Latest / Houselights: A Film Director Podcast / Django Unchained (2012) - Quentin Tarantino | Houselights #218

Transcript

Django Unchained (2012) - Quentin Tarantino | Houselights #218 · Houselights: A Film Director Podcast

• 0:03
  Speaker 1: Welcome to the nerd Party.
• 0:20
  Speaker 2: Welcome back to House Lights, our director discussion show here
• 0:23
  Speaker 2: on the nerd Party Network. This week, we're continuing in
• 0:26
  Speaker 2: the House of Tarantino with his twenty twelve film Djengo Unchained.
• 0:31
  Speaker 2: I'm Darren the Marshall, not the Sheriff Moser, and I'm
• 0:35
  Speaker 2: joined again by my friends, Doctor John Bounty Hunter Mills
• 0:38
  Speaker 2: and the Risk two shot manufacturer Tristan Raddell. Let's saddle
• 0:43
  Speaker 2: up as we discuss this Southern Western known as Jengo Unchained.
• 0:48
  Speaker 3: Also falling into that category.
• 0:59
  Speaker 2: Job John as not quite the music I was expecting,
• 1:02
  Speaker 2: but you know it works.
• 1:03
  Speaker 3: It worked.
• 1:03
  Speaker 4: He was expecting a Jim Croche song. Tristan, Okay, oh
• 1:08
  Speaker 4: there you go.
• 1:09
  Speaker 2: Sorry about that, but yes, this also falls into the
• 1:12
  Speaker 2: category of wo of films that Darren has not seen.
• 1:19
  Speaker 2: So yeah, I think we're all really excited to talk
• 1:22
  Speaker 2: about this movie.
• 1:24
  Speaker 3: Man.
• 1:24
  Speaker 2: Although twenty twelve feels like a long time ago, guys,
• 1:27
  Speaker 2: it's receding in the rear view mirror mighty quick. But
• 1:31
  Speaker 2: let's jump to you John. Were you a midnight review?
• 1:36
  Speaker 2: Were you eagerly awaiting this or as we've kind of
• 1:40
  Speaker 2: seen Tarantino's kinda you know, has he bounds back from
• 1:44
  Speaker 2: his inglorious bastards?
• 1:46
  Speaker 3: Is it?
• 1:47
  Speaker 2: How are you feeling about Tarantino in twenty twelve is
• 1:49
  Speaker 2: what I'm.
• 1:50
  Speaker 4: I was very excited about Django and changed coming. However,
• 1:53
  Speaker 4: in November of twenty twelve, my life changed seismically. So
• 1:58
  Speaker 4: through the end of twenty twelve and the beginning twenty thirteen,
• 2:01
  Speaker 4: I was dealing with things that prevented me from seeing
• 2:04
  Speaker 4: Django Unchained in the movie theater. There were a lot
• 2:07
  Speaker 4: of trips to Florida to settle some estates and stuff
• 2:10
  Speaker 4: like that, so I was otherwise occupied for a few
• 2:12
  Speaker 4: months and all of those sorts of things. But it
• 2:15
  Speaker 4: was very much on my mind, and so as soon
• 2:18
  Speaker 4: as it was available on home release, I was first
• 2:21
  Speaker 4: in line ready to watch. I was excited to see
• 2:24
  Speaker 4: it because I could tell from the ads that there
• 2:28
  Speaker 4: was a The ad campaign was a completely different vibe
• 2:32
  Speaker 4: to me. It resonated. The ad campaign itself resonated with
• 2:36
  Speaker 4: what I think he was going for in death Proof,
• 2:40
  Speaker 4: where it very much like it it hit, and from
• 2:43
  Speaker 4: the very first moments of the original trailer, I was like,
• 2:46
  Speaker 4: he found out what he was trying to do cool.
• 2:48
  Speaker 4: So I was excited for it. Life got in the way,
• 2:51
  Speaker 4: and then eventually I did see it on home release.
• 2:55
  Speaker 5: What a What an interesting take. I never really thought
• 2:59
  Speaker 5: of that before, but I think that's spot on. I
• 3:02
  Speaker 5: really like that. Like the I remember the ad campaigns
• 3:05
  Speaker 5: for this, and that was I think it really nailed
• 3:09
  Speaker 5: the tone of what they were going for and there
• 3:12
  Speaker 5: was no confusion. There was zero confusion with the ad
• 3:15
  Speaker 5: campaign about what this movie was going to be like,
• 3:17
  Speaker 5: and it pissed some people off because it felt like
• 3:20
  Speaker 5: some people were just like, oh, wait, you know, this
• 3:22
  Speaker 5: is going to be an action comedy about.
• 3:25
  Speaker 6: Slavery, Like are we really doing this?
• 3:28
  Speaker 5: But then of course once you saw it, you realize
• 3:30
  Speaker 5: that that's you know, like he was not Quentin Tarantino
• 3:34
  Speaker 5: was not being lighthearted about slavery whatsoever.
• 3:36
  Speaker 2: No, no, no, yeah, And I mean as far as
• 3:39
  Speaker 2: speaking about you know, there were definitely the jump cuts
• 3:43
  Speaker 2: that also made me think of Death Proof, where I
• 3:46
  Speaker 2: was like, a, like, again is my stream stuttering? No, no, okay,
• 3:50
  Speaker 2: those are intentional, but not again, not as much as
• 3:53
  Speaker 2: Death Proof, but there was still a little bit so yeah,
• 3:56
  Speaker 2: I can see what you're saying. About the trailers kind
• 3:59
  Speaker 2: of wing in that that vibe that it didn't feel
• 4:03
  Speaker 2: like it was filmed in the seventies for once, which
• 4:05
  Speaker 2: is nice. It kind of like had a different, you know,
• 4:08
  Speaker 2: different vibe. So, Tristan, it's Christmas Day, December twenty fifth,
• 4:13
  Speaker 2: twenty twelve, are you spending it with your family or
• 4:15
  Speaker 2: are you watching the latest Tarantino movie? How is Tarantino
• 4:20
  Speaker 2: ranking for you at this moment in your life?
• 4:23
  Speaker 5: This was I didn't see this in the theaters like
• 4:25
  Speaker 5: on midnight showing or anything like that. I do have
• 4:29
  Speaker 5: a memory of seeing this in the theater. I don't
• 4:31
  Speaker 5: know if it's a real memory, but I feel like
• 4:33
  Speaker 5: I did, and I remember walking out thinking, hey, yeah, okay,
• 4:40
  Speaker 5: you know I was. I was more jazzed about Jamie
• 4:43
  Speaker 5: Fox being in this kind of role than I was
• 4:47
  Speaker 5: it being a Tarantino film, just because I'd been so
• 4:49
  Speaker 5: burned with Death Proof and I was very underwhelmed with
• 4:52
  Speaker 5: Inglorious Bastards, and so if it wasn't Jamie Fox, like
• 4:57
  Speaker 5: say it was Tarantino's original pick of Will Smith, I
• 5:01
  Speaker 5: probably wouldn't have gone to see it in the theater.
• 5:04
  Speaker 5: But I remember seeing it just thinking like eh, this
• 5:06
  Speaker 5: is all right. And then when it came out on video,
• 5:09
  Speaker 5: you know, I watched it again because I was like,
• 5:11
  Speaker 5: you know, sometimes Tarantino films you need a second watch.
• 5:13
  Speaker 5: It's kind of like Wes Anderson and I watched it again.
• 5:15
  Speaker 5: I was just kind of like, eh, okay, I guess
• 5:17
  Speaker 5: it's it's the same kind of experience. And I hadn't
• 5:19
  Speaker 5: watched it since then until the preparation for this podcast,
• 5:23
  Speaker 5: and I reacted to it very differently this time around.
• 5:26
  Speaker 5: So that's that's my little journey with a Jango unchained
• 5:31
  Speaker 5: very interesting.
• 5:32
  Speaker 3: Yeah.
• 5:33
  Speaker 2: I mean for me, I was thinking, how can Jamie
• 5:35
  Speaker 2: Fox top his role in Stealth? But I guess he found. Oh,
• 5:41
  Speaker 2: I I'm kidding. I'm kidding that movie's hot garbage.
• 5:45
  Speaker 5: But yeah, I mean obviously I would understand it if
• 5:47
  Speaker 5: you said Ray was hot garbage. But I mean, come on,
• 5:50
  Speaker 5: stell what Yeah.
• 5:52
  Speaker 2: So, yeah, for this one, I didn't know a ton
• 5:56
  Speaker 2: going in. I kind of feel now I should have
• 5:58
  Speaker 2: rewatched the trailer just to kindind of what my appetite.
• 6:02
  Speaker 2: For me. Honestly, it was more about the opening titles
• 6:05
  Speaker 2: and seeing, you know, oh, Christopher Waltz again. You know,
• 6:09
  Speaker 2: I knew from memory that DiCaprio was in it and
• 6:11
  Speaker 2: obviously in Jamie Fox. So especially having just watched Inglorious
• 6:17
  Speaker 2: Bastards last week and that amazing performance by Christopher Watson,
• 6:21
  Speaker 2: I was like.
• 6:21
  Speaker 3: Okay, let's see what we get.
• 6:24
  Speaker 2: This time around. I almost feel that his portrayal in
• 6:29
  Speaker 2: this character was kind of a like, not that there
• 6:32
  Speaker 2: was anything wrong with his first portrayal, but this was
• 6:34
  Speaker 2: kind of like, oh my gosh, the acting is so good,
• 6:37
  Speaker 2: but I really want to like the character. So now
• 6:40
  Speaker 2: we get him as a character that is actually a
• 6:43
  Speaker 2: good person, you know, a little bit air quotes in there,
• 6:47
  Speaker 2: but but yeah, this was a whole different tale for him.
• 6:53
  Speaker 3: So in this story, let's jump.
• 6:56
  Speaker 2: Around some of the characters. So I feel sometimes we
• 6:59
  Speaker 2: get kind of bogged down with like cinematography and editing
• 7:03
  Speaker 2: and junk like that. For our director's podcast, let's start
• 7:09
  Speaker 2: with Christoph Waltz. You know, we see him writing in
• 7:14
  Speaker 2: you know, It's I've heard some people Will Smith say
• 7:18
  Speaker 2: that they felt like Django wasn't the lead character in this,
• 7:23
  Speaker 2: which I don't understand because he's very much the main character.
• 7:28
  Speaker 3: I you know, maybe for the.
• 7:30
  Speaker 2: First moment, it does feel like you know, doctor King,
• 7:35
  Speaker 2: you know, is carrying away the plot for the first half.
• 7:39
  Speaker 4: I'll give some grace to Smith in this sense that
• 7:42
  Speaker 4: sometimes an actor encounters the third revised draft before it
• 7:46
  Speaker 4: gets to the final draft of a screenplay when they
• 7:49
  Speaker 4: see it, and maybe he read a version where it
• 7:53
  Speaker 4: was more imbalanced or something like that. Who knows, somebody
• 7:58
  Speaker 4: could see where it's headed and understand, no, this is
• 8:02
  Speaker 4: still in development. This is where we're pointed, though, And
• 8:06
  Speaker 4: that's me just exercising grace for Smith, because he's a
• 8:10
  Speaker 4: well respected actor with a lot of time in the industry,
• 8:12
  Speaker 4: and maybe he just didn't see it pointing in the
• 8:14
  Speaker 4: right direction. But I don't know that there would have
• 8:18
  Speaker 4: been any question with a movie called Jango unchained as
• 8:22
  Speaker 4: to who the protagonist was in the film. You know.
• 8:26
  Speaker 4: To me, if I don't want to exercise that grace,
• 8:30
  Speaker 4: I'm going to read Smith as looking for an excuse,
• 8:34
  Speaker 4: you know, like a hindsight is twenty twenty sort of
• 8:37
  Speaker 4: thing to be like, oh, well, you know I didn't
• 8:39
  Speaker 4: want to be in any Yeah, yeah, he wasn't the protagonist.
• 8:43
  Speaker 4: You know. I don't think Smith would have worked in
• 8:46
  Speaker 4: the role at all. I don't think he would have
• 8:49
  Speaker 4: played it the same way that Fox does. I think
• 8:51
  Speaker 4: that Fox brings a certain type of intensity that enables
• 8:55
  Speaker 4: him being like Smith. He came up in a comic
• 9:01
  Speaker 4: actor route to the dramatic actor route. But there was
• 9:05
  Speaker 4: always a certain edge to Jamie Fox that lent his
• 9:10
  Speaker 4: energy to this type of role to sell it a
• 9:12
  Speaker 4: lot better. Will Smith is just a completely different type
• 9:15
  Speaker 4: of role. I was actually surprised to learn that Smith
• 9:18
  Speaker 4: had ever been offered the role, because to me, that
• 9:22
  Speaker 4: seems like that would not have worked as well overall.
• 9:25
  Speaker 5: But yeah, and to add some credence to that, the
• 9:28
  Speaker 5: original script was much longer, to the point where it
• 9:33
  Speaker 5: was suggested to make this a kill Bill volume one,
• 9:37
  Speaker 5: volume two kind of scenario because it was so much material,
• 9:41
  Speaker 5: and Tarantino was just like, Nope, not doing that again.
• 9:44
  Speaker 5: I'll just cut it way down. And so Jonah Hill's
• 9:46
  Speaker 5: character had a much bigger storyline, much much bigger storyline,
• 9:50
  Speaker 5: and Zoe Bell's character had a much bigger storyline too.
• 9:55
  Speaker 5: So there is so much on the cutting floor, and
• 9:58
  Speaker 5: Tarantino has flirted with the idea of doing like a
• 10:02
  Speaker 5: you know, like an extended cut treatment kind of like
• 10:04
  Speaker 5: what he did with our one next week.
• 10:07
  Speaker 4: Hateful Eight. And the thing is, he did the experiment
• 10:10
  Speaker 4: with Hateful Eight of turning it into a mini series
• 10:13
  Speaker 4: on Netflix, and I can tell you that it's not
• 10:17
  Speaker 4: particularly successful film and television, even streaming television. There's a
• 10:22
  Speaker 4: different chapter break Cadence that you write for, and it's
• 10:27
  Speaker 4: very obvious he would have to go back with Fred
• 10:31
  Speaker 4: Raskin and completely re edit the whole damn thing for
• 10:35
  Speaker 4: to work the way that he thinks it should work.
• 10:37
  Speaker 5: Speaking of which, Seali Mink, Yes, this is the first
• 10:41
  Speaker 5: film that was not edited by Sally Mink that's a
• 10:44
  Speaker 5: Tarantino film, because this came out in twenty twelve, and
• 10:47
  Speaker 5: she passed in twenty ten, very tragically. She died of
• 10:50
  Speaker 5: heat stroke while well on a walk, and it's just
• 10:55
  Speaker 5: it's so so utterly sad, like it's just she's I
• 11:00
  Speaker 5: hope she gets the credit that she deserves posthumously, because
• 11:04
  Speaker 5: I really she as we get older and as we
• 11:07
  Speaker 5: pass and as you know, as these films get reflected
• 11:11
  Speaker 5: on for the next fifty years, I really hope that
• 11:14
  Speaker 5: it's not just Tarantino, but Tarantino and Mink that is
• 11:19
  Speaker 5: really shown as a success because I feel like there
• 11:22
  Speaker 5: if it wasn't for Sally Mink, Tarantino would not be
• 11:25
  Speaker 5: the director that he is today.
• 11:28
  Speaker 4: I agree, I absolutely agree. I'm glad you said that.
• 11:31
  Speaker 4: But maybe that's a question right there is Darren, this
• 11:34
  Speaker 4: is your first time encountering this, This is your first
• 11:36
  Speaker 4: time encountering many of these things, and so we encounter
• 11:39
  Speaker 4: a film not edited by Sally mank here for Tarantino.
• 11:45
  Speaker 4: Did you pick up on that? Was there anything about
• 11:48
  Speaker 4: the cadence of this film where you felt like maybe
• 11:51
  Speaker 4: there was somebody that didn't have as strong a hand
• 11:55
  Speaker 4: in the booth with Tarantino. Did you get a sense
• 11:57
  Speaker 4: that there was somebody who was less sure because, like
• 12:00
  Speaker 4: we always talk about, Sally Mink obviously had an influence
• 12:04
  Speaker 4: on him.
• 12:05
  Speaker 3: Yeah.
• 12:05
  Speaker 4: Do you feel that this is somebody stepping into a
• 12:08
  Speaker 4: role where Tarantino's like, look, this is the way I
• 12:11
  Speaker 4: do it? Or was there a continuity to things? Did
• 12:15
  Speaker 4: it still feel like it's got the same flow that
• 12:19
  Speaker 4: previous Tarantino movies did.
• 12:20
  Speaker 3: Yeah? I think it definitely.
• 12:22
  Speaker 2: I mean it felt like a Tarantino film, And I
• 12:25
  Speaker 2: think the biggest aspect of that is it feels like
• 12:29
  Speaker 2: Taran from what I've gathered that Tarantino really had a
• 12:33
  Speaker 2: lock on the story and like what kind of a
• 12:37
  Speaker 2: movie he wanted to tell, as opposed to that kind
• 12:40
  Speaker 2: of coming naturally through the process. And I think that
• 12:44
  Speaker 2: helped guide all the way into the editing booth so
• 12:48
  Speaker 2: that it still had enough of those Tarantino fingerprints on
• 12:53
  Speaker 2: it to not feel like, oh, yeah, you can really
• 12:56
  Speaker 2: tell when they switched editors, like it's the before.
• 12:58
  Speaker 3: And then the after.
• 12:59
  Speaker 2: So I think that and that's how it came across
• 13:02
  Speaker 2: to me for this particular one, because yeah, that's a
• 13:06
  Speaker 2: you hear about directors or producers where they're like, oh,
• 13:09
  Speaker 2: I worked with my producing partner, Like they're they're duos.
• 13:11
  Speaker 2: They're not even really single entities, like they always work together,
• 13:15
  Speaker 2: so you have to kind of count them as a
• 13:18
  Speaker 2: unit where they're not as good a part as they are,
• 13:22
  Speaker 2: you know, the sum of their collaboration. So yeah, no,
• 13:25
  Speaker 2: but it felt like now that I'm a tarantinoficionado, having
• 13:28
  Speaker 2: watched all these movies straight through, Yeah, no, it did
• 13:32
  Speaker 2: feel jarring or different in that.
• 13:35
  Speaker 5: And Raskin was an assistant editor on Kill Bill, and
• 13:40
  Speaker 5: he'd already kind of seen he worked with Mank like
• 13:44
  Speaker 5: he he understood what it was like, because like that's
• 13:46
  Speaker 5: a huge project work on and what a project to
• 13:50
  Speaker 5: be an assistant on and really learn the craft, because
• 13:53
  Speaker 5: Mank pulled out all the stops with her editing for
• 13:56
  Speaker 5: volume one and two. So yeah, he you know, not
• 13:59
  Speaker 5: only did he work with Meg before, like Tarantino before,
• 14:01
  Speaker 5: we to work with Make before. So I feel like
• 14:03
  Speaker 5: if there was ever a person to fill her shoes,
• 14:06
  Speaker 5: Raskin was totally it. And this guy, you know, this
• 14:09
  Speaker 5: guy is legit ever since he because he was in
• 14:12
  Speaker 5: a He's been an assistant editor on some really great
• 14:17
  Speaker 5: like Boogie Nights, Insomnia, Punch, Drunk Love, and he was
• 14:21
  Speaker 5: a full fledged editor on Fast and Furious, Fast five,
• 14:25
  Speaker 5: Guardians of the Galaxy, Bone, Tomahawk, Hollywood. Yeah.
• 14:30
  Speaker 4: Uh well also, I was gonna stop you and say
• 14:33
  Speaker 4: Fast five, that's the one I think with the Brazil
• 14:37
  Speaker 4: Bank heist at the end, sure track that No, that
• 14:43
  Speaker 4: ending sequence is the best in the entire series in
• 14:47
  Speaker 4: terms of everything that they've done in terms of an
• 14:49
  Speaker 4: action sequence, Like there's no lag there, like there is
• 14:53
  Speaker 4: no fat on that at all. It's an amazing fine
• 14:58
  Speaker 4: Like the fact that he worked on fast five.
• 15:01
  Speaker 5: From all that is at the end.
• 15:02
  Speaker 4: That is a huge calling card like that. That is
• 15:05
  Speaker 4: a tightly edited film, and that ending especially is amazingly
• 15:09
  Speaker 4: well put together. So just gonna insert that real quick.
• 15:13
  Speaker 2: No, yeah, I think we And it looks like he
• 15:17
  Speaker 2: continues to work with Tarantino, so we'll be revisiting his
• 15:21
  Speaker 2: name as we continue through this story or through the Tarantino.
• 15:26
  Speaker 4: Story the House.
• 15:27
  Speaker 3: Okay, so yeah, we took a pause in in editing.
• 15:30
  Speaker 2: You know, we talked a little bit about Jimmie Fox.
• 15:33
  Speaker 2: Let's talk about DiCaprio a bit because he comes way
• 15:36
  Speaker 2: later in the story, and you know, it's it's interesting
• 15:42
  Speaker 2: the villains that Django encounters at the beginning of the
• 15:46
  Speaker 2: movie versus the end, because this is definitely an arc
• 15:49
  Speaker 2: for him, Like he is a very different person in
• 15:52
  Speaker 2: the first scene versus the last thing last scene.
• 15:55
  Speaker 3: You know, it's not like he's.
• 15:56
  Speaker 2: Riding into the first scene on a horse with a gun,
• 16:00
  Speaker 2: free in the slaves, like, No, he's in a chain
• 16:03
  Speaker 2: gang getting freed and starting his journey. So encountering DiCaprio
• 16:09
  Speaker 2: in the end when it's a much more cerebral fight
• 16:15
  Speaker 2: of posturing and chess and we'll ask for this guy
• 16:19
  Speaker 2: and then we'll maybe get her. And you feel the
• 16:22
  Speaker 2: tension in that room because you want it to work,
• 16:24
  Speaker 2: you want it to go well. Guess what, guys, It
• 16:27
  Speaker 2: does not go well. It does not work as as
• 16:30
  Speaker 2: Charles you know, or no, as Steven played.
• 16:32
  Speaker 5: By Samuel Jackson.
• 16:34
  Speaker 4: F sit all up.
• 16:35
  Speaker 2: But yeah, what did you guys think of DiCaprio's performance.
• 16:38
  Speaker 5: I mean, it was stellar. It was I feel like
• 16:41
  Speaker 5: you look at Fox, you look at Waltz, Washington, Jackson, Goggins, DiCaprio,
• 16:46
  Speaker 5: everybody is just firing all cylinders. Everybody showed up, Everybody
• 16:50
  Speaker 5: wanted to work, and you know, it's It's one of
• 16:54
  Speaker 5: those things where I don't want to sound like a fool,
• 16:58
  Speaker 5: but DiCaprio's showing up is like like, oh, did Williams
• 17:03
  Speaker 5: perform a competent score? Like, yeah, yeah he did, because
• 17:06
  Speaker 5: it's Jean Williams.
• 17:08
  Speaker 4: But I think that I think that DiCaprio the scene
• 17:13
  Speaker 4: where he loses his mind and slams the table and
• 17:17
  Speaker 4: cuts his hand and there's blood everywhere. I didn't realize
• 17:20
  Speaker 4: till doing research for this that that was all an accident.
• 17:25
  Speaker 4: When he smashed his hand and he never broke and
• 17:29
  Speaker 4: he kept going, and that scene is spellbinding. When he
• 17:33
  Speaker 4: turns that on and goes absolutely is psychotic. In that moment,
• 17:40
  Speaker 4: you're terrified of DiCaprio, Like it's not a it's not
• 17:44
  Speaker 4: a faked it's like, oh, look he's that's a great master.
• 17:47
  Speaker 2: Performating a human skull and talking about it and you're like,
• 17:52
  Speaker 2: what is happening?
• 17:53
  Speaker 3: Right?
• 17:54
  Speaker 4: But there there is a there's a dissociative capability that
• 18:01
  Speaker 4: great actors can have where it makes you doubt their
• 18:05
  Speaker 4: sanity at times. And that's one of those moments where
• 18:10
  Speaker 4: you see DiCaprio turn it completely on and DiCaprio, He's
• 18:14
  Speaker 4: got a great a lot of a scene through the years,
• 18:19
  Speaker 4: well deserved, but this is one of those moments where
• 18:23
  Speaker 4: you simply watch that scene, but you watch this entire
• 18:26
  Speaker 4: performance and you sit there and you say, I get it.
• 18:29
  Speaker 4: I get why this guy is regarded so highly as
• 18:33
  Speaker 4: an actor. Because for any other scenes where you're like,
• 18:37
  Speaker 4: oh that's DiCaprio, Oh look he's doing a cute thing
• 18:40
  Speaker 4: like that scene, you're like, you're actually afraid of Candy.
• 18:43
  Speaker 4: At that point, you're actually terrified of him, and it's
• 18:46
  Speaker 4: just masterful what he does.
• 18:47
  Speaker 5: And the beauty of that scene at least, like you know,
• 18:50
  Speaker 5: doing that take, and a lot of people have talked
• 18:52
  Speaker 5: about it because it deserves to be talked about, was
• 18:55
  Speaker 5: you know, like, yeah, he didn't stop, but the beautiful
• 18:58
  Speaker 5: thing was that nobody else did either, like you know,
• 19:02
  Speaker 5: like you know, like Fox and Waltz didn't break character.
• 19:05
  Speaker 3: To be like, oh my gosh, are you okay?
• 19:07
  Speaker 5: Yeah, Like people came in and move stuff around like
• 19:11
  Speaker 5: they like everybody did what they needed to do because
• 19:13
  Speaker 5: there was everybody was professional on set and like apparently
• 19:16
  Speaker 5: like Tarantino was like looking through the lens and then
• 19:19
  Speaker 5: looked out and then looked at Tocabriel and then like
• 19:22
  Speaker 5: looked out, looked through the lens, and it was just
• 19:24
  Speaker 5: like making sure everything was okay. And apparently once the sea,
• 19:27
  Speaker 5: once Tarantino yelled cut on the scene, everybody stood up
• 19:31
  Speaker 5: and just started giving him, you know, started clapping and
• 19:34
  Speaker 5: giving him innovation, and you know, like Tarantino's like, we're
• 19:38
  Speaker 5: absolutely gonna keep that. And then DiCaprio said, what if
• 19:42
  Speaker 5: I went even crazier, Like, since I'm bleeding and it's
• 19:44
  Speaker 5: on camera, what if I like started smearing blood on
• 19:49
  Speaker 5: Brunhilda's face, and Carrie Washington's.
• 19:51
  Speaker 6: Like, yeah, yeah, let's do that.
• 19:53
  Speaker 4: Let's do that.
• 19:54
  Speaker 5: And what is great and what sucks about that is
• 19:57
  Speaker 5: that people who have no idea how movies are made
• 20:00
  Speaker 5: hear that story and think that DiCaprio is some sociopath
• 20:05
  Speaker 5: who smeared blood on Kerry Washington's face, because like the bloggers.
• 20:10
  Speaker 2: Who has no idea, and that shot, that's fake blood
• 20:14
  Speaker 2: in a controlled environment.
• 20:15
  Speaker 3: It's take two.
• 20:16
  Speaker 2: It's it's not like and his real blood he started
• 20:19
  Speaker 2: some brothers. It's like, right that that would be too fon.
• 20:22
  Speaker 5: People are freaking stupid.
• 20:23
  Speaker 4: If he had been smearing real blood on her face,
• 20:26
  Speaker 4: that's the moment at which you go, why didn't anybody
• 20:29
  Speaker 4: yell cut? But if it's a contained thing where it's
• 20:32
  Speaker 4: like the actor has just got ahead of steam and
• 20:34
  Speaker 4: he's not signaling to me that he's in pain in
• 20:36
  Speaker 4: any way, you're like, okay, oh, let him, let him
• 20:38
  Speaker 4: do his thing. He leo cut haleo you okay, that's
• 20:41
  Speaker 4: a different thing. Yeah, he took it and the changes yes,
• 20:46
  Speaker 4: oh yeah, that's it's also true.
• 20:48
  Speaker 2: But he's saying okay for the next shot of this sequence,
• 20:53
  Speaker 2: my character is now operating at this high of a level,
• 20:56
  Speaker 2: so I need to match that. I can't just be
• 20:58
  Speaker 2: like and I sit back to and it's so now
• 21:01
  Speaker 2: we're gonna chat. It's like no, no, I'm going to
• 21:03
  Speaker 2: start smearing blood and it's all going to be, you know,
• 21:07
  Speaker 2: even even more intense. So yeah, no, I think, yeah,
• 21:11
  Speaker 2: hearing those stories, I had.
• 21:12
  Speaker 5: Heard the story about the glass and stuff like that, so.
• 21:15
  Speaker 2: It definitely I think that's the scene everyone talks about.
• 21:19
  Speaker 2: But and it's a great scene. But I was also
• 21:22
  Speaker 2: really impressed with the dog scene earlier because it's so
• 21:27
  Speaker 2: it's kind of your introduction to his character and just
• 21:31
  Speaker 2: the the callousness he has for life. And this is
• 21:36
  Speaker 2: when the slit. Yeah, yeah, it was rough, No, it was,
• 21:45
  Speaker 2: but just telling you so much about this character because
• 21:48
  Speaker 2: you're like, oh, this is a this is a monster,
• 21:50
  Speaker 2: like this is a you know, it's this isn't a
• 21:53
  Speaker 2: oh southern gentleman. It's like no, no, no, no, no no.
• 21:56
  Speaker 5: Apparently there there was way more to the d'Artagnan scene
• 22:01
  Speaker 5: getting killed by dogs, and way more of the Mandingo
• 22:03
  Speaker 5: fight and Tarantino. You know, originally it had it in
• 22:07
  Speaker 5: the original cut and I think he said in an interview.
• 22:11
  Speaker 5: He's like, he's like, I'm used to movies like this,
• 22:13
  Speaker 5: but it just wasn't an enjoyable experience. Like he's like, I.
• 22:18
  Speaker 3: Wanted people in movie, and you're like, I don't.
• 22:20
  Speaker 5: Exactly he said, He's like, I want people to walk
• 22:22
  Speaker 5: away enjoying the film, not being changed by it in
• 22:26
  Speaker 5: a negative way. And so I'm thankful that he took
• 22:28
  Speaker 5: that stuff out. And also I just want to say
• 22:30
  Speaker 5: out loud that Mandingo fighting is not real. It is
• 22:34
  Speaker 5: a movie invention. Like it's like quicksand it's only happens
• 22:38
  Speaker 5: in the.
• 22:38
  Speaker 4: Movie there is and I've I've seen that film actually,
• 22:45
  Speaker 4: because reference within a reference, it's it's referenced in another movie.
• 22:49
  Speaker 4: I grew up watching a comedy movie that references how
• 22:53
  Speaker 4: controversial that movie was, and eventually I wound up seeing Mandingo.
• 22:58
  Speaker 4: But to that point, though, Tristan is where I think
• 23:02
  Speaker 4: Tarantino deserves some credit. Is somebody calls it elastic history
• 23:07
  Speaker 4: that he's playing with here, but this is a beautiful
• 23:12
  Speaker 4: way to reference an exploitation film from the past without
• 23:17
  Speaker 4: it being that wink and nudge sort of thing that
• 23:21
  Speaker 4: people get in their movies. Sometimes Death Proof definitely fell
• 23:25
  Speaker 4: victim to that. Some of Tarantino's other stuff falls victim
• 23:29
  Speaker 4: to being a little too obvious about the reference, the
• 23:32
  Speaker 4: fact that he constructed this thing called, quote unquote Mandingo
• 23:36
  Speaker 4: Fighting as a reference to this other film that I
• 23:40
  Speaker 4: think is a beautifully layered way, while at the same
• 23:43
  Speaker 4: time playing to the theme of like it doesn't matter
• 23:46
  Speaker 4: whether it was real or not. It speaks to exactly
• 23:49
  Speaker 4: how inhumane the entire institution was.
• 23:53
  Speaker 5: Yes, yes, yeah, Like was it a deal breaker for me? No?
• 23:57
  Speaker 5: You know, I think what I hate is really just
• 23:59
  Speaker 5: like people who get their history from movies. I think
• 24:02
  Speaker 5: that that's what I hate. And I'm not saying yeah
• 24:04
  Speaker 5: before you even say it, John, before you say it.
• 24:07
  Speaker 5: I you know, like, I don't think that's on the
• 24:08
  Speaker 5: filmmaker necessarily, like unless you present yourself as a documentary,
• 24:12
  Speaker 5: Like if you're like that hack what's his name, Oliver Story,
• 24:17
  Speaker 5: the guy who did Michael Moore Michael Moore, Yeah, like
• 24:20
  Speaker 5: like so much of his documentaries are fake and he
• 24:22
  Speaker 5: presents them as real life stuff. You know, Tarantino's not
• 24:25
  Speaker 5: making documentaries and so I totally get that, and people
• 24:27
  Speaker 5: should not get their history from movies like Brave Heart
• 24:30
  Speaker 5: or Django Unchained. But yeah, regardless, Yeah, like I said,
• 24:33
  Speaker 5: it's like it's not a deal breaker for me. It's
• 24:35
  Speaker 5: just I find it exhausting when like pop up in conversation.
• 24:40
  Speaker 2: I think James Cameron just threw something in front of
• 24:42
  Speaker 2: the boat to you know, spice up that, you know.
• 24:45
  Speaker 5: But yeah, it's it's you are right, Like it shows
• 24:47
  Speaker 5: the just the the indignity that these people are put
• 24:50
  Speaker 5: through and even like to add insult to injury, and
• 24:53
  Speaker 5: and of course I'm completely understating it. This guy kills
• 24:56
  Speaker 5: another person and he's and they give him a beer.
• 24:59
  Speaker 5: He's like you've earned that. You're like, wow, okay, yeah.
• 25:03
  Speaker 4: Yeah, there's no go go ahead there and go ahead.
• 25:05
  Speaker 3: Well I was gonna say, yeah.
• 25:06
  Speaker 2: I think the brilliance of that scene is it's not
• 25:10
  Speaker 2: so much about what is happening, it's about how it
• 25:13
  Speaker 2: is making you feel because of that, So you could
• 25:17
  Speaker 2: you could get kind of the same feeling out of
• 25:20
  Speaker 2: like a slave auction scene, you know, where you're seeing
• 25:23
  Speaker 2: the dehumanization and the you know, treating people like things
• 25:27
  Speaker 2: and property.
• 25:29
  Speaker 3: But this was just a new I.
• 25:32
  Speaker 2: Think it being something that we hadn't seen before, but
• 25:35
  Speaker 2: still giving that same tonal impact to our hearts of
• 25:40
  Speaker 2: like oh my gosh, Like yeah, like you said, that's
• 25:43
  Speaker 2: the the end. He's like, here's a here's a beer,
• 25:46
  Speaker 2: and go have a have a nice sleep in the bed.
• 25:48
  Speaker 3: You know. It's just it's terrible.
• 25:52
  Speaker 4: Yeah, And I think that that's an you know, that
• 25:55
  Speaker 4: is a very large part of what works so well.
• 25:59
  Speaker 4: I think with a movie like this that is like
• 26:02
  Speaker 4: a modern exploitation, you know, homage sort of thing, is
• 26:08
  Speaker 4: those movies themselves used extreme violence and lurid material to
• 26:15
  Speaker 4: rope the audience in like in a very cynical fashion,
• 26:18
  Speaker 4: whereas Tarantino is using it in a less cynical fashion.
• 26:23
  Speaker 4: Because Djengo Unchained is a movie where this is where
• 26:27
  Speaker 4: I applaud him. Is it finally feel like Tarantino has
• 26:30
  Speaker 4: a message behind what he's saying, and that message carrying
• 26:35
  Speaker 4: it makes you think about it. He's not just putting
• 26:39
  Speaker 4: the violence there to wow you and shock you. He's
• 26:42
  Speaker 4: putting the violence there for you to react to it
• 26:46
  Speaker 4: and to reapproach the topic he's dealing with that gets
• 26:50
  Speaker 4: really sanitized through time, like it's a history lesson that
• 26:55
  Speaker 4: people encounter that's easy for them to sort of compartmentalize
• 27:00
  Speaker 4: and not understand the level of brutality associated with it.
• 27:03
  Speaker 4: And this is sort of like a smack in the
• 27:04
  Speaker 4: face to be like, no, no, even if what you're
• 27:07
  Speaker 4: seeing on screen isn't real, this should remind you that
• 27:11
  Speaker 4: what we're talking about is as bad as this. This
• 27:15
  Speaker 4: is to make you walk out of the theater going, oh, yeah, okay,
• 27:21
  Speaker 4: I get it now.
• 27:23
  Speaker 5: This is this is something that like when I watched
• 27:26
  Speaker 5: it for this time, I really tried to pay attention
• 27:28
  Speaker 5: to those those kind of aspects because Tarantino got a
• 27:32
  Speaker 5: lot of hate when this movie came out for the
• 27:34
  Speaker 5: reasons that I kind of teased at the beginning of
• 27:36
  Speaker 5: the episode, where you know, it's built as an action comedy,
• 27:39
  Speaker 5: but it's dealing with something so monumentally, you know, beyond
• 27:44
  Speaker 5: words of how horrible slavery was in this country, and
• 27:49
  Speaker 5: so people are like, it shouldn't be funny, there, shouldnt
• 27:51
  Speaker 5: it shouldn't be you know, like you shouldn't use it
• 27:53
  Speaker 5: for entertainment that kind of thing. You should use it
• 27:55
  Speaker 5: for instruction and things like that. And you know, as
• 27:58
  Speaker 5: I was as I was watching this, and as someone
• 28:01
  Speaker 5: who looks like me and was you know who's white?
• 28:05
  Speaker 5: You know who is all those things like I'm cisgendered, straight,
• 28:08
  Speaker 5: white American male, totally all those things from this perspective,
• 28:12
  Speaker 5: it comes from respect. Tarantino, I felt like walked a
• 28:16
  Speaker 5: very nice line because there's not a single moment that
• 28:21
  Speaker 5: is funny or lighthearted that involves the how destitute and
• 28:27
  Speaker 5: how horrible you know, slave owners and people treated black
• 28:32
  Speaker 5: people during slavery times. Like there's not a single moment
• 28:36
  Speaker 5: that that has any shows any kind of levity. All
• 28:39
  Speaker 5: the humor and everything like that comes from situations outside
• 28:43
  Speaker 5: of that sphere. And also one thing that I really
• 28:47
  Speaker 5: liked is that we see Fok, we see Django develop
• 28:52
  Speaker 5: and grow, not because doctor King Schultz is there and
• 28:57
  Speaker 5: teaching them everything along the way. You know, like Schultz
• 29:01
  Speaker 5: just gave him the opportunity to learn, and Jangle ran
• 29:05
  Speaker 5: with it. So it very much to me didn't feel
• 29:08
  Speaker 5: like the stereotype of the white savior trope. It was,
• 29:12
  Speaker 5: you know, like, I'm a foreigner, I find slavery disgusting
• 29:15
  Speaker 5: and I need your help, honestly. And then because you know,
• 29:18
  Speaker 5: Django helped Waltz, Django was able to learn new languages,
• 29:22
  Speaker 5: learn stories, develop himself as a as a gunfighter, and
• 29:26
  Speaker 5: and everything like that. And so it's just I felt
• 29:29
  Speaker 5: like Tarantino, this was very much a Tarantino film, but
• 29:33
  Speaker 5: he treated the aspect of slavery respectfully within the context
• 29:40
  Speaker 5: of the film.
• 29:41
  Speaker 4: One follow up note I'll have with the comedy is
• 29:44
  Speaker 4: I think that those are moments where the film falls
• 29:47
  Speaker 4: short at times. And what I mean by that is
• 29:51
  Speaker 4: he inserts comic moments in such a way at certain
• 29:55
  Speaker 4: points that it undercuts the impact of other things.
• 30:00
  Speaker 5: From an example, absolutely, I.
• 30:01
  Speaker 4: Was anticipating that I was about to say it, but
• 30:03
  Speaker 4: that's okay. No, But there were two things that jump
• 30:06
  Speaker 4: out to me immediately. One is when Don Johnson and
• 30:10
  Speaker 4: his you know, his band of racists are running down
• 30:14
  Speaker 4: to assault them while they sleep, and it's all a
• 30:18
  Speaker 4: trap laid by Schultz and Django, And then it suddenly
• 30:21
  Speaker 4: cuts back to this comic scene that seems almost a
• 30:25
  Speaker 4: callback to Blazing Saddles to make fun of the racists,
• 30:28
  Speaker 4: and it's a funny scene on its own, Like if
• 30:30
  Speaker 4: I xcize that scene out, it's actually pretty darn funny
• 30:35
  Speaker 4: because it shows what buffoonery is necessary for this mindset.
• 30:39
  Speaker 4: To work. But then it's inserted in the midst of
• 30:42
  Speaker 4: this scene that's actually it's that cool and pretty well
• 30:45
  Speaker 4: put together, and it's like they go for the joke
• 30:47
  Speaker 4: in the wrong way at the wrong moment, and I'll
• 30:51
  Speaker 4: maybe this is controversial, maybe this isn't, but I think
• 30:53
  Speaker 4: the very ending when Brumhilda does her cute little clap
• 30:58
  Speaker 4: and then he does the horse dance and everything, I'm like, no,
• 31:01
  Speaker 4: there was this really cool payoff where you just blew
• 31:04
  Speaker 4: up the house and everybody's dead and everything, and you know, like,
• 31:06
  Speaker 4: d I'm a badass, and then you have this silly
• 31:09
  Speaker 4: scene with it, like the hell.
• 31:11
  Speaker 2: Is going on and right off into the night or something.
• 31:14
  Speaker 5: Yeah, you know that, John, I am with you one
• 31:16
  Speaker 5: hundred percent about the ending. That ruined the ending for me,
• 31:20
  Speaker 5: Like it completely took me out of it, Like I
• 31:22
  Speaker 5: remember thinking that in the theater, even even thinking it now.
• 31:25
  Speaker 5: It it like, yeah, when she put her fingers in
• 31:27
  Speaker 5: her ears and the class and like the weird horse
• 31:30
  Speaker 5: trotting and everything, it's.
• 31:31
  Speaker 6: Just like, Wow, way to kill the moment.
• 31:34
  Speaker 5: M M, yeah, it totally killed.
• 31:36
  Speaker 4: Yeah.
• 31:37
  Speaker 5: Did it ruin the movie? No? Did it ruin the moment? Yes?
• 31:40
  Speaker 4: And the But the thing is the last moment, the
• 31:43
  Speaker 4: ending is going to leave you with your last feeling
• 31:46
  Speaker 4: walking out or you know, hitting stop or walking out
• 31:49
  Speaker 4: of the theater, and it's so key and you can't fumble
• 31:54
  Speaker 4: that moment. And I'm so that's what's That's the one
• 31:58
  Speaker 4: thing that's bizarre about Django is I almost want of
• 32:00
  Speaker 4: Sally Mank being there would have talked him off of
• 32:02
  Speaker 4: that ledge, because I struggle to think of another Tarantino
• 32:08
  Speaker 4: movie that ends in quite the same way, although there
• 32:11
  Speaker 4: is precedent with Inglorious Bastards, because the way that ends
• 32:16
  Speaker 4: is a little bit there's a little bit more levity
• 32:20
  Speaker 4: to the ending than is expected, right with the carving
• 32:24
  Speaker 4: in and oh that's my best work, and then credits
• 32:26
  Speaker 4: and it's like, wait, this feels odd the way it
• 32:29
  Speaker 4: ends compared to And then you go back and you
• 32:32
  Speaker 4: suddenly realize it's a trend that's developing with Tarantino because
• 32:35
  Speaker 4: you go back to Death Proof and it ends with
• 32:37
  Speaker 4: them doing that like jump in the air and then
• 32:40
  Speaker 4: dance in the credits moment, and you're like, like, I
• 32:42
  Speaker 4: feel like we've hit this period where Tarantino is not
• 32:46
  Speaker 4: sure how to end it exactly. There's almost a and
• 32:50
  Speaker 4: I know this might enrage some people, almost like a
• 32:53
  Speaker 4: Richer Donner esque thing going on in the last three
• 32:57
  Speaker 4: films now where the movie ends and you're like wait
• 33:01
  Speaker 4: what Okay, like you're just not sure if it should
• 33:05
  Speaker 4: have ended that way or not. It feels like they
• 33:07
  Speaker 4: just said, okay, this is good enough and they just
• 33:10
  Speaker 4: close it out.
• 33:11
  Speaker 5: Interesting.
• 33:12
  Speaker 2: Well, as we round through the main cast, I think
• 33:15
  Speaker 2: we have to talk about Samuel L. Jackson as Steven
• 33:19
  Speaker 2: and because you know, he hasn't sam hasn't had a
• 33:23
  Speaker 2: giant role in a Tarantino movie in a little while,
• 33:28
  Speaker 2: so this was, man, it was like, let him cook.
• 33:31
  Speaker 2: And just because those scenes were some of the most
• 33:36
  Speaker 2: tension filled, especially because like you know, you're hitting towards
• 33:40
  Speaker 2: the apex of the movie. You want your heroes to succeed,
• 33:44
  Speaker 2: and it's going really well, and then Stephen steps in
• 33:48
  Speaker 2: and you're just like it's not gonna go well, is it?
• 33:50
  Speaker 2: And you're like, nope, nope, but it's not. And I
• 33:53
  Speaker 2: think I mean you could tell that Samuel just chewing
• 33:58
  Speaker 2: all the scenery.
• 33:58
  Speaker 3: He's loving this.
• 34:00
  Speaker 5: Yeah, he was having so much fun, so much fun,
• 34:03
  Speaker 5: so much fun playing this character and he's like.
• 34:05
  Speaker 2: When he's right over the shoulder of Dicapro, and it's
• 34:07
  Speaker 2: like repeating like everything he says, and I'm like, that's
• 34:11
  Speaker 2: kind of annoying, but it's actually hilarious at the same time.
• 34:15
  Speaker 5: That first interaction, he was such a joy to watch,
• 34:19
  Speaker 5: like such a terrible character, but so much fun to watch.
• 34:23
  Speaker 5: And like when we first see him and he's he's
• 34:26
  Speaker 5: gone up to Candy, he's like, he's like.
• 34:28
  Speaker 6: I miss you, like I missed a stone in my shoe.
• 34:31
  Speaker 5: And then and then then like you know, like Candy's
• 34:34
  Speaker 5: telling him to like get a room ready, and he's.
• 34:37
  Speaker 3: Just like this brother here, this brother on the horse
• 34:39
  Speaker 3: and the big house.
• 34:40
  Speaker 6: He just like it just goes the way he hit
• 34:42
  Speaker 6: the lines. It's just was just so god he.
• 34:46
  Speaker 5: I think he deserved to be nominated for this one.
• 34:48
  Speaker 5: I truly believe this. This was a stellar performance. It's
• 34:53
  Speaker 5: this is and his ability too to have that that
• 34:59
  Speaker 5: duality with Candy where you know, he's he's playing he's
• 35:04
  Speaker 5: kind of playing a fool a little bit in front
• 35:06
  Speaker 5: of Candy, and you know, like he's contankerous, but he
• 35:08
  Speaker 5: does what he says. But then like when he's just
• 35:11
  Speaker 5: with the staff, like he's he's the boss. But then
• 35:14
  Speaker 5: you know when he's sitting down with Candy and there
• 35:16
  Speaker 5: are the library in the in the library, complete changes.
• 35:20
  Speaker 5: He drops the the accent, he speaks to him as
• 35:24
  Speaker 5: an equal, and you you get their relationship that just
• 35:28
  Speaker 5: that just more. And and then when Candy dies and
• 35:31
  Speaker 5: you see Stephen holding him, you realize that Stephen probably
• 35:36
  Speaker 5: raised Candy more than his own father. And like that
• 35:40
  Speaker 5: was genuine, like genuine tears and genuine screams, and it
• 35:45
  Speaker 5: just I just I loved seeing that dynamic play out
• 35:49
  Speaker 5: between Candy and Steven. Beautifully done, beautifully done.
• 35:52
  Speaker 4: Well, especially in the after Sam Jackson has embraced the
• 35:56
  Speaker 4: mcu era of his career. To see him him with
• 36:00
  Speaker 4: a character with that many layers and that much nuance,
• 36:03
  Speaker 4: and get reminded of the fact that, I mean, honestly,
• 36:08
  Speaker 4: not just in a Tarantino film, but this is definitely
• 36:11
  Speaker 4: one of his best performances since Jackie Brown, where he
• 36:16
  Speaker 4: isn't doing the angry Sam Jackson yelling mf R all
• 36:21
  Speaker 4: the time, He's actually playing a character. And this I
• 36:25
  Speaker 4: think that Steven is one of those reminders that Sam
• 36:27
  Speaker 4: Jackson is not just the caricature that you were fed
• 36:31
  Speaker 4: through Marvel movies. He is a really skilled actor who
• 36:37
  Speaker 4: can bring that everything that you're talking about Tristan to
• 36:40
  Speaker 4: the role. And I agree with you he deserved a
• 36:42
  Speaker 4: lot of accolades for it that I don't think he
• 36:44
  Speaker 4: got well.
• 36:45
  Speaker 2: And I mean it's maybe it's a bit of the makeup,
• 36:49
  Speaker 2: but like for me, he disappeared into the role. I
• 36:52
  Speaker 2: was not thinking every time I saw him on screen,
• 36:54
  Speaker 2: oh that's Sam Jackson. It was just that Steven And
• 36:57
  Speaker 2: I hope he doesn't figure it out because that's going
• 37:00
  Speaker 2: to be bad for our characters. And that I mean,
• 37:03
  Speaker 2: that doesn't always happen.
• 37:04
  Speaker 3: It's like, you know, if.
• 37:05
  Speaker 2: You find a way to make Harrison Ford disappear, like
• 37:08
  Speaker 2: it's very, very difficult for certain actors to disappear them.
• 37:13
  Speaker 5: I want to talk about Kara Washington, yes please, because
• 37:17
  Speaker 5: I feel like she gets overlooked with this movie. You know,
• 37:20
  Speaker 5: like people think about Christoph Waltz, they think about DiCaprio, Jackson,
• 37:25
  Speaker 5: Fox with Jangle, unchained and with good reason. But Kerrie
• 37:28
  Speaker 5: Washington watching it this time around, she sells every single
• 37:32
  Speaker 5: moment she's in. She doesn't have a lot of moments.
• 37:35
  Speaker 5: She doesn't she does not have a lot of screen time,
• 37:37
  Speaker 5: but she's that character who's ever present, you know, like
• 37:41
  Speaker 5: she she's so much a focus of the movie. And
• 37:45
  Speaker 5: when the whipping scene happened, mm hmm, that one really
• 37:50
  Speaker 5: blew me away because you know, we've seen tons of
• 37:54
  Speaker 5: whipping scenes in movies, you know, like not just in
• 37:56
  Speaker 5: movies that deal with slavery, but like you know, like
• 37:59
  Speaker 5: stuff with corp Yeah, yeah, yeah, it really crazies. Even
• 38:03
  Speaker 5: like sci fi films and everything like that, we've seen,
• 38:05
  Speaker 5: we've seen whippings. But for some reason, this particular performance, Yeah,
• 38:11
  Speaker 5: this particular performance really had this authenticity to it. And
• 38:15
  Speaker 5: I did a little research and I found out that,
• 38:19
  Speaker 5: you know, obviously it was intentional. She's a professional. She
• 38:21
  Speaker 5: wants to do the best job that she can, and
• 38:23
  Speaker 5: so this goes without saying, but she wanted to bring
• 38:25
  Speaker 5: as much authenticity to the role as possible, and so
• 38:29
  Speaker 5: obviously they used a fake whip, and you know, they
• 38:31
  Speaker 5: were just going to show the actor doing the emotion.
• 38:33
  Speaker 5: And Washington's like, no, I wanted to actually hit my back.
• 38:36
  Speaker 5: She's not saying like, oh I want it to hurt,
• 38:39
  Speaker 5: She's just saying She's like, I need it to make contact.
• 38:42
  Speaker 2: Have a pad or something and use a type of
• 38:44
  Speaker 2: whip that's not going to actually injure her, but she's
• 38:47
  Speaker 2: going to feel the impact for the moment.
• 38:49
  Speaker 5: And so she did, and she was able to sell
• 38:51
  Speaker 5: it that much more, and the face and the screams,
• 38:54
  Speaker 5: everything she did was fantastic. And and also the hot box.
• 38:58
  Speaker 5: Apparently she spoke with Tarantine and said like, I want
• 39:01
  Speaker 5: to be in there for a little bit before you
• 39:02
  Speaker 5: get me out. He's like, really yes, She's like, I
• 39:07
  Speaker 5: want to feel the claustrophobia, and so she goes in
• 39:10
  Speaker 5: basically naked and she wants to feel it. And so
• 39:13
  Speaker 5: when they throw the water on her and pull her
• 39:15
  Speaker 5: out and everything like that, she's been in there for
• 39:16
  Speaker 5: a little bit. It's not specified, but it wasn't just
• 39:19
  Speaker 5: like close the lid and then open the lid again.
• 39:22
  Speaker 5: It was she was in there.
• 39:23
  Speaker 2: You're sweating, you're uncomfortable.
• 39:25
  Speaker 5: It's not playing claustrophobic. And apparently like this is this
• 39:30
  Speaker 5: is another behind the scenes thing that I thought was interesting,
• 39:32
  Speaker 5: and it shows Tarantino's growth as a filmmaker as well
• 39:35
  Speaker 5: as a person. So there was supposed to be a
• 39:38
  Speaker 5: graphic rape scene between Walton Goggin's character in Kerrie Washington. Now,
• 39:43
  Speaker 5: this is very much implied throughout the film.
• 39:46
  Speaker 2: True, they have that scene where she gets locked up
• 39:48
  Speaker 2: at the end on a bed in a small cabin,
• 39:50
  Speaker 2: and then we just cut to her being freed. Right,
• 39:53
  Speaker 2: it is implied that something's going to happen, and it
• 39:56
  Speaker 2: never does.
• 39:56
  Speaker 5: But well, apparently I think that was the time it
• 39:59
  Speaker 5: was supposed to happen, and everybody knew it was gonna happen.
• 40:01
  Speaker 5: Everyone shows up for the day. Washington goes to Fox
• 40:04
  Speaker 5: and says like, I don't know about this, like this,
• 40:08
  Speaker 5: you know, like I don't know if I want to
• 40:10
  Speaker 5: do this, And Fox then goes directly to Tarantino, doesn't
• 40:13
  Speaker 5: tell Washington that he's doing it. He goes directly to
• 40:16
  Speaker 5: Tarantino and says, like, yeah, Washington's on into it. She
• 40:19
  Speaker 5: doesn't feel like she wants to do it. She doesn't
• 40:21
  Speaker 5: think it's necessary. Tarantino goes, okay, and he goes and
• 40:24
  Speaker 5: he goes He's like, okay, everybody, let's go home. We
• 40:26
  Speaker 5: got the day. We're free for the day. And everybody
• 40:28
  Speaker 5: went home and they didn't film it, and I don't
• 40:31
  Speaker 5: think Tarantino ten years ago would have done that. I
• 40:34
  Speaker 5: think Tarantino ten years ago would have said, no, this
• 40:36
  Speaker 5: is what's on the pages is going on the screen.
• 40:41
  Speaker 4: I agree. I think pulp fiction Jackie Brown era Tarantino
• 40:45
  Speaker 4: is not in the spot to listen to his actor
• 40:48
  Speaker 4: or actress say this is not the thing, this is
• 40:51
  Speaker 4: not going to work for me.
• 40:52
  Speaker 2: And not even like a change that's like cutting out
• 40:55
  Speaker 2: a huge chunk of pages.
• 40:58
  Speaker 4: Well, I mean, I would be honest advocating for them. Yes, no,
• 41:03
  Speaker 4: I'm just saying. I'm just saying I would be so grateful,
• 41:08
  Speaker 4: as you know, because you say it's Walton Goggins. If
• 41:10
  Speaker 4: I were Walton Goggins, I probably would have been like, oh,
• 41:13
  Speaker 4: thank god, right, like, yeah, thank thank you very much
• 41:18
  Speaker 4: that I don't need to do that, because that's that's
• 41:21
  Speaker 4: one of those things where but what you also realize
• 41:23
  Speaker 4: is is there is that weird, complex thing going on
• 41:29
  Speaker 4: where I think it also reflects a change in the
• 41:33
  Speaker 4: way movies are made themselves, where the actor in this case,
• 41:39
  Speaker 4: Jamie Fox feels powerful and not powerful such a terrible
• 41:44
  Speaker 4: word to use here, comfortable enough to go up to
• 41:47
  Speaker 4: the director and say I want to question your decision
• 41:49
  Speaker 4: here as opposed to you roll it back and you
• 41:52
  Speaker 4: know fifty years ago. You know, know, this is my film.
• 41:56
  Speaker 4: You are my talking set piece. You will do exactly
• 41:58
  Speaker 4: what I hired you to do. I think it's good
• 42:02
  Speaker 4: to see that the industry as a whole exists in
• 42:05
  Speaker 4: a place where a performer can come up and say,
• 42:08
  Speaker 4: you know, do we really need this? And you know,
• 42:12
  Speaker 4: so there's a whole lot of maturity in a whole
• 42:14
  Speaker 4: lot of space is there.
• 42:16
  Speaker 5: And Jamie Fox has been Jamie Fox for a long time,
• 42:20
  Speaker 5: so if he has an opinion, he's going to tell
• 42:22
  Speaker 5: the director.
• 42:23
  Speaker 4: That's true, that's true, that's true. I think that that's
• 42:26
  Speaker 4: really actually very nice to hear that it's in that
• 42:29
  Speaker 4: sort of place where it's only going to happen if
• 42:32
  Speaker 4: everybody's everybody agrees for it to happen, Because no work
• 42:36
  Speaker 4: environment should exist in a place where somebody feels that
• 42:40
  Speaker 4: powerless too not at least say something, well, and.
• 42:45
  Speaker 2: What would it establish, like that she has a terrible
• 42:49
  Speaker 2: existence as a slave, and that like like we already
• 42:52
  Speaker 2: know what all these characters are and how they're feeling
• 42:55
  Speaker 2: in these moments. It wouldn't add to any of that.
• 42:57
  Speaker 5: No, we don't need a graphic scene that's that's the
• 43:00
  Speaker 5: hammer over their head. We get it, We understand like
• 43:02
  Speaker 5: there's certainly have that scene. But yes, yeah, that's true.
• 43:08
  Speaker 5: Uh yeah, Like there are certain times when you need
• 43:11
  Speaker 5: to be reminded of the holocaust that was slavery, and
• 43:14
  Speaker 5: there are certain times when you need to show the
• 43:16
  Speaker 5: depravity that you know, human beings can inflict on other
• 43:20
  Speaker 5: human beings. But there's also other times when you're like,
• 43:22
  Speaker 5: we get it, we don't need to see that, we
• 43:24
  Speaker 5: don't need to have that in our brains for the
• 43:26
  Speaker 5: rest of time.
• 43:27
  Speaker 3: Or there's like, yeah, the ebb and flow.
• 43:29
  Speaker 2: I think of you know, Kristuph Waltz in in Glorious Bastards,
• 43:32
  Speaker 2: where like he's obviously a terrible person, but he's playing
• 43:36
  Speaker 2: it kind of as like he's semi likable, like you're
• 43:40
  Speaker 2: you're kind of in that middle. And then and so
• 43:42
  Speaker 2: as they you know, he does something atrocious and then
• 43:45
  Speaker 2: he like makes a funny joke and he's charming, and
• 43:48
  Speaker 2: then it's like and then he jokes her to death
• 43:50
  Speaker 2: and it's like, Okay, you needed that choking her to
• 43:53
  Speaker 2: death scene to remind you. Oh yeah, that's right. This
• 43:57
  Speaker 2: is a terrible person. I shouldn't idle this.
• 44:00
  Speaker 3: This is bad.
• 44:02
  Speaker 2: But you know, no, for all the characters on you know,
• 44:06
  Speaker 2: Mount Candy or whatever, it was like, we do.
• 44:08
  Speaker 4: I think, can think, I think within glorious bastards. I
• 44:13
  Speaker 4: like that you call that out, like you need to
• 44:15
  Speaker 4: have those scenes to remind you that, you know, there's
• 44:19
  Speaker 4: a whole lot going on there. This complexity is the
• 44:21
  Speaker 4: human character nuance. If you don't encounter somebody in the
• 44:24
  Speaker 4: terrible situation, you don't understand how terrible they are. It's
• 44:28
  Speaker 4: almost as if there's a meta commentary about some people
• 44:30
  Speaker 4: that Tarantino was working with. Production wise, maybe there's Additionally,
• 44:36
  Speaker 4: there was nothing for Walton Goggins's character to have gained
• 44:41
  Speaker 4: from a scene like that the way you're talking about
• 44:43
  Speaker 4: it's like, yeah, there was nothing. There was nothing where
• 44:47
  Speaker 4: we were like, you know, sure that slavery thing.
• 44:50
  Speaker 5: Well no, but then that happens, yes, right, they all
• 44:52
  Speaker 5: know they already crossed the line exactly what he was
• 44:56
  Speaker 5: going to do to Django and what we saw. Could lord,
• 45:00
  Speaker 5: how uncomfortable was that scene? Fairly?
• 45:04
  Speaker 3: That was fair?
• 45:04
  Speaker 5: I don't even want to talk about it. It's like
• 45:06
  Speaker 5: it was you know what.
• 45:07
  Speaker 4: But at the very least that scene leads to one
• 45:10
  Speaker 4: of the most questionable decisions of the entire film in
• 45:14
  Speaker 4: my opinion, which is Tarantino trying to do an Australian accent,
• 45:17
  Speaker 4: which I don't know does that.
• 45:20
  Speaker 2: I didn't like him showing up. It was it was
• 45:22
  Speaker 2: like the perfect role, just the right amount of screen time.
• 45:25
  Speaker 2: He was the guy who got blowed up. Like that
• 45:28
  Speaker 2: is a cameo. That's a perfect accent, aside accent, aside.
• 45:32
  Speaker 5: Accent, aside. I agree with you, Darren, a terrible accent.
• 45:36
  Speaker 5: But it's like, okay, it's like the opposite of of
• 45:39
  Speaker 5: m Night Schelman, where when you when you when he's
• 45:44
  Speaker 5: in his movies, like you, he has like like a
• 45:46
  Speaker 5: one line in sixth sense, and then like he has
• 45:49
  Speaker 5: a couple of lines in the village, and then and
• 45:52
  Speaker 5: then and then like he has a couple of scenes
• 45:54
  Speaker 5: and then he's like a major character in Lady in
• 45:57
  Speaker 5: Water and like he's he's he's the reason and why
• 46:01
  Speaker 5: some person in the future is going to save the
• 46:03
  Speaker 5: world because he's such a great writer. And you're like, okay,
• 46:07
  Speaker 5: calm down right, Like I don't want to read your fantasies. Tarantino,
• 46:12
  Speaker 5: like he gets a little bit less and less as
• 46:13
  Speaker 5: it goes on, Like when he when he's like he
• 46:15
  Speaker 5: goes from reservoir dogs down to this where he's the
• 46:17
  Speaker 5: he's the fool who gets blown up. That's funny.
• 46:19
  Speaker 2: I'm just happy he was like talking to the other
• 46:22
  Speaker 2: you know, white guys and being like, you know, I
• 46:24
  Speaker 2: got this idea for taking pulp and putting it together
• 46:29
  Speaker 2: and drawing little pictures on it and inventing a thing
• 46:32
  Speaker 2: called a comic book.
• 46:34
  Speaker 3: You know, I'm not saying you do that, but.
• 46:36
  Speaker 4: I you know, I think that, you know, I struggle
• 46:39
  Speaker 4: with that Australian scene because I think that's one of
• 46:41
  Speaker 4: those moments where it goes on a little too long,
• 46:44
  Speaker 4: Like I would have liked it to resolve a lot
• 46:46
  Speaker 4: quicker than it does. It just it's weird because.
• 46:49
  Speaker 5: Yeah, it's it's a fifth okay, Jango Unchain is a
• 46:52
  Speaker 5: fifth act story structure. It's a five it's a fight,
• 46:54
  Speaker 5: and that sometimes can work. Sometimes it can't because we're
• 46:58
  Speaker 5: so ingrained with a three story structure in movies that
• 47:02
  Speaker 5: when you separated into five acts once, by the time
• 47:06
  Speaker 5: you get to the fifth act, You're just like, why
• 47:10
  Speaker 5: what are we doing here? What's going on? Because because
• 47:13
  Speaker 5: I hadn't seen this basically for ten or so years,
• 47:17
  Speaker 5: I had completely forgot about the fifth act. So when
• 47:20
  Speaker 5: they're at Candy's house, Candy gets shot and they're having
• 47:25
  Speaker 5: the big shootout, my brain linked that. Yeah, yeah, my
• 47:30
  Speaker 5: brain linked that with the final shootout at Candy's house.
• 47:34
  Speaker 5: And so when he gave up and the captured them,
• 47:36
  Speaker 5: and I was like, wait, what the hell am I
• 47:39
  Speaker 5: watching the extended version? Did that happen?
• 47:42
  Speaker 6: Why am I seeing Fox's balls?
• 47:45
  Speaker 5: And it's it's like, all those things happen, and then
• 47:48
  Speaker 5: you're like, and then you get to the Australian scene,
• 47:50
  Speaker 5: and then you get past that, and then you get
• 47:52
  Speaker 5: to the final scene. Yeah, it's just like I feel like,
• 47:55
  Speaker 5: if the Australian scene was I got two minutes long,
• 48:00
  Speaker 5: I probably wouldn't have thought, like, where are we going here? Folks?
• 48:03
  Speaker 2: No agreed, And that was the only time for me
• 48:06
  Speaker 2: where I was slightly confused, obviously because he's lying because
• 48:09
  Speaker 2: he's pulling out the bill of sale and like the
• 48:11
  Speaker 2: whole like, and I'm like, wait, didn't we already shoot
• 48:13
  Speaker 2: these people?
• 48:13
  Speaker 3: But obviously those characters don't know.
• 48:15
  Speaker 2: That, so that's you know, the the but he's sliding
• 48:19
  Speaker 2: into that role as the as the bounty hunter. So
• 48:23
  Speaker 2: all right, Well, we've talked about characters. We've talked about
• 48:26
  Speaker 2: glasses and chatterings and all sorts of amazing things.
• 48:31
  Speaker 3: So I'm just going to push us.
• 48:32
  Speaker 2: To final thoughts as we wrap up, because that gives
• 48:35
  Speaker 2: us each a chance to say anything that we've missed.
• 48:39
  Speaker 2: But so John, give us your your final thoughts and rating.
• 48:44
  Speaker 3: On Django again. This was.
• 48:48
  Speaker 2: Remind me again, was this You hadn't watched it again
• 48:51
  Speaker 2: in a while or.
• 48:52
  Speaker 4: Yeah, it had been a while. Okay, It's definitely one
• 48:55
  Speaker 4: that I own on physical media for various reasons. But
• 48:58
  Speaker 4: I think that there is as much as is great
• 49:01
  Speaker 4: about this film, and there are moments in this film
• 49:04
  Speaker 4: that are spellbinding, that are just you lose time because
• 49:09
  Speaker 4: you're so caught up in them. There are plenty of
• 49:13
  Speaker 4: moments where you definitely Tarantino getting a little bit indulgent.
• 49:20
  Speaker 4: You know, we already talked about most of those, but
• 49:23
  Speaker 4: even at the end where like there's that big jumble.
• 49:26
  Speaker 4: Another thing that I don't like about is it suddenly
• 49:28
  Speaker 4: jumps to King Schultz in the snow saying You're gonna
• 49:31
  Speaker 4: be the fastest gun in the West, and then it
• 49:32
  Speaker 4: cuts back and I'm like, wait, what just huh. And
• 49:36
  Speaker 4: there are some decisions that like if they were if
• 49:40
  Speaker 4: they were undone, if they were trimmed out it. There's
• 49:42
  Speaker 4: I think there's like ten or fifteen minutes where if
• 49:44
  Speaker 4: you just just called it out of this movie, you
• 49:47
  Speaker 4: have a perfect film. And I think there's a reason
• 49:50
  Speaker 4: that Waltz gets his acclaim. Plenty of other people deserve
• 49:54
  Speaker 4: a claim, but there's a reason he did. I think
• 49:57
  Speaker 4: that there's a reason that gets the screenplay acclaim that
• 50:01
  Speaker 4: it does because I think that it's inventive and it's different.
• 50:04
  Speaker 4: I love finding Tarantino in a place where he's fully
• 50:09
  Speaker 4: figured out how to make a modern day exploitation movie,
• 50:14
  Speaker 4: a spaghetti western hay and exploitation, like it's all jumbled
• 50:18
  Speaker 4: together and it's like, wow, he finally I watched a
• 50:22
  Speaker 4: work in progress since Kill Bill, really and it's like
• 50:25
  Speaker 4: he got there. Yeah. But with some of the odd decisions,
• 50:30
  Speaker 4: with some of the bad I don't want to say bad,
• 50:33
  Speaker 4: with some of the cuts that I would have argued
• 50:36
  Speaker 4: against were in the booth this winds up a solid four,
• 50:39
  Speaker 4: a very solid four. It was previously a four and
• 50:42
  Speaker 4: a half, but for some reason, some of these flaws
• 50:45
  Speaker 4: stuck with me a little bit more this time, and
• 50:47
  Speaker 4: so I land on a four. Super enjoyable. We'll definitely
• 50:51
  Speaker 4: revisit this could even see my rating increasing again in
• 50:56
  Speaker 4: the future. But this time around it's a four.
• 50:58
  Speaker 3: Very well, said Tristan.
• 51:00
  Speaker 5: For me, I'm kind of the opposite of John, even
• 51:04
  Speaker 5: though we land at the same rating.
• 51:05
  Speaker 3: No, no, we know that. It's it's the whole point
• 51:08
  Speaker 3: of the show.
• 51:09
  Speaker 4: Tristan.
• 51:10
  Speaker 5: Now, yeah, I get I give this a four. This
• 51:12
  Speaker 5: is a solid four. This is I like this for
• 51:16
  Speaker 5: this is I really like this work. Like when I
• 51:18
  Speaker 5: walked out of the theater and when I watched it
• 51:20
  Speaker 5: on a home video, it was probably a three, where
• 51:22
  Speaker 5: I was just kind of like the middle of the road, whatever,
• 51:25
  Speaker 5: it's fine. But for some reason, when I watched it
• 51:27
  Speaker 5: a couple of days ago, I was just tapped into it.
• 51:30
  Speaker 5: I was like, man, everything is working, not everything, but
• 51:33
  Speaker 5: like more things are working. Like the performance has really
• 51:36
  Speaker 5: got me. I started paying attention to what Tarantino was
• 51:38
  Speaker 5: trying to say, what he did do, what he didn't
• 51:41
  Speaker 5: do more importantly, And like I said, Fox, Waltz, DiCaprio, Washington,
• 51:46
  Speaker 5: Jackson Goggins, is just it's just so great. I could
• 51:50
  Speaker 5: have used a lot more Sheba, but that's neither here
• 51:53
  Speaker 5: nor there. But yeah, four stars, this is this is
• 51:56
  Speaker 5: up there. This, I'm raising this and on my Tarantino
• 52:00
  Speaker 5: overall ranking, this is I'm gonna I'm gonna revisit this again.
• 52:04
  Speaker 5: Not not far from the future, and I I Jango
• 52:07
  Speaker 5: Unchained is going up on higher on my list.
• 52:09
  Speaker 2: Yeah, this this movie, I mean like it's we're all
• 52:14
  Speaker 2: in the same boat. It's hard to find time to
• 52:16
  Speaker 2: watch movies and not have it split up over a
• 52:19
  Speaker 2: couple of days or something like that. And I started
• 52:22
  Speaker 2: this fairly late in the day one day, and I
• 52:25
  Speaker 2: watched it all the way through.
• 52:27
  Speaker 4: I was hooked.
• 52:28
  Speaker 2: I was like, oh man, I'm into the story, I'm
• 52:30
  Speaker 2: into the characters. I don't want to turn it off.
• 52:33
  Speaker 2: I want to, you know, put it on the biggest
• 52:36
  Speaker 2: screen I can so Tristan will yell at me and
• 52:39
  Speaker 2: just enjoy. But for the subject matter this it's weird
• 52:44
  Speaker 2: to say, but I think I enjoyed it. It wasn't
• 52:48
  Speaker 2: too much I'll say that it wasn't too much like
• 52:50
  Speaker 2: there's an easy way to do this kind of subject
• 52:52
  Speaker 2: matter where like I'm like, oh, I did never want
• 52:55
  Speaker 2: to see this again. It's too uncomfortable, it's too going
• 52:58
  Speaker 2: too far. But I don't think Tarantino did that on
• 53:01
  Speaker 2: my sensibilities, which everyone's gonna have different you know, levels
• 53:05
  Speaker 2: of skirmishness. But but yeah, to deal with this subject
• 53:09
  Speaker 2: you know, like we've said, but again, you know, here's
• 53:12
  Speaker 2: a director who is pulling these amazing performances out of
• 53:16
  Speaker 2: his entire cast, Like and you know, you think like, yeah,
• 53:21
  Speaker 2: I'm gonna write this and this bad guy is gonna
• 53:23
  Speaker 2: do bad things.
• 53:23
  Speaker 3: You're gonna hate them.
• 53:25
  Speaker 2: But you loathe these characters, like there's a different level
• 53:30
  Speaker 2: of hate in their callousness of life. And you're just like,
• 53:36
  Speaker 2: oh man, I just and again the story you get
• 53:40
  Speaker 2: some sweet come up ins, some sweet sweet.
• 53:43
  Speaker 3: You're like, yes, I wanted that so bad.
• 53:46
  Speaker 5: I don't want to interrupt you, but I don't have
• 53:48
  Speaker 5: to say I like, I have to say, you reminded me,
• 53:50
  Speaker 5: like of the come up ands. That final scene, the
• 53:53
  Speaker 5: final shootout, it's so over the top, it's so great,
• 53:59
  Speaker 5: it's so over violent to the point where it's hilarious.
• 54:03
  Speaker 5: And the fact that like the bad guys are shooting
• 54:05
  Speaker 5: the bad guys inadvertently. Just it made me laugh out.
• 54:09
  Speaker 2: At one and then the other knee and he's like,
• 54:11
  Speaker 2: stop shooting me.
• 54:13
  Speaker 5: Just is just I just had to get that in there.
• 54:16
  Speaker 5: It's so like you said, it was cathartic, and I
• 54:18
  Speaker 5: just I just want to say I agree with you, dren.
• 54:21
  Speaker 2: No and again leading up to the blowing up of
• 54:24
  Speaker 2: Candy Lay and it's it's like wiping it from the
• 54:25
  Speaker 2: face of the earth, and you know, with Samuel Jackson inside,
• 54:29
  Speaker 2: as he rightfully should be. So yeah, I'm given this
• 54:33
  Speaker 2: a five. It's an incredible movie. I see why it,
• 54:37
  Speaker 2: you know, blew Away the Oscars. It's accolades, like you know,
• 54:42
  Speaker 2: not that Tarantino is listening to this show, but you know,
• 54:45
  Speaker 2: if I were to talk about talk to someone and
• 54:48
  Speaker 2: they're like, oh, you're watching Tarantino for the first time.
• 54:50
  Speaker 3: You know, what are your top two? You know?
• 54:53
  Speaker 2: So far it's it's kill Bill and Djano, Like I
• 54:56
  Speaker 2: have to put them both up on that pedestal like
• 54:59
  Speaker 2: they are.
• 54:59
  Speaker 3: This is really good. It's a really well told story,
• 55:03
  Speaker 3: you know, I'm.
• 55:04
  Speaker 2: Not saying I'm a Tarantino person yet, but I've gotten
• 55:07
  Speaker 2: through like three fourths of.
• 55:09
  Speaker 3: His stuff, so we'll see.
• 55:12
  Speaker 5: We'll definitely need to go over our rankings, like our
• 55:15
  Speaker 5: personal rankings, when we're done with Tarantino.
• 55:18
  Speaker 4: Hmm, yeah, okay, that's tough, but yeah, fair.
• 55:23
  Speaker 5: I'm looking at I'm looking at mine right now. I
• 55:25
  Speaker 5: could do it.
• 55:26
  Speaker 6: I could do it.
• 55:27
  Speaker 4: Death Proof is at the bottom spoilers.
• 55:29
  Speaker 2: Yes, correct, Well, I see you mean, like a bottom
• 55:33
  Speaker 2: to top in order of like likeness. Yes, I'm like
• 55:36
  Speaker 2: we've been ranking them, Tristan, that's literally the point.
• 55:39
  Speaker 3: Of the show.
• 55:40
  Speaker 2: I see what you're saying. All right, So we got
• 55:42
  Speaker 2: two four's and a five for Django Unchained twenty twelve
• 55:46
  Speaker 2: Cinematic Western. But next week here in house Lights, we're
• 55:51
  Speaker 2: going to be talking about the Hateful Eight roadshow.
• 55:56
  Speaker 5: Here on Houselights, Join
• 55:58
  Speaker 1: The Revolution, Join the Ned Party.