Latest / Houselights: A Film Director Podcast / Jackie Brown (1997) - Quentin Tarantino | Houselights #215

Transcript

Jackie Brown (1997) - Quentin Tarantino | Houselights #215 · Houselights: A Film Director Podcast

0:03
Speaker 1: Welcome to the Nerd Party.
0:20
Speaker 2: Welcome back to House Lights, specifically House of Tarantino. Here
0:26
Speaker 2: on the Nerd Party Network, we are continuing our journey
0:29
Speaker 2: through the works of Quentin Tarantino, and we are going
0:34
Speaker 2: through this journey very methodically, very carefully, and paying attention
0:38
Speaker 2: to a lot of the details, which brings us to
0:40
Speaker 2: the third entry in Tarantino's directorial Ove Jackie Brown from
0:45
Speaker 2: nineteen ninety seven. I'm your host, John Mills and joining
0:59
Speaker 2: me on this special journey, our airline, Stewart Dess, Tristan Riddell,
1:05
Speaker 2: and longtime x con out on bail right now. Darren Moser, gentleman,
1:12
Speaker 2: welcome to the show.
1:14
Speaker 3: Sorry you were doing that introm my hand bumped the radio.
1:16
Speaker 3: I didn't mean to step on, but you know, I
1:20
Speaker 3: just love diegetic music. While we're podcasting it, you know
1:23
Speaker 3: me in the groove.
1:25
Speaker 2: It's one of a kind. It's one of a kind.
1:27
Speaker 2: And we will definitely talk about the music. We'll talk
1:29
Speaker 2: about the look, we'll talk about the pacing, and we'll
1:32
Speaker 2: talk about the departures that Tarantino makes with his third film,
1:36
Speaker 2: which we would arguably call his blank check movie, considering
1:41
Speaker 2: the fact that he comes off.
1:42
Speaker 4: Of the wild success of pulp fiction.
1:44
Speaker 2: Now he has done something between pulp fiction and Jackie Brown,
1:49
Speaker 2: a little film called.
1:50
Speaker 4: What was that called again? It was a little vampire
1:53
Speaker 4: movie that came out.
1:54
Speaker 2: George Clooney was in it, oh from Dusk Till Dawn,
1:57
Speaker 2: where he joined up with and struck up a friendship
1:59
Speaker 2: with Rob Rodriguez.
2:01
Speaker 5: And I don't understand what I saw wasn't a vampire
2:04
Speaker 5: film because I watched the first two acts and then
2:07
Speaker 5: I just turned it off.
2:09
Speaker 2: Well, then you may have liked the movie more than
2:12
Speaker 2: most of America did. But that movie was very much,
2:15
Speaker 2: very much marketed on the fact that Tarantino was in
2:17
Speaker 2: it and Tarantino had written it, but it was not
2:20
Speaker 2: directed by Tarantino. It was definitely a Rodriguez film from
2:25
Speaker 2: beginning to finish. And so Tarantino comes into this. He
2:29
Speaker 2: has all of the swagger that a director could have.
2:32
Speaker 2: He has critical acclaim, he has financial success, he has
2:35
Speaker 2: awards under his belt. He can do basically whatever he
2:39
Speaker 2: wants with this movie, and he chooses not to make
2:42
Speaker 2: an original work but to adapt a work by Elmore
2:45
Speaker 2: Leonard rum Punch. So, gentlemen, I know that you were
2:49
Speaker 2: both too young to have seen this in the movie theater,
2:52
Speaker 2: and I know that this definitely was not a Ridell
2:54
Speaker 2: family favorite. But I will go ahead and I will ask,
2:59
Speaker 2: have you guys ever read anything by Elmore Leonard? Have
3:01
Speaker 2: you read Rum Punch? Have you read any other works
3:03
Speaker 2: by him? Fire in the Hole, Fire in the Hole? Okay, Darren,
3:07
Speaker 2: have you read anything by him?
3:08
Speaker 3: I'm pulling up a list now, I have never even
3:10
Speaker 3: heard of said individual. I live sheltered life, I'm sure.
3:14
Speaker 4: Well.
3:14
Speaker 2: The thing is he had quite the nineties because a
3:17
Speaker 2: lot of his works got adapted, and they got adapted
3:19
Speaker 2: into very wildly successful movies. Out of Sight is an
3:23
Speaker 2: adaptation of one of his works that we'll talk about
3:25
Speaker 2: the crossover there, how it sort of exists in the
3:28
Speaker 2: Tarantino movie verse by casting serendipity. And also he had
3:33
Speaker 2: Get Shorty, which was one of Travolta's pulp fiction movies
3:37
Speaker 2: that was a big hit comedy movie. But I mean, Tristan,
3:40
Speaker 2: I've never read anything by Elmore Leonard, Darren hasn't. Does
3:44
Speaker 2: Tarantino capture the feel of an Elmore Leonard's style novel
3:48
Speaker 2: with Jackie Brown?
3:49
Speaker 4: Well, the.
3:51
Speaker 5: Story that I read by Leonard was very different from
3:55
Speaker 5: Jackie Brown.
3:56
Speaker 4: It's very different.
3:57
Speaker 5: But the dialogue, I say, Lynn itself like that, actually,
4:01
Speaker 5: you know what, I want to take that back. I
4:03
Speaker 5: want to take that back. I'd say the characterizations are
4:06
Speaker 5: solid because I feel like Leonard is very well known
4:10
Speaker 5: for the characters he creates, how unique they are, how
4:13
Speaker 5: well developed they are on the page. And I think
4:16
Speaker 5: that's definitely one of Jackie Brown's strengths is that each
4:21
Speaker 5: character is well defined and doesn't feel like a caricature.
4:27
Speaker 5: But at the same time, you know is exaggerated, is
4:30
Speaker 5: sometimes a little crazy, or you know, like exaggeration of
4:33
Speaker 5: one trait or another. But the thing is, there's no
4:36
Speaker 5: time when you're just like, Okay, this person doesn't feel
4:39
Speaker 5: real or like this would never happen. And I feel
4:41
Speaker 5: like Elmore Leonard's stories of what I've read, like Fire
4:45
Speaker 5: in the Hole is the one that is probably the
4:47
Speaker 5: most popular that I've read. Yeah, it's just like it's
4:50
Speaker 5: it's just so fun to read because you feel like
4:52
Speaker 5: you know these people by the end of the story.
4:54
Speaker 2: So you're saying that Tarantino gets the vibe that Leonard
4:58
Speaker 2: writes a book where the character are really what you
5:01
Speaker 2: pay attention to and what you enjoy as opposed to
5:03
Speaker 2: the story, Like it's really powered by the unique nature
5:06
Speaker 2: of the characters. And so, Darren, you know, you've seen
5:10
Speaker 2: Reservoir Dogs, You've seen pulp fiction. You know the types
5:12
Speaker 2: of characters that Tarantino puts together in an original fashion.
5:17
Speaker 2: Did you feel any departure from character type or character
5:21
Speaker 2: portrayal here in Jackie Brown. Did these characters feel more
5:24
Speaker 2: real or did they feel like, Yeah, this is definitely
5:27
Speaker 2: the same type of character I would have expected in
5:30
Speaker 2: pulp fiction or Reservoir Dogs.
5:32
Speaker 3: Yeah, I mean, not knowing that it was an adapted works,
5:35
Speaker 3: i'd say it's interesting. I want to talk about the
5:38
Speaker 3: main three because I kind of have a different take
5:40
Speaker 3: on each one. So Samuel L. Jackson, it's starting to
5:45
Speaker 3: be hard to see him as a unique character, Like,
5:50
Speaker 3: obviously he's playing it differently, but there's a lot of
5:52
Speaker 3: similarity in his mannerisms to like pulp fiction and things
5:56
Speaker 3: like that. I know this is still around the same
5:58
Speaker 3: time in his career, but he's there's nothing particular in
6:03
Speaker 3: this role that jumps out of like, oh man, but
6:06
Speaker 3: when when he showed up in Jackie Brown, he was
6:09
Speaker 3: like taking it this way. So there's that for him,
6:13
Speaker 3: you know, talking about you know, Robert Forster. I think
6:18
Speaker 3: it's the breakout of the whole thing. I think he
6:20
Speaker 3: was even nominated for like Best.
6:22
Speaker 4: Assistant, Best Supporting Actor, that supporting Actor.
6:25
Speaker 3: That's and I think he I loved his role the
6:28
Speaker 3: most of the movie. I think his kind of conveying
6:34
Speaker 3: a lot with his face with like just you know,
6:38
Speaker 3: you can tell the wheels are spinning. You know, he's
6:40
Speaker 3: been around that side of people, so he's not exactly
6:44
Speaker 3: shocked when people are like, oh, yeah, then someone was
6:47
Speaker 3: shot and then you know, oh and I stole the money,
6:49
Speaker 3: Like it's just it's Thursday for him, like this is,
6:53
Speaker 3: you know, a blip on his radar. So I think
6:56
Speaker 3: he really conveyed something. But then the third point on
7:02
Speaker 3: pamphort for Jackie Brown, there was I feel like half
7:05
Speaker 3: the film she was super engaging, She's looking right at me.
7:10
Speaker 3: I'm hoping that she succeeds. But then there's like a
7:14
Speaker 3: whole other half where I'm like, are you even the
7:16
Speaker 3: main character? Like there's so much going around you, And
7:21
Speaker 3: maybe that that's not a dig on her, it's more
7:24
Speaker 3: on and maybe I'm just overreacting on flushing out the
7:28
Speaker 3: other characters, which obviously is important to the story, But
7:31
Speaker 3: there's time when it feels like the bead gets away
7:35
Speaker 3: from Jackie Brown. It's a Jackie Brown movie. Her name
7:38
Speaker 3: is Jackie Brown. You know that I was expecting.
7:42
Speaker 4: I don't know.
7:42
Speaker 3: I don't know what I was expecting, because I didn't
7:44
Speaker 3: even know this movie existed. Like, I'd never heard of
7:46
Speaker 3: this movie, never even saw it on the stack of
7:49
Speaker 3: DVDs at Blockbuster, where many a movie cover. Nothing looked familiar.
7:54
Speaker 3: I didn't even know until we looked up the list
7:56
Speaker 3: of his movies. I'm like, Oh, he did something in
7:58
Speaker 3: ninety seven before he'll bill that'll be interesting.
8:02
Speaker 2: See, it's very very interesting to me that you say that.
8:05
Speaker 2: But I'll double back. But what would it be fair
8:07
Speaker 2: to say as you think back on it, that maybe
8:10
Speaker 2: it reveals that it's an adapted work by the fact
8:13
Speaker 2: that it has a more novel type of structure, like
8:16
Speaker 2: it's structured more like a book than it is like
8:19
Speaker 2: a film.
8:20
Speaker 3: Yeah, it's also yeah, I can agree with that, especially
8:26
Speaker 3: because of the length and the pace, Like this feels
8:30
Speaker 3: like when you're reading information in chapter one by the
8:33
Speaker 3: time you get to chapter fifty or whatever the end
8:36
Speaker 3: of the novel is, you know that stuff is so distance,
8:40
Speaker 3: whereas in this movie it kind of feels the same way,
8:42
Speaker 3: Like this isn't a fast movie. There's a lot of
8:46
Speaker 3: breathing room, a lot of like holding the shot and
8:50
Speaker 3: holding the moment, which is a great way to introduce
8:53
Speaker 3: us to these characters. But yeah, it's it's a different
8:57
Speaker 3: kind of pace definitely from both of his previous works.
9:00
Speaker 2: So now that that's interesting right there. You know what
9:03
Speaker 2: you said in Tristan, I'll bring that over to you.
9:05
Speaker 2: In terms of the pacing, He's still working with Sally Mankey,
9:08
Speaker 2: so he's got the same editor as the first two movies.
9:11
Speaker 2: So there's definitely directorial intent there. Picking up on maybe
9:15
Speaker 2: what Darren is leaving as a hint here. Do you
9:17
Speaker 2: think that there's too much breathing room in Jackie Brown?
9:20
Speaker 2: Do you think that Mankey lost a few battles in
9:22
Speaker 2: the editing bay, or do you think that this is
9:24
Speaker 2: an editor successfully putting together a vision in the best
9:29
Speaker 2: manner possible for her director.
9:31
Speaker 3: I left the bag for you in the in the room, Tristan,
9:33
Speaker 3: you can pick it up.
9:35
Speaker 5: I'm picking it up because I feel like Manky probably
9:39
Speaker 5: lost more than a few battles in this one, and
9:41
Speaker 5: Tarantino wanted this to breathe like this was very intentional,
9:45
Speaker 5: And I know that's a weird thing to say, because
9:47
Speaker 5: of course it's intentional like everything that you know, like filmmaking,
9:52
Speaker 5: when you're dealing on this high of a level, everything
9:55
Speaker 5: is intentional or everything a happy accident. But with this
9:59
Speaker 5: one good lie, this movie could have been so much
10:04
Speaker 5: tighter and more enjoyable for me in terms of pacing, Like,
10:09
Speaker 5: I don't want to say this movie could be ninety minutes,
10:12
Speaker 5: but you think you.
10:13
Speaker 2: Think there's a whole hour that could be trimmed out
10:15
Speaker 2: of this film?
10:16
Speaker 5: No, No, I don't, I don't, I don't. Okay, do
10:19
Speaker 5: I think it could hit the two hour mark, two
10:21
Speaker 5: hour ten.
10:22
Speaker 4: Mark eas easily?
10:24
Speaker 2: So, But let's try to, like armchair psychoanalyze that. Then,
10:28
Speaker 2: why do you think Tarantino would come into this and
10:31
Speaker 2: let it breathe so much when he's known for that
10:35
Speaker 2: very impactful inter cutting, jumping back and forth, multi timeline
10:40
Speaker 2: sort of stuff going on by this point? What compels
10:44
Speaker 2: him do you think to make this type of pacing?
10:48
Speaker 5: I feel like with this one, and I'm probably not
10:52
Speaker 5: going to make too many friends. Okay, you know how
10:54
Speaker 5: when Wes Anderson the moment when you realize that Wes
10:58
Speaker 5: Anderson is aware of Wes Anderson.
11:02
Speaker 2: But yes, we've discussed that in House of Anderson here
11:05
Speaker 2: on House Flights.
11:05
Speaker 4: Please check out our past catalog.
11:07
Speaker 5: Quite thoroughly by going to the Dinner Party dot com. This,
11:09
Speaker 5: I think is the movie where Tarantino got a little
11:14
Speaker 5: too big for his breeches. Like Reservoir Dogs friggin phenomenal,
11:19
Speaker 5: how can you top it? Boom, Pulp Fiction comes along
11:22
Speaker 5: and he does top it, gets the palmed, your huge success,
11:27
Speaker 5: he makes careers. This is his blank check movie. He's like, yeah, yeah, no,
11:31
Speaker 5: I am. I am frickin' Quentin Tarantino. This is what
11:35
Speaker 5: I do and the things that he was praised for
11:38
Speaker 5: in Reservoir Dogs and Pulp Fiction. Think about the scene
11:42
Speaker 5: with Butch when we first see Butch and the camera
11:47
Speaker 5: tracks out, pulls out and it's it's just an ISO
11:53
Speaker 5: on Butch and we heard Ving Raams talking and talking
11:55
Speaker 5: and talking and talking talking. We just see the back
11:57
Speaker 5: of ving Raam's head. That's a long scene. Once sustained cut.
12:00
Speaker 5: Some people might call it boring, but it wasn't. And
12:03
Speaker 5: like pulp fiction is full of that stuff where you know,
12:06
Speaker 5: you see John Travolta driving around, you get this, you
12:10
Speaker 5: get a really excessively long dinner scene at jack Rabbit
12:14
Speaker 5: Slims and so, like he Tarantino is a guy like
12:18
Speaker 5: they tell us in school, you know, learn the rules
12:20
Speaker 5: before you break them. And Tarantino absolutely did that with
12:23
Speaker 5: pulp Fiction and Reservoir Dogs. But with Jackie Brown, he's
12:28
Speaker 5: just like, oh, yeah, you remember that time in pulp
12:30
Speaker 5: fiction when I did that. I'm gonna I'm gonna crank
12:32
Speaker 5: this to eleven because I can, because I'm quitting fricking Tarantino.
12:36
Speaker 5: And that's what I feel like is what has happened now.
12:40
Speaker 3: I completely agree. It's like the difference between and yeah,
12:46
Speaker 3: he's kind of getting in his own way. It's like
12:48
Speaker 3: a film student, not not saying he's a film it's
12:51
Speaker 3: like a film student was like, hey, I want you
12:53
Speaker 3: to make a movie in a Tarantino style. He's starting
12:56
Speaker 3: to copy his own style instead of just being Quentin Tarantino.
13:02
Speaker 3: And but like you said, Tristan, I mean, gosh, I
13:06
Speaker 3: wouldn't want to be in that position. You had your
13:08
Speaker 3: breakout and then you won, you know, the award, and
13:12
Speaker 3: everyone's going, what's next? Like the pressure that this movie
13:15
Speaker 3: would have been under is incredible.
13:18
Speaker 2: I you know, before we get into any further discussion
13:23
Speaker 2: on that, what I really want to go into with
13:26
Speaker 2: what you guys are saying here is that, do you
13:30
Speaker 2: on top of that view get a sense of Tarantino
13:34
Speaker 2: trying to prove that he can tell a more traditional story. Right,
13:38
Speaker 2: it's much more linear than his previous two films. Do
13:42
Speaker 2: you think that this is a director trying to prove
13:45
Speaker 2: that he can do this type of straightforward storytelling, Like
13:48
Speaker 2: do you feel not that he was getting too big
13:50
Speaker 2: for his breeches, but he felt like he wanted to
13:52
Speaker 2: prove he could do this type of movie too, where
13:55
Speaker 2: you have just a straight shot from beginning to end
13:58
Speaker 2: until you know, you do a little jump around at
14:00
Speaker 2: the end to explain the heist and everything, like Darren.
14:02
Speaker 5: If you don't mind, I'll jump in. I personally think
14:06
Speaker 5: that because this is based off of source material, he
14:09
Speaker 5: kind of went with a flow on that one where
14:12
Speaker 5: it was like he even though you know, he wrote
14:15
Speaker 5: this for the screen himself, you know, his source material
14:20
Speaker 5: was linear. His source material showed the structure of what
14:24
Speaker 5: the movie was like. And so I feel like that
14:26
Speaker 5: was probably more of a contributing factor than him trying
14:31
Speaker 5: to show people he could he could do it, because
14:33
Speaker 5: he can do it. He knows he could do it,
14:35
Speaker 5: but he doesn't need to. But I feel like he
14:38
Speaker 5: loved the source material so much that he wanted to honor. Actually,
14:43
Speaker 5: you know, as a side note, he was like, they
14:45
Speaker 5: changed a lot from the book, and he was concerned
14:47
Speaker 5: that Elmore Leonard wouldn't like the changes. And Leonard loved it.
14:51
Speaker 5: He absolutely loved it. He thought it was great, which
14:54
Speaker 5: is so cool to hear when it's like the anti
14:57
Speaker 5: Stephen King where you know, like like you make a
15:00
Speaker 5: lot of changes from the book, where Leonard understands that
15:03
Speaker 5: the TV and movies are different from novels and short
15:06
Speaker 5: stories and everything like that, and I just love hearing them.
15:10
Speaker 5: But that's my take on it. I think because it
15:12
Speaker 5: was because it was Tarantino's first public, first directorial movie
15:16
Speaker 5: where he was working off of source material that he
15:19
Speaker 5: was kind of that's what led it to a linear structure.
15:24
Speaker 2: Okay, so you feel that he bound himself to having
15:28
Speaker 2: that more linear because of where it came from, you know, speaking.
15:31
Speaker 5: Oft in the dark. Don't know him, Yeah, you know,
15:33
Speaker 5: you know me and QT.
15:35
Speaker 4: I'll send him a note later. I'll find out.
15:38
Speaker 2: Well, I want to check in on how his Star
15:39
Speaker 2: Trek movie is coming anyway. But in terms of adapting it,
15:43
Speaker 2: something that he did catch a small amount of heat
15:46
Speaker 2: for was the use of a certain word in the
15:51
Speaker 2: dialogue that none of us will say on this podcast,
15:55
Speaker 2: but everybody knows what word we're talking about because of
15:57
Speaker 2: the Quentin Tarantino movie. We know what word we're talking
15:59
Speaker 2: about here. And it's something that when he did script
16:03
Speaker 2: doctoring for Crimson Tide for Tony Scott, that he hid
16:07
Speaker 2: from Denzel Washington, who wanted to know why he used unsuccessfully, Yes, unsuccessfully,
16:13
Speaker 2: But Darren, compared to the previous two movies, did that
16:19
Speaker 2: the use of that word jar you in any way?
16:22
Speaker 2: Did it take you out of it? Was it a
16:24
Speaker 2: like did you feel that it was a shock to
16:26
Speaker 2: hear it, or do you do you feel taking a
16:30
Speaker 2: part every other part of the conversation. Do you feel
16:33
Speaker 2: that he worked it in in such a way that
16:35
Speaker 2: it was it felt like a natural part of the
16:37
Speaker 2: dialogue or do you think that this was done for
16:40
Speaker 2: shock value? He could get away with it, so he
16:42
Speaker 2: did it.
16:43
Speaker 3: Yeah, I felt less shocked for sure. I think I'm
16:47
Speaker 3: just slowly becoming more desensitized to Tarantino and just the
16:50
Speaker 3: amount of language and drugs and sex and death. Like
16:54
Speaker 3: that's just I mean, I kind of knew that that's
16:56
Speaker 3: really what you're getting, and it's like, yeah, yeah, that's
16:59
Speaker 3: pretty the name of his biography and it'll be those
17:03
Speaker 3: four words in some order. But yeah, So, like I
17:06
Speaker 3: was saying before, I think where he really shown in
17:11
Speaker 3: this movie was when he was conveying things from the
17:15
Speaker 3: actors and they aren't talking even just like the end
17:19
Speaker 3: shot where Jackie Brown's like staring down the camera, looking
17:22
Speaker 3: right into it, but almost not breaking the fourth wall
17:26
Speaker 3: in the same way because she's seeing that moment she
17:28
Speaker 3: kind of sings along to the song and you're like, again, diegetic,
17:32
Speaker 3: it's playing on the radio, It's it's actually there. Like
17:35
Speaker 3: if she didn't sing along in that moment, it would
17:38
Speaker 3: have broken the fourth wall, but because she did, there's
17:41
Speaker 3: like the thinnest of film between you and the character.
17:46
Speaker 3: So yeah, I don't know at this point, I'm like
17:49
Speaker 3: it's gonna take a little more to shock me from
17:50
Speaker 3: a Tarantina movie, which I'm sure we'll get. I'm sure
17:53
Speaker 3: it's coming.
17:54
Speaker 4: So oh it's coming. Yeah, No, it's on the way
17:56
Speaker 4: that that is. This was Darnshore.
17:58
Speaker 5: This was Jackie Brett. Like Jack Brown, was Tarantino's tamest
18:02
Speaker 5: film ever made in terms of sex and violence and
18:05
Speaker 5: gore and everything like that. Yes, although to answer your question, John,
18:08
Speaker 5: for me personally, I found it incredibly distracting, especially during
18:13
Speaker 5: Chris Tucker and Samuel Jackson's scenes. Like it was, it
18:18
Speaker 5: was to the point where it didn't feel natural, where like,
18:23
Speaker 5: and even if it is natural for some people, it
18:26
Speaker 5: felt unnatural to see in a movie where like, obviously
18:29
Speaker 5: we've we've all seen tons of movies where that word
18:32
Speaker 5: is used all the time, casually, sometimes even as a comma.
18:35
Speaker 5: This one felt like it was cranked up too much
18:37
Speaker 5: and it was kind of do you guys remember cheez
18:40
Speaker 5: it was? It was towards the end of Boondock Saints
18:44
Speaker 5: there was this. There was a scene between the two leads.
18:46
Speaker 4: Never seen it, Oh my, okay.
18:49
Speaker 5: Never mind then, okay, anybody who's seen Boondock Saints listening.
18:52
Speaker 4: To the I'll plug my ears here.
18:56
Speaker 5: Like there's a scene where they're in an alley and
18:58
Speaker 5: the three main leads are screaming at each other, and
19:01
Speaker 5: the effort is used so much it's almost beyond parody,
19:04
Speaker 5: and you just start laughing, like you can't take the
19:06
Speaker 5: scene seriously. And that's kind of how I felt sometimes
19:10
Speaker 5: with Samuel Jackson's dialogue.
19:12
Speaker 2: Do you think that speaking specifically about because I think
19:14
Speaker 2: that the most of the infractions, if you will, are
19:18
Speaker 2: when sam Jackson and Chris Tucker are talking to each other.
19:20
Speaker 5: Do you think that I wonder if that was in
19:22
Speaker 5: the script or if that was just Jackson being Jackson, right, Yeah.
19:25
Speaker 2: I mean there's a fair question there. I've never read
19:27
Speaker 2: the actual printed script. Is it possible, though, that, let's
19:32
Speaker 2: say it is in the printed script, that it's an
19:34
Speaker 2: example of somebody thinking they're capturing the vernacular, but they're
19:39
Speaker 2: they're not, Like they're a stranger to the culture that
19:42
Speaker 2: they're trying to capture. Do you think that that might
19:44
Speaker 2: be an aspect to it.
19:45
Speaker 5: I feel like kind of like Tarantino probably wrote it
19:49
Speaker 5: pretty pretty close to what it was, but then he
19:52
Speaker 5: probably I mean, he knows Jackson at this point right,
19:55
Speaker 5: and I feel like he's probably he feels like a
19:57
Speaker 5: director who probably gives his act there's a lot of
20:00
Speaker 5: leeway in terms of making sure the dialogue sounds natural.
20:04
Speaker 5: And that's also another Leonard thing. That's another Elmore Leonard thing,
20:07
Speaker 5: Like his dialogue and his novels and short stories always
20:10
Speaker 5: feel natural. Like there's hesitations, there's there's no I don't
20:16
Speaker 5: I don't want to say mispronunciations, that's not right, but
20:18
Speaker 5: like there's there's misuse of grammar, like there's there's a
20:21
Speaker 5: lot of stuff that makes it feel like a person's
20:23
Speaker 5: actually talking. And yeah, I think just took it and
20:26
Speaker 5: ran with it.
20:26
Speaker 2: I like though that we'll shift out here and come
20:30
Speaker 2: back instead to Forster because I like the fact that
20:33
Speaker 2: you said Tarantino feels like the type of director that
20:36
Speaker 2: gives his actors leeway. Because Forrester was the one who
20:40
Speaker 2: recommended talking about having surgery to restore his hair because
20:45
Speaker 2: he had done it in real life, and Tarantino was
20:49
Speaker 2: so happy that he was comfortable talking about it that
20:52
Speaker 2: he let him incorporate it into the script. And I
20:55
Speaker 2: think that scene comes across very natural. It feels very
20:59
Speaker 2: real in that sense. Darren, are there instances of chemistry
21:04
Speaker 2: and dialogue where you truly believe, like this is a
21:08
Speaker 2: real conversation that would happen in the real world, Like
21:12
Speaker 2: do you do you find yourself transported at any point
21:15
Speaker 2: to say, oh, okay, well this sounds like just two
21:18
Speaker 2: people hanging out talking.
21:19
Speaker 3: Yeah, And I don't necessarily think that's a good thing.
21:23
Speaker 3: Like there's a lot of that in this movie, especially
21:28
Speaker 3: you know when with Robert de Niro and Bridget Fonda,
21:32
Speaker 3: like when they're in the apartment or you know, and
21:35
Speaker 3: there's just a lot of like simmer dialogue where we're
21:39
Speaker 3: just letting the scene simmer and and just people are
21:42
Speaker 3: just saying things. And I guess what I mean by
21:46
Speaker 3: not necessarily a good thing is I feel like this
21:48
Speaker 3: movie doesn't have the right balance of dialogue that's driving
21:55
Speaker 3: the plot or telling you something about a character or
21:58
Speaker 3: you know, that's it's movie dialogue. We get that, Like
22:01
Speaker 3: it's it's not that it draws you out. It's not like, well,
22:03
Speaker 3: why would they describe the bank vault that people don't
22:07
Speaker 3: sit around doing that. It's like, no, like in this
22:09
Speaker 3: scene in this context, that makes sense, But there's no
22:12
Speaker 3: bank vaults in Jackie Brown's interest, you know, but I
22:15
Speaker 3: feel like there was a lot of scenes where it
22:20
Speaker 3: was almost like a I'm just gonna put the camera
22:22
Speaker 3: over here and you guys just shoot the breeze, and
22:26
Speaker 3: it starts to, I don't know, it starts to get
22:29
Speaker 3: away from being a movie. And I know that's a
22:32
Speaker 3: really fine line to draw, Like obviously everything is in there,
22:36
Speaker 3: and you could even say every line is contributing to
22:39
Speaker 3: a character, but I don't know, there's just something about
22:43
Speaker 3: some of the scenes I think of, like the apartment,
22:46
Speaker 3: I think of some of the later dialogue where it
22:49
Speaker 3: was just I don't know, it's hard to give it
22:51
Speaker 3: a specific word, but you kind of get the vibe
22:53
Speaker 3: I'm saying.
22:54
Speaker 5: I feel what you're saying there, And to a point,
22:57
Speaker 5: I agree, because I feel like that's just a little
23:00
Speaker 5: it's just a taking the knee. I feel like you
23:02
Speaker 5: could probably shave like twenty i'm sorry, ten to like
23:05
Speaker 5: fifteen percent off of that and then like tighten it up.
23:08
Speaker 5: And I feel like that's one of those micro editing
23:11
Speaker 5: decisions that Minky probably lost out on. But to me, well, Darren,
23:15
Speaker 5: I completely agree with you that chemistry between Forrester and
23:21
Speaker 5: Greer is just so electric that it if you forgive
23:27
Speaker 5: a lot of sins. I think because of their on
23:30
Speaker 5: screen chemistry and the way like you just you want
23:34
Speaker 5: to see them together.
23:35
Speaker 3: Definitely not neget about them too, they had the best
23:37
Speaker 3: chemistry of the whole thing.
23:39
Speaker 5: But but you're totally right, Yeah, But I'm just saying
23:42
Speaker 5: like that, there are times when things go on long
23:44
Speaker 5: and seeing like scenes where Diala goes on too long
23:46
Speaker 5: without Greer and Enforst, and I totally understand what you're saying.
23:50
Speaker 5: I was just giving that as an example that you know,
23:53
Speaker 5: that's one of those things where you're just like, like
23:55
Speaker 5: we say often on this show, like when things go
23:58
Speaker 5: really right, you can forgive some things that go wrong.
24:02
Speaker 5: And I feel like that's one of those instances, is
24:05
Speaker 5: the on screen chemistry between Foster and Grew.
24:08
Speaker 2: Now speaking of those dialogue moments, though, I mean, you
24:10
Speaker 2: may be pointing to the fact, Darren, that Tarantino succeeded
24:14
Speaker 2: in what he wanted to construct, because by his own admission,
24:18
Speaker 2: he was trying to create a quote unquote hangout movie.
24:21
Speaker 2: And I'll quote from him directly here where he says
24:23
Speaker 2: Jackie Brown is better the second time, and I think
24:25
Speaker 2: it's even better the third and the fourth time. Maybe
24:28
Speaker 2: even the first time we see it, we go why
24:29
Speaker 2: are we doing all this hanging out? Why can't we
24:31
Speaker 2: get to more of this plot? But now the second
24:34
Speaker 2: time you see it and the third time you see it,
24:35
Speaker 2: you're not thinking about the plot anymore. You're waiting for
24:38
Speaker 2: the hangout scenes. And then he goes on to compare
24:42
Speaker 2: it to Rio Bravo, saying it's like Rio Bravo and
24:45
Speaker 2: those sorts of things. So maybe it's more a question
24:49
Speaker 2: of Tarantino was in fact really going for that.
24:52
Speaker 4: Quote unquote hangout movie scene.
24:55
Speaker 2: Feel, it's just it didn't work necessarily for everybody that
24:59
Speaker 2: encountered it. Now, the movie was pretty well received, but
25:02
Speaker 2: something we've talked about. We've talked about the editing, we've
25:04
Speaker 2: talked about the pacing, we've talked about all of these things.
25:07
Speaker 2: But he has a different director of photography on this film,
25:11
Speaker 2: and Tristan, I want to ask you first, do you
25:14
Speaker 2: feel that there's any visual sensibility that is distinct in
25:20
Speaker 2: terms of lighting, color, palette, or composition of the frame
25:24
Speaker 2: that you feel stands out compared to Tarantino's first two movies.
25:28
Speaker 5: That is a really solid question. I think this is
25:32
Speaker 5: one of those situations, and I'm sure there's people who
25:35
Speaker 5: really are going to disagree with me, which is one
25:37
Speaker 5: hundred percent acceptable and okay in my mind, but.
25:40
Speaker 4: In fact I encourage it.
25:44
Speaker 5: You remember when Fister dropped being a cinematographer and started
25:50
Speaker 5: becoming a director, and we were all wondering, like, what
25:54
Speaker 5: is the next Nolan film going to look like? Like
25:56
Speaker 5: what is not going to look like? And then we
25:58
Speaker 5: find out like, oh, it looks like a no In film.
26:01
Speaker 5: To me, I think Jackie Brown definitely does have some differences.
26:05
Speaker 5: I think some of the camera movement is different from
26:09
Speaker 5: ful fiction and reservoir dogs. I think that's probably the
26:13
Speaker 5: biggest thing. But the look and feel of composition, color
26:18
Speaker 5: palette and everything like that still screams Tarantino to me.
26:21
Speaker 5: So I feel like Tarantino is just such a presence that,
26:26
Speaker 5: like the cinematographer is truly giving the Tarantino vision in
26:30
Speaker 5: my opinion.
26:31
Speaker 2: Darren, do you think that in addition to what Tricia
26:34
Speaker 2: is saying, do you think that there are any differences
26:36
Speaker 2: that are striking? Did the different aspect ratio strike you?
26:39
Speaker 2: Because I think this is the only Tarantino film that isn't?
26:42
Speaker 2: I mean, it's shot and I think it's Please correct
26:45
Speaker 2: me if I'm wrong. I think it'shot in like one
26:46
Speaker 2: point eight five to one or something like that is
26:49
Speaker 2: and I think this is the only Tarantino movie shot
26:52
Speaker 2: in that aspect ratio. Did that jump out at you,
26:55
Speaker 2: as you know, do you think that it added anything
26:58
Speaker 2: to the story?
26:58
Speaker 4: Did it make it feel anymore into me?
27:00
Speaker 3: Well? Again, I think I'm like the worst person to
27:03
Speaker 3: ask this question, because hey, you know, I don't have
27:08
Speaker 3: the familiarity with Tarantino in his work overall, or I
27:12
Speaker 3: think the type of seventies film he was trying to
27:16
Speaker 3: reference in this, Like I get the vibe and I
27:19
Speaker 3: get what he's trying to do, but not so much
27:23
Speaker 3: to know, like yeah, except for like every time they
27:26
Speaker 3: pull out a cell phone, I'm like, oh good, this
27:28
Speaker 3: isn't nineteen seventy eight, Like you know it well, sometimes
27:31
Speaker 3: hard to tell.
27:32
Speaker 2: I just mean in terms of like a you know,
27:34
Speaker 2: specifically the aspect ratio and everything, like his first two
27:37
Speaker 2: movies were not one point eight five to one.
27:40
Speaker 4: Do you feel that it lent anything to this? Was it?
27:43
Speaker 2: I mean, I'm guessing it was just not noticeable. Do
27:45
Speaker 2: you think it brought us in closer to the characters.
27:47
Speaker 3: I think it helped bring us in close. Okay, yeah,
27:50
Speaker 3: especially you know the driving shots. The I think one
27:54
Speaker 3: of my favorite shots is when Jackie Brown's running out
27:56
Speaker 3: of the store and it's just tracking at her and
28:00
Speaker 3: all we see is behind her, and it's a great
28:02
Speaker 3: shot of building tension because you can't see where she's
28:05
Speaker 3: going and what she's looking at, and you're like, it's
28:08
Speaker 3: it's weird. You think if someone's running from something, the
28:12
Speaker 3: scary thing would be not seeing what's behind them, but
28:14
Speaker 3: it's actually scarier to not know where they're going. You
28:17
Speaker 3: feel like you're blind. So yeah, I would say versus
28:21
Speaker 3: like a wider aspect where you can see more of
28:23
Speaker 3: the scene and oh, look what's over there in the corner,
28:26
Speaker 3: which definitely you know, pulp fiction gets a lot out
28:29
Speaker 3: of this one is you know, it's almost hard to
28:32
Speaker 3: do a two shot you're right on the edge of
28:34
Speaker 3: the frame.
28:35
Speaker 4: M h Yeah, I mean I agree.
28:38
Speaker 2: I mean it's a Guiermo Navarro that is the director
28:41
Speaker 2: of photography here, and I mean, I'll give my two cents.
28:45
Speaker 2: I think the color palette to your point, Darren, about well,
28:49
Speaker 2: is this in nineteen seventies movie? Like, I really think
28:52
Speaker 2: that the lighting is a little bit softer. There's some
28:55
Speaker 2: soft lighting in pulp fiction, for sure. There are some
28:58
Speaker 2: very specific scenes where like that jump to mind, but
29:01
Speaker 2: I think on the whole, like just speaking on the whole,
29:05
Speaker 2: the lighting is a little bit softer here, and I
29:07
Speaker 2: think that the color palette screams seventies, like there's a
29:11
Speaker 2: lot of just very deep reds and stuff like that,
29:14
Speaker 2: you know. I would point actually to the scene where
29:17
Speaker 2: Forrester gets Jackie out of prison and they stop off
29:21
Speaker 2: for a drink when they're in that bar. I would
29:24
Speaker 2: contrast that too. In pulp fiction, Butch is in a
29:29
Speaker 2: red saturated bar with it's just you know, reds everywhere,
29:33
Speaker 2: reds and blacks. But Butch is very much in color
29:36
Speaker 2: popping out there, whereas Navarro drenches everything in that red
29:42
Speaker 2: to the point where you almost want to check the
29:43
Speaker 2: color settings on your TV, where like, is there something
29:45
Speaker 2: wrong here?
29:46
Speaker 3: There's a lot of saturation right movie.
29:48
Speaker 2: And I think that's a difference as well. And I
29:51
Speaker 2: think that you know.
29:52
Speaker 5: It's seventies film, literal film, literal seventies film would bleed yeah, right,
29:59
Speaker 5: and so it's it's a nice nod. And also even
30:02
Speaker 5: even the font of Jackie Brown is the same as
30:06
Speaker 5: Foxy Foxy.
30:07
Speaker 2: Brown, Yes, which came out the year I was born.
30:09
Speaker 2: So there you go, kids, I just dropped a hint
30:11
Speaker 2: as to how old I actually am. It was a
30:14
Speaker 2: great year for film. Wow, it's it's amazing that Foxy
30:18
Speaker 2: Brown came out that year. But you know, staying there
30:21
Speaker 2: with the look and the feel of everything, you know,
30:25
Speaker 2: we have a couple of people come in and they're
30:28
Speaker 2: with the way that they're stage, with that claustrophobic feel
30:32
Speaker 2: with Ray Nicolette played by Michael Keaton, who supposedly had
30:36
Speaker 2: to be talked into playing Nicolette, which is stunning to
30:39
Speaker 2: me because when you think about that, like when you
30:41
Speaker 2: really break that down, we're talking about the fact that
30:44
Speaker 2: Tarantino is making his follow up to Pulp Fiction. He's
30:46
Speaker 2: got all of this cachet. Look what happened with Bruce
30:48
Speaker 2: willis his career afterward, And Michael Keaton is like, I'm
30:52
Speaker 2: not sure, So that's kind of kind of wild. But
30:55
Speaker 2: in terms of you know, the look of these characters,
31:00
Speaker 2: the costuming, is actually something I would like to take
31:02
Speaker 2: a second to look at because we don't typically talk
31:04
Speaker 2: about costuming, but Tristan, like, with the costuming in this,
31:08
Speaker 2: do you think that the costuming is in any way
31:11
Speaker 2: gratuitous in terms of the way it is, Like, is
31:15
Speaker 2: it trying too hard? Like it is the costuming trying
31:18
Speaker 2: too hard? Or do you think it successfully lends to
31:21
Speaker 2: the illusion of these being real people.
31:23
Speaker 5: I honestly don't think it's trying too hard. I just
31:25
Speaker 5: love that Tarantino got pamgear Greer back in a red dress.
31:32
Speaker 4: Mm hmm.
31:33
Speaker 5: You know, I think that's I feel like that's probably
31:35
Speaker 5: why he made Jackie Brown. It's just so he could
31:37
Speaker 5: get Pam gear back in a red dress. No, I honestly,
31:40
Speaker 5: I think it's fine. I honestly do. I think it's great.
31:42
Speaker 5: I think it's some la Is in the surrounding area
31:46
Speaker 5: is filled with so many different types of people and
31:50
Speaker 5: cultures and influences. Darren, you and I have had broken
31:54
Speaker 5: bread together in Los Angeles, and you know, like it's
31:57
Speaker 5: it's such a vibrant place with different areas of economic
32:03
Speaker 5: you know, stature, and of up in its own tapestry
32:06
Speaker 5: of life. It's It's a tapestry of life, absolutely, and
32:09
Speaker 5: so I feel like the fashion really reflects that, and like, yeah,
32:14
Speaker 5: you get your seventies influences, you know, with even the
32:19
Speaker 5: flight attendant's uniforms and and some of Samuel Jackson's clothing
32:24
Speaker 5: and everything like that, you get very like seventies. It's
32:29
Speaker 5: like somebody in the nineties who grew up in the seventies.
32:32
Speaker 5: And I feel like that's kind of that's how I
32:36
Speaker 5: that's how I view the costume and the production design.
32:39
Speaker 5: It's people existing in the nineties who grew up in
32:41
Speaker 5: the seven I think.
32:42
Speaker 3: That's exactly it. It's like when people settle on their style
32:46
Speaker 3: and then it doesn't change even though it's like been
32:49
Speaker 3: several decades, Like not that they're stuck in the seventies.
32:53
Speaker 3: It's not like go go pants are in you know,
32:55
Speaker 3: it's like no, no, it's still a modern cut.
32:57
Speaker 2: But I'll go ahead and rode out here that sometimes
33:01
Speaker 2: one can be proud of fitting in the same clothing
33:03
Speaker 2: for twenty five years, Darren, I'm just gonna throw that
33:05
Speaker 2: out there.
33:06
Speaker 5: Well, it's like wearing a pencil skirt in twenty twenty five.
33:10
Speaker 5: You know, it's not done by gen Z, But yet
33:12
Speaker 5: the millennials enjoy it.
33:14
Speaker 2: I don't even know what a pencil skirt is. But Darren,
33:17
Speaker 2: you talk about the diverse Tristan's talking about the diverse
33:19
Speaker 2: areas and influences in the LA area, and you know
33:21
Speaker 2: your quasi native to that area. So on the on
33:26
Speaker 2: the you know, the titles that show up on screen
33:28
Speaker 2: telling what part of town that they're in. Do you
33:31
Speaker 2: think that that's helpful to people who aren't from the
33:33
Speaker 2: LA area, Like, do you think that it was necessary
33:37
Speaker 2: to put those things on there? Because I can tell
33:39
Speaker 2: you somebody from outside of the area, like certain things flop,
33:42
Speaker 2: you know, pop up and it's like two blocks from
33:44
Speaker 2: Hollywood Hills, And I'm like, okay.
33:46
Speaker 3: Sure, yeah it I don't it doesn't necessarily add to anything.
33:53
Speaker 3: I mean, the titles were more Again, it's kind of
33:55
Speaker 3: a holdover from pulp fiction, which has like the vignettes
33:58
Speaker 3: for like the chapters. Almost I think it was more
34:02
Speaker 3: effective talking about describing the timing of the heist or
34:06
Speaker 3: the swap. You know, that made a little more sense.
34:09
Speaker 3: But yeah, no, you don't really need like I almost
34:12
Speaker 3: keep forgetting it's LA like an l A story. It's
34:15
Speaker 3: like it's there's it's the it's in the sprawl, like
34:17
Speaker 3: I'm not seeing landmarks. I'm not in the city proper.
34:22
Speaker 3: It could be any of a dozen cities that touch LA.
34:26
Speaker 3: It makes although it makes me think now that you
34:28
Speaker 3: mention it. My wife was watching a K drama and
34:31
Speaker 3: in one scene they had lunch. I think it was
34:35
Speaker 3: somewhere in like, you know, the coastal Redwoods above San Francisco,
34:40
Speaker 3: and then drove a block and we're at you know,
34:43
Speaker 3: you know, the Getty Museum. And then they were down
34:46
Speaker 3: and then like they turnaround and it's you know, the
34:49
Speaker 3: boardwalk in Santa Cruz, and we're so again. Any native
34:53
Speaker 3: is watching that going, yeah, there's no you're you're you're
34:57
Speaker 3: turning around and you're three hours away in totally different location.
35:01
Speaker 3: There's those aren't next to each other. But again, for
35:04
Speaker 3: that story, it didn't matter. It was just a date
35:07
Speaker 3: they were on or something.
35:09
Speaker 2: Trust me, as a DC Metro area native, there are
35:13
Speaker 2: so many movies where you sit there like, yeah, no.
35:15
Speaker 4: That's not what the subway is.
35:16
Speaker 3: Not a giant in the yard of planes outside the
35:20
Speaker 3: Air and Space Museum where the transformers.
35:22
Speaker 2: Live, there should be I'm just gonna say there should be,
35:25
Speaker 2: because I would have gone to it all the time.
35:29
Speaker 2: Now we've made a couple of references to the music,
35:31
Speaker 2: and we know Tarantino from the get go is known
35:34
Speaker 2: for his diegetic music. Tristan successful here. Do you think
35:38
Speaker 2: that he is refining his craft of the music placement
35:42
Speaker 2: or do you think that this is a little self
35:44
Speaker 2: indulgent for him? Do you think that the do you
35:46
Speaker 2: think that he goes for cuts that are so deep
35:49
Speaker 2: that he loses.
35:50
Speaker 4: Some of the resonance with the audience.
35:53
Speaker 5: Well, using a song that was also in coffee was
35:57
Speaker 5: a little on the nose. I mean, I thought it
36:02
Speaker 5: was awesome, but at the same time, I was like, oh, okay.
36:07
Speaker 4: Like we get it.
36:07
Speaker 5: Like we're having a close up of Pamger's face and
36:10
Speaker 5: then we're hearing a song that was also used in coffee, Like, okay, yes,
36:13
Speaker 5: we get it. You're a fan of the seventies Tarantino. Apparently,
36:17
Speaker 5: Greer went into Tarantino's office and his walls were covered
36:21
Speaker 5: in her movie posters and she's like, did you put
36:25
Speaker 5: these up because you knew I was coming. He's like, no,
36:27
Speaker 5: I planned on taking them down because I knew.
36:29
Speaker 4: You were coming. I love that.
36:32
Speaker 5: I love that, and honestly, if I were unwed, my
36:37
Speaker 5: walls would be covered in Pameger posters. That's a little
36:42
Speaker 5: insight into Tristan Ridelle's mind. But no, with the music,
36:47
Speaker 5: I don't think it resonated as much as pulp fiction,
36:50
Speaker 5: and I think rarely does a film do resonate with
36:54
Speaker 5: the music that is pulp fiction and even Reservo Ducks.
36:57
Speaker 5: I think out of the three that we've seen so far,
37:00
Speaker 5: besides Across one hundred and tenth Street, I feel like
37:04
Speaker 5: that the rest of it was nowhere near as impactful
37:08
Speaker 5: as the previous two movies. Darren, what do you think
37:10
Speaker 5: about that?
37:11
Speaker 3: Yeah, I would say the music itself, like were great choices,
37:15
Speaker 3: but it was not as important which song it was.
37:20
Speaker 3: It was more about when it was played, Like it
37:23
Speaker 3: almost could have been any of that styleish song, like,
37:27
Speaker 3: especially how we used it as in the car radios
37:30
Speaker 3: in the as they're all as we're jumping around between
37:33
Speaker 3: different cars and even turning on the car and turning
37:35
Speaker 3: off the car, and it's like the theme music for
37:39
Speaker 3: that person and they're part of the caper. But it
37:41
Speaker 3: could have been almost anything. Not that he chose poor songs,
37:46
Speaker 3: and I think, like Tristan said on Tenth Street is
37:48
Speaker 3: the outlier, but nothing. You know, I'm not going to
37:51
Speaker 3: hear any of those songs and be like, yeah, Jackie Brown, No,
37:55
Speaker 3: it's just it's not hmm.
37:59
Speaker 2: See, I can say that at the time that it
38:02
Speaker 2: came out. I definitely think the music choices are more subtle, right,
38:06
Speaker 2: Like let's go back to Reservoir Dogs. Stuck in the
38:11
Speaker 2: Middle with You shoots to popularity the way that it
38:13
Speaker 2: does because of the scene that it's around. You know,
38:16
Speaker 2: when you have certain scenes in pulp fiction, you know,
38:19
Speaker 2: the dancing scene or girl You'll be a Well, You'll
38:22
Speaker 2: be a Woman soon became a hit song specifically because
38:26
Speaker 2: of that scene, and you wind up with Jackie Brown.
38:31
Speaker 2: I think is more restrained and more willing to let
38:36
Speaker 2: the music work in the service of the film as
38:38
Speaker 2: opposed to call attention to itself, Like I think that
38:43
Speaker 2: Across one hundred and tenth Street by the great Bobby
38:46
Speaker 2: Womac is used specifically to throw the audience in and
38:50
Speaker 2: say this is the type of movie you're gonna watch.
38:52
Speaker 2: That's the big splash of cold water, and then I
38:54
Speaker 2: think the rest of it is actually, up to this point,
38:59
Speaker 2: Tarantino's best use of music and film.
39:02
Speaker 4: Not favorite.
39:03
Speaker 2: I'm not saying it's my favorite soundtrack of Tarantino's up
39:06
Speaker 2: to this point, but I think it's his best because
39:09
Speaker 2: it's the most subtle, because I think it's the most
39:11
Speaker 2: native to what's actually going on as opposed to the
39:14
Speaker 2: attention getters. So in the service of the film again,
39:17
Speaker 2: but in the service of the film. One thing we
39:19
Speaker 2: called attention to when we talked about pulp fiction Tristan
39:24
Speaker 2: was we got to know Uma Thurman's feet for the
39:26
Speaker 2: first time. And here we have a scene where we
39:30
Speaker 2: see Bridget Fonda's feet, And first and foremost, I want
39:34
Speaker 2: to say, knowing what we know now and having seen
39:37
Speaker 2: pulp fiction and paying attention, did you roll your eyes
39:41
Speaker 2: when you saw the feet? And would you drink from
39:43
Speaker 2: any glass that had somebody's pinky toe touch the glass
39:47
Speaker 2: or would you have just not had anything else to drink?
39:50
Speaker 2: Because that as every time I see that scene, the
39:53
Speaker 2: pinky you know, she touches the glass with the pinky toe.
39:55
Speaker 2: I don't care what your intentions are, that's disgusting. You're
39:58
Speaker 2: getting me a new glass or I'm getting my self
40:00
Speaker 2: and New Glass. One of those two things has happened.
40:01
Speaker 5: That's a lot of questions. Yes, it is, No, it's
40:04
Speaker 5: it's so hard now because once you really like, I
40:09
Speaker 5: don't want to talk about.
40:10
Speaker 2: This, Okay, that's fair, Darren, how did you feel about.
40:15
Speaker 3: Yeah, it's like the veil of it being sly is
40:19
Speaker 3: gone and it's just like, look the feet shot not
40:22
Speaker 3: a surprise. And yeah, to answer your other question.
40:25
Speaker 4: Darren said what I wanted to say.
40:27
Speaker 3: That's completely disgusting, Like that's not flirting, that's just gross.
40:32
Speaker 6: Like, yes, then you're dead and the yad things happened
40:36
Speaker 6: between A and B. But that's the first infraction, his
40:40
Speaker 6: first strike, first strike right there. That's getting you closer
40:43
Speaker 6: to getting the shot in the parking lot right there.
40:45
Speaker 4: That's what I'm saying.
40:46
Speaker 5: That was a crazy moment for me because I've seen
40:49
Speaker 5: this movie before, but I never don't remember anything about it.
40:52
Speaker 5: I've seen this movie exactly once before in preparation for
40:56
Speaker 5: this podcast, and I know that i'd seen it and
40:59
Speaker 5: I remember certain things about it, but I didn't remember
41:02
Speaker 5: it in totality. And so when I watched this movie
41:06
Speaker 5: in preparation for this podcast, I completely forgot that he
41:10
Speaker 5: shot Bridget Fonda and he did it so callously and coldly,
41:14
Speaker 5: and it took it took me off card. I was
41:16
Speaker 5: just like, oh my god, he just did that. Like
41:19
Speaker 5: Jackson's reactions, Like again, I'm not condoning what Jackson is saying,
41:23
Speaker 5: but when he's like, you couldn't just hit her?
41:25
Speaker 4: Like right?
41:26
Speaker 2: I you know, It's it's interesting because that does play
41:29
Speaker 2: into Jackson's reaction. When they're sitting in in the car
41:33
Speaker 2: together and Jackson shoots him, shoots Robert de Niro, he
41:37
Speaker 2: has a line where he says, if I batch it
41:40
Speaker 2: at all, forgive me, but it's what happened to us.
41:42
Speaker 4: We used to be special. Something along those lines.
41:45
Speaker 5: Even said you were beautiful man.
41:47
Speaker 4: Yeah.
41:47
Speaker 2: And it's like that scene taken out of context. I
41:50
Speaker 2: think about it a lot when I encounter because I
41:54
Speaker 2: no longer participate in I'm far retired from this game.
41:58
Speaker 2: But like online arguments out within fandom, it is it
42:03
Speaker 2: is Ordell sitting there like I'm I'm sitting in Ordell's
42:07
Speaker 2: and I'm looking at what happened to us.
42:09
Speaker 4: Like, well, what's going on here?
42:12
Speaker 2: And the thing is, I would argue that all of
42:14
Speaker 2: the hangout scenes before that that scene make that scene
42:19
Speaker 2: pay off, because I would argue that if this is
42:23
Speaker 2: a quote unquote tighter movie, I don't feel the same
42:26
Speaker 2: sort of reaction to that scene because it's a very
42:31
Speaker 2: complex sort of thing where even though Ordell is a
42:35
Speaker 2: terrible person, awful hate him, you have this very human
42:40
Speaker 2: moment where we've seen him shoot somebody else, We've we've
42:44
Speaker 2: seen him do these terrible things, We've seen him be
42:46
Speaker 2: a horrible person, but this is the moment that got
42:49
Speaker 2: him like, this is his human moment right here where
42:54
Speaker 2: he You weren't supposed to be like this shooting shooting,
42:57
Speaker 2: you know, Chris Tucker's character earlier that didn't mean anything.
43:01
Speaker 4: This you made me do.
43:02
Speaker 2: Like like, there's a really weird, complex thing. And I
43:06
Speaker 2: think that's the payoff of a movie like Jackie Brown,
43:08
Speaker 2: with with the way it's composed, and you know that
43:12
Speaker 2: That's where I stand with that, because I think that
43:15
Speaker 2: the payoff in this movie is is really good. And Darren,
43:20
Speaker 2: you know this is your first time seeing it. The
43:22
Speaker 2: payoff with the heist and the handoff and the switcheroo
43:27
Speaker 2: and all of these sorts of things. Do you think
43:29
Speaker 2: at least that is paced properly. Do you think that
43:32
Speaker 2: comes together properly?
43:34
Speaker 3: Yeah, i'd say the hight yeah, I mean it's obviously
43:36
Speaker 3: what it's all building towards or the switch. You know,
43:38
Speaker 3: it's not really highst but but it but being told
43:43
Speaker 3: in like the two perspectives is a little weird. Like again,
43:47
Speaker 3: I get the style that they're going for, but I'm
43:50
Speaker 3: not sure what it's trying to convey. Like I already
43:53
Speaker 3: know that, you know, Max is going to be there,
43:56
Speaker 3: like that that's the plan. So like the fact that
43:58
Speaker 3: he sees him and then later we see that, oh yeah,
44:00
Speaker 3: he was always there. It's like, yeah, but I already
44:02
Speaker 3: knew that, like to his point of view, doesn't tell
44:04
Speaker 3: me anything new, So I guess it in my mind,
44:09
Speaker 3: it could have just been told straight through, like I
44:12
Speaker 3: don't recently see a benefit to chopping up the time.
44:17
Speaker 3: And it wasn't even a third way like like oh
44:21
Speaker 3: and then this is the way it was viewed from
44:23
Speaker 3: you know here, Like so it it kind of started
44:28
Speaker 3: like I had to pull out you know, Wikipedia and
44:31
Speaker 3: keep an eye on all the names and people because
44:33
Speaker 3: we start throwing around a ton of names of like
44:36
Speaker 3: oh so and so is gonna be here and they're
44:38
Speaker 3: gonna get the bag, and then you're gonna take it
44:40
Speaker 3: to so and so, and it started to get a
44:42
Speaker 3: little convoluted, the plan and the double crossing. So while
44:47
Speaker 3: it all worked out, yeah, it was just kind of there.
44:50
Speaker 3: It doesn't feel like one of the great switcheroo heists
44:55
Speaker 3: that I've seen in cinema, Like it's it's definitely not that.
44:59
Speaker 2: Okay, you know that's very tristan. But you know, do
45:05
Speaker 2: you have the same reaction to the ending that Darren
45:06
Speaker 2: does or do you think that it comes together nicely
45:09
Speaker 2: at the end?
45:11
Speaker 5: I think it comes together nicely. I think it's maybe
45:14
Speaker 5: a little over explained. I feel like there's a few
45:17
Speaker 5: moments when you kind of I think that kind of
45:19
Speaker 5: lends itself to the pacing and the editing where you're
45:21
Speaker 5: just kind of like, okay, I get it. You know,
45:23
Speaker 5: like there's I feel like a lot of movies fall
45:25
Speaker 5: into the trap, like fall into the trap of like, hey,
45:29
Speaker 5: there was a lot of confusion before, or you didn't
45:32
Speaker 5: know where this was going to go, and so now
45:34
Speaker 5: we're really gonna lay it out for you. We're really
45:37
Speaker 5: gonna spell it out. Just in case anybody at home
45:40
Speaker 5: is still confused, you know, here you go. And I
45:43
Speaker 5: feel like this is one of those movies where you're
45:45
Speaker 5: just like, you know, like, I'm smarter than you think
45:48
Speaker 5: I am. I am not the lowest common denominator. And
45:51
Speaker 5: sometimes I feel like this movie falls into that trap.
45:54
Speaker 5: But at the same time, you know, it's nice to have,
45:58
Speaker 5: like this is one of those times when I'm just like, oh,
45:59
Speaker 5: it's not to have Jackie Brown, like you have Career
46:02
Speaker 5: and Forrester together talking about it back and forth and
46:05
Speaker 5: explaining each other and what they want to do. But
46:08
Speaker 5: I feel like that's one of those things that could
46:09
Speaker 5: have been trimmed, like do we need to see every
46:12
Speaker 5: single moment from every single perspective in order to get
46:15
Speaker 5: what's going on? Yeah, that's my take on it. I
46:18
Speaker 5: feel like it comes together nice but over explained at times.
46:22
Speaker 3: And also the fact that like and again, this is
46:26
Speaker 3: just a story and it's not a day on it.
46:28
Speaker 3: But it worked like there was no there's no twist
46:33
Speaker 3: of like, oh and then it all went bad and
46:34
Speaker 3: so and so was there who wasn't supposed to be there.
46:37
Speaker 3: It's like, no, it pretty much worked, like I can't
46:41
Speaker 3: really see how the story would have ended any differently.
46:44
Speaker 3: So again, it's a story. It's not like you have
46:48
Speaker 3: to have a twist. But they did so much of
46:52
Speaker 3: I'm going to tell you what we're gonna do, and
46:53
Speaker 3: then we're gonna show you doing it, and then it
46:57
Speaker 3: did happen, and it's like, oh, okay, that's a lot
47:00
Speaker 3: of time spent on this event happening exactly, whereas usually
47:05
Speaker 3: we get some and maybe I'm thinking more modern, but
47:08
Speaker 3: usually we get more of like, oh, but what you
47:10
Speaker 3: didn't realize is this was happening in the background and
47:13
Speaker 3: it's just not that kind of film, which I'm not
47:15
Speaker 3: digging it against that, but it just it could have
47:19
Speaker 3: used a little more.
47:19
Speaker 4: Twist, maybe to my taste.
47:22
Speaker 2: Well, as we're rounding third, there are only two things
47:25
Speaker 2: that I want to hit on before we get to
47:26
Speaker 2: our final thoughts and ratings. The first is just as
47:30
Speaker 2: a delightful mention if anybody wants to learn more about
47:33
Speaker 2: the Jackie Brown film connected universe thing. Technically, Michael Keaton
47:39
Speaker 2: appears as Ray Nicolette in Out of Sight by Steven Soderberg,
47:44
Speaker 2: which adapts another work by Elmore Leonard. As mentioned before,
47:50
Speaker 2: you Know it's the nineties worthy decade of Elmore Leonard adaptations,
47:54
Speaker 2: and so he is the same character played by the
47:58
Speaker 2: same actor in two different movies, from two different studios,
48:02
Speaker 2: from two different directors, and it's just really interesting because
48:06
Speaker 2: we've basically created the Elmore Leonard connected universe by default.
48:10
Speaker 2: And in fact, Tarantino had the swagger at the time
48:15
Speaker 2: to force Mirramax not to charge Universal for using the
48:19
Speaker 2: character and so that Soderberg could do it, which was
48:22
Speaker 2: pretty pretty great because Universal was actually holding off on
48:26
Speaker 2: certain aspects of Out of Sight because they wanted to
48:28
Speaker 2: wait and see who Tarantino cast in the role, which
48:32
Speaker 2: I thought, I think that's a delightful thing. But one
48:35
Speaker 2: last thought I want to get from you gents and
48:36
Speaker 2: then our ratings is I think Jackie, oh, please go ahead,
48:41
Speaker 2: Tristan Nie.
48:42
Speaker 5: I do want to interject real quick and say that
48:46
Speaker 5: this is not the last time that Tarantino does that,
48:51
Speaker 5: because Damon Harriman played Charles Manson in Once Upon a
48:55
Speaker 5: Time in Hollywood, and he also played Charles Manson in Mindhunter, Yes,
49:01
Speaker 5: which is when that came, when that came out, and
49:03
Speaker 5: when that was happening, I freaking love when that happens.
49:06
Speaker 5: It's kind of like when Peter O'Toole played Henry the
49:08
Speaker 5: second twice.
49:09
Speaker 4: You know, it just works.
49:10
Speaker 5: It has a continuity to it, an agreeable symmetry, if
49:13
Speaker 5: you will.
49:14
Speaker 2: I think it's a delightful sort of thing to do.
49:17
Speaker 2: But my last thought and then we'll get into our
49:20
Speaker 2: ratings and everything is I think Jackie Brown still stands
49:24
Speaker 2: as a unique movie because the love story is between
49:30
Speaker 2: two people who are not in their tweets, who are
49:33
Speaker 2: in fact, quote unquote older, and you know, they're in
49:38
Speaker 2: middle age. And I think that Tristan. Do you think
49:40
Speaker 2: that Tarantino is successful here in at least portraying what
49:46
Speaker 2: love is like for people who are not spring chickens anymore,
49:50
Speaker 2: basically people who are in the second act of life
49:54
Speaker 2: coming in because he's not when he writes this movie,
49:57
Speaker 2: he's not when he is putting this together. Do you
50:01
Speaker 2: think that he nonetheless successfully conveys that, Like, do you
50:05
Speaker 2: rejoice in the fact that this is you know, quote
50:09
Speaker 2: unquote older people falling in love throughout this movie?
50:13
Speaker 5: Well, to answer all those questions, yes, yes, and yes,
50:15
Speaker 5: Like I genuinely enjoy movies with older people who aren't
50:18
Speaker 5: just twenty somethings or twenty two year olds where it's
50:23
Speaker 5: a movie where the entire plot is when are they
50:26
Speaker 5: going to have sex? Like that's the entire plot of
50:28
Speaker 5: so many movies, like the every romantic comedy that you've
50:31
Speaker 5: ever watched, that's basically the plot is when are they
50:33
Speaker 5: going to you know, get past their differences and have sex?
50:38
Speaker 5: With this one it I mean, I'm not middle aged.
50:41
Speaker 5: I'm getting there, but it's I'm not in the second
50:43
Speaker 5: act just yet, and you know, so like I can't
50:46
Speaker 5: really tell you how accurate it is, but it felt
50:49
Speaker 5: accurate to me as an outsider. It felt like especially
50:53
Speaker 5: from Forster, who who you know, like he has a
50:56
Speaker 5: lot of great one liners where I'm like, oh, I'm
50:58
Speaker 5: too old to do X, Y and Z, you know,
51:00
Speaker 5: like I'm not going to blame anybody else for what
51:02
Speaker 5: I did, you know, like things like that, Like there
51:04
Speaker 5: was a lot of one liners that felt like someone
51:07
Speaker 5: who had been through life. And I think that's kind
51:11
Speaker 5: of a cornerstone of Forster's character of Max Cherry and
51:15
Speaker 5: Greer where and also Greers you know, you know talking
51:18
Speaker 5: about where you know, they use that against Brown's character
51:22
Speaker 5: Jackie Brown where they're just like you're you're a forty
51:25
Speaker 5: something black woman, you know, like you do not have
51:29
Speaker 5: it easy and your life can get real hard, real quick.
51:32
Speaker 5: And she's like, I can't start over. She'd rather either
51:35
Speaker 5: die than you know, than try to start her life
51:38
Speaker 5: over by going back to prison. Like that's scarier to
51:41
Speaker 5: her than that than death. And I feel like that's
51:44
Speaker 5: something that you don't feel as a young person, Like
51:47
Speaker 5: you feel like there's there's always time to start over,
51:50
Speaker 5: there was always time to do something new, Like in
51:53
Speaker 5: mad Man. I was just watching an episode where you know,
51:56
Speaker 5: the lead, the the head partner was like, a young
52:00
Speaker 5: man are always like always feel like they can risk
52:03
Speaker 5: their entire fortune because they can make it again. I
52:06
Speaker 5: can't do that right now, And this movie really embodied
52:11
Speaker 5: that to me.
52:12
Speaker 4: Darren. You following on with Tristan.
52:14
Speaker 3: Yeah, especially like the very end, Like I love the
52:17
Speaker 3: end scene between Max and Jackie where you know you
52:22
Speaker 3: can tell he's tempted. He's like, hey, you know, take
52:25
Speaker 3: the money, go with the girl, go all the way
52:28
Speaker 3: to Spain and reinvent my life. But it felt like
52:33
Speaker 3: his character was like wise enough to be like, let
52:36
Speaker 3: that moment pass and then if you're still you know,
52:40
Speaker 3: it's a good idea. Then maybe chase the girl, and
52:44
Speaker 3: that kind of you know, led to him fading into
52:46
Speaker 3: the into the you know, cross faders. He's disappearing down
52:49
Speaker 3: the hallway, and I think, I mean, it's the kind
52:52
Speaker 3: of story where it came down to that phone call,
52:54
Speaker 3: like the fact that the phone call rang for more
52:57
Speaker 3: business and she's like, you're still open for bit, Like
53:00
Speaker 3: I think it kind of snapped him out of it.
53:02
Speaker 3: And again this is all beautifully played across his face
53:06
Speaker 3: like saying nothing yeah. And then same with Jackie, you know,
53:11
Speaker 3: I think then it goes to her and she's driving
53:15
Speaker 3: looking at the camera, and before she starts singing the song,
53:19
Speaker 3: she's kind of like not regretting leaving him, but just
53:23
Speaker 3: you can tell and this isn't spelled out, but I
53:26
Speaker 3: assume that she is thinking about what could have been
53:29
Speaker 3: with them, and then once she starts singing one hundred
53:33
Speaker 3: and ten Street, she's like, next chapter, here we go,
53:36
Speaker 3: Like that's that was this moment and now I'm off
53:40
Speaker 3: to Spain and to see that and convey that whether
53:44
Speaker 3: that's exactly what everyone got from those scenes without well,
53:49
Speaker 3: let me tell you, Jackie why I can't go with
53:51
Speaker 3: you to Spain. And here's a PowerPoint presentation of three
53:55
Speaker 3: points like no, no, no no, Like that was masterfully done.
53:57
Speaker 3: The ending landed the plane perfectly in my opinion, Well well,
54:02
Speaker 3: turbulence over the flight, but we'll get there. O. See
54:06
Speaker 3: I did that because she was a flight attendant.
54:08
Speaker 2: There you go, well done, well done. So here we are.
54:10
Speaker 2: We're going to give our final thoughts and ratings. And
54:12
Speaker 2: I've been loving this discussion with the two of you.
54:15
Speaker 2: I've loved hearing your perspective. And just for further perspective,
54:19
Speaker 2: on cinema score, which is really a great indicator for
54:24
Speaker 2: how well a film is going to be received by audiences.
54:28
Speaker 2: This one landed a B as in you know, Bravo.
54:32
Speaker 2: And usually for movies that have sort of like a
54:36
Speaker 2: lasting punch, you have to be in the A range
54:39
Speaker 2: on cinema score. And because you know, they're asking the
54:43
Speaker 2: audiences when they walk out, so I think that it's
54:46
Speaker 2: not surprising to me when I run across people have
54:49
Speaker 2: sort of you know, hey, this is good but not
54:52
Speaker 2: great reactions. It's sort of something that the movie has
54:55
Speaker 2: had since it got released back in ninety seven and
54:59
Speaker 2: I can tell you that since the first time I
55:02
Speaker 2: saw it to this time that I saw it, I
55:05
Speaker 2: know everybody's gonna roll their eyes. He's a fanboy. This
55:08
Speaker 2: is a five star film. I think it's absolutely entrancing.
55:12
Speaker 2: I don't mind the longer takes. I don't mind the
55:14
Speaker 2: longer scenes. I don't mind the hangout stuff because I
55:18
Speaker 2: really feel like I know and believe in all of
55:22
Speaker 2: these characters, and as a result, this feels like the
55:26
Speaker 2: most real world adventure that Tarantino has had up to
55:29
Speaker 2: this point. And then the debate is is this the
55:32
Speaker 2: most real world adventure that Tarantino will ever have throughout
55:36
Speaker 2: his filmography, because this one feels like it's actually rooted
55:41
Speaker 2: in the world and is populated by people that could
55:44
Speaker 2: actually exist that I could run across and not know
55:49
Speaker 2: what the rest of their backstory was. But these were
55:52
Speaker 2: people that I came across, and I enjoy that type
55:55
Speaker 2: of experience and I appreciate even if it doesn't work
55:58
Speaker 2: for everybody that three films in Tarantino, I would argue
56:03
Speaker 2: that he's not you know, he doesn't have too much
56:05
Speaker 2: swagger here. I don't think that he's he I don't
56:08
Speaker 2: think that this is the point at which Tarantino becomes
56:11
Speaker 2: too self aware of himself.
56:12
Speaker 4: I think we're approaching.
56:13
Speaker 2: It, and I think this is the last glorious moment
56:16
Speaker 2: before we hit it. And we'll talk about those moments
56:19
Speaker 2: in the future. But so for me, it's a five.
56:22
Speaker 2: It's a solid five. And I've always loved this film, Tristan,
56:28
Speaker 2: Where do you Land with Jackie Brown?
56:30
Speaker 5: There's a lot of things that I like with Jackie Brown,
56:33
Speaker 5: and there's more that I liked than I expected I would.
56:36
Speaker 5: But to me that like the first time, like it
56:39
Speaker 5: kind of shows a lot to me that being in
56:41
Speaker 5: the Tarantino fan that I am and only seeing Jackie
56:43
Speaker 5: Brown once in the past, you know, however many decades
56:47
Speaker 5: it's been around, and not feeling the need to go
56:50
Speaker 5: back to it because and also finding it very forgettable
56:54
Speaker 5: after watching it a second time, I probably won't watch
56:58
Speaker 5: it again for a very very long time. Like I said,
57:01
Speaker 5: there's a lot that I liked, but I feel like
57:04
Speaker 5: there's so much working against it. Big thing being the pacing.
57:07
Speaker 5: As we mentioned before, I want to give it a
57:10
Speaker 5: forgivable three and a half for the artistry involved and
57:15
Speaker 5: for the chemistry between Forster and greer. So that's where
57:18
Speaker 5: I'm landing three and a half.
57:19
Speaker 2: Darren, this is your first viewing, And what are you
57:23
Speaker 2: filling out on the survey card for Jackie Brown.
57:26
Speaker 3: Yeah, I'm kind of more interest in the boat. It's
57:29
Speaker 3: while I think the top two performances are definitely the highlight.
57:35
Speaker 3: Like their story was very interesting, but it swirled around
57:40
Speaker 3: with maybe just basing it off of his previous two films.
57:43
Speaker 3: I wanted a little more, not every day. I wanted
57:46
Speaker 3: a little more fantastical, a character that was larger than
57:49
Speaker 3: life or something like that, just personally like and like
57:53
Speaker 3: you said, John, it was very like these could be
57:55
Speaker 3: people down the street in some suburb of LA because
58:01
Speaker 3: you know, it all looked the same. So yeah, I'm
58:04
Speaker 3: giving it a three. It's not a terrible movie, but
58:09
Speaker 3: I'm probably never gonna watch it again, unless and even
58:13
Speaker 3: if there's another Tarantino marathon that I'm somehow invited to.
58:17
Speaker 3: You know, I might go get some pizza during that
58:20
Speaker 3: two and a half hours so that I can spend
58:23
Speaker 3: restocking the chips. So no, nothing negative to say, but
58:28
Speaker 3: overall it's just not my kind of movie. It doesn't
58:32
Speaker 3: really tick the boxes. But I can see for what
58:36
Speaker 3: it is in the performances. I'm given it a three.
58:39
Speaker 2: Okay, well, there we go. That is where we landed
58:42
Speaker 2: with Jackie Brown. So apparently mister Tarantino has hit his
58:46
Speaker 2: first patch of less than perfect praise from the House
58:49
Speaker 2: Lights crew. Here, Darren, what are we covering next week
58:53
Speaker 2: here in the House of Tarantino.
58:55
Speaker 3: Well, we love to package our films together in the
58:57
Speaker 3: most efficient way possible for you listeners, So next week
59:01
Speaker 3: we're going to be covering kill Bill, the whole bloody affair.
59:05
Speaker 3: We're not going to make you wait an extra week
59:07
Speaker 3: or six months or whatever it was back in oh three,
59:10
Speaker 3: but we are going to talk about that next week
59:13
Speaker 3: on House Lights.
59:14
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