Latest / Houselights: A Film Director Podcast / Reservoir Dogs (1992) - Quentin Tarantino | Houselights #213

Transcript

Reservoir Dogs (1992) - Quentin Tarantino | Houselights #213 · Houselights: A Film Director Podcast

0:03
Speaker 1: Welcome to the nerd Party.
0:27
Speaker 2: Welcome to the Nerd Party. Super Sounds of Tarantino and
0:31
Speaker 2: here's our first hit, Reservoir Dogs. I'm your host, Tristan Ridel,
0:36
Speaker 2: and joining me are my co hosts, the White soul
0:39
Speaker 2: singer himself, John Mills and a man who sold out
0:43
Speaker 2: a folk festival in front of a sea of corduroy,
0:46
Speaker 2: Darren Moser. Stick around so you can hear all the
0:50
Speaker 2: colors of the rainbow.
0:58
Speaker 3: Yes, take me back to my CD back in the
1:01
Speaker 3: nineteen nineties that got so much play it almost word out.
1:05
Speaker 3: Those little bits of the laser. Just tear it away
1:08
Speaker 3: at that plastic disc. Yes, Oh my gosh, this soundtrack. Guys. Look,
1:13
Speaker 3: I know we're about to talk about the movie, but
1:15
Speaker 3: that sound When I hear that, I there were there
1:17
Speaker 3: were songs, of course on this soundtrack that I'd never
1:20
Speaker 3: heard before. And the greatest thing that Quentin Tarantino did
1:24
Speaker 3: with Reservoir Dogs was absolutely kicked the door open on
1:27
Speaker 3: obscure seventies music and sent me down this rabbit hole
1:30
Speaker 3: immediately right from this soundtrack into I gotta go look
1:34
Speaker 3: up Joe Tex, I gotta look up Steeve wars Wheel
1:36
Speaker 3: I got to look up all of these things because
1:38
Speaker 3: and I became, like everybody else did, familiar with Karen Rachman,
1:43
Speaker 3: who you know, was the music supervisor. Like I started
1:46
Speaker 3: to look I started to pay attention for movies with
1:49
Speaker 3: music supervisors because I was like, Okay, you know, you
1:53
Speaker 3: know who your gold standard, top of the line music
1:55
Speaker 3: supervisor is going from this point forward, I love I gotcha.
1:59
Speaker 3: That is one of the best jams ever in that
2:02
Speaker 3: scene in the movie.
2:03
Speaker 2: Ah, it's so good. It's so good that the way
2:06
Speaker 2: that it hits is perfect. And this this was great
2:11
Speaker 2: because it was there was hardly any if any orchestrated music.
2:16
Speaker 2: It was all just music from the seventies. It was
2:19
Speaker 2: all just popular music, pre made, canned and that was rare,
2:24
Speaker 2: and it was not It's not like he was the
2:26
Speaker 2: first to ever do it, but it was rare. And
2:30
Speaker 2: this was This was a movie that came out in
2:33
Speaker 2: nineteen ninety two. It's an hour and thirty nine minutes long,
2:37
Speaker 2: rated R. And originally this was going to be I
2:42
Speaker 2: think Tarantino had something like it was either like fifteen
2:46
Speaker 2: thousand or fifty thousand dollars and sixteen millimeters thirty thousand.
2:51
Speaker 2: It was thirty thousand dollars and he had a sixteen
2:54
Speaker 2: millimeter camera. He was going to shoot it in a
2:56
Speaker 2: black and white sixteen millimeter with him and a bunch
2:58
Speaker 2: of his friends. Like he's like, if I can't make
3:00
Speaker 2: this movie, you know, professionally, then I'm just I'm just
3:04
Speaker 2: I gotta get it done. And I think when he
3:07
Speaker 2: was working with Tony Scott, Tony Scott had two scripts.
3:11
Speaker 2: It was True Romance and Reservoir Dogs, and Tony Scott
3:15
Speaker 2: said I want Reservoir Dogs and Tarantino said, no, that's mine.
3:21
Speaker 2: You can have True Romance. Well, and I think it
3:24
Speaker 2: worked out.
3:25
Speaker 3: It definitely did. And Reservoir Dogs part of its story
3:28
Speaker 3: as well is that it found its way into Harvey
3:30
Speaker 3: kai Tell's hands, and kay Tell shepherded this through because
3:34
Speaker 3: he saw I mean, in all seriousness, it's about just
3:39
Speaker 3: the right person seeing something at the right time. And
3:42
Speaker 3: bless Harvey kaye Tell for reading the script and realizing, oh,
3:46
Speaker 3: this could be something, this could be something special. Not
3:50
Speaker 3: in terms of like I'm going to make a billion
3:52
Speaker 3: dollar movie and the Reservoir Dogs connected universe, but he
3:55
Speaker 3: was like, this is something people would want to see
3:59
Speaker 3: and and that is from the perspective of somebody who
4:02
Speaker 3: I mean, ky Tell's been in the industry how many
4:04
Speaker 3: years but decades by this point, you know, two, three
4:07
Speaker 3: decades by this point, and he's got the eye. He's
4:10
Speaker 3: worked with Ridley Scott, he's worked with Martin Scorsese. He
4:13
Speaker 3: reads reservoir Dogs and he says, oh, this is something
4:17
Speaker 3: like if you want something that just has an immediate
4:19
Speaker 3: stamp of approval, somebody who's an industry veteran who has
4:23
Speaker 3: worked with some of the greats looks at your script
4:26
Speaker 3: and says, oh, this is something people should see. I mean,
4:29
Speaker 3: come on, like, how does Tarantino not walk on cloud
4:33
Speaker 3: nine after that? Even if the film never happened, he
4:35
Speaker 3: could like walk around with it be like you know,
4:37
Speaker 3: Harvey Kayitel. He thought this was pretty special, like that's
4:40
Speaker 3: that's huge.
4:41
Speaker 2: And kit Tell put his money where his mouth is
4:44
Speaker 2: and he produced. He said, he's like, not only will
4:46
Speaker 2: I start and at all produce it as well, and
4:48
Speaker 2: like him being attached to it got the budget up
4:51
Speaker 2: to a million and a half. And this was an
4:53
Speaker 2: indie movie when indie movies were still a thing. Like
4:57
Speaker 2: this is when I didn't phrase that right, it's when
5:02
Speaker 2: indie movies how do I phrase it? John? What am
5:06
Speaker 2: I looking for here?
5:06
Speaker 3: It was more difficult to get an independent film in
5:09
Speaker 3: front of people. I think that would be a fair comment.
5:12
Speaker 4: Pre internet, you know real yeah, like going birth of It?
5:16
Speaker 3: Yeah, I mean this is this is part of that
5:18
Speaker 3: wave in the nineties that saw Tarantino come in, It
5:21
Speaker 3: saw Kevin Smith come in, and it's the last Rodriguez.
5:25
Speaker 3: It's the last great wave of the small movie that
5:30
Speaker 3: launches a career. But that entry point was that much
5:34
Speaker 3: more difficult because to get in front of Joe average
5:38
Speaker 3: like myself, you needed a guiding saint like Harvey kai
5:42
Speaker 3: Tel to get you there. You needed somebody that was
5:45
Speaker 3: going to be able to shepherd you through the system
5:47
Speaker 3: to get it distributed. And because today you can kickstart something,
5:53
Speaker 3: you can just throw it out there on YouTube if
5:54
Speaker 3: you really want to, you can. You can you know,
5:57
Speaker 3: scramble the money together. Back then it was a much
6:00
Speaker 3: more arcane art and knowing the right person. I mean,
6:05
Speaker 3: you mentioned it right there. Tarantino is ready to just
6:08
Speaker 3: make the thing, just on a lark and just be like, look,
6:09
Speaker 3: I'm just going to make the thing. It's going to
6:11
Speaker 3: be thirty thousand dollars. Who cares if anybody sees it.
6:13
Speaker 3: I'm just gonna throw it together. You know, you could
6:16
Speaker 3: look at it like following with Christopher Nolan. It's black
6:19
Speaker 3: and white. Keep the costs down. I'm going to cast
6:21
Speaker 3: people who aren't going to ask for a lot of money,
6:24
Speaker 3: and then the right person comes along and boom, all
6:27
Speaker 3: of a sudden, it's a sensation.
6:29
Speaker 2: Well, you have Illa Marianchi with Rodriguez, where he literally
6:31
Speaker 2: sold his blood in order to get the money, you know,
6:35
Speaker 2: to make it. And I think it's funny that you mentioned,
6:39
Speaker 2: you know, the difficulties of getting a breakout or like
6:42
Speaker 2: this was the last realm of getting a breakout role,
6:44
Speaker 2: because like now you can just you can do it yourself.
6:47
Speaker 2: It's so much easier to do it yourself. You can
6:48
Speaker 2: post it on YouTube and everything like that. But at
6:50
Speaker 2: the time I was watching it, I started thinking about
6:53
Speaker 2: how that in itself what you're describing as a double
6:56
Speaker 2: edged sword, because if this movie was made to day,
7:00
Speaker 2: it'd be slapped on Netflix and it would be lost
7:03
Speaker 2: in the shuffle.
7:04
Speaker 3: Completely, absolutely absolutely agree with you. It's it's almost like
7:09
Speaker 3: the it's almost like the monster has eaten its own
7:12
Speaker 3: tail sort of thing.
7:14
Speaker 4: I like.
7:15
Speaker 3: I like that you you bring that up, because it
7:17
Speaker 3: really is. This gets tossed on Prime and it's hot
7:20
Speaker 3: for like two seconds, and it's really super obscure. Whereas
7:24
Speaker 3: this becomes a cultural phenom, it doesn't even really it
7:26
Speaker 3: doesn't do like killer box office or anything. It's not
7:29
Speaker 3: like they release us and it made fifty million dollars.
7:31
Speaker 3: I don't think Italy made us budget back.
7:33
Speaker 2: Well they didn't. They didn't promote it before. We keep going. Okay,
7:36
Speaker 2: so as you could tell, John and I are.
7:40
Speaker 4: Yes here.
7:42
Speaker 2: John and I are very passionate about this movie, and
7:45
Speaker 2: we've seen it many times before. But Darren, I needed
7:48
Speaker 2: I needed to cut John and I off because I
7:51
Speaker 2: want to talk to you about this. Darren. This is
7:55
Speaker 2: your first time seeing Reservoir Dogs. Is that correct?
7:58
Speaker 4: It is the vast majority already of the House of
8:00
Speaker 4: Tarantino I have not seen. So you found me an
8:03
Speaker 4: elder millennial who has not seen a lot of Tarantino.
8:07
Speaker 4: And that's gonna be a fun ride.
8:11
Speaker 2: So okay, So I know we're jumping the gun here.
8:14
Speaker 2: I know we're absolutely jumping the gun. But this was
8:17
Speaker 2: the first thing that I thought about when watching it
8:21
Speaker 2: was I was thinking about you and catching it for
8:23
Speaker 2: the very first time. What did you think about mister
8:27
Speaker 2: Orange being a cop an undercover cop? Like? Was it
8:32
Speaker 2: a subcritice at the end? What was it?
8:35
Speaker 4: Yeah? I mean all I knew about this movie going
8:38
Speaker 4: forward is you know that kind of them fighting or
8:43
Speaker 4: and you know in the in the warehouse kind of
8:45
Speaker 4: guys aiming guns at each other. I for some reason,
8:48
Speaker 4: I thought this whole movie would take place in that warehouse.
8:50
Speaker 4: It'd be like a bottle show where, you know, a
8:54
Speaker 4: for simplicity, you don't see the heist, you don't see anything.
8:58
Speaker 4: It's all just told by the group. Now, obviously we
9:02
Speaker 4: get a little more than that. We get a non
9:04
Speaker 4: linear story of telling the events as we pop out
9:08
Speaker 4: and back and forth in time. Yeah. No, that twist
9:13
Speaker 4: I didn't see coming. It was interesting. About halfway through
9:18
Speaker 4: the movie, I started to think, Okay, what am I
9:23
Speaker 4: being told as an audience member watching this? Because I
9:27
Speaker 4: started to realize, oh, am I supposed to piece together
9:32
Speaker 4: this mystery? Because the main characters are going deep down
9:37
Speaker 4: the rabbit hole of oh there's a rat and who
9:40
Speaker 4: is it? And I think I've watched so many movies
9:42
Speaker 4: where that ends up being just a throwaway thing that
9:46
Speaker 4: I wasn't even invested in it at first, But then
9:49
Speaker 4: the more I thought about it, it was like, oh no,
9:52
Speaker 4: that's the point of this movie is you don't see
9:55
Speaker 4: the event, so you can't make a judgment on who's
9:58
Speaker 4: the rat. You have to go off of everybody's you know,
10:03
Speaker 4: conceived notions. And well, and I recognized Tim Roth or
10:08
Speaker 4: mister Orange from lie to me was was he was
10:13
Speaker 4: the lead on a show. That's where I mainly know
10:16
Speaker 4: him from. I know he's been many things, but yeah,
10:20
Speaker 4: I just as far as that particular plot point, I
10:25
Speaker 4: didn't see it coming. But it also, by the time
10:31
Speaker 4: we got there, there were so few options of who
10:33
Speaker 4: it could have been, Like the palette of of suspects
10:38
Speaker 4: got smaller and smaller, and so he started to be like, well,
10:41
Speaker 4: it's really only mister Blue shows up randomly we've like
10:46
Speaker 4: never seen, you know, And they kept saying, you know,
10:49
Speaker 4: mister Brown or like someone else is dead, and I'm like, well,
10:51
Speaker 4: until we see a body, I am not taking any
10:54
Speaker 4: of these words for gospel.
10:56
Speaker 3: Well, what I want to know though, in that context, okay,
10:59
Speaker 3: so you didn't really know anything. It didn't necessarily take
11:02
Speaker 3: you quote unquote by surprise. But that moment I remember
11:05
Speaker 3: specifically the first time I saw mister Blonde light the
11:09
Speaker 3: lighter and say are you are you finished? Are you finishing? Like,
11:12
Speaker 3: oh my gosh, what I just saw somebody? What am
11:15
Speaker 3: I about to watch? I just saw his ear get
11:17
Speaker 3: cut off? What is going to happen right now? And
11:19
Speaker 3: then all of a sudden, the squibs explode on his
11:21
Speaker 3: chest and he gets shot and it's mister Arn shooting him.
11:24
Speaker 3: I remember at the moment that I saw it, I
11:26
Speaker 3: was like, what just happened?
11:28
Speaker 4: Right?
11:28
Speaker 3: It just took me completely by surprise. Did that at
11:31
Speaker 3: least take you by surprise? Did that pull the rug
11:33
Speaker 3: out from under you? I mean, like, what was in
11:35
Speaker 3: that moment? What was that the moment?
11:36
Speaker 4: For sure? I mean it's a it's a pop and
11:39
Speaker 4: get you moment. I was more as we were leading
11:43
Speaker 4: up to I did know that there was like a
11:44
Speaker 4: torture scene and a guy got his ear cut off
11:47
Speaker 4: and that, and I was more curious what song was
11:49
Speaker 4: going to play, And I'm like, is there a song
11:50
Speaker 4: that is now going to be ruined for me? Because
11:53
Speaker 4: of this scene and not not terribly not terribly so,
11:56
Speaker 4: but more like improved.
11:59
Speaker 3: Yeah, talk talk about a dance that I do every
12:02
Speaker 3: time I hear that song.
12:06
Speaker 4: But no, at that moment, Yeah, he's he's getting doused
12:10
Speaker 4: in gasoline and you're like, okay, Like I mean I
12:13
Speaker 4: have I'm like, Taranto is going to go as far
12:15
Speaker 4: as he wants to go. Anything could happen and it
12:17
Speaker 4: would not surprise me. And then you know what it
12:21
Speaker 4: felt like. It felt like the end of the first
12:24
Speaker 4: Saw movie that kind of like didn't see it coming.
12:30
Speaker 2: That's quite a compliment that that's what this felt like.
12:32
Speaker 4: Where all of a sudden because I because he had
12:35
Speaker 4: Tarantino had constructed the lead up to that where I'd
12:39
Speaker 4: forgotten about mister Orange, like he's there, but he's passed out,
12:43
Speaker 4: like he is not in play in this scene, and
12:45
Speaker 4: then all of a sudden, he's pumping mister Blond full
12:49
Speaker 4: of lead and you're like, oh oh, and then he
12:52
Speaker 4: reveals that he's a cop to the other cop and
12:54
Speaker 4: you're like, oh, oh, this is a whole sting. Oh
12:57
Speaker 4: my gosh. And yeah, that's where like I don't know
13:01
Speaker 4: if this I would say the second act starts, but
13:02
Speaker 4: really the second push starts at that point, so well,
13:07
Speaker 4: and that's that did get did get me?
13:09
Speaker 3: That's where I think a name that gets lost in
13:11
Speaker 3: the shuffle a lot is is Tarantino's editor here, Sally Menck.
13:16
Speaker 3: I think that's how you pronounce her last name.
13:19
Speaker 2: Yeah, I don't know if it's mank or minky.
13:20
Speaker 3: But but she does not get enough praise because you
13:24
Speaker 3: just said it right there. You forget mister Orange is there?
13:27
Speaker 3: Even now this is the billionth and a half time
13:31
Speaker 3: that I've seen this movie, Yes, I paid attention to
13:34
Speaker 3: it at this point where I was like, okay, I'm
13:35
Speaker 3: going to talk about this with some smart film people here.
13:38
Speaker 3: And it's one of those things where you go, the
13:41
Speaker 3: film does such a good job of gently moving mister
13:46
Speaker 3: Orange out of the way, so that when that happens,
13:48
Speaker 3: even now, the number of times I've seen it, when
13:52
Speaker 3: that first squib goes off, I still jump a little
13:54
Speaker 3: bit where I'm like, oh right, okay, yes him, and
13:58
Speaker 3: it's I think that there is is also in that scene.
14:03
Speaker 3: The Simpsons even made fun of it when the camera
14:05
Speaker 3: pans away when he's cutting the ear off. Is it's
14:10
Speaker 3: so effective because what it reminded me of is, you know,
14:16
Speaker 3: back then and now and everything is there's a specific
14:20
Speaker 3: scene and taxi driver where he's getting you know, where
14:26
Speaker 3: he's getting his heart broken over the phone and all
14:28
Speaker 3: of this horrible stuff you see throughout the film, and
14:31
Speaker 3: it just looks at it unflinchingly. But then the camera
14:34
Speaker 3: moves away from Bickle while he's on the phone, as
14:37
Speaker 3: if it can't stand to look at that moment. And
14:40
Speaker 3: I think that this it's both a budgetary thing because
14:44
Speaker 3: I think later Tarantino spoilers for you, Tarin there could
14:47
Speaker 3: be moments where maybe I wish Tarantino had pulled the
14:50
Speaker 3: camera away from certain things.
14:52
Speaker 2: I was going to say, modern Tarantino never would have
14:55
Speaker 2: panned or tracked to the left.
14:57
Speaker 3: Exact never exactly, And and it's so effective with mister
15:02
Speaker 3: Orange at the very end.
15:03
Speaker 4: Honestly, I mean that I think is just for you know,
15:08
Speaker 4: seeing a bullet fly through a man's face is one thing,
15:10
Speaker 4: but in a way, not seeing the ear physically get
15:14
Speaker 4: cut off is worse. Because your imagination is ten times
15:19
Speaker 4: more vivid than anything you could be shown. It could
15:21
Speaker 4: look fake and you're like, oh, well that's not really
15:24
Speaker 4: that you know, but you're hearing, you know, through duct tape,
15:28
Speaker 4: the screams of a man who's getting his ear cut off.
15:30
Speaker 4: Like that sticks with you.
15:32
Speaker 3: It absolutely does. And I think that if there's a
15:36
Speaker 3: calling card scene to this movie, it's that one. Oh, like,
15:39
Speaker 3: everybody goes back to that, but I'd be interested, because again,
15:43
Speaker 3: you are the first person. You're not the first person,
15:46
Speaker 3: You're you're the person who's watching this for the first time.
15:50
Speaker 3: What other scenes jumped out at you, Like, did the
15:53
Speaker 3: movie get you from the very beginning? Was it? Because
15:55
Speaker 3: I remember this movie got me from the very beginning,
15:59
Speaker 3: because there's both a blessing and a curse here, because
16:02
Speaker 3: Tarantino's discussion about what Like a Virgin is about is
16:06
Speaker 3: both at the time a blisteringly original and funny thing,
16:12
Speaker 3: but over time it became.
16:16
Speaker 2: Off putting.
16:17
Speaker 3: Yeah, well it becomes trite the way that people start
16:20
Speaker 3: to deconstruct things and you're like, no, no, no, there's
16:22
Speaker 3: not that many layers to it, guys. Right, this started
16:25
Speaker 3: a trend of people breaking things down too much and
16:27
Speaker 3: taking it super seriously, and you're like, no, no, no, no, no, no,
16:29
Speaker 3: there aren't that many layers to it.
16:31
Speaker 2: But Apparently Madonna liked the scene and liked the movie
16:35
Speaker 2: a lot, and sent him an autographed copy of her
16:38
Speaker 2: album Erotica and said, no, it's not about that, It's
16:41
Speaker 2: about love.
16:43
Speaker 3: Yes, I well, you know, and then you later you know,
16:47
Speaker 3: there's so many but there are so many things where
16:50
Speaker 3: it kicks that off. But did the movie get you
16:51
Speaker 3: from the very start, like where you hooked from the beginning.
16:54
Speaker 4: It did well because you know, the first part I
16:57
Speaker 4: remember is is again mister Orange leading out in the
17:01
Speaker 4: back of the car, and that again I had never
17:05
Speaker 4: seen someone being shot portrayed like that, the whimpering pain.
17:12
Speaker 4: I mean, we always see someone getting the shot and
17:15
Speaker 4: they're like either quiet or they're like like just not
17:18
Speaker 4: this way, this way that this person is portraying it,
17:23
Speaker 4: and you almost start to think, like is he faking
17:25
Speaker 4: You're like, no, no, there's a lot of blood, Like
17:27
Speaker 4: he is. He has definitely been shot. But I like,
17:31
Speaker 4: full circle, how you know, that becomes a plot point
17:36
Speaker 4: in the fact, like, oh, he can't be the bad
17:38
Speaker 4: guy or the rat because he was shot. And we
17:41
Speaker 4: finally see it's not a cop that shot him, it's
17:44
Speaker 4: a woman who the car that they jacked, Like defensively
17:47
Speaker 4: shot and that, And again it's all about how you
17:51
Speaker 4: are told the story, because oh, well, if I was
17:53
Speaker 4: told that, or if I saw that from the beginning,
17:55
Speaker 4: I would think completely differently than Oh, he was in
17:58
Speaker 4: the robbery and was shot, must not be the rat. Again,
18:03
Speaker 4: I'm not being lied to. It's just how the information
18:05
Speaker 4: is revealed. So that came full circle. Yeah, No, I
18:10
Speaker 4: was gripped the entire way. I will agree the deconstruction scenes.
18:19
Speaker 4: It's I mean, like you said, I think Garanteine's kind
18:22
Speaker 4: of known for that, and it, like you'd mentioned before
18:24
Speaker 4: with like Kevin Smith, like it felt like I'm a
18:28
Speaker 4: film student and I'm really into X, and then I'm
18:31
Speaker 4: going to take X and put it into my plot
18:33
Speaker 4: like I would put tons of NASA crap in my
18:36
Speaker 4: movie or whatever. Like again, not a bad thing, but
18:40
Speaker 4: it felt like I didn't feel like these characters really
18:45
Speaker 4: cared about this. I felt like the writer cared about this,
18:49
Speaker 4: knew a lot about this topic, or had an opinion
18:52
Speaker 4: and put it in. Again, not a bad thing, it's
18:55
Speaker 4: just that's how it came across.
18:56
Speaker 3: But see, I think that this one more than some
18:59
Speaker 3: of Tarano's other examples and more than than a Kevin
19:02
Speaker 3: Smith moment or anything like that. Is what I like
19:05
Speaker 3: is that everybody at the table is Tarantino as a
19:09
Speaker 3: director takes the time to show you that nobody cares
19:12
Speaker 3: what this guy is talking about, where they're like what
19:14
Speaker 3: this guy's nuts? Like was he what is he going
19:17
Speaker 3: on about? Even and you know, even like I, I
19:21
Speaker 3: admire the fact that it's so unpolished at the beginning
19:26
Speaker 3: of this, when the camera is tracking around that table
19:29
Speaker 3: of everybody at breakfast, and it's it's interesting to me
19:34
Speaker 3: because Tarantino has a lot more polish later in his filmography,
19:39
Speaker 3: and I don't think I don't think it would have
19:41
Speaker 3: come together the same way. I think that you can
19:44
Speaker 3: go immediately to kill Bill and stuff like that, but
19:47
Speaker 3: you know, spoilers for the future and everything. But here
19:50
Speaker 3: there's an unpolished feel to the way it tracks around
19:54
Speaker 3: that table that I think pulls the audience in. And
19:58
Speaker 3: again it's it's a t I think to Menke, where
20:01
Speaker 3: she keeps it. I think that in and Tristan correct
20:05
Speaker 3: me if I'm if I'm off base on this. I
20:07
Speaker 3: think it from an editorial standpoint, there feels like a
20:12
Speaker 3: conscious decision not to make it smoother as it's tracking around,
20:17
Speaker 3: because there are moments where you're hearing dialogue and there's
20:20
Speaker 3: just you've disappeared behind the back of somebody and it's
20:24
Speaker 3: black screen, Whereas I think a lot of editors would
20:28
Speaker 3: have chosen to be like, no, I got to make
20:30
Speaker 3: sure a face is showing in this moment. But it
20:33
Speaker 3: takes that extra second or two so that it feels
20:36
Speaker 3: more documentary, you know, like like it's just a a
20:40
Speaker 3: you happen to be sitting there sort of feel. Do
20:42
Speaker 3: you think that was a conscious thing?
20:44
Speaker 4: Yeah, I was.
20:45
Speaker 2: Thinking that too, Like when I when I was watching it,
20:48
Speaker 2: like a part of me was just like, why didn't
20:51
Speaker 2: you cut like a half second earlier? You know, like
20:53
Speaker 2: why why didn't you cut like literally ten frames earlier
20:57
Speaker 2: to help adjust that cut? But she did it three times,
21:02
Speaker 2: and three times is on purpose. One time might be
21:05
Speaker 2: a mistake, one time might be because of lack of
21:08
Speaker 2: coverage or something like that. Three times as a motif,
21:11
Speaker 2: And I think that's the thing.
21:14
Speaker 3: Is that?
21:15
Speaker 2: Excuse me?
21:17
Speaker 1: So sorry.
21:20
Speaker 2: With Mankie. She's so underappreciated, you know, God rest her,
21:25
Speaker 2: and she's she has helped She is the reason why
21:30
Speaker 2: Tarantino is a household name, and that is one percent
21:36
Speaker 2: my belief. She is. She is, you know, like a
21:41
Speaker 2: she is Quentin's Schumacher, and I you know, like there
21:47
Speaker 2: is no Marty without without Thelma, and there is no
21:49
Speaker 2: Quintin without Manky. And I feel like she knows what
21:55
Speaker 2: she's doing and her agent didn't want her to do
21:58
Speaker 2: this movie, and she's like, no, I'm I'm doing this movie,
22:01
Speaker 2: like everybody involved wanted to do this movie. And I
22:05
Speaker 2: think that's what's really killer, and that's what really pushes
22:08
Speaker 2: it up. And So to get back to your question,
22:12
Speaker 2: it had to be on purpose because of her level
22:15
Speaker 2: of skill and because she did it more than once
22:17
Speaker 2: in that scene, and so I think this is the
22:20
Speaker 2: only time we see it in the movie, and so
22:22
Speaker 2: I think it had to be an introductory move where
22:26
Speaker 2: you focus on what they're saying and not as much
22:30
Speaker 2: on what you're seeing. Yeah, I think that's the main
22:33
Speaker 2: purpose in my opinion.
22:36
Speaker 4: The other thing I always try to think of with movies,
22:39
Speaker 4: especially ones that are I mean, this isn't that old
22:42
Speaker 4: seventy two, but it's still in the era of you know,
22:48
Speaker 4: it's so easy for us to look at older movies
22:50
Speaker 4: and be like, oh, yeah, but they're yeah, they're doing
22:53
Speaker 4: the you know, the deconstructed you know, over the shoulder shot.
22:56
Speaker 4: Oh yeah, they're doing this like everyone does that. It's
22:59
Speaker 4: like no, no, but no, no one had done it yet.
23:01
Speaker 4: Like you have to remember that, and it's hard to
23:05
Speaker 4: remember exactly what was new or newish or had been
23:09
Speaker 4: done in a new way. Again, like the use of
23:11
Speaker 4: music and a lot of diegetic music, which is where
23:14
Speaker 4: it's actually in the scene. It's actually being played over
23:17
Speaker 4: a piece of equipment and our characters are listening to
23:20
Speaker 4: it at the same time as we are, you know that.
23:23
Speaker 4: So all that to say, I was able to view
23:26
Speaker 4: this movie in that lens of okay, give it a
23:29
Speaker 4: little more credit for these nuances, because you know, it's
23:34
Speaker 4: easy to look back and be like this, this is
23:36
Speaker 4: what everyone was impressed with, and it's like, no, no,
23:39
Speaker 4: it's impressive. See.
23:41
Speaker 3: I love that you mentioned that because the two of you,
23:44
Speaker 3: you come up in the post Tarantino world. You're young
23:48
Speaker 3: enough that, like Tarantino changed what film was. By the time,
23:52
Speaker 3: you guys had both gotten old enough to really appreciate film.
23:56
Speaker 3: And while I'm not, you know, I didn't go to
23:59
Speaker 3: film school or any like that. I was a huge
24:01
Speaker 3: movie buff. And there's this thing where it's like, you know,
24:07
Speaker 3: when you get older, you get to this point where
24:10
Speaker 3: you're like, yeah, but you don't remember what it was
24:12
Speaker 3: before this. And it's easy to be perfunctorially dismissive of
24:19
Speaker 3: younger people because of that. But in this case, I
24:23
Speaker 3: find it as a sense of joy to say I
24:27
Speaker 3: wish I could convey to everybody the absolute miracle that
24:33
Speaker 3: this moment was in film, to say this changed everything.
24:38
Speaker 3: I was there for the Moonshot of independent filmmaking at
24:44
Speaker 3: this point, and it's like.
24:46
Speaker 4: I.
24:47
Speaker 3: Can't even accurately portray to you guys the frustration of
24:54
Speaker 3: loving that moment. And what's cute is everybody can agree
24:57
Speaker 3: on the Moonshot. Everybody can agree on a Space Shuttle,
25:01
Speaker 3: but my friend Joey and I can disagree about Reservoir Dogs.
25:05
Speaker 3: And I could say no, no, no, it's absolute gold,
25:08
Speaker 3: it's art, and Joey can say, nah, I don't like
25:11
Speaker 3: that everybody dies at the end, and I'm like, Okay,
25:14
Speaker 3: that's fine whatever, because.
25:16
Speaker 2: I can't remember I read that, like I can't remember
25:19
Speaker 2: what magazine it was, but it was some important editorial
25:22
Speaker 2: that ranked it as the top influential independent movie of
25:27
Speaker 2: all time and also like a top ten or top
25:30
Speaker 2: fifteen heist movie of all time, which is quite which
25:34
Speaker 2: is really saying something because you never actually see.
25:37
Speaker 4: You don't see the heist. Yeah right.
25:39
Speaker 3: And the thing is you mentioned Tony Scott earlier. Tony
25:43
Speaker 3: Scott does does Beverly Hills Cop two, and he has
25:50
Speaker 3: a heist in the beginning of that. And I almost
25:52
Speaker 3: wonder if Tony Scott had done this, if he would
25:56
Speaker 3: have been unable to resist the desire to have the
26:00
Speaker 3: heist inserted into the script, it.
26:03
Speaker 2: Would have been the first thing you saw. Like Tony Scott,
26:07
Speaker 2: as much as I love him as a filmmaker, this
26:10
Speaker 2: Reservoir Dogs would not have made the impact that it
26:13
Speaker 2: did because he would. It would have been a buy
26:15
Speaker 2: the books action film.
26:18
Speaker 3: I think you're right.
26:19
Speaker 2: I think it would have been a nineteen ninety two.
26:24
Speaker 2: It would have been an early version of.
26:26
Speaker 3: Heat Ooh interesting. Interesting. I could see that. I could
26:30
Speaker 3: see that. And the thing is that's what makes him
26:33
Speaker 3: even more perfect for true romance because of the fact
26:36
Speaker 3: that there's no heist per se that's going on with that.
26:39
Speaker 3: So he has to scratch that specific itch with when
26:42
Speaker 3: he goes to Drexel's pad to take the the you know,
26:47
Speaker 3: bamus stuff back. I think that that's that's a great insight.
26:51
Speaker 2: I really like that now, Darren. Originally, Quentin Tarantino wrote
26:56
Speaker 2: the script with him in mind for mister Pink Steve Bushimi's.
27:01
Speaker 4: Character, because mister Pink is kind of the him and
27:04
Speaker 4: mister Orange, well, him, mister Orange, and mister Blonde feel
27:08
Speaker 4: like the top characters at it's heard there's a lot
27:12
Speaker 4: of mix, but sorry, go ahead.
27:16
Speaker 2: I feel like mister White and mister Orange are kind
27:18
Speaker 2: of the top characters. I feel like they're the protagonists.
27:21
Speaker 2: But that's not hearing nor there. Mister Pink Steve Bushimi.
27:25
Speaker 2: Tarantino wanted to be wanted to be that character and
27:29
Speaker 2: was going to cast himself in it, and he's this
27:33
Speaker 2: is kind of a dickish move, but he when Bushimi
27:36
Speaker 2: came in and said that he want to audition for Pink,
27:37
Speaker 2: He's like, He's like, well, I I want to do
27:40
Speaker 2: that role. So if you want this role, you're gonna
27:41
Speaker 2: have to really kill it. And obviously he did. Oh yeah,
27:46
Speaker 2: but Darren, can you see Tarantino with mister Pink. What
27:51
Speaker 2: do you think about that?
27:51
Speaker 4: He is just enough as mister Brown, barely being in it.
27:55
Speaker 4: That is the right place, especially as the director. Especially
27:59
Speaker 4: as the director, I mean he's not an actor, Like
28:04
Speaker 4: he's really not Like he can. I mean he can
28:06
Speaker 4: if he wrote it and directed it and produced it
28:09
Speaker 4: and edited it. Yeah, he can put himself anywhere. But uh, Buscemi,
28:13
Speaker 4: I mean he's got the whole first act is really
28:17
Speaker 4: mister That's what I guess. What I mean more is
28:20
Speaker 4: mister Pink is the first act. He's setting up so much.
28:23
Speaker 4: He's having conversations. Yeah, he's describing all of that. That's
28:28
Speaker 4: where I feel like, I know eventually he it's less
28:31
Speaker 4: and less screen time as more people show up at
28:33
Speaker 4: the at the warehouse. But that's where I have always
28:37
Speaker 4: latched onto him as really one of the you have
28:41
Speaker 4: to nail this character or your setup is void.
28:45
Speaker 3: And Steve Buscemi's career has launched off of this. Hands down.
28:49
Speaker 3: There's there's oh my god, Like after Reservoir Dogs, everybody
28:53
Speaker 3: was like, I love that guy. I want to see
28:55
Speaker 3: that guy in more things, and you did, and thank
28:57
Speaker 3: goodness that you did. But also simply going you know,
29:02
Speaker 3: keying off what you're saying, Simply Tarantino is the only
29:06
Speaker 3: person in that cast that is going to give that
29:09
Speaker 3: like a virgin speech authentically, because you can tell that
29:13
Speaker 3: that is something that's in Tarantino's like knowing Tarantino well enough.
29:17
Speaker 4: At this point, the script says, and then mister Brown says,
29:20
Speaker 4: what is in Tarantino's head? Verbatim exactly.
29:25
Speaker 2: It's it's funny that you say that because originally in
29:27
Speaker 2: the script, mister Pink gave that speech.
29:30
Speaker 4: Wow, and then when he wasn't mister Pink anymore, all
29:33
Speaker 4: of a sudden, mister Brown.
29:36
Speaker 3: But but here's here's the killer thing is you have
29:38
Speaker 3: that great like a virgin speech. But the truly memorable
29:41
Speaker 3: moment from that is the I don't tip moment.
29:44
Speaker 2: Yes, it's true, Like it's true.
29:46
Speaker 3: It's mind blowing how perfect Steve Buscemi was for that
29:51
Speaker 3: moment too, Like it's so serendipitous the casting in this movie.
29:55
Speaker 3: It's crazy.
29:56
Speaker 4: And again that also feels like, uh, you know, and
29:59
Speaker 4: I remember do this as a film student. It's like, oh, yeah,
30:01
Speaker 4: this thing happened to me at one time and it
30:04
Speaker 4: was cool and I put it in a movie like
30:05
Speaker 4: that always sounds like something that happened or he knew
30:08
Speaker 4: a guy that had that opinion, or maybe he had
30:11
Speaker 4: that opinion about tipping, And it's enough to write like
30:14
Speaker 4: an essay on and then it becomes you know, but yeah,
30:17
Speaker 4: that that part. Man, he gets so many shim We
30:21
Speaker 4: gets so many great scenes, even later the whole like
30:24
Speaker 4: naming where he's like, well, I don't want to be
30:26
Speaker 4: mister pick. Like he nails that scene in the pitch
30:31
Speaker 4: perfect way where you're not like, it doesn't change how
30:34
Speaker 4: you feel about this character. It makes you love this
30:36
Speaker 4: character more because yeah, he's like, this is kind of stupid.
30:40
Speaker 4: Why would I mister being? And then the guy's like, no,
30:42
Speaker 4: I choose. Last time I had everyone.
30:44
Speaker 3: Choose, nobody wanted to back down because I didn't know
30:48
Speaker 3: each other. And Lawrence Tierney in his role, I I
30:52
Speaker 3: can honestly say I think I know him from his
30:54
Speaker 3: Seinfeld cameo, and that's not.
30:57
Speaker 4: The cameo I knew him from. Oh I recognized him,
31:00
Speaker 4: and I'm like, this guy sounds really familiar and I
31:03
Speaker 4: probably am wrong, but I looked it up and no.
31:07
Speaker 4: He plays in TNG's The Big Goodbye Silas red block. Yes,
31:13
Speaker 4: a hologram that like bullies his way off the holid
31:16
Speaker 4: deck and then evaporates because he doesn't exist but computer,
31:20
Speaker 4: I don't know this word, yeah exactly, but that's what
31:24
Speaker 4: I knew him from.
31:25
Speaker 3: What's great is that, according to the Wikipedia page, at
31:28
Speaker 3: least the cast didn't like Lawrence Tierney. Yeah, they were
31:32
Speaker 3: fed up with him. And it's like it, I don't know.
31:36
Speaker 4: If Joe was supposed to show up earlier, and they're like, no,
31:39
Speaker 4: just keep.
31:39
Speaker 3: Delaying, right, Ye, we're going to rewrite a little bit,
31:44
Speaker 3: and Joe just shows up at the end and gets shot,
31:46
Speaker 3: and like like people were fighting for the right to
31:49
Speaker 3: shoot Joe.
31:50
Speaker 4: He's like, I know I'm already dead, but can I
31:51
Speaker 4: come back and shoot Joe? Yeah, that's a thing.
31:54
Speaker 2: What's really funny is that it's like, yeah, like Lawrence Tourney,
32:00
Speaker 2: he was a jackass in real life, and like he
32:02
Speaker 2: was like in jail during shooting the only shot for
32:05
Speaker 2: thirty five days and he was in jail at one
32:07
Speaker 2: time and they had to bail him out and then
32:08
Speaker 2: he went straight to set. Because I think you like
32:11
Speaker 2: punched some dude or pulled a gun on him. I
32:13
Speaker 2: can't remember. But him and Michael Madison really didn't get along,
32:19
Speaker 2: and Quentin had to intervene kind of like get in
32:24
Speaker 2: between him, and he goes to Tyranny and says, he's like, okay,
32:28
Speaker 2: I need you be cool. Are you cool? And then
32:31
Speaker 2: Kitell loved that so much that he said he's like,
32:34
Speaker 2: I want to say that. I want to say that.
32:37
Speaker 3: But you know what's interesting is Tyranny by this point,
32:40
Speaker 3: you know, he's an old guy. He's been around forever.
32:42
Speaker 3: He's a cantankerous old sword. He's the old school sort
32:46
Speaker 3: of thing. The story you just relayed reminds me of
32:50
Speaker 3: how Burton was bullied by Jack Palance on the set
32:55
Speaker 3: of Batman, and it was like you, Nicholas, of course
32:58
Speaker 3: you did, because we're you know, we're Batman people, and
33:00
Speaker 3: like Nicholson has to come in and be like, okay,
33:02
Speaker 3: go go, go. Let's everybody, let's let's take a breath. Here,
33:04
Speaker 3: let's take a breath. Here's let's just be cool. We're
33:06
Speaker 3: making art. And it's it's fascinating because while Batman wasn't
33:12
Speaker 3: you know, Burton's first one, it's the one that catapults
33:15
Speaker 3: him and it's thank goodness, somebody was there to you know, Tarantino,
33:20
Speaker 3: you got to give him credit for that as a director,
33:23
Speaker 3: to be able to cool things down, because that's part
33:27
Speaker 3: of your your necessary skill set as a director is
33:31
Speaker 3: you might hate each other in real life. It's almost
33:33
Speaker 3: like pro wrestling. Seawn Michaels and Brett Hart might hate
33:37
Speaker 3: each other in real life, but you got to get
33:39
Speaker 3: him to cool down so that the k fabe can work,
33:42
Speaker 3: because if it's too much. And I know that the
33:45
Speaker 3: two guys I'm talking to right now, that went over
33:48
Speaker 3: their heads. But anybody old like me who watched pro
33:50
Speaker 3: wrestling knows what I'm talking about.
33:52
Speaker 2: To you listeners, I'm sure you're enjoying these references.
33:55
Speaker 3: Everybody knows Shawn Michaels and Brett Hart. Come on, everybody
33:58
Speaker 3: knows that watch wrestling shadows great documentary.
34:01
Speaker 2: So speaking of Michael Madson, holy crap, mmmm mmm mister blonde,
34:07
Speaker 2: Oh yeah, did he bring this performance? Because this is
34:13
Speaker 2: this is It would have been so easy to play
34:17
Speaker 2: a psychopath. And you know what I mean, You know
34:19
Speaker 2: what I mean by this, like a psychopath as in
34:22
Speaker 2: like I'm carazey, you know, like just like it's just
34:26
Speaker 2: like he's constantly on the edge. He's just like, you know,
34:29
Speaker 2: like he's sniffing and like looking over his shoulder and
34:31
Speaker 2: everything like that. No, he is cold as ice. He's
34:35
Speaker 2: a sociopath, you know, as he's a sociopath more than
34:39
Speaker 2: he is a psychopath.
34:41
Speaker 3: And it just.
34:44
Speaker 2: He loves what he does and he has no compunction
34:48
Speaker 2: over what he does.
34:49
Speaker 3: It's just it.
34:51
Speaker 2: When I think Michael Madsen, I think this.
34:53
Speaker 3: Role, oh yes, this was This was a star making
34:56
Speaker 3: role for him. And I think that the the brilliant
35:01
Speaker 3: little bit of stage business that they give to him
35:05
Speaker 3: is that when you meet him in the warehouse, he's
35:07
Speaker 3: sipping a drink. He stopped off for food. Guys, he
35:11
Speaker 3: stopped off to get a bite to eat.
35:14
Speaker 4: I noticed that. I'm like, where did he get the drink?
35:17
Speaker 4: Like that applies that he was chill enough to like
35:21
Speaker 4: get a drink, And I'm like, what is going on.
35:24
Speaker 3: He's got a cop in the trunk and he stopped
35:26
Speaker 3: off for fast food.
35:28
Speaker 2: So apparently in real life, so like, that was Michael
35:32
Speaker 2: Madson's car, the one that actually he.
35:35
Speaker 3: Drove great taste in automobiles. Many, yeah, good lord.
35:39
Speaker 2: That's Madson's car. And we're actually going to see that
35:41
Speaker 2: car again in a later at Tarantino film. But it
35:45
Speaker 2: was this this movie had such little money that people
35:50
Speaker 2: brought their own clothes and like that's why you get crispins,
35:56
Speaker 2: you know. Nice guy Eddie like his his track jacket,
35:58
Speaker 2: like that's his that he uh. But apparently Kirk Bolts,
36:02
Speaker 2: who played Marvin Nash, the cop who got tortured, he
36:06
Speaker 2: went to Madson and said, he's like, I want to know.
36:08
Speaker 2: I want to get in your trunk. I want to
36:10
Speaker 2: know what it's like, like drive around the block. And
36:13
Speaker 2: and Madson's like, okay, yeah, sure, I'll drive around the block.
36:16
Speaker 2: And he did not drive around the block. He drove
36:19
Speaker 2: around town and then he went to Tuckle like get
36:22
Speaker 2: some tacos and a drive through, and and then went
36:25
Speaker 2: back just to give him that little extra bit.
36:28
Speaker 4: I would not I would not get into that guy's
36:31
Speaker 4: trunk that that, you know.
36:33
Speaker 3: I I love that so much because that is God.
36:37
Speaker 4: I left a bowling ball in the trunk. Sorry I
36:39
Speaker 4: hope it didn't smash your fingers.
36:40
Speaker 3: But but but but the thing is like that's the
36:42
Speaker 3: sort of thing that like that, that's that Stanislavsky sort
36:45
Speaker 3: of thing where It's like it gives so much more
36:48
Speaker 3: authenticity to the way they interact with each other, because
36:53
Speaker 3: even if even if he's cool with that, you know,
36:58
Speaker 3: like it's so like that felt like more than around
37:00
Speaker 3: the block, Mike. You know, like there's still a little
37:03
Speaker 3: bit of animosity left over from that, and that you
37:06
Speaker 3: can use that in a scene. And I think, you know,
37:10
Speaker 3: I think, honestly, I'm glad that you mention you mentioned
37:14
Speaker 3: Kirk Baltz, because I think he gets forgotten a lot
37:16
Speaker 3: of times. His performance is very key to this movie,
37:21
Speaker 3: very very key to this movie, and I think he
37:23
Speaker 3: gets overshadowed by the names that went on to do
37:26
Speaker 3: more Tarantino films and also have larger trajectories as actors.
37:33
Speaker 2: Now. Speaking of authenticity, though, Eddie Bunker, who played mister Blue,
37:38
Speaker 2: he's a career criminal in real life and spent a
37:43
Speaker 2: little like he was the youngest person in San Quentin,
37:47
Speaker 2: you know when he was there. You know, this guy
37:50
Speaker 2: was a delinquent for a long time and actually did
37:53
Speaker 2: a heist or two I can't remember, and he was
37:56
Speaker 2: I think the role of Voight John Vot's role and
38:00
Speaker 2: heat was based off of Eddie Bunker.
38:02
Speaker 3: I can see that. You could really see that. My goodness,
38:06
Speaker 3: I can really see that.
38:08
Speaker 2: Yeah, And I think like an interviewer asked him about
38:10
Speaker 2: the movie and he said, he's like, He's like, yeah,
38:12
Speaker 2: this this movie is completely unrealistic. He's like, first of all,
38:15
Speaker 2: you're not going to do a highst job with people
38:18
Speaker 2: you don't know. And also on top of that, you're
38:21
Speaker 2: not all going to get together for breakfast the day
38:23
Speaker 2: before or like the day of. You know, it's just
38:28
Speaker 2: like people are gonna remember, you know, like six seven
38:31
Speaker 2: guys in black suits at a breakfast joint for.
38:36
Speaker 4: Talking about each other with like colors. I don't know.
38:39
Speaker 4: It was weird, you know, and one of them wouldn't tip.
38:42
Speaker 3: And yeah, well you know, I think that he has
38:47
Speaker 3: such a small role in the movie. But what's great
38:52
Speaker 3: is I think that even that sort of thing where
38:56
Speaker 3: he has that small role, and even mister Brown having
39:00
Speaker 3: the small role and the moments that they get. What
39:04
Speaker 3: I think really helps Reservoir Dogs is the fact that
39:07
Speaker 3: you feel like these guys have stories that you didn't
39:10
Speaker 3: see leading up to this. You feel that mister Blue
39:15
Speaker 3: has had a lifetime doing this sort of thing. You
39:20
Speaker 3: have a sense, especially when you see his death scene
39:23
Speaker 3: that mister Brown is the type of guy that fell
39:25
Speaker 3: into this life and is in over his head. He
39:28
Speaker 3: doesn't belong here truly. He's doing this. But he's not
39:32
Speaker 3: a mister White, He's not a Larry, he's not a
39:36
Speaker 3: nice guy Eddie. He's just there. And you know, you
39:41
Speaker 3: don't get enough of mister Pink except for the fact
39:43
Speaker 3: that's when you see him running from the cops. He's
39:47
Speaker 3: the one that keeps saying be a professional, Be a professional,
39:50
Speaker 3: and you get that sense of he knows what to
39:52
Speaker 3: do when things go wrong sort of thing. But I
39:55
Speaker 3: think that what's really great about all of these characters
39:59
Speaker 3: is they feel like they have lives before you meet them.
40:04
Speaker 3: And I think that, you know, Eddie Bunker is the
40:07
Speaker 3: one that really helps sell that, even in his very
40:11
Speaker 3: tiny role, he really helps sell the idea that all
40:13
Speaker 3: of these guys have a history leading up to this moment.
40:18
Speaker 2: Now we were talking about, you know, underappreciated roles, especially
40:22
Speaker 2: with Kirk Baltz's Marvin Nash. I think someone who really
40:27
Speaker 2: really gets overlooked is Chris pinn Is nice guy Eddie.
40:31
Speaker 2: Oh yeah, he does an absolute phenomenal job with this
40:36
Speaker 2: where like when he shows up, when he finally shows
40:38
Speaker 2: up at the mortuary and he's assessing the situation and
40:43
Speaker 2: figuring out what's going on. Just the sheer, like just
40:47
Speaker 2: the anger and the confusion and like like he he
40:52
Speaker 2: knows he's gonna get ripped a new one from it
40:54
Speaker 2: from his dad, and he's just like trying to piece
40:57
Speaker 2: it all together and he knows he's on he's on
41:00
Speaker 2: mister Blonde side, but at the same time, like he
41:04
Speaker 2: probably understands that he probably went crazy. It's just like
41:08
Speaker 2: he's able to encapsulate all of that together. Like you know, Darren,
41:13
Speaker 2: was there a standout performance to you with all these guys,
41:17
Speaker 2: Like did you were you just like yeah, mister whit's
41:19
Speaker 2: where it's at, mister Blond's where it's at? Or was
41:21
Speaker 2: was it all just kind of like a truly ensemble.
41:24
Speaker 4: Really like mister Brown, I couldn't get enough of mister
41:27
Speaker 4: I was just kidding, no, no, love you tarant any man,
41:33
Speaker 4: gosh it. Yeah, I mean it's like you said, nice guy, Eddie.
41:37
Speaker 4: I felt like walked off the street like like he
41:41
Speaker 4: just was that role and totally believable character, smart character.
41:47
Speaker 4: I love it. My villains are smart, so he you know,
41:51
Speaker 4: he knows what to do, he knows the next steps
41:53
Speaker 4: to takes. I love when he's sussing out Like, wait,
41:55
Speaker 4: so you're telling me that this guy who's basically completely
41:59
Speaker 4: low like wouldn't flip in jail, but now is all
42:04
Speaker 4: of a sudden going to steal these diamonds and shot
42:06
Speaker 4: you like and you're like, oh, yeah, that was a
42:08
Speaker 4: bad story to fib for, like you know, you we're done,
42:13
Speaker 4: But god, it's it's hard because yeah, like you said,
42:15
Speaker 4: I mean, mister white and an orange and blonde, they're
42:18
Speaker 4: all I would just say. I I think if I
42:24
Speaker 4: had to pick a favorite character, and it's probably more
42:26
Speaker 4: just on temperament than as opposed to like piece of
42:29
Speaker 4: the pie of the story is mister pink is Steve
42:32
Speaker 4: BUSHEMI he was just so good in this. I wanted
42:36
Speaker 4: more of him, you know, and again, like little things
42:40
Speaker 4: like you were saying, John, you know, he's like, oh,
42:41
Speaker 4: be a professional, Like Okay, he's been around the block
42:44
Speaker 4: a few times, like the fact that he was smart
42:46
Speaker 4: enough to stash the diamonds somewhere else because he's probably
42:49
Speaker 4: been in a heist where they all got together or
42:52
Speaker 4: he got there first with the you know, diamonds and
42:57
Speaker 4: or the loot and then somebody shot him in the
43:01
Speaker 4: back or something like that. So yeah, it i'd say,
43:05
Speaker 4: mister pink, but I would love to see more of him.
43:09
Speaker 2: And I mean, I mean and thankfully you know, like
43:12
Speaker 2: we hear, we hear John Pop in a forty to
43:15
Speaker 2: just kind of for for all the porn porn.
43:18
Speaker 3: One out for him, but to come back to Penn
43:22
Speaker 3: in all honesty, to come back to Penn, I think it.
43:25
Speaker 3: Chris Penn is. It's interesting because Sean Pen. Everybody knows
43:29
Speaker 3: Sean Penn's filmography. It's a little bit more selective. He's
43:33
Speaker 3: he's been. I know, I'm going to Sean Penn and
43:37
Speaker 3: I'm saying they're related. Oh, Sean Penn has a shorter
43:41
Speaker 3: filmography and he's much more you know, selective and stuff
43:47
Speaker 3: like that. But Chris Penn is much more of a
43:49
Speaker 3: journeyman actor. He left us too soon. He was forty
43:53
Speaker 3: when he died of heart disease. Like that is heartbreaking.
43:58
Speaker 3: I don't mean to say it that way, but you know,
44:00
Speaker 3: because a heart disease and everything, but.
44:01
Speaker 2: Like, yeah, he died almost twenty years ago.
44:03
Speaker 3: He was sane, so good every time Chris Penn showed up,
44:09
Speaker 3: and I love him as nice guy Eddie. When he
44:13
Speaker 3: has his eyes flare when you see that, he's like, okay,
44:18
Speaker 3: mister Orange, you're telling me, like you can tell the
44:23
Speaker 3: rage that he's sitting on in that moment because his
44:26
Speaker 3: friend has been killed. Right, it's a brilliant acting moment.
44:31
Speaker 3: And everybody should do a favor for themselves and go
44:35
Speaker 3: and see a very obscure little movie. And it's not great,
44:38
Speaker 3: but it's good and he's great in it. Called best
44:42
Speaker 3: of the best from the nineteen eighties. Go ahead and
44:45
Speaker 3: catch that movie. Chris Penn is a treat. I miss him.
44:49
Speaker 3: I'm glad he's also in True Romance that comes out
44:51
Speaker 3: a year after this. He's so good in everything that
44:55
Speaker 3: he does, Like even if the movie sucks, Chris Penn
44:58
Speaker 3: is good and it's it's just a testament to him
45:02
Speaker 3: that he's here. And to your point, Darren, he stands
45:05
Speaker 3: out in a sea of talent like this, like that
45:10
Speaker 3: is no small feat to be so good that I
45:14
Speaker 3: can call out certain moments, that scene where he's on
45:17
Speaker 3: the phone talking with the guy about how mad his
45:21
Speaker 3: dad is going to be, at him. It's such a
45:24
Speaker 3: great scene and it's played so well because he's sitting
45:27
Speaker 3: there like yeah, yeah, I know Dad's going to be okay, fine, Okay,
45:31
Speaker 3: it's messed up. Dad's on his.
45:32
Speaker 4: Way right now.
45:33
Speaker 3: Like it's so it's so authentic, even though you know,
45:37
Speaker 3: Chris Penn has never been in a situation like this,
45:40
Speaker 3: and it's just it's He's was such a terrific talent.
45:45
Speaker 2: I think you really hit it on the head there
45:46
Speaker 2: that this movie, even though it's not authentic, we have
45:49
Speaker 2: no idea what authentic is, you know, Like just like
45:52
Speaker 2: with what Eddie Bunker was talking about, he says, like,
45:55
Speaker 2: you know, no, this is really in the X y Z.
45:57
Speaker 2: This doesn't happen, the fact that none of us know
45:59
Speaker 2: what author is. But yet it feels authentic to the
46:04
Speaker 2: masses to us. I think is a real testament to
46:08
Speaker 2: Tarantino's writing and direction where you can put this together
46:13
Speaker 2: and it feels different. This is not a sleek blockbuster
46:20
Speaker 2: where things go right all the time until we have
46:22
Speaker 2: that one dramatic thing where something goes wrong. This feels
46:26
Speaker 2: like it's homegrown, Like this feels like real life, Like
46:32
Speaker 2: this feels like real people who do this as a job,
46:36
Speaker 2: like this is their job, this is their career, and
46:41
Speaker 2: it's I don't know, I don't feel like I'm articulating it. Well,
46:45
Speaker 2: it just it just feels like a real world with
46:48
Speaker 2: real people.
46:49
Speaker 3: But here's the question. We're sitting here, we're effusively praising
46:53
Speaker 3: the film. None of us have taken the time to
46:56
Speaker 3: talk about where the film might fall.
46:58
Speaker 2: Short story. Oh my god, the Commode story is too long.
47:03
Speaker 2: It kills the momentum, It kills it, It slams it
47:07
Speaker 2: to a holt.
47:09
Speaker 3: I agree. I remember watching the film for the first
47:13
Speaker 3: time and loving it and I'm totally on board, and
47:16
Speaker 3: the Commode story sitting there like okay, okay, let's keep
47:22
Speaker 3: like it threw me off because I was like okay,
47:25
Speaker 3: and then the movie takes an extra beat to get moving. Darren,
47:30
Speaker 3: did you get the same sense this is your first
47:32
Speaker 3: time viewing it. Did you feel the Commode story killed
47:35
Speaker 3: everything and let's restart?
47:37
Speaker 4: It definitely felt like, you know, whether this was the
47:41
Speaker 4: purpose of it or not, like it was patting the
47:43
Speaker 4: run time like oh, we gotta get to we don't
47:45
Speaker 4: want and animated length for like a kid's movie. We
47:49
Speaker 4: gotta you know pat out those numbers. Honestly, if they
47:52
Speaker 4: had just shown and I kind of get why they're
47:55
Speaker 4: showing it, they want to again, but I feel like,
47:57
Speaker 4: by now we've established that mister Orange sold it. We
48:02
Speaker 4: know it obviously worked. So just have his handler, you know,
48:06
Speaker 4: say well you got to do the commode story. Cut
48:09
Speaker 4: don't show him tell it or the actual story. Just
48:14
Speaker 4: just give us that. Just give us the com and
48:16
Speaker 4: I'd be like, what's the commode story? Leave us hanging
48:18
Speaker 4: on that and obviously it worked. Or maybe a tiny
48:22
Speaker 4: bit of him telling it with the group, maybe he
48:25
Speaker 4: just wrapped it up and then it was in the
48:27
Speaker 4: commode and and they're all like, oh, like, I mean
48:30
Speaker 4: we could tell we don't know what he's It's like
48:32
Speaker 4: when you want a character to give a really good
48:35
Speaker 4: speech and you don't show the speech, but you show
48:38
Speaker 4: the aftermath and you're like, well, anything I could have
48:40
Speaker 4: written is not going to be as good as what
48:43
Speaker 4: your mind imagines what he said. So yeah, I could
48:47
Speaker 4: totally have cut out the commode story it. You know,
48:52
Speaker 4: I was watching it with the Tristan I Oh, it
48:54
Speaker 4: grinds the story to a halt, but yeah, it it
48:58
Speaker 4: wasn't necessary. We're on our way towards the climax for sure,
49:02
Speaker 4: And I felt like, really, the core is we already
49:07
Speaker 4: know who mister Orange is. And even the other little
49:11
Speaker 4: cutbacks of him, like getting ready that morning and psyching
49:14
Speaker 4: himself up, that was great. Those are great little world
49:17
Speaker 4: building into his psyche. Uh you know that also leads
49:21
Speaker 4: up to the seeing how he got shot. But yeah, no,
49:24
Speaker 4: no commode story.
49:26
Speaker 3: See. I love the way you put it too, is
49:28
Speaker 3: you could have had his handler talking to him about
49:30
Speaker 3: the commode story, and maybe even his handler sitting there
49:34
Speaker 3: and you see you hear a piece of it while
49:36
Speaker 3: he's walking around, and the handler saying no, no, no,
49:38
Speaker 3: you got to really sell this and then sell the
49:41
Speaker 3: very end of it and have every everybody's.
49:44
Speaker 4: Reaction or whatever.
49:46
Speaker 3: Yeah, say, oh you can really handle these things. That's wow,
49:49
Speaker 3: that you're so cool.
49:49
Speaker 4: One of the day. It doesn't matter what the commode
49:52
Speaker 4: story is. It matters that he tells a very convincing
49:57
Speaker 4: story that he knows in his mind so well that
50:01
Speaker 4: any questions they ask he can drop the answer in
50:06
Speaker 4: a moment. So but that it got overshadowed by the
50:10
Speaker 4: actual telling of the story. Now so Tarantinan didn't learn
50:12
Speaker 4: his own rule about not showing the heist, don't show
50:15
Speaker 4: the commode story, same principle.
50:18
Speaker 2: And then you also see that Tarantino is really I mean,
50:21
Speaker 2: this is a freshman take. It's a freshman movie, you know,
50:24
Speaker 2: Like you see that he's experimenting with different things, Like
50:28
Speaker 2: you know, the cops are staring at him for an
50:30
Speaker 2: exceptionally long time. He's standing in front of end of
50:34
Speaker 2: the of the jet plane, like he's staying in front
50:37
Speaker 2: of the cops telling them the story as the camera
50:40
Speaker 2: does a Michael Bass swirl around him like he's trying
50:43
Speaker 2: he's trying out new things.
50:45
Speaker 3: Yeah, I think that there's also an argument that some
50:49
Speaker 3: of the discussion scenes with Joe, especially see maybe I've
50:57
Speaker 3: seen it too many times, but nice guy Eddie and
51:02
Speaker 3: mister White, it feels like that scene goes on a
51:06
Speaker 3: little bit too long too, where they're rasing each other.
51:09
Speaker 3: Like the first bit where they're rasing each other feels
51:12
Speaker 3: great and I'm laughing and I think it's fantastic. And
51:15
Speaker 3: there's this this machismo sort of thing.
51:18
Speaker 2: You mean, mister you mean nice got a Eddie and
51:20
Speaker 2: mister blonde.
51:21
Speaker 3: Mister blonde. I'm sorry. Yes, you're absolutely.
51:23
Speaker 4: Right, very light blonde, like almost right.
51:26
Speaker 3: Yes, but but but it feels like that could have
51:28
Speaker 3: been tightened a little bit too. I think that you know,
51:33
Speaker 3: to your point what you just said, Tristan, there's a
51:35
Speaker 3: little bit of a freshman. I feel like Mankey's in
51:38
Speaker 3: the editing bay with Tarantino and he insists on keeping
51:42
Speaker 3: certain things the way that they are, and probably she's
51:46
Speaker 3: sitting there She's like, I really think we should tighten this,
51:48
Speaker 3: and he's like, no, no, no, I really love it.
51:50
Speaker 4: I really love it.
51:50
Speaker 3: And she's like, okay, you're the director. I'll keep it,
51:53
Speaker 3: but this is my opinion. But okay, fine, fine, fine, fine,
51:55
Speaker 3: you win. Yeah, I love the five five. Yeah.
52:01
Speaker 4: Killing your Darlings is probably the hardest for Tarantino.
52:04
Speaker 3: To learn well at this point, yeah, I mean this
52:07
Speaker 3: is his first movie exactly. He probably he will learn
52:10
Speaker 3: this was such a journey to make this movie. He
52:13
Speaker 3: doesn't go into this, and I think that this is
52:15
Speaker 3: also possibly a lost relic of the time or something
52:19
Speaker 3: like that, where he does not approach this as I'm
52:23
Speaker 3: going to get to make another movie.
52:25
Speaker 4: Right.
52:26
Speaker 3: I think you've very much shot right. This is the
52:28
Speaker 3: one movie I'm going to get to make. I'm a
52:30
Speaker 3: video clerk. I'm making my movie. I'm going to make
52:34
Speaker 3: this one thing, and this is going to be it.
52:38
Speaker 3: And I think that maybe some of these flaws that
52:41
Speaker 3: we're talking about, you see him learn where he says, oh,
52:45
Speaker 3: I might get to make another movie, so I can
52:48
Speaker 3: practice a little restraint here to make.
52:51
Speaker 4: It slightly better or more receivable.
52:53
Speaker 3: And then maybe maybe he he forgets that lesson later on,
52:58
Speaker 3: maybe we'll get there too. Who knows, well, Well, one last.
53:00
Speaker 4: Thing with the commode story and our talk of like
53:03
Speaker 4: axing it. Yeah, if you feel like this is it
53:06
Speaker 4: and you've spent how much for that scene, it's really
53:11
Speaker 4: hard to cut. It's really hard to kill your darlings
53:13
Speaker 4: and to be like, no, the movie's better without it.
53:17
Speaker 4: When you feel like you just threw money away, it's
53:21
Speaker 4: a very hard feeling to get over.
53:23
Speaker 2: Yeah, all right, So we touched on a lot of
53:29
Speaker 2: what we liked and we I think we nailed down
53:32
Speaker 2: what we didn't like. And I feel like we're we're
53:34
Speaker 2: kind of at a natural wrap up. And Darren, because
53:38
Speaker 2: I'm hosting, I'm gonna make you go first. This is
53:42
Speaker 2: your first time watching it, and I want to know,
53:45
Speaker 2: what are you writing this? This is your first this
53:48
Speaker 2: is your first exposure to Tarantino's first film.
53:52
Speaker 4: Yes, and my first Tarantino film, but not.
53:54
Speaker 2: Your first Tarantino film. But you haven't seen a lot
53:57
Speaker 2: of Tarantino. And what's funny to me is I'm going
54:01
Speaker 2: to get last one last tidbit in before we go
54:04
Speaker 2: into rankings. Is Wes Craven walked out of the showing
54:09
Speaker 2: of this film because he thought it was too violent.
54:11
Speaker 2: I'm gonna say that again. I mean, why that again?
54:15
Speaker 3: I didn't know this and what.
54:19
Speaker 2: Wes Craven, the horror.
54:21
Speaker 3: Director who made that barn Elm Street.
54:25
Speaker 4: Yeah.
54:25
Speaker 2: And that's the thing is that, like Tarantino, I think
54:27
Speaker 2: publicly said, you know, like the man that that directed
54:31
Speaker 2: the Last House on the Left says my film's too violent.
54:36
Speaker 2: And Craven said in response, Last House on the Left
54:40
Speaker 2: is about the evils of violence, and reservoir dogs glorifies violence.
54:46
Speaker 3: What oh, oh, what what an old, old person sort
54:53
Speaker 3: of way approached the Yeah, that's his Scorsese moment. Good Darren. No,
55:01
Speaker 3: that's the thing is like this is this goes all
55:04
Speaker 3: the way back to the Godfather where they're like, oh,
55:06
Speaker 3: you're glorifying the mob, and it's like, not if you're
55:08
Speaker 3: paid attention, they're not, like, there's nothing glorifying violence here.
55:13
Speaker 4: Yeah, Or people watch Starship Troopers and they're like, oh,
55:17
Speaker 4: if you like that, you must like fascions of them.
55:18
Speaker 4: It's like, well, if you watch the movie like they're
55:21
Speaker 4: taking it to and eleven, it's terrible.
55:25
Speaker 3: It seems to be a commentary on something I don't know.
55:28
Speaker 3: I'm just spitballing here that I never knew that story,
55:32
Speaker 3: and I wish I didn't because now it makes me
55:34
Speaker 3: angry about Wes Craven and I hate it because I
55:39
Speaker 3: love Nightmare on Elm Street three. And you want to
55:41
Speaker 3: talk about somebody something that glorifies violence, that's a movie
55:45
Speaker 3: for you right there that glorifies violence. It even has
55:49
Speaker 3: a theme song by Dawkin that I still love. But
55:54
Speaker 3: that's nuts. It's just nuts, No, seriously, it is. It's
55:59
Speaker 3: every time something like Reservoir Dogs comes along, people who
56:04
Speaker 3: are old industry mainstays misinterpret it and they think it's
56:10
Speaker 3: something that it is not, And there is nothing glorifying violence.
56:15
Speaker 3: Everybody spoilers for anybody that hasn't seen this. Why were
56:19
Speaker 3: you listening up to this point? Everybody dies at the
56:22
Speaker 3: end of this movie. Nobody trusts each other, everybody's lying,
56:28
Speaker 3: and everybody shoots each other dead. By the end of
56:31
Speaker 3: this movie, How on earth do you walk out of
56:34
Speaker 3: the saying, you know, violence, it's pretty awesome.
56:37
Speaker 4: I'm to start to robin some jewel stores. It works
56:40
Speaker 4: out great for everybody, you know.
56:41
Speaker 3: I really you know that scene where the cop got
56:44
Speaker 3: his ear cut off, that was a laugh riot. No,
56:47
Speaker 3: you're looking at mister mister blood and you're like, that
56:50
Speaker 3: guy's that he's insane?
56:53
Speaker 4: What on earth?
56:55
Speaker 3: And yes, it becomes a joke to you know, stuck
56:58
Speaker 3: in the middle with you, you can't help but think
57:00
Speaker 3: of that moment and that dance now, but you don't
57:04
Speaker 3: think of it as like, you know, I really, I
57:07
Speaker 3: really think mister Blonde was in the right on that one.
57:10
Speaker 3: You just think, whoa man, People can really go crazy,
57:14
Speaker 3: they can really go like that. I just as you
57:18
Speaker 3: can tell, my brain is short circuiting, because that's nuts
57:22
Speaker 3: that Wes Craven walked out saying something like that.
57:25
Speaker 2: That is just I mean the fact that it's west.
57:27
Speaker 2: I think that's the thing is that it's Wes Craven.
57:30
Speaker 2: It's such a hypocritical thing to say. I think that's
57:32
Speaker 2: what really, that's what really kills it.
57:35
Speaker 4: Darren.
57:35
Speaker 2: How many how.
57:36
Speaker 4: Many ears are?
57:38
Speaker 2: Yeah? How many?
57:39
Speaker 4: How many?
57:39
Speaker 2: How many? Several years are you giving.
57:40
Speaker 4: This film now? So this is interesting because I kind
57:44
Speaker 4: of went back and forth between do I give myself
57:47
Speaker 4: room for improving? Do I let it stand, you know,
57:51
Speaker 4: because we're gonna be watching a lot of Tarantino movies,
57:54
Speaker 4: you know, for him to improve on, but also judging
57:58
Speaker 4: it on its own merits. So I am giving Reservoir
58:02
Speaker 4: Dogs four I think is a solid movie. The violence
58:09
Speaker 4: really wasn't like, yeah, there's extreme moments. I mean, it's
58:13
Speaker 4: definitely it gets its R for its language. Oh my gosh,
58:16
Speaker 4: there's like I'm really glad I watched this with headphones
58:18
Speaker 4: because yeah, it is a language R.
58:22
Speaker 2: I watched it with headphones too.
58:25
Speaker 3: Hard R in many ways?
58:27
Speaker 4: Yes, But no, I think none of the violence was gratuitous.
58:31
Speaker 4: None of it was like and again, even the key
58:35
Speaker 4: violent moments were panned away, and I think that worked
58:39
Speaker 4: for this movie, and apparently that won't always be the case.
58:43
Speaker 4: So I'm preparing myself. But no, I think this is
58:46
Speaker 4: gy I get the vibe. I see why people were like, oh,
58:50
Speaker 4: we will watch your career with great interest. So it's
58:57
Speaker 4: four colors of.
58:58
Speaker 2: The Rainbow, Darren, I'm not Darren, You're to Gavirs.
59:04
Speaker 3: John, Yeah, Okay. It is incredibly difficult to view this honestly,
59:14
Speaker 3: Like this is a movie where I remember how it
59:18
Speaker 3: affected me, how it impacted me, and how much it
59:22
Speaker 3: blew my mind, how much I loved it all the
59:26
Speaker 3: way back when I saw it for the first time,
59:29
Speaker 3: when I got the soundtrack, when I read everything about it,
59:33
Speaker 3: Like this came along at just the right time of
59:37
Speaker 3: life for me. I was a young man and movies
59:41
Speaker 3: were what they were, and then this comes along and
59:44
Speaker 3: it's like a splash of cold water and you're like,
59:47
Speaker 3: oh my gosh, how can anything be better than this?
59:51
Speaker 3: This is the most amazing thing I've ever seen. This
59:54
Speaker 3: is cool Ranch. Dorito's. Dorito's were one thing, and then
59:58
Speaker 3: cool Ranch came along. You were like, I remember cool
1:00:00
Speaker 3: Way and Storno's coming along. It's like, this is amazing.
1:00:03
Speaker 3: Dorino's can be a different thing. Oh my god, sex right,
1:00:09
Speaker 3: what happened? Have I entered another dimension?
1:00:11
Speaker 4: What is reality?
1:00:13
Speaker 3: But there are moments where, like the Commode story, like
1:00:19
Speaker 3: the the Mister Blonde n Sky Eddie stuff, it goes
1:00:23
Speaker 3: on a little too long, and there is as I
1:00:26
Speaker 3: watch it, something that feels unpolished that I know Tarantino
1:00:31
Speaker 3: is going to polish later. And while I am not
1:00:36
Speaker 3: going to give it a four like Darren, because I
1:00:38
Speaker 3: believe in the half star, because it is a complete
1:00:42
Speaker 3: cheat to make five stars into ten, I will give
1:00:46
Speaker 3: this four and a half because there's while the Commode
1:00:50
Speaker 3: story goes too long, it doesn't go long enough where
1:00:52
Speaker 3: I'm like, Okay, I'm bored. It's it's just getting to
1:00:57
Speaker 3: the okay, okay, I'm bored part where I'm like, and
1:01:01
Speaker 3: now we go and I can look at this movie
1:01:03
Speaker 3: and I can say, I bet you the next one
1:01:06
Speaker 3: is going to be something special, because this is somebody
1:01:09
Speaker 3: who's limited by budget, who's limited by his career at
1:01:16
Speaker 3: this point, like this is a first film, and this
1:01:19
Speaker 3: is a solid four and a half for me. This
1:01:21
Speaker 3: is somebody who shows so much promise, so much skill
1:01:28
Speaker 3: in writing and directing and pacing that it's just a
1:01:32
Speaker 3: little bit unpolished. So that's a four and a half
1:01:34
Speaker 3: years from me.
1:01:36
Speaker 2: John, I really echo everything you said, like from the
1:01:41
Speaker 2: commode to the blonde and nice guy Eddie interaction. I
1:01:47
Speaker 2: think that's what really knocks it down a half star
1:01:49
Speaker 2: for me. I can't knock it down a full star because,
1:01:53
Speaker 2: as we often say on the show, if the good
1:01:56
Speaker 2: outweighs the bad, it can counteract the bad a great deal.
1:02:00
Speaker 2: And so while I do not think this is a
1:02:02
Speaker 2: perfect movie, this is phenomenal. It's spectacular. Every time I
1:02:08
Speaker 2: watch it, I forget how good it actually is. Four
1:02:11
Speaker 2: and a half stars. This is great. And the four
1:02:15
Speaker 2: K transfer m it's beautiful. Lord, it's absolutely beautiful.
1:02:20
Speaker 3: A couple of scenes, the lighting looks a little like,
1:02:24
Speaker 3: you know, it's a little too bright. It feels like
1:02:27
Speaker 3: it's a little but I'll see how the pulp fiction
1:02:31
Speaker 3: four K transfer looks to know whether the four K
1:02:35
Speaker 3: process screwed with the lighting it at all. But I
1:02:39
Speaker 3: agree with you. Overall, this looks gorgeous, including the way
1:02:44
Speaker 3: that he cheated the slow mo in the in the
1:02:47
Speaker 3: opening sequence, it looks exactly like the cheated slow mo
1:02:51
Speaker 3: that I remember from the video days.
1:02:53
Speaker 2: Yes, that felt like a conscious decision to me, because
1:02:58
Speaker 2: this wasn't Wes Anderson in the nineties. Oh yeah, you know,
1:03:02
Speaker 2: this was like it would have felt a little different
1:03:05
Speaker 2: if there was smooth slow mo. At the beginning, it
1:03:08
Speaker 2: was it's indie, it's raw, it's real, it's gritty. You're
1:03:14
Speaker 2: getting that juttery, jittery slow mo. Well, thank you guys
1:03:18
Speaker 2: so much for listening. This has been house lights, the
1:03:20
Speaker 2: opening to the House of Tarantino. We as you can tell,
1:03:24
Speaker 2: we are very excited to continue on and hopefully you
1:03:26
Speaker 2: guys are excited as well. Because this is a director
1:03:29
Speaker 2: A lot of you have emailed us, tweeted us, and
1:03:33
Speaker 2: messaged us saying like, why aren't you doing Tarantino? So
1:03:36
Speaker 2: we're finally doing it and I am absolutely stoke. Go
1:03:39
Speaker 2: to the nerd party dot com check out all of
1:03:41
Speaker 2: our other shows, and also, if you want to suggest
1:03:44
Speaker 2: other directors, go to Facebook, go to Instagram, go to Twitter,
1:03:47
Speaker 2: go to blue Sky. You can email us by going
1:03:49
Speaker 2: to the nerd Party dot com slash contact and filling
1:03:52
Speaker 2: out the form send us an email, Darren, what are
1:03:55
Speaker 2: we doing next week?
1:03:57
Speaker 4: Yes, like you said, Tristan, we're going into the House
1:04:00
Speaker 4: of Tarantino the first time in a while. We've covered
1:04:02
Speaker 4: their entire directed works. We're going with nineteen ninety four's
1:04:06
Speaker 4: pulp fiction here On house Lights.
1:04:10
Speaker 1: Join the Revolution, Join the nerd Party.