
• 21:45
  Speaker 3: I just finished it this afternoon, So this will probably
• 21:49
  Speaker 3: take a couple of watchings it. You need to let
• 21:52
  Speaker 3: it stew a bit, I think, to really get into
• 21:57
  Speaker 3: all the crevices, especially with the nonline your storytelling, especially
• 22:01
  Speaker 3: with the because not only non linear, it's like nonlinear
• 22:08
  Speaker 3: in half scenes like the shootout at the very beginning,
• 22:12
  Speaker 3: like we're only getting half of that scene, and then
• 22:15
  Speaker 3: we don't get the second half until much later, and
• 22:18
  Speaker 3: then we go to the car and then we finally
• 22:20
  Speaker 3: come full circle to the second half of the diner.
• 22:23
  Speaker 3: So it's not just entire chunks, it's pieces of chunks
• 22:27
  Speaker 3: that are all spread throughout.
• 22:29
  Speaker 4: Sure it is, and I think that you know to
• 22:34
  Speaker 4: what Tristan is saying. Just to go on top of that,
• 22:36
  Speaker 4: I'm also a big fan of nonlinear. I still refuse
• 22:39
  Speaker 4: to watch The Clone Wars in chronological order. I won't
• 22:43
  Speaker 4: do it. Everybody stop bugging me about it, and you know.
• 22:46
  Speaker 1: Who you are.
• 22:47
  Speaker 4: But I think that the fact that this movie is
• 22:52
  Speaker 4: told in that jumbled order, the fact that this movie
• 22:54
  Speaker 4: is challenging in those regards, in the fact that it
• 22:58
  Speaker 4: got so readily excited did by audiences, I think that
• 23:02
  Speaker 4: makes it another extremely important landmark type of film the
• 23:05
  Speaker 4: same way that American Graffiti was. Where American Graffiti had
• 23:09
  Speaker 4: no really clear main character, it had multiple storylines going
• 23:14
  Speaker 4: on at once. It was intercut very challengingly. You know,
• 23:17
  Speaker 4: you're hopping from story to story. This one. I mean,
• 23:23
  Speaker 4: so many people talk about how they don't like abstract film,
• 23:26
  Speaker 4: or they don't like, you know, the way certain things
• 23:30
  Speaker 4: are structured. They don't like stuff jumping around, they don't
• 23:33
  Speaker 4: like flashbacks. And yet this is the movie that kicked
• 23:39
  Speaker 4: that door open and made it okay for anybody, any
• 23:43
  Speaker 4: filmmaker to start playing with structure a little more freely
• 23:46
  Speaker 4: because it got.
• 23:47
  Speaker 1: So much positive heat around it.
• 23:49
  Speaker 4: And I mean, I think that the most mind blowing
• 23:54
  Speaker 4: thing about it to me is Sam Jackson had been
• 23:57
  Speaker 4: working as an actor before this. Sam Jackson had been
• 24:02
  Speaker 4: in plenty of movies before this Jungle Fever. He had
• 24:06
  Speaker 4: been in coming to America for Pete's Sake in a
• 24:08
  Speaker 4: small role, all of these sorts of things, and you
• 24:10
  Speaker 4: kind of knew who Sam Jackson. He'd been in National
• 24:12
  Speaker 4: Lampoon's Loaded Weapon One, which I think is an underrated
• 24:15
  Speaker 4: comedy with Emilio Estevez. But this movie, the fact that
• 24:22
  Speaker 4: Tarantino didn't write this role for him. There are certain
• 24:28
  Speaker 4: casting decisions that I think can make or break a movie,
• 24:32
  Speaker 4: and I think that Sam Jackson in this role really
• 24:39
  Speaker 4: pushes this movie over the edge. I think it's cool,
• 24:41
  Speaker 4: I think it's awesome no matter what. But his performance
• 24:45
  Speaker 4: is next level, like he showed up and there's almost
• 24:49
  Speaker 4: this sense that he knew the moment that was happening
• 24:52
  Speaker 4: for him right here. Because after this, Sam Jackson becomes
• 24:56
  Speaker 4: a huge star, deservedly so. And I think that this
• 25:03
  Speaker 4: is just one of those things where I can't picture
• 25:06
  Speaker 4: this movie working as well as it does without him
• 25:10
  Speaker 4: as Jules Winfield.
• 25:12
  Speaker 2: What's funny is that, I mean, while you're spot on,
• 25:16
  Speaker 2: what's funny is that he almost lost the role to
• 25:18
  Speaker 2: somebody else, the guy who played Paul, you know, the bartender,
• 25:23
  Speaker 2: because apparently word got out that he nailed the audition
• 25:27
  Speaker 2: and Tarantino was thinking about casting him. Sam Jackson flew
• 25:30
  Speaker 2: back to Tarantino auditioned again, saying no, I'm getting this role,
• 25:34
  Speaker 2: and he got the role. And with everybody in this movie,
• 25:40
  Speaker 2: you know, like, okay, So Tim Ross's role was written
• 25:42
  Speaker 2: for him, Plumber's role was written for her, Harvey Keitel's
• 25:51
  Speaker 2: role was written for him. There was a few that
• 25:53
  Speaker 2: were written specifically for them. In mind, this is one
• 25:58
  Speaker 2: of those movies where where if you replace one actor,
• 26:03
  Speaker 2: I don't think it works as well.
• 26:06
  Speaker 4: M Now that a comment that somebody may be a
• 26:10
  Speaker 4: friend of mine, of long standing my throat back out
• 26:12
  Speaker 4: there is, does that therefore expose that the movie quote unquote,
• 26:17
  Speaker 4: his word's not mine isn't as good as everybody says
• 26:20
  Speaker 4: it is because it's so dependent on that casting.
• 26:25
  Speaker 1: I would not I'm not saying I agree with it. No,
• 26:27
  Speaker 1: I'm saying that nobody.
• 26:28
  Speaker 2: Nobody's coming after it, but I am coming after that comment,
• 26:30
  Speaker 2: because that's a that's a nonsense comment.
• 26:32
  Speaker 3: Yeah, that doesn't make sense, like saying you know, oh
• 26:35
  Speaker 3: the music doesn't matter. You know, it's like it's a film.
• 26:39
  Speaker 3: It's a collection of parts. You can't say, well, you
• 26:42
  Speaker 3: were lucky on these parts. Yeah, that doesn't make any sense.
• 26:47
  Speaker 2: Like Darren is saying. A film is a collection of elements,
• 26:50
  Speaker 2: the actors, the writing, the direction, the producing, production, design, music,
• 26:57
  Speaker 2: sound effects, fully every thing. If one of those things
• 27:02
  Speaker 2: is different or off, it's not as good as it
• 27:05
  Speaker 2: could have been. And that's what we're saying, at least
• 27:07
  Speaker 2: that's what I'm saying about pulp fiction, is that if
• 27:10
  Speaker 2: one person is different, it's not as good as it
• 27:12
  Speaker 2: was because like it's like with Star Trek the Next Generation,
• 27:16
  Speaker 2: that's lightning in a bottle that like, if one person
• 27:19
  Speaker 2: is different, next generation is not as good as it
• 27:22
  Speaker 2: could have been. Could it have been? Could it still
• 27:24
  Speaker 2: be one of the best Star Treks and one of
• 27:26
  Speaker 2: the best shows of all time? Absolutely? But could it
• 27:28
  Speaker 2: have been as good as it was if Jonathan Briggs
• 27:31
  Speaker 2: wasn't Riker?
• 27:32
  Speaker 3: No. Well, and there's a time is also a piece
• 27:36
  Speaker 3: of it. When something comes out, something things can come out.
• 27:39
  Speaker 3: We've all seen things come out when like all audience
• 27:42
  Speaker 3: wasn't ready for that. But if that had come out
• 27:44
  Speaker 3: like five years later, would have dominated or or again
• 27:48
  Speaker 3: like your Star Trek reference, like yeah, came out and
• 27:51
  Speaker 3: then the writer's strike hit, so that second season was
• 27:54
  Speaker 3: hit by these types of stories, like it's all a tapestry.
• 28:00
  Speaker 1: It is, I agree.
• 28:01
  Speaker 4: I mean, if you don't cast Harrison Ford as Indiana Jones,
• 28:06
  Speaker 4: you have Raiders of the Lost Arc with Tom Selleck.
• 28:09
  Speaker 4: Movie's probably a lot of fun and worth watching, is it?
• 28:13
  Speaker 4: What it is probably not really, probably not listen. I'm
• 28:19
  Speaker 4: just I'm just presenting the argument out there because I've
• 28:21
  Speaker 4: heard it made.
• 28:22
  Speaker 3: Sorry, John, you are the messenger and we accidentally shot
• 28:25
  Speaker 3: you in the back seat of the car.
• 28:26
  Speaker 4: So you shot me in the shoulder and you said,
• 28:29
  Speaker 4: say casting again, I dare you, I double dare you. Yes,
• 28:34
  Speaker 4: I can't say that word on our show. But I mean,
• 28:39
  Speaker 4: I think that one of the things that also helps
• 28:40
  Speaker 4: the film. And this is a testament to the writing
• 28:42
  Speaker 4: and Tristan you sort of made allusion to this. I
• 28:46
  Speaker 4: think Roger Avery doesn't get enough credit for working with
• 28:50
  Speaker 4: Tarantino on this one. In a lot of ways. I
• 28:52
  Speaker 4: don't think that's Tarantino's fault per se, because I know
• 28:55
  Speaker 4: that Tarantino still does interviews with Avery there with him
• 29:00
  Speaker 4: to sort of like be like, hey, Roger's pretty awesome too,
• 29:04
  Speaker 4: sort of stuff. But this is such a relentlessly quotable film.
• 29:10
  Speaker 4: We got a taste of it in Reservoir Dogs. The
• 29:12
  Speaker 4: type of quotable dialogue. Darren, did you walk away from
• 29:17
  Speaker 4: the because I can tell you when I saw this
• 29:19
  Speaker 4: movie and I walked out, I was like, I must
• 29:21
  Speaker 4: commit as much of this to memory as I possibly can,
• 29:23
  Speaker 4: because I loved all of these monologues.
• 29:26
  Speaker 3: Oh yeah, the I'm not as much a monologue guy
• 29:31
  Speaker 3: on this kind of movie, so yeah, but there are
• 29:34
  Speaker 3: definitely tons of quotable moments and and yeah, again, this
• 29:39
  Speaker 3: one is probably when I'll revisit just to I need
• 29:42
  Speaker 3: it to seep in. I need to kind of see
• 29:44
  Speaker 3: those where I'm not trying to focus too much on
• 29:46
  Speaker 3: what's going to come around the next corner and piecing
• 29:49
  Speaker 3: together the plot. I need that kind of second viewing
• 29:52
  Speaker 3: of you know, okay, just let it, let it flow.
• 29:56
  Speaker 1: Mm hmm.
• 29:58
  Speaker 4: Everybody, every he in ninety four was walking around trying
• 30:02
  Speaker 4: to recite Ezekiel twenty five seventeen.
• 30:05
  Speaker 1: That was that was like the thing.
• 30:08
  Speaker 4: But I will say that even though I keep throwing
• 30:10
  Speaker 4: him under the bus, Joey and myself and other friends.
• 30:14
  Speaker 4: Of course, cell phones were just becoming a thing sort
• 30:18
  Speaker 4: of in the nineties, and you know the Zach Moore special,
• 30:22
  Speaker 4: the suitcase with the phone. That was late eighties. They
• 30:24
  Speaker 4: were becoming more compact. And I can't tell you for
• 30:27
  Speaker 4: how long after cell phones became a thing that people
• 30:31
  Speaker 4: would still go.
• 30:32
  Speaker 3: Are you talking to me on a cell phone?
• 30:34
  Speaker 4: Who is this prank call or prank caller, And that's
• 30:37
  Speaker 4: how we would end conversations with each other.
• 30:40
  Speaker 3: You know, It's funny you mentioned the cell phone, because
• 30:43
  Speaker 3: at first I wasn't sure when this was set, Like,
• 30:46
  Speaker 3: I was like, is this modern time? Like not that
• 30:50
  Speaker 3: it would have been that farther. I wasn't like, is
• 30:53
  Speaker 3: this in the sixties? Like No, obviously, it's you know,
• 30:56
  Speaker 3: really close to present day. But until the cell phone
• 30:59
  Speaker 3: came out. First, I thought, because again, everyone's dressed for
• 31:02
  Speaker 3: a classically very cleanly. There's a lot of older cars
• 31:05
  Speaker 3: that they're in, uh, you know, as the movie progressed.
• 31:08
  Speaker 3: So but yeah, and then it's like, okay, no, this
• 31:11
  Speaker 3: is just today. People wear suits today and are hit.
• 31:13
  Speaker 4: That I guess, you know, that's that's actually a great point,
• 31:16
  Speaker 4: because this movie very much feels and looks in a
• 31:21
  Speaker 4: lot of ways like a seventies movie.
• 31:23
  Speaker 3: It does. That's that's I think what I was picking
• 31:25
  Speaker 3: up on.
• 31:25
  Speaker 4: But then there are certain things where I struggle to
• 31:28
  Speaker 4: know how they could have possibly worked without them being
• 31:31
  Speaker 4: in the cell phone era. This seems like the first
• 31:33
  Speaker 4: movie that pays quase.
• 31:35
  Speaker 3: I find a payphone and make a call.
• 31:37
  Speaker 4: I mean, but yeah, you can't have you know, Vincent
• 31:41
  Speaker 4: on the phone as he's as he's driving.
• 31:44
  Speaker 1: To Stoltz his house if you answer.
• 31:48
  Speaker 2: Like he gets in my head all the time when
• 31:50
  Speaker 2: I'm waiting for someone to pick up.
• 31:52
  Speaker 1: Yeah, yeah, I will. I'll say.
• 31:54
  Speaker 4: Also because one of the things that this, any movie
• 31:59
  Speaker 4: like this, gets a act for glorifying violence, glorifying drug culture,
• 32:03
  Speaker 4: all that type of stuff. Even watching it now, I
• 32:07
  Speaker 4: can tell you this is one of the most eloquent
• 32:09
  Speaker 4: anti drug statements that you could have possibly released in
• 32:13
  Speaker 4: the nineties, where you.
• 32:14
  Speaker 1: Oh, oh that's possible.
• 32:16
  Speaker 4: Oh that's what an od looks like, Like, that's uncomfortable,
• 32:19
  Speaker 4: and even I got to think about needles, even seeing
• 32:23
  Speaker 4: the needle go in when he's shooting up, like, I
• 32:27
  Speaker 4: still have trouble watching that.
• 32:28
  Speaker 1: I'm like, oh, why would you do this?
• 32:30
  Speaker 3: It took me a half second to remember, Oh, that's right,
• 32:33
  Speaker 3: that's not cocaine. That's like she snorted heroin and of
• 32:38
  Speaker 3: course it messed her up something fierce.
• 32:42
  Speaker 1: Yeah, yeah, yeah, yeah.
• 32:45
  Speaker 2: So John, I want to ask you about the music.
• 32:50
  Speaker 2: So how did you feel like cause you were you
• 32:52
  Speaker 2: were raving about the music last week with the Reservoir Dogs,
• 32:56
  Speaker 2: did pull fiction, you know, like, was it on this
• 32:59
  Speaker 2: side level as Reservoir Dogs?
• 33:01
  Speaker 1: Did it exceed?
• 33:02
  Speaker 3: It?
• 33:02
  Speaker 1: Was it less?
• 33:03
  Speaker 2: Tell me how you how you took the music cues?
• 33:06
  Speaker 1: It exceeded.
• 33:07
  Speaker 4: Everybody came out of this movie saying, girl, you'll be
• 33:10
  Speaker 4: a woman soon. And this movie absolutely had me when
• 33:17
  Speaker 4: when Pumpkin and Honey Bunny jump up and Mieeserlou kicks
• 33:20
  Speaker 4: off from Dick Dale and his Dell Tones, and I
• 33:24
  Speaker 4: remember it was at that moment where I was like,
• 33:26
  Speaker 4: this is gonna be awesome, and then the radio switch
• 33:32
  Speaker 4: over to jungle Boogie by the Immortal Cool in the Gang.
• 33:36
  Speaker 4: I mean, come on, I think that this is I mean,
• 33:42
  Speaker 4: I wore this CD out more probably than even Reservoir Dogs.
• 33:47
  Speaker 4: And even though it did slightly annoy me, it still
• 33:51
  Speaker 4: sort of slightly annoys me that you couldn't really play
• 33:54
  Speaker 4: it in public back then, at least because they had
• 33:57
  Speaker 4: clips from the movie and you're like, can't really let
• 34:01
  Speaker 4: the kids hear this one. But I mean, I think
• 34:06
  Speaker 4: that this took it up a whole other level because
• 34:09
  Speaker 4: while Reservoir Dogs is beautiful in its use of music,
• 34:14
  Speaker 4: I think that the music really becomes even more of
• 34:18
  Speaker 4: its own character in this, Like everybody remembers stuck in
• 34:22
  Speaker 4: the middle with you in that scene, but here you
• 34:26
  Speaker 4: have so much stuff that's playing quote unquote on the
• 34:29
  Speaker 4: radio or in the background or in a scene, and
• 34:32
  Speaker 4: it I think you really see in a very big way,
• 34:36
  Speaker 4: in a very quick way, Tarantino mature as a director
• 34:39
  Speaker 4: in knowing how to use that music within that context
• 34:43
  Speaker 4: of a scene. I think it's actually he elevates his
• 34:47
  Speaker 4: game and he never looks back from this.
• 34:51
  Speaker 2: Darren, how do you feel in comparison to Reservoir Dogs.
• 34:55
  Speaker 3: Yeah, well, I mean we stated kind of last week,
• 34:58
  Speaker 3: like where's our Dogs? It has a student film feel
• 35:02
  Speaker 3: like it mainly budget and you know, primarily a single location.
• 35:08
  Speaker 3: You know, it has that flavor like I think he'd
• 35:11
  Speaker 3: even said like, oh, I'm going to shoot this for
• 35:13
  Speaker 3: like one hundred thousand or thirty thousand, and there's like, oh,
• 35:16
  Speaker 3: let me give you a little bit of money, you know,
• 35:17
  Speaker 3: to get some so you don't have to recast yourself
• 35:20
  Speaker 3: as every part. But this was the let him cook, like,
• 35:25
  Speaker 3: give him a budget, get let him do this is
• 35:29
  Speaker 3: this is his shot, you know, And we talked about
• 35:32
  Speaker 3: with the rest of Our Dogs Tarantino being like, this
• 35:35
  Speaker 3: might be the only film I make, so I'm going
• 35:37
  Speaker 3: to go all in and this one, yeah, this, I'm
• 35:40
  Speaker 3: sure he realized, like, Okay, this is my shot to
• 35:43
  Speaker 3: tell the world what a movie made by me is.
• 35:47
  Speaker 3: And I'm sure he said it just like that because
• 35:49
  Speaker 3: he seems a little egotistical, but just a small amount,
• 35:52
  Speaker 3: just a little but he did, and it was warranted.
• 35:56
  Speaker 3: It won awards, It launched careers, you know, And it's
• 36:01
  Speaker 3: gonna be a fun house as we go through these pieces,
• 36:05
  Speaker 3: because especially it's usually when we are going through a house,
• 36:11
  Speaker 3: we'll notice like one actor that kind of keeps popping up,
• 36:15
  Speaker 3: but man, I'm noticing like all sorts of actors and
• 36:17
  Speaker 3: so like the Tarantino gang, as we work through like
• 36:22
  Speaker 3: all these roles, I'm sure we're going to see these
• 36:24
  Speaker 3: people pop up many other times. I mean, I know,
• 36:26
  Speaker 3: obviously the one I've seen Uma Thurman poking her head
• 36:31
  Speaker 3: back up in kill Bill. But we're we're gonna get there.
• 36:36
  Speaker 3: We're gonna get there, guys.
• 36:37
  Speaker 4: We get to meet her feet for the first time
• 36:39
  Speaker 4: here in pulp fiction. And little did we know in
• 36:42
  Speaker 4: nineteen ninety four how important those feet were going to
• 36:45
  Speaker 4: be to Tarantino through time or feed in general.
• 36:49
  Speaker 2: When you think pulp fiction, like when you are driving
• 36:53
  Speaker 2: around in your car and a song comes on or
• 36:57
  Speaker 2: someone makes a reference and you replay pulp fiction in
• 37:01
  Speaker 2: your brain, what's the scene that comes to your mind?
• 37:06
  Speaker 4: Oh, that hurts, that's tough, I'd say at this stage
• 37:10
  Speaker 4: in my life right now, it wouldn't be this one
• 37:13
  Speaker 4: years ago, and I think it's this is definitely a
• 37:17
  Speaker 4: movie where different parts sort of speak to you differently
• 37:19
  Speaker 4: through time.
• 37:20
  Speaker 1: But for the last little while, just the.
• 37:25
  Speaker 4: Way Sam Jackson delivers Jules's final speech and just the
• 37:31
  Speaker 4: way he looks at me, he goes, the truth is, Ringko,
• 37:33
  Speaker 4: You're the weak and I'm the tyranny of evil men.
• 37:37
  Speaker 1: But I'm trying, Ringo, I'm trying.
• 37:40
  Speaker 4: Real hard to be the shepherd, because that's I think
• 37:44
  Speaker 4: that that is everything coming together perfectly.
• 37:49
  Speaker 1: And it's such a beautiful moment of.
• 37:52
  Speaker 4: A character and a person saying I'm you know, like
• 38:00
  Speaker 4: it's that it's that eternal struggle of like how good
• 38:03
  Speaker 4: am I really? And it's a struggle for people. Why
• 38:07
  Speaker 4: did I not yell at the person in the store,
• 38:11
  Speaker 4: Why did I not honk at the guy in traffic.
• 38:14
  Speaker 4: Why did it because I'm trying. I'm trying real hard
• 38:17
  Speaker 4: to be the shepherd. So that scene, I think, I
• 38:21
  Speaker 4: think that is really the calling card scene. That's definitely
• 38:24
  Speaker 4: the scene that got Sam Jackson the Oscar nomination from
• 38:28
  Speaker 4: what I understand. To go back to the story you
• 38:29
  Speaker 4: were talking about, Sam Jackson recounted one time that when
• 38:33
  Speaker 4: he went back to quote unquote reaudition, he delivered that
• 38:39
  Speaker 4: speech from that moment pretty much exactly as you saw
• 38:44
  Speaker 4: it in the film, and he he thinks he thought
• 38:48
  Speaker 4: that basically that was what got him the role.
• 38:50
  Speaker 3: Ultimately, well that's smart because it's like, you want this,
• 38:54
  Speaker 3: you gotta cast me like, yeah, you liked how it
• 38:57
  Speaker 3: was delivered, you gotta bring me in.
• 38:59
  Speaker 4: And I'll still say Sam Jackson absolutely robbed of his
• 39:05
  Speaker 4: Oscar win because he was up against if I remember correctly,
• 39:11
  Speaker 4: Martin Landau for ed Wood, and I if I'm remembering
• 39:17
  Speaker 4: that correctly, because I remember Sam Jackson was asked one
• 39:21
  Speaker 4: time and this was what endeared him to me a
• 39:23
  Speaker 4: great deal was he mouthed the word when he lost.
• 39:27
  Speaker 4: Because they used to show that, I think they still
• 39:29
  Speaker 4: do show everybody sitting in the audience and he mouthed
• 39:31
  Speaker 4: the word and somebody was like, did you say that?
• 39:33
  Speaker 1: He goes yeah, I thought I was gonna win. I
• 39:36
  Speaker 1: was like, I like this guy. I like him a lot.
• 39:41
  Speaker 2: Yeah, Sam Jackson. I feel like everybody has a love
• 39:44
  Speaker 2: affair with Sam Jackson. And a big part of it is,
• 39:49
  Speaker 2: you know, we got to see that, We got to
• 39:51
  Speaker 2: see what he could do. We got to see that
• 39:52
  Speaker 2: personality come out in this movie. Now, speaking of coming
• 39:57
  Speaker 2: out in this movie, we should talk. We need to
• 39:59
  Speaker 2: talk about Travolta because he made a series of flops
• 40:02
  Speaker 2: in the eighties and you know, look who's talking came
• 40:05
  Speaker 2: out and that revitalized his career a little bit, but
• 40:08
  Speaker 2: it didn't skyrocket his career forward like Pulp Fiction did. Darren,
• 40:14
  Speaker 2: what do you think of Travolta's performance in this movie,
• 40:18
  Speaker 2: because you know, like it was offered to a few
• 40:21
  Speaker 2: other people before it got to him, Like it was
• 40:24
  Speaker 2: originally going to go to Michael Madsen where he would
• 40:27
  Speaker 2: play another Vega, but he had prior commitments on Wyatt
• 40:32
  Speaker 2: Earp And I think Harvey Kitel was the one who said, wait, wait, wait,
• 40:38
  Speaker 2: wait was it no, no, no, no, I'm sorry it wasn't
• 40:40
  Speaker 2: Harvick Kitel. It went to James Gandolfini, and Gandolfini said, no, no, no,
• 40:45
  Speaker 2: you should give it to my buddy John Travolta, and
• 40:47
  Speaker 2: then they had a conversation with Travolta and it just
• 40:51
  Speaker 2: his career just went off. And I would love to know,
• 40:55
  Speaker 2: you know, with my comment about him being the touchstone,
• 40:58
  Speaker 2: what do you think about him throughout this movie?
• 41:01
  Speaker 3: Yeah, I mean he he was a very interesting character
• 41:06
  Speaker 3: because you're you're getting into his head, you know, you're
• 41:10
  Speaker 3: he you know, he's having the car ride moments and
• 41:13
  Speaker 3: and kind of you know, talking about uh, you know,
• 41:16
  Speaker 3: the reale with cheese and all that stuff. Like you
• 41:19
  Speaker 3: like the guy, like, you know, he's a I guess
• 41:22
  Speaker 3: an enforcer. I don't know what is you know, the
• 41:25
  Speaker 3: exact title would be, but it just I yeah, I
• 41:30
  Speaker 3: liked how he wove throughout all the stories. You know.
• 41:33
  Speaker 3: I was sad he got shot. You know, he's like,
• 41:35
  Speaker 3: that's not a not a good end. But I think
• 41:39
  Speaker 3: in a way it's I mean, obviously I've seen him
• 41:42
  Speaker 3: in other things, but he kind of disappeared into the
• 41:44
  Speaker 3: role like I just saw this character. I wasn't ever
• 41:48
  Speaker 3: and maybe because he's younger, maybe whatever factor led to it.
• 41:52
  Speaker 3: I never felt like, well, that's John Travolta sitting there,
• 41:55
  Speaker 3: you know, doing something. It's like, no, it was, this
• 41:57
  Speaker 3: is Vincent Vega. This is a different guy. It says
• 42:00
  Speaker 3: a guy who's in this situation. He's trying to talk
• 42:04
  Speaker 3: himself out of like making mistakes, and you start to
• 42:07
  Speaker 3: invest in him, you start to care about what he's doing.
• 42:10
  Speaker 3: So yeah, I think you know having it's again writing
• 42:15
  Speaker 3: that line where which I mean, would you say he's
• 42:21
  Speaker 3: like the main character as far as number of minutes
• 42:25
  Speaker 3: scene out of It's hard. It's a hard kind of
• 42:27
  Speaker 3: movie to put a pin on that. But it works
• 42:30
  Speaker 3: as as it flows throughout. So yeah, now I really
• 42:34
  Speaker 3: I dug his performance.
• 42:37
  Speaker 2: John, What do you think about the ensembles of characters, because,
• 42:41
  Speaker 2: like with what Darren was talking about, like you know,
• 42:43
  Speaker 2: Travolta's top build, it's you could argue that he is
• 42:46
  Speaker 2: the protagonist, but you know, like, how do you feel
• 42:51
  Speaker 2: it works together? Do you think everybody flows? Do you
• 42:54
  Speaker 2: think it could be improved? Do you feel like there
• 42:57
  Speaker 2: are things that could be trimmed down, performances that could
• 43:01
  Speaker 2: be reinterpreted. What's your what's your opinion on that?
• 43:04
  Speaker 4: On the ensemble, I think in the ensemble, I think
• 43:08
  Speaker 4: that everything down to the chemistry between Tim Roth and
• 43:12
  Speaker 4: Amanda Plumber is key and works.
• 43:15
  Speaker 1: I think that.
• 43:17
  Speaker 4: Tarantino lucks out because he has he has, you know,
• 43:23
  Speaker 4: an acting crew that works so well together, whether they're
• 43:26
  Speaker 4: in a group or paired off.
• 43:28
  Speaker 1: And I think that.
• 43:31
  Speaker 4: What's what's really fascinating is I think the real casting
• 43:37
  Speaker 4: coup de gras, if you will, was Bruce Willis doing this.
• 43:42
  Speaker 4: Bruce Willis had no reason to descend from the A
• 43:44
  Speaker 4: list heavens into pulp fiction, but the fact that he
• 43:50
  Speaker 4: did was a beautiful, like two way exchange. He got
• 43:54
  Speaker 4: cred as an actor, not just as you know John
• 43:58
  Speaker 4: McClain action star. He got cred as an actor, a
• 44:02
  Speaker 4: guy who could play a role. And Tarantino got to
• 44:07
  Speaker 4: put an A list person in in a supporting role
• 44:12
  Speaker 4: that would arguably get the interest of some people who
• 44:17
  Speaker 4: might be iffy about the movie, where it's like, I
• 44:19
  Speaker 4: don't really oh, Bruce Willis is in a uh sure,
• 44:22
  Speaker 4: I'll go check it out. Like that, you know, that's
• 44:23
  Speaker 4: the power of the name that you bring to the role.
• 44:27
  Speaker 4: I think the unfortunate thing is that I think there
• 44:31
  Speaker 4: are some actors and actresses who get a little lost
• 44:34
  Speaker 4: in the shuffle. I think Eric Stoltz's drug Dealer is
• 44:40
  Speaker 4: an absolute masterful performance and believable and scumbag in his
• 44:49
  Speaker 4: own way. But that's the trick is Tarantino gets these
• 44:53
  Speaker 4: people who have this natural charisma that let you forget
• 44:57
  Speaker 4: that they're drug dealers and murderers and just all around
• 45:01
  Speaker 4: reprehensible people. I think that Frank Waally gets forgetting a
• 45:07
  Speaker 4: little bit forgotten a little bit because he sells his
• 45:11
  Speaker 4: terror in the opening scene. But I think all of
• 45:16
  Speaker 4: this said, setting Sam Jackson aside, the real thunderbolt that
• 45:23
  Speaker 4: Tarantino has here is Uma Thurman, because I think that
• 45:29
  Speaker 4: the way she portrays Mia Wallace, you're always wondering whether
• 45:35
  Speaker 4: she's secretly terrible or an innocent bystander who happened to
• 45:41
  Speaker 4: marry a crime lord. But that doesn't make any sense
• 45:46
  Speaker 4: sort of thing, and I think that she just she
• 45:47
  Speaker 4: plays it so perfectly that I think that she's another
• 45:52
  Speaker 4: ingredient in this movie. Like it's easy to talk about
• 45:55
  Speaker 4: Travolta revitalizing his career and Sam Jackson coming into his
• 45:59
  Speaker 4: own as a are Bruce willis getting that cred but
• 46:02
  Speaker 4: Uma Thurman that that that that bit between her and
• 46:10
  Speaker 4: and Travolta really sells a very important piece of the film.
• 46:16
  Speaker 4: And yeah, so I that's a very long winded way
• 46:21
  Speaker 4: to say I love everybody, but let's not forget it
• 46:24
  Speaker 4: m with Thurman.
• 46:25
  Speaker 1: So there you go.
• 46:26
  Speaker 2: It's really interesting how if Uma Thurman wasn't in this,
• 46:29
  Speaker 2: how much that would have influenced the future. It would
• 46:33
  Speaker 2: have influenced this movie. It also would have influenced Kill
• 46:37
  Speaker 2: Bill volume one and volume two, and and also her
• 46:43
  Speaker 2: daughter being involved with the future Tarantino project. It's it's
• 46:48
  Speaker 2: interesting because he this was not a slam dunk to
• 46:52
  Speaker 2: have Uma Thurman on board, Like initially, she didn't want
• 46:56
  Speaker 2: to be Miil Wallace, even though everyone in Hollywood wanted
• 46:59
  Speaker 2: to be Mea Wallace. Everyone was going out for Mia Wallace.
• 47:04
  Speaker 2: People knew that this was gonna be the next big thing,
• 47:07
  Speaker 2: and Tarantino had to call Uma Thurman personally and read
• 47:15
  Speaker 2: her the script over the phone, saying no, no, no, this
• 47:17
  Speaker 2: part's cool and we can do this with it, and
• 47:20
  Speaker 2: we can do that with it, and I need you
• 47:22
  Speaker 2: to do it. And they developed a connection together, and
• 47:26
  Speaker 2: while they were on set, she started talking about the
• 47:30
  Speaker 2: Fox Force five movie, like you should do a Fox
• 47:32
  Speaker 2: Force five movie for real, like get all those people together,
• 47:36
  Speaker 2: and he said that'd be interesting to do, and then
• 47:39
  Speaker 2: that kind of morphed into them talking about, you know,
• 47:42
  Speaker 2: different kinds of assassins and like, and then she developed
• 47:48
  Speaker 2: the image of a bride being beaten and on the
• 47:51
  Speaker 2: ground and then that's you know, so on the set,
• 47:55
  Speaker 2: on the set of pulp fiction, kill Bill was born,
• 47:58
  Speaker 2: and it's just really fat how those dominoes fall, and
• 48:01
  Speaker 2: none of that would have taken place without Uma Therman
• 48:05
  Speaker 2: saying yes, and this this is one of those things
• 48:08
  Speaker 2: where it's just like a thousand pieces are just you know,
• 48:12
  Speaker 2: working together and came together and painted and created a
• 48:16
  Speaker 2: whole picture. Now, Darren, you you said that there, that
• 48:23
  Speaker 2: you didn't really dig on the nonlinear structure because of
• 48:27
  Speaker 2: a lack of tension in your brain in your mind.
• 48:31
  Speaker 2: Was there anything else that really didn't work for you,
• 48:33
  Speaker 2: anything that kind of screamed, you know what, this could
• 48:36
  Speaker 2: have been done better, This was too long, or we
• 48:40
  Speaker 2: were here, or we really didn't need that scene, that
• 48:43
  Speaker 2: scene went too far. What did you think.
• 48:50
  Speaker 3: I mean, overall it it It worked in a lot
• 48:54
  Speaker 3: of ways, you know. I mean, I definitely give it
• 48:58
  Speaker 3: high marks for making me care and connect with the
• 49:01
  Speaker 3: characters like that doesn't often, you know, always happen in movies.
• 49:04
  Speaker 3: So definitely Bruce Willis's character with which the most as
• 49:09
  Speaker 3: far as caring what happened to him and his story.
• 49:12
  Speaker 3: But yeah, no, there's I mean, I'll defer my time
• 49:18
  Speaker 3: about things that I didn't like because there wasn't really
• 49:21
  Speaker 3: much overall. And let's talk a bit about the briefcase
• 49:26
  Speaker 3: because that's the weird mcguffin that's kind of like but
• 49:31
  Speaker 3: you don't even need a mcguffin, like it's introduced kind
• 49:34
  Speaker 3: of really was introduced in the beginning, but then we
• 49:37
  Speaker 3: don't see it until the very end and it and
• 49:42
  Speaker 3: I love, I mean, I love the fact of how
• 49:44
  Speaker 3: it's played. I love that you never see what's in
• 49:46
  Speaker 3: it from the weird, glowing godly light coming out of it.
• 49:50
  Speaker 3: You know. I've heard all the rumors of you know,
• 49:53
  Speaker 3: it's the soul of the boss or you know, And
• 49:57
  Speaker 3: I think the point is just like you really have
• 50:01
  Speaker 3: to go back to pulp fiction. Imagine this as a
• 50:04
  Speaker 3: as a graphic novel or something like Sin City or
• 50:07
  Speaker 3: something like that, and they open it and light shines out,
• 50:11
  Speaker 3: like doesn't physically shine out, but they are amazed by
• 50:14
  Speaker 3: what they see. And that's all the light conveys. I
• 50:19
  Speaker 3: don't think there's actually a glowing object inside the case
• 50:22
  Speaker 3: or meant to expect that. It's more highlighting for us,
• 50:27
  Speaker 3: the watchers, how they are reacting to it. But I
• 50:31
  Speaker 3: love the fact that we are never told.
• 50:33
  Speaker 1: But that is well.
• 50:35
  Speaker 4: You could even go further with the whole soul thing,
• 50:39
  Speaker 4: which was a very contentious interpretation back in nineteen ninety four,
• 50:44
  Speaker 4: and you could go ahead and say, well, it's Vincent
• 50:47
  Speaker 4: who looks on it, and much like the Ark of
• 50:49
  Speaker 4: the Covenant, he sees something he's not supposed to see,
• 50:52
  Speaker 4: and that's why Vincent is the one who dies.
• 50:55
  Speaker 1: Actual discussion point.
• 50:56
  Speaker 4: That was thrown out there back then, and the person
• 50:59
  Speaker 4: was not under the influence of anything when they made
• 51:01
  Speaker 4: that point with me, and I said, oh, that's oh really.
• 51:06
  Speaker 4: I think the beauty of it is much like Anye mcguffin,
• 51:09
  Speaker 4: it doesn't matter what it is, it's what you want
• 51:10
  Speaker 4: it to be. It's so secondary and it just needs
• 51:14
  Speaker 4: to be something so wonderful, and you need to know
• 51:16
  Speaker 4: that the characters care about it's so much that Jewels
• 51:21
  Speaker 4: is justified to low key just.
• 51:22
  Speaker 1: Put his hand together.
• 51:23
  Speaker 4: I went through too much for this case today to
• 51:25
  Speaker 4: let you just walk out of here with it. You know,
• 51:27
  Speaker 4: Like he's not yelling, he's not arguing for it, he's
• 51:32
  Speaker 4: just so done by the end of by that moment,
• 51:34
  Speaker 4: he's just like, I really can't let you take this.
• 51:37
  Speaker 1: This just isn't what's going to happen.
• 51:39
  Speaker 3: And that's a good point because you don't need to
• 51:43
  Speaker 3: know what's inside, but you need to know the connection
• 51:45
  Speaker 3: between the characters and the case. It makes me think
• 51:49
  Speaker 3: of like Castaway, where we don't know what's inside that
• 51:52
  Speaker 3: box that he's trying to deliver. And I think if
• 51:55
  Speaker 3: they had not added a little bit of splash to
• 52:00
  Speaker 3: the case and just you know, helping it looked inside
• 52:02
  Speaker 3: okay whatever, like like there was nothing mysterious about it.
• 52:05
  Speaker 3: I don't know if that would have made the end
• 52:07
  Speaker 3: scene work as much because we would have started asking like, well,
• 52:10
  Speaker 3: what is in the case? Why are you caring so
• 52:12
  Speaker 3: much about it? But that for me, that was all
• 52:15
  Speaker 3: dissuaded by what they had set up through the whole movie.
• 52:18
  Speaker 3: It's like, Okay, obviously we're not going to be shown
• 52:21
  Speaker 3: what's in the case, but it's a mystery and it matters,
• 52:25
  Speaker 3: you know, what they're how they're interacting about it. But
• 52:29
  Speaker 3: what do you think about the mystery case, Tristan, Well.
• 52:33
  Speaker 2: I'm kind of with with with John on it where
• 52:37
  Speaker 2: it mcguffin, It doesn't really matter what the mcguffin is,
• 52:41
  Speaker 2: And like what you're saying is just their connection to it,
• 52:43
  Speaker 2: like jewels connection to it. He's like, no, no, no, no, it
• 52:46
  Speaker 2: doesn't belong to me. I can't give it away. It's
• 52:50
  Speaker 2: like the rabbit's foot in Mission Possible three. We have
• 52:53
  Speaker 2: no idea what the rabbit's foot is. They don't even
• 52:56
  Speaker 2: know what the rabbit's foot is, but they just have
• 52:59
  Speaker 2: to get it and it's it's a wink to the audience.
• 53:02
  Speaker 2: And some people call it lazy. I think it's just
• 53:06
  Speaker 2: shows that with good filmmaking and good storytelling, it doesn't
• 53:11
  Speaker 2: matter and it adds to the mystery. So like I
• 53:14
  Speaker 2: I'm all for it. I think it's funny and it
• 53:15
  Speaker 2: makes me think of that community episode where a guy
• 53:20
  Speaker 2: bought the prop off of eBay and they ended up
• 53:25
  Speaker 2: having it plugged in too long and the lights burned
• 53:28
  Speaker 2: out the case and the caused a kitchen fire.
• 53:33
  Speaker 1: How wonderful? How wonderful?
• 53:36
  Speaker 2: Uh so okay, so so John, I want we're getting
• 53:42
  Speaker 2: we're getting close to third here, like we're we're we're
• 53:45
  Speaker 2: rounding third and I feel like we I feel like
• 53:47
  Speaker 2: there's so much more to talk about. There's so much
• 53:50
  Speaker 2: more that works. And I like the introduction of char
• 53:53
  Speaker 2: Like one thing that really that I really love is
• 53:55
  Speaker 2: the introduction of characters where you the introduction of Brufe willis,
• 54:00
  Speaker 2: the camera's on him for thirty six seconds before he
• 54:02
  Speaker 2: says a word, but yet we're hearing Ving Raims for
• 54:06
  Speaker 2: thirty six seconds and we never see his face until later.
• 54:11
  Speaker 2: And with the introduction of jewels and Vincent, it comes
• 54:16
  Speaker 2: one of the greatest movie lines of all time, quite literally,
• 54:20
  Speaker 2: with Royal with Cheese, and you have the introduction of
• 54:26
  Speaker 2: the wolf again back of the Head, the introduction of Mia,
• 54:30
  Speaker 2: just this disembodied voice, just lips on a microphone, and
• 54:35
  Speaker 2: it's just there's many just it's just a great collection
• 54:40
  Speaker 2: of moments. And I think Quentin Tarantino himself was worried
• 54:43
  Speaker 2: that people weren't going to get it. He said, He's like,
• 54:45
  Speaker 2: right now, it just kind of feel he was telling
• 54:47
  Speaker 2: Robert Rodriguez. He said, he's like, right now, it just
• 54:49
  Speaker 2: feels like a just like a jumble, it's just like
• 54:52
  Speaker 2: a collect It's a crazy Quintin movie. You know, like
• 54:55
  Speaker 2: our audience is going to get it. And then he
• 54:58
  Speaker 2: walked home with the palm dy or.
• 55:00
  Speaker 4: I think that a big thing is and this is
• 55:04
  Speaker 4: one of the things I love about pulp fiction, and
• 55:06
  Speaker 4: I think it validates his natural tendencies and he leans
• 55:12
  Speaker 4: into it going forward, and I'm so grateful for it.
• 55:14
  Speaker 4: Is he's very patient with his shots. There are a
• 55:21
  Speaker 4: lot of tracking shots. There are a lot of and
• 55:23
  Speaker 4: you mentioned Bruce Willis, how many filmmakers have the stones
• 55:29
  Speaker 4: to have somebody's introduction be thirty six seconds staring off
• 55:35
  Speaker 4: screen at the person who's talking like that is that's
• 55:40
  Speaker 4: a ballsy move. That is a risky, risky gamble when
• 55:46
  Speaker 4: you have even back in the nineties, Oh kids, they
• 55:49
  Speaker 4: just want cuts. Now, you know, you go to with
• 55:51
  Speaker 4: the Player by Roger Robert Altman where they're like, oh,
• 55:55
  Speaker 4: they just want cut, cut, cut cut, And he's slightly
• 55:57
  Speaker 4: just tracking along with them, but Tarantino doesn't call attention
• 56:01
  Speaker 4: to it, and you sort of have to pay attention
• 56:03
  Speaker 4: to it. That for instance, when Bruce Willis is going
• 56:05
  Speaker 4: back to his when Butch's going back to his apartment,
• 56:08
  Speaker 4: that's a really.
• 56:09
  Speaker 1: Long shot where they're just following him.
• 56:12
  Speaker 4: As he's snaking his way through, and you go, wait that, oh,
• 56:16
  Speaker 4: And it sells an authenticity to everything, because that's how
• 56:21
  Speaker 4: life is. Life isn't a lot of smash cuts. You
• 56:24
  Speaker 4: should hear me when I lecture the kids about TikTok,
• 56:27
  Speaker 4: where I'm like, oh, yeah, it's easy for somebody to
• 56:29
  Speaker 4: sell you on an idea when everything's like all smash
• 56:31
  Speaker 4: cuts in thirty seconds if they but they have to
• 56:34
  Speaker 4: be able to talk to you.
• 56:36
  Speaker 1: For it to be truly persuasive. And you know, eh,
• 56:40
  Speaker 1: I don't know.
• 56:41
  Speaker 4: If you release pulp fiction today, I think that Tristan,
• 56:46
  Speaker 4: you said this last week, with the way that it's done,
• 56:49
  Speaker 4: this is quietly released on Prime or Netflix and takes
• 56:54
  Speaker 4: forever for anybody to find and then it's lost in
• 56:56
  Speaker 4: the shuffle.
• 56:57
  Speaker 2: Overall, I think I disagree with you on that one.
• 57:01
  Speaker 2: I think feel free to I think with Reservoir Dogs
• 57:04
  Speaker 2: that's true with what I said last week. I think
• 57:08
  Speaker 2: that with this one, m H. I think this one
• 57:11
  Speaker 2: cuts through the noise. I think this is one that
• 57:15
  Speaker 2: more people talk about and word of mouth really really
• 57:22
  Speaker 2: plays well.
• 57:24
  Speaker 4: I think that I still disagree with you. I'll concede
• 57:29
  Speaker 4: that within like a certain bubble, like I if I
• 57:32
  Speaker 4: went onto letterbox, a lot of my friends would log
• 57:35
  Speaker 4: pulp fiction. But I think that if I walk down
• 57:39
  Speaker 4: the street, it would not be what pulp fiction was
• 57:42
  Speaker 4: back in ninety four, where people in my age range
• 57:46
  Speaker 4: were all saying, did you see pulp fiction? Did you
• 57:47
  Speaker 4: see pulp fiction?
• 57:48
  Speaker 1: Like it was?
• 57:49
  Speaker 3: It was?
• 57:51
  Speaker 4: It was not a Star Wars moment, because Star Wars
• 57:54
  Speaker 4: every age range went nuts for it. Everybody went nuts
• 57:57
  Speaker 4: for Batman in eighty nine. But within that Jet X strata,
• 58:01
  Speaker 4: it was like you had to see pulp fiction to
• 58:03
  Speaker 4: get admitted to the clubhouse sort of thing. I was like,
• 58:05
  Speaker 4: did you see pulp fiction yet?
• 58:07
  Speaker 3: No?
• 58:07
  Speaker 4: Okay, go to the theater and then come back right
• 58:09
  Speaker 4: that that sort of thing, And I just I think
• 58:14
  Speaker 4: there's so much noise now.
• 58:15
  Speaker 1: I think.
• 58:18
  Speaker 4: Maybe it would just depend on which service it got
• 58:20
  Speaker 4: released on. But I think this very much benefits from
• 58:24
  Speaker 4: the time period in which it's released, And I think
• 58:26
  Speaker 4: that going forward with Tarantino, you're going to see his
• 58:29
  Speaker 4: style encounter more resistance at in sort of like the
• 58:35
  Speaker 4: general public's willingness to entertain him and his styles that
• 58:42
  Speaker 4: he lays out there.
• 58:43
  Speaker 2: Darren, what are your final thoughts on on this?
• 58:47
  Speaker 3: Yeah, I just wanted to say, when watching Bruce Willis,
• 58:51
  Speaker 3: especially driving in the car, I was getting major Sin
• 58:55
  Speaker 3: City vibes, like his role in that, like which was
• 58:58
  Speaker 3: a great, great role for him as well, which was
• 59:01
  Speaker 3: only like a decade later. But yeah, it's like you,
• 59:07
  Speaker 3: like you were talking about the Honestly, my favorite part
• 59:11
  Speaker 3: is the whole butch part. That's that whole chunk of
• 59:15
  Speaker 3: the story was just so interesting and like you said,
• 59:18
  Speaker 3: like where he parked his car and worked his way
• 59:20
  Speaker 3: through like that you know, deserted lot, there's a car.
• 59:24
  Speaker 3: This is a character who is smart, Like they're not perfect,
• 59:29
  Speaker 3: but they're not dumb. They're not like I'm going to
• 59:32
  Speaker 3: go park in my parking spot in the parking garage
• 59:35
  Speaker 3: and oh my gosh, there was a guy there. How
• 59:37
  Speaker 3: did I know. It's like, no, he takes steps, he
• 59:40
  Speaker 3: doesn't know if there's a bad guy. I don't know
• 59:43
  Speaker 3: if there's a bad guy. I'm assuming there's one around
• 59:45
  Speaker 3: every corner that we go around. And so yeah, that
• 59:50
  Speaker 3: that whole part was was just riveting. But yeah, this overall,
• 59:56
  Speaker 3: you know, this one, I'll definitely get another watch because
• 1:00:00
  Speaker 3: it needs that marinating time to where where I'm not
• 1:00:06
  Speaker 3: focusing so much on because honestly, you know, when I'm
• 1:00:10
  Speaker 3: watching Tarantino, I'm keeping it a little I'm keeping it
• 1:00:14
  Speaker 3: at arm's length a little bit because I'm not sure
• 1:00:17
  Speaker 3: what I'm gonna get. Like, honestly, part of the Brute,
• 1:00:20
  Speaker 3: the willis parts, I was turning down the volume because
• 1:00:22
  Speaker 3: I'm like, I'm not ready if something comes around that
• 1:00:25
  Speaker 3: corner and someone gets shot, like I need, I need
• 1:00:28
  Speaker 3: to to take that in small bites. But all that
• 1:00:32
  Speaker 3: to say, yeah, I can see why this propelled Tarantino's career.
• 1:00:37
  Speaker 3: And and but it's sounding like it's gonna be a
• 1:00:40
  Speaker 3: little bit of a roller coaster over the next couple
• 1:00:42
  Speaker 3: of weeks, not always going up.
• 1:00:47
  Speaker 2: John, how many gold watches are you giving this film?
• 1:00:53
  Speaker 1: What as if it's not already five?
• 1:00:56
  Speaker 4: I think even even the the play of the scene
• 1:01:02
  Speaker 4: with Butch and they like the way that the cold
• 1:01:05
  Speaker 4: Watch starts is such a necessary breather after all of
• 1:01:08
  Speaker 4: the excitement. It's such a nice pacing choice to slow
• 1:01:14
  Speaker 4: everything down and just have those cool scenes and let
• 1:01:19
  Speaker 4: it breathe for a second, like you're still processing everything
• 1:01:22
  Speaker 4: that you went through. I like, I could go on
• 1:01:27
  Speaker 4: forever and ever, and people are probably tired of even
• 1:01:29
  Speaker 4: hearing me up to this point.
• 1:01:30
  Speaker 1: But this is a five. Like.
• 1:01:32
  Speaker 4: I think that even if I didn't love this film,
• 1:01:35
  Speaker 4: I'd give it a five because of the fact that
• 1:01:39
  Speaker 4: everything changes after this. Everything changes after this. This is
• 1:01:43
  Speaker 4: such an impactful film in so many ways.
• 1:01:48
  Speaker 1: But I do love it.
• 1:01:49
  Speaker 4: I unabashedly, unironically adore this film. I love it so much.
• 1:01:55
  Speaker 4: I think it's so wonderful. Even if I watch it
• 1:01:57
  Speaker 4: for the first time today, I would start sending text
• 1:02:00
  Speaker 4: messages to friends saying.
• 1:02:02
  Speaker 1: You got to see this thing. This is pretty great,
• 1:02:05
  Speaker 1: and I'll close.
• 1:02:07
  Speaker 3: I got your text, John, I got your text. You
• 1:02:09
  Speaker 3: kept texting me all weekend. Have you watched Pulliction yet?
• 1:02:12
  Speaker 3: And I said, give me a moment.
• 1:02:14
  Speaker 1: I will.
• 1:02:14
  Speaker 4: I will go ahead and throw him under the bus
• 1:02:16
  Speaker 4: as I close out my rating. And Joey gave it
• 1:02:18
  Speaker 4: a two point five.
• 1:02:19
  Speaker 1: Out of five. So there, Joey.
• 1:02:23
  Speaker 4: He thinks it was okay, but he'll never watch it
• 1:02:25
  Speaker 4: again in his life.
• 1:02:26
  Speaker 2: I was okay.
• 1:02:27
  Speaker 4: I call him now and I ask him, listen, we're
• 1:02:29
  Speaker 4: talking about Tarantino. I know all of his rankings from
• 1:02:32
  Speaker 4: here on out for the rest of the House of Tarantino.
• 1:02:34
  Speaker 4: So you're welcome, folks. That's the one thing I did
• 1:02:36
  Speaker 4: research on.
• 1:02:39
  Speaker 3: It.
• 1:02:39
  Speaker 2: Speaking of walkin, I don't think I've ever seen Christopher
• 1:02:44
  Speaker 2: Walking as compelling as this, And that's not a knock
• 1:02:48
  Speaker 2: on his career. This is a man who's had a
• 1:02:50
  Speaker 2: stellar career and is still going forward, still having great
• 1:02:54
  Speaker 2: moments and great roles. Especially I think his latest thing
• 1:02:58
  Speaker 2: that I've seen him in a season one of Severn's,
• 1:03:00
  Speaker 2: which he's done a phenomenal job, and even this later
• 1:03:04
  Speaker 2: in his career and the gold Watch story. It starts
• 1:03:09
  Speaker 2: off so real and intimate, and and then then it
• 1:03:17
  Speaker 2: turns into a joke, but not not like Slapstick. It's
• 1:03:22
  Speaker 2: it's still something that could happen, but yet it adds
• 1:03:25
  Speaker 2: a levity to it even though it's discussing something absolutely horrible.
• 1:03:30
  Speaker 2: And I feel like I could watch walk and do
• 1:03:33
  Speaker 2: a one man show. This made me feel like I
• 1:03:38
  Speaker 2: wanted a Christopher walk in One Man show in the
• 1:03:40
  Speaker 2: in the theater. Darren, what are you given this? Like
• 1:03:44
  Speaker 2: you're you're clearly not given it a five? So I
• 1:03:46
  Speaker 2: want to know, I want to know how far down
• 1:03:50
  Speaker 2: how far down the pawn shop basement are you going?
• 1:03:55
  Speaker 2: And giving this?
• 1:03:56
  Speaker 3: That's the scene I knew something was coming. Uh. It
• 1:03:59
  Speaker 3: was towards the end of watching this it started to
• 1:04:01
  Speaker 3: trickle back. The only plot points I had seen before
• 1:04:05
  Speaker 3: this was the early two thousand and like thirty second
• 1:04:08
  Speaker 3: bunny clips where they do like flash animations of a film.
• 1:04:12
  Speaker 3: And again now watching that, it makes all sense. But
• 1:04:16
  Speaker 3: during it it's like and then I kept this watch
• 1:04:18
  Speaker 3: and then it's just like what this movie doesn't make
• 1:04:21
  Speaker 3: any sense? Like these little clips have nothing to do
• 1:04:23
  Speaker 3: with each other. No, you know, I'm giving it a five.
• 1:04:31
  Speaker 3: I really am. I know, I know, Okay, I'm not
• 1:04:34
  Speaker 3: dinging it because it's not quite my type of movie.
• 1:04:39
  Speaker 3: Like again, I know going into this like I am
• 1:04:41
  Speaker 3: not a Tarantino guy, or I would have watched a
• 1:04:45
  Speaker 3: lot of more Tarantino by now. But I can see,
• 1:04:50
  Speaker 3: you know, it's a really well made story. It's act.
• 1:04:55
  Speaker 3: The acting is incredible. It's launching careers. It's it's launching,
• 1:05:01
  Speaker 3: you know, Tarantino's career. So maybe it's the reverse of
• 1:05:07
  Speaker 3: rose colored glasses. But I'm not dinging it for oh, well,
• 1:05:12
  Speaker 3: you know, not my cup of tea. But like I've
• 1:05:15
  Speaker 3: even said, like I will probably watch this again to
• 1:05:18
  Speaker 3: get that secondary or maybe even three times to absorb it,
• 1:05:22
  Speaker 3: because I think the second viewing is only gonna be better.
• 1:05:25
  Speaker 3: It's that kind of movie. So I'm giving it five
• 1:05:29
  Speaker 3: gold watches. I'm not gonna tell you where they were.
• 1:05:31
  Speaker 2: But yeah, I'm giving this film five bumps as well.
• 1:05:39
  Speaker 2: This was this is this is a movie, This is
• 1:05:43
  Speaker 2: a this is one of those where you could argue
• 1:05:45
  Speaker 2: it's a perfect movie. It's it's stellar, there's so many
• 1:05:50
  Speaker 2: great things going on, and we've gone on for over
• 1:05:54
  Speaker 2: an hour talking about it, and it's it's funny.
• 1:05:57
  Speaker 1: Guys.
• 1:05:57
  Speaker 2: I still feel like we haven't really discussed this movie.
• 1:06:01
  Speaker 2: And this is one of those movies that I would
• 1:06:04
  Speaker 2: love to do a commentary on where we watch it
• 1:06:06
  Speaker 2: together and then discuss the moments as they happen. This
• 1:06:11
  Speaker 2: is something that I this is a movie that people
• 1:06:15
  Speaker 2: will watch for literally centuries. I truly believe that this
• 1:06:18
  Speaker 2: is like reservoir dogs, kick door, kick the door open
• 1:06:23
  Speaker 2: for independent films, pulp fiction, double barreled it. Darren, what
• 1:06:28
  Speaker 2: are we doing next week?
• 1:06:30
  Speaker 3: Well, next week we're going forward to nineteen ninety seven
• 1:06:33
  Speaker 3: with the next Tarantino film, Jackie Brown.
• 1:06:36
  Speaker 1: Here on house Lights.
• 1:06:39
  Speaker 3: Join the revolution, Join the net platine