Latest / Houselights: A Film Director Podcast / Once Upon a Time in Hollywood (2019) - Quentin Tarantino | Houselights #220

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Once Upon a Time in Hollywood (2019) - Quentin Tarantino | Houselights #220 · Houselights: A Film Director Podcast

• 0:03
  Speaker 1: Welcome to the net Palty.
• 0:21
  Speaker 2: Now Hollywood's a funny town. One day, you're the hottest
• 0:24
  Speaker 2: sticking in town, the guy every producer wants the name
• 0:27
  Speaker 2: on the Ivory Marquee. Next thing you know, you're sitting
• 0:30
  Speaker 2: in your own living room watching a younger, handsomer version
• 0:32
  Speaker 2: of yourself do the things you used to do, only worse.
• 0:35
  Speaker 2: And somehow they still get the big paycheck. And that, folks,
• 0:39
  Speaker 2: is what we're talking about. Tonight. Welcome to house Lights,
• 0:41
  Speaker 2: the podcast where we shine a little light on the
• 0:43
  Speaker 2: people behind the camera, the storytellers, the showmen, the mythmakers.
• 0:47
  Speaker 2: Today's feature Quentin Tarantinos Once upon a Time in Hollywood,
• 0:51
  Speaker 2: a film about the kind of men who built this
• 0:52
  Speaker 2: town and the slow, quiet realization that the town doesn't
• 0:56
  Speaker 2: need him anymore. Your hosts, Darren Moser, John Mills, and
• 0:59
  Speaker 2: me Tristan Riddell. We're here to talk about Tarantino, sprawling
• 1:03
  Speaker 2: ode to old Hollywood, the fading of an era, and
• 1:06
  Speaker 2: the kind of loyalty that sticks around even when the
• 1:08
  Speaker 2: contracts don't. So pour yourself a drink, settle in, and
• 1:11
  Speaker 2: remember this business ain't about how good you were, It's
• 1:14
  Speaker 2: about whether or not, Folks, still want to see what
• 1:16
  Speaker 2: you got. Left Lights down, House lights up, Let's begin.
• 1:36
  Speaker 1: A summer time.
• 1:40
  Speaker 2: I am so excited to talk tonight because when we
• 1:43
  Speaker 2: said that we were going to be doing a Tarantino retrospective.
• 1:47
  Speaker 2: Now there's so many gems in his filmography, but this
• 1:51
  Speaker 2: was his latest film. This was his last film to date,
• 1:54
  Speaker 2: and he says he's going to do one more. We'll
• 1:56
  Speaker 2: see if that happens. We'll see if that's the first
• 1:58
  Speaker 2: the last one, or it's the first of the last ones.
• 2:00
  Speaker 2: We have no idea what's going to happen. But Once
• 2:03
  Speaker 2: upon a Time in Hollywood is something that I have
• 2:06
  Speaker 2: been waiting to talk about for several weeks now. Now,
• 2:10
  Speaker 2: first question out of the gate, Darren, this is your
• 2:13
  Speaker 2: first time seeing it? What did you know about this film?
• 2:16
  Speaker 3: You know, I'd seen the little clips here and there
• 2:18
  Speaker 3: that I kind of placed, like i'd seen the throwing
• 2:22
  Speaker 3: Bruce Lee into the side of the car seen, you know,
• 2:26
  Speaker 3: and everyone's seen the meme it is now of the
• 2:29
  Speaker 3: oh hey, where he's like seeing himself on the screen.
• 2:32
  Speaker 3: I mean that's used everywhere, but I don't know if
• 2:34
  Speaker 3: I even connected that it was in this movie. But
• 2:37
  Speaker 3: when that came up. I was like, oh, it's from
• 2:39
  Speaker 3: the movie. That might be it. Oh, and I had
• 2:42
  Speaker 3: heard some behind the scenes bit about Leo DiCaprio, his
• 2:46
  Speaker 3: line about the flamethrower being crazy hot, like it was
• 2:50
  Speaker 3: crazy hot and just almost kind of scorched him. That
• 2:53
  Speaker 3: was about it. So I knew like little tidbits, but
• 2:55
  Speaker 3: I had no idea what the story was. I didn't
• 2:58
  Speaker 3: know it was a period piece, you know, in the sixties, right, Yeah,
• 3:01
  Speaker 3: And I knew that DiCaprio and Brad Pitt were in it.
• 3:05
  Speaker 3: That's all I knew, so very much, a blank slate
• 3:09
  Speaker 3: and Hollywood. It was about Hollywood, I figured from the title.
• 3:11
  Speaker 2: So yeah, the Tinsel downd okay. So John John John
• 3:14
  Speaker 2: John John Yeah.
• 3:16
  Speaker 1: Yeah, me me, me, me, me me.
• 3:18
  Speaker 2: You and I. You and I were super stoked in
• 3:20
  Speaker 2: the lead up to this movie, yes, very much. So,
• 3:23
  Speaker 2: like we talked about it a lot and we were
• 3:26
  Speaker 2: really hoping it was it was gonna be good, and
• 3:28
  Speaker 2: it was one of those I pride myself and I
• 3:31
  Speaker 2: know you do too that when we're stoked about a movie,
• 3:34
  Speaker 2: it it does not mean that seeing the movie is
• 3:36
  Speaker 2: just a formality, like, no matter what it is, we're
• 3:39
  Speaker 2: gonna like it. I know, we pride ourselves in not
• 3:43
  Speaker 2: being those people. When you went to go see it,
• 3:45
  Speaker 2: what were you excited to see? What were you hoping
• 3:48
  Speaker 2: to see? And when you left, what were you glad
• 3:51
  Speaker 2: you were wrong about?
• 3:53
  Speaker 1: Okay? What I was hoping to see was I was
• 3:56
  Speaker 1: hoping to see Tarantino relax. And what I mean by
• 3:59
  Speaker 1: that is a Hateful eight. We talked about it last week.
• 4:02
  Speaker 1: I loved Hateful eight, but Hatefully eight very much is
• 4:05
  Speaker 1: a very heavy movie saying a lot of stuff right there.
• 4:09
  Speaker 1: There's a theme there, there's a lot of stuff that
• 4:11
  Speaker 1: Tarantino's trying to say. Django for its pluses and its minuses.
• 4:17
  Speaker 1: He's making a statement like there really seems to be
• 4:21
  Speaker 1: in the lead up to Once upon a Time in Hollywood,
• 4:24
  Speaker 1: Tarantino really sort of becoming more serious. You know, if
• 4:28
  Speaker 1: you look at his earlier stuff, pulp fiction, Reservoir Dogs,
• 4:31
  Speaker 1: there's that sort of joy of exploitation cinema woven throughout it,
• 4:35
  Speaker 1: even in Jackie Brown. And then he gets serious and
• 4:38
  Speaker 1: then of course he becomes too self aware with Death Proof,
• 4:40
  Speaker 1: and so like, what I was hoping was I was
• 4:42
  Speaker 1: gonna go in I was gonna see Tarantino chill out
• 4:45
  Speaker 1: for a minute and just give you know, like there
• 4:48
  Speaker 1: was a promise in that ad campaign of fun. I
• 4:52
  Speaker 1: was glad that I was wrong. That's a big question,
• 4:57
  Speaker 1: that he would treat the Manson clan too lightly. That
• 5:01
  Speaker 1: was that was the thing, and I still to that
• 5:06
  Speaker 1: I had to see this alone in the movie theater.
• 5:08
  Speaker 1: Nobody would go see. It's an almost three hour movie,
• 5:10
  Speaker 1: so it's hey, you want to go with Daddy goes
• 5:12
  Speaker 1: say nope, Hey, hon, you want to get dope? All right, fine.
• 5:14
  Speaker 1: I still remember sitting in there, and I still remember
• 5:18
  Speaker 1: having that self conscious moment at the end when the
• 5:21
  Speaker 1: flamethrower came out, laughing my big hearty laugh, and being
• 5:26
  Speaker 1: aware of the fact that I was the only person
• 5:28
  Speaker 1: in the movie theater that tickled to see that flamethrower
• 5:31
  Speaker 1: come out of the shed, and that was that was
• 5:34
  Speaker 1: a delight. So sorry for the rambley answer, but that's
• 5:36
  Speaker 1: basically where I was with my journey here.
• 5:38
  Speaker 2: No, that wasn't a ramble at all. That's no. That's
• 5:41
  Speaker 2: it's so interesting because that last scene is so weird
• 5:45
  Speaker 2: to articulate it this way, but it's so filled with joy.
• 5:49
  Speaker 1: M m there's so.
• 5:50
  Speaker 2: Much joy in that scene. And because anybody who knows
• 5:54
  Speaker 2: what happened in sixty nine, what really happened, it's harrowing.
• 5:58
  Speaker 2: It's it's absolutely it's it's interesting because it's a power
• 6:02
  Speaker 2: it's a he turned it into a power fantasy. It's
• 6:05
  Speaker 2: an alternate history, historical power fantasy. Like with Django. You know,
• 6:09
  Speaker 2: we get to see a freed slave blow up a
• 6:13
  Speaker 2: plantation and murder everybody inside. We get to see in
• 6:16
  Speaker 2: uh Inglorious Bastards, we get to see two Jewish men
• 6:20
  Speaker 2: machine gun Hitler's face into pulp. And in this one
• 6:24
  Speaker 2: we get to see the Manson cronies get brutally killed.
• 6:30
  Speaker 2: I mean, we're talking just no holds bar Tarantino just
• 6:34
  Speaker 2: pulling out all the stops and just re really giving
• 6:38
  Speaker 2: it to him. I mean, and just when you think
• 6:39
  Speaker 2: that they they've had enough, and you hear that Simpson
• 6:42
  Speaker 2: characters saying there already, he busts out the flamethrower. So
• 6:47
  Speaker 2: when I was before I went to go see this
• 6:49
  Speaker 2: movie because I bought tickets from me and my wife,
• 6:51
  Speaker 2: and we knew about the tape murder and the murderers,
• 6:54
  Speaker 2: and and of course know that Sharon Tate was pregnant
• 6:57
  Speaker 2: when she got murdered, and her when her baby was murdered,
• 6:59
  Speaker 2: and so that is not something I wanted to see
• 7:03
  Speaker 2: on screen at all. I don't care how good the
• 7:06
  Speaker 2: movie was gonna be. I don't care that was a
• 7:07
  Speaker 2: Tarantino film. I did not want to see that on screen.
• 7:10
  Speaker 2: And nothing was spoiled for me, Like everybody did a
• 7:13
  Speaker 2: really good job of not spoiling the ending. And I
• 7:16
  Speaker 2: actually texted our good friend Schindler and I asked him.
• 7:20
  Speaker 2: I said, I was like, hey, like, can I take
• 7:22
  Speaker 2: my wife to this? Like is it done in an
• 7:25
  Speaker 2: okay way? Like is it off screen? You know? And
• 7:28
  Speaker 2: Schindler said, Mike, Schindler said, you know, well, you know,
• 7:31
  Speaker 2: do you want me to spoil it for you? I
• 7:33
  Speaker 2: was like, no, I don't really want you to spoil
• 7:35
  Speaker 2: it for me. He's like, listen, they don't show the murders.
• 7:37
  Speaker 2: It's fine, And I'm like, okay, cool, and he like
• 7:41
  Speaker 2: he did it in such a perfect way where he
• 7:44
  Speaker 2: laid my fears but yet didn't spoil a single thing
• 7:47
  Speaker 2: for me. And I absolutely love the ending of this.
• 7:50
  Speaker 2: And actually, John, I texted you like an hour ago
• 7:52
  Speaker 2: where I got I legit got emotional hearing Sharon Tate's
• 7:56
  Speaker 2: voice via Margot Robbie at the end of the movie,
• 8:00
  Speaker 2: like through the loudspeaker, like through the door thing whatever,
• 8:02
  Speaker 2: the intercom, Yeah, thank you, that's the word I was
• 8:04
  Speaker 2: looking for. Yeah, like the squawk box, the intercom. Just
• 8:07
  Speaker 2: for some reason, I just I just started getting emotional,
• 8:09
  Speaker 2: and it just sucks that we're not living in this timeline.
• 8:13
  Speaker 1: It is, I think watching it this time, something that
• 8:16
  Speaker 1: really hits me is with the beautiful photography from Robert Richardson,
• 8:22
  Speaker 1: I realized that he photographed two gorgeous, what amount to
• 8:26
  Speaker 1: historical fantasies that I love in my heart, This and
• 8:30
  Speaker 1: The Doors, And that would make a hell of a
• 8:32
  Speaker 1: double feature because i'd put those two movies together, I'd
• 8:35
  Speaker 1: be like, they're both historically inaccurate, just in different ways.
• 8:38
  Speaker 1: And what I love about this movie as well, with
• 8:44
  Speaker 1: Tarantino indulging his historical fantasy, is he cleans up very
• 8:51
  Speaker 1: subtly everything. He looks back on the past, and it's
• 8:55
  Speaker 1: a very you can tell it's very conscious. They make
• 8:58
  Speaker 1: oblique reference to Vietnam. He doesn't use a certain word
• 9:04
  Speaker 1: at all in this film. It doesn't belong here in
• 9:08
  Speaker 1: this fantastical version of Hollywood. This is Tarantino treating everything
• 9:13
  Speaker 1: as if the world were perfect. This is how it
• 9:15
  Speaker 1: would have been is, it would have been clean, it
• 9:18
  Speaker 1: would have been nicer than I mean, you come straight
• 9:22
  Speaker 1: from the Hateful Eight to this, and it's like the
• 9:25
  Speaker 1: world is a much brighter place over here than it
• 9:29
  Speaker 1: was in the winter. Over there in the mountains is.
• 9:31
  Speaker 3: Where the sun came during Hateful Eight. It all went
• 9:33
  Speaker 3: to California. All.
• 9:35
  Speaker 2: To be fair to what you're saying, John, I guess
• 9:37
  Speaker 2: I shouldn't say to be fair, but to be a
• 9:39
  Speaker 2: little contrarian. We do hear a radio announcement about Bobby getting.
• 9:44
  Speaker 1: Shot, Yes we do. Yes, we do to anchor it, yes,
• 9:48
  Speaker 1: but it's done in that way where it's like it's
• 9:51
  Speaker 1: a distant thing. It's just like the reference of Vietnam.
• 9:54
  Speaker 1: It's like it's a bit of dialogue to anchor it,
• 9:56
  Speaker 1: to remind us of the time period. We know what happened,
• 10:00
  Speaker 1: and you know, and give it. I guess that additional
• 10:03
  Speaker 1: sense of historical flavor, because if I hear the thing
• 10:08
  Speaker 1: about RFK, if I hear the thing about Vietnam, then
• 10:12
  Speaker 1: I believe in the timeline more, I think because he's
• 10:16
  Speaker 1: not changing all of history, He's just presenting it as
• 10:19
  Speaker 1: neat and compact sort of thing.
• 10:21
  Speaker 2: Darren, I got a question for you. You know, like
• 10:24
  Speaker 2: we talked to you and we're talking about the time
• 10:26
  Speaker 2: that it was set and then it's a period piece
• 10:28
  Speaker 2: in sixty nine, and so Darren, what I would like
• 10:32
  Speaker 2: to ask you about is what did you think about
• 10:34
  Speaker 2: the locale and you know, like being in California, like
• 10:37
  Speaker 2: living in California and seeing it through the eyes of
• 10:40
  Speaker 2: these characters, seeing all those facades, the cars, how like,
• 10:45
  Speaker 2: how did you feel that affected the movie? You know,
• 10:48
  Speaker 2: having all these realistic portrayals, and do you think you know,
• 10:52
  Speaker 2: not using a CGI and using practical effects in terms
• 10:56
  Speaker 2: of you know, you know, like shutting down the highway
• 10:59
  Speaker 2: and just putting in period cars, actually putting up you know,
• 11:03
  Speaker 2: store facades that are are sixties accurate. How do you
• 11:06
  Speaker 2: how do you think that affected the movie or overall
• 11:08
  Speaker 2: in your experience?
• 11:09
  Speaker 3: No, that's a good question, because, yeah, while overall it
• 11:13
  Speaker 3: had that kind of Golden Hour look, you know, especially
• 11:17
  Speaker 3: when Brad Pitt's like repairing the you know, the aerial
• 11:20
  Speaker 3: on top of the house and you just that is
• 11:24
  Speaker 3: like the most seventiest shot because he's you know, oh,
• 11:27
  Speaker 3: I got to take my shirt off. Oh, I'm gonna
• 11:29
  Speaker 3: gear my beer in my you know, tool belt, and
• 11:32
  Speaker 3: I'm going to pull out my pack of cigarettes. Like
• 11:34
  Speaker 3: that is the shot. But I will say, eighty five
• 11:38
  Speaker 3: years old, go oh man for yourself.
• 11:41
  Speaker 1: Okay, you know, yes, but also you know he makes
• 11:45
  Speaker 1: the money that you know, the guy's cooked. It Like
• 11:48
  Speaker 1: it's a little harder for the average guy to be like,
• 11:50
  Speaker 1: what what's my optimal wean meal protein intake?
• 11:53
  Speaker 2: Right?
• 11:54
  Speaker 3: Yes, as a team of twenty to get Brad Pitt
• 11:57
  Speaker 3: into that shape for that shot now. But I will
• 12:00
  Speaker 3: say I can't remember the exact shot, but there was
• 12:03
  Speaker 3: some of the driving around the city, Like in the
• 12:06
  Speaker 3: earlier shots you had Capitol Records in the background. I'm like,
• 12:09
  Speaker 3: that makes sense because that's a you know, historical building
• 12:11
  Speaker 3: was obviously there, and you had the freeways I didn't
• 12:13
  Speaker 3: even think about.
• 12:14
  Speaker 2: But there were a.
• 12:16
  Speaker 3: Handful of shots in the middle of the movie where
• 12:20
  Speaker 3: I don't know it was this, it's gotta be the cinematography.
• 12:23
  Speaker 3: It felt super modern. I don't know if it was
• 12:26
  Speaker 3: just the lighting, but there's that tiny bit of I
• 12:30
  Speaker 3: want to say, like digitalness. Again, it's not that it
• 12:33
  Speaker 3: was digital, but it's just the way movies are shot nowadays.
• 12:38
  Speaker 2: Just because it was so clean.
• 12:39
  Speaker 3: Maybe maybe again it was really hard to put my
• 12:42
  Speaker 3: finger on, but it was.
• 12:44
  Speaker 1: Do you think it's possible that what you're reacting to
• 12:47
  Speaker 1: is like the way we light things at night especially
• 12:51
  Speaker 1: is different now, like we have energy efficient bulbs and
• 12:55
  Speaker 1: they vibrate differently, like you can tell when you drive.
• 12:58
  Speaker 1: This was during This was at new in a night shot.
• 13:00
  Speaker 3: This was just some of the like driving around Hollywood
• 13:03
  Speaker 3: and city, and I think what it was if I
• 13:06
  Speaker 3: had to piece the shot, it was like the wires,
• 13:10
  Speaker 3: like there were tons of wires hanging from all the
• 13:14
  Speaker 3: telephone like it didn't there was just enough clutter in
• 13:18
  Speaker 3: the frame that it did not feel like the seventies
• 13:22
  Speaker 3: when there was just so much let There were less trees,
• 13:24
  Speaker 3: there was less everything because everything hadn't grown and expanded
• 13:28
  Speaker 3: like it is now. Again, it's really hard to put
• 13:30
  Speaker 3: my finger on the exact thing that was standing out,
• 13:34
  Speaker 3: But it's just it makes me think of other movies
• 13:36
  Speaker 3: where they've like you caid trist and they've done a
• 13:38
  Speaker 3: storefront replacement or what movie was it Indiana Jones where
• 13:42
  Speaker 3: they replaced they removed all the aerials from Cairo or
• 13:46
  Speaker 3: whatever whatever city they were in, because it looked super
• 13:49
  Speaker 3: modern in that wide shot out of Sala's apartment, like
• 13:52
  Speaker 3: it would have not looked like the Bees or forties.
• 13:55
  Speaker 3: So I don't know, it just it felt like, oh,
• 13:58
  Speaker 3: we just drove around Hollywood and shot with a camera
• 14:00
  Speaker 3: like it did not feel in the moment for some reason. Again,
• 14:03
  Speaker 3: a handful of shots in the middle. It wasn't for
• 14:06
  Speaker 3: the most part, it all sung of the sixth.
• 14:08
  Speaker 1: But you think that it's something where somebody who's not
• 14:11
  Speaker 1: native to the area is going to miss it, Like,
• 14:13
  Speaker 1: you know, I watched something set in the DC area
• 14:15
  Speaker 1: and like you guys might not notice anything, but I'm like, oh,
• 14:18
  Speaker 1: come on, that metro stop isn't there. You know that
• 14:20
  Speaker 1: sort of thing?
• 14:21
  Speaker 2: Is it?
• 14:21
  Speaker 1: That sort of thing where it's like you're suffering from
• 14:23
  Speaker 1: the fact that you know where they shot this.
• 14:26
  Speaker 3: Not necessarily, it just had like if if there was
• 14:29
  Speaker 3: a meter from like completely in it to oh, you
• 14:32
  Speaker 3: just shot in Hollywood and said it's the sixties. It
• 14:36
  Speaker 3: just tweaked the needle enough in that modern direction to
• 14:40
  Speaker 3: give me pause. I'm like, uh, like, I don't know
• 14:42
  Speaker 3: what it is about this shot, but it's not ringing
• 14:45
  Speaker 3: true to every other shot I've seen. That's all that just.
• 14:48
  Speaker 3: I mean, you know, it's like ninety nine percent accuracy
• 14:51
  Speaker 3: and everything, but but it wasn't like, I know, the
• 14:54
  Speaker 3: Hollywood Sign hasn't been built yet or something crazy like that.
• 14:57
  Speaker 2: You know. So speaking of this photography, John, you know,
• 15:01
  Speaker 2: you talked about Richardson, and I noticed just a few
• 15:06
  Speaker 2: few different things with Richardson. I don't want to get
• 15:08
  Speaker 2: your take on this. With this movie specifically, there was
• 15:10
  Speaker 2: a lot of really cool crane shots with with this
• 15:15
  Speaker 2: movie specifically, when you know, we're tracking Cliff going home
• 15:19
  Speaker 2: to his trailer behind the movie even and we go
• 15:22
  Speaker 2: over the screen and we hear that presentation noise that
• 15:25
  Speaker 2: you know, your feature presentation sound, that funky fanfare yeah,
• 15:29
  Speaker 2: that he's used in previous movies before, and then like
• 15:32
  Speaker 2: we go like we see the flash of the of
• 15:34
  Speaker 2: the of the bulb, and then it goes over the
• 15:37
  Speaker 2: screen and then tracks with it. And then there's another
• 15:39
  Speaker 2: time when we see it over some some restaurants. We
• 15:42
  Speaker 2: don't get too many crane shots like that in Tarantino. No,
• 15:45
  Speaker 2: we get some we get that unique bird's eye view
• 15:48
  Speaker 2: kind of thing, you know, like we did with kill
• 15:51
  Speaker 2: Bill where we were following Sophie all around like in
• 15:55
  Speaker 2: a shot like that. But did you find that unique?
• 15:57
  Speaker 2: Did you find that?
• 15:58
  Speaker 3: Like?
• 15:58
  Speaker 2: Do you think that Richardson did something different with this film? Am? I?
• 16:02
  Speaker 2: Am I wrong? Here? Wait? Do you think about that?
• 16:04
  Speaker 1: I will say that there were fewer of those calling
• 16:07
  Speaker 1: card overhead lighting shots that were so used to And
• 16:11
  Speaker 1: I think it's because it, much like the doors, the
• 16:15
  Speaker 1: lighting of the time period lends itself to Richardson, Like
• 16:18
  Speaker 1: it becomes less obtrusive when you're in a restaurant and
• 16:21
  Speaker 1: it's lit like that in a sixties movie because that's
• 16:24
  Speaker 1: just how things were lit. So it's like it doesn't
• 16:26
  Speaker 1: jump out as much. But I could swear I could
• 16:29
  Speaker 1: be wrong, but I believe at least one of the
• 16:32
  Speaker 1: crane shots that you're talking about was actually a miniature
• 16:35
  Speaker 1: that was inserted into the movie. I think the movie
• 16:37
  Speaker 1: Theater was actually a miniature done by John Dyster and
• 16:40
  Speaker 1: his crew.
• 16:41
  Speaker 2: Oh, I had no idea, but I totally believe it. Yeah,
• 16:43
  Speaker 2: And I didn't notice that.
• 16:45
  Speaker 1: But the thing is that I think is more attestament
• 16:49
  Speaker 1: to Tarantino and Richardson branching out because of the fact
• 16:54
  Speaker 1: that there are things that they're doing that they don't
• 16:58
  Speaker 1: typically do. That's where I think you're spot on with
• 17:02
  Speaker 1: that is Tarantino is stretching himself here and is as
• 17:06
  Speaker 1: much as I love Hateful Aid and as much as
• 17:08
  Speaker 1: I dig Django and and you know, all the stuff
• 17:12
  Speaker 1: that comes before, Honestly, this is the most visually dynamic
• 17:16
  Speaker 1: Tarantino movie since Kill Bill, where I get the sense
• 17:20
  Speaker 1: of a director who's like, I'm not going to make
• 17:22
  Speaker 1: this look like everything else I've done, and I think
• 17:25
  Speaker 1: that this is an important step. And it's so fascinating
• 17:28
  Speaker 1: to me that it's so late in Tarantino's career that,
• 17:31
  Speaker 1: you know, comparatively, I mean, how many people say I'm
• 17:33
  Speaker 1: only going to direct ten movies, but like, ostensibly it's
• 17:36
  Speaker 1: either the last or the second to last that he's
• 17:39
  Speaker 1: going to do and to feel and get back like,
• 17:42
  Speaker 1: I think that's part of what infuses this movie is
• 17:45
  Speaker 1: it feels like Tarantino's having fun again, that he's stretching
• 17:48
  Speaker 1: out and actually enjoying what he's doing and just relaxing
• 17:51
  Speaker 1: into it and saying, you know, be fun. You know what,
• 17:54
  Speaker 1: I'm gonna do this this, This would be fun. It's
• 17:56
  Speaker 1: like you know, or you know, we talk about the
• 17:59
  Speaker 1: digital stuff inserting Leonardo DiCaprio into The Great Escape.
• 18:03
  Speaker 2: That was going to be my follow up question to Darren,
• 18:05
  Speaker 2: you know, talking about you know, like stretching himself like
• 18:08
  Speaker 2: using CGI, you know, like Tarantino Lows using CGI and so, yeah,
• 18:14
  Speaker 2: stretching himself to use that. Like, Darren, what did you
• 18:16
  Speaker 2: think about that composite? Like I want to ask you
• 18:19
  Speaker 2: two questions like the Great Escape composite where he replaces
• 18:21
  Speaker 2: Steve McQueen and the FBI reshoot where he replaces Burt Reynolds.
• 18:27
  Speaker 2: What did you think about that stuff?
• 18:28
  Speaker 3: Yeah, I mean it is so interesting because it definitely
• 18:32
  Speaker 3: gave me, like Forrest gum vibes, which is kind of
• 18:34
  Speaker 3: the pinnacle of when we first started seeing our characters
• 18:38
  Speaker 3: inserted into historical footage. And yeah, it you know, but
• 18:41
  Speaker 3: it worked. It worked just as well as you know,
• 18:45
  Speaker 3: so and so actor being Bruce Lee. Like I know
• 18:47
  Speaker 3: that's not Bruce Lee, but it's close enough to know
• 18:50
  Speaker 3: that I'm watching this historical you know, enactment. So yeah,
• 18:55
  Speaker 3: I think with movies like this, which we'll get into
• 18:59
  Speaker 3: how much, which I apparently don't know about history, you know,
• 19:02
  Speaker 3: where they're creating these new characters because now I'm assuming
• 19:06
  Speaker 3: and correct me if I'm wrong, Like Rick Dalton and
• 19:08
  Speaker 3: Cliff Booth aren't real people, that is correct. Okay, So
• 19:12
  Speaker 3: so the two leads, so they're in there, they're replacing,
• 19:15
  Speaker 3: They're representing kind of a stereotype of a stuntman and
• 19:18
  Speaker 3: a leading man, you know, and and their journey through history.
• 19:21
  Speaker 1: So yeah, some.
• 19:22
  Speaker 2: People have theorized that Rick Dalton is based on Burt Reynolds, okay,
• 19:26
  Speaker 2: and that Cliff Booth is based off of Burt Reynolds
• 19:30
  Speaker 2: longtime stuntman and longtime friend. I can't remember his name,
• 19:34
  Speaker 2: and I feel like about.
• 19:34
  Speaker 3: It, got it? No, no, stunt Reynolds got it?
• 19:36
  Speaker 2: Yeah, but no, that that makes sense.
• 19:40
  Speaker 3: So yeah, all that to say, yeah, I think it
• 19:42
  Speaker 3: served the film to insert them into known movies and
• 19:48
  Speaker 3: and and period pieces. It made him more believable. And
• 19:51
  Speaker 3: especially how you know Rick Dalton's story. You know, very
• 19:56
  Speaker 3: often we've seen stories about people whose heyday was seventies,
• 20:00
  Speaker 3: eighties whatever. It's rare actually that we see like the
• 20:04
  Speaker 3: fifties was their heyday, you know, like black and white
• 20:07
  Speaker 3: era and serial television and all of that. So I
• 20:10
  Speaker 3: was intrigued by that, like this guy like Bounty Law, Like, oh,
• 20:13
  Speaker 3: Bounty Law sounds amazing, Like I can totally picture that
• 20:16
  Speaker 3: movie that that.
• 20:17
  Speaker 1: Show, and I haven't seen them, but supposedly I've read
• 20:21
  Speaker 1: in numerous sources that they shot that, Like Tarantino put
• 20:24
  Speaker 1: together like four episodes of Bounty Law, so there are
• 20:27
  Speaker 1: like actual episodes of the show that he put together
• 20:30
  Speaker 1: just because he's Tarantino in.
• 20:31
  Speaker 3: Nights and I'm like, oh, we're gonna have that on
• 20:33
  Speaker 3: in the background of this one shot on a TV
• 20:35
  Speaker 3: like eighty feet away, but it's a full on episode,
• 20:38
  Speaker 3: see it.
• 20:39
  Speaker 2: Like why on earth was that not a DVD?
• 20:42
  Speaker 3: It should be?
• 20:43
  Speaker 1: Why why wouldn't you do that? Why would you deprive
• 20:46
  Speaker 1: me of that? Is a big question. Like everything about
• 20:49
  Speaker 1: that was so spot on. But what I think is
• 20:53
  Speaker 1: really really affecting is seeing I mean, DiCaprio's performance as
• 20:58
  Speaker 1: the insecure aging actor is so it's gut wrenching that
• 21:04
  Speaker 1: scene when he goes back into the trailer and he's
• 21:06
  Speaker 1: berating himself because he dropped a line and he's having
• 21:09
  Speaker 1: his freak out and you know, he's like throwing stuff
• 21:11
  Speaker 1: around and he's threatening himself in the mirror, like you
• 21:15
  Speaker 1: really feel that. It's it's I think that this movie
• 21:19
  Speaker 1: acts as another one of those movies that's a testament
• 21:22
  Speaker 1: to the the truth that DiCaprio is a really, really
• 21:27
  Speaker 1: skilled actor. And I just love that scene so much.
• 21:30
  Speaker 2: And not only is he a skilled actor, that was
• 21:32
  Speaker 2: one hundred percent his idea.
• 21:35
  Speaker 1: Oh wow.
• 21:36
  Speaker 2: So he went into it. And when they were filming
• 21:39
  Speaker 2: the scene with Timothy Oliphant and the cantina or whatever
• 21:42
  Speaker 2: at the bar, Tarantino just wanted to shoot it like
• 21:44
  Speaker 2: they were shooting a western, like just just shoot it normal,
• 21:47
  Speaker 2: and DiCaprio said, He's like, no, I need I need
• 21:49
  Speaker 2: to forget a line, like I need to flub a line,
• 21:52
  Speaker 2: want to like that's no, that's like Tarantino was not
• 21:54
  Speaker 2: interested in it whatsoever. And DiCaprio said, just like, let
• 21:57
  Speaker 2: me show you. Let me show you. And then he's like, okay,
• 21:59
  Speaker 2: well film it both ways. So they filmed it the
• 22:01
  Speaker 2: normal way where he doesn't screw up, and then they
• 22:04
  Speaker 2: film at DiCaprio's way, where he does screw up, and
• 22:06
  Speaker 2: then he said, He's like, okay, we need a follow up,
• 22:09
  Speaker 2: and Tarantino's like, what are you thinking. He's like, he
• 22:11
  Speaker 2: goes back to his trailer and he just loses it.
• 22:13
  Speaker 2: And so all of that was improv all of that
• 22:15
  Speaker 2: was not written. At any point. DiCaprio went into a trailer,
• 22:18
  Speaker 2: they filmed it, he let loose, and that was not
• 22:22
  Speaker 2: only not only was his idea, he was his execution
• 22:25
  Speaker 2: and Tarantino of course put it in because it was.
• 22:28
  Speaker 2: It was fantastic. And I think we often forget how
• 22:33
  Speaker 2: good DiCaprio is, not just at acting, but just as
• 22:36
  Speaker 2: an entertainer and as a creative, because you know, he's
• 22:40
  Speaker 2: had a long career. You know, he's a child actor
• 22:42
  Speaker 2: who grew up. He's a wild party guy. He's become
• 22:45
  Speaker 2: a joke about you know how he doesn't date anybody
• 22:48
  Speaker 2: over twenty five or I don't know, something ridiculous like that.
• 22:51
  Speaker 2: But like he's become a meme of himself. But I
• 22:53
  Speaker 2: think we often forget how talented he actually is and
• 22:56
  Speaker 2: how intuitive he is. Like he's the reason why in
• 23:00
  Speaker 2: Option was more grounded than tenet.
• 23:04
  Speaker 1: Okay, we won't have that arre.
• 23:06
  Speaker 3: Yeah, we're not gonna talk about that right now.
• 23:08
  Speaker 1: We won't go there. But I think that what's also
• 23:11
  Speaker 1: so interesting is the fact that what makes him work
• 23:14
  Speaker 1: so well, what I love at the core of this
• 23:18
  Speaker 1: is that the friendship, that core friendship are two guys
• 23:22
  Speaker 1: that at a glance, you wouldn't necessarily think we're that
• 23:26
  Speaker 1: close because they're so different in how they approach everything,
• 23:30
  Speaker 1: but you realize it's it's like the odd couple. You
• 23:33
  Speaker 1: realize that personality A needs personality B. And they feed
• 23:37
  Speaker 1: off of each other, and they also are so forgiving
• 23:40
  Speaker 1: of each other for all of these things that others
• 23:43
  Speaker 1: would not forgive. And it's because of you know, that
• 23:46
  Speaker 1: brotherly love that exists there where they're never going to
• 23:49
  Speaker 1: turn their back on the other guy. And I love
• 23:53
  Speaker 1: the scene where they flash back to where DiCaprio has
• 23:58
  Speaker 1: to tell Cliff, I don't think I'm going to be
• 24:00
  Speaker 1: able to employ you anymore. I gotta move, I gotta
• 24:03
  Speaker 1: get a condo. Now, I've got the wife, I've got
• 24:06
  Speaker 1: all of this stuff. Things are moving on, And there's
• 24:09
  Speaker 1: this very subtle thing with his body language that Pitt
• 24:12
  Speaker 1: does in that scene as Cliff, where you can see
• 24:16
  Speaker 1: him inside melting, but he's maintaining on the outside that
• 24:21
  Speaker 1: rock solid thing. But you can see this little shift.
• 24:24
  Speaker 1: And Pitt is such a gifted physical actor that he
• 24:29
  Speaker 1: can do that, that he can you can see his
• 24:31
  Speaker 1: body adjust in a certain way. And I think that's
• 24:35
  Speaker 1: really the core of this is it would be so
• 24:37
  Speaker 1: easy to come at this movie and look at it
• 24:39
  Speaker 1: and say, you look at the beginning and it's a
• 24:41
  Speaker 1: bit frenetic. It's like, okay, it's all it's all of
• 24:45
  Speaker 1: this setup and it's bouncing around, and if they didn't
• 24:48
  Speaker 1: get the chemistry between DiCaprio and Pitt that they did,
• 24:52
  Speaker 1: this movie is very forgettable. Like they are core to
• 24:56
  Speaker 1: the whole concept working well.
• 24:58
  Speaker 3: And Pitt, like I think of like Ocean's eleven, I
• 25:01
  Speaker 3: think of many of his works where he's often acting
• 25:04
  Speaker 3: behind sunglasses. He communicates so much with his movement that
• 25:08
  Speaker 3: you can't even see his eyes in many shots and
• 25:11
  Speaker 3: you still can tell what he's thinking. So yeah, right,
• 25:14
  Speaker 3: we're definitely that aspect. I mean so much so that
• 25:17
  Speaker 3: his quote unquote dream sequence, which I totally didn't even
• 25:21
  Speaker 3: see coming, was a dream sequence where he's fighting, which
• 25:24
  Speaker 3: makes more sense now, and you're like, yeah, you fought
• 25:26
  Speaker 3: Bruce Lee and kicked his butt and you know got
• 25:30
  Speaker 3: kicked off the set. You know, of course that didn't happen,
• 25:33
  Speaker 3: but I thought it could have for a second. Oh no,
• 25:36
  Speaker 3: it did happen. That's a flash that wasn't it.
• 25:38
  Speaker 1: That's him. That was a flashback because DiCaprio took me
• 25:42
  Speaker 1: then no, no, you can't be on this set because
• 25:45
  Speaker 1: the stunt coordinator's friends with whatever Zoe Bell's character. And
• 25:50
  Speaker 1: then he gets up there and he flashes back to
• 25:52
  Speaker 1: why she hates him, and he's like, and that's why
• 25:54
  Speaker 1: he says after that flashback, he's.
• 25:56
  Speaker 3: Interesting because that is totally not how I took it.
• 25:59
  Speaker 3: The way I took it was he got told no,
• 26:02
  Speaker 3: he went to go fix the aerial, and he had
• 26:04
  Speaker 3: a thought of like, you know what, I'm just gonna
• 26:07
  Speaker 3: go back and what's the worst they can do? And
• 26:09
  Speaker 3: then he goes back and he sits there and he
• 26:11
  Speaker 3: gets he gets convincing himself to be on it. He's
• 26:14
  Speaker 3: on it that he fixed the fight, it all goes
• 26:16
  Speaker 3: bad and then it flatches back to him going like, yeah,
• 26:20
  Speaker 3: I probably would have played out like that. That wasn't
• 26:23
  Speaker 3: a good idea. That's how I read it. That's how
• 26:24
  Speaker 3: I read that entire sequence.
• 26:26
  Speaker 1: That's I mean, that's cool, but yeah, no, it's okay.
• 26:29
  Speaker 1: Supposed to be him remembering why he does showing they okay.
• 26:35
  Speaker 2: And also a visual cue is that we see Dalton
• 26:39
  Speaker 2: in a tuxedo and he wouldn't have been in a
• 26:41
  Speaker 2: tuxedo during the.
• 26:43
  Speaker 3: Yeah no, no, I understand what you're saying, and that
• 26:46
  Speaker 3: makes more sense. I just read it as a what
• 26:49
  Speaker 3: if dream in his mind and realizing like.
• 26:52
  Speaker 2: Yeah, beating it like oh yeah, Bruce Lee, Yeah that
• 26:55
  Speaker 2: would be a dream.
• 26:57
  Speaker 1: But it's so fascinating because that is the scene where
• 27:00
  Speaker 1: there was controversy and I think that the movie was
• 27:03
  Speaker 1: not played in China because it portrayed Bruce Lee in all.
• 27:09
  Speaker 2: Kind of not just getting his butt kicked, but he
• 27:12
  Speaker 2: was a pompous ass and and and in real life
• 27:14
  Speaker 2: that he actually did comment on Muhammad Ali saying that
• 27:19
  Speaker 2: like like he you know, jokingly said he's like, oh, no,
• 27:21
  Speaker 2: I would I would never go up against Cashus Clay, Like, no,
• 27:24
  Speaker 2: I would. I wouldn't survive. And so it's like the
• 27:27
  Speaker 2: real Bruce Lee actually went on record saying that Cashius
• 27:31
  Speaker 2: Clay would have whooped him, but for some reason, Tarantino
• 27:35
  Speaker 2: felt the need to make him look like a jackass.
• 27:37
  Speaker 1: Well, it serves the purpose of showing we all know
• 27:41
  Speaker 1: Bruce Lee is the toughest of tough and we get
• 27:44
  Speaker 1: to see Cliff hold his own. It's all the wharf, yeah,
• 27:50
  Speaker 1: but but it's all purely set up so that when
• 27:51
  Speaker 1: he whoops the crap out of everybody at the end,
• 27:54
  Speaker 1: you're like, yeah, Okay, I know this guy can do that.
• 27:56
  Speaker 1: That he's he's that good.
• 27:58
  Speaker 3: So no, no, it makes sense as a flashback. Maybe
• 28:02
  Speaker 3: it would have clicked more with me if it was
• 28:04
  Speaker 3: closer to like when he's outside the trailer waiting to
• 28:07
  Speaker 3: get called in, if that's when the flashback had happened.
• 28:10
  Speaker 3: But I did not pick up on that at all.
• 28:13
  Speaker 2: We also got a flashbacks flashback there, because oh, flashing
• 28:17
  Speaker 2: back to when he got in a fight with Bruce Lee,
• 28:19
  Speaker 2: and then within that we get a flashback of him
• 28:22
  Speaker 2: on a boat dressed like a supposedly about to kill
• 28:26
  Speaker 2: his wife.
• 28:27
  Speaker 1: Well, it's the incident that is left vague enough, because
• 28:33
  Speaker 1: what I find fascinating and ever since I first watched it,
• 28:36
  Speaker 1: I think it's so definitely done of is it true
• 28:39
  Speaker 1: or is it a misinterpretation what actually happened out there?
• 28:43
  Speaker 1: Because later and I think this is where Tarantino's super
• 28:46
  Speaker 1: slick is when the Manson girl offers to sexually pleasure
• 28:50
  Speaker 1: Cliff in the car and he's like, no, that can
• 28:55
  Speaker 1: I see some id Like that is really wild because
• 29:00
  Speaker 1: it's like if a guy was like actually like a
• 29:02
  Speaker 1: murderous dude, like would he be virtuous enough in that
• 29:07
  Speaker 1: scene to be? And I know he has the line
• 29:09
  Speaker 1: where he's like the cop jail's been trying to catch
• 29:11
  Speaker 1: me for a long time and I'm not going to
• 29:12
  Speaker 1: go down for something like this, But like, I don't know,
• 29:15
  Speaker 1: I think I think Tarantino plays a really good game
• 29:17
  Speaker 1: there with that.
• 29:19
  Speaker 2: So what did you guys think about the handling of
• 29:21
  Speaker 2: the Manson family? Like what do you think?
• 29:23
  Speaker 1: I want to talk about that?
• 29:25
  Speaker 2: Everything like that?
• 29:26
  Speaker 3: Yeah, because again Darren's knowledge of history, I had no
• 29:30
  Speaker 3: idea that was Manson at all. Like, I don't know,
• 29:33
  Speaker 3: I'm not a Manson aficionado guy. Sorry, I don't know
• 29:36
  Speaker 3: the ins and outs of the cult. And all I
• 29:38
  Speaker 3: know who Charles Manson is. I know the name. But
• 29:41
  Speaker 3: so it's interesting though, because I want to talk about
• 29:43
  Speaker 3: how I approach seeing that scene, or as I like
• 29:46
  Speaker 3: to call it, the Nope Ranch, because boy, when he's
• 29:51
  Speaker 3: like walking up to that little house and he looks
• 29:54
  Speaker 3: around and they're all stared at I would just feel like,
• 29:57
  Speaker 3: forget this, I am out of here.
• 29:59
  Speaker 1: There is such the old man.
• 30:01
  Speaker 3: Seriously, the vibes. I honestly, it's one of my favorite
• 30:05
  Speaker 3: scenes in the entire movie because, like I often will
• 30:08
  Speaker 3: say in movies when they make me feel like something,
• 30:12
  Speaker 3: and my hairs on my arm were sticking up because
• 30:15
  Speaker 3: I was like something like, this is a bad place,
• 30:18
  Speaker 3: like you do not want to be here. So hearing now.
• 30:21
  Speaker 2: And look, just seeing Lena Dunham at a ranch, I
• 30:24
  Speaker 2: would turn around too hell on her own.
• 30:29
  Speaker 3: But so to hear now who it was and and
• 30:32
  Speaker 3: and I'm like, I'm like hovering all these names on
• 30:35
  Speaker 3: Wikipedia and it's like all these mugshots popping up of
• 30:39
  Speaker 3: these people and I'm like, oh, oh these are oh
• 30:43
  Speaker 3: these are bad people. Okay, Yeah, so it message received
• 30:47
  Speaker 3: that it they it was palpitable that place.
• 30:51
  Speaker 1: There are there's no shortage of stuff to read about Manson.
• 30:55
  Speaker 1: I will take the time to recommend a book where
• 30:58
  Speaker 1: it's it's called and I think the subtitle is like
• 31:02
  Speaker 1: Charles Manson the CIA in the sixties or something like that.
• 31:05
  Speaker 1: Well worth a read, highly, highly record.
• 31:07
  Speaker 2: It's Chaos, Charles Manson, the CIA and the Secret History
• 31:11
  Speaker 2: of the Six.
• 31:11
  Speaker 1: There you go. I was close, but fantastic book. Highly O'Neill.
• 31:15
  Speaker 1: There's the classic Helter Skelter. Everybody should see the movie
• 31:18
  Speaker 1: adaptation of that with Steve Railsback. That's an all time classic.
• 31:23
  Speaker 1: And of course the portrayal of Manson is from the
• 31:26
  Speaker 1: same actor in this that appeared in Mind Hunter. So yeah,
• 31:31
  Speaker 1: the portrayal of the family was appropriately scary. It was
• 31:35
  Speaker 1: appropriately I mean they changed history right on a dime.
• 31:41
  Speaker 1: The whole peace, love, free hippie stuff turned to terror
• 31:46
  Speaker 1: because of Manson. I know that, yeah, because I know
• 31:49
  Speaker 1: the Jim Morrison stuff. Like Morrison grew his beard out,
• 31:52
  Speaker 1: he was a drunk, He fell asleep on somebody's porch
• 31:55
  Speaker 1: one morning and they called the cops because they thought
• 31:56
  Speaker 1: he was Charles Manson out from jail or something like that.
• 32:00
  Speaker 1: Like it just created such a psychological thing. But the
• 32:05
  Speaker 1: going in and showing what a cult like situation it was,
• 32:10
  Speaker 1: while not having Cliff have like a big showdown, tough
• 32:15
  Speaker 1: guy thing with Manson I think was expertly done and
• 32:19
  Speaker 1: just you know, how could you not watch that scene
• 32:22
  Speaker 1: and be like, oh wow, this is like you were
• 32:24
  Speaker 1: saying Darren, like that's a terrifying scene because it's it's.
• 32:29
  Speaker 2: So well done. Oh my gosh, so well done. Like
• 32:32
  Speaker 2: even the like Tarantino even uses some Dutch angles here
• 32:35
  Speaker 2: and there to kind of make him feel even more
• 32:37
  Speaker 2: awkward and uneasy. And I also love the confidence that
• 32:42
  Speaker 2: Cliff had. Yeah, like when he was walking up, he's
• 32:46
  Speaker 2: just like here, like.
• 32:46
  Speaker 3: I can take my care of myself vibe. But you're like,
• 32:49
  Speaker 3: can you, Cliff can Is there going to be a
• 32:52
  Speaker 3: dead body in that back room? Because I'm kind of
• 32:54
  Speaker 3: expecting a.
• 32:55
  Speaker 1: Dead body in that back room.
• 32:57
  Speaker 2: And that's the thing is that Tarantino did such a
• 33:00
  Speaker 2: good job of setting it up like a horror film
• 33:04
  Speaker 2: like Texas Chainsaw Massacre, where when he's walking in and
• 33:07
  Speaker 2: you get past Squeaky, you have no idea what he's
• 33:10
  Speaker 2: gonna find. You don't know, like you're telling yourself, Okay,
• 33:14
  Speaker 2: I bet, like I bet he's just gonna find the
• 33:16
  Speaker 2: guy and he's actually is napping or something like that.
• 33:18
  Speaker 2: But knowing that this is the Manson family, You're like,
• 33:21
  Speaker 2: maybe it's that range hand that got chopped up into
• 33:23
  Speaker 2: five pieces. Well, there's that they found in the seventies.
• 33:27
  Speaker 2: You know, you don't know, you don't know.
• 33:29
  Speaker 1: Well, there there's even the mouse there dying in the
• 33:33
  Speaker 1: in the mouse traps, squeaking calling out for I mean, honestly,
• 33:36
  Speaker 1: the sweet sweet release of death at that point, like
• 33:39
  Speaker 1: it's a.
• 33:40
  Speaker 3: Well, and the vibes of just the things that were
• 33:43
  Speaker 3: said of like oh, yeah, he's napping, you can't see him,
• 33:46
  Speaker 3: like everything that people would say if like he's not
• 33:48
  Speaker 3: actually alive and you can't actually talk to him, and
• 33:51
  Speaker 3: you're like, oh man, the warning bills are going off,
• 33:54
  Speaker 3: even and then to continue it even after he gets
• 33:57
  Speaker 3: out of the house and there's the knife in his
• 34:00
  Speaker 3: tired and I'm like, oh and now you can't leave.
• 34:02
  Speaker 3: Oh it's and then he then he kind of deals
• 34:05
  Speaker 3: it in the Cliff boothway of like, no, you're gonna
• 34:08
  Speaker 3: fix the tire for me, but he.
• 34:10
  Speaker 2: Yeah, i'd be writing out on the rims. I don't
• 34:12
  Speaker 2: care about Cliff. Nope, nope, Cliff, Cliff did nothing wrong.
• 34:16
  Speaker 2: And he also, yeah, you make it showy and scare
• 34:19
  Speaker 2: the hell out of everybody.
• 34:20
  Speaker 1: Yes, and I loved, I love Like the one of
• 34:24
  Speaker 1: my favorite touches in that is the guy's you know,
• 34:27
  Speaker 1: noses all busted up, the blood's everywhere. He's next to
• 34:30
  Speaker 1: the car is like, can I get a rag to
• 34:31
  Speaker 1: clean up? No, there's no afterwards, there's no talking.
• 34:34
  Speaker 2: This is no.
• 34:35
  Speaker 1: It's just a hard no. And it's a yeah. The
• 34:41
  Speaker 1: Manson family anybody who you know, And Darren, I'm not
• 34:44
  Speaker 1: like picking on you, but like, if you don't know
• 34:46
  Speaker 1: a lot about the Manson family, I encourage you to
• 34:49
  Speaker 1: read about the Manson family because it really was. And
• 34:52
  Speaker 1: that book I mentioned, Chaos, it makes a little too
• 34:55
  Speaker 1: much sense and it's it's gut wrenching because almost every
• 35:00
  Speaker 1: points at the idea in real historical stuff. When Manson
• 35:05
  Speaker 1: shows up in the movie, he's looking for somebody else
• 35:08
  Speaker 1: and doesn't believe that they don't live there, and almost
• 35:12
  Speaker 1: everything points to the idea that, no, that's actually what happened.
• 35:16
  Speaker 1: Was they went there. It's debatable whether it was a
• 35:20
  Speaker 1: thing or drug thing being able to place yep, just
• 35:24
  Speaker 1: in the wrong place of.
• 35:25
  Speaker 3: The senseless, which is even worse.
• 35:27
  Speaker 1: They weren't even they weren't. Almost everything points at the
• 35:30
  Speaker 1: idea that they weren't even targeted. That It wasn't like
• 35:32
  Speaker 1: there we're going to get Charing Tate in Roman polandscape.
• 35:34
  Speaker 1: It was just they were they.
• 35:36
  Speaker 3: Just well and again you know Darren's lack of historical knowledge,
• 35:41
  Speaker 3: like I didn't know that connection on Sharon Tate and
• 35:45
  Speaker 3: all of that. So, like, it's interesting hearing your perspective
• 35:48
  Speaker 3: Tristan of, Like because you're seeing this freight train heading
• 35:52
  Speaker 3: towards you. Of you've introduced Sharon Tate, and you've introduced
• 35:56
  Speaker 3: the Manson clan, what is going to happen? Whereas you know,
• 36:00
  Speaker 3: I was more trying to figure out who's living near
• 36:02
  Speaker 3: who and why is this your neighbor? And you know
• 36:04
  Speaker 3: I was more upset at Rick Dalton for like, don't
• 36:08
  Speaker 3: don't antagonize these people in the car outside your house
• 36:11
  Speaker 3: at one in the morning, Like what are you doing?
• 36:14
  Speaker 2: This is not a good idea.
• 36:15
  Speaker 1: That would have been me, That would have been you,
• 36:17
  Speaker 1: That would have been me. It's happened in the past before.
• 36:20
  Speaker 2: Now I would have called the cops. You would have
• 36:22
  Speaker 2: gone out and banged on their hood.
• 36:24
  Speaker 1: Yes, yes, oh, those four punks I could have taken them.
• 36:27
  Speaker 1: But Darren, given the fact that you don't know about
• 36:29
  Speaker 1: like that connection, how does the ending play for you?
• 36:33
  Speaker 1: Because for me, there is great joy in the fact
• 36:36
  Speaker 1: that I see history gone right, where it's just like, good,
• 36:40
  Speaker 1: these pieces of garbage just got what they deserved. Good.
• 36:44
  Speaker 3: Well. I had seen a tiny clip of the fight
• 36:47
  Speaker 3: in Brad Pitt's apartment with like the dog and stuff,
• 36:49
  Speaker 3: so I knew that was coming, and so I felt like, Oh,
• 36:52
  Speaker 3: they're hunting him down, like and that's what it also
• 36:56
  Speaker 3: felt like of they looked for the car, Oh, it's
• 36:58
  Speaker 3: his boss's car. That's why they went to the first
• 37:00
  Speaker 3: house where Rick Dalton was, and then they found I
• 37:03
  Speaker 3: never quite knew where Rick was living versus where Cliff
• 37:07
  Speaker 3: was living, Like it seemed like they were very close
• 37:09
  Speaker 3: to each other geographically, but also I wasn't sure, so
• 37:13
  Speaker 3: it felt like, yeah they were. They were basically like, Oh,
• 37:17
  Speaker 3: this Cliff is a loose end. We need to tie
• 37:19
  Speaker 3: it up. So it felt more intentional than just how
• 37:22
  Speaker 3: it was ended up being portrayed in the movie, which
• 37:25
  Speaker 3: was we're just mad at rich people and we're just
• 37:27
  Speaker 3: gonna start killing So that's what I was thinking it
• 37:30
  Speaker 3: was going to be.
• 37:31
  Speaker 1: Well, I you know, I think that you know songs
• 37:33
  Speaker 1: we're talking about the four that go there. What I
• 37:36
  Speaker 1: thought was really interesting was giving that one character and
• 37:41
  Speaker 1: I forget the day. I remember text's name, but I
• 37:43
  Speaker 1: forget everybody else's When she starts talking about going in
• 37:47
  Speaker 1: to kill Rick because he was on TV and we're
• 37:50
  Speaker 1: gonna go murder the people that taught us to murder,
• 37:53
  Speaker 1: and like that twisted sort of drug logic that exists
• 37:57
  Speaker 1: and listening to it, it's it was fascinating to me
• 37:59
  Speaker 1: the first time I encountered it. It's fascinating to me
• 38:01
  Speaker 1: this time where it has that whole twisted logic of
• 38:05
  Speaker 1: where you're listening to somebody and you go, oh no, no,
• 38:08
  Speaker 1: actually does line. No, you're making some leaps here, This
• 38:12
  Speaker 1: isn't this is this isn't a diagram. Right now, you're
• 38:15
  Speaker 1: jumping from point to point, but also realizing how quickly
• 38:20
  Speaker 1: somebody can come to a you know, what they hold
• 38:24
  Speaker 1: as a conviction based on that jumping around, and that
• 38:28
  Speaker 1: in and of itself is kind of you know, another
• 38:30
  Speaker 1: scary aspect of it, because you're like, I can see
• 38:32
  Speaker 1: how somebody can talk them into talk themselves into something
• 38:35
  Speaker 1: like this. It makes sense to them what they're saying
• 38:38
  Speaker 1: right now, whereas I'm looking at it as a spectator
• 38:41
  Speaker 1: and I'm like that, what You're gonna go kill somebody
• 38:43
  Speaker 1: for playing a person on TV? This doesn't make any
• 38:45
  Speaker 1: sense at all. But to them it made perfect sense.
• 38:48
  Speaker 1: And it's like, wow, just I credit Tarantino forgiving that,
• 38:52
  Speaker 1: but also giving Maya Hawk's character, you know, the the
• 38:57
  Speaker 1: moment to be like I left that in the car,
• 38:59
  Speaker 1: I gotta go get it, and then like driving off,
• 39:01
  Speaker 1: I'm like, that was a beautiful little moment.
• 39:03
  Speaker 2: Yeah, in real life, she didn't. She didn't bram Off.
• 39:06
  Speaker 2: I know, which is which?
• 39:08
  Speaker 1: I know?
• 39:08
  Speaker 2: You know, I'm just saying it.
• 39:09
  Speaker 3: I don't know.
• 39:09
  Speaker 1: Oh no, And I'm not saying it like I know,
• 39:12
  Speaker 1: don't tell me. I'm saying it like I know, I know,
• 39:14
  Speaker 1: like I'm commiserating with you. It's like I got yeah,
• 39:17
  Speaker 1: I wish that could have happened.
• 39:19
  Speaker 2: And that always surprised me seeing Maya Hawk, like I
• 39:21
  Speaker 2: remember seeing it in the theater and seeing Mayahawk, and
• 39:24
  Speaker 2: I was like, Uma and Quentin must have made amends
• 39:27
  Speaker 2: for UMA's daughter to.
• 39:29
  Speaker 1: Really, because because my first thought was Oh wow, he
• 39:31
  Speaker 1: really embraced digital technology and hedhd Uma Thurman and then
• 39:36
  Speaker 1: I was like, oh no, it's her daughter, and that
• 39:38
  Speaker 1: made me feel really old. So there you go.
• 39:42
  Speaker 2: So this was my first exposure to Margaret Qually and
• 39:45
  Speaker 2: Austin Butler and Mikey Madison, although I haven't seen her
• 39:49
  Speaker 2: anything else yet, but at the time of this recording,
• 39:51
  Speaker 2: the Oscars is going on right now and she's been
• 39:54
  Speaker 2: not like the woman who got mauled by a dog,
• 39:58
  Speaker 2: busted through glass and flamethrow had a flamethrower, you know,
• 40:03
  Speaker 2: on her. She's up for an OSCAR nom right now
• 40:05
  Speaker 2: for a Nora.
• 40:06
  Speaker 1: Good on her.
• 40:07
  Speaker 2: Yeah, good on her. And Margaret Qualley was in The
• 40:10
  Speaker 2: Substance most recently and she's not up for an Oscar
• 40:13
  Speaker 2: nom but the movie itself is I think one for
• 40:16
  Speaker 2: what is it Best Original Screenplay? Nope, nope, totally lying
• 40:20
  Speaker 2: never mind. I mean the Substance is nominated for a lot,
• 40:24
  Speaker 2: but I don't think it won. But yeah, so it was.
• 40:26
  Speaker 2: It was cool to see them and Austin Butler, you know,
• 40:29
  Speaker 2: of course, was came out and did the Elvis Presley
• 40:32
  Speaker 2: movie with Tom Hanks and also was Fade Rautha in
• 40:35
  Speaker 2: Dune Part two, which is also nominated.
• 40:38
  Speaker 1: He was he was excellent as Fade Gosh.
• 40:41
  Speaker 2: Yes, I thought I thought he was excellent. It's text
• 40:43
  Speaker 2: to this day.
• 40:44
  Speaker 1: Yeah.
• 40:45
  Speaker 2: Whenever I have the opportunity, whenever somebody asks if anything
• 40:48
  Speaker 2: is real, I say real as a donut mother.
• 40:52
  Speaker 1: Yes, yeah, I yeah, I love what he gives. His
• 40:55
  Speaker 1: day was like and but Brad Pitts reaction was like, no,
• 40:59
  Speaker 1: it was dumb than that.
• 41:01
  Speaker 2: You know. It's like Pitt has such great comedic chops.
• 41:06
  Speaker 2: His timing is absolutely perfect, like when he says, he's like,
• 41:09
  Speaker 2: I'm the devil and I'm here out to do the
• 41:12
  Speaker 2: devil's work, and it's just that pause, pause, pause, Nah,
• 41:16
  Speaker 2: I was dumber than that.
• 41:20
  Speaker 1: Well, I you know, and I shared this this thought
• 41:23
  Speaker 1: with you directly prior to recording. Tristan but Man, Brad
• 41:27
  Speaker 1: Pitt plays altered states awful. Well, I'm just gonna believe
• 41:31
  Speaker 1: it at that he.
• 41:33
  Speaker 2: Mister Pitt has indulged once or twice, according to rumors
• 41:37
  Speaker 2: as well as himself.
• 41:39
  Speaker 1: I believe it. I very much believe it. There's an
• 41:42
  Speaker 1: authenticity to his acting.
• 41:44
  Speaker 2: When he's shaking his hand in front of him starts
• 41:48
  Speaker 2: wobbling it, or even when he's talking to the dog,
• 41:52
  Speaker 2: he's like, hey, I'm trying my best here, you know,
• 41:55
  Speaker 2: and I think I'm doing pretty good.
• 41:57
  Speaker 1: Yeah, so so solid.
• 42:00
  Speaker 2: So someone else that I absolutely love seeing no matter
• 42:03
  Speaker 2: what is Timothy Oliphant. I'm a big Timothy Elephant fan.
• 42:07
  Speaker 2: I'll watch anything anything with him, Justified, you know, Santa Clarita,
• 42:13
  Speaker 2: Diet Deadwood, everything, everything. I absolutely love him, big elephant fan.
• 42:19
  Speaker 2: And so I was watching an interview with him one time.
• 42:21
  Speaker 2: He was talking about this movie, and he was so
• 42:24
  Speaker 2: excited to be in this movie. He said, He's like,
• 42:26
  Speaker 2: he's like, man, yeah, being in an in such a
• 42:29
  Speaker 2: huge production like Once upon a Time in Hollywood, because
• 42:32
  Speaker 2: everyone wanted a piece of Once upon Time in Hollywood.
• 42:35
  Speaker 2: There was a bidding war for it. Almost almost every
• 42:37
  Speaker 2: single major distributor wanted this movie. And so the fact
• 42:41
  Speaker 2: that he got cast in it, he was over the moon.
• 42:43
  Speaker 2: And I think it was during the read through, like
• 42:46
  Speaker 2: everyone shows up at the studio and does the read through.
• 42:50
  Speaker 2: He zooms in on his motorcycle and he's looking like
• 42:53
  Speaker 2: they just like they see him. They recognize him at
• 42:55
  Speaker 2: the front gate. They wave him in and he sees
• 42:58
  Speaker 2: some other a list, some alien people, and he's just
• 43:01
  Speaker 2: kind of takes off his jacket and he thinks to himself,
• 43:03
  Speaker 2: he's like, yeah, this is He's like, this is cool,
• 43:06
  Speaker 2: Like I'm here, I made it. And he says he's
• 43:09
  Speaker 2: like right when he was feeling really good about himself,
• 43:11
  Speaker 2: Brad Pitt comes in in his helicopter. Yeah, the lands
• 43:18
  Speaker 2: right in front of him, and he's like, oh no, no,
• 43:21
  Speaker 2: we lead two different careers.
• 43:24
  Speaker 1: Which is the story of Once upon a Time in Hollywood.
• 43:27
  Speaker 1: And that's that's the thing that I think some people
• 43:29
  Speaker 1: might struggle with, is it's like, well, why can't you
• 43:31
  Speaker 1: just tell this story and why do you have to
• 43:34
  Speaker 1: bring in the Sharon Tate thing? And I think even
• 43:36
  Speaker 1: if you take out the historical fantasy aspect of it,
• 43:40
  Speaker 1: Sharon Tate represents that new hot star who's having a
• 43:44
  Speaker 1: great time, can do no wrong, walks on water. Everybody
• 43:47
  Speaker 1: loves her, Everybody really wants to be with her, everybody
• 43:50
  Speaker 1: wants her at the parties. She's walking into movie theaters
• 43:53
  Speaker 1: and like come on in. And meanwhile, you know, Rick
• 43:55
  Speaker 1: is getting a lecture from an old time producer. He's like, hey,
• 43:58
  Speaker 1: you might as well do the spaghett Western because I'll
• 44:01
  Speaker 1: tell you what, nobody respects you anymore, and I'm just
• 44:04
  Speaker 1: here to tell you, I'll pay you money to do
• 44:06
  Speaker 1: this thing. And it's like just seeing those two tracks.
• 44:10
  Speaker 1: But the way then that Tarantino brings it together and
• 44:13
  Speaker 1: in a perfect world, I mean, because Tarantino is the
• 44:18
  Speaker 1: one that brings Robert Forrester and Pam Greer into the limelight.
• 44:22
  Speaker 1: He shows great respect for the acting talent of past generations,
• 44:30
  Speaker 1: and I think that's very much embedded throughout this the
• 44:33
  Speaker 1: way it comes together at the end, where the most
• 44:36
  Speaker 1: beautiful part of the fantasy is that the past and
• 44:40
  Speaker 1: the present, the ascendant future can find a way to
• 44:44
  Speaker 1: come together and be friends with each other. Stop discarding
• 44:47
  Speaker 1: the old star. They've still got something to contribute. And
• 44:50
  Speaker 1: I think that's such a beautiful thing. And I think
• 44:52
  Speaker 1: Tarantino is exactly the right director at this time to
• 44:55
  Speaker 1: make that statement, because his whole track record is I mean,
• 45:00
  Speaker 1: Lee Travalta out of the mix. There too, is just
• 45:03
  Speaker 1: bringing people forward and saying, hey, remember these people are
• 45:06
  Speaker 1: actually really talented. There's a reason they were big stars
• 45:09
  Speaker 1: in the first place. Let's give him some some roles here, guys.
• 45:13
  Speaker 2: Absolutely, and yeah, there's it's almost like he's going back
• 45:19
  Speaker 2: to his pulp fiction days with these with this parallel
• 45:22
  Speaker 2: storytelling where you have multiple storylines going on at once
• 45:26
  Speaker 2: and they connect every once in a while, and you know,
• 45:29
  Speaker 2: end with that one really big connection and him, and
• 45:33
  Speaker 2: you kind of believe that Dalton, by making those that
• 45:38
  Speaker 2: connection with Tate and with Polanski, you know, reaches that
• 45:42
  Speaker 2: upper echelon where he makes those connections and he continues
• 45:46
  Speaker 2: his stardom almost, you know, like Burt Reynolds, because like
• 45:48
  Speaker 2: Burt Reynolds, you know, like he kind of bounced around
• 45:50
  Speaker 2: on TV for a long time and he played the
• 45:52
  Speaker 2: bad guys he was. I mean, Dalton straight up replaces
• 45:56
  Speaker 2: Reynolds in that FBI episode, and like he, you know,
• 46:00
  Speaker 2: had a gigantic career even after TV, And so it
• 46:03
  Speaker 2: makes you believe that, oh maybe Dalton did too. And
• 46:05
  Speaker 2: if Dalton continues to rise, so does Cliff Booth. And
• 46:10
  Speaker 2: I laugh out loud both times when I saw it
• 46:13
  Speaker 2: in the theater and when I saw it at home
• 46:15
  Speaker 2: when they were showing him doing the Italian movies and
• 46:18
  Speaker 2: he's driving and he hops over the bridge and it
• 46:21
  Speaker 2: pauses and then draws with a line Cliff, you know,
• 46:24
  Speaker 2: driving the car. Yeah, I lose it every single time. Now, Darren,
• 46:28
  Speaker 2: was there anything that didn't work for you in this
• 46:31
  Speaker 2: movie when you were watching it you're just like, oh,
• 46:33
  Speaker 2: that was unnecessary or you know, like I don't really
• 46:36
  Speaker 2: dig on that scene, Like was there anything that really
• 46:38
  Speaker 2: stuck out to you where you're just like, this isn't working, not.
• 46:41
  Speaker 3: Particularly, It's just a well executed movie, you know, And
• 46:46
  Speaker 3: like you said, kind of tying back to pulp fiction
• 46:48
  Speaker 3: of these stories in a mixing, but then they all
• 46:51
  Speaker 3: kind of come to a head at the very end.
• 46:53
  Speaker 3: I guess, yeah, kind of the only two parts I'd
• 46:55
  Speaker 3: already kind of mentioned where that a couple of shots
• 46:57
  Speaker 3: that felt very modern around the city, and then maybe
• 47:01
  Speaker 3: it could have been better construed the geography of where
• 47:05
  Speaker 3: everyone was living. So I feel like I maybe need
• 47:08
  Speaker 3: another watch through to get that sense, because it does
• 47:12
  Speaker 3: apparently is very important, like who lives behind who and
• 47:15
  Speaker 3: who is where other people are. Like I said, like
• 47:17
  Speaker 3: I felt like Cliff lived quite a ways away from
• 47:20
  Speaker 3: where Dalton was, but then he's attacked by the same
• 47:23
  Speaker 3: group that arrived in the same car. So yeah, it
• 47:27
  Speaker 3: just that part was a little confusing to me, but again,
• 47:29
  Speaker 3: probably just another watch through would fix that.
• 47:31
  Speaker 2: So not a yeah that was I think that's very
• 47:34
  Speaker 2: much Hollywood happenstance. It's it's the it's a movie hand
• 47:39
  Speaker 2: waving of coincidence. Absolutely, John, Was there anything that didn't
• 47:43
  Speaker 2: work for you? Like, I know that you and I,
• 47:45
  Speaker 2: like all of us, have really been talking about how
• 47:47
  Speaker 2: how much we appreciate what this movie does and what
• 47:49
  Speaker 2: it's saying. But is there anything that doesn't work for you?
• 47:52
  Speaker 1: I think that the narration framing device could have been
• 47:56
  Speaker 1: handled better in the fact that I would have I
• 47:58
  Speaker 1: would have liked just like a tiny piece more. I
• 48:01
  Speaker 1: don't know where.
• 48:01
  Speaker 2: Okay, that's the then the acceptable answer.
• 48:04
  Speaker 1: You get the sense that, like this is a fireside
• 48:06
  Speaker 1: tale that old Kurt Russell is telling us.
• 48:09
  Speaker 3: I'm just glad the narrator wasn't Quittin Tarantino. Once I
• 48:12
  Speaker 3: started hearing someone talking, I'm like, oh, no, okay, it's
• 48:15
  Speaker 3: Kurt Russell.
• 48:15
  Speaker 1: You never turned down the chance to have Kurt Russell
• 48:18
  Speaker 1: talk in your movie.
• 48:18
  Speaker 3: No, No, I'm just saying if I was expecting Tarantino
• 48:22
  Speaker 3: pop in again and be like, so we're back to
• 48:25
  Speaker 3: seeing twenty seven and as our protagonist, and I'm like, no,
• 48:29
  Speaker 3: what are you talking about? Is this a read through
• 48:32
  Speaker 3: the table? Read? What is going on?
• 48:34
  Speaker 1: I have a feeling that Tarantino wrote that for himself.
• 48:37
  Speaker 1: And then Kurt Russell gets cast and he's like, oh, well,
• 48:39
  Speaker 1: why why on earth would I do this? Then, like,
• 48:42
  Speaker 1: because any sane person just gives it to Kurt Russell.
• 48:45
  Speaker 2: I would love to have a commentary track with Tarantino
• 48:48
  Speaker 2: for the last scene when when the Manson family are dying,
• 48:51
  Speaker 2: because you just know that, because it's a power fantasy
• 48:55
  Speaker 2: that Tarantino is just like, okay, all right, So okay,
• 48:58
  Speaker 2: So she gets like the dog food thrown in her face,
• 49:01
  Speaker 2: and that's not enough. Okay, that's not thing enough. Okay,
• 49:03
  Speaker 2: you just okay, okay, it's not it's not enough. He
• 49:05
  Speaker 2: needs to like throw her head against against the fireplace
• 49:09
  Speaker 2: and then up against the wall and then up against
• 49:11
  Speaker 2: the pillar. And you know, the poster that.
• 49:13
  Speaker 1: He throws her into represents sort of like the fact
• 49:15
  Speaker 1: that she's obsessed with the media, and that's the whole motivation, right,
• 49:18
  Speaker 1: So she's getting exactly what she's going for, which is
• 49:21
  Speaker 1: getting she's getting fed into the media. That she's trying
• 49:23
  Speaker 1: to destroy.
• 49:25
  Speaker 2: Yes, that's what I want. That is what I want.
• 49:27
  Speaker 2: That would be pretty great. Speaking of speaking of commentary,
• 49:29
  Speaker 2: I would I would watch that entire FBI episode with
• 49:34
  Speaker 2: Cliff and Rick talking all the way through it.
• 49:37
  Speaker 1: Yep.
• 49:38
  Speaker 2: That was We got such a little bit of it,
• 49:40
  Speaker 2: but it was so enjoyable that when he goes where
• 49:43
  Speaker 2: he's just like here, here, he is, here, he is
• 49:45
  Speaker 2: He's like and then like Dalton saying, like that guy
• 49:47
  Speaker 2: was a prick.
• 49:49
  Speaker 1: Here's the missed opportunity for the DVD extras is that?
• 49:53
  Speaker 1: And then take those four episodes or whatever of Bounty
• 49:56
  Speaker 1: Law that he supposedly made and have Cliff A and
• 50:00
  Speaker 1: Rick talking over it's like, oh, hey, you remember when
• 50:03
  Speaker 1: I did this thing? Oh yeah, look at that. You
• 50:04
  Speaker 1: can tell that's you over there. Like that sort of
• 50:06
  Speaker 1: thing is like, oh, that guy was a jerk, you know,
• 50:08
  Speaker 1: Like I would watch the hell out of that.
• 50:11
  Speaker 2: It's like Robert Downey Junior being in character for Tropic
• 50:14
  Speaker 2: Thunders and DVD commentary. Yeah. All right, well, I think
• 50:20
  Speaker 2: we've we we should wrap up because we're reaching the
• 50:23
  Speaker 2: hour mark and I feel like I could talk for
• 50:25
  Speaker 2: another hour about this movie and all these great characters
• 50:29
  Speaker 2: and all these great scenes. But we have two things
• 50:31
  Speaker 2: that we need to do. We need to give a
• 50:32
  Speaker 2: rating for Once upon a Time in Hollywood, and then
• 50:35
  Speaker 2: we need to give our ranking of Tarantino films because
• 50:38
  Speaker 2: we have reviewed all of them. Folks. So Darren, per
• 50:42
  Speaker 2: the rules when I host, you go first with with ratings.
• 50:46
  Speaker 3: Yeah, overall, I really enjoyed this movie. You know, we
• 50:49
  Speaker 3: didn't really chat about the I caught the porch scene,
• 50:52
  Speaker 3: you know, where he's reading his book alongside oh yeah,
• 50:56
  Speaker 3: the pretty frazier. Yeah, and that's the I think it's
• 50:59
  Speaker 3: a one two lunch. You get that scene and then
• 51:01
  Speaker 3: you get the trailer scene, and those together tell you
• 51:04
  Speaker 3: more about this man than the whole rest.
• 51:07
  Speaker 2: Of the movie.
• 51:08
  Speaker 3: And it's just Yeah, I think people like you said,
• 51:11
  Speaker 3: often sleep on DiCaprio. It's like, no man, he can
• 51:13
  Speaker 3: bring it. So I'm giving this a solid four. It's
• 51:16
  Speaker 3: a you know, I'm I'm actually really interested to watching
• 51:19
  Speaker 3: to watch it again now that I know like Sharon
• 51:22
  Speaker 3: dat Is and that that was the Manson family and
• 51:25
  Speaker 3: you apparently like you're talking about the shots of you know,
• 51:27
  Speaker 3: his wife dying on the boat, and I'm like, I
• 51:29
  Speaker 3: don't even remember that. I'm sure it was really quick,
• 51:32
  Speaker 3: but somehow that got my mind forgot.
• 51:34
  Speaker 1: That you don't remember, Yeah, I'm not, I'm not sure.
• 51:38
  Speaker 2: But he was dressed like that G I Joe guy,
• 51:40
  Speaker 2: like the Frogman or whatever.
• 51:42
  Speaker 1: Okay, yeah, why can't I think of that guy's name,
• 51:45
  Speaker 1: like a Scooba guy.
• 51:47
  Speaker 2: But like I think it was a straight up costuming
• 51:49
  Speaker 2: of the G I Joe.
• 51:51
  Speaker 1: Yeah, there's no doubt.
• 51:53
  Speaker 3: But yeah, but solid four. It's it's a great film.
• 51:57
  Speaker 1: Jehn five. It's an easy five. It's this movie to
• 52:01
  Speaker 1: me is pure joy. I could have it running in
• 52:04
  Speaker 1: the background any day of the week, but I couldn't
• 52:05
  Speaker 1: do that because I'd get shawshanked. And I've just sit
• 52:08
  Speaker 1: down and just start watching it. And there's so much
• 52:10
  Speaker 1: I love about it, Like even the thing where I'm
• 52:12
  Speaker 1: talking about like the narration, adding a little more narration
• 52:14
  Speaker 1: and make the framing device work a little bit better.
• 52:18
  Speaker 1: Like it's that's such a minor quibble with anything, And
• 52:21
  Speaker 1: it's not even a quibble. It's just like I'd like
• 52:22
  Speaker 1: a little more of that.
• 52:24
  Speaker 2: You know, have them been the second act?
• 52:26
  Speaker 1: I could have used four more French fries. Oh well
• 52:30
  Speaker 1: you know, I still they were still really good French fries.
• 52:32
  Speaker 1: So yeah, I mean this is an effortless five. This
• 52:35
  Speaker 1: is Tarantino. This is everything that he has been trying
• 52:39
  Speaker 1: to do through his whole career coming together and working
• 52:42
  Speaker 1: and hats off to him. This is this is exactly
• 52:44
  Speaker 1: where you expect a director to be after working at
• 52:48
  Speaker 1: it for so long, this far along in his career.
• 52:51
  Speaker 1: This is where a director should be. Is it should
• 52:54
  Speaker 1: be like, oh wow, look at that he not yeah,
• 52:56
  Speaker 1: he knocked it out of the park. Yep. Put everything
• 52:58
  Speaker 1: that he's done before has come together, and give me
• 53:01
  Speaker 1: my tenth movie, please, because you need Robert Richardson and
• 53:06
  Speaker 1: uh you know he's he's older than you are. So
• 53:08
  Speaker 1: let's let's let's get into production. Grade up, Come on,
• 53:12
  Speaker 1: speed up.
• 53:13
  Speaker 2: I echo every single thing that you said, John, I
• 53:15
  Speaker 2: don't even want to add to it. This is an
• 53:17
  Speaker 2: easy five. Not just a solid five. This is an easy,
• 53:20
  Speaker 2: solid five plus. I think this is a fantastic film.
• 53:24
  Speaker 2: It's a it's a wonderful film. It's well done, and
• 53:27
  Speaker 2: I could easily rewatch it more than any other Tarantino film.
• 53:30
  Speaker 2: Love it all right, So, Darren, since I made you
• 53:34
  Speaker 2: give the rating. First, I'm gonna have John give his
• 53:37
  Speaker 2: ranking of Tarantino. Oh my gosh, all right, starting with ten,
• 53:41
  Speaker 2: work your way down.
• 53:42
  Speaker 1: Oh, starting with the top and go down, or starting
• 53:46
  Speaker 1: with the bottom and go up. Least favorite, least favorite. Oh,
• 53:48
  Speaker 1: death Proof. Duh, that's that's an easy that's an easy choice.
• 53:52
  Speaker 1: Deathproof is the bottom. It's the only one of my
• 53:56
  Speaker 1: of these Tarantino movies to get less than a four
• 53:58
  Speaker 1: for me. Then in Glorious, which is not throwing shade it.
• 54:02
  Speaker 1: In Glorious Bastards, I enjoy it, but that Inglorious Bastards
• 54:05
  Speaker 1: Django unchained Jango and Glorious very close to each other,
• 54:08
  Speaker 1: but Jango's saying something res or dogs for obvious reasons.
• 54:12
  Speaker 1: Love it, find it in my heart. And even though
• 54:14
  Speaker 1: technically it has more of a U quote unquote star
• 54:16
  Speaker 1: rating and my overall reviews, it winds up getting edged out.
• 54:20
  Speaker 1: Oh no, wait no, because kill Bill the Whole Bloody
• 54:22
  Speaker 1: Affair got a five from me, So kill Bill the
• 54:25
  Speaker 1: Whole blood Affair. This is the first time kill Bill
• 54:27
  Speaker 1: has ever appeared above right above death Proof, So there
• 54:30
  Speaker 1: you go. Then we climb up. We go to Jackie Brown,
• 54:34
  Speaker 1: which is edged out by pulp fiction simply because of
• 54:37
  Speaker 1: just sentimentality on my point, right, I just freely admit that.
• 54:42
  Speaker 1: Then Hateful eight hate me all you want. I love
• 54:45
  Speaker 1: that film. And then Once upon a Time in Hollywood
• 54:48
  Speaker 1: is at the top of the stack, and I Tarantino
• 54:51
  Speaker 1: is gonna have to come in, Like there's a part
• 54:53
  Speaker 1: of me that wants them not to do anything else
• 54:55
  Speaker 1: because I'm like, I don't know if you can top this, bro.
• 54:57
  Speaker 2: So that's where Hateful Eight is number two on your list?
• 55:00
  Speaker 1: It is indeed, Hey, it is what it is, bro.
• 55:03
  Speaker 2: All right, Darren, what about you?
• 55:05
  Speaker 3: All right? So for me, we're still friends, John, But
• 55:09
  Speaker 3: Jackie Brown was number nine. For me, it's just not
• 55:12
  Speaker 3: my jam And not that it's not a great film,
• 55:15
  Speaker 3: but and yeah, depth Proof, we all gave it like
• 55:17
  Speaker 3: two's like it was just yeah, it was I think
• 55:20
  Speaker 3: our combined version of Planet Terror. Whatever we said about
• 55:24
  Speaker 3: remixing it, that would have made it ten times better.
• 55:26
  Speaker 3: I kind of wish number seven. I have Hateful eight
• 55:30
  Speaker 3: road show. Gosh, you guys in the long movies just
• 55:34
  Speaker 3: stretching me out. Hear this number six? Once upon a
• 55:37
  Speaker 3: Time in Hollywood? Do I do it? I do want
• 55:40
  Speaker 3: to give it a rewatch though, to kind of basking
• 55:42
  Speaker 3: it again. Number five Inglorious Bastards. Just just the acting,
• 55:48
  Speaker 3: it's just incredible. Number four Reservoir Dogs really grew on me.
• 55:53
  Speaker 3: You know that it feels like forever ago that we
• 55:55
  Speaker 3: talked about it. But just I love the indie film,
• 56:00
  Speaker 3: new filmmaker aspect of it, Like it's in one place,
• 56:03
  Speaker 3: almost super small, but told, I mean, you can see
• 56:07
  Speaker 3: why it launched his career. You can totally see that.
• 56:09
  Speaker 3: Number three Django Unchained. Yeah, that was just an incredible film,
• 56:13
  Speaker 3: Like just did a really I.
• 56:16
  Speaker 2: Love how much you loved Django?
• 56:18
  Speaker 1: I really do.
• 56:19
  Speaker 2: I say that honoratively.
• 56:20
  Speaker 1: I love it.
• 56:22
  Speaker 3: And Number two Pulp Fiction. I mean, it's it's a mainstay.
• 56:26
  Speaker 3: Probably gonna watch that again. It's just it's also a
• 56:30
  Speaker 3: quotable movie, and I often will bump something up for
• 56:34
  Speaker 3: if it's quotable. And Number one kind of coming in.
• 56:37
  Speaker 3: The only movie I'd seen before this House Lights was
• 56:40
  Speaker 3: Kill Bill, the whole Bloody Affair. I just love Kill Bill.
• 56:43
  Speaker 3: It's just a fun movie, surreal enough in the stuff
• 56:47
  Speaker 3: happening that's not really real, and you know, we're jumping
• 56:51
  Speaker 3: through the air, and fighting with swords, and it's just
• 56:54
  Speaker 3: it's a story. It's a really good story. So that's
• 56:58
  Speaker 3: my my nine.
• 57:00
  Speaker 2: All right, I'm given ten because I'm not doing the
• 57:04
  Speaker 2: whole bloody affair, so way at the bottom death Proof,
• 57:07
  Speaker 2: just like everybody else, God awful. Number nine is hateful
• 57:11
  Speaker 2: eight where it belongs. Number eight is Inglorious Bastard's seven
• 57:15
  Speaker 2: is Jackie Brown, six is Django, five Reservoir Dogs four,
• 57:21
  Speaker 2: Kill Bill Volume one, three is Once upon a Time
• 57:24
  Speaker 2: in Hollywood. Two, Kill Bill Volume two and one is
• 57:28
  Speaker 2: pulp fiction. Now, if I were to make a choice
• 57:33
  Speaker 2: and have volume two and volume one of kill Bill
• 57:37
  Speaker 2: and make it a whole bloody affair, I think my
• 57:39
  Speaker 2: raking would be number one is pulp fiction, number two
• 57:42
  Speaker 2: is Once upon a Time in Hollywood, and number three
• 57:45
  Speaker 2: is whole bloody affair. That's probably what I would do.
• 57:48
  Speaker 1: I'm crying foul with your rating Shenanigans here, because we
• 57:53
  Speaker 1: both respected the versions that we watched as part of
• 57:56
  Speaker 1: this House of Tarantino. You're the only one that's split
• 57:59
  Speaker 1: Kill Bill into volume one and volume two, and I
• 58:01
  Speaker 1: feel how I watched it, that's uncool' that's.
• 58:05
  Speaker 2: How I watched it. Shane how I watched it.
• 58:07
  Speaker 1: I'm sorry. I'm sorry, Darren. Aren't we supposed to watch
• 58:09
  Speaker 1: the director's preferred version? I don't know, I think something
• 58:11
  Speaker 1: like that.
• 58:12
  Speaker 2: I'm sorry when you just released the four K new
• 58:15
  Speaker 2: remaster transfer at the time that we were actually reviewing it. Yeah,
• 58:18
  Speaker 2: that's the version I'm gonna watch.
• 58:19
  Speaker 1: I'll just send that that article to you. That Schindler
• 58:21
  Speaker 1: our aforementioned friend shared with me about how the human
• 58:23
  Speaker 1: I can't really see four K anyway? So what are
• 58:26
  Speaker 1: you getting, you know, all wrapped up about nonsense.
• 58:28
  Speaker 2: It's complete nonsense. I don't care what white papers you
• 58:31
  Speaker 2: send me. It's complete nonsense, all right.
• 58:34
  Speaker 1: At the cinematographer wrote that, okay, and he.
• 58:37
  Speaker 3: Did, don't give a good god a dang a cinematographer.
• 58:40
  Speaker 1: You can't argue science, Tristan, come on right.
• 58:44
  Speaker 3: At the end of the day, it's like, whose line
• 58:46
  Speaker 3: is it anyway? And the points don't matter, so we
• 58:49
  Speaker 3: can do whatever we want. It's our podcast, dang it.
• 58:52
  Speaker 2: That is fair. This has been a really fun ride.
• 58:55
  Speaker 2: I've I'm always looking for an excuse to do a
• 58:58
  Speaker 2: Tarantino run, and I'm so glad that I was able
• 59:00
  Speaker 2: to do it with you guys. Please, folks, go to
• 59:02
  Speaker 2: the nerd Party dot com check out all of our
• 59:04
  Speaker 2: previous episodes as well as the other shows. We got
• 59:06
  Speaker 2: a lot of really good shows on there. Everything that
• 59:08
  Speaker 2: you can think of, everything for every type of nerd.
• 59:11
  Speaker 2: But Darren, what are we doing next week?
• 59:13
  Speaker 3: On next week, we're continuing the trade of films that
• 59:16
  Speaker 3: Darren has not seen. But it's going to be a
• 59:19
  Speaker 3: fun ride as we talk about Richard Linkletter and his
• 59:23
  Speaker 3: Before trilogy for Sunrise, Sunset and Midnight.
• 59:27
  Speaker 2: Here on Houselights, Join the Revolution, Join the Nerd Party.