Latest / Left of the Projector / Inglorius Basterds (2009) with James Ray and Hugo

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Inglorius Basterds (2009) with James Ray and Hugo · Left of the Projector

• 0:20
  Track 1: Hello and welcome to Left at the Projector. I'm your host, Evan,
• 0:23
  Track 1: back again with another film discussion from the left.
• 0:26
  Track 1: You can follow the show at leftattheprojector.com. This week on the show,
• 0:31
  Track 1: we'll be covering another Quentin Tarantino film, this time Inglourious Bastards.
• 0:35
  Track 1: It was released in 2009 and has a large cast.
• 0:39
  Track 1: Just a few of them include Brad Pitt, Christopher Waltz, Michael Fassbender,
• 0:43
  Track 1: Eli Roth, Diane Kruger, Daniel Bruhl, Melanie Laurent, and many more.
• 0:48
  Track 1: With me to discuss, I have Hugo, who you may know from episodes such as Jackie
• 0:52
  Track 1: Brown, another Quentin Tarantino film, and James Ray or James Gets Political
• 0:57
  Track 1: on TikTok. Thank you both for being here today.
• 0:59
  Track 2: You can call me Hugo Stieglitz. All German soldiers know Hugo Stieglitz.
• 1:07
  Track 1: Are you the big bear?
• 1:10
  Track 2: No, Hugo Stieglitz is not the bear. That's, that's, uh...
• 1:16
  Track 2: Oh my god i knew i was gonna i was gonna blank on names because there's so many
• 1:20
  Track 2: people i uh eli roth is the bear.
• 1:23
  Track 1: But yeah thank you both for coming on to talk about this one and i guess so
• 1:26
  Track 1: the way i usually send out like a list of films which i send to you james and
• 1:31
  Track 1: i think we like we may have like gone over a couple potential options and then
• 1:35
  Track 1: you picked inglorious bastards what was your, I don't know, motivation?
• 1:41
  Track 1: And as I mentioned, Hugo's done another Tarantino film with me.
• 1:45
  Track 1: We're a big fan of Tarantino. So what made you think about that one?
• 1:49
  Track 3: Yeah. I mean, just over the years, I've really been a fan of a lot of Tarantino's work.
• 1:53
  Track 3: Like Inglourious Basterds in particular, when I was young, was like one of those
• 1:56
  Track 3: movies where I was like, oh, this is a movie I could watch a million times and be very, very happy.
• 2:02
  Track 3: Like the way that it's shot, the actors in it.
• 2:06
  Track 3: It was my first time actually really going through and seeing some of the actors
• 2:09
  Track 3: that were in their films. I mean, obviously I've seen a couple of them because
• 2:12
  Track 3: you have like a lot of just a line or,
• 2:15
  Track 3: a level performers but like christoph waltz um
• 2:18
  Track 3: it was like his first performance i'd actually seen him in um and
• 2:22
  Track 3: it really caught my attention uh and like the story is
• 2:24
  Track 3: obviously really funny it's it's a very funny and simultaneously i
• 2:28
  Track 3: guess it points tragic film uh and and it's i don't know um i was a world war
• 2:33
  Track 3: ii nerd in high school and college so for me it was like the perfect blend of
• 2:36
  Track 3: everything i was interested in plus like i'm seeing nazis die which was kind
• 2:39
  Track 3: of cool uh so like it was easily like pretty quickly ranked as like my favorite
• 2:43
  Track 3: uh like tarantino film or at least one of my favorite tarantino films.
• 2:47
  Track 1: What do you think you go we've like we've talked we talk a lot about like tarantino
• 2:50
  Track 1: i know we were like originally talking about a while ago doing like the django
• 2:53
  Track 1: unchained and we did jackie brown and like is this your favorite uh i know actually
• 2:58
  Track 1: i know it's not your favorite tarantino movie i know.
• 3:00
  Track 2: Yeah no i i uh before i knew anything about movies i would just watch whatever was on the ifc.
• 3:08
  Track 3: Channel and.
• 3:09
  Track 2: And pulp fiction was always on so i
• 3:12
  Track 2: always for many years i had only seen pulp fiction
• 3:15
  Track 2: like bits and pieces and i didn't know that i thought i would i was missing
• 3:18
  Track 2: something but it's i didn't know it was not in chronological order but i've
• 3:22
  Track 2: always thought quentin tarantino that he was like my introduction to like we're
• 3:25
  Track 2: like wow i like these i like film um but also like james was saying i loved world war.
• 3:33
  Track 3: Ii i used.
• 3:34
  Track 2: To watch every World War II film. I would read World War II films about World War II films.
• 3:40
  Track 2: About World War II films. I would just read about World War II.
• 3:42
  Track 2: I've watched tons of documentaries. During COVID, I re-watched.
• 3:47
  Track 2: There's a really long one that's like a series.
• 3:51
  Track 3: It's like World War II in color.
• 3:54
  Track 2: I think that's it. Yeah. Because they did world war one and he did a,
• 3:57
  Track 2: and who's the guy who's the director that did the documentary.
• 3:59
  Track 2: He did the Vietnam one too.
• 4:00
  Track 3: Oh, I know who you're talking about. I can't remember right now.
• 4:03
  Track 3: Top of my head, but I watched the Vietnam documentary in college and it was amazing.
• 4:07
  Track 2: Yeah. So yeah, I just love everything world war two and this move,
• 4:11
  Track 2: this one like brings everything together and like in such a,
• 4:16
  Track 2: and it's so satisfying, you know,
• 4:19
  Track 2: like to watch the revenge, you know of like how it could have gone uh spoiler alert early on.
• 4:27
  Track 1: I think that's i think that's uh i don't know if that even would qualify as
• 4:31
  Track 1: a spoiler but well so it's funny a lot of people give like this i was reading
• 4:35
  Track 1: a bunch of reviews of the film when it came out and a bunch of
• 4:39
  Track 1: more sort of haters i guess of quentin tarantino were whining about how it's
• 4:43
  Track 1: not historically accurate and it's like oh he you know bastardized you know
• 4:47
  Track 1: no pun intended to the film and like the
• 4:49
  Track 1: thing and like who cares in a way i mean it's a movie that's not intended to
• 4:54
  Track 1: be a an accurate portrayal of the events as they unfolded so i don't think like
• 5:00
  Track 1: that doesn't matter to me to me it's just like it's a cool film and it's very
• 5:04
  Track 1: much his style you know everything so i don't know like
• 5:08
  Track 1: does that does anyone like did you think of like oh man this this part uh you
• 5:11
  Track 1: know not accurate to the your world war ii in color that you watched like.
• 5:17
  Track 3: No i think for me it
• 5:19
  Track 3: was just wow this is sick like i like there i can't
• 5:23
  Track 3: understand watching really any quentin tarantino film
• 5:26
  Track 3: but like especially inglorious bastards and being like oh man the inaccuracies
• 5:29
  Track 3: are killing me like i feel like it's like i don't know a single like like i'm
• 5:35
  Track 3: not watching like once upon a time in hollywood because i want to see the manson
• 5:38
  Track 3: murders right like i just i don't understand like people being like that with Tarantino.
• 5:43
  Track 3: Like a lot of his films obviously take a lot of liberties. And I think that's
• 5:46
  Track 3: kind of the fun ride that you're getting when you're watching his,
• 5:49
  Track 3: like when you're watching the things he creates, like I like it a lot.
• 5:53
  Track 2: I think that part of me thought it was based on a true story when it first started.
• 6:00
  Track 2: When I first saw it in the theater, I think I believed it was based on fact.
• 6:08
  Track 2: Because, you know, you watch these World War II documentaries and they're like,
• 6:11
  Track 2: you know, a secret group went behind enemy lines. And, like,
• 6:15
  Track 2: they'll tell you the story kind of like this.
• 6:18
  Track 2: So I was like, oh, yeah, wow, I can't believe this is going to happen.
• 6:21
  Track 2: And I'm so cool that Quentin Tarantino made it. And then I'm like, oh, they're like, wait.
• 6:26
  Track 2: Like, at the end, you're like, that's not how, that's not how it happened, right?
• 6:30
  Track 3: Like, hold on, hold on.
• 6:31
  Track 2: Wait.
• 6:31
  Track 3: I got to check this.
• 6:32
  Track 1: Wait a minute. Yeah, I need to look this up. Cut it. We can't do this anymore.
• 6:37
  Track 1: It's not a true story. But, well, it's like, I mean, that's why it's sort of
• 6:43
  Track 1: like the, you know, I think I put in my notes, like, it's like a fantasy historical
• 6:47
  Track 1: fiction, like, historical fiction, I guess you could call it.
• 6:50
  Track 1: Like the same way you're reading a book that's about world war
• 6:53
  Track 1: ii but it's just take liberties and it's meant to
• 6:56
  Track 1: be funny yeah and actually
• 7:00
  Track 1: one thing that i saw i put this like this quote i won't read the whole thing
• 7:03
  Track 1: it was some article talking about the the film as the historical fiction and
• 7:08
  Track 1: it was interesting that the film was released the same week as the internal
• 7:12
  Track 1: cia report that depicting all the prisoners of Iraq and Afghani, you know,
• 7:20
  Track 1: men and women and kids and all this and all these terrible things they did to
• 7:24
  Track 1: them using power tools and then putting them into, you know,
• 7:28
  Track 1: Quotanamo Bay and everything.
• 7:29
  Track 1: And it's kind of ironic in a way that that's kind of what the Americans are
• 7:35
  Track 1: doing in this, but it's to Nazis. So, like, I'm a little less upset about it.
• 7:44
  Track 3: Yeah, I think that's kind of what I like. I mean, it's an interesting thing about the film.
• 7:47
  Track 3: It's just it's so gratuitous, but the enemy is so like ontologically evil that it's like, ah, I like it.
• 7:55
  Track 3: I'm okay with this. Like, I didn't matter. Like, you don't even think about
• 7:57
  Track 3: it as it's going through.
• 7:59
  Track 3: And it's just kind of a fun ride. I don't know.
• 8:03
  Track 2: I also i i think that's why
• 8:06
  Track 2: world war ii is so is so fun to not
• 8:09
  Track 2: fun but like interesting to like look into and
• 8:12
  Track 2: learn about because we're before i
• 8:16
  Track 2: was even like radicalized or anything i was like wow this
• 8:19
  Track 2: is a war where like america fought for the
• 8:21
  Track 2: right thing you know there was like a really good
• 8:24
  Track 2: reason to go to war with these people they were doing horrible
• 8:27
  Track 2: things um to jewish people and uh
• 8:31
  Track 2: and like yeah we had to save them and i'm so happy that we did that all of the
• 8:37
  Track 2: people that they killed deserve to die you know so that's why i'm like that's
• 8:43
  Track 2: why this film is so satisfying because you get to see like bad people have bad
• 8:48
  Track 2: things happen to them um and,
• 8:50
  Track 2: but at the same time i don't know i also remember there's a uh in band of brothers
• 8:54
  Track 2: there's a scene where, um,
• 8:58
  Track 2: where the main character runs over. He's like the captain.
• 9:02
  Track 2: He runs over this hill and he sees this kid, a German soldier,
• 9:06
  Track 2: but he's like a kid. He's clearly like 16.
• 9:08
  Track 3: 17.
• 9:10
  Track 2: And they like look at each other and you know, the American guy, I forgot his name now.
• 9:15
  Track 2: Winters, Lieutenant Winters. He has his gun. And I feel like this really did
• 9:19
  Track 2: happen because they interview the actual guys.
• 9:22
  Track 2: So he comes over this hill and he just sees this kid and he's just staring at him.
• 9:26
  Track 2: And you could look at his face. He looks like he's 16 and behind him,
• 9:29
  Track 2: there's a whole battalion and they haven't even noticed the German soldiers
• 9:33
  Track 2: haven't noticed. It's just a kid.
• 9:35
  Track 2: And Lieutenant Winters just looks at him and just fucking shoots him.
• 9:39
  Track 2: And he talks about it later, how he felt like he was shooting,
• 9:42
  Track 2: like he could have been shooting his neighbor. Like it was just a little, like a little kid.
• 9:48
  Track 3: Well, they play on that later in Band of Brothers too. I don't know if you remember
• 9:50
  Track 3: the episode with the, the, the German prisoners on the road where one of them
• 9:54
  Track 3: ends up being like a U S citizen. yeah yeah yeah from.
• 9:58
  Track 1: Like i.
• 9:59
  Track 3: Don't know it's like there's weird elements throughout band of brothers that i
• 10:02
  Track 3: thought was really cool i love band of brothers i think i watch it like once a year
• 10:05
  Track 3: is like a ceremonious thing for me um but
• 10:08
  Track 3: it's it's neat to see like those little moments of
• 10:11
  Track 3: like oh like this is like a person it's like you know and you get that little
• 10:14
  Track 3: like kind of thing in there and i don't know like
• 10:17
  Track 3: i i like that a lot i i get that a lot in like in inglorious
• 10:20
  Track 3: bastards too though like there's little moments like i don't know if you
• 10:23
  Track 3: remember the first time they're introducing like kind
• 10:25
  Track 3: of the full cast on the ground in germany when they're like killing
• 10:28
  Track 3: that little like german platoon they're like ambushing i mean like sitting guys
• 10:31
  Track 3: down and they're like having full-blown conversations with these germans right
• 10:35
  Track 3: like they're they're talking with them they're engaging with them they're bantering
• 10:38
  Track 3: almost with them and then they kill him obviously but like there's that like
• 10:42
  Track 3: moment of like oh this is like a dude who's just like he's evil but he's just
• 10:45
  Track 3: some guy like and i think that's interesting.
• 10:47
  Track 1: Well one of the it's funny
• 10:50
  Track 1: you mentioned uh band of brothers and that's one of
• 10:53
  Track 1: the things that i noticed about this well we
• 10:55
  Track 1: could also maybe talk like briefly kind of about just like the style of
• 10:58
  Track 1: the film where i mean this is all again quentin tarantino but in
• 11:01
  Track 1: like most of those world war ii movies you know i think of saving
• 11:04
  Track 1: private ryan all of those other you know you know
• 11:07
  Track 1: main films there's always like a band or a group that's kind
• 11:10
  Track 1: of tight-knit that are together and you constantly see them you
• 11:13
  Track 1: know sneaking around doing their you know various um oversimplifying
• 11:17
  Track 1: but all these different things they're doing in this you don't really see that except
• 11:20
  Track 1: for like the moments before they commit like an
• 11:23
  Track 1: act of violence and they're like you said talking with them you know
• 11:26
  Track 1: getting them to admit the things they did or get information from them
• 11:28
  Track 1: and i kind of like how it's uh like flips that narrative
• 11:32
  Track 1: of like the typical world war ii film to be more just about the the gratuitous
• 11:38
  Track 1: violence that they're committing against nazis as opposed to like all the lead-up
• 11:42
  Track 1: to it and it's well crafted in the Tarantino way where they have these long,
• 11:48
  Track 1: drawn-out conversations that, obviously,
• 11:50
  Track 1: they're not doing that in a real, live situation, but he loves his dialogue.
• 11:54
  Track 3: Mm-hmm.
• 11:57
  Track 3: I mean, that's true.
• 11:57
  Track 2: Oh, yeah.
• 11:58
  Track 3: No, you, you, you.
• 12:00
  Track 2: I don't know what I was going to say.
• 12:02
  Track 3: Oh, yeah, pretty much same. I mean, I don't know. I think it's kind of fun, though.
• 12:07
  Track 3: Like, you get those moments of gratuitous violence, but, like,
• 12:09
  Track 3: you get, like, slight buildups.
• 12:11
  Track 3: Like, I feel like, like, Band of Brothers and a lot of other World War II films,
• 12:14
  Track 3: I'm thinking, like, Fury is, like, my counter.
• 12:17
  Track 3: Like, the more serious kind of, like, counter to it is, like,
• 12:19
  Track 3: you're getting a lot of buildup for these, like, moments of,
• 12:22
  Track 3: like, extreme violence, right?
• 12:23
  Track 3: And in glorious bastards you're getting like five minutes of like
• 12:27
  Track 3: build up and then violence and then it switches back to
• 12:30
  Track 3: a whole different storyline and you get a little bit of like an escalation there
• 12:33
  Track 3: and then it's back to just gratuitous violence and then it's like it's like
• 12:36
  Track 3: a back and forth you're getting like this uh it's like someone's like uh like
• 12:39
  Track 3: hitting the gas and then hitting the brakes really abruptly in a way that's
• 12:42
  Track 3: like really kind of neat and i don't know like it's cool in seeing like how
• 12:47
  Track 3: that violence escalates in a much smaller scale like The bar scenes, what I think of,
• 12:52
  Track 3: like where you have like that kind of constant tension, but they're working
• 12:55
  Track 3: their way towards like just a shootout functionally.
• 12:59
  Track 3: I mean, you're getting like just enough build out to make it like contextually make sense.
• 13:03
  Track 3: But otherwise, you can tell that like Tarantino in this film was very much just
• 13:07
  Track 3: locked on to showing Nazis dying. And I think that's neat.
• 13:12
  Track 1: Yeah. Like the, the, like that was, I think I commented to you before,
• 13:15
  Track 1: you know, earlier this week or something is that one thing about this movie,
• 13:19
  Track 1: which we'll also then maybe go back and talk about like Shoshana sort of like
• 13:22
  Track 1: the hero of the film, as I would argue is the,
• 13:26
  Track 1: like the way that it's kind of set up is there's like lots of,
• 13:28
  Track 1: I don't want to call them vignettes, but little kind of bits of scenes that
• 13:31
  Track 1: kind of happen to flashing between different groups.
• 13:34
  Track 1: So you have Shoshana, who's a survivor of, you know, the Christopher Waltz character
• 13:39
  Track 1: who they nicknamed the Jew Hunter at the very opening scene.
• 13:42
  Track 1: Like they kill the rest of her family, which is being hidden in,
• 13:45
  Track 1: you know, a neighbor's basement.
• 13:47
  Track 1: And then, you know, you have the bar scene, which is like a good like 15 minutes
• 13:51
  Track 1: long, maybe even longer. It's a really long scene.
• 13:53
  Track 1: And then lots of these very short scenes, which kind of sometimes made it feel fragmented in a way.
• 13:59
  Track 1: But, you know, this is like maybe my one critique of the movie.
• 14:02
  Track 1: But otherwise, each scene is so good and the dialogue is so good,
• 14:07
  Track 1: like that opening scene where they're just sitting down.
• 14:09
  Track 1: He offers him the glass of milk and you know immediately what's going to probably happen.
• 14:13
  Track 1: But you but you don't know at the same time. He's really good at the Hitchcockian
• 14:17
  Track 1: like bomb under the table.
• 14:19
  Track 1: But you don't you know, you don't know when it's going to blow.
• 14:21
  Track 1: Like especially that first shot where they slowly pan down from the top around
• 14:26
  Track 1: behind the two of them talking at the table and then you see them in the basement
• 14:30
  Track 1: is just like a it's just it's so fucking good.
• 14:34
  Track 2: And Christoph Waltz is so good at those scenes at like building the tent he's
• 14:39
  Track 2: just like he goes from like this happy like hey I know I'm dressed like a Nazi
• 14:43
  Track 2: but I just really love your daughters are beautiful can I have some of your milk,
• 14:50
  Track 2: oh no no no this is your house you don't have to ask me
• 14:53
  Track 2: to smoke you smoke can i can i also partake and
• 14:56
  Track 2: he brings out the giant i remember in
• 14:59
  Track 2: the theater like sweating bullets because i'm like is he
• 15:02
  Track 2: hiding because we don't know that he has he has the family under the under the
• 15:06
  Track 2: floorboards yet until like kind of like i think like halfway through the conversation
• 15:11
  Track 2: they show us that the family is down there and they're looking up um god yeah
• 15:16
  Track 2: i love the tension i love christoph waltz Like, he just does such a good job.
• 15:21
  Track 2: My favorite scene, I just watched it right before we started recording,
• 15:25
  Track 2: is when he's sitting, he's like, ooh, that's a bingo!
• 15:31
  Track 2: Oh, is that the right way to say it? No, it's just bingo. Bingo! Fun!
• 15:38
  Track 2: So good. What a... But yeah, the whole film feels like that.
• 15:43
  Track 2: It's always, like, building.
• 15:44
  Track 2: Just from, like, it's crazy how he could do that. how like Tarantino could just
• 15:49
  Track 2: make you feel like on edge just from them talking because you're like what's
• 15:52
  Track 2: gonna happen what's gonna happen very good.
• 15:54
  Track 3: No I really do think Christoph Waltz plays like the best villain character and
• 15:57
  Track 3: like any movie he's in he played it in um what was it it was uh one of the 007
• 16:02
  Track 3: movies wasn't it where he was also one of the main villains and he was like
• 16:05
  Track 3: phenomenal in that role too like every role I've seen him in I'm just like this
• 16:09
  Track 3: guy knows how to be evil in like the,
• 16:12
  Track 3: most clever kind of way oh.
• 16:14
  Track 1: Yeah he's inspector i think maybe is one.
• 16:16
  Track 3: Yeah i think he's inspector yeah oh.
• 16:17
  Track 1: Yeah he's really good in that one.
• 16:19
  Track 3: He's also a good good guy too i mean i guess like
• 16:22
  Track 3: jango unchanged as being the kind of counter example of that right i think
• 16:25
  Track 3: he just is good at acting and i just like you know crazy concept
• 16:29
  Track 3: but like he like every character i've seen him play i'm just like this like
• 16:33
  Track 3: he's one of my favorite actors um coming out of jango and coming out of uh inglorious
• 16:38
  Track 3: bastards and i just love everything he does like i've every project he's in
• 16:41
  Track 3: i'm just like i'll watch a movie if i know he's in it he's a really good actor.
• 16:45
  Track 1: Yeah he pretty much kills every single scene he's in you know.
• 16:49
  Track 3: Just the.
• 16:50
  Track 1: Also when he's at the the restaurant and they're like she
• 16:53
  Track 1: orders the strudel and he's like oh wait no you have to get the cream on the
• 16:56
  Track 1: strudel and like this like the way that you know he you think and then there's
• 17:00
  Track 1: like a moment where you think that he knows that it's her and then he like he
• 17:04
  Track 1: has no idea it's just like he's just the way he pauses his like his uh his dialogue is just uh.
• 17:10
  Track 2: Oh my god that scene too when she when he leaves and she exhales and she's just
• 17:17
  Track 2: like oh my god like in the theater too i was like sweating god what a great
• 17:23
  Track 2: scene yeah yeah that freaked me out the way and the music he uses that music
• 17:26
  Track 2: and i feel like it reminded me of kill.
• 17:28
  Track 3: Bill when.
• 17:29
  Track 2: When christoph waltz first walks in it's like that like literally alarms just going off.
• 17:35
  Track 3: No i actually put a note on my phone about that like in the first scene like
• 17:39
  Track 3: it's it's crazy because the music becomes so enveloping right up until the scene
• 17:43
  Track 3: where he's like aiming the gun at the main protagonist and then just like as
• 17:47
  Track 3: soon as he like gets the the sight off of her the music just cuts,
• 17:50
  Track 3: completely and it's like so well done like the way that the way the music is
• 17:55
  Track 3: used in this movie in particular is phenomenal, but that scene was crazy to watch.
• 18:01
  Track 1: It makes it jarring almost as you're watching it.
• 18:05
  Track 1: He's always well-known for his scores and the music, but in this,
• 18:10
  Track 1: it's very different because it's not the same kind of music. It's not a modern film.
• 18:14
  Track 1: It's not like Jackie Brown or Pulp Fiction or something. It's World War II.
• 18:18
  Track 1: It doesn't make sense to have that same music. Like, it's, yeah.
• 18:23
  Track 1: Well, one of the things that, so I mentioned before, like, do you,
• 18:27
  Track 1: would you both agree that Shoshana,
• 18:29
  Track 1: you know, the, the film, you know, the one who escapes the beginning of the
• 18:32
  Track 1: film and then has the movie theater and then, you know, eventually has the plot,
• 18:37
  Track 1: the simultaneous plot to, like, kill all the, you know, big time Nazis,
• 18:40
  Track 1: like, is the actual hero and not the, like, the bastards, despite,
• 18:44
  Track 1: again, the film's called Inglourious Bastards?
• 18:47
  Track 2: I think so because she's the one that like there
• 18:50
  Track 2: she has no uh qualms about
• 18:54
  Track 2: what she's doing she's like i'm absolutely doing this there's no no holding
• 18:57
  Track 2: me back like as soon as she figures out that this is what's happening she's
• 19:01
  Track 2: like this is what we're gonna do right away uh what she tells her um uh her
• 19:07
  Track 2: boy uh marcel in the theater like right after that she's like he's like what is going on,
• 19:12
  Track 2: she's like, we're gonna kill every single Nazi that walks into this theater, like, right away.
• 19:18
  Track 2: And, like, it just happens that the bastards roll up on this and it kind of sucks.
• 19:25
  Track 2: Oh, I remember you guys were talking about this earlier. It kind of sucks that,
• 19:29
  Track 2: like, when it comes down to it, it's really her and no one will remember her.
• 19:34
  Track 2: Were you guys talking about this?
• 19:36
  Track 3: Yeah, I remember this in the chat.
• 19:38
  Track 2: Yeah, yeah, yeah, yeah. Okay.
• 19:39
  Track 1: Well, I mean, that's kind of like, so that's like, as I was thinking about her
• 19:42
  Track 1: being, you know, viewed as a hero, it kind of also reminds me,
• 19:47
  Track 1: like, if you look at polls that were taken right after World War II of Americans
• 19:50
  Track 1: and Europeans, like, who do they think won World War II?
• 19:53
  Track 1: Most people would have said the Soviet Union. But then 50 years later,
• 19:56
  Track 1: you ask the same question, and it's the opposite.
• 19:58
  Track 1: It's most people would say the United States. And like, of course,
• 20:01
  Track 1: that's, you know, decades of
• 20:02
  Track 1: propaganda against the Soviets and the Cold War and all of those things.
• 20:06
  Track 1: But it like leads me to think about how these like resistance groups who actually,
• 20:09
  Track 1: you know, had so much sacrifice and don't get any real remembrance or credit or any of these things.
• 20:15
  Track 1: I mean, I guess sometimes there's documentaries or films about some of them,
• 20:18
  Track 1: but she, she is like the real hero.
• 20:21
  Track 1: And yet, you know, they're going to bring over this guy from,
• 20:25
  Track 1: you know, Chris, Christoph Waltz is going to come to America with his swastika
• 20:29
  Track 1: on his forehead as like a work for NASA or something like they all do,
• 20:33
  Track 1: you know, little operation paperclip for a treat.
• 20:36
  Track 3: Well, that was something I think I brought it up in the talking beforehand with
• 20:39
  Track 3: y'all. But an interesting thing about the movie is how it does kind of also sanitize U.S.
• 20:43
  Track 3: Operations during like the tail end of World War Two. Like, I think that like
• 20:47
  Track 3: a lot of the sort of like gratuitous violence against the German like officer
• 20:51
  Track 3: corps and stuff in that instance is seen as being like this pinnacle of like
• 20:55
  Track 3: American violence and excellence and like, oh, we're killing all of the Nazis.
• 20:58
  Track 3: All the high command is gone. But like, realistically, we probably would have
• 21:02
  Track 3: offered many of them jobs and did like historically.
• 21:06
  Track 3: Like, I mean, like, like with Operation Paperclip and like associated operations,
• 21:10
  Track 3: like we were really like picking up like a an absurd amount of like Nazi scientists,
• 21:15
  Track 3: but also like military officers, intelligence officers,
• 21:18
  Track 3: like integrating them into security services, into like NASA,
• 21:21
  Track 3: other government agencies.
• 21:22
  Track 3: And it's interesting how like we see like a really brief glimpse of that at the very end.
• 21:28
  Track 3: But even then it's treated as a like, oh, no, we won't let you go unheard.
• 21:32
  Track 3: You know, we won't let you go unseen in these communities. but like,
• 21:36
  Track 3: we did, you know, like we completely did.
• 21:40
  Track 2: I think so on that specifically, the higher command wants to bring the Nazis
• 21:48
  Track 2: over and use their intelligence and use the scientists. And they did.
• 21:52
  Track 2: So the government does that, but the soldiers on the ground,
• 21:56
  Track 2: if any, they were the ones that really hated Germans because they were,
• 22:00
  Track 2: they were fighting them every day. They were killing them every day.
• 22:03
  Track 2: Oh, and that's the other thing I wanted to say. So in the, in the,
• 22:05
  Track 2: the first scene where we're introduced to the bastards, Brad Pitt, um, is telling them.
• 22:10
  Track 2: And like one thing I was, I just read this book, um, kill everything that,
• 22:14
  Track 2: uh, kill anything that moves, which is about the Vietnam war.
• 22:17
  Track 2: And they talked about how in training they refuse to let the soldiers talk,
• 22:24
  Track 2: uh, call the Vietnamese, like Vietnamese.
• 22:27
  Track 2: They came up with all the derogatory terms, which I'm not going to say.
• 22:32
  Track 2: But similarly, Brad Pitt does that. He talks about the Germans.
• 22:37
  Track 2: He doesn't call them Germans.
• 22:38
  Track 2: He calls them, you know, besides Nazis, he says all these derogatory German terms.
• 22:43
  Track 2: And that is like a way to dehumanize the other side so that it's easier to kill them.
• 22:48
  Track 2: So that you don't see them as people. You see them as just like bugs or something
• 22:52
  Track 2: that you can squash out and kill and it doesn't bother you.
• 22:55
  Track 2: So Brad Pitt hates Nazis. He would never make a deal with Nazis.
• 23:01
  Track 2: And in fact, you see him wrestling with it. He's like, ah, like,
• 23:06
  Track 2: I guess if you, you know, gave us information that's going to lead to all these other guys dying.
• 23:12
  Track 2: All right. I guess if, yeah, I could see how that's useful, but you know,
• 23:16
  Track 2: but you, you're so disgusting. I don't want you walking around in the world
• 23:19
  Track 2: hiding what you are, you know? So I think the soldiers really hate Nazis,
• 23:24
  Track 2: but the U.S. government loves Nazis.
• 23:26
  Track 2: They represent everything that the U.S.
• 23:29
  Track 2: Government does. It's imperialism and racism.
• 23:32
  Track 2: It's beautiful. It's American. Sounds pretty American to me.
• 23:36
  Track 3: I mean, and the characters have good reason to hate them, too.
• 23:39
  Track 3: I will say there's two elements of the composition of characters that we get
• 23:45
  Track 3: in terms of the bastards themselves that both makes me happy and also bothers me slightly.
• 23:51
  Track 3: And the happy element of that is that you have like a bunch of like specifically
• 23:56
  Track 3: denoted to be Jewish soldiers who are going behind enemy lines and killing Nazis.
• 24:00
  Track 3: Right. There's this like fun element, I guess, of like a like historically,
• 24:05
  Track 3: when we look at the record, it's like this oppressed community that did resist
• 24:09
  Track 3: like throughout. I mean, we have the Warsaw Ghetto Uprisings.
• 24:12
  Track 3: We have countless instances of Jewish partisans and communists like liberating Nazis.
• 24:16
  Track 3: Territory or fighting the germans um but it's
• 24:18
  Track 3: like seeing uh like a unit of jewish
• 24:21
  Track 3: soldiers this like historically um oppressed
• 24:25
  Track 3: cohort especially in the world war ii context that's
• 24:29
  Track 3: going in and functionally killing their oppressors right like
• 24:32
  Track 3: that that's a really cool element of the movie that i think is really cool now
• 24:35
  Track 3: there's some like you know there's questions around like how tarantino is
• 24:38
  Track 3: like a rabid zionist that makes me go like
• 24:41
  Track 3: okay like what there's like
• 24:44
  Track 3: you could go into like how like early zionist literature and like
• 24:47
  Track 3: you know continued zionist framings kind of paint this
• 24:50
  Track 3: differentiation between like this kind of unter mensch and uber
• 24:53
  Track 3: mensch like jewish communities of like um the weak jew
• 24:56
  Track 3: that accepted um death and accepted you
• 24:58
  Track 3: know their own subjugation and annihilation and this
• 25:01
  Track 3: like uh counter um israeli like strong
• 25:05
  Track 3: like david the strong image the strong
• 25:07
  Track 3: jew of like you know we're resisting we're militant
• 25:11
  Track 3: we're doing this um so like i don't know
• 25:14
  Track 3: how much that filters into this i i could also just be really
• 25:16
  Track 3: over analyzing that what it's like functionally just tarantino being like
• 25:19
  Track 3: hell yeah we're killing nazis um but it's
• 25:22
  Track 3: i don't like but it's interesting nonetheless and i think it's like a net positive
• 25:25
  Track 3: yeah actually um but the other side of that though that i think is like weird
• 25:31
  Track 3: is you have like several german soldiers like nazis themselves who for whatever
• 25:37
  Track 3: reason find their way into the bastards um like the serial killer character, for example.
• 25:42
  Track 3: Who's killing German officers, it gives the same energy to me as like Valkyrie
• 25:45
  Track 3: did when it came out where it's like, yeah, he's killing Nazis,
• 25:49
  Track 3: but he still put the uniform on and he was still a part of the military structure in some capacity.
• 25:54
  Track 3: It's, I guess, like a lot clearer, I guess, because he's killing officers and
• 25:58
  Track 3: stuff with characters in the bastards.
• 26:00
  Track 3: But like a lot of media around like German resistance during like the period
• 26:04
  Track 3: in which like the Nazis were in full control of power,
• 26:08
  Track 3: has this weird effect of like humanizing and maybe doing apologia for like Nazi
• 26:14
  Track 3: actors. And it's interesting to me.
• 26:17
  Track 1: Well, that's, I mean, that kind of reminds me, or not reminds me,
• 26:20
  Track 1: kind of like is that same aspect of taking what the U.S.
• 26:25
  Track 1: Government did with, which we already talked about, like Operation Paperclip
• 26:28
  Track 1: and taking these people who committed atrocities. Granted, it was like sort
• 26:31
  Track 1: of meant to be like a hidden thing.
• 26:32
  Track 1: Like, you know, we weren't supposed to know about it until we find out about
• 26:35
  Track 1: it later on, of course, as, you know, we always do when things are declassified.
• 26:39
  Track 1: But, you know, taking these people who were monsters and then just being like,
• 26:43
  Track 1: oh, but they invented like the...
• 26:47
  Track 1: I don't know the something they invented
• 26:50
  Track 1: like a you know methadone something for an ass i was gonna
• 26:52
  Track 1: say they invented yeah okay so sure something something
• 26:56
  Track 1: but but i think it's in the other interesting thing about
• 26:59
  Track 1: the which i forgot to mention which is a good call out is
• 27:02
  Track 1: that tarantino actually met his current wife on
• 27:05
  Track 1: the press tour in israel for this film and then
• 27:08
  Track 1: got married and now lives in israel since 2018 doesn't
• 27:12
  Track 1: speak hebrew and it's kind of like a sticking point for him where you like
• 27:15
  Track 1: is mad about like not being able to fit in fully
• 27:18
  Track 1: there because he doesn't speak the language and like doesn't really care to
• 27:21
  Track 1: learn i know yeah seriously but it's uh
• 27:23
  Track 1: i don't like i don't think that that played a part in this film necessarily
• 27:29
  Track 1: although you know it's possible he already had these you know probably if you
• 27:35
  Track 1: asked him beforehand if there was any media on it like asking him what he thought
• 27:38
  Track 1: of israel he probably would be supportive of israel I can't imagine he would have been anti-Israel.
• 27:43
  Track 1: And putting Jews into this group, committing crimes against the Nazis who had
• 27:48
  Track 1: killed millions of their family members would feel like that's vengeance and
• 27:53
  Track 1: it's worth it. It doesn't matter. Israel's right.
• 27:56
  Track 1: I was speculating a little bit, but I don't think it's that far of a reach.
• 27:59
  Track 3: I will say it is really funny like and it's like the most quintessentially American
• 28:04
  Track 3: thing for him to do to like go to another colony and then just refuse to learn their language and.
• 28:08
  Track 1: Then complain that.
• 28:09
  Track 3: He's not integrating properly it's like he's like I hated you they're being so mean to me.
• 28:16
  Track 1: Like because.
• 28:17
  Track 2: I won't learn their language.
• 28:18
  Track 1: Yeah that's and so this is another thing that I saw that's maybe unrelated to
• 28:23
  Track 1: this but so some of this it came up as you were talking about the like the atrocities
• 28:28
  Track 1: and those kind of things and like how you
• 28:29
  Track 1: you look at it is apparently one of the critics who wrote a review back when
• 28:34
  Track 1: it came out said that he was disturbed by how American Jewish American soldiers
• 28:39
  Track 1: were mimicking the atrocities that the Germans had done to Jews,
• 28:43
  Track 1: making them basically like becoming Nazis.
• 28:46
  Track 1: And like the irony of that is like full circle in, you know,
• 28:49
  Track 1: well, since 1948, but like, especially in the last two years of,
• 28:53
  Track 1: you know, uh, the atrocities that Jews aren't, well, I should say Zionists are
• 28:58
  Track 1: committing against, you know, the Palestinians. And it's,
• 29:02
  Track 1: To have that complaint when then they turn around and actually commit that kind
• 29:07
  Track 1: of behavior for the better part of half a century is a little bit.
• 29:10
  Track 2: I think yeah i think one of the things that i
• 29:13
  Track 2: everything that's been
• 29:16
  Track 2: going on because we're like so hyper aware about what's going
• 29:19
  Track 2: on in palestine like it's made
• 29:22
  Track 2: me lose my taste for world war ii um
• 29:25
  Track 2: all the love i had for like world war ii films and documentaries because it
• 29:30
  Track 2: just reminds me of what's going on right there right now and like just to see
• 29:35
  Track 2: the joy that these nazi soldiers are feel when they're killing like innocent people,
• 29:43
  Track 2: like reminds me of, you know, watching Israeli soldiers like laugh and like
• 29:48
  Track 2: shoot babies in the head and like have competitions to see how many like kneecaps
• 29:54
  Track 2: they can blow out of kids.
• 29:56
  Track 2: So they can't play soccer, you know, like stuff like that. Like it just,
• 29:59
  Track 2: it, it reminds me a lot of, uh, what's going on.
• 30:02
  Track 2: So that's why it's so hard for me to watch i i definitely didn't enjoy the film
• 30:07
  Track 2: as much as i did back when you know i saw it when it first came out uh because
• 30:12
  Track 2: i just was like i feel like yeah i feel like they're giving it like like there
• 30:16
  Track 2: there's a reason we're doing this to the palestinians look what they did to
• 30:19
  Track 2: us you know and it's just like that's not the same thing man.
• 30:22
  Track 1: This might be completely unrelated but i don't know if you have either of you
• 30:26
  Track 1: seen the film hostile yeah.
• 30:28
  Track 2: I love hostile.
• 30:29
  Track 1: So it was directed by eli roth who plays
• 30:32
  Track 1: the bear jew in this and was produced by quentin tarantino
• 30:35
  Track 1: and i saw some folks saying sort of like how they're like don't like his character
• 30:41
  Track 1: specifically in this because of using someone who basically created a i guess
• 30:46
  Track 1: you could call like a torture porn type of a film hostile which even for what
• 30:51
  Track 1: it is i mean it was a pretty like groundbreaking movie whether you like it or not,
• 30:56
  Track 1: I don't know if that's worth, I don't know how much, if that was just Tarantino
• 31:00
  Track 1: became friends with him because of that and then brought him into this,
• 31:03
  Track 1: but having him be this sort of like the, the ultimate scare,
• 31:07
  Track 1: like when he comes out of the tunnel,
• 31:08
  Track 1: like tapping the bat along the tunnel, like I can't help but being like,
• 31:12
  Track 1: this is pretty badass. So like, like, is he going to come out yet?
• 31:14
  Track 1: And like, he just slowly makes his appearance, you know, and it's this big guy
• 31:18
  Track 1: with the bat and, you know, things signed all over it, like dried blood.
• 31:22
  Track 1: And he's just, you know, moments later, just bashes the Nazis head against the ground.
• 31:27
  Track 1: So it's like, it's a conflicting thing, I guess is what I'm saying.
• 31:30
  Track 2: It is conflict that's what i was trying to say it's conflicting because
• 31:33
  Track 2: at like like i said when i first saw it i was like yeah kill the
• 31:36
  Track 2: nazis like but now it's just like wait i feel like he's
• 31:39
  Track 2: getting like he loves the idea of like torturing someone
• 31:42
  Track 2: and like kill you know and i don't know
• 31:45
  Track 2: it just feels very uh conflicting is
• 31:48
  Track 2: the word i would use also i just want to go back and say i don't actually
• 31:51
  Track 2: love hostile i remember thinking eli roth is
• 31:54
  Track 2: like a great director and then i'm looking
• 31:57
  Track 2: at all of his films and i don't like
• 32:00
  Track 2: any of them they were all very difficult to watch green
• 32:03
  Track 2: inferno is very hard to watch it's all very
• 32:06
  Track 2: like like you said it's torture porn and i
• 32:09
  Track 2: don't think that um it's just
• 32:13
  Track 2: not my type of film it's it just makes you it just makes my stomach sick you
• 32:18
  Track 2: know and i love horror films but these aren't scary these are just just it's
• 32:23
  Track 2: just like making like it's literally torture it's literally it's torch it hurts
• 32:27
  Track 2: to watch someone get tortured so i don't enjoy any of his films well.
• 32:31
  Track 1: He co-produced bay watch that's a little bit different.
• 32:33
  Track 2: What year i.
• 32:36
  Track 1: Just i just saw that on his list like that's like the one film that's not you
• 32:39
  Track 1: know seemingly like filled with violence or whatever but.
• 32:42
  Track 3: Inside every director or two wolves.
• 32:44
  Track 1: Yeah seriously like that's what he wants to do but like he can't he can't bring
• 32:48
  Track 1: that part of him out i think yeah i think he's i'm like looking at also the
• 32:52
  Track 1: movies he's been into and yeah like there's just not a lot of ones this is probably
• 32:57
  Track 1: this and like i guess he's also in death proof right so that's also a you know
• 33:01
  Track 1: tarantino movie that's pretty good.
• 34:02
  Track 1: I think there's also some other just scenes that are worth talking about.
• 34:05
  Track 1: We didn't mention the, or another character that's worth mentioning,
• 34:08
  Track 1: and that is like the Frederick Zoller character, which I guess was based on
• 34:12
  Track 1: an actual German sort of war hero who had done something very similar,
• 34:17
  Track 1: had 345 confirmed kills, like as a sniper.
• 34:20
  Track 1: And it kind of just, it makes me think about just the use of propaganda,
• 34:24
  Track 1: in this case by the Nazis. and it's not so different than a lot of the propaganda
• 34:30
  Track 1: that the United States would use following World War II.
• 34:34
  Track 1: Again, I'm not trying to like shit on your interests in like World War II,
• 34:37
  Track 1: obviously, but just like the way that they use a lot of the actions of the United
• 34:42
  Track 1: States as this grand hero that did everything to end World War II when in fact,
• 34:47
  Track 1: you know, they delayed their entrance and like we don't need to go down the history rabbit hole,
• 34:52
  Track 1: but just like the use of propaganda in the film is
• 34:55
  Track 1: just I think it's just a cool aspect of
• 34:58
  Track 1: it and just like the whole entire movie scene at
• 35:01
  Track 1: the end where they just have everyone in there like they have all the Nazi you
• 35:05
  Track 1: know paraphernalia all over the theater and it just as an owner of the theater
• 35:09
  Track 1: is like this Jewish survivor who had been had all her family killed by Nazis
• 35:13
  Track 1: is just it's just like this taste of justice that is just hard to you don't
• 35:17
  Track 1: you don't see very often I.
• 35:18
  Track 2: Also want to mention that reminds me a lot of Lyudmila Polyvchenko,
• 35:23
  Track 2: who's a Russian sniper for the Red Army who shot 309 people.
• 35:30
  Track 2: Nazi soldiers so yeah.
• 35:33
  Track 3: Is it uh i don't kill men i kill fast.
• 35:35
  Track 2: So sick dude um the
• 35:39
  Track 2: other oh the other person i wanted to mention is like there's a scene i noticed
• 35:42
  Track 2: this time around when they're giving goybles a goybles uh what's his name is
• 35:47
  Track 2: that good is that a goybles how do you pronounce it when they're giving him
• 35:50
  Track 2: the little tour through the theater and they had watched a film and he yells
• 35:56
  Track 2: at one point. He's like, what did you think of the film?
• 35:58
  Track 2: And I think he says it's what was it? Was it Lucky Kids?
• 36:02
  Track 2: Yes, it was Lucky Kids and he's like, Lillian Harvey!
• 36:07
  Track 2: So Lillian Harvey was a German actress,
• 36:12
  Track 2: who, I guess she had Jewish friends, so they were keeping an eye on her,
• 36:17
  Track 2: the Gestapo was keeping an eye on her, but then there was a producer who let
• 36:23
  Track 2: me see, I wrote it down yeah,
• 36:26
  Track 2: she helped a choreographer Johns Keith who was prosecuted under the homosexual
• 36:31
  Track 2: acts and she posted bail on him and then when he got released from custody she
• 36:36
  Track 2: helped him escape to Paris so that's why Goebbels is super pissed about,
• 36:44
  Track 2: Lillian Harvey but that also sounds a lot like Bridget von Hendersmart.
• 36:52
  Track 2: Hammersmark who's the other actor You know, I feel like it connects because
• 36:56
  Track 2: she's also like a double agent, you know, not, or like, I guess not as heavy,
• 37:01
  Track 2: not, not exactly what Lillian Harvey did, but, but it reminds me like,
• 37:06
  Track 2: you know, the, he, I feel like he mentions it on purpose.
• 37:10
  Track 3: No, I think that's that's honestly very fair.
• 37:13
  Track 3: Like I actually like von Hammersmark was a very interesting character in and
• 37:16
  Track 3: of herself to like this idea of like, I don't know, like a like a high class
• 37:21
  Track 3: German trader or spy kind of assisting the operations behind the scenes.
• 37:26
  Track 3: Like it was very neat. It felt like it was part of a larger part of the film
• 37:29
  Track 3: that I thought was neat about it or like interesting was that you have like
• 37:33
  Track 3: three separate stories basically going on concurrently. You have like Hammer's
• 37:37
  Track 3: Mark and her kind of escapades as you're getting into the film.
• 37:40
  Track 3: You obviously have your your the bastards plot, which is just like every scene
• 37:44
  Track 3: we show up and we're killing something.
• 37:46
  Track 3: And then you have like the the actual plot, right, of like a woman who lost
• 37:50
  Track 3: her entire family seeking revenge upon Nazi high command when she gets a lucky
• 37:54
  Track 3: opportunity, taking advantage of a German war hero to secure this operation
• 37:58
  Track 3: and then killing everybody. Right.
• 37:59
  Track 3: And it's so interesting to me that like Hammer's Mark becomes such a like pronounced
• 38:04
  Track 3: element of that storyline.
• 38:06
  Track 3: Like just like right when she does and it's like this hyper fixation on like
• 38:12
  Track 3: german again like german traders within the ranks of like german government
• 38:15
  Track 3: or high-class society and what have you um and i guess the chaos that stems from that as well.
• 38:22
  Track 1: Well do you think there's something i mean
• 38:25
  Track 1: i don't i don't i don't know the accuracy of you know uh of
• 38:29
  Track 1: you know historical german you know actors
• 38:33
  Track 1: or people in like higher places that actually were working
• 38:36
  Track 1: as double agents or like actually doing things to protect people
• 38:40
  Track 1: but i mean do you do either you know if like was that actually a common thing
• 38:45
  Track 1: i know i know that uh verne hammers mark is like based on a hungarian actress
• 38:51
  Track 1: who apparently also had done some i don't think she was actually a spy but she
• 38:55
  Track 1: had done some you know um was like,
• 38:59
  Track 1: like loosely based on her just as a person but like is that actually a common
• 39:03
  Track 1: thing that was going on at this time like in world war ii.
• 39:05
  Track 3: I mean there were resistance and like there was resistance
• 39:08
  Track 3: in germany to nazi rule like for sure um not
• 39:11
  Track 3: like externally from the nazi party i mean it's part
• 39:14
  Track 3: of why the early reprisals were so heavy against like communists and socialists and
• 39:17
  Track 3: like trade unionist factions um but even within
• 39:20
  Track 3: the nazi ranks like you had occasional resistance um valkyrie
• 39:24
  Track 3: is probably like the biggest example that gets plotted i i
• 39:27
  Track 3: think the most um but i it wouldn't surprise me if some of the people who are
• 39:31
  Track 3: otherwise oppositional the german rule were probably also high as like you know
• 39:35
  Track 3: you're going to get a couple of actors actresses people like that um you know
• 39:38
  Track 3: it certainly wasn't german capitalists uh who were very very happy to throw
• 39:42
  Track 3: their uh their weight behind the nazi regime but i i have to assume there's a couple.
• 39:46
  Track 1: This is this isn't exactly this is like completely unrelated but i was just
• 39:50
  Track 1: was like looking at like how many actors are in this and i couldn't help but
• 39:54
  Track 1: like laughing about how mike myers being sort of this this general in it.
• 39:59
  Track 3: Like i felt.
• 39:59
  Track 1: Like i was like watching a portrayal of him being in like austin powers but
• 40:05
  Track 1: like the boss in austin powers in a way like it was like a reversal of that
• 40:10
  Track 1: it was i just loved his little like cameo in this and i had forgotten about it had been a while.
• 40:15
  Track 3: And i love it when big actors do little cameos like that like him there and
• 40:19
  Track 3: like like tom cruise in Tropic Thunder.
• 40:21
  Track 1: Right?
• 40:21
  Track 3: It's like those small little roles where it's like, oh yeah,
• 40:24
  Track 3: he's in this movie, I guess. Okay, like, cool.
• 40:27
  Track 2: All the way at the end.
• 40:27
  Track 3: Yeah, right?
• 40:28
  Track 2: That's wonderful. Oh, so one theory that I wanted to talk about was about Hammer's
• 40:33
  Track 2: Mark, is that once Hans Landa discovers her clues in the tavern,
• 40:39
  Track 2: he mentions that something's unusual with the scene of the crime.
• 40:43
  Track 2: And so one of the theories is that he was able to figure out that it was actually
• 40:48
  Track 2: a Nazi trap gone wrong and that van hammers mark was trying to leave clues for
• 40:54
  Track 2: the nazis to find her and the bastards um,
• 40:58
  Track 2: And we don't know exactly when Landa decides to defect to the allies,
• 41:03
  Track 2: but when he does, he's like figured out that Von Hammersmark is intending to
• 41:07
  Track 2: sabotage the attack on the theater.
• 41:10
  Track 2: So that's when he realizes he has to kill her because why would he kill her?
• 41:14
  Track 2: Like, it just doesn't make sense.
• 41:16
  Track 2: Again, should I mention spoiler alert? I don't know if we mentioned that at the beginning, but.
• 41:20
  Track 1: Yeah, it's fine. No, you're good.
• 41:21
  Track 2: And like, I don't know. It's like, it's just a broad, but I,
• 41:25
  Track 2: it was a broad generalization, but I thought it was like, it was pretty interesting
• 41:29
  Track 2: to think that like he wanted to, he actually does want to bomb the place.
• 41:33
  Track 2: And he thinks that she left too many clues. Cause it's true.
• 41:36
  Track 2: Once he figures out that the shoe was there and she left the note,
• 41:40
  Track 2: like, why didn't she mention that to, to Brad Pitt when they got upstairs?
• 41:44
  Track 2: Like, Oh, by the way, my shoe's missing.
• 41:46
  Track 2: And I wrote a note for the guy with the baby that they're going to find.
• 41:51
  Track 2: They're gonna find the bodies so just.
• 41:53
  Track 3: Like a double.
• 41:54
  Track 1: Double agent i'm sorry i got james like.
• 41:56
  Track 2: A triple agent yeah.
• 41:57
  Track 3: No it makes you think of like how long he must
• 42:01
  Track 3: have known um like how
• 42:04
  Track 3: long he must have known about like any of the plot there's like a there's an
• 42:09
  Track 3: equally kind of interesting theory that like you know the initial scene where
• 42:12
  Track 3: he's like he's getting he's like really pushing the cream to go on top of the
• 42:16
  Track 3: dessert um for like the main protagonist as you're going through and And he's
• 42:19
  Track 3: like, no, no, you should have this. You should have this.
• 42:21
  Track 3: There's like a working theory that the reason he was doing that was because
• 42:24
  Track 3: he did recognize her to some extent and was like, because he remembered that
• 42:28
  Track 3: she had lived on a dairy farm and was like.
• 42:30
  Track 2: He orders her milk right away.
• 42:32
  Track 3: And it makes me wonder, like,
• 42:36
  Track 3: Throughout the entire film, like, is he actually ever really not on the kind
• 42:40
  Track 3: of same page as the Bastards?
• 42:42
  Track 3: Or is he like working his own angle this entire time? Because he's portrayed
• 42:45
  Track 3: from the get go is like the most intelligent character.
• 42:49
  Track 3: Right. It's like it's like a guy who knows everything that's going on.
• 42:52
  Track 3: He's three steps ahead of people, even when they're doing their best.
• 42:55
  Track 3: And so it's like these little tells throughout the film kind of give this.
• 43:00
  Track 3: I guess they give this kind of feeling to me at least that he is really a lot
• 43:05
  Track 3: more on top of everything than we think he is and that he's recognizing things
• 43:10
  Track 3: as they're going on and understanding like okay there's like a plot going on
• 43:14
  Track 3: here and by the time he gets to Hammer's Mark he's like I know exactly what's
• 43:17
  Track 3: about to happen okay cool.
• 43:18
  Track 1: Well that makes also sense because once he knows about that the bastards were
• 43:22
  Track 1: at this private meeting at this tavern he clearly knows they're,
• 43:27
  Track 1: you know, they're also with Van Hammersmark. They're clearly planting something.
• 43:31
  Track 1: And he knows that she's going to be at this movie premiere because she's this famous German actress.
• 43:35
  Track 1: And he also, he's already thinking ahead because he now knows that the bombs
• 43:41
  Track 1: are already inside of the theater.
• 43:43
  Track 1: Like he's, like he's, like you said, he's three steps ahead of everyone.
• 43:46
  Track 1: And it makes a lot of sense that he would do this and he's killing Van Hammersmark
• 43:50
  Track 1: purely so he can cover himself later when he gets, you know,
• 43:54
  Track 1: becomes uh you know an american citizen or whatever lives in was it nantucket
• 43:58
  Track 1: or something or is that what he.
• 44:00
  Track 3: Yeah nantucket.
• 44:01
  Track 1: So i mean i think it's a pretty compelling theory honestly that he.
• 44:06
  Track 3: I mean it knew yeah it explains his actions with the whole like bonjourno stuff
• 44:11
  Track 3: too because like you know,
• 44:16
  Track 3: because like at that point he could
• 44:19
  Track 3: have just been like all right yeah these guys don't speak italian
• 44:22
  Track 3: i don't know what's going on here like this is ridiculous
• 44:25
  Track 3: like i call over somebody like any of the numerous german
• 44:29
  Track 3: officers who were there that he could have been like hey can you can you handle this um
• 44:33
  Track 3: but he doesn't yeah right
• 44:36
  Track 3: and he's like he's just cracking up and you
• 44:39
  Track 3: can tell that he knows and he's just like all right this is ridiculous like
• 44:42
  Track 3: okay because he's like he's mocking von hammersmark because
• 44:45
  Track 3: she's giving her excuses for the foot thing too she's like oh i was in the
• 44:47
  Track 3: alps he's like oh you were like just in the alps like are are you
• 44:51
  Track 3: sure about that is that your story okay like and
• 44:54
  Track 3: he's like he's toying with it like he he knows that he knows
• 44:57
  Track 3: exactly what's happening so by the time he gets to hammer's mark it's like okay
• 44:59
  Track 3: he is very very much so understanding the
• 45:03
  Track 3: dynamic at play and he's just made his bed right he knows that he is defecting
• 45:07
  Track 3: so he is keeping the mission on point because he could have stopped that at
• 45:11
  Track 3: any time and he even tells her like or he tells them that like he moved them
• 45:14
  Track 3: like in their seats like he got them to a place where like their explosives
• 45:18
  Track 3: would be more useful like he was actively aiding and abetting Right.
• 45:22
  Track 3: Um, but I don't know like at what point that, that switch flips for him. Right.
• 45:27
  Track 3: Um, I have to assume it's like pretty early on in the film. Cause it,
• 45:30
  Track 3: otherwise I don't know why he would let so many things happen.
• 45:33
  Track 1: Yeah.
• 45:34
  Track 2: Also just, uh, uh, Antonio Margariti.
• 45:41
  Track 2: He's actually the name. It's actually the name of, uh, Quentin Tarantino,
• 45:44
  Track 2: one of Quentin Tarantino's favorite spaghetti Western directors.
• 45:46
  Track 3: That makes me happy.
• 45:48
  Track 1: Yeah.
• 45:48
  Track 2: Um, Margariti over and over. And then my favorite is when he gets to the last guy, what about yours?
• 45:55
  Track 2: He's like, perfect. You did a great job. And that's what I knew.
• 45:58
  Track 2: I was like, he fucking knows what he's doing.
• 46:02
  Track 1: I don't see how he couldn't have known at minimum when he meets her at the the
• 46:09
  Track 1: when he meets Shoshana at the restaurant. I think it must be around that time he realizes it.
• 46:14
  Track 1: And he doesn't know that she's necessarily plotting to kill anyone.
• 46:17
  Track 1: But she must know that she's seeking some kind of revenge.
• 46:21
  Track 1: Like he's like, what would I do if I owned a theater and I was going to have
• 46:24
  Track 1: this, you know, movie, you know, but it also falls in her lap, too. Right.
• 46:29
  Track 1: It's all because she meets the the hero of this sniper thing that gets it to even happen.
• 46:35
  Track 1: So it's almost like Tarantino loves these random events that kind of somehow all fit together.
• 46:42
  Track 1: That's his thing. I don't know.
• 46:46
  Track 2: Antonio Margariti, by the way, he did these spaghetti westerns called Castle
• 46:52
  Track 2: of Blood, Naked You Die, and Cannibal Apocalypse, which now I kind of want to watch these.
• 46:58
  Track 3: Those sound like phenomenal films.
• 47:00
  Track 2: I would I would.
• 47:00
  Track 3: Watch every single one of those on name alone.
• 47:03
  Track 2: Cannibal apocalypse released from captivity in Vietnam to American army officers
• 47:09
  Track 2: returned to civilian life and discover they have acquired an insatiable taste for human flesh.
• 47:14
  Track 1: The poster is cool as hell too. I was just, I just looked it up.
• 47:17
  Track 1: It's like the coolest looking poster.
• 47:19
  Track 1: That's the one thing about Tarantino that this is maybe less than other films,
• 47:23
  Track 1: but he has so many nods and references to like hundreds of films.
• 47:29
  Track 1: You know, he has like his knowledge of, you know, samurai films and Japanese and Italian.
• 47:33
  Track 1: Like it's crazy how many things he's seen. Like just people,
• 47:36
  Track 1: we didn't even mention the fact that this film in glorious bastards,
• 47:39
  Track 1: there is a, another film,
• 47:41
  Track 1: an Italian film that was made in the 1970s, which is like, not really,
• 47:46
  Track 1: it's not really based on it, but it's like loosely referencing it as a, you know, a film itself.
• 47:52
  Track 1: So I don't know if you, uh, I've never seen it. It's directed by Enzo Castellari.
• 47:58
  Track 3: No, I haven't seen it, but I want to.
• 48:00
  Track 2: Oh, I know Enzo Castellari.
• 48:01
  Track 1: Has he done anything you've heard of, Hugo?
• 48:03
  Track 2: Enzo Castellari.
• 48:04
  Track 1: I was looking at his list of films and I don't like none of them seem look familiar
• 48:09
  Track 1: to me, but again, I'm not that well versed.
• 48:11
  Track 1: And I think Italian would be probably like my biggest, uh, a glaring hole of, uh, knowledge for me.
• 48:16
  Track 2: That that's one of the criticisms that I heard from my friend who loves,
• 48:20
  Track 2: uh, he's also like a film buff.
• 48:23
  Track 2: He was saying how he doesn't like Karen's Tarantino films because they're all just rip offs of all.
• 48:29
  Track 2: He takes the best parts from all for much better films and pieces them together
• 48:34
  Track 2: into what, into like what he makes.
• 48:37
  Track 2: So like that is probably why it was films like Pulp Fiction and Jackie Brown are so appealing.
• 48:46
  Track 2: Reservoir Dogs, Kill Bill, to us, like, back when I hadn't seen any other films,
• 48:51
  Track 2: I thought, I was like, wow, this is the best movie I've ever seen, you know?
• 48:56
  Track 2: And it's because of that, because he just rips off, oh yeah,
• 49:00
  Track 2: Enzo Castellari has Inglourious Bastards, 1990, The Bronx Warriors.
• 49:05
  Track 1: Well, to that point, like, Kill Bill, I think when
• 49:08
  Track 1: I did that episode on the on both kill bills like i
• 49:11
  Track 1: think i read something that said there was 40 or 45
• 49:14
  Track 1: different japanese films that he's referencing like
• 49:18
  Track 1: with the music that he uses and like you know scenes and
• 49:21
  Track 1: character names and all those things so i don't know i i mean i i guess i could
• 49:24
  Track 1: see that being a criticism of it it's i think it's a reasonable one but i don't
• 49:29
  Track 1: think it necessarily takes away my enjoyment of of this and you know the the
• 49:34
  Track 1: jewish uh you know survivor who gets revenge on killing literally killing hitler so hell.
• 49:39
  Track 2: Yeah no that was dope it again i i
• 49:42
  Track 2: i understand i understand the criticisms you can't
• 49:45
  Track 2: i think the other thing is that like you can't take away how much enjoyment
• 49:51
  Track 2: i got from these films especially as a young kid you know what i mean like you
• 49:55
  Track 2: can tell me that somebody's a piece of shit and it won't ever change the fact
• 50:01
  Track 2: that i I loved this film when I was a kid,
• 50:03
  Track 2: you know what I mean? I love this film. I loved, uh, Pulp Fiction.
• 50:07
  Track 2: I loved everything Quentin Tarantino does to, you know, uh, who was the other director, uh,
• 50:13
  Track 2: And Kubrick, Kubrick's a horrible person, too. You know what I mean? What am I going to do?
• 50:17
  Track 2: I think, oh, I think I told you this, Evan. We just need to assume that everyone
• 50:22
  Track 2: in the film industry is a horrible person until you find out that they might be a good person.
• 50:29
  Track 2: Because if you, because otherwise, you know, then you're not as surprised.
• 50:34
  Track 1: Yeah. Like Michael Fassbender, who's in this film for, you know,
• 50:37
  Track 1: I guess a couple scenes is also not a good person. And Brad Pitt, not a great person. he's.
• 50:41
  Track 3: Not wait michael fassbender's not a good person oh.
• 50:44
  Track 1: No yeah he his like ex-girlfriend maybe
• 50:47
  Track 1: like like he had took like a three or four year break from acting to
• 50:50
  Track 1: be like a what is like a race car driver or formula something
• 50:53
  Track 1: he like dragged his girlfriend outside of like a moving vehicle
• 50:56
  Track 1: and like broke her collarbone and a bunch of other oh yeah and
• 51:00
  Track 1: like he buried it like if you like you can find articles about online
• 51:03
  Track 1: but like they did a really good job of just like completely burying it
• 51:06
  Track 1: from like existence dang okay well i'm like
• 51:09
  Track 1: again like i'm not saying you can't watch a film that has these
• 51:12
  Track 1: people and i think it's just like acknowledging like you're saying you like a lot
• 51:14
  Track 1: of these people are just you know they're they've used
• 51:18
  Track 1: their power like brad pitt too like emotionally abused uh you know um uh angelina
• 51:23
  Track 1: jolie and his kids at the time and that's why she divorced him it's like yeah
• 51:28
  Track 1: i mean you could you could fit an
• 51:29
  Track 1: entire podcast on shitty people who make movies and art and whatever so i.
• 51:36
  Track 2: Think it's because most most show business this this is recorded and this is
• 51:42
  Track 2: going to go out into the world so that I'm about to say this.
• 51:46
  Track 2: But I think the problem is that most of these people, like actors,
• 51:51
  Track 2: directors, producers, all they care about is putting out the film.
• 51:56
  Track 2: They don't care who they have to work with.
• 51:59
  Track 2: They don't care who they get the money from.
• 52:02
  Track 2: They are, they're like nobody people. You know what I mean? Like they don't have any feelings.
• 52:08
  Track 2: Not that they don't have feelings, but they don't, have any,
• 52:12
  Track 2: uh, they're not faithful to anything. Yeah. They have no morals.
• 52:15
  Track 2: So whatever you say goes, do you want me to do blackface? I'll do blackface.
• 52:21
  Track 2: You know what I mean? Do you want me to like, seriously, they just,
• 52:24
  Track 2: I will do whatever because it's all for the art, man.
• 52:28
  Track 2: It's all to get it done. Like, that's what I feel. That's why it's like,
• 52:31
  Track 2: it's so annoying when you see like, uh, these actors who you think are amazing.
• 52:35
  Track 2: Like, dude, I love all this guy's work. Oh, he said that he thinks, you know...
• 52:43
  Track 2: I don't know. I'm just, I don't want to go into it anymore without getting super
• 52:46
  Track 2: specific and just quoting.
• 52:48
  Track 1: And then you just have to add on top of that, that all the Quentin Tarantino
• 52:51
  Track 1: films are produced by Harvey Weinstein's company.
• 52:53
  Track 2: There you go.
• 52:55
  Track 3: Yeah, that's tough.
• 52:56
  Track 1: Yeah, I mean, this is like the unfortunate hole you could go down about these actors.
• 53:04
  Track 3: Well, I mean, one of Tarantino's films was connected to mass fraud coming out
• 53:08
  Track 3: of the Malaysian Sovereign Wealth Fund a couple of years back as well, which is kind of funny.
• 53:11
  Track 1: Which one?
• 53:11
  Track 3: What i don't think yeah i've read a book about this like literally yesterday um it was uh oh,
• 53:19
  Track 3: hilariously enough with wall street um was was
• 53:22
  Track 3: partially funded by money that was being
• 53:25
  Track 3: like there's like an essential like laundering process through like the malaysian
• 53:28
  Track 3: sovereign wealth fund this like whole fraudulent series of activities with uh
• 53:32
  Track 3: uh it's like a major u.s bank as well i could yeah i'll find this information
• 53:37
  Track 3: and show you guys later but yeah no like like um the The Malaysian Sovereign
• 53:40
  Track 3: Wealth Fund was this massive corruption scandal a couple of years back.
• 53:45
  Track 3: One of the largest fraudulent series of activities that has happened in U.S. banking and history.
• 53:52
  Track 3: And it caught up a ton of people. There was money that was donated through these
• 53:56
  Track 3: kind of sources through to the Trump campaign, through the Obama campaign,
• 54:00
  Track 3: which is part of why some of these federal suits happen.
• 54:03
  Track 3: I mean, there were a bunch of
• 54:05
  Track 3: politicians at various levels were getting access to a lot of this money.
• 54:08
  Track 3: Um it was a lot of uh movies and
• 54:11
  Track 3: hollywood types were getting funded a lot of this like uh lady gaga was receiving
• 54:15
  Track 3: like a hundred thousand dollars to show up at events for like one of the guys
• 54:18
  Track 3: that was in charge of this operation um like it's a whole thing yeah not lady
• 54:22
  Track 3: gaga it was um oh what was her name uh paris hilton um like was getting like
• 54:27
  Track 3: money to show up to these events um but yeah the big players there were like uh,
• 54:32
  Track 3: like u.s banks that were basically bolstering these operations and some of that
• 54:37
  Track 3: money worked its way into uh wolf of wall street and partially i guess like funded the project.
• 54:42
  Track 1: That's being wolf of wall street is like has to be the most hilarious aspect
• 54:46
  Track 1: of this that it's literally.
• 54:47
  Track 3: Yeah oh yeah i know it's so on brand it's like i have to think it's like it's
• 54:51
  Track 3: it's meta you know like yeah well.
• 54:55
  Track 1: I mean that that's uh that's um did tarantino produce it i know it's scorsese
• 55:00
  Track 1: was the director for Wolf of Wall Street. But that doesn't surprise me.
• 55:05
  Track 1: Like, that goes to your point, Hugo. Like, these people will take money.
• 55:08
  Track 1: Like, if someone's going to give you $100 million to make a film, you're like, okay.
• 55:12
  Track 1: Like, you know, it was, we got this money from, I don't care.
• 55:15
  Track 1: Just give me the money. Like, you know.
• 55:17
  Track 1: But wait, but, but, but, no, no, I don't, I don't care.
• 55:20
  Track 1: It's, uh, doesn't matter. They can make their film. And, uh,
• 55:24
  Track 1: you know, um, yeah, that's my thoughts on Wolf of Wall Street completely aside.
• 55:28
  Track 1: It's, uh, another, uh, interesting.
• 55:30
  Track 3: Oh, I said quick, quick edit there. Yeah, no, for some reason,
• 55:33
  Track 3: I have thought for years of the Wolf of Wall Street was a Tarantino film.
• 55:36
  Track 3: And I'm just now finding out it's a Scorsese film.
• 55:39
  Track 1: Okay, but Scorsese probably, you know, I mean, I haven't, has he like been known
• 55:43
  Track 1: to be a bad guy? I don't know. I don't know anything about it.
• 55:46
  Track 2: But like I said, you got to just assume that they are, because then you're less
• 55:50
  Track 2: disappointed when you find out. You know what I mean?
• 55:53
  Track 3: It's true.
• 55:53
  Track 2: There's no one in the world, after the last year of just finding out that everyone
• 55:58
  Track 2: is just quiet on genocide,
• 56:02
  Track 2: you know, I will not be surprised if you tell me Britney Spears is,
• 56:09
  Track 2: you know, believes slavery is okay.
• 56:11
  Track 3: Yeah, it was wild seeing everything happen over a year.
• 56:16
  Track 3: And all of a sudden, it's like, oh, there's like four people that are cool.
• 56:21
  Track 2: Yeah. Eve 6 is cool.
• 56:24
  Track 3: Right? Yeah.
• 56:27
  Track 2: Eve six is cool.
• 56:28
  Track 3: Dude awesome okay that's nice sick like please like you know there's like so
• 56:33
  Track 3: many people where i'm like please just say something please like i need this while.
• 56:37
  Track 1: A sean while sean cool guy.
• 56:38
  Track 3: Yeah like yeah.
• 56:41
  Track 1: They're like those are the two you just think we've named all of them.
• 56:44
  Track 2: Can you believe can you believe eggs cost so much feel like i'm in russia.
• 56:50
  Track 3: What's that running joke of like every time americans see issues
• 56:53
  Track 3: in their country they're like what are we a bunch of asians you know like they're
• 56:56
  Track 3: always like well this is like north korea or china like i've actually i've been
• 57:00
  Track 3: having a lot of fun with the eggflation um i go to my local bj's and i'll just
• 57:04
  Track 3: stand there and wait for old people to go up and like check the prices and then
• 57:08
  Track 3: i'll go up behind them and be like this is ridiculous isn't it and they're like
• 57:10
  Track 3: yeah it's just nuts and it's like the same conversation every five minutes it's very entertaining oh.
• 57:15
  Track 1: My god yeah.
• 57:16
  Track 3: Made a lot of friends at bj's.
• 57:18
  Track 2: I think the thing is everyone will see problems happening under capitalism and call it communism.
• 57:24
  Track 3: But it's.
• 57:25
  Track 2: Like but they're actually happening under capitalism you can't call it you've
• 57:29
  Track 2: never lived in a communist country.
• 57:31
  Track 3: You have.
• 57:31
  Track 2: No idea what goes on there but this is capitalism wait.
• 57:35
  Track 3: Wait no you don't understand like we just aren't capitalizing hard like we're
• 57:39
  Track 3: not capitalizing hard enough like.
• 57:41
  Track 2: It's not the right type of capital.
• 57:42
  Track 3: Yeah andrew.
• 57:44
  Track 1: Tate just like come back to america and be like i live under communist america
• 57:47
  Track 1: now because I can't make a podcast.
• 57:49
  Track 1: I'm like, what? You can't make a podcast? What does that have to do with anything?
• 57:52
  Track 1: I don't know. I don't know what that's the reason he's mad. Just something stupid.
• 57:56
  Track 3: The woke mob won't let me podcast.
• 57:58
  Track 1: That's literally the only thing that white men can do. Sorry,
• 58:01
  Track 1: as my here I am as a white dude.
• 58:04
  Track 3: It's like friendly fire.
• 58:06
  Track 1: So I often say this we didn't really talk about the beginning,
• 58:09
  Track 1: but would you recommend this film to someone just as either a movie lover or
• 58:17
  Track 1: just Someone's like, oh, yeah, like, you know, should I watch this film?
• 58:20
  Track 1: Would you tell them unequivocally yes?
• 58:23
  Track 3: 100%.
• 58:24
  Track 2: Yeah.
• 58:25
  Track 3: Yeah.
• 58:25
  Track 1: I think that's, I think usually you can tell by the end if like,
• 58:29
  Track 1: as a, you know, as folks are talking about the, you know, if they're like,
• 58:33
  Track 1: oh, this is like the worst thing I've ever seen or, you know,
• 58:35
  Track 1: it was hard to get through.
• 58:36
  Track 1: You know, this, this movie is long. It's two hours, 30 minutes, two hours, 33 minutes.
• 58:42
  Track 1: Like that's a fairly, you know, long film, but it doesn't necessarily feel long
• 58:46
  Track 1: either because of all the long scenes. Like you're watching that scene in the tavern.
• 58:50
  Track 1: It's like 15, 20 minutes long, but you're like, it feels like two minutes.
• 58:53
  Track 2: So yeah because you're paying attention so close
• 58:56
  Track 2: to like what's going on i remember every little
• 58:59
  Track 2: it's also really fun to re-watch it a couple years later um i also want to say
• 59:04
  Track 2: one of my favorite things about this podcast specifically is whenever i list
• 59:08
  Track 2: i love listening to episodes of films that i've seen but i hadn't seen in years
• 59:12
  Track 2: and then like hearing all the everyone talk about it and then going like a couple
• 59:17
  Track 2: days later and like actually watching the film.
• 59:19
  Track 2: Like I listened to, um, your left of the projector pod children of men.
• 59:23
  Track 2: And I hadn't seen that since like it came out and then like sitting down to
• 59:27
  Track 2: actually watch children of men after hearing all the like little details of it. It's really fun.
• 59:32
  Track 2: So if anyone's listening, I strongly suggest you go watching glorious bastards after this.
• 59:36
  Track 1: You should listen to the guests who were on for children of men.
• 59:39
  Track 1: They have a podcast called bring out your dead about Latin American British
• 59:42
  Track 1: history from the 17th century.
• 59:46
  Track 1: Excellent. So that was just, I'm just plugging a great podcast.
• 59:48
  Track 2: I also listened to that podcast after because i i think i texted you this after
• 59:53
  Track 2: i watched children of men how fun it was and you were like oh you should listen
• 59:56
  Track 2: to that so i did listen to that too and it was really good those guys are great.
• 1:00:00
  Track 3: No i was gonna say two things like one on the would you introduce it to somebody
• 1:00:04
  Track 3: like my roommate i found out like shortly before filming this has never seen
• 1:00:08
  Track 3: it so i'm gonna like turn it on probably right after this and show him,
• 1:00:11
  Track 3: um but all but also um speaking of like rewatchability um indulge me on like
• 1:00:17
  Track 3: a really like very ADHD tangent that has no relevancy to this movie at all.
• 1:00:22
  Track 1: Please.
• 1:00:23
  Track 3: Um, I don't know if you've ever seen the movie atomic blonde. Um, but it is like.
• 1:00:27
  Track 1: No, actually it.
• 1:00:29
  Track 3: Yeah. Okay. It's like Charlize, uh, Charlize Theron. Yeah.
• 1:00:33
  Track 2: Charlize Theron or Ashley Judd. I confused.
• 1:00:35
  Track 3: Charlize Theron.
• 1:00:36
  Track 3: Um it is in my opinion like my
• 1:00:39
  Track 3: favorite spy thriller film like in terms of like the
• 1:00:42
  Track 3: um the soundtrack in particular is one
• 1:00:45
  Track 3: of the best film soundtracks i've ever heard in my
• 1:00:48
  Track 3: opinion like at least like one of the most well put together ones for the themes
• 1:00:51
  Track 3: of the film um but what's interesting is it's a spy thriller and it's a phenomenal
• 1:00:56
  Track 3: film um and because of how it ends you can re-watch it like two or three times
• 1:01:01
  Track 3: and see different things as you're going through that lead you to the conclusion of the film.
• 1:01:06
  Track 3: So it has this series of twists towards the end, but when you actually know
• 1:01:10
  Track 3: what's going to happen, the film, they make a very intentional effort to film
• 1:01:14
  Track 3: a lot of little things in the background that if you're just watching,
• 1:01:17
  Track 3: you'll know the end, basically.
• 1:01:19
  Track 3: So it's a really fun suggestion if you all want to see an interesting spy thriller.
• 1:01:24
  Track 2: Till Schweiger, who plays Hugo Stiglitz, is also in Atomic Blonde.
• 1:01:30
  Track 1: Oh, well, there you go. And I think, I think I just looked up Bill Skarsgård
• 1:01:34
  Track 1: is in it. I feel like the Skargård are everywhere. You know, they're gone.
• 1:01:37
  Track 1: I, I, this is like, I just added to my watch list because it's,
• 1:01:40
  Track 1: I remember this when it came out, but I just, I never saw it.
• 1:01:43
  Track 1: And this actually reminds me a lot of like, I don't know, people might have
• 1:01:46
  Track 1: different opinions on like Christopher Nolan films where he does kind of the
• 1:01:48
  Track 1: same thing where you can watch and like know the twist in the first 10 minutes,
• 1:01:52
  Track 1: but then you watch it like the prestige is a perfect example.
• 1:01:56
  Track 1: I mean, but film I like, film I like, and you're watching it to see if you can
• 1:01:59
  Track 1: figure out all the tells throughout the movie as you're watching it,
• 1:02:02
  Track 1: so I'm going to have to watch this movie.
• 1:02:03
  Track 2: That was Following, too. I just watched Following by Nolan, by Christopher.
• 1:02:08
  Track 2: I think that was his first film.
• 1:02:09
  Track 1: Right? I have mixed opinions on some of his films I do not like, but most of them I like.
• 1:02:15
  Track 2: I don't think I loved Following, but when I got to the end, I was like,
• 1:02:19
  Track 2: oh, what the hell? I got to rewatch it because it flips everything,
• 1:02:23
  Track 2: so you have to watch it over again.
• 1:02:25
  Track 3: I don't think you better watch.
• 1:02:27
  Track 3: I'll put that on my watch list right now, actually.
• 1:02:28
  Track 2: Yeah, it's his first film, 1998, I think.
• 1:02:31
  Track 1: Yeah, this is actually, honestly, this is kind of the perfect thing that always
• 1:02:34
  Track 1: ends up happening inevitably is to recommend people who liked this film,
• 1:02:40
  Track 1: you know, another film. And I think you both did that.
• 1:02:42
  Track 1: But do you have any Hugo recommendations, like things you've seen recently?
• 1:02:45
  Track 1: I mean, you watch a lot of movies, so anything.
• 1:02:47
  Track 2: I do watch a lot of movies.
• 1:02:48
  Track 1: Have you seen something recently that you would tell the listeners to watch?
• 1:02:53
  Track 2: What did I just watch that was really good? I just watched Burning,
• 1:02:58
  Track 2: which is, uh, it's a Korean film by Lee Chang Dong, but it, uh,
• 1:03:03
  Track 2: one of the actors is Steven Ewan, Steven Ewan, the guy from, uh, Walking Dead.
• 1:03:09
  Track 1: Yep. And also Mickey 17.
• 1:03:11
  Track 2: And Mickey 17. Yes. And that's why I thought of Burning because I was like,
• 1:03:14
  Track 2: oh, it's, it was, uh, it's really good.
• 1:03:18
  Track 2: It's kind of, uh, it's only like five or six years old. I think it came out in like 2018.
• 1:03:22
  Track 2: I'm doing the Criterion, the Criterion challenge. So I have to watch 52 films
• 1:03:27
  Track 2: this year and I've already watched 40 of 41 of them.
• 1:03:33
  Track 2: So I've just I've watched a lot
• 1:03:35
  Track 2: of good stuff this year, but that's the recent one that I just watched.
• 1:03:38
  Track 2: It is not like Django. It is not like Django. It is not like Inglorious Bastards at all.
• 1:03:43
  Track 2: But I strongly suggest watching it.
• 1:03:47
  Track 1: I think if I have one recently that I've watched, I've watched a lot of like
• 1:03:50
  Track 1: random ones that I've from like directors that I really like that.
• 1:03:53
  Track 1: I just had a click on omission. I watched Miami Vice, the Michael Mann film,
• 1:03:57
  Track 1: which is super early 2000s, the ultimate early 2000s film.
• 1:04:03
  Track 1: It was pretty good. I would say, though, if you ever want to watch something...
• 1:04:07
  Track 1: That's different and this is like
• 1:04:09
  Track 1: going to be like a completely wild nothing like
• 1:04:13
  Track 1: the film you're talking about it's a uh um
• 1:04:16
  Track 1: french film called the vortilac i don't even know where you can find it might
• 1:04:20
  Track 1: be on shutter but it's basically like a very strange vampire film that takes
• 1:04:26
  Track 1: place like in the french countryside and it's just really weird and i don't
• 1:04:31
  Track 1: feel like i can say anything else about it,
• 1:04:33
  Track 1: except that if you like period pieces and vampires, it would be an interesting watch. Very strange.
• 1:04:40
  Track 1: I think it may be, maybe no one listening will like this. I don't know.
• 1:04:43
  Track 1: Maybe some people will. It's weird. It's a weird film.
• 1:04:46
  Track 2: Oh, the other, the other film that I would, that I would watch that I just recently
• 1:04:49
  Track 2: watched that was amazing that I strongly suggest is, um, the great dictator, Charlie Chaplin.
• 1:04:56
  Track 2: I had never seen that. And I just watched that and And it was the best World War II film.
• 1:05:03
  Track 2: Better than Inglourious Basterds, I think. I had a great time watching that.
• 1:05:09
  Track 2: And I think it forever will be such a great film. It'll go down in history as
• 1:05:15
  Track 2: an amazing World War II film.
• 1:05:17
  Track 2: And then there's this documentary called The Tramp and the Dictator,
• 1:05:20
  Track 2: which shows the connection, like what was going on during Charlie Chaplin's life and Hitler's life.
• 1:05:26
  Track 2: Like their lives kind of coincide, and then they cross.
• 1:05:29
  Track 2: Around the time of that film coming out like around 1930s 40s um so that's another great documentary.
• 1:05:35
  Track 3: Yeah i can't really think of any like i've been watching a lot of
• 1:05:37
  Track 3: tv shows as of late i've been like i've been like kind of like binging through and
• 1:05:40
  Track 3: watching um like yellow jackets and invincible um have been like the two that
• 1:05:45
  Track 3: i've really honed in on um but as far as movies something i i watched really
• 1:05:49
  Track 3: recently again like it's one of my all-time favorite films but i hadn't seen
• 1:05:53
  Track 3: it in years but there was like a a headline came up they're remaking it i guess is starship troopers,
• 1:05:59
  Track 3: oh why I love it it's like it's one of my favorite movies dude no.
• 1:06:04
  Track 2: No no I'm saying why would they remake.
• 1:06:05
  Track 3: Oh I was like yeah I have no idea I saw a headline that they're remaking it
• 1:06:09
  Track 3: I was like I don't know if you can like it's just it's such like,
• 1:06:14
  Track 3: it's such a unique little thing that I just I don't know maybe a sequel to it
• 1:06:19
  Track 3: or something sure like there were a lot of like direct to DVD sequels that were
• 1:06:22
  Track 3: increasingly bad as they went on but still fun to watch but Starship Troopers is like Thank you.
• 1:06:29
  Track 3: Such a good movie.
• 1:06:30
  Track 1: One of my favorites of all time it's not
• 1:06:33
  Track 1: even like paul verhoeven movies i have like the robocop poster
• 1:06:36
  Track 1: behind me like total recall like all those are i've i have an episode like one
• 1:06:40
  Track 1: of the early episodes on this show on starship troopers but i one of the thing
• 1:06:43
  Track 1: i love about that movie is like every six to eight months there's like a whole
• 1:06:46
  Track 1: thing on twitter about people who don't get the movie and you have to just remind
• 1:06:50
  Track 1: them that it's actually a satire it's mind-numbing because.
• 1:06:53
  Track 3: Like the thing too that makes it annoying is like it's based off of
• 1:06:56
  Track 3: a book that is very much not sat like satirical um so like like verhoeven had
• 1:07:01
  Track 3: to go in and like actually make it such which is amazing like a testament to
• 1:07:05
  Track 3: his work it's phenomenal but it's so good that people just can watch the whole
• 1:07:10
  Track 3: thing and actually come out of it not getting any of the lessons that you were
• 1:07:14
  Track 3: supposed to learn from it.
• 1:07:15
  Track 1: Well what's even funnier about that is just and if
• 1:07:18
  Track 1: you actually make any comments to people
• 1:07:21
  Track 1: who are fans of um heinlein who
• 1:07:24
  Track 1: wrote the original book calling it that it wasn't satire
• 1:07:28
  Track 1: like saying that he was pro like pro military which
• 1:07:31
  Track 1: is very easy to find like he is was very pro military oh
• 1:07:34
  Track 1: yeah like but if you if you say that the film was
• 1:07:37
  Track 1: like pro fascist or you know leaning that way they get so angry i i don't use
• 1:07:43
  Track 1: twitter that much but i'm on like threads and i post i got like at least 100
• 1:07:46
  Track 1: comments of people who like heinlein and are like you're wrong he actually said
• 1:07:50
  Track 1: it was satire it's just really subtle it's like no You're fucking wrong, man.
• 1:07:54
  Track 3: Pretty sure he just wrote a fascist story.
• 1:07:56
  Track 1: A hundred percent did. A hundred percent. And I get into that.
• 1:08:01
  Track 1: Yeah, it's very funny to me every time that comes up where I just...
• 1:08:05
  Track 1: I just have to laugh. Like the person who wrote the article,
• 1:08:07
  Track 1: yeah, about Snowpiercer, they're calling it like a pro-capitalist movie.
• 1:08:13
  Track 1: Hugo knows about that. She talks about Snowpiercer.
• 1:08:16
  Track 2: Didn't we do an episode of Snowpiercer? Yeah, yeah, yeah.
• 1:08:19
  Track 3: I feel like Dune's like that too because like the themes of the film are very
• 1:08:23
  Track 3: much, like there's a lot of like, the author is a really fast,
• 1:08:28
  Track 3: I don't know if you guys have done research on like the author of Dune and like kind of the background.
• 1:08:32
  Track 3: Yeah, Herbert. like he is like a really weird character who was like simul like
• 1:08:38
  Track 3: in a lot of ways he was very much like a lot of the the the characters in doing
• 1:08:42
  Track 3: a lot of the kind of like civilizational elements are based off of his interactions
• 1:08:45
  Track 3: with like pacific northwest indigenous tribes and nations,
• 1:08:49
  Track 3: um and so you get like this weird like
• 1:08:52
  Track 3: kind of quasi respect for like these
• 1:08:55
  Track 3: sorts of like indigenous lifestyles that
• 1:08:58
  Track 3: he's perceiving but he's also like like i
• 1:09:02
  Track 3: think he like worked for the state department for some time or something so like
• 1:09:04
  Track 3: he was like in this weird vibe where the themes of
• 1:09:07
  Track 3: the film i mean the themes of the book i think to my end like culminate in this
• 1:09:12
  Track 3: like anti-colonial message of like i mean clearly when you by the time you get
• 1:09:16
  Track 3: to the end of the story it's like oh my god like this is horrible like what
• 1:09:19
  Track 3: has happened the fremen are not to spoil the books for people but like the fremen
• 1:09:23
  Track 3: are like you know they have an abundance of water and they,
• 1:09:27
  Track 3: They've lost their kind of cultural and military edge.
• 1:09:31
  Track 3: Like, there's so many people are dead. Like, everything's going to hell.
• 1:09:36
  Track 3: And it's interesting that people will watch that or they'll read the books or
• 1:09:41
  Track 3: they'll get synopses of the books.
• 1:09:42
  Track 3: And they'll come out of that being like, oh, this just seems like really Orientalist
• 1:09:46
  Track 3: colonial propaganda. And it's like, no, it is kind of.
• 1:09:49
  Track 3: But it's not. At the same time, the message is really wonky.
• 1:09:53
  Track 3: Because Herbert's just a really weird and complicated figure.
• 1:09:56
  Track 3: There's a really good, I want to say the Red Nation did a podcast episode on it.
• 1:10:01
  Track 1: That's a good one. I've listened to that. It's really good.
• 1:10:03
  Track 3: Yeah, they did a podcast episode, I think, dissecting Dune and also dissecting
• 1:10:07
  Track 3: Dances with Wolves that I thought was really funny.
• 1:10:11
  Track 2: I remember that film.
• 1:10:12
  Track 3: I'm like pained as someone who really enjoys like Dances with Wolves and who
• 1:10:15
  Track 3: really enjoyed, what was the other one? The Last Samurai.
• 1:10:19
  Track 3: And I'm like the most white savior-esque films you can possibly imagine.
• 1:10:22
  Track 3: And I'm just like, no i like these films are fun i like these movies um and
• 1:10:26
  Track 3: then i'll hear a podcast going over i'm like no these are all very valid criticisms
• 1:10:29
  Track 3: i i can understand why you wouldn't like this film.
• 1:10:31
  Track 1: They also red nation also had a really good one about the um the the new planet
• 1:10:37
  Track 1: of the ape series too which is really good.
• 1:10:39
  Track 3: Like they do.
• 1:10:39
  Track 1: A lot of uh i'm pretty sure it was them,
• 1:10:42
  Track 1: Yeah, or like maybe that or like they were a guest on another podcast.
• 1:10:45
  Track 1: But yeah, definitely a plug for Red Nation podcast as well.
• 1:10:50
  Track 2: Love the idea of watching a film, enjoying it, and then walking out of the theater
• 1:10:54
  Track 2: and putting on your favorite podcast.
• 1:10:55
  Track 2: Like, if you like that film, you're actually a ranger.
• 1:10:58
  Track 3: No, I.
• 1:10:59
  Track 2: Oh, wait a minute. No.
• 1:11:00
  Track 3: It was so it was so bad because I think like the episode where they were talking
• 1:11:04
  Track 3: about Dancing with Wolves, they brought up The Last Samurai 2.
• 1:11:06
  Track 3: And I was like, man, come on.
• 1:11:07
  Track 3: Like, I need something here.
• 1:11:10
  Track 3: Like because like for me i was like i was watching and again like
• 1:11:13
  Track 3: yes like as a it's a like a white settler of course i'm like identifying with
• 1:11:16
  Track 3: dances with wolves and being like hell yeah this main character is getting development
• 1:11:20
  Track 3: um but like you had these like indigenous commentators are like no like this
• 1:11:23
  Track 3: like this is the most ridiculous film we've ever seen and i'm like listening
• 1:11:26
  Track 3: to the criticisms and i'm like yeah that's right yeah that's valid yeah i.
• 1:11:31
  Track 1: Mean like that's that's another plug just for the idea of like people having
• 1:11:34
  Track 1: i mean the people here in this right now like being.
• 1:11:38
  Track 3: Like literate.
• 1:11:39
  Track 1: About media and like you can you can like a film
• 1:11:41
  Track 1: but like if you can understand you know what why it might be problematic even
• 1:11:47
  Track 1: enjoying it like that's acceptable but just as opposed to just being like blindly
• 1:11:51
  Track 1: like it's good like no matter what you critique about it like i will not listen
• 1:11:55
  Track 1: to your you know like people who like starship troopers is like fascist whatever.
• 1:11:59
  Track 3: It's like.
• 1:11:59
  Track 1: The same shit it's like you know you just have to kind of dissect your uh media
• 1:12:03
  Track 1: and understand that there could be problems in it.
• 1:12:05
  Track 3: Well and i like i grew up in a conservative household like my
• 1:12:08
  Track 3: dad and i really bonded over like me and my grandpa too and
• 1:12:11
  Track 3: i really bonded over our mutual like love of like war movies and like historical like
• 1:12:14
  Track 3: war films and so like now it's like always awkward kind
• 1:12:17
  Track 3: of sitting down with him where he's like yo let's watch like this movie and
• 1:12:19
  Track 3: i'm like and i'm like i'm like a muslim now i like you know and i'm just like
• 1:12:23
  Track 3: i'm watching like just a bunch of like it's like just the terror probably like
• 1:12:27
  Track 3: the war on terror propaganda just like in front of the screen and i'm just like
• 1:12:31
  Track 3: yeah this is cool explosions awesome yeah oh,
• 1:12:35
  Track 3: Like my dad, he got me to watch Lioness. I don't know if you all have watched Lioness.
• 1:12:41
  Track 2: Oh, God. No, I heard it's like straight up propaganda.
• 1:12:44
  Track 3: No, it is. It is. If you turn your brain off, though, it's kind of cool at points.
• 1:12:47
  Track 2: I'm sure.
• 1:12:48
  Track 3: Like it's one of those films. It's one of those like shows where I was like,
• 1:12:51
  Track 3: man, if I if I just if I hadn't read a book or two, two years ago, this would be hidden.
• 1:12:56
  Track 3: Like if I if I didn't read Fanon, this would be amazing.
• 1:12:59
  Track 1: Yeah. Like you don't read Jakarta Method before you watch that or something.
• 1:13:04
  Track 1: Which is like literally basically bad yeah.
• 1:13:06
  Track 3: Yeah literally um but you know like lion well
• 1:13:09
  Track 3: lioness is also funny because it's one of those shows where it's like the first seasons all
• 1:13:12
  Track 3: like anti-arab and then the second season's like um anti-cartel which
• 1:13:16
  Track 3: is just like it's just anti- mexican sentiments um and like you get that on
• 1:13:21
  Track 3: a lot of these films i feel like where it's like oh what's the enemy of the
• 1:13:24
  Track 3: week let's build a whole season around it um the one that i think is uh notable
• 1:13:28
  Track 3: the guy who uh uh oh god um the guy who plays jim in the office um oh.
• 1:13:34
  Track 1: I know what show you're gonna mention the one on amazon the jack ryan.
• 1:13:36
  Track 3: Yeah yeah yeah jack ryan is a great example of that too just like every every
• 1:13:41
  Track 3: year if you like look at the seasons you can tell like oh okay so this was happening
• 1:13:45
  Track 3: then like it's like oh the russians are in venezuela oh yeah sure yeah for,
• 1:13:50
  Track 3: Um, but it's like, it's always just fun watching that kind of propaganda.
• 1:13:53
  Track 3: Cause I'm just like, I'll turn my brain off and be like, hell yeah. Like USA baby, let's go.
• 1:13:58
  Track 1: Like that actually reminds me of the guy you're thinking of is, um, John Krasinski.
• 1:14:03
  Track 1: He like has come out and basically saying he's like, the CIA is not so bad after
• 1:14:07
  Track 1: all. He's like, I love the CIA because they're probably paying him to be like
• 1:14:10
  Track 1: basically an asset for the CIA. You know, I mean, how could you not at this
• 1:14:14
  Track 1: point being on a show for four years?
• 1:14:15
  Track 1: Like Homeland is another good example 24 like these shows are just let's call
• 1:14:20
  Track 1: them what they are they're propaganda for american empire homeland.
• 1:14:22
  Track 3: Kind of goes crazy.
• 1:14:23
  Track 2: It works too the propaganda works like all of that
• 1:14:26
  Track 2: propaganda and like call of duty like i've been
• 1:14:28
  Track 2: playing counter-strike call of duty since i was a kid and i
• 1:14:31
  Track 2: remember i distinctly remember going into the movies when
• 1:14:34
  Track 2: i was like 20 and my little cousin who's who
• 1:14:38
  Track 2: was 17 at the time 16 telling me he was
• 1:14:40
  Track 2: like one of the top like counter-strike players and he
• 1:14:43
  Track 2: was just telling me he's like yeah i joined the marines i was like what he's
• 1:14:46
  Track 2: like i mean i'm gonna call a duty so i know i'm gonna be good and he went he
• 1:14:49
  Track 2: went to afghanistan and he went to iraq and like uh he's one of us now he's
• 1:14:54
  Track 2: a full-blown guy now but he's uh but yeah it works the propaganda works like
• 1:14:59
  Track 2: i i would love to be i wanted to be a cia agent that looks awesome.
• 1:15:03
  Track 3: I would be lying if i said there wasn't a time where i was like looking at the
• 1:15:06
  Track 3: foreign services branch and i was like yo this is kind of cool i could be an
• 1:15:09
  Track 3: embassy i could like Like I could help out my country or whatever.
• 1:15:12
  Track 3: And then I like, I, then I started looking around. I was like,
• 1:15:16
  Track 3: ah, maybe not. I don't know.
• 1:15:18
  Track 3: Cause there's an allure to it when you're young and like, you're like embedded
• 1:15:21
  Track 3: in all this where you're like, man, I could be like the super agent guy who
• 1:15:24
  Track 3: like saves the day. I'm like, you know, protecting the country or whatever.
• 1:15:28
  Track 3: And then I became jaded and was like, why would I want to protect this country?
• 1:15:31
  Track 3: Like, yeah, I will say, though, big ups to my fiance for basically like I was
• 1:15:37
  Track 3: going down a track after college where I was like Peace Corps or maybe the Air Force.
• 1:15:42
  Track 3: I don't know. And then like she basically was like, hey, so like these are she's
• 1:15:46
  Track 3: like, I get your reasoning here.
• 1:15:47
  Track 3: You're not doing this to kill like, you know, like to kill people abroad.
• 1:15:52
  Track 3: However, you know, like you kind of need to choose like what are we doing here?
• 1:15:57
  Track 3: And I was like, yeah, OK, probably not the Air Force. Yeah, it's probably not
• 1:16:00
  Track 3: going to happen like Peace Corps.
• 1:16:02
  Track 3: Maybe not actually the Peace Corps. I actually kind of was going to go through
• 1:16:04
  Track 3: with and I actually got like a like a preliminary stationing in like Albania.
• 1:16:08
  Track 3: And I was going in for like kids programs. And what flipped the switch for me
• 1:16:12
  Track 3: was they were like, they're like, oh, you have a background kind of in the Balkans
• 1:16:15
  Track 3: because I through college had a little bit of one.
• 1:16:17
  Track 3: And I was like, yeah, yeah, yeah. Put me in. Put me in. Like,
• 1:16:19
  Track 3: I'll help like, you know, do kids programs or like whatever we need to do on the ground.
• 1:16:22
  Track 3: And they're like, yeah, we're going to put you in an embassy so you can be a
• 1:16:24
  Track 3: translator. And I was like, ah.
• 1:16:27
  Track 3: No, I don't want to do that. Like, feel like I'm going to get in trouble.
• 1:16:33
  Track 1: I know we've, we've strayed a little bit, but that's okay. Uh,
• 1:16:35
  Track 1: but sorry, no, it's, this is like, this, this is like the pretty,
• 1:16:38
  Track 1: this is like the, yeah, it always goes kind of that way.
• 1:16:41
  Track 1: But I don't know, there are any, any like final thoughts on,
• 1:16:44
  Track 1: uh, inglorious bastards.
• 1:16:47
  Track 1: And I mean, we feel like maybe, I guess we got to this point cause we've maybe
• 1:16:50
  Track 1: exhausted them, but any last thoughts and we can.
• 1:16:53
  Track 2: Uh, I will, for the rest of my life, I will always think of this film because
• 1:16:58
  Track 2: of the one line at the end where he shoots the other officer. He's like, what?
• 1:17:05
  Track 2: You can't do that. You'll get shot for this. He's like, nah, I won't get shot.
• 1:17:10
  Track 2: Probably get chewed out. I've been chewed out before. That's my favorite line
• 1:17:14
  Track 2: because I always think that when I'm doing something wrong at work,
• 1:17:16
  Track 2: like, God, I'm going to be late for this. And like, nah, they're not going to fire me for this.
• 1:17:21
  Track 2: Chew me out. But like, yeah, it's for, it's such a, I, I Quentin Tarantino has like a big impact.
• 1:17:29
  Track 2: Like a lot of his films have a big impact on my life.
• 1:17:32
  Track 2: Like a lot of my, the music I listened to that I've been listening to since
• 1:17:35
  Track 2: like I was 15 is based off of those soundtracks. I don't realize until I rewatch the films.
• 1:17:40
  Track 2: I say lines. I still say, you know, my name's Paul.
• 1:17:44
  Track 2: This shit's between y'all. My name's Pitt. And I don't know shit.
• 1:17:47
  Track 2: And it's from the bar scene from Pulp Fiction. you
• 1:17:50
  Track 2: know like i'll just so like uh re-watching
• 1:17:54
  Track 2: it is super fun because i just see like all the influences and um and it still
• 1:17:59
  Track 2: makes you you know i know how it's gonna end i know how the bar scene is gonna
• 1:18:02
  Track 2: end but god you know you're just still like drawn in the whole time like wait
• 1:18:07
  Track 2: when does this happen and when hugo siglas said say a v descend to your nazi balls and just fuck,
• 1:18:15
  Track 2: just shoots his balls off well in the.
• 1:18:17
  Track 3: Scene in the bar where he holds up the wrong hand and And it's.
• 1:18:20
  Track 2: Like that.
• 1:18:21
  Track 3: That, the wrong way of saying three nuts. That was crazy.
• 1:18:27
  Track 3: Great yeah i don't know for me it's like
• 1:18:30
  Track 3: i i think that inglorious bastards has some
• 1:18:33
  Track 3: of the best scenes like individual set pieces of like
• 1:18:36
  Track 3: any of tarantino's films um and i will i will
• 1:18:38
  Track 3: die on this hill that like the opening scene of inglorious bastards and
• 1:18:41
  Track 3: the bar scene are some of the best work i've seen um from him
• 1:18:44
  Track 3: not like the best but like i would say like top 10
• 1:18:47
  Track 3: or even top five for the opening scene of inglorious
• 1:18:50
  Track 3: bastards and i love it
• 1:18:54
  Track 3: to death and i i will say i love the cultural impact that
• 1:18:57
  Track 3: it has had um on like people on
• 1:19:00
  Track 3: the left and lib left um because every single
• 1:19:03
  Track 3: time there's like a resurgence of like open fascism you
• 1:19:06
  Track 3: will see like and i don't i know this because i'm like chronically on tiktok
• 1:19:09
  Track 3: um you'll see like a resurgence of like the audio usage of like you know we're
• 1:19:13
  Track 3: killing nazis like that will always creep back up and it's like you'll see people
• 1:19:17
  Track 3: making videos to it and it's like a fun little thing because it's like intergenerational
• 1:19:22
  Track 3: as people are watching this film,
• 1:19:23
  Track 3: like no matter what the messaging might've been, no matter what the intention
• 1:19:26
  Track 3: might've been, no matter how the execution laid out, the message that people
• 1:19:29
  Track 3: got from it was that it's okay to kill Nazis.
• 1:19:31
  Track 3: And I think that is an awesome, awesome takeaway for millions of people across the country.
• 1:19:36
  Track 1: Yeah, I think, I agree with you, dude.
• 1:19:39
  Track 1: I think that the, like the set pieces in this might be some of the best of any of his films.
• 1:19:45
  Track 1: I don't necessarily like this as much as like a complete film as like Jackie
• 1:19:49
  Track 1: Brown was probably my favorite of his films,
• 1:19:53
  Track 1: probably my favorite one of his films but it's just like he
• 1:19:55
  Track 1: it's just like perfect bill like everything about them
• 1:19:58
  Track 1: like the camera work is just it's like firing on all cylinders
• 1:20:01
  Track 1: for all of those and it's hard to watch them and not be like this fucking rules
• 1:20:06
  Track 1: like how can you not be engrossed by just you know nazis getting scalped and
• 1:20:10
  Track 1: uh you know getting shot and beaten with bats and it's uh it's a thing anyone
• 1:20:15
  Track 1: can get behind and um i think that's that's my takeaway in.
• 1:20:20
  Track 3: These trying times it's it's a source of unity for america you know.
• 1:20:24
  Track 1: Yes and.
• 1:20:25
  Track 2: It's a it's a reminder that you can't just like you
• 1:20:28
  Track 2: know fight fascism with like pink shirts or by voting it away like fascism needs
• 1:20:35
  Track 2: to be stamped out there's no way if you give if you give fascism any room to
• 1:20:40
  Track 2: breathe they will like it'll spread like a germ and like and it will and it'll it'll hurt us.
• 1:20:45
  Track 1: Uh but uh Yeah, it's been good to have you both, James and Hugo.
• 1:20:50
  Track 1: Thank you for coming on and talking about Inglourious Bastards.
• 1:20:54
  Track 1: And I think I forgot at the beginning, James, I think people know Hugo from, you know, from...
• 1:21:01
  Track 1: Seize the means uh on online but do you want to tell anyone like anything you're
• 1:21:06
  Track 1: working on or just you know where people can find you and of course i'll.
• 1:21:09
  Track 3: Link yeah yeah i mean um so you can find me on tiktok at uh james gets political
• 1:21:14
  Track 3: you can find me on twitter at good vibe politique and you can also find me on
• 1:21:17
  Track 3: monday so i'm a periodic contributor so i've got a couple of uh essays up there
• 1:21:21
  Track 3: um opinion pieces things like that that are i think you know i think they're
• 1:21:24
  Track 3: kind of worth reading uh but yeah uh that's that's where you can kind of see me.
• 1:21:28
  Track 1: Sweet and hugo you got shirts and stuff and yeah just.
• 1:21:33
  Track 2: Seize the mean shirts on tiktok and instagram.
• 1:21:36
  Track 1: Well james and hugo it's been a pleasure to have you on and we will catch you next time.
• 1:21:40
  Track 3: Sweet thank you have a good one.