QT8: The First Eight (2019)

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Who do you know right
now that's dangerous?

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I got a friend and he and
I love to fuck shit up.

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There is no one like Quentin.

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There's Quentin.

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He makes a different
kind of movie.

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You're gonna land the
word nigger a hundred

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and ten times on Christmas?

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Quentin loves strong
female characters.

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Brilliant, hilarious,
and disturbing.

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From the mind of
Quentin Tarantino,

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he really is a powerhouse
of creativity.

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It's Quentin's World.

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It's his baby.

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He wrote it.

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He's a lightning rod.

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He's absolutely unique.

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He's the voice of
his generation.

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It's the end of
an era of Quentin

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and the Weinstein Company.

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He's not gonna fade out.

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This is why he talks
about making ten.

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Quentin is a champion
of the female.

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And he's just the build,

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but he gets the
opportunity to do this.

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And then there are the movies.

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Now, that's what he
says about himself,

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about how he sees the world,

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his very purpose of existence.

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Quentin's sort of a
natural born filmmaker.

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It's his passion.

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It's where he connects
with the full range of

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human feeling.

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And I think that you really
see the through line

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of his fascinations as
a human being running

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all the way through
what matters to him,

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looking at race in America...

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...looking at what is romance...

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...commitment...

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...honor...

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...betrayal,

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loyalty...

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...and people having to

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do the right thing.

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It's for sure the end of an era.
The Weinsteins

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have been the distributor of
every single film of

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...his in the United States.

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Eight movies, all of them,

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very successful.

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He surely is immortality.

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A friend of mine, he turned
me onto Quentin Tarantino,...

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...who was

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stuffing video boxes at
Imperial Entertainment.

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And we had this meeting
and he seemed like kind of

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an overzealous geek.

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Pardon, pardon me.

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But guess what?

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He had the talent to back it up.

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He would sleep on my couch.

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I don't think he had
a car at the time

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and flat broke.

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"I want to get in
the movie business.

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Do I think I can write?

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I'm gonna give it a stab,
'cause all it takes is

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a pen and paper."

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I asked him about

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writing on a computer.

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He said, "You can't
write on a computer."

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I'm like, "Why not?"

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He's like, "You can't write
poetry on a computer.

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He's like, "My pen is
my antennae to God.

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That's how I write.

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It just- it just flows.

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It's just a receiver."

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He has a red pen and a
black pen, felt tip,

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and yellow legal pad, and
dit-dit-dit-dit-dit-dit-dit.

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That was it.

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Five minutes later,
he's got dialogue that would

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take some people an
entire lifetime to write.

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I think Quentin
basically writes novels

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and then when he's directing,
he's basically adapting

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his own novel to the screen.

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A lot of different
things are gonna happen.

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It's a roller coaster ride.
Oh, yeah, baby.

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You're gonna be horrified.

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(Groans)

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You're gonna feel relief.
Then say something.

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Something.

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You're gonna feel romance.

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Quentin is above all a romantic.

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First script,
True Romance,

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Clarence saving Alabama is
the beginning of rescuing

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the princess that really
pays off in Django coming

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back to rescue Broomhilda.

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The first script of his I read
was Natural Born Killers.

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And when I read that I went,

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whoa, this guy's amazing.

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Then I read True Romance.

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I went, what the?

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What's going on.

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What's wrong with Hollywood?

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Where is everybody?

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You'd take home a slog of
twenty scripts a weekend

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and you're looking for
that thing that jumps off

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the page where the
characters are alive,

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where the dialogue
doesn't feel trite.

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Every kid wants to
give you a script

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and you- you- you with
the best intentions,

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you go, God, I
hope this is good.

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And then by page two
it's like turning like

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(groans)
oh, I can't turn the page.

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This is really just terrible.

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Not with Quentin.

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No way.

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Oh, they're brilliant
screenplays.

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Can you imagine having to
sell those to pay your rent?

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I mean, wow, you know.

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(Inhales) I read a lot.

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(Exhales)
Especially about things

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about history.

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I find that shit fascinating.

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Here's a fact.

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I don't know whether
you know or not.

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Well...

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Sicilians were
spawned by niggers.

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Uh, come again?

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(Laughs)

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You look at the stuff
that Quentin writes.

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If it was on stage,
he'd have the Pulitzer.

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You know, because it's movies,

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everyone said, "Oh,
he was in a video store.

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He stole."

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Which of course launched
a thousand people working

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in video stores going,

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"Oh, I'm gonna be
the next Tarantino."

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Well, literally,
there's Quentin

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and there's everyone else.

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There's great stories,
great characters.

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Later on in the story...

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Clearly in True Romance,

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Clarence is a surrogate
for Quentin.

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You see his love of cinema
present in his voice

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as he expertly carries
you through his films.

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(Overlapping) Oh! Ooh. You
have three kung-fu moves.

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In the original draft,
his version of True Romance,

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it was non-linear storytelling.

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The audience is
ahead of the characters

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and on the edge of their seat

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'cause they know
something bad's coming.

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And Tony Scott in his
adaptation made it linear,

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and Quentin loves True Romance,

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but Clarence died in
Quentin's version.

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Sweetie! (Sobs)

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He had sold True Romance.

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He was hoping to direct it.

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Baby!

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He wasn't gonna be able to.

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He couldn't get anywhere
with Natural Born Killers.

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Um, he couldn't get that
going to direct, also.

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And he wrote Reservoir
Dogs so that it would be

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set in one contained place,

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so that no matter what happened,

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he was gonna direct this movie

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with the twenty thousand
dollars he had made on

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Golden Girls residuals for
being an Elvis impersonator.

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(Sings) I do love you
with all my heart.

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I read a script of

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Reservoir Dogs and I just
hoped that the writer

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who said he was going
to be the director

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was really a director.

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I introduced him to my
friend Lawrence Bender,

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and Lawrence got Reservoir
Dogs all up and running.

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And Lawrence said,
"Give me a month.

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I know somebody who
knows Harvey Keitel."

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And Harvey said yes.

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I was pumping gas, man.

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I was driving a tow truck and,

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uh, I had done Thelma and Louise

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and I had done
some episodic TV.

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And I got that
thing and, you know,

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I- I- I'd never read
anything like it in my life.

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These guys and they're
named after colors.

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Mr. Brown, Mr. White,
Mr. Blonde, Mr. Blue,

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Mr. Orange, and Mr. Pink.

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Why am I Mr. Pink?

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And I remember my agent,
she was saying,

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"Well, you know, they all kill
each other at the end and,

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(clicks tongue) you know,

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there's no money
and, uh, you know,

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nobody's ever heard of
this Quentin guy and...

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You have no way of knowing

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with a first time director
whether they can direct or not.

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You never know.

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But Quentin, even then,
prior to making any film,

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knew every actor's resume.

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This guy was in this.

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I want this guy from this,
and this Lawrence Tierney

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was in Dillinger and I want him.

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He just set about putting
together the ensemble

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and it came out exactly
the way he wanted it.

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I don't know why he had me
stuck in his head to play

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Mr. Blonde, 'cause I didn't
want to play Mr. Blonde.

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I didn't want to get shot
by Tim Roth, you know.

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I don't want to be
killed by Tim Roth.

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I was like, hey, man,
"Who's Tim Roth?"

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I went along and met with him

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and- and Harvey Keitel.

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And they wanted me to read
and I wouldn't read for it.

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I'm very bad at auditioning.

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I got to memorize all of this?

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There's over four fuckin'
pages of this shit.

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And they pushed, you know,
they were pushing me.

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And so, me and Quentin
went and got some food

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and then some beer, and then
we went down to a pub near me

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and we got more beer.

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And we read every
character in the script

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I don't know how many times.

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I'd let Harvey Keitel kill me,

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but I don't, I'm not getting
killed by Tim Roth.

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I was on the floor in
a disproportionate

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amount of blood to
what you can actually

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contain in a human body.

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At the end of the day, one day,

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we- we- we hugged each other.

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And, you know, we're
both covered with blood,

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but it's- it's syrup,
basically.

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It's- it's fake.

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It's stage blood and
so when it starts to dry

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a little bit it
gets extremely sticky.

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And we were hugging
each other, like,

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you know, doing
the big guy hug thing

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and we- we couldn't get apart.

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We were stuck together.

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(Laughs)

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And the wardrobe people
were convinced that

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if we forcefully separated
that it would tear

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the clothes apart,
and they didn't have

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a lot of budget for wardrobe.

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In fact, that was my suit.

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He told us to come to work in
a black suit with white shirts.

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They gave us the ties.

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That was about it.

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And if you watch the movie,

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Steve Buscemi
has black jeans on.

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Those aren't- aren't-
aren't suit pants.

245
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They're black jeans, man.

246
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And my suit, the
jacket or the pants,

247
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don't go together.

248
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They're from two
different suits.

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When I see the movie,
that's all I remember is

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my pants were too tight, man.

251
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They were making me crazy.

252
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And I didn't have black shoes.

253
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He wanted everyone
to have black shoes.

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I didn't have any.

255
00:10:57,431 --> 00:11:00,351
But I had black
cowboy boots, see.

256
00:11:00,351 --> 00:11:02,687
So that's how
the razor ended up

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being in the boot,

258
00:11:04,105 --> 00:11:06,107
because what am I gonna
do with this razor?

259
00:11:06,107 --> 00:11:07,274
Where is it gonna come from.

260
00:11:07,274 --> 00:11:08,776
You know that's
how that happened.

261
00:11:09,694 --> 00:11:12,405
In the script it said,
"Mr. Blonde dances

262
00:11:12,405 --> 00:11:15,700
maniacally around
the manacled cop."

263
00:11:15,700 --> 00:11:18,619
And every time we got to
the part of the rehearsal

264
00:11:18,619 --> 00:11:20,037
where that was about to happen,

265
00:11:20,037 --> 00:11:22,373
I would say, "Quentin,
I don't know what to do."

266
00:11:22,373 --> 00:11:23,624
And he'd go, "No, no, no.

267
00:11:23,624 --> 00:11:24,875
We'll- we'll-
we'll shoot another day.

268
00:11:24,875 --> 00:11:26,002
We'll shoot another day."

269
00:11:26,002 --> 00:11:27,920
He didn't want to do,
um, the dancing.

270
00:11:28,838 --> 00:11:29,547
Didn't want to do it.

271
00:11:30,381 --> 00:11:31,007
Iconic.

272
00:11:31,757 --> 00:11:32,341
Right?

273
00:11:32,341 --> 00:11:33,634
Yeah. I was like,
"Fuck, man.

274
00:11:33,634 --> 00:11:36,095
I'll do it,"
(laughs)

275
00:11:36,095 --> 00:11:37,346
from the floor.

276
00:11:37,346 --> 00:11:41,100
I asked him, I said,
um, "What's the music

277
00:11:41,100 --> 00:11:43,686
you're gonna play over
this whole thing?"

278
00:11:43,686 --> 00:11:45,813
And he said, uh, "Well..."

279
00:11:45,813 --> 00:11:48,482
he said, "I really want,
uh, Stealers Wheel.

280
00:11:48,482 --> 00:11:49,942
I want to do
"Stuck In The Middle."

281
00:11:49,942 --> 00:11:52,194
And I said,
"Why don't you play it for me."

282
00:11:52,194 --> 00:11:54,030
And so they put
it on a boom box.

283
00:11:54,030 --> 00:11:57,324
That's actually how it's
actually cued in the movie.

284
00:11:57,324 --> 00:12:00,661
And so I slowly started
to stand up and I sang while

285
00:12:00,661 --> 00:12:03,497
I started to suddenly do my
version of a maniacal dance.

286
00:12:03,497 --> 00:12:07,626
(Sings) Well, I don't know why
I came here tonight I got...

287
00:12:07,626 --> 00:12:10,004
Honestly, I don't know
where it came from.

288
00:12:10,004 --> 00:12:10,796
I honestly don't.

289
00:12:10,796 --> 00:12:13,841
(Sings) And I'm wondering
how I'll get down the stairs

290
00:12:13,841 --> 00:12:15,509
I can't dance,
which is obvious,

291
00:12:15,509 --> 00:12:17,136
and- and then
sort--I just went with it,

292
00:12:17,136 --> 00:12:18,262
'cause I felt like
it was working

293
00:12:18,262 --> 00:12:19,430
and I didn't hear
him say, "cut".

294
00:12:19,430 --> 00:12:21,098
(Sings) ...stuck in
the middle with you.

295
00:12:21,098 --> 00:12:22,683
I felt really respected.

296
00:12:22,683 --> 00:12:24,310
And the fact that
he let me do that,

297
00:12:24,310 --> 00:12:26,062
I mean, I- I loved him for that.

298
00:12:26,062 --> 00:12:28,272
Even the- the ear thing.

299
00:12:28,272 --> 00:12:31,317
He said, "Okay, step in
the frame with the ear."

300
00:12:31,317 --> 00:12:33,736
So I walk in the frame
and I have it in my hand,

301
00:12:33,736 --> 00:12:35,404
which is a horrifying
moment, you know.

302
00:12:35,404 --> 00:12:37,156
Oh, my God.

303
00:12:37,156 --> 00:12:38,949
And he's going,
"Throw it.

304
00:12:38,949 --> 00:12:39,408
Throw it.

305
00:12:39,408 --> 00:12:40,326
Throw it."

306
00:12:40,326 --> 00:12:42,953
And I didn't really
want to throw it,

307
00:12:42,953 --> 00:12:45,956
but I couldn't think of
anything interesting to do.

308
00:12:45,956 --> 00:12:47,958
And so I spoke in it.

309
00:12:47,958 --> 00:12:49,001
Hey, what's going on?

310
00:12:49,001 --> 00:12:50,544
(Groans) You hear that?

311
00:12:50,544 --> 00:12:52,296
(Groans) (laughs)
So then I threw it.

312
00:12:52,296 --> 00:12:55,007
And I was thinking, God,
if you were that guy,

313
00:12:55,007 --> 00:12:56,384
if someone did that to you,

314
00:12:56,384 --> 00:12:57,802
how horrible would that be?

315
00:12:57,802 --> 00:12:59,386
It was a terrifying movie.

316
00:12:59,386 --> 00:13:00,805
As an audience,

317
00:13:00,805 --> 00:13:03,557
we had never seen anything
like that really.

318
00:13:03,557 --> 00:13:08,938
It felt so new and so
exciting and explosive

319
00:13:08,938 --> 00:13:11,607
and dynamic in
just the dialogue.

320
00:13:11,607 --> 00:13:13,359
Give me that fuckin' thing.

321
00:13:13,359 --> 00:13:15,069
Now what the hell do you
think you're doin'?

322
00:13:15,069 --> 00:13:15,694
Give me my book back.

323
00:13:15,694 --> 00:13:16,987
I'm sick of fuckin' hearing it.

324
00:13:16,987 --> 00:13:19,198
Joe, I'll give it back
to you when we leave.

325
00:13:19,198 --> 00:13:20,491
What do you mean when we leave?

326
00:13:20,491 --> 00:13:21,534
Give me it back now.

327
00:13:21,534 --> 00:13:23,285
For the past fifteen
minutes now,

328
00:13:23,285 --> 00:13:26,914
you've been droning
on about names, Toby.

329
00:13:26,914 --> 00:13:27,665
Toby?

330
00:13:27,665 --> 00:13:29,416
Once we started shooting
Reservoir Dogs...

331
00:13:29,416 --> 00:13:30,209
...and I remember just being

332
00:13:30,209 --> 00:13:32,044
a couple days in,

333
00:13:32,044 --> 00:13:35,756
and I pulled Harvey
Keitel aside and I said,

334
00:13:35,756 --> 00:13:37,341
"Harvey, I'm so excited."

335
00:13:37,341 --> 00:13:39,426
And he said, "Well, why
are you so excited?"

336
00:13:39,426 --> 00:13:41,887
And I said,
"Well, I never imagined

337
00:13:41,887 --> 00:13:44,723
that what we would do on
the film would better

338
00:13:44,723 --> 00:13:46,684
the experience that
I had of sitting alone

339
00:13:46,684 --> 00:13:48,811
in my room reading the script."

340
00:13:48,811 --> 00:13:51,105
I've got Madonna's big dick
coming out of my left ear

341
00:13:51,105 --> 00:13:53,816
and Toby the Jack,
I don't know what,

342
00:13:53,816 --> 00:13:54,859
comin' out of my right.

343
00:13:54,859 --> 00:13:57,069
And Harvey Keitel
said, "Of course,

344
00:13:57,069 --> 00:13:58,028
it's better than that.

345
00:13:58,028 --> 00:13:58,821
I'm here."

346
00:13:58,821 --> 00:13:59,613
(Laughs)

347
00:13:59,613 --> 00:14:01,782
There's just so much
good stuff in them.

348
00:14:01,782 --> 00:14:04,201
No only visually,
but, and not only

349
00:14:04,201 --> 00:14:06,620
what the actors say,
but what they do

350
00:14:06,620 --> 00:14:10,499
and how they do it and how
the plot unfolds.

351
00:14:10,499 --> 00:14:13,627
I think the reason
that every critic

352
00:14:13,627 --> 00:14:17,423
and journalist went crazy
for Reservoir Dogs

353
00:14:17,423 --> 00:14:19,049
is rightfully so.

354
00:14:19,049 --> 00:14:23,095
It was the debut of an
extraordinary new voice.

355
00:14:23,095 --> 00:14:30,436
And, you know, it was our
nineties Auteur Indie cinema,

356
00:14:30,436 --> 00:14:33,189
you know, the equivalent
of the French New Wave,

357
00:14:33,189 --> 00:14:36,233
breaking any rules that he
wants.

358
00:14:36,233 --> 00:14:37,359
It was thrilling.

359
00:14:38,986 --> 00:14:43,699
(Groans)

360
00:14:43,699 --> 00:14:45,576
We were walking
back to the trailers.

361
00:14:45,576 --> 00:14:48,495
I remember Harvey, he says,
"This is good, right?"

362
00:14:48,495 --> 00:14:49,747
And- and, (chuckles)
I went,

363
00:14:49,747 --> 00:14:51,790
"Yes, really fuckin' good."

364
00:14:51,790 --> 00:14:53,542
(Chuckles)
Who's a tough guy?

365
00:14:53,542 --> 00:14:55,544
(Wheezes)
Who's a tough guy?

366
00:14:55,544 --> 00:14:57,546
(Wheezes) And he went,
"Don't jinx it.

367
00:14:57,546 --> 00:14:58,088
Don't jinx it.

368
00:14:58,088 --> 00:14:58,881
Whatever you do,
don't jinx it."

369
00:14:58,881 --> 00:14:59,924
I said, "Okay."

370
00:14:59,924 --> 00:15:03,510
But it was, the word was
out on this- on this guy.

371
00:15:03,510 --> 00:15:05,179
So when we went
to France with...

372
00:15:05,179 --> 00:15:06,096
..Reservoir Dogs,

373
00:15:06,096 --> 00:15:09,058
it was, um, it was chosen
as an official selection

374
00:15:09,058 --> 00:15:11,769
of the film festival,
which is a very prestigious

375
00:15:11,769 --> 00:15:13,187
place to be,
particularly for

376
00:15:13,187 --> 00:15:14,730
a first time director.

377
00:15:14,730 --> 00:15:16,440
So we showed our
film in the Palais,

378
00:15:16,440 --> 00:15:19,276
and in the three
days prior to that,

379
00:15:19,276 --> 00:15:22,196
Quentin and Lawrence and
I are walking around Cannes

380
00:15:22,196 --> 00:15:24,532
and walking down the
Croisette and looking at

381
00:15:24,532 --> 00:15:26,742
different movies and going
to different screenings

382
00:15:26,742 --> 00:15:28,035
and just... Hey.

383
00:15:28,035 --> 00:15:29,286
...having a good old time.

384
00:15:29,286 --> 00:15:33,624
And then we screen the
film as a midnight special

385
00:15:33,624 --> 00:15:35,167
screening in the Palais.

386
00:15:35,167 --> 00:15:38,212
And the day after that,

387
00:15:38,212 --> 00:15:41,006
when we would walk down
the street as we were

388
00:15:41,006 --> 00:15:42,967
goofy guys wandering around,

389
00:15:42,967 --> 00:15:45,386
you'd start to hear
people going, "Tarantino!

390
00:15:45,386 --> 00:15:46,762
Tarantino!"

391
00:15:46,762 --> 00:15:50,349
And thus the legend
of Quentin began.

392
00:15:50,349 --> 00:15:53,686
The Auteur was born
somewhat as it should be

393
00:15:53,686 --> 00:15:55,479
in Cannes.

394
00:15:55,479 --> 00:15:59,525
The day after it screened,
I got a call from Mario Kassar

395
00:15:59,525 --> 00:16:01,360
who is head of
Carolco and he said,

396
00:16:01,360 --> 00:16:04,446
"All of our directors
on our boat,

397
00:16:04,446 --> 00:16:07,825
um, want to meet Quentin.

398
00:16:07,825 --> 00:16:11,495
Like what is this movie you
made and who is this guy?"

399
00:16:11,495 --> 00:16:13,497
And I said, well,
I'll bring him by.

400
00:16:13,497 --> 00:16:17,334
So we showed up at
the boat and Renny Harlin

401
00:16:17,334 --> 00:16:19,503
and Oliver Stone
and James Cameron

402
00:16:19,503 --> 00:16:22,590
and Paul Verhoeven
were all there

403
00:16:22,590 --> 00:16:25,926
and they just wanted
to meet Quentin.

404
00:16:25,926 --> 00:16:27,886
And, suddenly,
Quentin has,

405
00:16:27,886 --> 00:16:29,096
not only a seat at the table,

406
00:16:29,096 --> 00:16:31,724
but is kind of running
the table and these guys are

407
00:16:31,724 --> 00:16:33,892
so interested in Quentin.

408
00:16:33,892 --> 00:16:36,145
And this is how it
sort of all began.

409
00:16:36,145 --> 00:16:37,646
Quentin came back

410
00:16:37,646 --> 00:16:40,316
from Cannes after
Reservoir Dogs.

411
00:16:40,316 --> 00:16:41,734
Now that was a
fascinating story,

412
00:16:41,734 --> 00:16:44,069
'cause he was crashing
on my couch, right?

413
00:16:44,069 --> 00:16:46,447
So I was, I had to get, uh,

414
00:16:46,447 --> 00:16:48,282
the "Hollywood
Reporter", "Variety",

415
00:16:48,282 --> 00:16:51,368
all of the- the magazines,
"L.A. Weekly",

416
00:16:51,368 --> 00:16:53,329
all the stuff that had
articles on Reservoir Dogs.

417
00:16:53,329 --> 00:16:55,039
Literally, you couldn't
believe how much stuff.

418
00:16:55,039 --> 00:16:55,706
I went, "Oh wait.

419
00:16:55,706 --> 00:16:56,874
This is like a joke."

420
00:16:56,874 --> 00:16:58,584
He went away to Cannes

421
00:16:58,584 --> 00:17:00,377
just another
independent filmmaker

422
00:17:00,377 --> 00:17:01,754
and came back like a star.

423
00:17:04,423 --> 00:17:07,217
Miramax was the company
that stepped up to

424
00:17:07,217 --> 00:17:08,552
take Reservoir Dogs.

425
00:17:08,552 --> 00:17:12,139
Before that, you know,
Quentin was pretty much

426
00:17:12,139 --> 00:17:15,434
nobody wanted to give him
a chance to do fuck all.

427
00:17:15,434 --> 00:17:17,644
So that started the
bond of Quentin

428
00:17:17,644 --> 00:17:19,605
and the Weinstein Brothers.

429
00:17:23,025 --> 00:17:26,028
"The whole mystical,

430
00:17:26,028 --> 00:17:30,032
shamanistic thing that I thought
directing was went 'poof'.

431
00:17:30,032 --> 00:17:31,575
I realized I can do that." - QT

432
00:17:31,575 --> 00:17:33,702
We were in a hotel
room on the road

433
00:17:33,702 --> 00:17:35,954
with Reservoir Dogs

434
00:17:35,954 --> 00:17:38,040
and he's got his legal pads out.

435
00:17:38,040 --> 00:17:39,249
And his thing, you know,

436
00:17:39,249 --> 00:17:40,834
the way that he
does his scripts.

437
00:17:40,834 --> 00:17:43,962
He starts reading all these
characters and stage direction.

438
00:17:43,962 --> 00:17:45,422
I love you, Pumpkin.

439
00:17:45,422 --> 00:17:47,174
And I love you,
Honey Bunny.

440
00:17:47,174 --> 00:17:48,300
And it's Pulp Fiction.

441
00:17:48,300 --> 00:17:49,760
Everybody be cool.
This is a robbery.

442
00:17:49,760 --> 00:17:50,469
What?

443
00:17:50,469 --> 00:17:54,640
Any of you fuckin'
pricks move and I'll execute

444
00:17:54,640 --> 00:17:56,308
every one of ya motherfuckers.

445
00:17:56,308 --> 00:17:58,769
Quentin says,
"This is my next thing.

446
00:17:58,769 --> 00:18:04,024
This is what I'm gonna do."

447
00:18:04,024 --> 00:18:06,360
There was an eagerness
by many financiers

448
00:18:06,360 --> 00:18:09,738
to make Quentin's next movie.

449
00:18:09,738 --> 00:18:11,073
We had agreed,

450
00:18:11,073 --> 00:18:12,783
uh, Harvey Weinstein agreed,

451
00:18:12,783 --> 00:18:14,493
uh, to finance the film.

452
00:18:14,493 --> 00:18:17,746
They never interfered
with his material.

453
00:18:17,746 --> 00:18:21,125
(Chuckles)
There's subject matter

454
00:18:21,125 --> 00:18:25,629
and dialogue in Quentin's
pictures that really nobody else

455
00:18:25,629 --> 00:18:29,174
could get away with doing,
especially a white guy.

456
00:18:29,174 --> 00:18:30,551
Did you notice
a sign on the front of

457
00:18:30,551 --> 00:18:32,553
my house that said,
"Dead Nigger Storage."

458
00:18:32,553 --> 00:18:34,012
Jimmy, you know
I ain't seen no shit.

459
00:18:34,012 --> 00:18:36,056
Did you notice a sign on
the front of my house

460
00:18:36,056 --> 00:18:38,600
that said "Dead Nigger Storage?"

461
00:18:38,600 --> 00:18:40,102
No.

462
00:18:40,102 --> 00:18:42,438
I got the script and ...

463
00:18:42,438 --> 00:18:43,105
...I kind of sat

464
00:18:43,105 --> 00:18:44,523
there and stared at it.

465
00:18:44,523 --> 00:18:46,525
When I was done I was like,

466
00:18:46,525 --> 00:18:49,278
"Oh, there's no fuckin'
way the script that's good."

467
00:18:49,278 --> 00:18:52,197
I'm just readin' it like
that because he told me

468
00:18:52,197 --> 00:18:53,490
he wrote this part for me.

469
00:18:53,490 --> 00:18:56,869
You know what they call a- a
Quarter Pounder with Cheese,

470
00:18:56,869 --> 00:18:58,203
uh, in Paris?

471
00:18:58,203 --> 00:18:59,830
They don't call it a Quarter
Pounder with Cheese?

472
00:18:59,830 --> 00:19:00,164
No, man.

473
00:19:00,164 --> 00:19:01,206
They got the metric system.

474
00:19:01,206 --> 00:19:03,459
They wouldn't know what
the fuck a Quarter Pounder is.

475
00:19:03,459 --> 00:19:04,418
Then what do they call it?

476
00:19:04,418 --> 00:19:07,254
They call it, uh,
The Royale with Cheese.

477
00:19:07,254 --> 00:19:08,630
Royale with Cheese.

478
00:19:08,630 --> 00:19:09,339
That's right.

479
00:19:09,339 --> 00:19:11,216
Second time it
was just as amazing.

480
00:19:11,216 --> 00:19:14,470
So it's like, (exhales air),

481
00:19:14,470 --> 00:19:16,096
okay.

482
00:19:16,096 --> 00:19:19,933
If Harvey Weinstein has
the balls to make this movie,

483
00:19:19,933 --> 00:19:21,643
this movie's gonna be awesome.

484
00:19:21,643 --> 00:19:23,395
I know my friends
are gonna love it.

485
00:19:23,395 --> 00:19:25,105
He had built a real fan base

486
00:19:25,105 --> 00:19:27,816
on home video by the time
Pulp Fiction came out.

487
00:19:27,816 --> 00:19:29,651
But I think he learned
something, too.

488
00:19:29,651 --> 00:19:31,653
Watching the film
with enough audiences

489
00:19:31,653 --> 00:19:34,406
when he went and
toured film festivals,

490
00:19:34,406 --> 00:19:36,909
he realized that he needed
to give the audience

491
00:19:36,909 --> 00:19:38,994
permission to laugh.

492
00:19:38,994 --> 00:19:40,996
The dude's head gets blown
off in the back of the car.

493
00:19:40,996 --> 00:19:42,498
I mean people laugh at
that shit and then they

494
00:19:42,498 --> 00:19:43,874
catch themselves
and go, "Oh, shit.

495
00:19:43,874 --> 00:19:44,708
I can't laugh at that."

496
00:19:44,708 --> 00:19:45,584
Oh!

497
00:19:45,584 --> 00:19:46,877
What the fuck's happenin'?

498
00:19:46,877 --> 00:19:48,712
Ah, man. Oh, shit, man.

499
00:19:48,712 --> 00:19:50,297
Oh, man, I shot
Marvin in the face.

500
00:19:50,297 --> 00:19:51,507
Why the fuck'd you do that?

501
00:19:51,507 --> 00:19:55,135
And it's cool, too,
because it's not CGI blood.

502
00:19:55,135 --> 00:19:58,096
He still likes to use squibs
and blood packs and stuff,

503
00:19:58,096 --> 00:20:02,184
so I mean I could be twenty-five
feet across the room

504
00:20:02,184 --> 00:20:03,977
and get blood splattered
on me from shootin'

505
00:20:03,977 --> 00:20:05,604
somebody on the other
side of the room,

506
00:20:05,604 --> 00:20:07,564
which was like awesome.

507
00:20:07,564 --> 00:20:09,066
You're sending The Wolf?

508
00:20:09,066 --> 00:20:11,485
Don't you feel better,
motherfucker?

509
00:20:11,485 --> 00:20:13,529
Shit yeah, Negro.

510
00:20:13,529 --> 00:20:15,072
That's all you had to say.

511
00:20:16,406 --> 00:20:17,115
Like you have to call

512
00:20:17,115 --> 00:20:18,534
someone because
you accidentally shot

513
00:20:18,534 --> 00:20:20,494
someone's head off is amazing,

514
00:20:20,494 --> 00:20:22,120
and then that it becomes, like,

515
00:20:22,120 --> 00:20:26,583
he's so blasé about
cleaning bits of brain up.

516
00:20:26,583 --> 00:20:28,168
Oh, man!

517
00:20:28,168 --> 00:20:30,629
I will never forgive
your ass for this shit.

518
00:20:30,629 --> 00:20:32,172
Because he always
intended it to be funny,

519
00:20:32,172 --> 00:20:34,383
but people sort of felt a
little bit uncomfortable.

520
00:20:34,383 --> 00:20:35,384
Am I allowed to laugh?

521
00:20:35,384 --> 00:20:38,011
Am I sick if I'm laughing?

522
00:20:38,011 --> 00:20:39,304
You know, what's going on?

523
00:20:39,304 --> 00:20:42,474
And with Pulp,
intentionally,

524
00:20:42,474 --> 00:20:44,184
he really let everybody
in on the joke.

525
00:20:44,184 --> 00:20:45,811
They look like a
couple of dorks.

526
00:20:45,811 --> 00:20:47,938
(Laughs) (laughs) Ha-ha-ha.

527
00:20:47,938 --> 00:20:49,481
They're your clothes,
motherfucker.

528
00:20:49,481 --> 00:20:52,609
I can look at it and
say this is one of those

529
00:20:52,609 --> 00:20:53,652
gangster characters.

530
00:20:53,652 --> 00:20:55,696
(Exhales sharply)
This is how he's thinkin',

531
00:20:55,696 --> 00:20:57,281
this is how he's talkin',
and this is what his

532
00:20:57,281 --> 00:20:58,407
cadence is.

533
00:20:58,407 --> 00:21:01,869
And I will strike down
upon thee with great

534
00:21:01,869 --> 00:21:06,206
vengeance and furious
anger those who attempt

535
00:21:06,206 --> 00:21:09,001
to poison and
destroy my brothers.

536
00:21:09,001 --> 00:21:13,463
And because I spent so
many years doing theater.

537
00:21:13,463 --> 00:21:17,384
And you will know
my name is the Lord

538
00:21:17,384 --> 00:21:20,846
when I lay my
vengeance upon thee.

539
00:21:20,846 --> 00:21:27,644
(Screams)
I love a monologue.

540
00:21:27,644 --> 00:21:30,022
I remember when I
originally gave this script

541
00:21:30,022 --> 00:21:31,315
to the Weinsteins,
Harvey read it

542
00:21:31,315 --> 00:21:33,317
and called me up and said,
"You guys are crazy.

543
00:21:33,317 --> 00:21:34,818
You just killed
the main character

544
00:21:34,818 --> 00:21:37,487
in the middle of the movie."

545
00:21:37,487 --> 00:21:41,575
(Screams) I said,

546
00:21:41,575 --> 00:21:42,326
"Keep reading."

547
00:21:42,326 --> 00:21:44,828
He said, "But you can't
kill the main character in

548
00:21:44,828 --> 00:21:46,413
the middle of the movie."

549
00:21:46,413 --> 00:21:47,706
I said, "Keep reading."

550
00:21:47,706 --> 00:21:49,041
He said, "Oh, my God.

551
00:21:49,041 --> 00:21:51,209
He comes back, doesn't he?"

552
00:21:51,209 --> 00:21:52,586
He goes, "Is it
a happy ending?"

553
00:21:52,586 --> 00:21:54,212
I said, "It's a happy ending.

554
00:21:55,297 --> 00:21:57,883
And the beauty of Quentin
is that when it's time to

555
00:21:57,883 --> 00:22:01,386
shoot the film, though he
wrote it and he conceived it

556
00:22:01,386 --> 00:22:02,846
and he knows where it's going...

557
00:22:04,139 --> 00:22:04,890
Hello?

558
00:22:05,974 --> 00:22:09,728
...the actors are a
huge part of that soup

559
00:22:09,728 --> 00:22:12,105
that creates that
character of the story.

560
00:22:12,105 --> 00:22:12,856
(On intercom) Vincent?

561
00:22:15,233 --> 00:22:17,486
Vincent?

562
00:22:17,486 --> 00:22:19,488
I'm on the intercom.

563
00:22:19,488 --> 00:22:22,866
And he wrote the part

564
00:22:22,866 --> 00:22:27,079
that John Travolta played
in that movie for Michael.

565
00:22:27,079 --> 00:22:29,289
And Michael didn't do it.

566
00:22:29,289 --> 00:22:31,875
I was already committed
to Wyatt Earp.

567
00:22:31,875 --> 00:22:34,336
And now here's Quentin
wants me to do Pulp Fiction.

568
00:22:34,336 --> 00:22:36,922
And they were both going
at the same time.

569
00:22:36,922 --> 00:22:39,257
You know look at Travolta
in Pulp Fiction.

570
00:22:39,257 --> 00:22:41,468
It's one of the most
extraordinary performances

571
00:22:41,468 --> 00:22:44,805
in a- in a film that's
filled to the brim

572
00:22:44,805 --> 00:22:46,640
with extraordinary performances.

573
00:22:46,640 --> 00:22:51,728
(Gasps) (screams)
John had to be convinced.

574
00:22:51,728 --> 00:22:53,397
But the moment that they met,

575
00:22:53,397 --> 00:22:56,024
it was clear that it- it
was their destiny to-

576
00:22:56,024 --> 00:22:57,025
to work together.

577
00:22:57,025 --> 00:23:00,904
Isn't it true that a part of
John Travolta being in it,

578
00:23:00,904 --> 00:23:03,657
it became John's comeback.

579
00:23:03,657 --> 00:23:06,660
He was doing movies
about talking babies and,

580
00:23:06,660 --> 00:23:09,413
suddenly, he's,
you know, Vincent Vega.

581
00:23:09,413 --> 00:23:11,123
You know he had that wig on.

582
00:23:11,123 --> 00:23:15,127
Nobody'd ever seen
Travolta with a fuckin' gun.

583
00:23:17,045 --> 00:23:19,339
And that was a huge,
huge reason

584
00:23:19,339 --> 00:23:20,465
why the movie worked.

585
00:23:20,465 --> 00:23:22,676
John Travolta can move
like almost nobody else.

586
00:23:24,219 --> 00:23:26,805
The dance scene
that Quentin gives him

587
00:23:26,805 --> 00:23:32,477
is so incredible because Quentin
gets what this guy can do

588
00:23:32,477 --> 00:23:33,770
and lets him do it.

589
00:23:33,770 --> 00:23:35,647
That was neat, man,
that whole thing and,

590
00:23:35,647 --> 00:23:37,357
uh, I- I wouldn't have
come up with that,

591
00:23:37,357 --> 00:23:38,734
you know.

592
00:23:38,734 --> 00:23:40,944
The twist wouldn't haven't
have been exactly the same.

593
00:23:40,944 --> 00:23:42,696
He would have had to
change the script that

594
00:23:42,696 --> 00:23:44,531
they don't win
the dance contest.

595
00:23:46,992 --> 00:23:48,660
When you're on a set
and working with Quentin,

596
00:23:48,660 --> 00:23:51,413
he always seemed to me
like he kept a very healthy

597
00:23:51,413 --> 00:23:54,791
distance between himself
and producer types.

598
00:23:54,791 --> 00:23:56,752
And what Quentin
wanted, Quentin got,

599
00:23:56,752 --> 00:23:58,086
deservedly so.

600
00:23:59,046 --> 00:23:59,921
Action!

601
00:23:59,921 --> 00:24:01,173
We were a bit into production

602
00:24:01,173 --> 00:24:03,341
and Harvey Weinstein
came to visit.

603
00:24:03,341 --> 00:24:06,928
I purposely wanted to take
him to the Jack Rabbit Slim set

604
00:24:06,928 --> 00:24:08,388
because we built it.

605
00:24:08,388 --> 00:24:09,431
It's cool.

606
00:24:09,431 --> 00:24:10,849
It's really filmy.

607
00:24:10,849 --> 00:24:13,602
And Quentin isn't the
"build sets" kind of guy.

608
00:24:13,602 --> 00:24:15,812
He's the "find a real
place and do it".

609
00:24:15,812 --> 00:24:18,732
And as we walked in, I
didn't tell Harvey what we

610
00:24:18,732 --> 00:24:19,691
were shooting.

611
00:24:19,691 --> 00:24:21,526
And I just remember
looking at him and going,

612
00:24:21,526 --> 00:24:23,445
"Welcome to Quentin World."

613
00:24:23,445 --> 00:24:26,156
He just said,
"What- what- what is this?

614
00:24:26,156 --> 00:24:27,574
This is crazy."

615
00:24:27,574 --> 00:24:30,160
You know with the race
track and the dancers

616
00:24:30,160 --> 00:24:32,704
and the trophies
and the characters

617
00:24:32,704 --> 00:24:34,247
imitating other characters.

618
00:24:35,624 --> 00:24:37,709
You know Quentin just has
in his head I want people

619
00:24:37,709 --> 00:24:41,588
to sit in the back seat of a
nineteen-fifty-seven Cadillac.

620
00:24:41,588 --> 00:24:44,883
And, you know, they need to
drink an Amos and Andy shake.

621
00:24:44,883 --> 00:24:47,302
And he comes up with all
this stuff in the same way

622
00:24:47,302 --> 00:24:48,845
that he comes up
with his own products.

623
00:24:50,388 --> 00:24:51,181
Mm...

624
00:24:52,265 --> 00:24:54,935
This is a tasty burger.

625
00:24:54,935 --> 00:24:57,604
Vincent, have you ever
had a Big Kahuna burger?

626
00:24:57,604 --> 00:25:00,190
By the time Pulp
Fiction came around,

627
00:25:00,190 --> 00:25:02,150
he was doing his
own product placement.

628
00:25:02,818 --> 00:25:03,985
Give me a pack of Red Apples.

629
00:25:03,985 --> 00:25:05,153
Filters?

630
00:25:05,153 --> 00:25:06,279
Nah.

631
00:25:06,279 --> 00:25:08,073
And that's when
Red Apple came about.

632
00:25:08,073 --> 00:25:10,200
That's when Kahuna
burger came about.

633
00:25:10,200 --> 00:25:12,786
That's when all of that
stuff started to happen.

634
00:25:12,786 --> 00:25:15,831
Red Apple tobacco
is not a real thing.

635
00:25:15,831 --> 00:25:17,415
That's a Quentin cigarette.

636
00:25:17,415 --> 00:25:20,377
There's a great moment

637
00:25:20,377 --> 00:25:22,087
in Hateful Eight where...

638
00:25:22,087 --> 00:25:24,381
...Demian Bichir is standing

639
00:25:24,381 --> 00:25:25,924
behind the bar.

640
00:25:25,924 --> 00:25:29,636
And he's having a smoke
of Red Apple tobacco.

641
00:25:29,636 --> 00:25:31,263
And he's just standing there
like this and he's going,

642
00:25:31,263 --> 00:25:31,888
"Hmm.

643
00:25:31,888 --> 00:25:32,848
This is pretty good."

644
00:25:32,848 --> 00:25:33,974
(Chuckles) Like this.

645
00:25:33,974 --> 00:25:37,394
And we got all pissed off
because he got to do

646
00:25:37,394 --> 00:25:39,229
the Red Apple moment.

647
00:25:39,229 --> 00:25:41,439
He got to have it himself.

648
00:25:41,439 --> 00:25:44,067
Everybody from costumes
down to every detail,

649
00:25:44,067 --> 00:25:46,152
to props,
to Red Apple tobacco,

650
00:25:46,152 --> 00:25:50,156
to everything,
there's nothing random

651
00:25:50,156 --> 00:25:51,992
about anything
in a Quentin movie.

652
00:25:51,992 --> 00:25:54,578
Remember her cutting
the ropes off

653
00:25:54,578 --> 00:25:56,288
when she's in the coffin.

654
00:25:56,288 --> 00:25:57,831
That's Mr. Blonde's razor.

655
00:25:57,831 --> 00:25:58,415
It's brilliant, right?

656
00:25:58,415 --> 00:25:59,583
That's cool.

657
00:25:59,583 --> 00:26:01,751
There's a little nod when
you're watching Reservoir Dogs.

658
00:26:01,751 --> 00:26:02,919
If you every hear Mr. White,

659
00:26:02,919 --> 00:26:04,337
somebody says,
"How's Bama?"

660
00:26:04,337 --> 00:26:06,047
By the way,
how's Alabama?

661
00:26:06,047 --> 00:26:06,965
Alabama?

662
00:26:08,258 --> 00:26:11,303
I haven't seen Bama
over a year and a half.

663
00:26:11,303 --> 00:26:13,305
And you understand
that Alabama left,

664
00:26:13,305 --> 00:26:17,559
met Mr. White, learned
about the- the bank heist

665
00:26:17,559 --> 00:26:19,895
or jewelry thief
business from him,

666
00:26:19,895 --> 00:26:22,147
and they couldn't be
together because she was

667
00:26:22,147 --> 00:26:23,732
still in love with Clarence
and she'd be in

668
00:26:23,732 --> 00:26:25,859
love with Clarence
for his whole life.

669
00:26:25,859 --> 00:26:29,154
So all these characters
live in Quentin's universe.

670
00:26:29,154 --> 00:26:31,656
And Vic here, I mean
he's only been nothing

671
00:26:31,656 --> 00:26:35,452
but good luck for us and, that
guys a fuckin' rabbit's foot.

672
00:26:35,452 --> 00:26:38,496
Vic Vega, Vincent Vega,
the Vega Brothers.

673
00:26:38,496 --> 00:26:40,999
And, uh, how
'bout your fella here?

674
00:26:40,999 --> 00:26:42,334
Vincent Vega.

675
00:26:42,334 --> 00:26:44,586
With film it's not
just characters

676
00:26:44,586 --> 00:26:47,213
and it's not just action
and it's not just cinema,

677
00:26:47,213 --> 00:26:49,507
but it's celluloid,
it's seeing it on the film,

678
00:26:49,507 --> 00:26:51,760
and it's the soundtrack,
but also,

679
00:26:51,760 --> 00:26:55,513
amazingly, taking songs
they know and reimagining.

680
00:26:55,513 --> 00:26:56,556
(Sings) Bow, bow, bow...

681
00:26:56,556 --> 00:27:00,977
...you'll be a woman soon.
(Sings)... a woman...

682
00:27:00,977 --> 00:27:04,356
And you just sit there
and you just- you can't

683
00:27:04,356 --> 00:27:07,901
believe that you're
hearing the song in a new

684
00:27:07,901 --> 00:27:08,944
and different way.

685
00:27:08,944 --> 00:27:10,612
(Sings) He's not your kind.
(Sings) He's not your kind.

686
00:27:10,612 --> 00:27:13,448
And so much of those songs
were background on the radio

687
00:27:13,448 --> 00:27:15,116
when you were kids or
when you were adults

688
00:27:15,116 --> 00:27:16,576
driving around.

689
00:27:16,576 --> 00:27:19,663
And Quentin takes them and
he takes that background,

690
00:27:19,663 --> 00:27:21,998
counterpoints it
against something that

691
00:27:21,998 --> 00:27:23,291
it doesn't make sense with.

692
00:27:25,001 --> 00:27:27,379
Or he uses it to
emphasize a scene.

693
00:27:27,379 --> 00:27:29,798
What he makes are really rich,

694
00:27:29,798 --> 00:27:32,509
densely textured mosaics.

695
00:27:32,509 --> 00:27:35,011
Try to dissect it,
you'd almost undoubtedly miss

696
00:27:35,011 --> 00:27:36,972
so many of the pieces
and the ways they interact

697
00:27:36,972 --> 00:27:38,640
with each other and
the way they make sense

698
00:27:38,640 --> 00:27:39,349
with each other.

699
00:27:39,349 --> 00:27:40,183
I remember being

700
00:27:40,183 --> 00:27:42,602
on the set of From Dust Till
Dawn while they were

701
00:27:42,602 --> 00:27:44,896
shooting that, and I said,
and by that time Pulp Fiction

702
00:27:44,896 --> 00:27:45,939
just went through the roof.

703
00:27:45,939 --> 00:27:47,607
I said, "Quentin,
did you have any idea

704
00:27:47,607 --> 00:27:48,191
how big this would be?

705
00:27:48,191 --> 00:27:51,152
He goes, (inhales sharply)
"Yeah, no."

706
00:27:51,152 --> 00:27:51,987
(Laughs)

707
00:27:51,987 --> 00:27:55,740
The Palme d'Or goes to...

708
00:27:55,740 --> 00:27:56,783
...Pulp Fiction.

709
00:28:32,736 --> 00:28:34,654
What do you do after
that masterpiece?

710
00:28:34,654 --> 00:28:36,156
When you know you're damned.

711
00:28:36,156 --> 00:28:37,198
There's, you know,

712
00:28:37,198 --> 00:28:40,452
after Citizen Kane,
Welles walks away

713
00:28:40,452 --> 00:28:41,578
from Magnificent Ambersons.

714
00:28:41,578 --> 00:28:42,829
Quentin's made Pulp Fiction.

715
00:28:42,829 --> 00:28:45,999
He's made one of the great films
of the last half century.

716
00:28:45,999 --> 00:28:49,377
So what does he do next?

717
00:28:49,377 --> 00:28:53,590
A genre film that in and of
itself is really wonderful.

718
00:28:53,590 --> 00:28:55,759
Plays with time,
plays with character,

719
00:28:55,759 --> 00:28:57,469
plays with your perceptions,

720
00:28:57,469 --> 00:29:00,096
and he doesn't try
and redo Pulp Fiction.

721
00:29:00,096 --> 00:29:01,431
I know he has

722
00:29:01,431 --> 00:29:05,226
this strong Blaxploitation
influence in his life.

723
00:29:05,226 --> 00:29:05,894
For God's sake.

724
00:29:05,894 --> 00:29:08,521
People say he makes

725
00:29:08,521 --> 00:29:09,522
revenge movies.

726
00:29:09,522 --> 00:29:12,358
You know, those were
sort of revenge movies,

727
00:29:12,358 --> 00:29:14,194
all about gettin' the man
or gettin' back at the man Sweet

728
00:29:14,194 --> 00:29:16,446
or gettin' back at the person
who did somethin' bad to you.

729
00:29:16,446 --> 00:29:20,033
It's one of those things
that makes his movies fun.

730
00:29:20,033 --> 00:29:21,826
And those are the things

731
00:29:21,826 --> 00:29:24,913
that influenced his young
cinema experiences,

732
00:29:24,913 --> 00:29:26,206
like mine.

733
00:29:26,206 --> 00:29:27,582
He broke everything down.

734
00:29:27,582 --> 00:29:29,709
He explained, like,
"When I was a kid,

735
00:29:29,709 --> 00:29:31,586
my mom dated black guys.

736
00:29:31,586 --> 00:29:33,755
Black guys would try to
get in good with my mom,

737
00:29:33,755 --> 00:29:37,801
would take me to, uh,
Blaxploitation films

738
00:29:37,801 --> 00:29:39,219
to watch as a kid.

739
00:29:39,219 --> 00:29:40,970
So that's what I grew up on.

740
00:29:40,970 --> 00:29:45,725
So I'm writing what I saw,
what's inside my DNA,

741
00:29:45,725 --> 00:29:47,644
and then that's
why my characters are

742
00:29:47,644 --> 00:29:49,020
always very strong."

743
00:29:49,020 --> 00:29:50,146
You helped her,
didn't you?

744
00:29:50,146 --> 00:29:51,064
When you're sort of bred

745
00:29:51,064 --> 00:29:52,440
into naturally appreciating,

746
00:29:52,440 --> 00:29:54,317
it's not like
someone's taught you,

747
00:29:54,317 --> 00:29:57,278
you should respect women,
or black people are equal.

748
00:29:57,278 --> 00:29:59,114
Like someone's not
teaching you that lesson.

749
00:29:59,114 --> 00:30:00,990
You just know it to be true.

750
00:30:00,990 --> 00:30:02,742
This is how he views the world,

751
00:30:02,742 --> 00:30:06,371
and he paints the world the
way he sees it in his movies.

752
00:30:06,371 --> 00:30:09,582
And so the power is
this is his truth.

753
00:30:09,582 --> 00:30:11,376
Jackie Brown is in many ways

754
00:30:11,376 --> 00:30:13,962
an ode to the sort of
Blaxploitation films

755
00:30:13,962 --> 00:30:14,504
of the period.

756
00:30:14,504 --> 00:30:16,214
And who are you gonna cast?

757
00:30:16,214 --> 00:30:17,048
Pam Grier.

758
00:30:18,091 --> 00:30:19,342
I'd heard about Foxy Brown

759
00:30:19,342 --> 00:30:21,261
and Coffy and all
the Pam Grier movie.

760
00:30:21,261 --> 00:30:21,719
You know, of course,

761
00:30:21,719 --> 00:30:23,012
Pam Grier's had
a glorious career

762
00:30:23,012 --> 00:30:24,764
even up before
Quentin Tarantino.

763
00:30:24,764 --> 00:30:26,933
He just, like, has made
her that- that much cooler

764
00:30:26,933 --> 00:30:27,767
in my opinion.

765
00:30:27,767 --> 00:30:29,686
Pam Grier can kick ass,

766
00:30:29,686 --> 00:30:30,311
you know what I mean?

767
00:30:30,311 --> 00:30:32,772
It's not all Foxy Brown
and it ain't all,

768
00:30:32,772 --> 00:30:34,357
you know, Straight
Outta Compton.

769
00:30:37,610 --> 00:30:40,238
Jackie Brown, to me,
that performance is

770
00:30:40,238 --> 00:30:42,657
so amazing and beautiful.

771
00:30:42,657 --> 00:30:44,868
But still like so strong

772
00:30:44,868 --> 00:30:47,996
and so flawed and desperate,

773
00:30:47,996 --> 00:30:50,081
and yet very sort of steely.

774
00:30:50,081 --> 00:30:52,458
I mean he writes women
like nobody's business.

775
00:30:52,458 --> 00:30:55,795
In the last forty-five
to fifty years,

776
00:30:55,795 --> 00:31:00,175
women have not been given
a fair shake in terms of,

777
00:31:00,175 --> 00:31:05,138
uh, leading roles in, uh,
movies where we can see

778
00:31:05,138 --> 00:31:07,015
what makes the woman tick.

779
00:31:07,015 --> 00:31:08,474
That's why you came
here to kill me.

780
00:31:08,474 --> 00:31:09,476
(Chuckles) I ain't come
over here to kill you.

781
00:31:09,476 --> 00:31:10,226
Oh, no, that's fine.

782
00:31:10,226 --> 00:31:10,810
It's okay.

783
00:31:11,978 --> 00:31:12,896
Now I forgive you.

784
00:31:12,896 --> 00:31:14,397
That's the thing with
Quentin's dialogue.

785
00:31:14,397 --> 00:31:15,481
A couple of men
that would be like,

786
00:31:15,481 --> 00:31:17,650
I mean, women don't
really talk like that.

787
00:31:17,650 --> 00:31:18,776
And I was like
(laughs).

788
00:31:18,776 --> 00:31:21,488
Aw, that's cute,
(inhales) 'cause we really do.

789
00:31:21,488 --> 00:31:23,990
Now if I have to do
more than a year,

790
00:31:23,990 --> 00:31:26,451
you'll pay another one
hundred thousand dollars.

791
00:31:26,451 --> 00:31:27,952
Women would come up
to us and be like,

792
00:31:27,952 --> 00:31:28,745
"Oh, my God.

793
00:31:28,745 --> 00:31:30,872
How- Is he a woman
on the inside?"

794
00:31:30,872 --> 00:31:31,998
I'm like yeah, he's kind of,

795
00:31:31,998 --> 00:31:33,208
he's a bit of woman
on the inside.

796
00:31:33,208 --> 00:31:34,584
He's a little bit
black on the inside.

797
00:31:34,584 --> 00:31:36,836
He's just got a whole bunch
of stuff going on in him.

798
00:31:36,836 --> 00:31:39,756
If you think
that you know more

799
00:31:39,756 --> 00:31:42,800
about a movie or an actor
or- or anything to do

800
00:31:42,800 --> 00:31:45,511
with cinema history,
he will just sit there

801
00:31:45,511 --> 00:31:49,307
and smile and listen to you,
and then he will bury you

802
00:31:49,307 --> 00:31:51,100
with how much stuff he knows.

803
00:31:51,100 --> 00:31:53,394
Exactly the fact that Quentin
didn't go to film school.

804
00:31:53,394 --> 00:31:55,688
I guess his film school
was video archives

805
00:31:55,688 --> 00:32:00,109
and the endless movies that
he could learn and read and,

806
00:32:00,109 --> 00:32:03,488
uh, watch and, uh,
and enjoy and turn other

807
00:32:03,488 --> 00:32:04,155
people onto.

808
00:32:04,155 --> 00:32:06,032
Get himself gone.

809
00:32:06,032 --> 00:32:09,244
The films that he gets
off on vary vastly.

810
00:32:09,244 --> 00:32:11,246
Everybody's after Kowalski

811
00:32:11,246 --> 00:32:13,915
He's passionate
about Vanishing Point

812
00:32:13,915 --> 00:32:15,416
and that genre.

813
00:32:15,416 --> 00:32:19,963
And then Moeshe.

814
00:32:19,963 --> 00:32:21,923
He just loves the
TV show Moesha.

815
00:32:21,923 --> 00:32:23,091
Moeshe.

816
00:32:23,091 --> 00:32:25,093
I would have
never guessed that.

817
00:32:25,093 --> 00:32:27,345
And I- I think he's like
that about all kinds of things.

818
00:32:27,345 --> 00:32:28,513
I think he's like
that with food,

819
00:32:28,513 --> 00:32:32,100
like he loves amazingly
high quality French dishes

820
00:32:32,100 --> 00:32:34,310
and he- he will smash
a Pink's hotdog,

821
00:32:34,310 --> 00:32:36,854
you know, like I honestly,
I think he's kind of like

822
00:32:36,854 --> 00:32:37,814
that with women.

823
00:32:37,814 --> 00:32:39,607
..Break my heart

824
00:32:39,607 --> 00:32:41,859
and make me sad.

825
00:32:41,859 --> 00:32:44,404
Tell me what did I do wrong.

826
00:32:44,404 --> 00:32:45,989
He's sort of like,
if he's in love with you

827
00:32:45,989 --> 00:32:47,198
and you're a big, black,

828
00:32:47,198 --> 00:32:49,033
curvy, gorgeous lady,
he's all about big,

829
00:32:49,033 --> 00:32:49,909
black curves.

830
00:32:49,909 --> 00:32:51,411
(Sings) My baby love...

831
00:32:52,287 --> 00:32:53,496
And if you're a waify,

832
00:32:53,496 --> 00:32:55,790
skinny little white model type
and he's in love with you,

833
00:32:55,790 --> 00:32:58,126
he just thinks that's the
hottest thing on the planet.

834
00:32:58,126 --> 00:32:59,919
He's just like an appreciator.

835
00:33:01,379 --> 00:33:03,089
He knows everybody.

836
00:33:03,089 --> 00:33:06,217
And when he meets an
actor from my era,

837
00:33:06,217 --> 00:33:07,927
the era when he was growin' up,

838
00:33:07,927 --> 00:33:12,473
he amazes them and amazed
me by reminding me of this

839
00:33:12,473 --> 00:33:14,058
and that and things and moments

840
00:33:14,058 --> 00:33:16,477
and scenes that he remembers.

841
00:33:16,477 --> 00:33:20,607
He also built a way of sharing
his vision with people.

842
00:33:20,607 --> 00:33:22,191
It wasn't storyboards.

843
00:33:22,191 --> 00:33:24,360
It was references.

844
00:33:24,360 --> 00:33:27,155
And so he'd say,

845
00:33:27,155 --> 00:33:29,907
"The warehouse looks like this."

846
00:33:29,907 --> 00:33:32,744
Or, "Look at this film
for a reference for

847
00:33:32,744 --> 00:33:34,829
what I'm kind of
trying to do here."

848
00:33:34,829 --> 00:33:36,789
When you're in
rehearsal with him,...

849
00:33:36,789 --> 00:33:38,916
...you're discussing
those references,

850
00:33:38,916 --> 00:33:42,045
specifically, and he gives
you stuff to watch.

851
00:33:42,045 --> 00:33:44,881
It's not something you come to

852
00:33:44,881 --> 00:33:46,716
lightly with him.

853
00:33:46,716 --> 00:33:48,009
It's not a rip-off

854
00:33:48,009 --> 00:33:50,637
that's just crap.

855
00:33:50,637 --> 00:33:52,555
And it's not even an homage.

856
00:33:54,140 --> 00:33:57,143
It's that he's using
the tools of cinema to make

857
00:33:57,143 --> 00:33:59,228
more resonant
and greater cinema.

858
00:33:59,937 --> 00:34:03,566
Quentin uses filmic vocabulary.

859
00:34:03,566 --> 00:34:05,318
If you look at great art,

860
00:34:05,318 --> 00:34:08,029
that's what musicians
do, composers do,

861
00:34:08,029 --> 00:34:09,572
painters do, sculptors do.

862
00:34:09,572 --> 00:34:10,823
'Cause he always, you know,

863
00:34:12,492 --> 00:34:15,953
elevates everything
and charges everything.

864
00:34:15,953 --> 00:34:19,457
The detective was the
genre that I started with.

865
00:34:19,457 --> 00:34:22,919
Old cars, old clothes,
old jokes, fast women,

866
00:34:22,919 --> 00:34:24,295
they all lied to me.

867
00:34:24,295 --> 00:34:26,547
The cynical,
but human detective.

868
00:34:26,547 --> 00:34:29,050
Robert Forster as Banyon.

869
00:34:29,050 --> 00:34:30,885
One of the things
Quentin does is incur

870
00:34:30,885 --> 00:34:32,428
talent all the time.

871
00:34:32,428 --> 00:34:33,596
I mean a lot of
times people will

872
00:34:33,596 --> 00:34:35,723
resurrect old actors
and they have them do

873
00:34:35,723 --> 00:34:36,641
what they always did.

874
00:34:36,641 --> 00:34:42,188
What Quentin always does
is he pushes them further.

875
00:34:42,188 --> 00:34:43,815
He takes them to a new place.

876
00:34:45,400 --> 00:34:47,443
He gives them a
different career.

877
00:34:47,443 --> 00:34:49,654
When my career was
at the very bottom,

878
00:34:49,654 --> 00:34:51,030
in walks Quentin.

879
00:34:51,030 --> 00:34:54,075
He said, "I am
adapting Rum Punch,

880
00:34:54,075 --> 00:34:57,120
an Elmore Leonard
novel, to a movie."

881
00:34:57,120 --> 00:34:59,163
And I said to him,
"I don't think they're gonna

882
00:34:59,163 --> 00:35:01,040
let you hire me."

883
00:35:01,040 --> 00:35:03,960
That period in my career,
the distributors

884
00:35:03,960 --> 00:35:05,169
didn't want me.

885
00:35:05,169 --> 00:35:07,088
They wanted, you know,
somebody with a bigger name.

886
00:35:07,088 --> 00:35:09,799
And he said, and I will
never forget him for it,

887
00:35:09,799 --> 00:35:12,927
he said, "I hire
anybody I want."

888
00:35:12,927 --> 00:35:15,888
And that is the first
moment when I said,

889
00:35:15,888 --> 00:35:19,225
"Wow, Bob, this is
a life-changer."

890
00:35:19,225 --> 00:35:21,561
All right, before we start
talking about stewardesses,

891
00:35:21,561 --> 00:35:23,354
let's get Beaumont
out of the way first.

892
00:35:23,354 --> 00:35:25,523
Uh, you know, I think
somebody already did.

893
00:35:25,523 --> 00:35:27,150
I got a call from my agents.

894
00:35:27,150 --> 00:35:28,943
They said that, uh,
Vince Gilligan was

895
00:35:28,943 --> 00:35:29,694
gonna call me.

896
00:35:32,447 --> 00:35:33,573
I picked up the phone.

897
00:35:33,573 --> 00:35:36,284
Vince said, "Uh,
we've been saving a role

898
00:35:36,284 --> 00:35:37,618
called "The Disappearer".

899
00:35:37,618 --> 00:35:40,246
We've been calling it
the Robert Forster role.

900
00:35:40,246 --> 00:35:41,914
And it was, in fact,

901
00:35:41,914 --> 00:35:43,166
a straight shooter.

902
00:35:43,166 --> 00:35:44,375
It's gonna take me

903
00:35:44,375 --> 00:35:47,044
some time to get your
new situation fixed.

904
00:35:47,044 --> 00:35:48,671
Until then, you're
gonna be staying here.

905
00:35:48,671 --> 00:35:51,007
I've got a place
downstairs out of sight.

906
00:35:51,007 --> 00:35:53,342
And, uh, this was
a direct result,

907
00:35:53,342 --> 00:35:54,927
of course, of Jackie Brown.

908
00:35:54,927 --> 00:35:59,474
People kept sayin' well,
it's not Pulp Fiction.

909
00:35:59,474 --> 00:36:01,350
No, it's fuckin' Jackie Brown.

910
00:36:01,350 --> 00:36:03,352
It's a different pace,
it's a different story

911
00:36:03,352 --> 00:36:05,438
and it's about different
kinds of people.

912
00:36:05,438 --> 00:36:08,232
Yeah, there are some
criminals in there,

913
00:36:08,232 --> 00:36:10,943
but it's really an adult
movie about people

914
00:36:10,943 --> 00:36:12,904
in a certain place in
their life when it's time

915
00:36:12,904 --> 00:36:14,697
for them to make a choice
about how they want to live

916
00:36:14,697 --> 00:36:15,531
the rest of their life.

917
00:36:15,531 --> 00:36:16,991
It's a crossroads movie.

918
00:36:16,991 --> 00:36:18,993
If you had the chance,
unemployed now,

919
00:36:20,369 --> 00:36:23,080
to walk away with a
half million dollars

920
00:36:24,499 --> 00:36:25,416
would you take it?

921
00:36:25,416 --> 00:36:28,794
Despite whatever the
minor violence is in it,

922
00:36:28,794 --> 00:36:32,548
it's just a great story
about these people trying

923
00:36:32,548 --> 00:36:33,966
to figure out their lives.

924
00:36:37,720 --> 00:36:41,015
When Jackie Brown
came out of the prison

925
00:36:41,015 --> 00:36:44,977
and had that long walk toward me

926
00:36:44,977 --> 00:36:47,855
and it is accompanied
by music...

927
00:36:52,276 --> 00:37:01,327
(sings) Why do I keep my
mind on you all the time?

928
00:37:01,327 --> 00:37:02,328
And I don't even know you...

929
00:37:02,328 --> 00:37:05,206
...you're watching
this guy fall in love

930
00:37:05,206 --> 00:37:06,290
with a woman.

931
00:37:08,501 --> 00:37:13,005
I cannot tell you how
emotive that was,

932
00:37:13,005 --> 00:37:15,508
and for a director to do that.

933
00:37:15,508 --> 00:37:17,718
They never do that.

934
00:37:17,718 --> 00:37:20,179
Out of all those films,
Jackie Brown is sort of like

935
00:37:20,179 --> 00:37:21,556
the best one.

936
00:37:21,556 --> 00:37:24,475
Yeah, for me, just because
of the cinematic beauty

937
00:37:24,475 --> 00:37:27,687
and gentleness of that
particular story.

938
00:37:27,687 --> 00:37:29,272
(Sing) ...baby.

939
00:37:29,272 --> 00:37:30,147
Hmm.

940
00:37:30,147 --> 00:37:31,399
(Sing) Gave you the love
you never knew, girl.

941
00:37:31,399 --> 00:37:33,276
Who is this?

942
00:37:33,276 --> 00:37:34,944
The Delphonics.
(Sing) Didn't I do it baby...

943
00:37:37,196 --> 00:37:38,030
It's nice.

944
00:37:38,030 --> 00:37:38,865
Mm-hmm.

945
00:37:51,627 --> 00:37:53,129
The main influences of Kill Bill

946
00:37:53,129 --> 00:37:59,927
is all the best of
Hong Kong cinema.

947
00:37:59,927 --> 00:38:01,304
Quentin is in love

948
00:38:01,304 --> 00:38:02,597
with the culture.

949
00:38:02,597 --> 00:38:04,348
When he does martial arts stuff,

950
00:38:04,348 --> 00:38:07,977
he's recreating the energy
and he's participating as

951
00:38:07,977 --> 00:38:10,229
somebody who is so
thrilled watching this.

952
00:38:11,689 --> 00:38:14,108
The last script Quentin
gave me was Kill Bill...

953
00:38:14,108 --> 00:38:14,692
And it was like almost

954
00:38:14,692 --> 00:38:16,110
the size of a small phone book.

955
00:38:16,110 --> 00:38:16,819
Remember those?

956
00:38:18,029 --> 00:38:19,989
Story by Q and U,

957
00:38:21,198 --> 00:38:23,200
meaning U as in Uma.

958
00:38:23,200 --> 00:38:25,244
We've all just been
calling her the bride on

959
00:38:25,244 --> 00:38:26,454
account of the dress.

960
00:38:26,454 --> 00:38:29,332
You can tell she was pregnant.

961
00:38:29,332 --> 00:38:31,125
(Spits)

962
00:38:31,125 --> 00:38:33,753
That woman deserves
her revenge and-

963
00:38:33,753 --> 00:38:35,129
and we deserve to die.

964
00:38:35,129 --> 00:38:37,590
I could see the
faces of the cunts

965
00:38:37,590 --> 00:38:42,386
who did this to me and
the dicks responsible.

966
00:38:42,386 --> 00:38:44,013
It read like a novel.

967
00:38:44,013 --> 00:38:45,056
It was funny.

968
00:38:45,056 --> 00:38:46,849
It had all this action in it,

969
00:38:46,849 --> 00:38:48,934
you know, but it read in-
in a way that you just

970
00:38:48,934 --> 00:38:49,935
could not put it down.

971
00:38:49,935 --> 00:38:50,686
He would tell me what to read.

972
00:38:50,686 --> 00:38:51,103
I was like, wait.

973
00:38:51,103 --> 00:38:53,105
Okay, I'm gonna read
it so now I know

974
00:38:53,105 --> 00:38:54,899
what action I'm gonna do.

975
00:38:54,899 --> 00:38:57,568
And I'd start reading
and I'd forget

976
00:38:57,568 --> 00:38:59,654
to read for the stunts
and I just would read

977
00:38:59,654 --> 00:39:00,363
the whole thing again.

978
00:39:00,363 --> 00:39:01,656
It happened four times.

979
00:39:01,656 --> 00:39:03,491
That was when I first
had my kind of like

980
00:39:03,491 --> 00:39:06,619
professional moment
of, "Holy shit.

981
00:39:06,619 --> 00:39:08,412
I'm gonna be a part
of something magic."

982
00:39:15,920 --> 00:39:19,298
Quentin has it as Boomer
is this part of The Bride

983
00:39:19,298 --> 00:39:21,425
and Zoë is this
part of The Bride.

984
00:39:21,425 --> 00:39:23,552
Whatever's in front of
the camera is different parts

985
00:39:23,552 --> 00:39:24,887
of the same whole.

986
00:39:24,887 --> 00:39:26,847
We were doing the scene
where she runs up

987
00:39:26,847 --> 00:39:27,682
the banister.

988
00:39:27,682 --> 00:39:29,016
And he came to me
and he was like,

989
00:39:29,016 --> 00:39:31,060
"So, what are you
doing in the shot?"

990
00:39:31,060 --> 00:39:33,688
And I was like, I'm
running up the banister.

991
00:39:33,688 --> 00:39:34,730
And he was like,
"Yeah, but why?"

992
00:39:34,730 --> 00:39:37,817
And I was like, trick question.

993
00:39:37,817 --> 00:39:38,818
'Cause that's my job."

994
00:39:38,818 --> 00:39:39,568
You know, and
he was like, "No,

995
00:39:39,568 --> 00:39:42,029
but why is The Bride
running up the banister?"

996
00:39:42,029 --> 00:39:45,282
And I was like,
"Oh, to get to O-Ren."

997
00:39:45,282 --> 00:39:47,868
And he was like, "And why is
she trying to get to O-Ren?"

998
00:39:49,078 --> 00:39:50,579
It sounds like
such actor-speak,

999
00:39:50,579 --> 00:39:53,165
but my running up
the banister shifted,

1000
00:39:53,165 --> 00:39:54,750
because now
I have an intention.

1001
00:39:54,750 --> 00:39:56,502
Now I have a reason outside of

1002
00:39:56,502 --> 00:39:58,295
just technically
getting it right.

1003
00:39:58,295 --> 00:40:00,715
That was always super
important to Quentin,

1004
00:40:00,715 --> 00:40:02,425
"'cause that bitch
fucked up my life

1005
00:40:02,425 --> 00:40:03,384
and I want her to die."

1006
00:40:07,638 --> 00:40:10,808
The fact that he always
has women in these strong

1007
00:40:10,808 --> 00:40:14,103
positions isn't something
that he necessarily

1008
00:40:14,103 --> 00:40:16,313
highlights or billboards.
(Overlapping) (whistles)

1009
00:40:16,313 --> 00:40:17,940
To him, of course,
it makes sense

1010
00:40:17,940 --> 00:40:21,819
these are women doing this,
are fighting or are leaders.

1011
00:40:21,819 --> 00:40:22,778
He does it and, it's for him,

1012
00:40:22,778 --> 00:40:23,696
it's just natural.

1013
00:40:23,696 --> 00:40:26,824
It's such an interesting
conversation to have these days,

1014
00:40:27,742 --> 00:40:31,495
girl power and a quality
that sort of feels like

1015
00:40:31,495 --> 00:40:34,248
it's all kind of
coming to a head.

1016
00:40:34,248 --> 00:40:38,127
The biggest feat is gonna
be making it normal

1017
00:40:38,127 --> 00:40:41,005
that we are in lead
positions as opposed to

1018
00:40:41,005 --> 00:40:42,339
it being the fight.

1019
00:40:43,382 --> 00:40:46,677
And that's where Quentin
is just a priceless ally.

1020
00:40:46,677 --> 00:40:48,846
And I think he needs to sit
in an interview and be like,

1021
00:40:48,846 --> 00:40:50,473
"Listen, women should
have these roles

1022
00:40:50,473 --> 00:40:50,806
and women..."

1023
00:40:50,806 --> 00:40:53,684
Like he doesn't have to
drive it because he's-

1024
00:40:53,684 --> 00:40:55,936
he's just presenting it
as such.

1025
00:40:55,936 --> 00:40:58,564
Now if any of you
sons of bitches (yells)

1026
00:40:58,564 --> 00:41:03,194
got anything else to say,
now's the fuckin' time!

1027
00:41:03,194 --> 00:41:07,573
O-Ren Ishii is a survivor.

1028
00:41:12,453 --> 00:41:16,415
She is a woman who was
probably never going to die

1029
00:41:16,415 --> 00:41:18,375
peacefully of old age.

1030
00:41:18,375 --> 00:41:20,044
She swore revenge.

1031
00:41:21,003 --> 00:41:23,047
It only made sense
that in the end,

1032
00:41:23,047 --> 00:41:25,341
in her great honor,
she was killed

1033
00:41:25,341 --> 00:41:27,009
with the Hattori Hanso sword.

1034
00:41:31,305 --> 00:41:33,682
Uma worked her ass off
and was in training

1035
00:41:33,682 --> 00:41:36,185
for a long time before
I was even on board.

1036
00:41:36,185 --> 00:41:37,561
She had a crazy schedule.

1037
00:41:37,561 --> 00:41:39,355
She was in just
about every shot.

1038
00:41:39,355 --> 00:41:41,982
We were shooting in Beijing.

1039
00:41:41,982 --> 00:41:43,234
She had a newborn.

1040
00:41:44,401 --> 00:41:47,363
She was under intense
amounts of physical pressure.

1041
00:41:47,363 --> 00:41:49,406
(Grunts) (grunts)

1042
00:41:49,406 --> 00:41:50,658
Cut. Great.

1043
00:41:50,658 --> 00:41:51,200
Excellent.

1044
00:41:51,200 --> 00:41:51,742
Excellent.

1045
00:41:51,742 --> 00:41:55,120
Check (indistinct)
(laughs)

1046
00:41:55,120 --> 00:41:57,623
Like, you know, she was
in pain a lot of the time.

1047
00:41:57,623 --> 00:42:00,334
She was sort of like,
she had blisters and cuts,

1048
00:42:00,334 --> 00:42:00,709
things like that.

1049
00:42:00,709 --> 00:42:03,087
It's just part of
the- the deal.

1050
00:42:03,087 --> 00:42:04,213
It feels good to be tough.

1051
00:42:04,213 --> 00:42:06,131
It's strangely
sort of liberating.

1052
00:42:06,131 --> 00:42:07,758
Yeah, I'm bleeding.

1053
00:42:07,758 --> 00:42:08,384
Keep rolling.

1054
00:42:09,468 --> 00:42:13,055
The girl fight
between Uma and, uh,

1055
00:42:13,055 --> 00:42:16,100
Vivica Fox in Kill Bill is,

1056
00:42:16,100 --> 00:42:18,310
without a doubt,
the greatest fight

1057
00:42:18,310 --> 00:42:20,646
any two women
ever had in a movie.

1058
00:42:20,646 --> 00:42:22,231
It's crazy good.

1059
00:42:32,616 --> 00:42:35,035
Vivica and Uma just
were so great in that scene.

1060
00:42:35,035 --> 00:42:36,370
When I'd sit
there and watch,

1061
00:42:36,370 --> 00:42:37,872
I'd forget that
I was there to do a job.

1062
00:42:37,872 --> 00:42:39,164
When the daughter
comes in the door,

1063
00:42:39,164 --> 00:42:41,375
I'm just like God,
it's beautiful.

1064
00:42:41,375 --> 00:42:44,628
The mother versus
assassin just like

1065
00:42:44,628 --> 00:42:46,881
(clicks tongue)
in one shot. Perfect.

1066
00:42:47,590 --> 00:42:48,716
Mommy, I'm home.

1067
00:42:48,716 --> 00:42:50,217
Hey, baby.

1068
00:42:50,217 --> 00:42:51,760
How was school?

1069
00:42:51,760 --> 00:42:53,262
It softened everything.

1070
00:42:53,262 --> 00:42:54,221
Just amazing.

1071
00:42:54,221 --> 00:42:55,764
And- and- and
The Bride sells it,

1072
00:42:55,764 --> 00:42:57,600
too, because she knows,
you know.

1073
00:42:58,684 --> 00:42:59,685
It's just genius.

1074
00:42:59,685 --> 00:43:02,855
It's absolute,
irrevocable genius, man.

1075
00:43:02,855 --> 00:43:05,983
There's a viciousness
and yet their femininity

1076
00:43:05,983 --> 00:43:07,776
never went away for a second.

1077
00:43:09,111 --> 00:43:11,113
It's all about presentation.

1078
00:43:11,113 --> 00:43:12,907
You walk through
a shoji screen and then,

1079
00:43:12,907 --> 00:43:15,701
suddenly, there's this
winter wonderland.

1080
00:43:18,120 --> 00:43:22,541
He really worked with
the designers to create this

1081
00:43:22,541 --> 00:43:25,336
beautiful visual that
also turned into a wonderful

1082
00:43:25,336 --> 00:43:27,880
sound backdrop for
what we were doing.

1083
00:43:29,715 --> 00:43:31,133
There's the bamboo
water fountain.

1084
00:43:31,133 --> 00:43:33,093
It almost acts as a metronome.

1085
00:43:33,886 --> 00:43:37,973
It was absolutely beautiful,

1086
00:43:37,973 --> 00:43:40,225
like when you are watching
something from another time.

1087
00:43:41,560 --> 00:43:43,437
It's one of the perfect
examples of movie magic

1088
00:43:43,437 --> 00:43:46,774
where the practicality of
it was kind of difficult.

1089
00:43:47,566 --> 00:43:50,736
The snow we were using was
sort of difficult to breathe.

1090
00:43:50,736 --> 00:43:51,737
So in between takes,

1091
00:43:51,737 --> 00:43:54,281
we had the protective
masks on and, you know,

1092
00:43:54,281 --> 00:43:56,408
we were constantly having
to cover our footprints.

1093
00:43:59,370 --> 00:44:03,040
And action!

1094
00:44:03,040 --> 00:44:04,041
Women work for him.

1095
00:44:04,041 --> 00:44:06,961
They are fiercely loyal
'cause he actually

1096
00:44:06,961 --> 00:44:08,712
is very protective of them.

1097
00:44:08,712 --> 00:44:10,047
He promotes them.

1098
00:44:10,047 --> 00:44:11,840
He works creatively with them.

1099
00:44:11,840 --> 00:44:13,801
And when you look at
the female characters

1100
00:44:13,801 --> 00:44:15,010
in his films,

1101
00:44:15,010 --> 00:44:16,887
they're all quite remarkable.

1102
00:44:17,721 --> 00:44:18,681
Cut! Okay?

1103
00:44:18,681 --> 00:44:20,391
Yeah. Terrific!

1104
00:44:24,144 --> 00:44:25,020
You guys were great.

1105
00:44:25,020 --> 00:44:26,271
That was terrific.

1106
00:44:26,271 --> 00:44:27,690
Part of me still feels
like I don't want to talk

1107
00:44:27,690 --> 00:44:30,776
about it because I don't
want people to- to know.

1108
00:44:30,776 --> 00:44:34,530
(Indistinct) It was
the camera angle

1109
00:44:34,530 --> 00:44:37,157
that sold the fact that
my head had been cut off

1110
00:44:38,117 --> 00:44:40,953
so I look like I had a little
bit of a cone head in real life.

1111
00:44:40,953 --> 00:44:42,287
And then when you
see it in the movie,

1112
00:44:42,287 --> 00:44:44,039
it's just like
angels are singing.

1113
00:44:48,877 --> 00:44:50,462
There's something
beautiful in understanding

1114
00:44:50,462 --> 00:44:52,256
that- that is done in camera.

1115
00:44:55,217 --> 00:44:56,552
That was completely practical

1116
00:44:56,552 --> 00:44:58,595
because you know
Quentin doesn't,

1117
00:44:58,595 --> 00:45:00,973
is a fan of avoiding
CGI when possible.

1118
00:45:07,229 --> 00:45:08,731
He adores Uma.

1119
00:45:10,399 --> 00:45:13,360
And nobody was more
enthusiastic than Quentin.

1120
00:45:13,360 --> 00:45:16,739
I mean, he's still like a
kid when he gets worked up.

1121
00:45:16,739 --> 00:45:18,449
Sometimes you do dumb things.

1122
00:45:30,002 --> 00:45:32,463
This is the thing
with this business.

1123
00:45:32,463 --> 00:45:37,718
You make the best level of plans
and you have great people.

1124
00:45:40,721 --> 00:45:42,806
And then sometimes
there's human error.

1125
00:45:53,859 --> 00:45:54,902
Everyone was just having

1126
00:45:54,902 --> 00:45:56,904
fun making a movie.

1127
00:45:57,738 --> 00:45:59,490
And everybody was
damn happy to be on a

1128
00:45:59,490 --> 00:46:02,076
set with Quentin Tarantino.

1129
00:46:02,076 --> 00:46:04,495
And everybody was damn
happy to be represented

1130
00:46:04,495 --> 00:46:06,705
and distributed by
Harvey Weinstein

1131
00:46:06,705 --> 00:46:07,790
and the Weinstein Company.

1132
00:46:15,297 --> 00:46:17,800
What was weird
about Harvey is,

1133
00:46:17,800 --> 00:46:19,510
and this was true of
his relationship with

1134
00:46:19,510 --> 00:46:21,720
competitors and with people,

1135
00:46:21,720 --> 00:46:24,348
was he- he was a bully
and he enjoyed it.

1136
00:46:24,348 --> 00:46:28,519
He had this- this
enormous power that,

1137
00:46:30,187 --> 00:46:33,148
I know he was conscious
that he had it,

1138
00:46:33,148 --> 00:46:35,984
and I know that he would
consciously use it,

1139
00:46:38,320 --> 00:46:41,615
but whether or not he
realized he was using it

1140
00:46:41,615 --> 00:46:45,119
in such an obstructive way,

1141
00:46:45,119 --> 00:46:46,745
I don't know about that.

1142
00:46:46,745 --> 00:46:49,331
I'll tell you a funny thing
that happened in Cannes.

1143
00:46:49,331 --> 00:46:51,917
I was at this little reception
thing with Quentin.

1144
00:46:51,917 --> 00:46:54,378
Here comes Harvey and he
comes around the corner

1145
00:46:54,378 --> 00:46:57,131
and he's sweating,
like profusely sweating.

1146
00:46:57,131 --> 00:46:59,800
And he's got this really
angry face, you know.

1147
00:46:59,800 --> 00:47:01,844
You see a Harvey
Weinstein in that mood,

1148
00:47:03,762 --> 00:47:06,014
everybody literally froze.

1149
00:47:06,014 --> 00:47:08,016
And right before he
had come in the room,

1150
00:47:08,016 --> 00:47:10,018
Quentin had introduced
me to Harvey's wife

1151
00:47:10,018 --> 00:47:11,061
and his little daughter.

1152
00:47:11,061 --> 00:47:14,481
And the little daughter
had a doll in her hand

1153
00:47:14,481 --> 00:47:17,943
and she had handed me the
doll while we were talking.

1154
00:47:17,943 --> 00:47:21,405
And so I was holding the
doll when Harvey came around

1155
00:47:21,405 --> 00:47:23,448
the corner and came
into the room.

1156
00:47:23,448 --> 00:47:26,201
And he looked at me
and he looked at Quentin

1157
00:47:26,201 --> 00:47:28,454
and he looked at
his wife and child

1158
00:47:28,454 --> 00:47:30,497
and he sized up the situation

1159
00:47:30,497 --> 00:47:33,125
and he took the
doll out of my hand

1160
00:47:33,125 --> 00:47:35,461
and handed it back to his
little kid, to his daughter.

1161
00:47:36,795 --> 00:47:38,380
And Quentin goes,
"Harvey, Harvey,

1162
00:47:38,380 --> 00:47:38,964
what are you doing?

1163
00:47:38,964 --> 00:47:41,800
He goes, Michael's gonna
do The Hateful Eight.

1164
00:47:41,800 --> 00:47:44,386
Michael's gonna do The
Hateful Eight with us."

1165
00:47:44,386 --> 00:47:47,097
And Harvey kind of-
kind of stood there

1166
00:47:47,097 --> 00:47:48,724
and his eyes were
shifting back and forth

1167
00:47:48,724 --> 00:47:52,644
and he was thinking on his feet.

1168
00:47:52,644 --> 00:47:53,979
Mm. Mm. Mm. (Scoffs)
And, all of a sudden, he went

1169
00:47:53,979 --> 00:47:55,814
and he took the doll
from the little girl

1170
00:47:55,814 --> 00:47:56,982
and gave it back to me.

1171
00:47:56,982 --> 00:48:02,029
And I- I took it and I -- I-
I didn't know what to say.

1172
00:48:02,029 --> 00:48:03,113
I mean it was like...

1173
00:48:03,113 --> 00:48:05,866
And he walked away
right in that moment.

1174
00:48:05,866 --> 00:48:09,286
He gave me the damn the thing
and then he walked away.

1175
00:48:09,286 --> 00:48:11,622
And I remember
going, oh, my God.

1176
00:48:11,622 --> 00:48:13,457
And Quentin was
laughing hysterically.

1177
00:48:13,457 --> 00:48:15,375
When Quentin finds something
funny and he laughs,

1178
00:48:15,375 --> 00:48:16,835
he's got a great laugh.

1179
00:48:16,835 --> 00:48:19,755
And, of course, I gave
the doll back to the girl.

1180
00:48:19,755 --> 00:48:21,798
It was very strange
and I'll never forget it.

1181
00:48:21,798 --> 00:48:23,634
It was like, wow.

1182
00:48:23,634 --> 00:48:25,093
Where did that come from?

1183
00:48:25,093 --> 00:48:26,595
Holy shit.

1184
00:48:26,595 --> 00:48:28,096
You know a year later,
you know,

1185
00:48:28,096 --> 00:48:29,431
the guy's being indicted.

1186
00:48:41,443 --> 00:48:43,654
Quentin loves genre.

1187
00:48:47,449 --> 00:48:50,577
He used to do his
QT Fest in Austin.

1188
00:48:50,577 --> 00:48:53,997
There's a big rule that we
have during this festival.

1189
00:48:53,997 --> 00:48:57,042
You don't laugh to
show that you're superior

1190
00:48:57,042 --> 00:49:00,796
than the movie or how much
cooler you are than the movie,

1191
00:49:00,796 --> 00:49:02,631
because I'm telling
you nobody here is cooler

1192
00:49:02,631 --> 00:49:03,882
than this movie.

1193
00:49:03,882 --> 00:49:05,509
These movies are fuckin' cool.

1194
00:49:05,509 --> 00:49:07,052
For ten days he
would show movies.

1195
00:49:07,052 --> 00:49:08,887
He would have double
features every night,

1196
00:49:08,887 --> 00:49:10,305
some nights triple features,

1197
00:49:10,305 --> 00:49:14,893
and showed Asian films and
genre films from all over.

1198
00:49:14,893 --> 00:49:16,687
Constantly people would
talk movies with him,

1199
00:49:16,687 --> 00:49:18,063
which is what he loves.

1200
00:49:18,063 --> 00:49:19,898
And so I think there
was a period of time

1201
00:49:19,898 --> 00:49:22,693
where Austin was a very
safe haven for Quentin.

1202
00:49:22,693 --> 00:49:24,236
Quentin and Robert
were hanging out a

1203
00:49:24,236 --> 00:49:25,779
lot together at that time.

1204
00:49:25,779 --> 00:49:27,406
I remember Quentin
and Robert took me

1205
00:49:27,406 --> 00:49:29,491
and Edgar right
out for Mexican food.

1206
00:49:29,491 --> 00:49:30,409
And they told us the

1207
00:49:30,409 --> 00:49:32,828
whole concept of Grindhouse.

1208
00:49:32,828 --> 00:49:34,580
Quentin's part of Grindhouse

1209
00:49:34,580 --> 00:49:35,289
is extraordinary.

1210
00:49:35,289 --> 00:49:36,665
I think it's so smart.

1211
00:49:36,665 --> 00:49:38,750
It's like lots of
people have done

1212
00:49:38,750 --> 00:49:40,335
chase films and
lots of people have

1213
00:49:40,335 --> 00:49:41,712
done revenge films.

1214
00:49:41,712 --> 00:49:45,465
And it is such a
remarkable pro woman,

1215
00:49:45,465 --> 00:49:48,343
feminist, but also cinematic,

1216
00:49:48,343 --> 00:49:51,346
a visionary cinematic,
exciting film.

1217
00:49:52,681 --> 00:49:53,515
He rang me and was like,

1218
00:49:53,515 --> 00:49:55,100
Zoë, I've finished the
script for Death Proof.

1219
00:49:55,100 --> 00:49:58,020
He had told me that it was
gonna be about a stunt guy

1220
00:49:58,020 --> 00:49:59,896
whose car was death proof

1221
00:49:59,896 --> 00:50:01,315
and that he killed
women with it.

1222
00:50:02,441 --> 00:50:04,818
Every troupe that you've
seen where a woman is

1223
00:50:04,818 --> 00:50:08,238
brutalized is referred to

1224
00:50:08,238 --> 00:50:09,990
and then he flips
it on its head.

1225
00:50:09,990 --> 00:50:11,366
Hey!

1226
00:50:11,366 --> 00:50:13,618
(Screams) Now I want blood.

1227
00:50:13,618 --> 00:50:14,911
It's about redemption.

1228
00:50:14,911 --> 00:50:15,954
It's about power.

1229
00:50:15,954 --> 00:50:17,331
It's about feminism.

1230
00:50:17,331 --> 00:50:18,790
(Grunts) Oh, you want...
(grunts)

1231
00:50:18,790 --> 00:50:22,127
He makes roles for
women that he wants to see.

1232
00:50:22,127 --> 00:50:24,671
I remember saying to him,
"As long as you cast

1233
00:50:24,671 --> 00:50:27,049
someone in the movie that looks
like me so I can work on it."

1234
00:50:27,049 --> 00:50:28,467
Nice.

1235
00:50:28,467 --> 00:50:29,926
Nice. Thank you.

1236
00:50:29,926 --> 00:50:30,260
Yep.

1237
00:50:30,260 --> 00:50:31,303
Like, it's on you, buddy.

1238
00:50:31,303 --> 00:50:32,554
Like if I'm terrible at this,

1239
00:50:32,554 --> 00:50:35,807
if I fuck it up,
it's your fault.

1240
00:50:35,807 --> 00:50:36,808
(Inhales) And he, at
one point, was like,

1241
00:50:36,808 --> 00:50:37,643
"Look, this is my job.

1242
00:50:37,643 --> 00:50:39,061
This is what I do.

1243
00:50:39,061 --> 00:50:41,355
I make good casting choices."

1244
00:50:41,355 --> 00:50:43,357
And he said, "I know you
and I know what I want

1245
00:50:43,357 --> 00:50:44,775
and I know I can get it."

1246
00:50:44,775 --> 00:50:46,026
So you just need to relax

1247
00:50:46,026 --> 00:50:47,527
and know your lines.

1248
00:50:47,527 --> 00:50:47,986
I remember...

1249
00:50:47,986 --> 00:50:49,529
..thinking this is like a,

1250
00:50:49,529 --> 00:50:52,157
yeah, it's a great
night at the theater,

1251
00:50:52,157 --> 00:50:53,617
you know, in nineteen seventy.

1252
00:50:56,119 --> 00:50:58,413
I'd gone in and
interviewed for those

1253
00:50:58,413 --> 00:51:01,208
kinds of movies,
you know, so I knew,

1254
00:51:01,208 --> 00:51:01,666
I knew them.

1255
00:51:01,666 --> 00:51:02,459
I knew what he was doing.

1256
00:51:02,459 --> 00:51:03,502
I thought it was pretty great.

1257
00:51:03,502 --> 00:51:05,962
Do I frighten you?

1258
00:51:05,962 --> 00:51:07,464
I was what a stuntman
would look like.

1259
00:51:07,464 --> 00:51:09,007
Big scar, that (indistinct).

1260
00:51:09,007 --> 00:51:10,008
He goes, "Yeah,
let's do the eyes."

1261
00:51:10,008 --> 00:51:11,218
And you mean big, don't you?
And he said,

1262
00:51:11,218 --> 00:51:12,094
"Oh, yeah."

1263
00:51:12,094 --> 00:51:14,513
The old school action hero
and the stunt guy are

1264
00:51:14,513 --> 00:51:16,264
really important to him
and I think this was an

1265
00:51:16,264 --> 00:51:17,682
exciting way for him
to say thank you

1266
00:51:17,682 --> 00:51:20,102
to the stunt people
of- of the industry.

1267
00:51:20,102 --> 00:51:20,894
Now.

1268
00:51:20,894 --> 00:51:22,687
That's that Quentin
magic is- is getting as

1269
00:51:22,687 --> 00:51:24,272
much of it to be as
real as possible.

1270
00:51:24,272 --> 00:51:27,317
(Groan) (scream)
We're doing ninety miles

1271
00:51:27,317 --> 00:51:29,820
an hour for a lot of that
stuff down that road.

1272
00:51:29,820 --> 00:51:32,280
She's strapped to
the hood of that car.

1273
00:51:32,280 --> 00:51:33,490
There's nothing you can do.

1274
00:51:33,490 --> 00:51:36,201
If he catches his tire
on the edge of the road

1275
00:51:36,201 --> 00:51:39,204
and we go over,
that's it for Zoë.

1276
00:51:39,204 --> 00:51:40,747
It's not gonna
be a broken arm.

1277
00:51:40,747 --> 00:51:41,498
He came up to me
one time and he's like,

1278
00:51:41,498 --> 00:51:42,457
"Zoë, come and look at this."

1279
00:51:42,457 --> 00:51:44,042
And I sat there and I was
all excited to see it and

1280
00:51:44,042 --> 00:51:45,836
I was watching it
and I was like,

1281
00:51:45,836 --> 00:51:46,378
"Oh, my God.

1282
00:51:46,378 --> 00:51:47,254
It looks amazing."

1283
00:51:47,254 --> 00:51:48,463
I was so over the moon.

1284
00:51:48,463 --> 00:51:49,548
He was like,
"What's wrong with it?"

1285
00:51:49,548 --> 00:51:50,048
And I was like, "What?

1286
00:51:50,048 --> 00:51:50,715
What are you talking about?

1287
00:51:50,715 --> 00:51:51,675
There's nothing
wrong with that.

1288
00:51:51,675 --> 00:51:53,301
That's fuckin' gold."

1289
00:51:53,301 --> 00:51:54,469
He was like, there's
something wrong with it.

1290
00:51:54,469 --> 00:51:54,886
What is it?

1291
00:51:54,886 --> 00:51:57,389
And I was like,
"I don't know, Quentin.

1292
00:51:57,389 --> 00:51:59,015
I think you're
being a bit fussy."

1293
00:51:59,015 --> 00:52:01,184
You know, and he was like,
"What don't we see in the

1294
00:52:01,184 --> 00:52:02,769
whole four minutes?"

1295
00:52:02,769 --> 00:52:03,645
And I was like, "What?

1296
00:52:03,645 --> 00:52:05,313
(Gasps) My face."

1297
00:52:05,313 --> 00:52:08,275
And we never once saw
my face because my job for

1298
00:52:08,275 --> 00:52:10,652
so long had been
to know exactly

1299
00:52:10,652 --> 00:52:12,237
where the camera
was so I'd avoid it.

1300
00:52:12,237 --> 00:52:13,113
I'd have an arm up.

1301
00:52:13,113 --> 00:52:15,657
I'd use my hair or
my body or whatever,

1302
00:52:15,657 --> 00:52:16,741
'cause that was my job.

1303
00:52:16,741 --> 00:52:19,327
If you saw my face,
the take was ruined.

1304
00:52:19,327 --> 00:52:19,744
And he was like,

1305
00:52:19,744 --> 00:52:20,871
"I love that
you're that good at it,

1306
00:52:20,871 --> 00:52:22,581
but I need you to
reverse it because the

1307
00:52:22,581 --> 00:52:25,917
whole point of this is
that we can see it's you."

1308
00:52:27,461 --> 00:52:30,130
He loves to help
actors get to a place

1309
00:52:30,130 --> 00:52:32,466
where they can
completely bring it.

1310
00:52:35,844 --> 00:52:37,762
So how's Quentin different
from other directors?

1311
00:52:37,762 --> 00:52:41,975
(Laughs)
I never, never fear

1312
00:52:41,975 --> 00:52:43,977
that my joy is
gonna be cut off.

1313
00:52:43,977 --> 00:52:44,603
Wahoo!

1314
00:52:44,603 --> 00:52:49,483
(Laughs) Hey, ladies,
that was fun.

1315
00:52:49,483 --> 00:52:54,321
(Laughs) Acting in
Death Proof was a blast.

1316
00:52:54,321 --> 00:52:56,031
We had so much fun.
I mean, it's a bar scene.

1317
00:52:56,031 --> 00:52:57,699
Quentin is a bartender.

1318
00:52:57,699 --> 00:52:59,284
And there was one
scene where Quentin had

1319
00:52:59,284 --> 00:53:00,619
to do these Irish car bombs.

1320
00:53:00,619 --> 00:53:02,496
And Quentin's like,
"It's got to be real or the foam

1321
00:53:02,496 --> 00:53:03,538
won't be correct."

1322
00:53:03,538 --> 00:53:05,916
And Quentin's like
"I can't be there to see

1323
00:53:05,916 --> 00:53:08,084
how the take looks,
so this is a long take.

1324
00:53:08,084 --> 00:53:09,211
You've- you've got
to do this right,

1325
00:53:09,211 --> 00:53:11,838
but I'm drinking real
Guinness and real Jager.

1326
00:53:11,838 --> 00:53:12,839
You guys can't fuck it up."

1327
00:53:12,839 --> 00:53:13,089
Right.

1328
00:53:13,089 --> 00:53:13,673
Okay, okay.

1329
00:53:13,673 --> 00:53:14,257
Everyone's ready.

1330
00:53:14,257 --> 00:53:14,966
Last shot of the night.

1331
00:53:14,966 --> 00:53:16,218
It's like six-thirty
in the morning. Aah!

1332
00:53:16,218 --> 00:53:19,095
So we're like, boom,
boom, boom, boom.

1333
00:53:19,095 --> 00:53:20,430
And Quentin's like,
how'd it turn out, Jimmy.

1334
00:53:20,430 --> 00:53:23,225
And he's like, actually
that was- that was great.

1335
00:53:23,225 --> 00:53:24,142
Quentin said,
"Cool, cool.

1336
00:53:24,142 --> 00:53:25,185
We should get one for safety,

1337
00:53:25,185 --> 00:53:26,061
right?"

1338
00:53:26,061 --> 00:53:26,770
Boom, boom.

1339
00:53:26,770 --> 00:53:28,480
He drinks another shot,
drinks another shot.

1340
00:53:28,480 --> 00:53:30,482
And I don't know how,
but we started singing this

1341
00:53:30,482 --> 00:53:32,818
song from Blazing Saddles,
where I was like,

1342
00:53:32,818 --> 00:53:34,486
(sings) din-din-din-in,
din-din-din.

1343
00:53:34,486 --> 00:53:35,070
(Sings) Throw out your hands,

1344
00:53:35,070 --> 00:53:35,821
Stick out your tush...
(sings) Throw out your hands,

1345
00:53:35,821 --> 00:53:38,240
(speaks) And I just started
doing it to Quentin.

1346
00:53:38,240 --> 00:53:39,699
And he just started laughing.

1347
00:53:39,699 --> 00:53:41,117
And he's like,
"Ah, that was so fun.

1348
00:53:41,117 --> 00:53:42,202
He's like, "Ah,
yeah, yeah, yeah.

1349
00:53:42,202 --> 00:53:43,537
Let's- let's just
do another one."

1350
00:53:43,537 --> 00:53:45,288
And we're like,
yeah, but now it's like

1351
00:53:45,288 --> 00:53:46,540
seven fifteen in the morning.

1352
00:53:46,540 --> 00:53:47,958
And so Quentin's like,

1353
00:53:47,958 --> 00:53:49,417
"Action!"
And he goes,

1354
00:53:49,417 --> 00:53:53,129
"pshew" and slams the glass
down and shatters it

1355
00:53:53,129 --> 00:53:56,841
and cuts his hand and falls
off the table laughing.

1356
00:53:56,841 --> 00:54:00,387
And he's like,
"Ah-ha-ha-ha!

1357
00:54:00,387 --> 00:54:02,347
That was so funny.

1358
00:54:02,347 --> 00:54:04,140
Oh, my God!"

1359
00:54:04,140 --> 00:54:07,018
I think we did
about twelve takes.

1360
00:54:07,018 --> 00:54:09,771
Finally at like, maybe
it's eight-forty-five

1361
00:54:09,771 --> 00:54:12,357
in the morning, I was
leaving and Quentin, like,

1362
00:54:12,357 --> 00:54:13,149
grabbed my arm.
He's like,

1363
00:54:13,149 --> 00:54:14,192
"You're stayin' and you're
having a drink with us, right?"

1364
00:54:14,192 --> 00:54:15,110
I said, "Yeah, yeah.

1365
00:54:15,110 --> 00:54:15,694
Let me be right back."

1366
00:54:15,694 --> 00:54:16,653
And I like ran away

1367
00:54:16,653 --> 00:54:19,030
back to the hotel to sleep.
I don't know.

1368
00:54:19,030 --> 00:54:20,782
All I heard was someone
may have been puking

1369
00:54:20,782 --> 00:54:21,866
in a dumpster at eleven o'clock
the next morning.

1370
00:54:24,119 --> 00:54:26,830
When I saw
Death Proof,

1371
00:54:26,830 --> 00:54:29,124
in that scene

1372
00:54:29,124 --> 00:54:31,376
where the girls are
sitting in the car

1373
00:54:31,376 --> 00:54:34,546
driving and talking,
nothing happens.

1374
00:54:34,546 --> 00:54:39,926
They don't say anything that's
really relevant to anything.

1375
00:54:39,926 --> 00:54:43,680
It goes on and it goes on
and I think it goes on for

1376
00:54:43,680 --> 00:54:45,015
forty-five minutes,

1377
00:54:45,015 --> 00:54:48,810
and they are still
driving and talking.

1378
00:54:48,810 --> 00:54:56,359
And I was so smitten by
that moment that it really

1379
00:54:56,359 --> 00:55:01,781
clicked that- that
yeah, despite all the

1380
00:55:01,781 --> 00:55:05,577
extraordinary
entertainment that these

1381
00:55:05,577 --> 00:55:13,627
movies deliver, there is
an allure and a suction

1382
00:55:13,627 --> 00:55:15,378
that pulls you in.

1383
00:55:17,047 --> 00:55:21,885
There is always that, this-
this strength in it.

1384
00:55:21,885 --> 00:55:24,429
(Sings) Where the
hell are my keys?

1385
00:55:24,429 --> 00:55:25,347
Here they are.

1386
00:55:50,622 --> 00:55:53,541
I think Quentin's influence
on film is twofold.

1387
00:55:53,541 --> 00:55:55,418
One is that
he's empowered

1388
00:55:55,418 --> 00:55:57,212
a lot of half-ass
filmmakers to make some

1389
00:55:57,212 --> 00:55:59,339
very bad films
because they don't know

1390
00:55:59,339 --> 00:56:00,840
how to watch his films.

1391
00:56:00,840 --> 00:56:02,300
They miss the poetry

1392
00:56:02,300 --> 00:56:05,762
and the elegance and the
eloquence of his filmmaking.

1393
00:56:05,762 --> 00:56:07,681
And so they go and they-
they had a lot of,

1394
00:56:07,681 --> 00:56:09,849
you know, bizarre violence
and- and people

1395
00:56:09,849 --> 00:56:13,645
mistreating people and they
miss his passionate humanism.

1396
00:56:13,645 --> 00:56:16,481
Inglourious Basterds,
this is a film that teaches

1397
00:56:16,481 --> 00:56:19,317
filmmakers how to make
movies because the opening

1398
00:56:19,317 --> 00:56:24,114
scene is literally Quentin
saying to everybody,

1399
00:56:24,114 --> 00:56:25,699
"Oh, you think
you know who I am,

1400
00:56:25,699 --> 00:56:27,200
and you think you
know what I can do,

1401
00:56:27,200 --> 00:56:29,285
and you think you've
seen a war movie before.

1402
00:56:29,285 --> 00:56:30,704
Well, I'm gonna mess with you

1403
00:56:30,704 --> 00:56:33,081
in a way you haven't
even begun to think."

1404
00:56:35,458 --> 00:56:36,543
Papa!

1405
00:56:36,543 --> 00:56:37,794
That I'm in control.

1406
00:56:37,794 --> 00:56:39,671
Then you were in
the palm of my hands

1407
00:56:39,671 --> 00:56:42,006
and you're on my trip.

1408
00:56:42,006 --> 00:56:43,883
The German general comes in.

1409
00:56:43,883 --> 00:56:46,511
You can't quite figure out
why he's being so friendly.

1410
00:56:49,389 --> 00:56:51,599
And you don't know why
are they so scared?

1411
00:56:54,936 --> 00:56:55,687
And then at a certain point,

1412
00:56:55,687 --> 00:56:57,772
Quentin takes you
under the house.

1413
00:56:59,774 --> 00:57:02,068
And it's really a
horrific moment.

1414
00:57:06,823 --> 00:57:08,742
You know, it's not Robert
Wise with The Haunting

1415
00:57:08,742 --> 00:57:10,535
where he's freaking you
out with camera angles.

1416
00:57:10,535 --> 00:57:13,037
It's not Toby Hooper's, uh,

1417
00:57:13,037 --> 00:57:14,164
Texas Chainsaw where

1418
00:57:14,164 --> 00:57:15,874
he's like shoving
your face in it.

1419
00:57:15,874 --> 00:57:17,542
It's what's not happening.

1420
00:57:17,542 --> 00:57:20,336
A German soldier conducts
a search of a house

1421
00:57:20,336 --> 00:57:22,881
suspected of hiding Jews.

1422
00:57:22,881 --> 00:57:24,382
Where does the hawk look?

1423
00:57:24,382 --> 00:57:25,550
He looks in the barn.

1424
00:57:25,550 --> 00:57:26,593
He looks in the attic.

1425
00:57:26,593 --> 00:57:27,761
He looks in the cellar.

1426
00:57:27,761 --> 00:57:31,264
He looks everywhere
he would hide.

1427
00:57:31,264 --> 00:57:33,183
But there's so many places
that wouldn't even have

1428
00:57:33,183 --> 00:57:35,393
occurred to a hawk to hide.

1429
00:57:35,393 --> 00:57:37,771
No, you're not turning a
corner and suddenly having

1430
00:57:37,771 --> 00:57:38,772
a cat screech.

1431
00:57:38,772 --> 00:57:39,981
And you go, "Oh!"

1432
00:57:39,981 --> 00:57:40,982
It's not cutting.

1433
00:57:40,982 --> 00:57:44,110
It's all intellectual
and it's all unbearable.

1434
00:57:45,320 --> 00:57:47,405
Point out to me the areas
where they're hiding.

1435
00:58:07,008 --> 00:58:09,552
The dialogue is,

1436
00:58:09,552 --> 00:58:10,970
so to say,

1437
00:58:10,970 --> 00:58:13,139
the tiny tip of the iceberg.

1438
00:58:14,516 --> 00:58:15,975
It's a clue.

1439
00:58:20,605 --> 00:58:23,525
I thank you for your time.

1440
00:58:25,985 --> 00:58:28,029
We shan't be bothering
your family any longer.

1441
00:58:28,988 --> 00:58:31,908
So Quentin, in his dialogue,

1442
00:58:31,908 --> 00:58:35,703
doesn't tell you how to say it,

1443
00:58:35,703 --> 00:58:39,374
but he gives you like
a whole abundance

1444
00:58:39,374 --> 00:58:41,876
of elements of what to say.

1445
00:58:41,876 --> 00:58:43,002
...adieu.

1446
00:58:46,631 --> 00:58:51,386
You derive fun from trying
to figure that out.

1447
00:58:51,386 --> 00:58:53,513
That's it.

1448
00:58:53,513 --> 00:58:55,890
(Chuckles) And Quentin
starts there and then he

1449
00:58:55,890 --> 00:58:57,851
goes and messes in doing
almost every other way he

1450
00:58:57,851 --> 00:59:00,186
can in terms of
what a war film does.

1451
00:59:00,186 --> 00:59:03,940
(Pants) (speaks French)

1452
00:59:03,940 --> 00:59:04,482
I remember the

1453
00:59:04,482 --> 00:59:06,067
first rehearsal from
Inglourious Basterds.

1454
00:59:06,067 --> 00:59:08,069
We all sat around and
everybody had our scripts

1455
00:59:08,069 --> 00:59:08,611
and we had our lines.

1456
00:59:08,611 --> 00:59:10,196
Quentin's like close
your scripts.

1457
00:59:10,196 --> 00:59:11,823
And he's like,
who are you?

1458
00:59:11,823 --> 00:59:13,241
And I was like,
"I'm Donny Donowitz."

1459
00:59:13,241 --> 00:59:15,827
And you had to go
on and on and on

1460
00:59:15,827 --> 00:59:17,120
about your backstory.

1461
00:59:17,120 --> 00:59:17,871
And he's like,
"Well, how did you feel

1462
00:59:17,871 --> 00:59:19,330
when he joined the Basterds?

1463
00:59:19,330 --> 00:59:19,831
What did you think about

1464
00:59:19,831 --> 00:59:21,499
Stiglitz coming
into the Basterds?"

1465
00:59:21,499 --> 00:59:23,251
Everybody had to have
their answers ready.

1466
00:59:23,251 --> 00:59:25,503
And there was one
person who didn't.

1467
00:59:25,503 --> 00:59:26,963
You!

1468
00:59:26,963 --> 00:59:27,630
And...

1469
00:59:27,630 --> 00:59:30,508
...you weren't
there the next day.

1470
00:59:30,508 --> 00:59:32,760
And that guy was an extra.

1471
00:59:32,760 --> 00:59:35,722
So I was really,
really training for it.

1472
00:59:35,722 --> 00:59:38,099
And I knew the bat scene,
that was the scene.

1473
00:59:38,099 --> 00:59:40,393
Like, this-It was like
if I do nothing else in

1474
00:59:40,393 --> 00:59:42,937
my life, it is this scene.

1475
00:59:42,937 --> 00:59:44,689
You hear that?

1476
00:59:46,316 --> 00:59:47,108
Yes.

1477
00:59:50,403 --> 00:59:53,156
It's Sergeant Donny Donowitz.

1478
00:59:53,156 --> 00:59:55,742
You might know him
better by his nickname,

1479
00:59:55,742 --> 00:59:58,161
The Bear Jew.

1480
00:59:58,161 --> 01:00:00,163
Quentin just gave me
the most heroic...

1481
01:00:00,163 --> 01:00:03,666
The one they call
"The Bear Jew"...

1482
01:00:03,666 --> 01:00:05,209
...is a Golem!

1483
01:00:05,209 --> 01:00:06,544
He's like you have Brad Pitt

1484
01:00:06,544 --> 01:00:07,795
and Hitler building you up.

1485
01:00:07,795 --> 01:00:09,631
He's like this is
gonna be your moment.

1486
01:00:09,631 --> 01:00:11,215
And, you know, I was gonna
come out of this tunnel.

1487
01:00:11,215 --> 01:00:12,675
Quentin was like,
"I got the best tunnel.

1488
01:00:12,675 --> 01:00:13,718
You're gonna be tapping
with a bat and

1489
01:00:13,718 --> 01:00:14,844
you're gonna come out."

1490
01:00:14,844 --> 01:00:17,096
Well, I got some weights
and we set up a punching bag,

1491
01:00:17,096 --> 01:00:19,182
so that Brad was
doing the whole scene

1492
01:00:19,182 --> 01:00:21,559
and I was in the back
and I was like lifting weights

1493
01:00:21,559 --> 01:00:23,353
and doing pull-ups, like,
I wanted to be ready like-

1494
01:00:23,353 --> 01:00:24,103
like an animal.

1495
01:00:24,103 --> 01:00:25,521
And Quentin was like,
all right,

1496
01:00:25,521 --> 01:00:26,314
we're gettin' to
you after lunch.

1497
01:00:26,314 --> 01:00:26,397
We're gettin' to you.

1498
01:00:26,397 --> 01:00:27,357
And then by the end,
he's like,

1499
01:00:27,357 --> 01:00:28,358
we're gonna do you next,
so be ready, ready.

1500
01:00:28,358 --> 01:00:30,318
And he was like,
well, that's a wrap.

1501
01:00:30,318 --> 01:00:30,944
And I was like (grunt).

1502
01:00:30,944 --> 01:00:32,320
And I would, like, sit
there at the end of day

1503
01:00:32,320 --> 01:00:35,531
and like (groan) like
getting all made up and ready,

1504
01:00:35,531 --> 01:00:36,908
pumped up, ready to go,

1505
01:00:36,908 --> 01:00:38,368
and then it would be like
the night at the gym and

1506
01:00:38,368 --> 01:00:40,370
in the morning the gym,
and then ready for it.

1507
01:00:40,370 --> 01:00:43,373
And Quentin did that to me
for about four or five days.

1508
01:00:43,373 --> 01:00:46,209
He finally, and he just like
had me like a caged animal.

1509
01:00:46,209 --> 01:00:47,794
He was, of course,
doing it on purpose.

1510
01:00:54,175 --> 01:00:55,718
And when I came out
with that bat,

1511
01:00:55,718 --> 01:00:57,804
I was so, so ready.

1512
01:00:57,804 --> 01:01:00,264
And then I just started
wailing on that dummy.

1513
01:01:00,264 --> 01:01:02,600
(Grunts) I'm going
completely crazy.

1514
01:01:02,600 --> 01:01:04,102
I mean I think I lost my voice

1515
01:01:04,102 --> 01:01:05,687
for a couple days after that.

1516
01:01:08,481 --> 01:01:10,942
I know that Quentin really
wanted,

1517
01:01:10,942 --> 01:01:15,405
um, authentic, um, actors
to be really German,

1518
01:01:15,405 --> 01:01:16,656
to be really French.

1519
01:01:16,656 --> 01:01:18,783
Um, he spent months
and months and months in

1520
01:01:18,783 --> 01:01:20,535
Germany trying to find
the right people,

1521
01:01:20,535 --> 01:01:23,413
especially for Christoph
Waltz's character.

1522
01:01:28,626 --> 01:01:31,004
And I know that he
had said himself,

1523
01:01:31,004 --> 01:01:32,839
that if he wouldn't
have found Christoph,

1524
01:01:32,839 --> 01:01:34,924
he wouldn't have been
able to make this film.

1525
01:01:44,642 --> 01:01:47,270
Quentin was very
secretive about,

1526
01:01:47,270 --> 01:01:48,980
uh, Christoph's character.

1527
01:01:48,980 --> 01:01:51,232
Uh, even at the
read-throughs we didn't

1528
01:01:51,232 --> 01:01:54,277
get to really see
his performance.

1529
01:01:59,282 --> 01:02:00,825
In the theatre
when Christoph comes in

1530
01:02:00,825 --> 01:02:03,703
and confronts Bridget,

1531
01:02:03,703 --> 01:02:05,872
we never rehearsed that scene,

1532
01:02:05,872 --> 01:02:08,541
so it was a complete
surprise to me when

1533
01:02:08,541 --> 01:02:11,711
he started going crazy on the
laugh and- and the way he

1534
01:02:11,711 --> 01:02:12,628
did that scene.

1535
01:02:17,133 --> 01:02:30,271
(Laughs) And I think it
kind of shows in my face.

1536
01:02:30,271 --> 01:02:32,106
Christoph just found
this character.

1537
01:02:32,106 --> 01:02:35,818
He had a really specific
idea of how he wanted to

1538
01:02:35,818 --> 01:02:39,530
play it and together with
Quentin they just had this

1539
01:02:39,530 --> 01:02:43,201
great bond and it got bigger
and bigger and bigger.

1540
01:02:43,201 --> 01:02:47,080
There is definitely an
exuberance about the

1541
01:02:47,080 --> 01:02:49,332
medium that he spreads.

1542
01:02:49,332 --> 01:02:53,711
And there is no, no
inoculation against this bug.

1543
01:02:53,711 --> 01:02:56,422
You get infected whether
you want to or not.

1544
01:02:56,422 --> 01:02:59,842
(Laughs) Well, I don't
know whether you want to

1545
01:02:59,842 --> 01:03:02,095
or not, because
that's part of the,

1546
01:03:02,095 --> 01:03:06,474
part of the infection that
you do want to get infected.

1547
01:03:06,474 --> 01:03:08,309
It's like going to
a whore house to

1548
01:03:08,309 --> 01:03:10,895
get infected with the syphilis.

1549
01:03:10,895 --> 01:03:13,106
I've never been killed on film,

1550
01:03:13,106 --> 01:03:15,399
so as the day approached,
I was getting more and more

1551
01:03:15,399 --> 01:03:17,068
nervous about it.

1552
01:03:17,068 --> 01:03:19,862
I'm in my trailer and Quentin
comes in and he goes,

1553
01:03:19,862 --> 01:03:22,115
"Well, I don't really
trust Christoph to

1554
01:03:22,115 --> 01:03:24,534
kill you, so I'm
gonna do it myself."

1555
01:03:24,534 --> 01:03:26,536
And he was like,
"Well, look at this.

1556
01:03:26,536 --> 01:03:30,915
They cut off SS sleeves
that fit me and I'm gonna

1557
01:03:30,915 --> 01:03:33,709
put them on and then
I'm just gonna be on top of

1558
01:03:33,709 --> 01:03:34,836
you and I'm gonna
be strangling you,

1559
01:03:34,836 --> 01:03:37,088
and it's gonna be great."

1560
01:03:37,088 --> 01:03:38,047
I was like, " Oh, oh.

1561
01:03:38,047 --> 01:03:38,881
Yeah, that's great.

1562
01:03:38,881 --> 01:03:39,549
Sure.

1563
01:03:39,549 --> 01:03:40,383
Fair enough.

1564
01:03:40,383 --> 01:03:40,800
Why not?"

1565
01:03:40,800 --> 01:03:43,094
And- and now I'm
really panicking.

1566
01:03:43,094 --> 01:03:46,139
And so we know we do the
stunt and like I'm finally

1567
01:03:46,139 --> 01:03:49,392
on the ground and I just
have this to the end of

1568
01:03:49,392 --> 01:03:52,937
my life vision of Quentin,
who by all means is three

1569
01:03:52,937 --> 01:03:56,691
times Christoph's size
and his hands are three times

1570
01:03:56,691 --> 01:03:59,110
Christoph's hands on top of me,

1571
01:03:59,110 --> 01:04:01,612
you know, with put-on
sleeves that are three

1572
01:04:01,612 --> 01:04:04,282
sizes too small for
him strangling me.

1573
01:04:04,282 --> 01:04:07,452
And I was just like,
well, at least if I die,

1574
01:04:07,452 --> 01:04:09,871
it's Quentin Tarantino
who killed me today.

1575
01:04:09,871 --> 01:04:10,872
Ooh!

1576
01:04:10,872 --> 01:04:17,628
(Gasps) I guess he
really gets in there.

1577
01:04:17,628 --> 01:04:19,088
Quentin is very hands-on.

1578
01:04:19,088 --> 01:04:20,548
He sits next to camera.

1579
01:04:20,548 --> 01:04:22,884
Usually directors
sit at video village,

1580
01:04:22,884 --> 01:04:24,385
sometimes in a different room.

1581
01:04:24,385 --> 01:04:26,554
You feel like he's involved,

1582
01:04:26,554 --> 01:04:29,098
he's there, he's kind of
holding your hand a little bit.

1583
01:04:29,098 --> 01:04:33,102
At the end of the day, you
feel like he sees everything.

1584
01:04:33,102 --> 01:04:35,813
He laughs when there's
like a joke in the scene.

1585
01:04:35,813 --> 01:04:37,940
He's always like--
Sometimes you have to cut

1586
01:04:37,940 --> 01:04:39,400
because we can
hear Quentin laughing.

1587
01:04:39,400 --> 01:04:40,818
It's- It's pretty great.

1588
01:04:42,987 --> 01:04:45,156
(Laughs) Hi, Sally.

1589
01:04:45,156 --> 01:04:46,782
(Laughs) Any time you get
a take and he likes it,

1590
01:04:46,782 --> 01:04:49,285
he's like, "All right,
another one to shout to Sally.

1591
01:04:49,285 --> 01:04:53,748
(Laughs) Hi, Sally.
(Chuckles)

1592
01:04:53,748 --> 01:04:56,417
He called me right after
he met Sally Menke

1593
01:04:56,417 --> 01:04:58,669
and he said,
I've met this gal.

1594
01:04:58,669 --> 01:05:01,923
I think we're gonna work on
all our movies together.

1595
01:05:01,923 --> 01:05:04,759
Look into the camera
and tell my lonely editor

1596
01:05:04,759 --> 01:05:06,510
stuck in Los Angeles

1597
01:05:06,510 --> 01:05:08,638
that's in her room
all by herself, hello.

1598
01:05:08,638 --> 01:05:09,972
Her name is Sally.

1599
01:05:09,972 --> 01:05:12,141
Hello, Sally.

1600
01:05:12,141 --> 01:05:13,392
And welcome to
happy first day.

1601
01:05:13,392 --> 01:05:14,727
And happy first day!

1602
01:05:14,727 --> 01:05:17,563
Now all together, go.

1603
01:05:17,563 --> 01:05:21,275
Hello, Sally and
happy first day!

1604
01:05:21,275 --> 01:05:22,860
Sally Menke, unfortunately,

1605
01:05:22,860 --> 01:05:25,196
is not with us anymore.

1606
01:05:25,196 --> 01:05:28,407
But she was Quentin's
major contributing editor

1607
01:05:28,407 --> 01:05:31,244
for all of his movies
for a while there.

1608
01:05:31,244 --> 01:05:38,501
She is my only true
genuine collaborator

1609
01:05:38,501 --> 01:05:42,713
from beginning to end
and that's the way it is.

1610
01:05:42,713 --> 01:05:44,173
They just knew
each other so well,

1611
01:05:44,173 --> 01:05:46,550
it felt like kind of
their unspoken language.

1612
01:05:46,550 --> 01:05:49,262
She was one of those
women that could be like,

1613
01:05:49,262 --> 01:05:50,596
"You're being self-indulgent."

1614
01:05:50,596 --> 01:05:53,349
And he'd be like, "Fine!"

1615
01:05:53,349 --> 01:05:58,187
I think he could hear Sally's
voice when he's shooting.

1616
01:05:58,187 --> 01:06:00,481
And so tonight I want
to thank my co-writer,

1617
01:06:00,481 --> 01:06:03,442
Sally Menke.

1618
01:06:03,442 --> 01:06:06,737
She was his cheerleader

1619
01:06:06,737 --> 01:06:09,031
and his editor
all rolled into one.

1620
01:06:09,031 --> 01:06:10,157
Hi, Sally.

1621
01:06:12,076 --> 01:06:12,910
Hi, Sally.

1622
01:06:13,369 --> 01:06:14,662
Hi, Sally.

1623
01:06:14,662 --> 01:06:15,371
Cut!

1624
01:06:15,371 --> 01:06:17,456
The Basterds will be
waiting from you.

1625
01:06:17,456 --> 01:06:19,083
(To self/Sally)
Fucking, fucky, fuck.

1626
01:06:19,083 --> 01:06:20,084
So, close.

1627
01:06:20,084 --> 01:06:21,836
Hello, Sally. So close.

1628
01:06:38,311 --> 01:06:42,398
The resonance of his
cinema is to push you

1629
01:06:42,398 --> 01:06:45,109
with every tool at his
disposal and he's a master

1630
01:06:45,109 --> 01:06:46,736
at most of those tools.

1631
01:06:46,736 --> 01:06:49,488
I remember that ending
watching it and my parents,

1632
01:06:49,488 --> 01:06:50,698
my parents were crying.

1633
01:06:50,698 --> 01:06:51,949
It was just this incredible,

1634
01:06:51,949 --> 01:06:53,409
incredible moment.

1635
01:06:53,409 --> 01:06:59,665
I get to
be the Jew that shot Hitler.

1636
01:06:59,665 --> 01:07:00,458
It's the greatest.

1637
01:07:00,458 --> 01:07:02,043
Everywhere I go,
people recognize me for

1638
01:07:02,043 --> 01:07:03,878
The Bear Jew, every country.

1639
01:07:03,878 --> 01:07:04,670
It's incredible.

1640
01:07:04,670 --> 01:07:09,842
I think
the people who think that

1641
01:07:09,842 --> 01:07:12,428
Inglourious Basterds goes
off the rails when Hitler

1642
01:07:12,428 --> 01:07:16,932
dies misses that we all
are watching the movie and

1643
01:07:16,932 --> 01:07:18,684
we all know we're
watching a movie.

1644
01:07:18,684 --> 01:07:19,894
He didn't change history,

1645
01:07:19,894 --> 01:07:24,982
nor does he ever
claim to do that.

1646
01:07:24,982 --> 01:07:29,737
But he's doing
exactly the- the- the

1647
01:07:29,737 --> 01:07:39,205
quintessential task of
what storytelling is all about.

1648
01:07:39,205 --> 01:07:40,956
What if?

1649
01:07:40,956 --> 01:07:44,543
I've never had the desire
to be part of repeating my

1650
01:07:44,543 --> 01:07:46,796
country's history
over and over and over,

1651
01:07:46,796 --> 01:07:49,048
so the set seemed
really refreshing.

1652
01:07:49,048 --> 01:07:51,967
(Laughs) And, uh,
only Quentin Tarantino gets

1653
01:07:51,967 --> 01:07:54,011
away with stuff like that.

1654
01:07:54,011 --> 01:07:55,763
I mean, what a
ballsy movie to make.

1655
01:07:55,763 --> 01:07:58,599
That guy makes a movie,
that's a movie called

1656
01:07:58,599 --> 01:08:00,184
Inglourious Basterds where
the bastards aren't really

1657
01:08:00,184 --> 01:08:02,269
in it that much, a war
movie where there's almost

1658
01:08:02,269 --> 01:08:05,606
no war, and it's two-thirds
in a foreign language.

1659
01:08:05,606 --> 01:08:07,817
It's just like, how
do you do that?

1660
01:08:07,817 --> 01:08:09,193
How do you have the
confidence and the balls

1661
01:08:09,193 --> 01:08:12,196
to do that coming off
of what was the biggest

1662
01:08:12,196 --> 01:08:13,906
commercial failure
of your career?

1663
01:08:13,906 --> 01:08:15,116
I'm alive.

1664
01:08:15,116 --> 01:08:17,952
(Speaks German) He's like,
I'm gonna do something

1665
01:08:17,952 --> 01:08:19,203
bold and brave and different.

1666
01:08:19,203 --> 01:08:20,663
Then he does it
again with Django.

1667
01:08:20,663 --> 01:08:22,206
And everyone's
still doubting him.

1668
01:08:22,206 --> 01:08:23,958
How can you do a slavery
movie at Christmas?

1669
01:08:23,958 --> 01:08:25,000
And he said, watch this.

1670
01:08:25,000 --> 01:08:26,377
It's his biggest movie ever.

1671
01:08:40,057 --> 01:08:40,683
Everyone is standing

1672
01:08:40,683 --> 01:08:42,518
in the Quentin Tarantino
line to work.

1673
01:08:42,518 --> 01:08:43,686
I don't care who they are.

1674
01:08:43,686 --> 01:08:46,147
I don't care how
big your star shines

1675
01:08:46,147 --> 01:08:47,732
and what you do
at the box office.

1676
01:08:47,732 --> 01:08:52,445
You are still Quentin
Tarantino deprived

1677
01:08:52,445 --> 01:08:54,071
if you haven't gotten a
chance to work with him.

1678
01:08:54,071 --> 01:08:57,241
(Indistinct). ..Your black ass.

1679
01:08:57,241 --> 01:09:01,412
(Laughs) I get a chance to
meet Quentin Tarantino.

1680
01:09:02,538 --> 01:09:03,998
Hey, white boy.

1681
01:09:03,998 --> 01:09:06,625
I said, hey, white boy.

1682
01:09:06,625 --> 01:09:07,793
Shut up, black.

1683
01:09:07,793 --> 01:09:09,503
You ain't got nothing'
to say I want to hear.

1684
01:09:09,503 --> 01:09:17,428
You make unknowns,
celebrities, stars.

1685
01:09:17,428 --> 01:09:20,222
But you turn stars
into legends.

1686
01:09:20,222 --> 01:09:26,687
I said, I know
the dude needs to be able

1687
01:09:26,687 --> 01:09:27,396
to ride his horse.

1688
01:09:27,396 --> 01:09:28,731
I got my own horse at the crib.

1689
01:09:28,731 --> 01:09:29,607
It'll be cool.

1690
01:09:29,607 --> 01:09:32,943
And not only did he allow me
to take on the character,

1691
01:09:32,943 --> 01:09:34,403
but I got a chance
to ride my own

1692
01:09:34,403 --> 01:09:36,113
horse in the film.

1693
01:09:36,113 --> 01:09:37,990
My valet, Django.

1694
01:09:37,990 --> 01:09:41,035
These are our horses,
Tony and Fritz.

1695
01:09:41,035 --> 01:09:44,663
We had Bruce there,

1696
01:09:44,663 --> 01:09:47,333
Bruce Dern, who's done
every western that's

1697
01:09:47,333 --> 01:09:49,001
ever been made for television,

1698
01:09:49,001 --> 01:09:51,462
played every bad guy
you could imagine.

1699
01:09:51,462 --> 01:09:55,674
Django, Django, you got sin,

1700
01:09:55,674 --> 01:09:57,551
Django.

1701
01:09:57,551 --> 01:10:00,221
The boy's got sin.

1702
01:10:00,221 --> 01:10:02,473
When you've watched this man
for however many year, what,

1703
01:10:02,473 --> 01:10:05,851
thirty, forty, fifty
years of his career,

1704
01:10:05,851 --> 01:10:06,810
and to step in.

1705
01:10:06,810 --> 01:10:08,729
And that's what you
need, you know?

1706
01:10:08,729 --> 01:10:12,191
No political correctness.

1707
01:10:12,191 --> 01:10:15,319
No softening the blows.

1708
01:10:15,319 --> 01:10:17,530
I want you to burn a
runaway "R" right here on

1709
01:10:17,530 --> 01:10:20,574
his cheek, and the girl, too.

1710
01:10:20,574 --> 01:10:23,744
(Gasps) Getting into the role
and working with Quentin,

1711
01:10:23,744 --> 01:10:25,538
Quentin was, especially
in the beginning

1712
01:10:25,538 --> 01:10:26,664
because he didn't know me.

1713
01:10:26,664 --> 01:10:27,832
You know, he knew Samuel.

1714
01:10:27,832 --> 01:10:28,749
He knew Christoph.

1715
01:10:28,749 --> 01:10:30,334
And so he was like, "Listen.

1716
01:10:30,334 --> 01:10:32,044
You know, we really got
to put the work in."

1717
01:10:32,044 --> 01:10:34,046
And so I would come in
and I was doing my lines

1718
01:10:34,046 --> 01:10:36,006
really sort of Jim Brownish,

1719
01:10:36,006 --> 01:10:38,008
like, you know,
like I was already the guy.

1720
01:10:38,008 --> 01:10:39,218
And I remember him going, "Uh,

1721
01:10:39,218 --> 01:10:40,010
let's take a break."

1722
01:10:40,010 --> 01:10:40,636
He takes me in the room.

1723
01:10:40,636 --> 01:10:41,762
He says, "Hey, listen.

1724
01:10:41,762 --> 01:10:42,638
Listen.

1725
01:10:42,638 --> 01:10:44,014
You- you- you got
to be a slave."

1726
01:10:44,014 --> 01:10:44,807
I said, "What do you
mean?" He said,

1727
01:10:44,807 --> 01:10:47,768
"You- you have to be a slave."

1728
01:10:47,768 --> 01:10:49,019
And I said,
"I- I don't get it."

1729
01:10:49,019 --> 01:10:52,106
He says, "You're
already too macho

1730
01:10:52,106 --> 01:10:54,066
and you're too in control."

1731
01:10:56,777 --> 01:10:59,238
The Louis bag and the Range
Rover you're driving,

1732
01:10:59,238 --> 01:11:00,906
all of this, and so
you have to come in and

1733
01:11:00,906 --> 01:11:02,992
strip that all the way,
'cause I don't want this

1734
01:11:02,992 --> 01:11:06,912
to be a mistake that if I
hired someone who is like

1735
01:11:06,912 --> 01:11:09,331
yourself or some other
person who's well known,

1736
01:11:09,331 --> 01:11:11,500
that you couldn't break
away from your persona and

1737
01:11:11,500 --> 01:11:13,877
that's why I work with
the people that I work with.

1738
01:11:16,380 --> 01:11:19,174
And so the next day,
I left all that at the crib

1739
01:11:19,174 --> 01:11:24,972
and sunk into that- that
type of person who was

1740
01:11:24,972 --> 01:11:28,684
strong on the inside, but
afraid to allow it to come out

1741
01:11:28,684 --> 01:11:32,021
because you would be murdered.

1742
01:11:32,021 --> 01:11:34,440
Imagine if anyone here
saw someone you love and you

1743
01:11:34,440 --> 01:11:38,819
can't say nothing
'cause they'll kill you both.

1744
01:11:38,819 --> 01:11:43,407
(Sings) Broomhilda, come
on and get on my horse.

1745
01:11:43,407 --> 01:11:49,413
Broomhilda (beatboxing...)
That was powerful.

1746
01:11:49,413 --> 01:11:52,583
Even in the rehearsal,
I had to do certain things

1747
01:11:52,583 --> 01:11:55,502
in order to get the fear
out of my character

1748
01:11:55,502 --> 01:11:58,047
when it came to Sam because
he came in like this.

1749
01:11:58,047 --> 01:12:00,049
He howls to everything.

1750
01:12:00,049 --> 01:12:02,259
I can literally say he's

1751
01:12:02,259 --> 01:12:04,762
probably the best actor
I've worked with.

1752
01:12:04,762 --> 01:12:06,305
You scaring me.

1753
01:12:06,305 --> 01:12:09,099
(Gasps) Why is it
I'm scarin' you?

1754
01:12:09,099 --> 01:12:12,269
Because you're scary.

1755
01:12:12,269 --> 01:12:13,354
Oh, fuck.

1756
01:12:13,354 --> 01:12:15,439
Oh, fuck, it's incredible.

1757
01:12:15,439 --> 01:12:17,358
I told Quentin Stephen
was gonna

1758
01:12:17,358 --> 01:12:18,442
have his fans.

1759
01:12:18,442 --> 01:12:21,528
(Chuckles) Stephen could
read, write, count,

1760
01:12:21,528 --> 01:12:22,655
do all those things,

1761
01:12:22,655 --> 01:12:23,614
and he had a disguise.

1762
01:12:23,614 --> 01:12:26,075
He disguised himself
as a feeble old man

1763
01:12:26,075 --> 01:12:27,618
and he wasn't.

1764
01:12:27,618 --> 01:12:29,745
And he realized that
inside the confines of

1765
01:12:29,745 --> 01:12:31,997
Candyland, he was king.

1766
01:12:31,997 --> 01:12:34,667
Even when Calvin was home,
he was king.

1767
01:12:34,667 --> 01:12:36,585
He's gonna stay
in the big house?

1768
01:12:36,585 --> 01:12:38,295
Stephen, he's a slaver.

1769
01:12:38,295 --> 01:12:39,296
It's different.

1770
01:12:39,296 --> 01:12:40,714
In the big house?

1771
01:12:40,714 --> 01:12:41,966
The character is
the characters.

1772
01:12:41,966 --> 01:12:42,549
And that's why I...

1773
01:12:42,549 --> 01:12:43,175
...think people love

1774
01:12:43,175 --> 01:12:44,218
his characters is that

1775
01:12:44,218 --> 01:12:45,761
they are honest,
whether you like them,

1776
01:12:45,761 --> 01:12:47,179
whether you agree with them
or disagree with them,

1777
01:12:47,179 --> 01:12:48,472
they are who they are.

1778
01:12:48,472 --> 01:12:49,682
The film has
already sparked

1779
01:12:49,682 --> 01:12:53,018
controversy over its repeated
use of the "N" word.

1780
01:12:53,018 --> 01:12:55,813
And now, Director, Spike Lee
says he won't go to see it.

1781
01:12:55,813 --> 01:12:57,439
Spike, (chuckles)
Spike Lee's,

1782
01:12:57,439 --> 01:12:59,066
you know and
I respect Spike Lee,

1783
01:12:59,066 --> 01:13:01,985
you know, but Spike
Lee's that guy.

1784
01:13:01,985 --> 01:13:06,490
You know, it's like
Spike Lee is like the-

1785
01:13:06,490 --> 01:13:11,370
the old dude with the nice
little house that has the grass.

1786
01:13:11,370 --> 01:13:13,914
Don't you get on my grass,
you little motherfuckers.

1787
01:13:16,250 --> 01:13:19,378
That's my grass,
every blade of it is.

1788
01:13:19,920 --> 01:13:21,797
Little motherfuckers.

1789
01:13:21,797 --> 01:13:22,756
You know.

1790
01:13:22,756 --> 01:13:24,049
You're not gonna get

1791
01:13:24,049 --> 01:13:25,843
Samuel Jackson to say

1792
01:13:25,843 --> 01:13:29,388
nigger, nigger, nigger if he
feels he's demeaning anybody.

1793
01:13:29,388 --> 01:13:31,390
You know, I mean Samuel
Jackson's gonna turn to

1794
01:13:31,390 --> 01:13:33,183
you and tell you where to go.

1795
01:13:33,183 --> 01:13:35,477
You take Twelve Years A Slave,

1796
01:13:35,477 --> 01:13:38,272
which is supposedly
made by an "auteur",

1797
01:13:38,272 --> 01:13:41,525
so Steve McQueen's very
different from Quentin.

1798
01:13:41,525 --> 01:13:45,279
So when you have a song
that says nigger three

1799
01:13:45,279 --> 01:13:47,573
hundred times in it
and nobody says shit.

1800
01:13:47,573 --> 01:13:48,615
(Sings) Nigger run,

1801
01:13:48,615 --> 01:13:53,078
nigger flew, nigger tore
his shirt in two Run,

1802
01:13:53,078 --> 01:13:55,414
run or the pattyroller
will get you Run nigger

1803
01:13:55,414 --> 01:13:56,874
run Well you better get away

1804
01:13:56,874 --> 01:13:59,543
So, it's okay for him
to use it because

1805
01:13:59,543 --> 01:14:03,922
he's artistically attacking
the system or the way people

1806
01:14:03,922 --> 01:14:05,591
think and feel in a way.

1807
01:14:05,591 --> 01:14:08,802
Then Quentin's just doing
it to just scrape the

1808
01:14:08,802 --> 01:14:10,095
blackboard with his nails.

1809
01:14:10,095 --> 01:14:11,847
You know, and that's not true.

1810
01:14:11,847 --> 01:14:14,308
There is no dishonesty in
anything that he writes

1811
01:14:14,308 --> 01:14:16,935
or how people talk,
feel, or speak.

1812
01:14:16,935 --> 01:14:18,562
There you go!

1813
01:14:18,562 --> 01:14:20,564
The consumer, especially
black consumers,

1814
01:14:20,564 --> 01:14:22,649
they understand
that it's a movie.

1815
01:14:22,649 --> 01:14:25,569
Sometimes we get a little
overboard with our

1816
01:14:25,569 --> 01:14:28,322
sensitivity level with-
with everything,

1817
01:14:28,322 --> 01:14:30,657
because nobody was really
payin' attention to that.

1818
01:14:30,657 --> 01:14:32,785
They were comin' to see
their favorite director

1819
01:14:32,785 --> 01:14:35,370
direct some of their
favorite stars.

1820
01:14:35,370 --> 01:14:37,956
If it's Quentin, if it's Samuel,

1821
01:14:37,956 --> 01:14:40,083
if it's Leo, it's Christoph,

1822
01:14:40,083 --> 01:14:42,503
Carry Washington, and myself,

1823
01:14:42,503 --> 01:14:46,048
I- I just find it hard
for us to fuck that up.

1824
01:14:46,048 --> 01:14:48,008
All three are champions.

1825
01:14:49,009 --> 01:14:51,303
Samson's a champion.

1826
01:14:51,303 --> 01:14:52,763
Them other two pretty good.

1827
01:14:55,224 --> 01:14:56,809
Calvin-- You know we live
in a very politically

1828
01:14:56,809 --> 01:14:59,561
correct society now to
where almost everything,

1829
01:14:59,561 --> 01:15:01,480
it almost chokes
art a little bit.

1830
01:15:03,232 --> 01:15:05,984
That's just the way it was.

1831
01:15:05,984 --> 01:15:07,861
What's your name, boy?

1832
01:15:07,861 --> 01:15:10,239
His name is Django Freeman.

1833
01:15:10,239 --> 01:15:12,199
His characters are
a part of him.

1834
01:15:12,199 --> 01:15:13,242
It's how he creates.

1835
01:15:13,242 --> 01:15:14,952
But they're living breathing
characters to him.

1836
01:15:14,952 --> 01:15:18,372
There's a great story that
his mom told me about when

1837
01:15:18,372 --> 01:15:21,250
he was a little boy and he
was playing with his GI Joes

1838
01:15:21,250 --> 01:15:22,793
and he was using foul language.

1839
01:15:22,793 --> 01:15:24,711
And I think it was
like, you know,

1840
01:15:24,711 --> 01:15:25,921
"Fuck you. Die."

1841
01:15:25,921 --> 01:15:26,880
And you know, like, whatever.

1842
01:15:26,880 --> 01:15:28,465
And she came around the
corner and she was like,

1843
01:15:28,465 --> 01:15:30,008
Quentin, don't you
use that language.

1844
01:15:30,008 --> 01:15:31,343
And he said,
"It's not me, Mom.

1845
01:15:31,343 --> 01:15:32,010
It's just the guys.

1846
01:15:32,010 --> 01:15:33,679
That's how they talk."

1847
01:15:35,430 --> 01:15:36,932
I count two guns, Nigger.

1848
01:15:40,936 --> 01:15:43,105
You said in seventy-six
years on this plantation,

1849
01:15:43,105 --> 01:15:45,858
you've seen all manner
of shit done to niggers,

1850
01:15:45,858 --> 01:15:47,484
but I notice...

1851
01:15:47,484 --> 01:15:48,777
you didn't mention kneecapping.

1852
01:15:48,777 --> 01:15:50,529
Oh, God!

1853
01:15:50,529 --> 01:15:51,989
Motherfucker!

1854
01:15:51,989 --> 01:15:55,242
Leonardo DiCaprio had a problem
saying the word nigger.

1855
01:15:55,242 --> 01:15:56,034
"Pal.

1856
01:15:56,034 --> 01:15:57,369
(Inhales) Pal, it's just.

1857
01:15:57,369 --> 01:15:59,913
(Exhales) It's tough
for me to say this."

1858
01:15:59,913 --> 01:16:01,874
And, uh, I remember
Samuel Jackson going,

1859
01:16:01,874 --> 01:16:03,125
Get over it, motherfucker.

1860
01:16:03,125 --> 01:16:04,459
This is just another
Tuesday, motherfucker.

1861
01:16:04,459 --> 01:16:06,003
I don't give a fuck about
these motherfuckers.

1862
01:16:06,003 --> 01:16:07,629
Look at- look at
who I am, motherfucker.

1863
01:16:07,629 --> 01:16:09,715
Fuck! And it was like...

1864
01:16:09,715 --> 01:16:11,008
You know, and I said, "Yeah."

1865
01:16:11,008 --> 01:16:12,634
I said, "Leo, Leo,
we're- we're not friends."

1866
01:16:12,634 --> 01:16:14,177
I said, "This is
just another Thursday.

1867
01:16:14,177 --> 01:16:16,430
This is your property.

1868
01:16:16,430 --> 01:16:17,514
These aren't humans.

1869
01:16:17,514 --> 01:16:18,849
These are your property."

1870
01:16:22,561 --> 01:16:24,021
And when Leo came
in the next day,

1871
01:16:24,021 --> 01:16:25,647
it was literally like, I
was like, "What's up, Leo?

1872
01:16:27,274 --> 01:16:28,233
What's up fam?"

1873
01:16:29,359 --> 01:16:30,360
He didn't speak.

1874
01:16:30,986 --> 01:16:32,362
You won't mind me
handling this nigger

1875
01:16:32,362 --> 01:16:33,947
anyway I see fit.

1876
01:16:34,990 --> 01:16:36,533
He's your nigger.

1877
01:16:40,704 --> 01:16:44,750
Mr. Stonesipher, let
Marshall and the bitches

1878
01:16:44,750 --> 01:16:47,544
send D'Artagnan
to nigger heaven.

1879
01:16:47,544 --> 01:16:50,672
Quentin allowed us to
transport back to that

1880
01:16:50,672 --> 01:16:53,967
time and it was- it was
really real. It was intent.

1881
01:16:53,967 --> 01:16:58,722
Leonardo had that gigantic
sequence where he becomes

1882
01:16:58,722 --> 01:17:01,725
wise to what Schultz
and Django are up to.

1883
01:17:01,725 --> 01:17:05,729
He brought his hand down
and smashed the glass.

1884
01:17:05,729 --> 01:17:09,816
So now blood is running
down his hand.

1885
01:17:09,816 --> 01:17:12,444
He's kind of getting white.

1886
01:17:12,444 --> 01:17:13,862
Leo never breaks.

1887
01:17:13,862 --> 01:17:15,280
He goes all the way
through 'cause he knows

1888
01:17:15,280 --> 01:17:16,406
it's a great take.

1889
01:17:16,406 --> 01:17:19,076
Where were we?

1890
01:17:19,076 --> 01:17:22,412
Quentin's right there,
right at the lens next to him,

1891
01:17:22,412 --> 01:17:23,997
not in some video village.

1892
01:17:23,997 --> 01:17:25,374
In fact there are no monitors

1893
01:17:25,374 --> 01:17:28,210
on a Quentin Tarantino movie.
There is no video village.

1894
01:17:28,210 --> 01:17:30,754
And you can see it
in the performances.

1895
01:17:30,754 --> 01:17:35,467
Broomhilda here is my
property and I can choose

1896
01:17:35,467 --> 01:17:39,763
to do with my property
whatever I so desire.

1897
01:17:39,763 --> 01:17:41,640
After Leonardo
finished, you know,

1898
01:17:41,640 --> 01:17:43,809
his fellow actors, his peers,

1899
01:17:43,809 --> 01:17:46,770
and the crew, basically,
gave him a standing ovation.

1900
01:17:46,770 --> 01:17:48,772
And I think that it
was the first time

1901
01:17:48,772 --> 01:17:51,858
that Leo had really been
in that atmosphere,

1902
01:17:51,858 --> 01:17:54,111
that brotherhood,
and that spirit of fun.

1903
01:17:54,111 --> 01:17:55,487
After a hundred
rolls of film,

1904
01:17:55,487 --> 01:17:57,364
they, all of sudden,
I'm- now I'm in chains,

1905
01:17:57,364 --> 01:17:59,449
like, all of a sudden
they start playing music.

1906
01:17:59,449 --> 01:18:01,660
(Sings) Ba-ba-ba-ba-ba-ba-ba...

1907
01:18:01,660 --> 01:18:02,786
(speaks) I was like,
what's going on?

1908
01:18:02,786 --> 01:18:03,203
What's all this?

1909
01:18:03,203 --> 01:18:04,079
They start bringing
out tequila.

1910
01:18:04,079 --> 01:18:05,831
I say, what? Oh, shit!

1911
01:18:05,831 --> 01:18:06,999
This is great.
I said, what the fuck?

1912
01:18:06,999 --> 01:18:08,500
I said, what kind
of set is this?

1913
01:18:08,500 --> 01:18:10,252
He says, "My kinda
set, motherfucker."

1914
01:18:10,794 --> 01:18:11,795
Quentin had called

1915
01:18:11,795 --> 01:18:14,131
everybody in and- and-
and we were waiting

1916
01:18:14,131 --> 01:18:17,926
for- for everybody to
come in and we chatted and...

1917
01:18:17,926 --> 01:18:20,137
And then Quentin
came and said, "Okay.

1918
01:18:20,137 --> 01:18:23,682
I thought about this for a
long time and this morning

1919
01:18:23,682 --> 01:18:26,351
at three o'clock I came
to the conclusion,

1920
01:18:26,351 --> 01:18:29,646
now this is
what's going to happen."

1921
01:18:29,646 --> 01:18:31,940
And then he acted
out that whole scene,

1922
01:18:31,940 --> 01:18:35,569
this big battle inside.

1923
01:18:37,821 --> 01:18:40,282
And then Quentin said, "Well,

1924
01:18:40,282 --> 01:18:41,992
I thought about ending
the movie here,

1925
01:18:41,992 --> 01:18:44,494
but then this happens."

1926
01:18:44,494 --> 01:18:46,580
And he threw himself
on the floor.

1927
01:18:46,580 --> 01:18:48,332
And he jumped up
and threw his gun.

1928
01:18:48,332 --> 01:18:51,835
You know, I- I think he
had like fifteen and shot

1929
01:18:51,835 --> 01:18:55,589
and- and really acted
out the whole scene.

1930
01:18:55,589 --> 01:18:57,299
Bob Richardson
was sitting there,

1931
01:18:59,009 --> 01:19:03,472
you know, trying to control
his- his blood pressure.

1932
01:19:03,472 --> 01:19:07,059
And the- and the- the-
the stunt coordinator,

1933
01:19:07,059 --> 01:19:10,479
who is about seven feet
tall and five feet wide

1934
01:19:10,479 --> 01:19:14,024
was leaning against
the wall like that.

1935
01:19:14,024 --> 01:19:17,861
(Chuckles) And the- and
the special effects guy

1936
01:19:17,861 --> 01:19:19,029
started to cry.

1937
01:19:19,029 --> 01:19:28,872
That main hall
was literally destroyed

1938
01:19:28,872 --> 01:19:34,211
and the blood was squirted
up to the second story.

1939
01:19:34,211 --> 01:19:36,254
Blood up to the
gallery of that,

1940
01:19:36,254 --> 01:19:38,298
literally everywhere.

1941
01:19:38,298 --> 01:19:39,049
Ow!

1942
01:19:39,049 --> 01:19:39,466
God!

1943
01:19:39,466 --> 01:19:41,051
The furniture,
the interior,

1944
01:19:41,051 --> 01:19:45,180
everything thrashed to
the size of toothpicks.

1945
01:19:45,180 --> 01:19:48,558
And you want to tell me
that's a true story?

1946
01:19:48,558 --> 01:19:50,977
True is what
happened on the set.

1947
01:19:50,977 --> 01:19:54,898
True is what happens
on the screen.

1948
01:19:54,898 --> 01:19:57,734
But the violence? No.

1949
01:19:58,693 --> 01:20:00,570
The violence is opera.

1950
01:20:01,988 --> 01:20:04,741
Django...!

1951
01:20:05,158 --> 01:20:07,452
You (indistinct) son of a...

1952
01:20:07,452 --> 01:20:09,746
Django's not trying
to cure slavery.

1953
01:20:10,831 --> 01:20:12,624
He just wants to take out
the people that did him

1954
01:20:12,624 --> 01:20:13,959
bad and get with his girl.

1955
01:20:16,920 --> 01:20:18,380
This is a love story.

1956
01:20:21,550 --> 01:20:23,343
Django is the- is
the super hero.

1957
01:20:23,343 --> 01:20:25,554
He's the guy who rides
off into the sunset.

1958
01:20:25,554 --> 01:20:28,014
And you don't see a lot of
black characters that do that.

1959
01:20:28,014 --> 01:20:29,975
You don't see in Hollywood
when a black character's

1960
01:20:29,975 --> 01:20:33,562
in that type of setting of
slavery does what he does,

1961
01:20:33,562 --> 01:20:35,814
kills the bad white
folks, gets his girl,

1962
01:20:35,814 --> 01:20:37,440
and rides off into the sunset.

1963
01:20:54,791 --> 01:20:56,001
It's about eight
people trapped

1964
01:20:56,001 --> 01:20:57,919
in a blizzard in
a haberdashery

1965
01:20:57,919 --> 01:20:59,504
in the middle of nowhere.

1966
01:20:59,504 --> 01:21:02,841
It's a mixture of
western, who-done-it,

1967
01:21:02,841 --> 01:21:05,135
revenge movie.
It's all those things.

1968
01:21:05,135 --> 01:21:06,386
Want to make a deal?

1969
01:21:06,386 --> 01:21:07,095
Huh?

1970
01:21:07,095 --> 01:21:09,347
The deal
still stands, Chris.

1971
01:21:09,347 --> 01:21:11,850
You ain't got nothing
we can't forgive.

1972
01:21:11,850 --> 01:21:13,977
The Hateful Eight is
kind of almost like a- a

1973
01:21:13,977 --> 01:21:16,479
bookend of Reservoir Dogs.

1974
01:21:16,479 --> 01:21:18,148
It'd just be more bullshit.

1975
01:21:20,775 --> 01:21:22,194
This man set us up.

1976
01:21:22,194 --> 01:21:24,988
He creates an initial scenario,

1977
01:21:24,988 --> 01:21:26,823
an initial group of people,

1978
01:21:28,408 --> 01:21:30,410
and he throws them together

1979
01:21:30,410 --> 01:21:31,786
often in one room.

1980
01:21:31,786 --> 01:21:36,833
And then he explores what
might happen by putting

1981
01:21:36,833 --> 01:21:39,711
this group of people
in the same room,

1982
01:21:39,711 --> 01:21:42,214
like Reservoir Dogs
or The Hateful Eight.

1983
01:21:42,214 --> 01:21:43,757
It's a complete ensemble piece,

1984
01:21:43,757 --> 01:21:47,344
which is pretty incredible
because you've got eight people

1985
01:21:47,344 --> 01:21:50,972
in there talking to each other
about some very specific,

1986
01:21:50,972 --> 01:21:55,143
interesting, and sometimes
very hateful things.

1987
01:21:55,143 --> 01:22:01,650
(Spits) (grunts) What
the- (groans) (groans)

1988
01:22:01,650 --> 01:22:05,028
He lets the
characters be infused

1989
01:22:05,028 --> 01:22:07,697
by the actors that he
chooses to portray them.

1990
01:22:08,907 --> 01:22:10,992
He played me a piece of
music and then he said,

1991
01:22:10,992 --> 01:22:13,036
"I think it would be nice
if Daisy played the guitar

1992
01:22:13,036 --> 01:22:14,788
and sang this song."

1993
01:22:14,788 --> 01:22:16,456
It really focused me

1994
01:22:16,456 --> 01:22:18,792
because I had to practice
that fucking instrument

1995
01:22:18,792 --> 01:22:22,045
everyday whenever
I was not on camera.

1996
01:22:22,045 --> 01:22:25,757
(Sings) I'll kill you
bastards one and all I'll

1997
01:22:25,757 --> 01:22:29,469
gun the floggers down It
was ama-I had never played

1998
01:22:29,469 --> 01:22:31,346
guitar in my life.

1999
01:22:31,346 --> 01:22:36,017
(Sings) And you'll be
dead Behind me John

2000
01:22:36,017 --> 01:22:40,522
When I get to Mexico.

2001
01:22:40,522 --> 01:22:42,065
He wanted it to
come from the inside.

2002
01:22:42,065 --> 01:22:43,608
And when you are singing
a song to yourself,

2003
01:22:43,608 --> 01:22:46,444
you're immediately going inward.

2004
01:22:46,444 --> 01:22:48,154
Give me that guitar.

2005
01:22:48,154 --> 01:22:50,657
I think he has a way
of getting into each

2006
01:22:50,657 --> 01:22:54,536
character and
letting them breathe

2007
01:22:54,536 --> 01:22:56,121
and create their life.

2008
01:22:56,121 --> 01:22:59,958
(Laughs) He gave me the script.

2009
01:22:59,958 --> 01:23:03,503
He goes, "Here.
You're Joe Gage."

2010
01:23:03,503 --> 01:23:05,880
A bastards work
is never done,

2011
01:23:05,880 --> 01:23:08,216
huh, John Ruth?

2012
01:23:08,216 --> 01:23:10,093
That's right, Joe Gage.

2013
01:23:10,093 --> 01:23:13,138
And I said, "Thanks
for thinking of me."

2014
01:23:13,138 --> 01:23:17,058
And he goes, "Michael, you
were there at the beginning,

2015
01:23:17,058 --> 01:23:21,146
and by God you're gonna
be here now, you know."

2016
01:23:28,320 --> 01:23:30,238
I find him to be the same man,

2017
01:23:31,364 --> 01:23:35,243
but just with a
lot more of a pack.

2018
01:23:35,243 --> 01:23:38,121
He's more of a package
than he was, you know.

2019
01:23:38,121 --> 01:23:39,456
He pays attention.

2020
01:23:40,540 --> 01:23:44,836
He also became much more
sophisticated as a filmmaker.

2021
01:23:44,836 --> 01:23:48,048
His mastery of blocking
and his mastery of camera

2022
01:23:48,048 --> 01:23:51,593
movement and that
choreography is really

2023
01:23:51,593 --> 01:23:55,430
pronounced and you can
really see his growth.

2024
01:23:55,430 --> 01:23:58,141
Also, you are seeing his
maturity as a human being.

2025
01:23:58,141 --> 01:24:00,060
He may look at
the same things,

2026
01:24:00,060 --> 01:24:02,979
but through the lens of
where he sits right now.

2027
01:24:02,979 --> 01:24:06,358
Who said it that, uh,
Kurt Russell's character was

2028
01:24:06,358 --> 01:24:08,151
based on, yeah.

2029
01:24:08,151 --> 01:24:10,403
I think John Ruth was
a lot nicer guy that

2030
01:24:10,403 --> 01:24:11,613
Harvey Weinstein.

2031
01:24:11,613 --> 01:24:12,739
If Kurt was supposed
to be Harvey,

2032
01:24:12,739 --> 01:24:15,492
then that must have been
Harvey's good side.

2033
01:24:15,492 --> 01:24:17,077
You ruin that letter of his,

2034
01:24:17,077 --> 01:24:19,162
that nigger's gonna stomp
your ass to death.

2035
01:24:19,162 --> 01:24:22,123
And when he do, I'm gonna
sit back on that wagon

2036
01:24:22,123 --> 01:24:23,792
wheel, watch, and laugh.

2037
01:24:23,792 --> 01:24:26,169
(Exhales) Yeah, if you
read them on the page it

2038
01:24:26,169 --> 01:24:27,504
was a little more accurate.

2039
01:24:27,504 --> 01:24:29,631
Kurt's the most charming
person on the planet.

2040
01:24:29,631 --> 01:24:33,426
When that sun comes out,
I'm taking this woman into

2041
01:24:33,426 --> 01:24:35,762
Red Rock to hang.

2042
01:24:35,762 --> 01:24:38,890
The association of
Quentin and Harvey

2043
01:24:38,890 --> 01:24:40,308
over twenty-five years,

2044
01:24:40,308 --> 01:24:42,185
it was a pretty
good brotherhood.

2045
01:24:42,185 --> 01:24:44,521
It was a pretty good
combination of Hollywood

2046
01:24:44,521 --> 01:24:48,233
power and of talent.

2047
01:24:48,233 --> 01:24:50,652
In the past, with the
Weinstein Company,

2048
01:24:50,652 --> 01:24:53,780
whatever he said was-
was the word of God.

2049
01:24:53,780 --> 01:24:55,949
These guys, there was a toll,

2050
01:24:57,534 --> 01:24:58,201
you know?

2051
01:24:58,201 --> 01:25:01,329
He earned, he made enough
money for everybody.

2052
01:25:03,581 --> 01:25:04,165
We shot on seventy,

2053
01:25:04,165 --> 01:25:08,002
because he knew
that if we went to the

2054
01:25:08,002 --> 01:25:09,754
expense of shooting
on seventy,

2055
01:25:09,754 --> 01:25:11,798
they were gonna
project it in seventy.

2056
01:25:11,798 --> 01:25:14,676
And it was the exhibition,
which was as important

2057
01:25:14,676 --> 01:25:16,594
as the image capture.

2058
01:25:16,594 --> 01:25:20,849
Quentin cares about cinema
and caring about cinema

2059
01:25:20,849 --> 01:25:22,851
means literally
caring about cinema,

2060
01:25:22,851 --> 01:25:25,812
caring about film,
the romance of cinema,

2061
01:25:25,812 --> 01:25:28,314
how it looks and feels,
and for him,

2062
01:25:28,314 --> 01:25:31,067
he doesn't feel that
digital technology

2063
01:25:31,067 --> 01:25:35,947
approximates the impact
that that flicker has on us.

2064
01:25:35,947 --> 01:25:37,031
He just bought a theater.

2065
01:25:37,031 --> 01:25:38,908
He owns the new Beverly Cinema.

2066
01:25:38,908 --> 01:25:41,828
I've been going there recently
introducing pictures.

2067
01:25:41,828 --> 01:25:43,538
I love the new Beverly.
I was there last week.

2068
01:25:43,538 --> 01:25:44,664
We watched a print of Seven,

2069
01:25:44,664 --> 01:25:45,748
which had silver in it.

2070
01:25:45,748 --> 01:25:47,041
It was incredible.

2071
01:25:47,041 --> 01:25:47,792
It was so beautiful.

2072
01:25:47,792 --> 01:25:49,586
I mean Quentin leaned
over to me and he's like,

2073
01:25:49,586 --> 01:25:50,670
"Take a good look.

2074
01:25:50,670 --> 01:25:51,921
You're never gonna see
a finisher movie look

2075
01:25:51,921 --> 01:25:52,672
this good again.

2076
01:25:52,672 --> 01:25:55,258
(Chuckles) It's
like sad, but true.

2077
01:25:55,258 --> 01:25:56,801
He wrote it in the script,
glorious seventy

2078
01:25:56,801 --> 01:26:00,638
millimeter about
six times during the

2079
01:26:00,638 --> 01:26:01,431
first twenty pages.

2080
01:26:01,431 --> 01:26:03,516
And my jaw dropped
when I saw that.

2081
01:26:03,516 --> 01:26:04,893
I was like, "You're
kidding me, right?

2082
01:26:04,893 --> 01:26:06,352
You're gonna
actually do this?"

2083
01:26:26,915 --> 01:26:29,334
Once he found
this big, gorgeous,

2084
01:26:29,334 --> 01:26:31,878
beautiful seventy
millimeter format,

2085
01:26:31,878 --> 01:26:35,965
he realized that there
was an intimacy.

2086
01:26:35,965 --> 01:26:38,301
He'd shot a hundred
close ups of Sam Jackson,

2087
01:26:38,301 --> 01:26:40,220
but he never shot a
close up of Sam Jackson

2088
01:26:40,220 --> 01:26:41,888
that looked like that.

2089
01:26:41,888 --> 01:26:45,600
And you literally could
get even deeper underneath

2090
01:26:45,600 --> 01:26:47,852
the skin and into the
hearts and minds of these

2091
01:26:47,852 --> 01:26:51,314
characters and hold
these big wide frames

2092
01:26:51,314 --> 01:26:54,901
so that you were
almost in theater.

2093
01:26:54,901 --> 01:26:57,320
Everybody had to be on
at every given moment in

2094
01:26:57,320 --> 01:27:00,323
those rooms all the time.

2095
01:27:00,323 --> 01:27:02,408
I don't know really that
Quentin would have felt

2096
01:27:02,408 --> 01:27:05,119
all that comfortable doing
the seventy millimeter thing

2097
01:27:05,119 --> 01:27:09,207
if Bob Richardson wasn't
his partner doing it with him.

2098
01:27:09,207 --> 01:27:11,292
Bob brings so much
to the table both

2099
01:27:11,292 --> 01:27:14,504
technically and creatively.

2100
01:27:14,504 --> 01:27:19,759
Quentin's exuberance and
his enthusiasm for films

2101
01:27:19,759 --> 01:27:23,972
and filmmaking is so
unbelievably vast.

2102
01:27:23,972 --> 01:27:27,475
And that's the way he
was making Reservoir Dogs

2103
01:27:27,475 --> 01:27:29,644
and that's the way he is
making The Hateful Eight,

2104
01:27:29,644 --> 01:27:33,481
and that spirit is contagious.

2105
01:27:34,774 --> 01:27:37,110
Quentin values friendship.

2106
01:27:37,110 --> 01:27:40,363
Quentin values
deep relationships.

2107
01:27:40,363 --> 01:27:44,868
Quentin values a rag tag
sort of family that is

2108
01:27:44,868 --> 01:27:47,704
more committed to each other
than even actual blood.

2109
01:27:47,704 --> 01:27:49,789
And I think that you
see that on our set.

2110
01:27:49,789 --> 01:27:52,083
(Chuckles) That was a great one.

2111
01:27:52,083 --> 01:27:53,209
We have the same people.

2112
01:27:53,209 --> 01:27:55,336
Our script supervisor
has been with Quentin since

2113
01:27:55,336 --> 01:27:56,379
Reservoir Dogs.

2114
01:27:56,379 --> 01:27:58,798
Our sound mixer, I think,
has been with us since Pulp.

2115
01:27:58,798 --> 01:28:02,302
The makeup crew, stunts,
everybody feels like

2116
01:28:02,302 --> 01:28:03,386
they're coming home.

2117
01:28:03,386 --> 01:28:04,637
It's that Quentin thing
where you're suddenly

2118
01:28:04,637 --> 01:28:06,598
working around family
and to see so many familiar

2119
01:28:06,598 --> 01:28:10,184
faces and that loyalty that
Quentin has to his people,

2120
01:28:10,184 --> 01:28:11,603
his crew, and his cast.

2121
01:28:11,603 --> 01:28:13,062
There's music playing.

2122
01:28:13,062 --> 01:28:15,273
There's conversation.

2123
01:28:15,273 --> 01:28:16,107
There's laughter.

2124
01:28:16,107 --> 01:28:17,942
Quentin's like,
"No cell phones on set.

2125
01:28:17,942 --> 01:28:18,735
Let's go to work."

2126
01:28:18,735 --> 01:28:21,404
And if you were caught
with a cell phone,

2127
01:28:21,404 --> 01:28:23,114
you'd be fired, no
matter who you are.

2128
01:28:23,114 --> 01:28:25,158
We called him Checkpoint
Charlie where you had to

2129
01:28:25,158 --> 01:28:27,535
turn in your cell phone
and he put it in a Ziploc

2130
01:28:27,535 --> 01:28:29,329
bag with your name on it,
and there were absolutely

2131
01:28:29,329 --> 01:28:30,705
no cell phones allowed on set.

2132
01:28:30,705 --> 01:28:31,998
And so we talk to each other,

2133
01:28:31,998 --> 01:28:33,958
we dance, we sing,
we laugh.

2134
01:28:33,958 --> 01:28:35,585
We talk about
what we just did and

2135
01:28:35,585 --> 01:28:37,170
how we can make it
better the next time.

2136
01:28:37,170 --> 01:28:39,380
Just like an extraordinary
experience just being on

2137
01:28:39,380 --> 01:28:41,049
set when it's that down take.

2138
01:28:41,049 --> 01:28:43,009
He laughs openly during takes.

2139
01:28:43,009 --> 01:28:43,843
He cheers.

2140
01:28:43,843 --> 01:28:46,304
I imagine that he
cuts himself out.

2141
01:28:46,304 --> 01:28:48,181
Douche Bag take one.

2142
01:28:48,181 --> 01:28:50,475
Twenty-eight prick,
take two.

2143
01:28:50,475 --> 01:28:56,314
Humiliation,
take one, mark.

2144
01:28:56,314 --> 01:28:58,733
(Indistinct) Premiere take one.
(Indistinct) Premiere.

2145
01:28:58,733 --> 01:29:05,615
(Laughs) His sets have
become the most unique

2146
01:29:05,615 --> 01:29:07,575
set experience you can have.

2147
01:29:07,575 --> 01:29:09,369
What Quentin
would say all the time,

2148
01:29:09,369 --> 01:29:15,875
"All right, we got this
and we could move on,

2149
01:29:15,875 --> 01:29:17,669
but we're gonna do one more."

2150
01:29:17,669 --> 01:29:20,296
We're gonna do one more.

2151
01:29:20,296 --> 01:29:21,464
Why?

2152
01:29:21,923 --> 01:29:27,887
Because we love making movies.

2153
01:29:27,887 --> 01:29:29,973
I said, "Man, I'm- I'm-
I'm on that train."

2154
01:29:30,807 --> 01:29:32,058
He's a fan.

2155
01:29:32,058 --> 01:29:34,477
You know he loves movies.

2156
01:29:34,477 --> 01:29:35,937
He appreciates people.

2157
01:29:35,937 --> 01:29:38,481
He's a fan of fans.

2158
01:29:38,481 --> 01:29:40,608
He appreciates life.

2159
01:29:40,608 --> 01:29:43,111
His way of socializing
is inviting people over to

2160
01:29:43,111 --> 01:29:44,445
watch a movie.

2161
01:29:44,445 --> 01:29:46,364
He gets us all together.

2162
01:29:46,364 --> 01:29:48,408
He screens a
movie of some sort.

2163
01:29:48,408 --> 01:29:49,784
Hey, everybody,
come on and sit down.

2164
01:29:49,784 --> 01:29:51,411
Let's watch this.

2165
01:29:51,411 --> 01:29:52,912
And he'd go get some
popcorn and sit there and

2166
01:29:52,912 --> 01:29:53,871
watch it with you.

2167
01:29:53,871 --> 01:29:56,499
It's a collective experience.

2168
01:29:57,125 --> 01:30:00,253
He was showing it to
us for the first time.

2169
01:30:00,253 --> 01:30:02,004
We're just this
group of, you know,

2170
01:30:02,004 --> 01:30:06,676
people and actors that he
had chosen to use in his movie.

2171
01:30:06,676 --> 01:30:08,678
After the screening was over,

2172
01:30:08,678 --> 01:30:10,013
I couldn't help but notice.

2173
01:30:10,013 --> 01:30:14,809
He wasn't just sweating,
he was- he was drenched.

2174
01:30:14,809 --> 01:30:19,522
And yet, I've never
met anyone who honestly

2175
01:30:19,522 --> 01:30:22,942
comes even remotely close to
the confidence he has when it

2176
01:30:22,942 --> 01:30:25,403
comes to making his movie.

2177
01:30:25,403 --> 01:30:27,655
It's amazing to me that
he would have any nerves on

2178
01:30:27,655 --> 01:30:28,698
the other end at all.

2179
01:30:29,699 --> 01:30:32,076
But is shows, you know,
how much he cares.

2180
01:30:39,208 --> 01:30:42,628
He was big and
he was everywhere.

2181
01:30:48,551 --> 01:30:50,344
And everybody feared him.

2182
01:31:13,576 --> 01:31:14,994
Quentin and Harvey

2183
01:31:14,994 --> 01:31:16,746
Weinstein are two
different animals.

2184
01:31:18,581 --> 01:31:18,998
I get it.

2185
01:31:18,998 --> 01:31:21,083
I understand why a
lot of these girls

2186
01:31:21,083 --> 01:31:22,168
didn't say anything.

2187
01:31:23,252 --> 01:31:24,670
Their life depended on it.

2188
01:31:27,965 --> 01:31:31,469
If my livelihood, the
preservation of my children,

2189
01:31:33,805 --> 01:31:35,848
if that is
dependent upon someone

2190
01:31:35,848 --> 01:31:39,936
else that has power,
like a Harvey Weinstein,

2191
01:31:39,936 --> 01:31:41,646
it's really scary.

2192
01:31:43,606 --> 01:31:47,527
That's the underbelly
of the industry that

2193
01:31:47,527 --> 01:31:50,238
nobody knows about
and it's really dark

2194
01:31:50,238 --> 01:31:52,240
and it's really fucked up.

2195
01:31:53,199 --> 01:31:54,742
I've been told things
from a few people

2196
01:31:54,742 --> 01:31:56,327
who haven't
even shown up yet.

2197
01:31:59,288 --> 01:32:01,123
I'll say exactly
what Quentin said.

2198
01:32:01,123 --> 01:32:01,999
He simply said, "Listen.

2199
01:32:01,999 --> 01:32:03,960
I knew about it
for a long time.

2200
01:32:05,253 --> 01:32:07,004
And I should have said
something, but I didn't."

2201
01:32:10,424 --> 01:32:11,759
The fear factor

2202
01:32:11,759 --> 01:32:13,719
should never have
entered into any of it.

2203
01:32:13,719 --> 01:32:15,596
And that's what I think
the average person doesn't

2204
01:32:15,596 --> 01:32:19,350
understand, the fear
and the emotional shutdown

2205
01:32:19,350 --> 01:32:24,063
that you'd have to
force yourself into.

2206
01:32:24,063 --> 01:32:24,605
Oh, my God.

2207
01:32:24,605 --> 01:32:26,190
I can't believe
what just happened.

2208
01:32:26,190 --> 01:32:28,192
And who am I gonna
say anything to?

2209
01:32:28,192 --> 01:32:31,571
And if I do say
something, I'm finished.

2210
01:32:31,571 --> 01:32:33,072
I won't be in
another movie and

2211
01:32:33,072 --> 01:32:35,783
I won't be able to
fulfill my life.

2212
01:32:35,783 --> 01:32:37,285
That's a pretty hard thing.

2213
01:32:49,839 --> 01:32:51,883
Now you find out about
these hundreds of

2214
01:32:51,883 --> 01:32:54,510
thousands of dollars that
was paid out to these

2215
01:32:54,510 --> 01:32:56,596
different girls in
situations with him.

2216
01:32:57,763 --> 01:32:58,681
But see the people

2217
01:32:58,681 --> 01:33:00,182
who are complicit with that,

2218
01:33:00,182 --> 01:33:01,726
who followed his orders,

2219
01:33:01,726 --> 01:33:04,437
they're just as blameable
and corrupted as- as him.

2220
01:33:04,896 --> 01:33:05,813
And a lot of that ain't

2221
01:33:05,813 --> 01:33:07,148
on the cover of Time Magazine.

2222
01:33:07,148 --> 01:33:08,274
They're still hiding.

2223
01:33:08,274 --> 01:33:10,693
There's a lot of them
out there who were

2224
01:33:10,693 --> 01:33:12,528
more than
happy to follow the

2225
01:33:12,528 --> 01:33:14,697
orders and the ideals of,

2226
01:33:14,697 --> 01:33:16,199
uh, Harvey's opinion.

2227
01:33:19,702 --> 01:33:21,537
And the fact
that your own body,

2228
01:33:21,537 --> 01:33:25,833
your own face, your
physical being is what you

2229
01:33:25,833 --> 01:33:28,002
use as your
instrument of work,

2230
01:33:28,502 --> 01:33:30,421
and if that gets
persecuted and that gets

2231
01:33:30,421 --> 01:33:32,089
ruined and that gets destroyed,

2232
01:33:32,089 --> 01:33:34,675
and somebody like Harvey
has the power to do that,

2233
01:33:34,675 --> 01:33:35,760
don't hire that person.

2234
01:33:36,052 --> 01:33:37,136
And the people who would take

2235
01:33:37,136 --> 01:33:39,180
a call from a Harvey Weinstein,

2236
01:33:39,180 --> 01:33:40,389
"Oh, that was Harvey."

2237
01:33:40,389 --> 01:33:44,226
(Smacks lips) "Yeah, he says
not to hire so and so."

2238
01:33:49,982 --> 01:33:54,570
Having now separated
himself so instantaneously

2239
01:33:54,570 --> 01:33:56,864
from Harvey, that
was the end of it.

2240
01:34:10,378 --> 01:34:11,837
It's the end of an era.

2241
01:34:13,756 --> 01:34:15,591
It's an era that
certainly made a point

2242
01:34:15,591 --> 01:34:19,053
and was envied by an
awful lot of people.

2243
01:34:25,393 --> 01:34:26,602
He has moved on.

2244
01:34:30,773 --> 01:34:31,983
He's making a new movie.

2245
01:34:31,983 --> 01:34:33,609
He's doing Once Upon
a Time in Hollywood.

2246
01:34:35,444 --> 01:34:36,195
And it ain't with the

2247
01:34:36,195 --> 01:34:37,196
Weinstein Company.

2248
01:34:37,863 --> 01:34:42,284
Quentin Tarantino
is a rock star.

2249
01:34:43,911 --> 01:34:46,580
Quentin Tarantino can do
a movie about any subject

2250
01:34:46,580 --> 01:34:49,041
matter that he wants to
because Quentin Tarantino

2251
01:34:49,041 --> 01:34:51,252
stands out in front of
the movie a little bit.

2252
01:34:56,132 --> 01:34:57,717
He's not gonna fade out.

2253
01:34:57,717 --> 01:34:59,760
This is why he talks
about making ten.

2254
01:34:59,760 --> 01:35:02,638
He doesn't want to be
that guy who people go,

2255
01:35:02,638 --> 01:35:04,181
"Oh, most of them was good,

2256
01:35:04,181 --> 01:35:06,726
but his stuff, you know
as his stuff used to be,

2257
01:35:06,726 --> 01:35:08,936
but you know he's a bit
too old for it now,

2258
01:35:08,936 --> 01:35:09,812
you know.

2259
01:35:09,812 --> 01:35:10,521
Bless him."

2260
01:35:10,521 --> 01:35:11,230
Doesn't want that.

2261
01:35:11,230 --> 01:35:12,314
I don't know, man.

2262
01:35:12,314 --> 01:35:14,984
I think he needs to live
to a hundred and fifty or

2263
01:35:14,984 --> 01:35:17,820
two hundred years just so
he can accomplish whatever

2264
01:35:17,820 --> 01:35:19,113
he wants to accomplish.

2265
01:35:19,113 --> 01:35:25,369
You know how his
characters are related.

2266
01:35:25,369 --> 01:35:26,287
There's always a kind of a

2267
01:35:26,287 --> 01:35:28,456
family history
that runs through.

2268
01:35:28,456 --> 01:35:29,248
I'm Doctor King Schultz.

2269
01:35:29,248 --> 01:35:30,708
This is my horse Fritz.

2270
01:35:31,625 --> 01:35:33,377
Full loads? Obviously.

2271
01:35:34,045 --> 01:35:38,799
Dandy Michaels, Joe Nash, and...

2272
01:35:38,799 --> 01:35:39,925
Crazy Craig Koons.

2273
01:35:41,260 --> 01:35:43,763
This here is Captain Koons.

2274
01:35:43,763 --> 01:35:46,640
He was in the POW
camp with Daddy.

2275
01:35:46,640 --> 01:35:47,850
You know there's a family chain,

2276
01:35:47,850 --> 01:35:49,477
that there's a string
that runs from the beginning

2277
01:35:49,477 --> 01:35:50,478
through to the end.

2278
01:35:52,438 --> 01:35:54,774
Hello, little man.

2279
01:35:54,774 --> 01:35:56,650
So I am in Hateful Eight,

2280
01:35:56,650 --> 01:35:59,862
the great- great
grandfather of

2281
01:35:59,862 --> 01:36:01,989
Michael Fassbender's character

2282
01:36:01,989 --> 01:36:03,449
in Inglourious Basterds.

2283
01:36:03,449 --> 01:36:06,952
I'm watching Kill Bill,
and there's Earl McGraw alive

2284
01:36:06,952 --> 01:36:09,705
as a character in it
with his son, James Parks.

2285
01:36:09,705 --> 01:36:12,375
I said, "They got killed in From
Dust Till Dawn One and Two."

2286
01:36:12,375 --> 01:36:14,293
He goes,
"This happens before that."

2287
01:36:14,293 --> 01:36:15,336
I'm like, "Oh, God.

2288
01:36:15,336 --> 01:36:17,922
You- you like a gen-He's-
he's- he reminds me of like

2289
01:36:17,922 --> 01:36:19,048
Norman Lear, you know,

2290
01:36:19,048 --> 01:36:21,425
how All In The Family
begot The Jeffersons and

2291
01:36:21,425 --> 01:36:22,968
The Jeffersons begot
the Good Times

2292
01:36:22,968 --> 01:36:24,303
and so on and so forth.

2293
01:36:24,303 --> 01:36:26,680
He was gonna make
the Vega Brothers,

2294
01:36:26,680 --> 01:36:28,307
which would be me and John,

2295
01:36:28,307 --> 01:36:29,350
which would have been great,

2296
01:36:29,350 --> 01:36:30,184
right?

2297
01:36:30,184 --> 01:36:31,268
'Cause that would be believable,

2298
01:36:31,268 --> 01:36:31,894
right?

2299
01:36:31,894 --> 01:36:35,189
It would have to be a prequel
because we're both dead,

2300
01:36:35,189 --> 01:36:36,899
which doesn't make sense,

2301
01:36:36,899 --> 01:36:38,734
but that's how it would be.

2302
01:36:38,734 --> 01:36:39,944
He's got his ten.

2303
01:36:39,944 --> 01:36:41,195
He'll do other stuff.

2304
01:36:41,195 --> 01:36:43,864
(Stammers) And I know some
of his plans and they're

2305
01:36:43,864 --> 01:36:44,907
fucking amazing.

2306
01:36:44,907 --> 01:36:46,951
You're writing
your life story.

2307
01:36:46,951 --> 01:36:48,619
You bet I am.

2308
01:36:48,619 --> 01:36:50,037
Am I in it?

2309
01:36:50,037 --> 01:36:53,332
(Chuckles) You just entered.

2310
01:36:53,332 --> 01:36:55,042
I mean, I wonder when
he starts writing books

2311
01:36:55,042 --> 01:36:56,836
whether he will,
some of these characters will

2312
01:36:56,836 --> 01:36:58,170
show up in his novels.

2313
01:36:59,839 --> 01:37:01,590
It's complete.
It's a hundred percent.

2314
01:37:01,590 --> 01:37:04,802
And sacrificed relationship,

2315
01:37:04,802 --> 01:37:06,846
having children,
all of that stuff to

2316
01:37:06,846 --> 01:37:08,848
pursue his dream.

2317
01:37:08,848 --> 01:37:11,392
He's a complete filmmaker
and- and an artist in- in

2318
01:37:11,392 --> 01:37:12,601
the full on sense.

2319
01:37:13,811 --> 01:37:14,687
We're gonna miss it.

2320
01:37:14,687 --> 01:37:17,773
We're gonna miss the
opportunity that he brings.

2321
01:37:17,773 --> 01:37:19,817
And it's true of all of us.

2322
01:37:19,817 --> 01:37:22,027
If your phone
buzzes in your pocket

2323
01:37:22,027 --> 01:37:23,529
and you take it
out of your pocket

2324
01:37:23,529 --> 01:37:24,530
and you look at it and it says

2325
01:37:24,530 --> 01:37:26,490
QT on it,
you go please, please,

2326
01:37:26,490 --> 01:37:30,536
please, oh just please,
please be one, please.

2327
01:37:30,536 --> 01:37:32,246
You know and
(imitates phone on).

2328
01:37:32,246 --> 01:37:34,415
Hi. And he goes, "Hi.

2329
01:37:34,415 --> 01:37:35,958
Um, I've got something
I want you to read."

2330
01:37:35,958 --> 01:37:37,251
And you're done.