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- 1
- 00:00:14,581 --> 00:00:16,624
- Who do you know right
- now that's dangerous?
- 2
- 00:00:16,624 --> 00:00:19,878
- I got a friend and he and
- I love to fuck shit up.
- 3
- 00:00:19,878 --> 00:00:22,464
- There is no one like Quentin.
- 4
- 00:00:23,632 --> 00:00:24,799
- There's Quentin.
- 5
- 00:00:28,511 --> 00:00:30,055
- He makes a different
- kind of movie.
- 6
- 00:00:31,514 --> 00:00:33,516
- You're gonna land the
- word nigger a hundred
- 7
- 00:00:33,516 --> 00:00:35,435
- and ten times on Christmas?
- 8
- 00:00:37,520 --> 00:00:39,647
- Quentin loves strong
- female characters.
- 9
- 00:00:41,524 --> 00:00:44,319
- Brilliant, hilarious,
- and disturbing.
- 10
- 00:00:47,197 --> 00:00:49,449
- From the mind of
- Quentin Tarantino,
- 11
- 00:00:50,408 --> 00:00:52,952
- he really is a powerhouse
- of creativity.
- 12
- 00:00:52,952 --> 00:00:53,912
- It's Quentin's World.
- 13
- 00:00:53,912 --> 00:00:54,829
- It's his baby.
- 14
- 00:00:54,829 --> 00:00:56,122
- He wrote it.
- 15
- 00:00:56,122 --> 00:00:56,915
- He's a lightning rod.
- 16
- 00:00:56,915 --> 00:00:58,541
- He's absolutely unique.
- 17
- 00:00:58,541 --> 00:01:00,335
- He's the voice of
- his generation.
- 18
- 00:01:03,463 --> 00:01:05,382
- It's the end of
- an era of Quentin
- 19
- 00:01:05,382 --> 00:01:07,092
- and the Weinstein Company.
- 20
- 00:01:07,092 --> 00:01:08,676
- He's not gonna fade out.
- 21
- 00:01:08,676 --> 00:01:10,136
- This is why he talks
- about making ten.
- 22
- 00:01:11,429 --> 00:01:15,100
- Quentin is a champion
- of the female.
- 23
- 00:01:16,351 --> 00:01:17,769
- And he's just the build,
- 24
- 00:01:17,769 --> 00:01:19,604
- but he gets the
- opportunity to do this.
- 25
- 00:01:35,161 --> 00:01:38,957
- And then there are the movies.
- 26
- 00:01:38,957 --> 00:01:43,169
- Now, that's what he
- says about himself,
- 27
- 00:01:43,169 --> 00:01:45,255
- about how he sees the world,
- 28
- 00:01:45,255 --> 00:01:49,926
- his very purpose of existence.
- 29
- 00:01:49,926 --> 00:01:52,595
- Quentin's sort of a
- natural born filmmaker.
- 30
- 00:01:52,595 --> 00:01:54,097
- It's his passion.
- 31
- 00:01:54,097 --> 00:01:57,434
- It's where he connects
- with the full range of
- 32
- 00:01:57,434 --> 00:01:58,726
- human feeling.
- 33
- 00:01:58,726 --> 00:02:00,395
- And I think that you really
- see the through line
- 34
- 00:02:00,395 --> 00:02:02,897
- of his fascinations as
- a human being running
- 35
- 00:02:02,897 --> 00:02:04,816
- all the way through
- what matters to him,
- 36
- 00:02:04,816 --> 00:02:06,901
- looking at race in America...
- 37
- 00:02:06,901 --> 00:02:09,487
- ...looking at what is romance...
- 38
- 00:02:09,487 --> 00:02:11,030
- ...commitment...
- 39
- 00:02:11,030 --> 00:02:11,948
- ...honor...
- 40
- 00:02:11,948 --> 00:02:13,616
- ...betrayal,
- 41
- 00:02:13,616 --> 00:02:14,951
- loyalty...
- 42
- 00:02:14,951 --> 00:02:16,953
- ...and people having to
- 43
- 00:02:16,953 --> 00:02:17,912
- do the right thing.
- 44
- 00:02:21,749 --> 00:02:24,752
- It's for sure the end of an era.
- The Weinsteins
- 45
- 00:02:24,752 --> 00:02:27,297
- have been the distributor of
- every single film of
- 46
- 00:02:27,297 --> 00:02:28,715
- ...his in the United States.
- 47
- 00:02:28,715 --> 00:02:30,467
- Eight movies, all of them,
- 48
- 00:02:30,467 --> 00:02:31,718
- very successful.
- 49
- 00:02:33,344 --> 00:02:35,096
- He surely is immortality.
- 50
- 00:02:45,482 --> 00:02:48,109
- A friend of mine, he turned
- me onto Quentin Tarantino,...
- 51
- 00:02:48,109 --> 00:02:48,610
- ...who was
- 52
- 00:02:48,610 --> 00:02:51,571
- stuffing video boxes at
- Imperial Entertainment.
- 53
- 00:02:51,571 --> 00:02:53,865
- And we had this meeting
- and he seemed like kind of
- 54
- 00:02:53,865 --> 00:02:55,283
- an overzealous geek.
- 55
- 00:02:55,283 --> 00:02:56,951
- Pardon, pardon me.
- 56
- 00:02:56,951 --> 00:02:57,660
- But guess what?
- 57
- 00:02:57,660 --> 00:02:59,287
- He had the talent to back it up.
- 58
- 00:02:59,287 --> 00:03:01,122
- He would sleep on my couch.
- 59
- 00:03:01,122 --> 00:03:03,041
- I don't think he had
- a car at the time
- 60
- 00:03:03,041 --> 00:03:04,417
- and flat broke.
- 61
- 00:03:04,417 --> 00:03:06,503
- "I want to get in
- the movie business.
- 62
- 00:03:06,503 --> 00:03:07,587
- Do I think I can write?
- 63
- 00:03:07,587 --> 00:03:10,298
- I'm gonna give it a stab,
- 'cause all it takes is
- 64
- 00:03:10,298 --> 00:03:11,174
- a pen and paper."
- 65
- 00:03:11,174 --> 00:03:11,841
- I asked him about
- 66
- 00:03:11,841 --> 00:03:12,550
- writing on a computer.
- 67
- 00:03:12,550 --> 00:03:13,968
- He said, "You can't
- write on a computer."
- 68
- 00:03:13,968 --> 00:03:14,636
- I'm like, "Why not?"
- 69
- 00:03:14,636 --> 00:03:16,262
- He's like, "You can't write
- poetry on a computer.
- 70
- 00:03:16,262 --> 00:03:18,014
- He's like, "My pen is
- my antennae to God.
- 71
- 00:03:18,014 --> 00:03:18,765
- That's how I write.
- 72
- 00:03:18,765 --> 00:03:20,016
- It just- it just flows.
- 73
- 00:03:20,016 --> 00:03:21,059
- It's just a receiver."
- 74
- 00:03:21,059 --> 00:03:23,728
- He has a red pen and a
- black pen, felt tip,
- 75
- 00:03:23,728 --> 00:03:26,606
- and yellow legal pad, and
- dit-dit-dit-dit-dit-dit-dit.
- 76
- 00:03:26,606 --> 00:03:27,315
- That was it.
- 77
- 00:03:27,315 --> 00:03:29,651
- Five minutes later,
- he's got dialogue that would
- 78
- 00:03:29,651 --> 00:03:31,903
- take some people an
- entire lifetime to write.
- 79
- 00:03:31,903 --> 00:03:35,323
- I think Quentin
- basically writes novels
- 80
- 00:03:35,323 --> 00:03:38,701
- and then when he's directing,
- he's basically adapting
- 81
- 00:03:38,701 --> 00:03:40,328
- his own novel to the screen.
- 82
- 00:03:40,328 --> 00:03:42,622
- A lot of different
- things are gonna happen.
- 83
- 00:03:42,622 --> 00:03:44,916
- It's a roller coaster ride.
- Oh, yeah, baby.
- 84
- 00:03:44,916 --> 00:03:46,709
- You're gonna be horrified.
- 85
- 00:03:47,335 --> 00:03:49,879
- You're gonna feel relief.
- Then say something.
- 86
- 00:03:51,339 --> 00:03:52,840
- Something.
- 87
- 00:03:52,840 --> 00:03:54,384
- You're gonna feel romance.
- 88
- 00:03:57,136 --> 00:04:00,932
- Quentin is above all a romantic.
- 89
- 00:04:00,932 --> 00:04:03,184
- First script,
- True Romance,
- 90
- 00:04:03,184 --> 00:04:05,562
- Clarence saving Alabama is
- the beginning of rescuing
- 91
- 00:04:05,562 --> 00:04:08,189
- the princess that really
- pays off in Django coming
- 92
- 00:04:08,189 --> 00:04:09,857
- back to rescue Broomhilda.
- 93
- 00:04:13,820 --> 00:04:17,574
- The first script of his I read
- was Natural Born Killers.
- 94
- 00:04:17,574 --> 00:04:18,658
- And when I read that I went,
- 95
- 00:04:18,658 --> 00:04:21,369
- whoa, this guy's amazing.
- 96
- 00:04:21,369 --> 00:04:22,870
- Then I read True Romance.
- 97
- 00:04:22,870 --> 00:04:24,289
- I went, what the?
- 98
- 00:04:24,289 --> 00:04:25,456
- What's going on.
- 99
- 00:04:25,456 --> 00:04:26,916
- What's wrong with Hollywood?
- 100
- 00:04:26,916 --> 00:04:28,001
- Where is everybody?
- 101
- 00:04:28,001 --> 00:04:30,712
- You'd take home a slog of
- twenty scripts a weekend
- 102
- 00:04:30,712 --> 00:04:36,009
- and you're looking for
- that thing that jumps off
- 103
- 00:04:36,009 --> 00:04:37,886
- the page where the
- characters are alive,
- 104
- 00:04:37,886 --> 00:04:39,679
- where the dialogue
- doesn't feel trite.
- 105
- 00:04:39,679 --> 00:04:41,514
- Every kid wants to
- give you a script
- 106
- 00:04:41,514 --> 00:04:43,224
- and you- you- you with
- the best intentions,
- 107
- 00:04:43,224 --> 00:04:44,559
- you go, God, I
- hope this is good.
- 108
- 00:04:44,559 --> 00:04:46,644
- And then by page two
- it's like turning like
- 109
- 00:04:46,644 --> 00:04:49,022
- oh, I can't turn the page.
- 110
- 00:04:49,022 --> 00:04:51,357
- This is really just terrible.
- 111
- 00:04:51,357 --> 00:04:52,525
- Not with Quentin.
- 112
- 00:04:52,525 --> 00:04:53,192
- No way.
- 113
- 00:04:53,526 --> 00:04:55,820
- Oh, they're brilliant
- screenplays.
- 114
- 00:04:55,820 --> 00:04:59,198
- Can you imagine having to
- sell those to pay your rent?
- 115
- 00:04:59,198 --> 00:05:01,993
- I mean, wow, you know.
- 116
- 00:05:01,993 --> 00:05:05,163
- I read a lot.
- 117
- 00:05:05,163 --> 00:05:07,373
- Especially about things
- 118
- 00:05:07,373 --> 00:05:08,249
- about history.
- 119
- 00:05:10,585 --> 00:05:12,670
- I find that shit fascinating.
- 120
- 00:05:14,297 --> 00:05:15,006
- Here's a fact.
- 121
- 00:05:15,006 --> 00:05:17,216
- I don't know whether
- you know or not.
- 122
- 00:05:17,216 --> 00:05:17,800
- Well...
- 123
- 00:05:21,137 --> 00:05:25,183
- Sicilians were
- spawned by niggers.
- 124
- 00:05:28,895 --> 00:05:33,149
- Uh, come again?
- 125
- 00:05:35,902 --> 00:05:37,612
- You look at the stuff
- that Quentin writes.
- 126
- 00:05:37,612 --> 00:05:39,656
- If it was on stage,
- he'd have the Pulitzer.
- 127
- 00:05:39,656 --> 00:05:40,698
- You know, because it's movies,
- 128
- 00:05:40,698 --> 00:05:41,866
- everyone said, "Oh,
- he was in a video store.
- 129
- 00:05:41,866 --> 00:05:42,325
- He stole."
- 130
- 00:05:42,325 --> 00:05:44,744
- Which of course launched
- a thousand people working
- 131
- 00:05:44,744 --> 00:05:45,536
- in video stores going,
- 132
- 00:05:45,536 --> 00:05:46,871
- "Oh, I'm gonna be
- the next Tarantino."
- 133
- 00:05:46,871 --> 00:05:48,665
- Well, literally,
- there's Quentin
- 134
- 00:05:48,665 --> 00:05:49,791
- and there's everyone else.
- 135
- 00:05:50,917 --> 00:05:53,378
- There's great stories,
- great characters.
- 136
- 00:05:53,378 --> 00:05:54,796
- Later on in the story...
- 137
- 00:05:54,796 --> 00:05:57,006
- Clearly in True Romance,
- 138
- 00:05:57,006 --> 00:05:59,550
- Clarence is a surrogate
- for Quentin.
- 139
- 00:06:00,468 --> 00:06:03,972
- You see his love of cinema
- present in his voice
- 140
- 00:06:03,972 --> 00:06:05,890
- as he expertly carries
- you through his films.
- 141
- 00:06:05,890 --> 00:06:07,892
- Oh! Ooh. You
- have three kung-fu moves.
- 142
- 00:06:07,892 --> 00:06:10,937
- In the original draft,
- his version of True Romance,
- 143
- 00:06:10,937 --> 00:06:12,647
- it was non-linear storytelling.
- 144
- 00:06:12,647 --> 00:06:14,607
- The audience is
- ahead of the characters
- 145
- 00:06:14,607 --> 00:06:16,067
- and on the edge of their seat
- 146
- 00:06:16,067 --> 00:06:18,069
- 'cause they know
- something bad's coming.
- 147
- 00:06:18,069 --> 00:06:21,656
- And Tony Scott in his
- adaptation made it linear,
- 148
- 00:06:21,656 --> 00:06:23,741
- and Quentin loves True Romance,
- 149
- 00:06:23,741 --> 00:06:25,660
- but Clarence died in
- Quentin's version.
- 150
- 00:06:25,660 --> 00:06:28,037
- Sweetie!
- 151
- 00:06:28,037 --> 00:06:29,122
- He had sold True Romance.
- 152
- 00:06:29,122 --> 00:06:30,373
- He was hoping to direct it.
- 153
- 00:06:30,373 --> 00:06:31,290
- Baby!
- 154
- 00:06:31,290 --> 00:06:32,750
- He wasn't gonna be able to.
- 155
- 00:06:32,750 --> 00:06:34,961
- He couldn't get anywhere
- with Natural Born Killers.
- 156
- 00:06:34,961 --> 00:06:37,255
- Um, he couldn't get that
- going to direct, also.
- 157
- 00:06:37,255 --> 00:06:39,924
- And he wrote Reservoir
- Dogs so that it would be
- 158
- 00:06:39,924 --> 00:06:41,342
- set in one contained place,
- 159
- 00:06:41,342 --> 00:06:42,885
- so that no matter what happened,
- 160
- 00:06:42,885 --> 00:06:44,429
- he was gonna direct this movie
- 161
- 00:06:44,429 --> 00:06:46,097
- with the twenty thousand
- dollars he had made on
- 162
- 00:06:46,097 --> 00:06:49,851
- Golden Girls residuals for
- being an Elvis impersonator.
- 163
- 00:06:49,851 --> 00:06:58,901
- I do love you
- with all my heart.
- 164
- 00:06:58,901 --> 00:07:00,278
- I read a script of
- 165
- 00:07:00,278 --> 00:07:04,031
- Reservoir Dogs and I just
- hoped that the writer
- 166
- 00:07:04,031 --> 00:07:06,159
- who said he was going
- to be the director
- 167
- 00:07:06,159 --> 00:07:08,661
- was really a director.
- 168
- 00:07:08,661 --> 00:07:10,872
- I introduced him to my
- friend Lawrence Bender,
- 169
- 00:07:10,872 --> 00:07:17,378
- and Lawrence got Reservoir
- Dogs all up and running.
- 170
- 00:07:17,378 --> 00:07:20,548
- And Lawrence said,
- "Give me a month.
- 171
- 00:07:20,548 --> 00:07:22,759
- I know somebody who
- knows Harvey Keitel."
- 172
- 00:07:22,759 --> 00:07:24,218
- And Harvey said yes.
- 173
- 00:07:45,114 --> 00:07:47,408
- I was pumping gas, man.
- 174
- 00:07:47,408 --> 00:07:49,452
- I was driving a tow truck and,
- 175
- 00:07:49,452 --> 00:07:53,247
- uh, I had done Thelma and Louise
- 176
- 00:07:53,247 --> 00:07:56,793
- and I had done
- some episodic TV.
- 177
- 00:07:56,793 --> 00:08:00,922
- And I got that
- thing and, you know,
- 178
- 00:08:00,922 --> 00:08:03,758
- I- I- I'd never read
- anything like it in my life.
- 179
- 00:08:03,758 --> 00:08:06,385
- These guys and they're
- named after colors.
- 180
- 00:08:06,385 --> 00:08:11,808
- Mr. Brown, Mr. White,
- Mr. Blonde, Mr. Blue,
- 181
- 00:08:11,808 --> 00:08:14,393
- Mr. Orange, and Mr. Pink.
- 182
- 00:08:14,393 --> 00:08:15,561
- Why am I Mr. Pink?
- 183
- 00:08:15,561 --> 00:08:17,146
- And I remember my agent,
- she was saying,
- 184
- 00:08:17,146 --> 00:08:21,108
- "Well, you know, they all kill
- each other at the end and,
- 185
- 00:08:21,108 --> 00:08:22,401
- you know,
- 186
- 00:08:22,401 --> 00:08:25,112
- there's no money
- and, uh, you know,
- 187
- 00:08:25,112 --> 00:08:27,782
- nobody's ever heard of
- this Quentin guy and...
- 188
- 00:08:27,782 --> 00:08:29,367
- You have no way of knowing
- 189
- 00:08:29,367 --> 00:08:32,286
- with a first time director
- whether they can direct or not.
- 190
- 00:08:32,286 --> 00:08:33,454
- You never know.
- 191
- 00:08:33,454 --> 00:08:37,416
- But Quentin, even then,
- prior to making any film,
- 192
- 00:08:37,416 --> 00:08:40,086
- knew every actor's resume.
- 193
- 00:08:40,086 --> 00:08:41,254
- This guy was in this.
- 194
- 00:08:41,254 --> 00:08:43,631
- I want this guy from this,
- and this Lawrence Tierney
- 195
- 00:08:43,631 --> 00:08:45,466
- was in Dillinger and I want him.
- 196
- 00:08:45,466 --> 00:08:48,261
- He just set about putting
- together the ensemble
- 197
- 00:08:48,261 --> 00:08:51,389
- and it came out exactly
- the way he wanted it.
- 198
- 00:08:52,807 --> 00:08:55,101
- I don't know why he had me
- stuck in his head to play
- 199
- 00:08:55,101 --> 00:08:59,021
- Mr. Blonde, 'cause I didn't
- want to play Mr. Blonde.
- 200
- 00:08:59,021 --> 00:09:02,191
- I didn't want to get shot
- by Tim Roth, you know.
- 201
- 00:09:02,191 --> 00:09:03,985
- I don't want to be
- killed by Tim Roth.
- 202
- 00:09:03,985 --> 00:09:06,821
- I was like, hey, man,
- "Who's Tim Roth?"
- 203
- 00:09:06,821 --> 00:09:08,573
- I went along and met with him
- 204
- 00:09:08,573 --> 00:09:10,408
- and- and Harvey Keitel.
- 205
- 00:09:10,408 --> 00:09:13,578
- And they wanted me to read
- and I wouldn't read for it.
- 206
- 00:09:13,578 --> 00:09:16,164
- I'm very bad at auditioning.
- 207
- 00:09:16,164 --> 00:09:18,124
- I got to memorize all of this?
- 208
- 00:09:18,124 --> 00:09:19,792
- There's over four fuckin'
- pages of this shit.
- 209
- 00:09:19,792 --> 00:09:21,460
- And they pushed, you know,
- they were pushing me.
- 210
- 00:09:21,460 --> 00:09:23,671
- And so, me and Quentin
- went and got some food
- 211
- 00:09:23,671 --> 00:09:26,132
- and then some beer, and then
- we went down to a pub near me
- 212
- 00:09:26,132 --> 00:09:27,174
- and we got more beer.
- 213
- 00:09:27,174 --> 00:09:29,886
- And we read every
- character in the script
- 214
- 00:09:29,886 --> 00:09:30,887
- I don't know how many times.
- 215
- 00:09:31,929 --> 00:09:33,514
- I'd let Harvey Keitel kill me,
- 216
- 00:09:33,514 --> 00:09:36,517
- but I don't, I'm not getting
- killed by Tim Roth.
- 217
- 00:09:44,442 --> 00:09:47,653
- I was on the floor in
- a disproportionate
- 218
- 00:09:47,653 --> 00:09:49,530
- amount of blood to
- what you can actually
- 219
- 00:09:49,530 --> 00:09:51,199
- contain in a human body.
- 220
- 00:09:51,199 --> 00:09:52,909
- At the end of the day, one day,
- 221
- 00:09:52,909 --> 00:09:55,077
- we- we- we hugged each other.
- 222
- 00:09:55,077 --> 00:09:57,496
- And, you know, we're
- both covered with blood,
- 223
- 00:09:57,496 --> 00:09:59,040
- but it's- it's syrup,
- basically.
- 224
- 00:09:59,040 --> 00:09:59,957
- It's- it's fake.
- 225
- 00:09:59,957 --> 00:10:02,168
- It's stage blood and
- so when it starts to dry
- 226
- 00:10:02,168 --> 00:10:04,420
- a little bit it
- gets extremely sticky.
- 227
- 00:10:04,420 --> 00:10:07,632
- And we were hugging
- each other, like,
- 228
- 00:10:07,632 --> 00:10:10,134
- you know, doing
- the big guy hug thing
- 229
- 00:10:10,134 --> 00:10:12,511
- and we- we couldn't get apart.
- 230
- 00:10:12,511 --> 00:10:14,138
- We were stuck together.
- 231
- 00:10:16,098 --> 00:10:17,808
- And the wardrobe people
- were convinced that
- 232
- 00:10:17,808 --> 00:10:20,311
- if we forcefully separated
- that it would tear
- 233
- 00:10:20,311 --> 00:10:22,563
- the clothes apart,
- and they didn't have
- 234
- 00:10:22,563 --> 00:10:24,190
- a lot of budget for wardrobe.
- 235
- 00:10:24,190 --> 00:10:25,358
- In fact, that was my suit.
- 236
- 00:10:27,401 --> 00:10:30,821
- He told us to come to work in
- a black suit with white shirts.
- 237
- 00:10:30,821 --> 00:10:32,114
- They gave us the ties.
- 238
- 00:10:32,114 --> 00:10:32,823
- That was about it.
- 239
- 00:10:32,823 --> 00:10:34,367
- And if you watch the movie,
- 240
- 00:10:34,367 --> 00:10:37,662
- Steve Buscemi
- has black jeans on.
- 241
- 00:10:37,662 --> 00:10:39,872
- Those aren't- aren't-
- aren't suit pants.
- 242
- 00:10:39,872 --> 00:10:42,124
- They're black jeans, man.
- 243
- 00:10:42,124 --> 00:10:45,002
- And my suit, the
- jacket or the pants,
- 244
- 00:10:45,002 --> 00:10:46,128
- don't go together.
- 245
- 00:10:46,128 --> 00:10:47,713
- They're from two
- different suits.
- 246
- 00:10:47,713 --> 00:10:50,091
- When I see the movie,
- that's all I remember is
- 247
- 00:10:50,091 --> 00:10:51,676
- my pants were too tight, man.
- 248
- 00:10:51,676 --> 00:10:53,260
- They were making me crazy.
- 249
- 00:10:53,260 --> 00:10:55,346
- And I didn't have black shoes.
- 250
- 00:10:55,346 --> 00:10:56,347
- He wanted everyone
- to have black shoes.
- 251
- 00:10:56,347 --> 00:10:57,431
- I didn't have any.
- 252
- 00:10:57,431 --> 00:11:00,351
- But I had black
- cowboy boots, see.
- 253
- 00:11:00,351 --> 00:11:02,687
- So that's how
- the razor ended up
- 254
- 00:11:02,687 --> 00:11:04,105
- being in the boot,
- 255
- 00:11:04,105 --> 00:11:06,107
- because what am I gonna
- do with this razor?
- 256
- 00:11:06,107 --> 00:11:07,274
- Where is it gonna come from.
- 257
- 00:11:07,274 --> 00:11:08,776
- You know that's
- how that happened.
- 258
- 00:11:09,694 --> 00:11:12,405
- In the script it said,
- "Mr. Blonde dances
- 259
- 00:11:12,405 --> 00:11:15,700
- maniacally around
- the manacled cop."
- 260
- 00:11:15,700 --> 00:11:18,619
- And every time we got to
- the part of the rehearsal
- 261
- 00:11:18,619 --> 00:11:20,037
- where that was about to happen,
- 262
- 00:11:20,037 --> 00:11:22,373
- I would say, "Quentin,
- I don't know what to do."
- 263
- 00:11:22,373 --> 00:11:23,624
- And he'd go, "No, no, no.
- 264
- 00:11:23,624 --> 00:11:24,875
- We'll- we'll-
- we'll shoot another day.
- 265
- 00:11:24,875 --> 00:11:26,002
- We'll shoot another day."
- 266
- 00:11:26,002 --> 00:11:27,920
- He didn't want to do,
- um, the dancing.
- 267
- 00:11:28,838 --> 00:11:29,547
- Didn't want to do it.
- 268
- 00:11:30,381 --> 00:11:31,007
- Iconic.
- 269
- 00:11:31,757 --> 00:11:32,341
- Right?
- 270
- 00:11:32,341 --> 00:11:33,634
- Yeah. I was like,
- "Fuck, man.
- 271
- 00:11:33,634 --> 00:11:36,095
- I'll do it,"
- 272
- 00:11:36,095 --> 00:11:37,346
- from the floor.
- 273
- 00:11:37,346 --> 00:11:41,100
- I asked him, I said,
- um, "What's the music
- 274
- 00:11:41,100 --> 00:11:43,686
- you're gonna play over
- this whole thing?"
- 275
- 00:11:43,686 --> 00:11:45,813
- And he said, uh, "Well..."
- 276
- 00:11:45,813 --> 00:11:48,482
- he said, "I really want,
- uh, Stealers Wheel.
- 277
- 00:11:48,482 --> 00:11:49,942
- I want to do
- "Stuck In The Middle."
- 278
- 00:11:49,942 --> 00:11:52,194
- And I said,
- "Why don't you play it for me."
- 279
- 00:11:52,194 --> 00:11:54,030
- And so they put
- it on a boom box.
- 280
- 00:11:54,030 --> 00:11:57,324
- That's actually how it's
- actually cued in the movie.
- 281
- 00:11:57,324 --> 00:12:00,661
- And so I slowly started
- to stand up and I sang while
- 282
- 00:12:00,661 --> 00:12:03,497
- I started to suddenly do my
- version of a maniacal dance.
- 283
- 00:12:03,497 --> 00:12:07,626
- Well, I don't know why
- I came here tonight I got...
- 284
- 00:12:07,626 --> 00:12:10,004
- Honestly, I don't know
- where it came from.
- 285
- 00:12:10,004 --> 00:12:10,796
- I honestly don't.
- 286
- 00:12:10,796 --> 00:12:13,841
- And I'm wondering
- how I'll get down the stairs
- 287
- 00:12:13,841 --> 00:12:15,509
- I can't dance,
- which is obvious,
- 288
- 00:12:15,509 --> 00:12:17,136
- and- and then
- sort--I just went with it,
- 289
- 00:12:17,136 --> 00:12:18,262
- 'cause I felt like
- it was working
- 290
- 00:12:18,262 --> 00:12:19,430
- and I didn't hear
- him say, "cut".
- 291
- 00:12:19,430 --> 00:12:21,098
- ...stuck in
- the middle with you.
- 292
- 00:12:21,098 --> 00:12:22,683
- I felt really respected.
- 293
- 00:12:22,683 --> 00:12:24,310
- And the fact that
- he let me do that,
- 294
- 00:12:24,310 --> 00:12:26,062
- I mean, I- I loved him for that.
- 295
- 00:12:26,062 --> 00:12:28,272
- Even the- the ear thing.
- 296
- 00:12:28,272 --> 00:12:31,317
- He said, "Okay, step in
- the frame with the ear."
- 297
- 00:12:31,317 --> 00:12:33,736
- So I walk in the frame
- and I have it in my hand,
- 298
- 00:12:33,736 --> 00:12:35,404
- which is a horrifying
- moment, you know.
- 299
- 00:12:35,404 --> 00:12:37,156
- Oh, my God.
- 300
- 00:12:37,156 --> 00:12:38,949
- And he's going,
- "Throw it.
- 301
- 00:12:38,949 --> 00:12:39,408
- Throw it.
- 302
- 00:12:39,408 --> 00:12:40,326
- Throw it."
- 303
- 00:12:40,326 --> 00:12:42,953
- And I didn't really
- want to throw it,
- 304
- 00:12:42,953 --> 00:12:45,956
- but I couldn't think of
- anything interesting to do.
- 305
- 00:12:45,956 --> 00:12:47,958
- And so I spoke in it.
- 306
- 00:12:47,958 --> 00:12:49,001
- Hey, what's going on?
- 307
- 00:12:49,001 --> 00:12:50,544
- You hear that?
- 308
- 00:12:50,544 --> 00:12:52,296
- So then I threw it.
- 309
- 00:12:52,296 --> 00:12:55,007
- And I was thinking, God,
- if you were that guy,
- 310
- 00:12:55,007 --> 00:12:56,384
- if someone did that to you,
- 311
- 00:12:56,384 --> 00:12:57,802
- how horrible would that be?
- 312
- 00:12:57,802 --> 00:12:59,386
- It was a terrifying movie.
- 313
- 00:12:59,386 --> 00:13:00,805
- As an audience,
- 314
- 00:13:00,805 --> 00:13:03,557
- we had never seen anything
- like that really.
- 315
- 00:13:03,557 --> 00:13:08,938
- It felt so new and so
- exciting and explosive
- 316
- 00:13:08,938 --> 00:13:11,607
- and dynamic in
- just the dialogue.
- 317
- 00:13:11,607 --> 00:13:13,359
- Give me that fuckin' thing.
- 318
- 00:13:13,359 --> 00:13:15,069
- Now what the hell do you
- think you're doin'?
- 319
- 00:13:15,069 --> 00:13:15,694
- Give me my book back.
- 320
- 00:13:15,694 --> 00:13:16,987
- I'm sick of fuckin' hearing it.
- 321
- 00:13:16,987 --> 00:13:19,198
- Joe, I'll give it back
- to you when we leave.
- 322
- 00:13:19,198 --> 00:13:20,491
- What do you mean when we leave?
- 323
- 00:13:20,491 --> 00:13:21,534
- Give me it back now.
- 324
- 00:13:21,534 --> 00:13:23,285
- For the past fifteen
- minutes now,
- 325
- 00:13:23,285 --> 00:13:26,914
- you've been droning
- on about names, Toby.
- 326
- 00:13:26,914 --> 00:13:27,665
- Toby?
- 327
- 00:13:27,665 --> 00:13:29,416
- Once we started shooting
- Reservoir Dogs...
- 328
- 00:13:29,416 --> 00:13:30,209
- ...and I remember just being
- 329
- 00:13:30,209 --> 00:13:32,044
- a couple days in,
- 330
- 00:13:32,044 --> 00:13:35,756
- and I pulled Harvey
- Keitel aside and I said,
- 331
- 00:13:35,756 --> 00:13:37,341
- "Harvey, I'm so excited."
- 332
- 00:13:37,341 --> 00:13:39,426
- And he said, "Well, why
- are you so excited?"
- 333
- 00:13:39,426 --> 00:13:41,887
- And I said,
- "Well, I never imagined
- 334
- 00:13:41,887 --> 00:13:44,723
- that what we would do on
- the film would better
- 335
- 00:13:44,723 --> 00:13:46,684
- the experience that
- I had of sitting alone
- 336
- 00:13:46,684 --> 00:13:48,811
- in my room reading the script."
- 337
- 00:13:48,811 --> 00:13:51,105
- I've got Madonna's big dick
- coming out of my left ear
- 338
- 00:13:51,105 --> 00:13:53,816
- and Toby the Jack,
- I don't know what,
- 339
- 00:13:53,816 --> 00:13:54,859
- comin' out of my right.
- 340
- 00:13:54,859 --> 00:13:57,069
- And Harvey Keitel
- said, "Of course,
- 341
- 00:13:57,069 --> 00:13:58,028
- it's better than that.
- 342
- 00:13:58,028 --> 00:13:58,821
- I'm here."
- 343
- 00:13:59,613 --> 00:14:01,782
- There's just so much
- good stuff in them.
- 344
- 00:14:01,782 --> 00:14:04,201
- No only visually,
- but, and not only
- 345
- 00:14:04,201 --> 00:14:06,620
- what the actors say,
- but what they do
- 346
- 00:14:06,620 --> 00:14:10,499
- and how they do it and how
- the plot unfolds.
- 347
- 00:14:10,499 --> 00:14:13,627
- I think the reason
- that every critic
- 348
- 00:14:13,627 --> 00:14:17,423
- and journalist went crazy
- for Reservoir Dogs
- 349
- 00:14:17,423 --> 00:14:19,049
- is rightfully so.
- 350
- 00:14:19,049 --> 00:14:23,095
- It was the debut of an
- extraordinary new voice.
- 351
- 00:14:23,095 --> 00:14:30,436
- And, you know, it was our
- nineties Auteur Indie cinema,
- 352
- 00:14:30,436 --> 00:14:33,189
- you know, the equivalent
- of the French New Wave,
- 353
- 00:14:33,189 --> 00:14:36,233
- breaking any rules that he
- wants.
- 354
- 00:14:36,233 --> 00:14:37,359
- It was thrilling.
- 355
- 00:14:43,699 --> 00:14:45,576
- We were walking
- back to the trailers.
- 356
- 00:14:45,576 --> 00:14:48,495
- I remember Harvey, he says,
- "This is good, right?"
- 357
- 00:14:48,495 --> 00:14:49,747
- And- and,
- I went,
- 358
- 00:14:49,747 --> 00:14:51,790
- "Yes, really fuckin' good."
- 359
- 00:14:51,790 --> 00:14:53,542
- Who's a tough guy?
- 360
- 00:14:53,542 --> 00:14:55,544
- Who's a tough guy?
- 361
- 00:14:55,544 --> 00:14:57,546
- And he went,
- "Don't jinx it.
- 362
- 00:14:57,546 --> 00:14:58,088
- Don't jinx it.
- 363
- 00:14:58,088 --> 00:14:58,881
- Whatever you do,
- don't jinx it."
- 364
- 00:14:58,881 --> 00:14:59,924
- I said, "Okay."
- 365
- 00:14:59,924 --> 00:15:03,510
- But it was, the word was
- out on this- on this guy.
- 366
- 00:15:03,510 --> 00:15:05,179
- So when we went
- to France with...
- 367
- 00:15:05,179 --> 00:15:06,096
- ..Reservoir Dogs,
- 368
- 00:15:06,096 --> 00:15:09,058
- it was, um, it was chosen
- as an official selection
- 369
- 00:15:09,058 --> 00:15:11,769
- of the film festival,
- which is a very prestigious
- 370
- 00:15:11,769 --> 00:15:13,187
- place to be,
- particularly for
- 371
- 00:15:13,187 --> 00:15:14,730
- a first time director.
- 372
- 00:15:14,730 --> 00:15:16,440
- So we showed our
- film in the Palais,
- 373
- 00:15:16,440 --> 00:15:19,276
- and in the three
- days prior to that,
- 374
- 00:15:19,276 --> 00:15:22,196
- Quentin and Lawrence and
- I are walking around Cannes
- 375
- 00:15:22,196 --> 00:15:24,532
- and walking down the
- Croisette and looking at
- 376
- 00:15:24,532 --> 00:15:26,742
- different movies and going
- to different screenings
- 377
- 00:15:26,742 --> 00:15:28,035
- and just... Hey.
- 378
- 00:15:28,035 --> 00:15:29,286
- ...having a good old time.
- 379
- 00:15:29,286 --> 00:15:33,624
- And then we screen the
- film as a midnight special
- 380
- 00:15:33,624 --> 00:15:35,167
- screening in the Palais.
- 381
- 00:15:35,167 --> 00:15:38,212
- And the day after that,
- 382
- 00:15:38,212 --> 00:15:41,006
- when we would walk down
- the street as we were
- 383
- 00:15:41,006 --> 00:15:42,967
- goofy guys wandering around,
- 384
- 00:15:42,967 --> 00:15:45,386
- you'd start to hear
- people going, "Tarantino!
- 385
- 00:15:45,386 --> 00:15:46,762
- Tarantino!"
- 386
- 00:15:46,762 --> 00:15:50,349
- And thus the legend
- of Quentin began.
- 387
- 00:15:50,349 --> 00:15:53,686
- The Auteur was born
- somewhat as it should be
- 388
- 00:15:53,686 --> 00:15:55,479
- in Cannes.
- 389
- 00:15:55,479 --> 00:15:59,525
- The day after it screened,
- I got a call from Mario Kassar
- 390
- 00:15:59,525 --> 00:16:01,360
- who is head of
- Carolco and he said,
- 391
- 00:16:01,360 --> 00:16:04,446
- "All of our directors
- on our boat,
- 392
- 00:16:04,446 --> 00:16:07,825
- um, want to meet Quentin.
- 393
- 00:16:07,825 --> 00:16:11,495
- Like what is this movie you
- made and who is this guy?"
- 394
- 00:16:11,495 --> 00:16:13,497
- And I said, well,
- I'll bring him by.
- 395
- 00:16:13,497 --> 00:16:17,334
- So we showed up at
- the boat and Renny Harlin
- 396
- 00:16:17,334 --> 00:16:19,503
- and Oliver Stone
- and James Cameron
- 397
- 00:16:19,503 --> 00:16:22,590
- and Paul Verhoeven
- were all there
- 398
- 00:16:22,590 --> 00:16:25,926
- and they just wanted
- to meet Quentin.
- 399
- 00:16:25,926 --> 00:16:27,886
- And, suddenly,
- Quentin has,
- 400
- 00:16:27,886 --> 00:16:29,096
- not only a seat at the table,
- 401
- 00:16:29,096 --> 00:16:31,724
- but is kind of running
- the table and these guys are
- 402
- 00:16:31,724 --> 00:16:33,892
- so interested in Quentin.
- 403
- 00:16:33,892 --> 00:16:36,145
- And this is how it
- sort of all began.
- 404
- 00:16:36,145 --> 00:16:37,646
- Quentin came back
- 405
- 00:16:37,646 --> 00:16:40,316
- from Cannes after
- Reservoir Dogs.
- 406
- 00:16:40,316 --> 00:16:41,734
- Now that was a
- fascinating story,
- 407
- 00:16:41,734 --> 00:16:44,069
- 'cause he was crashing
- on my couch, right?
- 408
- 00:16:44,069 --> 00:16:46,447
- So I was, I had to get, uh,
- 409
- 00:16:46,447 --> 00:16:48,282
- the "Hollywood
- Reporter", "Variety",
- 410
- 00:16:48,282 --> 00:16:51,368
- all of the- the magazines,
- "L.A. Weekly",
- 411
- 00:16:51,368 --> 00:16:53,329
- all the stuff that had
- articles on Reservoir Dogs.
- 412
- 00:16:53,329 --> 00:16:55,039
- Literally, you couldn't
- believe how much stuff.
- 413
- 00:16:55,039 --> 00:16:55,706
- I went, "Oh wait.
- 414
- 00:16:55,706 --> 00:16:56,874
- This is like a joke."
- 415
- 00:16:56,874 --> 00:16:58,584
- He went away to Cannes
- 416
- 00:16:58,584 --> 00:17:00,377
- just another
- independent filmmaker
- 417
- 00:17:00,377 --> 00:17:01,754
- and came back like a star.
- 418
- 00:17:04,423 --> 00:17:07,217
- Miramax was the company
- that stepped up to
- 419
- 00:17:07,217 --> 00:17:08,552
- take Reservoir Dogs.
- 420
- 00:17:08,552 --> 00:17:12,139
- Before that, you know,
- Quentin was pretty much
- 421
- 00:17:12,139 --> 00:17:15,434
- nobody wanted to give him
- a chance to do fuck all.
- 422
- 00:17:15,434 --> 00:17:17,644
- So that started the
- bond of Quentin
- 423
- 00:17:17,644 --> 00:17:19,605
- and the Weinstein Brothers.
- 424
- 00:17:23,025 --> 00:17:26,028
- "The whole mystical,
- 425
- 00:17:26,028 --> 00:17:30,032
- shamanistic thing that I thought
- directing was went 'poof'.
- 426
- 00:17:30,032 --> 00:17:31,575
- I realized I can do that." - QT
- 427
- 00:17:31,575 --> 00:17:33,702
- We were in a hotel
- room on the road
- 428
- 00:17:33,702 --> 00:17:35,954
- with Reservoir Dogs
- 429
- 00:17:35,954 --> 00:17:38,040
- and he's got his legal pads out.
- 430
- 00:17:38,040 --> 00:17:39,249
- And his thing, you know,
- 431
- 00:17:39,249 --> 00:17:40,834
- the way that he
- does his scripts.
- 432
- 00:17:40,834 --> 00:17:43,962
- He starts reading all these
- characters and stage direction.
- 433
- 00:17:43,962 --> 00:17:45,422
- I love you, Pumpkin.
- 434
- 00:17:45,422 --> 00:17:47,174
- And I love you,
- Honey Bunny.
- 435
- 00:17:47,174 --> 00:17:48,300
- And it's Pulp Fiction.
- 436
- 00:17:48,300 --> 00:17:49,760
- Everybody be cool.
- This is a robbery.
- 437
- 00:17:49,760 --> 00:17:50,469
- What?
- 438
- 00:17:50,469 --> 00:17:54,640
- Any of you fuckin'
- pricks move and I'll execute
- 439
- 00:17:54,640 --> 00:17:56,308
- every one of ya motherfuckers.
- 440
- 00:17:56,308 --> 00:17:58,769
- Quentin says,
- "This is my next thing.
- 441
- 00:17:58,769 --> 00:18:04,024
- This is what I'm gonna do."
- 442
- 00:18:04,024 --> 00:18:06,360
- There was an eagerness
- by many financiers
- 443
- 00:18:06,360 --> 00:18:09,738
- to make Quentin's next movie.
- 444
- 00:18:09,738 --> 00:18:11,073
- We had agreed,
- 445
- 00:18:11,073 --> 00:18:12,783
- uh, Harvey Weinstein agreed,
- 446
- 00:18:12,783 --> 00:18:14,493
- uh, to finance the film.
- 447
- 00:18:14,493 --> 00:18:17,746
- They never interfered
- with his material.
- 448
- 00:18:17,746 --> 00:18:21,125
- There's subject matter
- 449
- 00:18:21,125 --> 00:18:25,629
- and dialogue in Quentin's
- pictures that really nobody else
- 450
- 00:18:25,629 --> 00:18:29,174
- could get away with doing,
- especially a white guy.
- 451
- 00:18:29,174 --> 00:18:30,551
- Did you notice
- a sign on the front of
- 452
- 00:18:30,551 --> 00:18:32,553
- my house that said,
- "Dead Nigger Storage."
- 453
- 00:18:32,553 --> 00:18:34,012
- Jimmy, you know
- I ain't seen no shit.
- 454
- 00:18:34,012 --> 00:18:36,056
- Did you notice a sign on
- the front of my house
- 455
- 00:18:36,056 --> 00:18:38,600
- that said "Dead Nigger Storage?"
- 456
- 00:18:38,600 --> 00:18:40,102
- No.
- 457
- 00:18:40,102 --> 00:18:42,438
- I got the script and ...
- 458
- 00:18:42,438 --> 00:18:43,105
- ...I kind of sat
- 459
- 00:18:43,105 --> 00:18:44,523
- there and stared at it.
- 460
- 00:18:44,523 --> 00:18:46,525
- When I was done I was like,
- 461
- 00:18:46,525 --> 00:18:49,278
- "Oh, there's no fuckin'
- way the script that's good."
- 462
- 00:18:49,278 --> 00:18:52,197
- I'm just readin' it like
- that because he told me
- 463
- 00:18:52,197 --> 00:18:53,490
- he wrote this part for me.
- 464
- 00:18:53,490 --> 00:18:56,869
- You know what they call a- a
- Quarter Pounder with Cheese,
- 465
- 00:18:56,869 --> 00:18:58,203
- uh, in Paris?
- 466
- 00:18:58,203 --> 00:18:59,830
- They don't call it a Quarter
- Pounder with Cheese?
- 467
- 00:18:59,830 --> 00:19:00,164
- No, man.
- 468
- 00:19:00,164 --> 00:19:01,206
- They got the metric system.
- 469
- 00:19:01,206 --> 00:19:03,459
- They wouldn't know what
- the fuck a Quarter Pounder is.
- 470
- 00:19:03,459 --> 00:19:04,418
- Then what do they call it?
- 471
- 00:19:04,418 --> 00:19:07,254
- They call it, uh,
- The Royale with Cheese.
- 472
- 00:19:07,254 --> 00:19:08,630
- Royale with Cheese.
- 473
- 00:19:08,630 --> 00:19:09,339
- That's right.
- 474
- 00:19:09,339 --> 00:19:11,216
- Second time it
- was just as amazing.
- 475
- 00:19:11,216 --> 00:19:14,470
- So it's like,
- 476
- 00:19:14,470 --> 00:19:16,096
- okay.
- 477
- 00:19:16,096 --> 00:19:19,933
- If Harvey Weinstein has
- the balls to make this movie,
- 478
- 00:19:19,933 --> 00:19:21,643
- this movie's gonna be awesome.
- 479
- 00:19:21,643 --> 00:19:23,395
- I know my friends
- are gonna love it.
- 480
- 00:19:23,395 --> 00:19:25,105
- He had built a real fan base
- 481
- 00:19:25,105 --> 00:19:27,816
- on home video by the time
- Pulp Fiction came out.
- 482
- 00:19:27,816 --> 00:19:29,651
- But I think he learned
- something, too.
- 483
- 00:19:29,651 --> 00:19:31,653
- Watching the film
- with enough audiences
- 484
- 00:19:31,653 --> 00:19:34,406
- when he went and
- toured film festivals,
- 485
- 00:19:34,406 --> 00:19:36,909
- he realized that he needed
- to give the audience
- 486
- 00:19:36,909 --> 00:19:38,994
- permission to laugh.
- 487
- 00:19:38,994 --> 00:19:40,996
- The dude's head gets blown
- off in the back of the car.
- 488
- 00:19:40,996 --> 00:19:42,498
- I mean people laugh at
- that shit and then they
- 489
- 00:19:42,498 --> 00:19:43,874
- catch themselves
- and go, "Oh, shit.
- 490
- 00:19:43,874 --> 00:19:44,708
- I can't laugh at that."
- 491
- 00:19:44,708 --> 00:19:45,584
- Oh!
- 492
- 00:19:45,584 --> 00:19:46,877
- What the fuck's happenin'?
- 493
- 00:19:46,877 --> 00:19:48,712
- Ah, man. Oh, shit, man.
- 494
- 00:19:48,712 --> 00:19:50,297
- Oh, man, I shot
- Marvin in the face.
- 495
- 00:19:50,297 --> 00:19:51,507
- Why the fuck'd you do that?
- 496
- 00:19:51,507 --> 00:19:55,135
- And it's cool, too,
- because it's not CGI blood.
- 497
- 00:19:55,135 --> 00:19:58,096
- He still likes to use squibs
- and blood packs and stuff,
- 498
- 00:19:58,096 --> 00:20:02,184
- so I mean I could be twenty-five
- feet across the room
- 499
- 00:20:02,184 --> 00:20:03,977
- and get blood splattered
- on me from shootin'
- 500
- 00:20:03,977 --> 00:20:05,604
- somebody on the other
- side of the room,
- 501
- 00:20:05,604 --> 00:20:07,564
- which was like awesome.
- 502
- 00:20:07,564 --> 00:20:09,066
- You're sending The Wolf?
- 503
- 00:20:09,066 --> 00:20:11,485
- Don't you feel better,
- motherfucker?
- 504
- 00:20:11,485 --> 00:20:13,529
- Shit yeah, Negro.
- 505
- 00:20:13,529 --> 00:20:15,072
- That's all you had to say.
- 506
- 00:20:16,406 --> 00:20:17,115
- Like you have to call
- 507
- 00:20:17,115 --> 00:20:18,534
- someone because
- you accidentally shot
- 508
- 00:20:18,534 --> 00:20:20,494
- someone's head off is amazing,
- 509
- 00:20:20,494 --> 00:20:22,120
- and then that it becomes, like,
- 510
- 00:20:22,120 --> 00:20:26,583
- he's so blasé about
- cleaning bits of brain up.
- 511
- 00:20:26,583 --> 00:20:28,168
- Oh, man!
- 512
- 00:20:28,168 --> 00:20:30,629
- I will never forgive
- your ass for this shit.
- 513
- 00:20:30,629 --> 00:20:32,172
- Because he always
- intended it to be funny,
- 514
- 00:20:32,172 --> 00:20:34,383
- but people sort of felt a
- little bit uncomfortable.
- 515
- 00:20:34,383 --> 00:20:35,384
- Am I allowed to laugh?
- 516
- 00:20:35,384 --> 00:20:38,011
- Am I sick if I'm laughing?
- 517
- 00:20:38,011 --> 00:20:39,304
- You know, what's going on?
- 518
- 00:20:39,304 --> 00:20:42,474
- And with Pulp,
- intentionally,
- 519
- 00:20:42,474 --> 00:20:44,184
- he really let everybody
- in on the joke.
- 520
- 00:20:44,184 --> 00:20:45,811
- They look like a
- couple of dorks.
- 521
- 00:20:45,811 --> 00:20:47,938
- Ha-ha-ha.
- 522
- 00:20:47,938 --> 00:20:49,481
- They're your clothes,
- motherfucker.
- 523
- 00:20:49,481 --> 00:20:52,609
- I can look at it and
- say this is one of those
- 524
- 00:20:52,609 --> 00:20:53,652
- gangster characters.
- 525
- 00:20:53,652 --> 00:20:55,696
- This is how he's thinkin',
- 526
- 00:20:55,696 --> 00:20:57,281
- this is how he's talkin',
- and this is what his
- 527
- 00:20:57,281 --> 00:20:58,407
- cadence is.
- 528
- 00:20:58,407 --> 00:21:01,869
- And I will strike down
- upon thee with great
- 529
- 00:21:01,869 --> 00:21:06,206
- vengeance and furious
- anger those who attempt
- 530
- 00:21:06,206 --> 00:21:09,001
- to poison and
- destroy my brothers.
- 531
- 00:21:09,001 --> 00:21:13,463
- And because I spent so
- many years doing theater.
- 532
- 00:21:13,463 --> 00:21:17,384
- And you will know
- my name is the Lord
- 533
- 00:21:17,384 --> 00:21:20,846
- when I lay my
- vengeance upon thee.
- 534
- 00:21:20,846 --> 00:21:27,644
- I love a monologue.
- 535
- 00:21:27,644 --> 00:21:30,022
- I remember when I
- originally gave this script
- 536
- 00:21:30,022 --> 00:21:31,315
- to the Weinsteins,
- Harvey read it
- 537
- 00:21:31,315 --> 00:21:33,317
- and called me up and said,
- "You guys are crazy.
- 538
- 00:21:33,317 --> 00:21:34,818
- You just killed
- the main character
- 539
- 00:21:34,818 --> 00:21:37,487
- in the middle of the movie."
- 540
- 00:21:37,487 --> 00:21:41,575
- I said,
- 541
- 00:21:41,575 --> 00:21:42,326
- "Keep reading."
- 542
- 00:21:42,326 --> 00:21:44,828
- He said, "But you can't
- kill the main character in
- 543
- 00:21:44,828 --> 00:21:46,413
- the middle of the movie."
- 544
- 00:21:46,413 --> 00:21:47,706
- I said, "Keep reading."
- 545
- 00:21:47,706 --> 00:21:49,041
- He said, "Oh, my God.
- 546
- 00:21:49,041 --> 00:21:51,209
- He comes back, doesn't he?"
- 547
- 00:21:51,209 --> 00:21:52,586
- He goes, "Is it
- a happy ending?"
- 548
- 00:21:52,586 --> 00:21:54,212
- I said, "It's a happy ending.
- 549
- 00:21:55,297 --> 00:21:57,883
- And the beauty of Quentin
- is that when it's time to
- 550
- 00:21:57,883 --> 00:22:01,386
- shoot the film, though he
- wrote it and he conceived it
- 551
- 00:22:01,386 --> 00:22:02,846
- and he knows where it's going...
- 552
- 00:22:04,139 --> 00:22:04,890
- Hello?
- 553
- 00:22:05,974 --> 00:22:09,728
- ...the actors are a
- huge part of that soup
- 554
- 00:22:09,728 --> 00:22:12,105
- that creates that
- character of the story.
- 555
- 00:22:12,105 --> 00:22:12,856
- Vincent?
- 556
- 00:22:15,233 --> 00:22:17,486
- Vincent?
- 557
- 00:22:17,486 --> 00:22:19,488
- I'm on the intercom.
- 558
- 00:22:19,488 --> 00:22:22,866
- And he wrote the part
- 559
- 00:22:22,866 --> 00:22:27,079
- that John Travolta played
- in that movie for Michael.
- 560
- 00:22:27,079 --> 00:22:29,289
- And Michael didn't do it.
- 561
- 00:22:29,289 --> 00:22:31,875
- I was already committed
- to Wyatt Earp.
- 562
- 00:22:31,875 --> 00:22:34,336
- And now here's Quentin
- wants me to do Pulp Fiction.
- 563
- 00:22:34,336 --> 00:22:36,922
- And they were both going
- at the same time.
- 564
- 00:22:36,922 --> 00:22:39,257
- You know look at Travolta
- in Pulp Fiction.
- 565
- 00:22:39,257 --> 00:22:41,468
- It's one of the most
- extraordinary performances
- 566
- 00:22:41,468 --> 00:22:44,805
- in a- in a film that's
- filled to the brim
- 567
- 00:22:44,805 --> 00:22:46,640
- with extraordinary performances.
- 568
- 00:22:46,640 --> 00:22:51,728
- John had to be convinced.
- 569
- 00:22:51,728 --> 00:22:53,397
- But the moment that they met,
- 570
- 00:22:53,397 --> 00:22:56,024
- it was clear that it- it
- was their destiny to-
- 571
- 00:22:56,024 --> 00:22:57,025
- to work together.
- 572
- 00:22:57,025 --> 00:23:00,904
- Isn't it true that a part of
- John Travolta being in it,
- 573
- 00:23:00,904 --> 00:23:03,657
- it became John's comeback.
- 574
- 00:23:03,657 --> 00:23:06,660
- He was doing movies
- about talking babies and,
- 575
- 00:23:06,660 --> 00:23:09,413
- suddenly, he's,
- you know, Vincent Vega.
- 576
- 00:23:09,413 --> 00:23:11,123
- You know he had that wig on.
- 577
- 00:23:11,123 --> 00:23:15,127
- Nobody'd ever seen
- Travolta with a fuckin' gun.
- 578
- 00:23:17,045 --> 00:23:19,339
- And that was a huge,
- huge reason
- 579
- 00:23:19,339 --> 00:23:20,465
- why the movie worked.
- 580
- 00:23:20,465 --> 00:23:22,676
- John Travolta can move
- like almost nobody else.
- 581
- 00:23:24,219 --> 00:23:26,805
- The dance scene
- that Quentin gives him
- 582
- 00:23:26,805 --> 00:23:32,477
- is so incredible because Quentin
- gets what this guy can do
- 583
- 00:23:32,477 --> 00:23:33,770
- and lets him do it.
- 584
- 00:23:33,770 --> 00:23:35,647
- That was neat, man,
- that whole thing and,
- 585
- 00:23:35,647 --> 00:23:37,357
- uh, I- I wouldn't have
- come up with that,
- 586
- 00:23:37,357 --> 00:23:38,734
- you know.
- 587
- 00:23:38,734 --> 00:23:40,944
- The twist wouldn't haven't
- have been exactly the same.
- 588
- 00:23:40,944 --> 00:23:42,696
- He would have had to
- change the script that
- 589
- 00:23:42,696 --> 00:23:44,531
- they don't win
- the dance contest.
- 590
- 00:23:46,992 --> 00:23:48,660
- When you're on a set
- and working with Quentin,
- 591
- 00:23:48,660 --> 00:23:51,413
- he always seemed to me
- like he kept a very healthy
- 592
- 00:23:51,413 --> 00:23:54,791
- distance between himself
- and producer types.
- 593
- 00:23:54,791 --> 00:23:56,752
- And what Quentin
- wanted, Quentin got,
- 594
- 00:23:56,752 --> 00:23:58,086
- deservedly so.
- 595
- 00:23:59,046 --> 00:23:59,921
- Action!
- 596
- 00:23:59,921 --> 00:24:01,173
- We were a bit into production
- 597
- 00:24:01,173 --> 00:24:03,341
- and Harvey Weinstein
- came to visit.
- 598
- 00:24:03,341 --> 00:24:06,928
- I purposely wanted to take
- him to the Jack Rabbit Slim set
- 599
- 00:24:06,928 --> 00:24:08,388
- because we built it.
- 600
- 00:24:08,388 --> 00:24:09,431
- It's cool.
- 601
- 00:24:09,431 --> 00:24:10,849
- It's really filmy.
- 602
- 00:24:10,849 --> 00:24:13,602
- And Quentin isn't the
- "build sets" kind of guy.
- 603
- 00:24:13,602 --> 00:24:15,812
- He's the "find a real
- place and do it".
- 604
- 00:24:15,812 --> 00:24:18,732
- And as we walked in, I
- didn't tell Harvey what we
- 605
- 00:24:18,732 --> 00:24:19,691
- were shooting.
- 606
- 00:24:19,691 --> 00:24:21,526
- And I just remember
- looking at him and going,
- 607
- 00:24:21,526 --> 00:24:23,445
- "Welcome to Quentin World."
- 608
- 00:24:23,445 --> 00:24:26,156
- He just said,
- "What- what- what is this?
- 609
- 00:24:26,156 --> 00:24:27,574
- This is crazy."
- 610
- 00:24:27,574 --> 00:24:30,160
- You know with the race
- track and the dancers
- 611
- 00:24:30,160 --> 00:24:32,704
- and the trophies
- and the characters
- 612
- 00:24:32,704 --> 00:24:34,247
- imitating other characters.
- 613
- 00:24:35,624 --> 00:24:37,709
- You know Quentin just has
- in his head I want people
- 614
- 00:24:37,709 --> 00:24:41,588
- to sit in the back seat of a
- nineteen-fifty-seven Cadillac.
- 615
- 00:24:41,588 --> 00:24:44,883
- And, you know, they need to
- drink an Amos and Andy shake.
- 616
- 00:24:44,883 --> 00:24:47,302
- And he comes up with all
- this stuff in the same way
- 617
- 00:24:47,302 --> 00:24:48,845
- that he comes up
- with his own products.
- 618
- 00:24:50,388 --> 00:24:51,181
- Mm...
- 619
- 00:24:52,265 --> 00:24:54,935
- This is a tasty burger.
- 620
- 00:24:54,935 --> 00:24:57,604
- Vincent, have you ever
- had a Big Kahuna burger?
- 621
- 00:24:57,604 --> 00:25:00,190
- By the time Pulp
- Fiction came around,
- 622
- 00:25:00,190 --> 00:25:02,150
- he was doing his
- own product placement.
- 623
- 00:25:02,818 --> 00:25:03,985
- Give me a pack of Red Apples.
- 624
- 00:25:03,985 --> 00:25:05,153
- Filters?
- 625
- 00:25:05,153 --> 00:25:06,279
- Nah.
- 626
- 00:25:06,279 --> 00:25:08,073
- And that's when
- Red Apple came about.
- 627
- 00:25:08,073 --> 00:25:10,200
- That's when Kahuna
- burger came about.
- 628
- 00:25:10,200 --> 00:25:12,786
- That's when all of that
- stuff started to happen.
- 629
- 00:25:12,786 --> 00:25:15,831
- Red Apple tobacco
- is not a real thing.
- 630
- 00:25:15,831 --> 00:25:17,415
- That's a Quentin cigarette.
- 631
- 00:25:17,415 --> 00:25:20,377
- There's a great moment
- 632
- 00:25:20,377 --> 00:25:22,087
- in Hateful Eight where...
- 633
- 00:25:22,087 --> 00:25:24,381
- ...Demian Bichir is standing
- 634
- 00:25:24,381 --> 00:25:25,924
- behind the bar.
- 635
- 00:25:25,924 --> 00:25:29,636
- And he's having a smoke
- of Red Apple tobacco.
- 636
- 00:25:29,636 --> 00:25:31,263
- And he's just standing there
- like this and he's going,
- 637
- 00:25:31,263 --> 00:25:31,888
- "Hmm.
- 638
- 00:25:31,888 --> 00:25:32,848
- This is pretty good."
- 639
- 00:25:32,848 --> 00:25:33,974
- Like this.
- 640
- 00:25:33,974 --> 00:25:37,394
- And we got all pissed off
- because he got to do
- 641
- 00:25:37,394 --> 00:25:39,229
- the Red Apple moment.
- 642
- 00:25:39,229 --> 00:25:41,439
- He got to have it himself.
- 643
- 00:25:41,439 --> 00:25:44,067
- Everybody from costumes
- down to every detail,
- 644
- 00:25:44,067 --> 00:25:46,152
- to props,
- to Red Apple tobacco,
- 645
- 00:25:46,152 --> 00:25:50,156
- to everything,
- there's nothing random
- 646
- 00:25:50,156 --> 00:25:51,992
- about anything
- in a Quentin movie.
- 647
- 00:25:51,992 --> 00:25:54,578
- Remember her cutting
- the ropes off
- 648
- 00:25:54,578 --> 00:25:56,288
- when she's in the coffin.
- 649
- 00:25:56,288 --> 00:25:57,831
- That's Mr. Blonde's razor.
- 650
- 00:25:57,831 --> 00:25:58,415
- It's brilliant, right?
- 651
- 00:25:58,415 --> 00:25:59,583
- That's cool.
- 652
- 00:25:59,583 --> 00:26:01,751
- There's a little nod when
- you're watching Reservoir Dogs.
- 653
- 00:26:01,751 --> 00:26:02,919
- If you every hear Mr. White,
- 654
- 00:26:02,919 --> 00:26:04,337
- somebody says,
- "How's Bama?"
- 655
- 00:26:04,337 --> 00:26:06,047
- By the way,
- how's Alabama?
- 656
- 00:26:06,047 --> 00:26:06,965
- Alabama?
- 657
- 00:26:08,258 --> 00:26:11,303
- I haven't seen Bama
- over a year and a half.
- 658
- 00:26:11,303 --> 00:26:13,305
- And you understand
- that Alabama left,
- 659
- 00:26:13,305 --> 00:26:17,559
- met Mr. White, learned
- about the- the bank heist
- 660
- 00:26:17,559 --> 00:26:19,895
- or jewelry thief
- business from him,
- 661
- 00:26:19,895 --> 00:26:22,147
- and they couldn't be
- together because she was
- 662
- 00:26:22,147 --> 00:26:23,732
- still in love with Clarence
- and she'd be in
- 663
- 00:26:23,732 --> 00:26:25,859
- love with Clarence
- for his whole life.
- 664
- 00:26:25,859 --> 00:26:29,154
- So all these characters
- live in Quentin's universe.
- 665
- 00:26:29,154 --> 00:26:31,656
- And Vic here, I mean
- he's only been nothing
- 666
- 00:26:31,656 --> 00:26:35,452
- but good luck for us and, that
- guys a fuckin' rabbit's foot.
- 667
- 00:26:35,452 --> 00:26:38,496
- Vic Vega, Vincent Vega,
- the Vega Brothers.
- 668
- 00:26:38,496 --> 00:26:40,999
- And, uh, how
- 'bout your fella here?
- 669
- 00:26:40,999 --> 00:26:42,334
- Vincent Vega.
- 670
- 00:26:42,334 --> 00:26:44,586
- With film it's not
- just characters
- 671
- 00:26:44,586 --> 00:26:47,213
- and it's not just action
- and it's not just cinema,
- 672
- 00:26:47,213 --> 00:26:49,507
- but it's celluloid,
- it's seeing it on the film,
- 673
- 00:26:49,507 --> 00:26:51,760
- and it's the soundtrack,
- but also,
- 674
- 00:26:51,760 --> 00:26:55,513
- amazingly, taking songs
- they know and reimagining.
- 675
- 00:26:55,513 --> 00:26:56,556
- Bow, bow, bow...
- 676
- 00:26:56,556 --> 00:27:00,977
- ...- you'll be a woman soon.
- - ...a woman...
- 677
- 00:27:00,977 --> 00:27:04,356
- And you just sit there
- and you just- you can't
- 678
- 00:27:04,356 --> 00:27:07,901
- believe that you're
- hearing the song in a new
- 679
- 00:27:07,901 --> 00:27:08,944
- and different way.
- 680
- 00:27:08,944 --> 00:27:10,612
- - He's not your kind.
- - He's not your kind.
- 681
- 00:27:10,612 --> 00:27:13,448
- And so much of those songs
- were background on the radio
- 682
- 00:27:13,448 --> 00:27:15,116
- when you were kids or
- when you were adults
- 683
- 00:27:15,116 --> 00:27:16,576
- driving around.
- 684
- 00:27:16,576 --> 00:27:19,663
- And Quentin takes them and
- he takes that background,
- 685
- 00:27:19,663 --> 00:27:21,998
- counterpoints it
- against something that
- 686
- 00:27:21,998 --> 00:27:23,291
- it doesn't make sense with.
- 687
- 00:27:25,001 --> 00:27:27,379
- Or he uses it to
- emphasize a scene.
- 688
- 00:27:27,379 --> 00:27:29,798
- What he makes are really rich,
- 689
- 00:27:29,798 --> 00:27:32,509
- densely textured mosaics.
- 690
- 00:27:32,509 --> 00:27:35,011
- Try to dissect it,
- you'd almost undoubtedly miss
- 691
- 00:27:35,011 --> 00:27:36,972
- so many of the pieces
- and the ways they interact
- 692
- 00:27:36,972 --> 00:27:38,640
- with each other and
- the way they make sense
- 693
- 00:27:38,640 --> 00:27:39,349
- with each other.
- 694
- 00:27:39,349 --> 00:27:40,183
- I remember being
- 695
- 00:27:40,183 --> 00:27:42,602
- on the set of From Dust Till
- Dawn while they were
- 696
- 00:27:42,602 --> 00:27:44,896
- shooting that, and I said,
- and by that time Pulp Fiction
- 697
- 00:27:44,896 --> 00:27:45,939
- just went through the roof.
- 698
- 00:27:45,939 --> 00:27:47,607
- I said, "Quentin,
- did you have any idea
- 699
- 00:27:47,607 --> 00:27:48,191
- how big this would be?
- 700
- 00:27:48,191 --> 00:27:51,152
- He goes,
- "Yeah, no."
- 701
- 00:27:51,987 --> 00:27:55,740
- The Palme d'Or goes to...
- 702
- 00:27:55,740 --> 00:27:56,783
- ...Pulp Fiction.
- 703
- 00:28:32,736 --> 00:28:34,654
- What do you do after
- that masterpiece?
- 704
- 00:28:34,654 --> 00:28:36,156
- When you know you're damned.
- 705
- 00:28:36,156 --> 00:28:37,198
- There's, you know,
- 706
- 00:28:37,198 --> 00:28:40,452
- after Citizen Kane,
- Welles walks away
- 707
- 00:28:40,452 --> 00:28:41,578
- from Magnificent Ambersons.
- 708
- 00:28:41,578 --> 00:28:42,829
- Quentin's made Pulp Fiction.
- 709
- 00:28:42,829 --> 00:28:45,999
- He's made one of the great films
- of the last half century.
- 710
- 00:28:45,999 --> 00:28:49,377
- So what does he do next?
- 711
- 00:28:49,377 --> 00:28:53,590
- A genre film that in and of
- itself is really wonderful.
- 712
- 00:28:53,590 --> 00:28:55,759
- Plays with time,
- plays with character,
- 713
- 00:28:55,759 --> 00:28:57,469
- plays with your perceptions,
- 714
- 00:28:57,469 --> 00:29:00,096
- and he doesn't try
- and redo Pulp Fiction.
- 715
- 00:29:00,096 --> 00:29:01,431
- I know he has
- 716
- 00:29:01,431 --> 00:29:05,226
- this strong Blaxploitation
- influence in his life.
- 717
- 00:29:05,226 --> 00:29:05,894
- For God's sake.
- 718
- 00:29:05,894 --> 00:29:08,521
- People say he makes
- 719
- 00:29:08,521 --> 00:29:09,522
- revenge movies.
- 720
- 00:29:09,522 --> 00:29:12,358
- You know, those were
- sort of revenge movies,
- 721
- 00:29:12,358 --> 00:29:14,194
- all about gettin' the man
- or gettin' back at the man Sweet
- 722
- 00:29:14,194 --> 00:29:16,446
- or gettin' back at the person
- who did somethin' bad to you.
- 723
- 00:29:16,446 --> 00:29:20,033
- It's one of those things
- that makes his movies fun.
- 724
- 00:29:20,033 --> 00:29:21,826
- And those are the things
- 725
- 00:29:21,826 --> 00:29:24,913
- that influenced his young
- cinema experiences,
- 726
- 00:29:24,913 --> 00:29:26,206
- like mine.
- 727
- 00:29:26,206 --> 00:29:27,582
- He broke everything down.
- 728
- 00:29:27,582 --> 00:29:29,709
- He explained, like,
- "When I was a kid,
- 729
- 00:29:29,709 --> 00:29:31,586
- my mom dated black guys.
- 730
- 00:29:31,586 --> 00:29:33,755
- Black guys would try to
- get in good with my mom,
- 731
- 00:29:33,755 --> 00:29:37,801
- would take me to, uh,
- Blaxploitation films
- 732
- 00:29:37,801 --> 00:29:39,219
- to watch as a kid.
- 733
- 00:29:39,219 --> 00:29:40,970
- So that's what I grew up on.
- 734
- 00:29:40,970 --> 00:29:45,725
- So I'm writing what I saw,
- what's inside my DNA,
- 735
- 00:29:45,725 --> 00:29:47,644
- and then that's
- why my characters are
- 736
- 00:29:47,644 --> 00:29:49,020
- always very strong."
- 737
- 00:29:49,020 --> 00:29:50,146
- You helped her,
- didn't you?
- 738
- 00:29:50,146 --> 00:29:51,064
- When you're sort of bred
- 739
- 00:29:51,064 --> 00:29:52,440
- into naturally appreciating,
- 740
- 00:29:52,440 --> 00:29:54,317
- it's not like
- someone's taught you,
- 741
- 00:29:54,317 --> 00:29:57,278
- you should respect women,
- or black people are equal.
- 742
- 00:29:57,278 --> 00:29:59,114
- Like someone's not
- teaching you that lesson.
- 743
- 00:29:59,114 --> 00:30:00,990
- You just know it to be true.
- 744
- 00:30:00,990 --> 00:30:02,742
- This is how he views the world,
- 745
- 00:30:02,742 --> 00:30:06,371
- and he paints the world the
- way he sees it in his movies.
- 746
- 00:30:06,371 --> 00:30:09,582
- And so the power is
- this is his truth.
- 747
- 00:30:09,582 --> 00:30:11,376
- Jackie Brown is in many ways
- 748
- 00:30:11,376 --> 00:30:13,962
- an ode to the sort of
- Blaxploitation films
- 749
- 00:30:13,962 --> 00:30:14,504
- of the period.
- 750
- 00:30:14,504 --> 00:30:16,214
- And who are you gonna cast?
- 751
- 00:30:16,214 --> 00:30:17,048
- Pam Grier.
- 752
- 00:30:18,091 --> 00:30:19,342
- I'd heard about Foxy Brown
- 753
- 00:30:19,342 --> 00:30:21,261
- and Coffy and all
- the Pam Grier movie.
- 754
- 00:30:21,261 --> 00:30:21,719
- You know, of course,
- 755
- 00:30:21,719 --> 00:30:23,012
- Pam Grier's had
- a glorious career
- 756
- 00:30:23,012 --> 00:30:24,764
- even up before
- Quentin Tarantino.
- 757
- 00:30:24,764 --> 00:30:26,933
- He just, like, has made
- her that- that much cooler
- 758
- 00:30:26,933 --> 00:30:27,767
- in my opinion.
- 759
- 00:30:27,767 --> 00:30:29,686
- Pam Grier can kick ass,
- 760
- 00:30:29,686 --> 00:30:30,311
- you know what I mean?
- 761
- 00:30:30,311 --> 00:30:32,772
- It's not all Foxy Brown
- and it ain't all,
- 762
- 00:30:32,772 --> 00:30:34,357
- you know, Straight
- Outta Compton.
- 763
- 00:30:37,610 --> 00:30:40,238
- Jackie Brown, to me,
- that performance is
- 764
- 00:30:40,238 --> 00:30:42,657
- so amazing and beautiful.
- 765
- 00:30:42,657 --> 00:30:44,868
- But still like so strong
- 766
- 00:30:44,868 --> 00:30:47,996
- and so flawed and desperate,
- 767
- 00:30:47,996 --> 00:30:50,081
- and yet very sort of steely.
- 768
- 00:30:50,081 --> 00:30:52,458
- I mean he writes women
- like nobody's business.
- 769
- 00:30:52,458 --> 00:30:55,795
- In the last forty-five
- to fifty years,
- 770
- 00:30:55,795 --> 00:31:00,175
- women have not been given
- a fair shake in terms of,
- 771
- 00:31:00,175 --> 00:31:05,138
- uh, leading roles in, uh,
- movies where we can see
- 772
- 00:31:05,138 --> 00:31:07,015
- what makes the woman tick.
- 773
- 00:31:07,015 --> 00:31:08,474
- That's why you came
- here to kill me.
- 774
- 00:31:08,474 --> 00:31:09,476
- I ain't come
- over here to kill you.
- 775
- 00:31:09,476 --> 00:31:10,226
- Oh, no, that's fine.
- 776
- 00:31:10,226 --> 00:31:10,810
- It's okay.
- 777
- 00:31:11,978 --> 00:31:12,896
- Now I forgive you.
- 778
- 00:31:12,896 --> 00:31:14,397
- That's the thing with
- Quentin's dialogue.
- 779
- 00:31:14,397 --> 00:31:15,481
- A couple of men
- that would be like,
- 780
- 00:31:15,481 --> 00:31:17,650
- I mean, women don't
- really talk like that.
- 781
- 00:31:17,650 --> 00:31:18,776
- And I was like.
- 782
- 00:31:18,776 --> 00:31:21,488
- Aw, that's cute,
- 'cause we really do.
- 783
- 00:31:21,488 --> 00:31:23,990
- Now if I have to do
- more than a year,
- 784
- 00:31:23,990 --> 00:31:26,451
- you'll pay another one
- hundred thousand dollars.
- 785
- 00:31:26,451 --> 00:31:27,952
- Women would come up
- to us and be like,
- 786
- 00:31:27,952 --> 00:31:28,745
- "Oh, my God.
- 787
- 00:31:28,745 --> 00:31:30,872
- How- Is he a woman
- on the inside?"
- 788
- 00:31:30,872 --> 00:31:31,998
- I'm like yeah, he's kind of,
- 789
- 00:31:31,998 --> 00:31:33,208
- he's a bit of woman
- on the inside.
- 790
- 00:31:33,208 --> 00:31:34,584
- He's a little bit
- black on the inside.
- 791
- 00:31:34,584 --> 00:31:36,836
- He's just got a whole bunch
- of stuff going on in him.
- 792
- 00:31:36,836 --> 00:31:39,756
- If you think
- that you know more
- 793
- 00:31:39,756 --> 00:31:42,800
- about a movie or an actor
- or- or anything to do
- 794
- 00:31:42,800 --> 00:31:45,511
- with cinema history,
- he will just sit there
- 795
- 00:31:45,511 --> 00:31:49,307
- and smile and listen to you,
- and then he will bury you
- 796
- 00:31:49,307 --> 00:31:51,100
- with how much stuff he knows.
- 797
- 00:31:51,100 --> 00:31:53,394
- Exactly the fact that Quentin
- didn't go to film school.
- 798
- 00:31:53,394 --> 00:31:55,688
- I guess his film school
- was video archives
- 799
- 00:31:55,688 --> 00:32:00,109
- and the endless movies that
- he could learn and read and,
- 800
- 00:32:00,109 --> 00:32:03,488
- uh, watch and, uh,
- and enjoy and turn other
- 801
- 00:32:03,488 --> 00:32:04,155
- people onto.
- 802
- 00:32:04,155 --> 00:32:06,032
- Get himself gone.
- 803
- 00:32:06,032 --> 00:32:09,244
- The films that he gets
- off on vary vastly.
- 804
- 00:32:09,244 --> 00:32:11,246
- Everybody's after Kowalski
- 805
- 00:32:11,246 --> 00:32:13,915
- He's passionate
- about Vanishing Point
- 806
- 00:32:13,915 --> 00:32:15,416
- and that genre.
- 807
- 00:32:15,416 --> 00:32:19,963
- And then Moeshe.
- 808
- 00:32:19,963 --> 00:32:21,923
- He just loves the
- TV show Moesha.
- 809
- 00:32:21,923 --> 00:32:23,091
- Moeshe.
- 810
- 00:32:23,091 --> 00:32:25,093
- I would have
- never guessed that.
- 811
- 00:32:25,093 --> 00:32:27,345
- And I- I think he's like
- that about all kinds of things.
- 812
- 00:32:27,345 --> 00:32:28,513
- I think he's like
- that with food,
- 813
- 00:32:28,513 --> 00:32:32,100
- like he loves amazingly
- high quality French dishes
- 814
- 00:32:32,100 --> 00:32:34,310
- and he- he will smash
- a Pink's hotdog,
- 815
- 00:32:34,310 --> 00:32:36,854
- you know, like I honestly,
- I think he's kind of like
- 816
- 00:32:36,854 --> 00:32:37,814
- that with women.
- 817
- 00:32:37,814 --> 00:32:39,607
- ..break my heart
- 818
- 00:32:39,607 --> 00:32:41,859
- and make me sad.
- 819
- 00:32:41,859 --> 00:32:44,404
- Tell me what did I do wrong.
- 820
- 00:32:44,404 --> 00:32:45,989
- He's sort of like,
- if he's in love with you
- 821
- 00:32:45,989 --> 00:32:47,198
- and you're a big, black,
- 822
- 00:32:47,198 --> 00:32:49,033
- curvy, gorgeous lady,
- he's all about big,
- 823
- 00:32:49,033 --> 00:32:49,909
- black curves.
- 824
- 00:32:49,909 --> 00:32:51,411
- My baby love...
- 825
- 00:32:52,287 --> 00:32:53,496
- And if you're a waify,
- 826
- 00:32:53,496 --> 00:32:55,790
- skinny little white model type
- and he's in love with you,
- 827
- 00:32:55,790 --> 00:32:58,126
- he just thinks that's the
- hottest thing on the planet.
- 828
- 00:32:58,126 --> 00:32:59,919
- He's just like an appreciator.
- 829
- 00:33:01,379 --> 00:33:03,089
- He knows everybody.
- 830
- 00:33:03,089 --> 00:33:06,217
- And when he meets an
- actor from my era,
- 831
- 00:33:06,217 --> 00:33:07,927
- the era when he was growin' up,
- 832
- 00:33:07,927 --> 00:33:12,473
- he amazes them and amazed
- me by reminding me of this
- 833
- 00:33:12,473 --> 00:33:14,058
- and that and things and moments
- 834
- 00:33:14,058 --> 00:33:16,477
- and scenes that he remembers.
- 835
- 00:33:16,477 --> 00:33:20,607
- He also built a way of sharing
- his vision with people.
- 836
- 00:33:20,607 --> 00:33:22,191
- It wasn't storyboards.
- 837
- 00:33:22,191 --> 00:33:24,360
- It was references.
- 838
- 00:33:24,360 --> 00:33:27,155
- And so he'd say,
- 839
- 00:33:27,155 --> 00:33:29,907
- "The warehouse looks like this."
- 840
- 00:33:29,907 --> 00:33:32,744
- Or, "Look at this film
- for a reference for
- 841
- 00:33:32,744 --> 00:33:34,829
- what I'm kind of
- trying to do here."
- 842
- 00:33:34,829 --> 00:33:36,789
- When you're in
- rehearsal with him,...
- 843
- 00:33:36,789 --> 00:33:38,916
- ...you're discussing
- those references,
- 844
- 00:33:38,916 --> 00:33:42,045
- specifically, and he gives
- you stuff to watch.
- 845
- 00:33:42,045 --> 00:33:44,881
- It's not something you come to
- 846
- 00:33:44,881 --> 00:33:46,716
- lightly with him.
- 847
- 00:33:46,716 --> 00:33:48,009
- It's not a rip-off
- 848
- 00:33:48,009 --> 00:33:50,637
- that's just crap.
- 849
- 00:33:50,637 --> 00:33:52,555
- And it's not even an homage.
- 850
- 00:33:54,140 --> 00:33:57,143
- It's that he's using
- the tools of cinema to make
- 851
- 00:33:57,143 --> 00:33:59,228
- more resonant
- and greater cinema.
- 852
- 00:33:59,937 --> 00:34:03,566
- Quentin uses filmic vocabulary.
- 853
- 00:34:03,566 --> 00:34:05,318
- If you look at great art,
- 854
- 00:34:05,318 --> 00:34:08,029
- that's what musicians
- do, composers do,
- 855
- 00:34:08,029 --> 00:34:09,572
- painters do, sculptors do.
- 856
- 00:34:09,572 --> 00:34:10,823
- 'Cause he always, you know,
- 857
- 00:34:12,492 --> 00:34:15,953
- elevates everything
- and charges everything.
- 858
- 00:34:15,953 --> 00:34:19,457
- The detective was the
- genre that I started with.
- 859
- 00:34:19,457 --> 00:34:22,919
- Old cars, old clothes,
- old jokes, fast women,
- 860
- 00:34:22,919 --> 00:34:24,295
- they all lied to me.
- 861
- 00:34:24,295 --> 00:34:26,547
- The cynical,
- but human detective.
- 862
- 00:34:26,547 --> 00:34:29,050
- Robert Forster as Banyon.
- 863
- 00:34:29,050 --> 00:34:30,885
- One of the things
- Quentin does is incur
- 864
- 00:34:30,885 --> 00:34:32,428
- talent all the time.
- 865
- 00:34:32,428 --> 00:34:33,596
- I mean a lot of
- times people will
- 866
- 00:34:33,596 --> 00:34:35,723
- resurrect old actors
- and they have them do
- 867
- 00:34:35,723 --> 00:34:36,641
- what they always did.
- 868
- 00:34:36,641 --> 00:34:42,188
- What Quentin always does
- is he pushes them further.
- 869
- 00:34:42,188 --> 00:34:43,815
- He takes them to a new place.
- 870
- 00:34:45,400 --> 00:34:47,443
- He gives them a
- different career.
- 871
- 00:34:47,443 --> 00:34:49,654
- When my career was
- at the very bottom,
- 872
- 00:34:49,654 --> 00:34:51,030
- in walks Quentin.
- 873
- 00:34:51,030 --> 00:34:54,075
- He said, "I am
- adapting Rum Punch,
- 874
- 00:34:54,075 --> 00:34:57,120
- an Elmore Leonard
- novel, to a movie."
- 875
- 00:34:57,120 --> 00:34:59,163
- And I said to him,
- "I don't think they're gonna
- 876
- 00:34:59,163 --> 00:35:01,040
- let you hire me."
- 877
- 00:35:01,040 --> 00:35:03,960
- That period in my career,
- the distributors
- 878
- 00:35:03,960 --> 00:35:05,169
- didn't want me.
- 879
- 00:35:05,169 --> 00:35:07,088
- They wanted, you know,
- somebody with a bigger name.
- 880
- 00:35:07,088 --> 00:35:09,799
- And he said, and I will
- never forget him for it,
- 881
- 00:35:09,799 --> 00:35:12,927
- he said, "I hire
- anybody I want."
- 882
- 00:35:12,927 --> 00:35:15,888
- And that is the first
- moment when I said,
- 883
- 00:35:15,888 --> 00:35:19,225
- "Wow, Bob, this is
- a life-changer."
- 884
- 00:35:19,225 --> 00:35:21,561
- All right, before we start
- talking about stewardesses,
- 885
- 00:35:21,561 --> 00:35:23,354
- let's get Beaumont
- out of the way first.
- 886
- 00:35:23,354 --> 00:35:25,523
- Uh, you know, I think
- somebody already did.
- 887
- 00:35:25,523 --> 00:35:27,150
- I got a call from my agents.
- 888
- 00:35:27,150 --> 00:35:28,943
- They said that, uh,
- Vince Gilligan was
- 889
- 00:35:28,943 --> 00:35:29,694
- gonna call me.
- 890
- 00:35:32,447 --> 00:35:33,573
- I picked up the phone.
- 891
- 00:35:33,573 --> 00:35:36,284
- Vince said, "Uh,
- we've been saving a role
- 892
- 00:35:36,284 --> 00:35:37,618
- called "The Disappearer".
- 893
- 00:35:37,618 --> 00:35:40,246
- We've been calling it
- the Robert Forster role.
- 894
- 00:35:40,246 --> 00:35:41,914
- And it was, in fact,
- 895
- 00:35:41,914 --> 00:35:43,166
- a straight shooter.
- 896
- 00:35:43,166 --> 00:35:44,375
- It's gonna take me
- 897
- 00:35:44,375 --> 00:35:47,044
- some time to get your
- new situation fixed.
- 898
- 00:35:47,044 --> 00:35:48,671
- Until then, you're
- gonna be staying here.
- 899
- 00:35:48,671 --> 00:35:51,007
- I've got a place
- downstairs out of sight.
- 900
- 00:35:51,007 --> 00:35:53,342
- And, uh, this was
- a direct result,
- 901
- 00:35:53,342 --> 00:35:54,927
- of course, of Jackie Brown.
- 902
- 00:35:54,927 --> 00:35:59,474
- People kept sayin' well,
- it's not Pulp Fiction.
- 903
- 00:35:59,474 --> 00:36:01,350
- No, it's fuckin' Jackie Brown.
- 904
- 00:36:01,350 --> 00:36:03,352
- It's a different pace,
- it's a different story
- 905
- 00:36:03,352 --> 00:36:05,438
- and it's about different
- kinds of people.
- 906
- 00:36:05,438 --> 00:36:08,232
- Yeah, there are some
- criminals in there,
- 907
- 00:36:08,232 --> 00:36:10,943
- but it's really an adult
- movie about people
- 908
- 00:36:10,943 --> 00:36:12,904
- in a certain place in
- their life when it's time
- 909
- 00:36:12,904 --> 00:36:14,697
- for them to make a choice
- about how they want to live
- 910
- 00:36:14,697 --> 00:36:15,531
- the rest of their life.
- 911
- 00:36:15,531 --> 00:36:16,991
- It's a crossroads movie.
- 912
- 00:36:16,991 --> 00:36:18,993
- If you had the chance,
- unemployed now,
- 913
- 00:36:20,369 --> 00:36:23,080
- to walk away with a
- half million dollars
- 914
- 00:36:24,499 --> 00:36:25,416
- would you take it?
- 915
- 00:36:25,416 --> 00:36:28,794
- Despite whatever the
- minor violence is in it,
- 916
- 00:36:28,794 --> 00:36:32,548
- it's just a great story
- about these people trying
- 917
- 00:36:32,548 --> 00:36:33,966
- to figure out their lives.
- 918
- 00:36:37,720 --> 00:36:41,015
- When Jackie Brown
- came out of the prison
- 919
- 00:36:41,015 --> 00:36:44,977
- and had that long walk toward me
- 920
- 00:36:44,977 --> 00:36:47,855
- and it is accompanied
- by music...
- 921
- 00:36:52,276 --> 00:37:01,327
- Why do I keep my
- mind on you all the time?
- 922
- 00:37:01,327 --> 00:37:02,328
- And I don't even know you...
- 923
- 00:37:02,328 --> 00:37:05,206
- ...you're watching
- this guy fall in love
- 924
- 00:37:05,206 --> 00:37:06,290
- with a woman.
- 925
- 00:37:08,501 --> 00:37:13,005
- I cannot tell you how
- emotive that was,
- 926
- 00:37:13,005 --> 00:37:15,508
- and for a director to do that.
- 927
- 00:37:15,508 --> 00:37:17,718
- They never do that.
- 928
- 00:37:17,718 --> 00:37:20,179
- Out of all those films,
- Jackie Brown is sort of like
- 929
- 00:37:20,179 --> 00:37:21,556
- the best one.
- 930
- 00:37:21,556 --> 00:37:24,475
- Yeah, for me, just because
- of the cinematic beauty
- 931
- 00:37:24,475 --> 00:37:27,687
- and gentleness of that
- particular story.
- 932
- 00:37:27,687 --> 00:37:29,272
- ...baby.
- 933
- 00:37:29,272 --> 00:37:30,147
- Hmm.
- 934
- 00:37:30,147 --> 00:37:31,399
- Gave you the love
- you never knew, girl.
- 935
- 00:37:31,399 --> 00:37:33,276
- Who is this?
- 936
- 00:37:33,276 --> 00:37:34,944
- The Delphonics.
- Didn't I do it baby...
- 937
- 00:37:37,196 --> 00:37:38,030
- It's nice.
- 938
- 00:37:38,030 --> 00:37:38,865
- Mm-hmm.
- 939
- 00:37:51,627 --> 00:37:53,129
- The main influences of Kill Bill
- 940
- 00:37:53,129 --> 00:37:59,927
- is all the best of
- Hong Kong cinema.
- 941
- 00:37:59,927 --> 00:38:01,304
- Quentin is in love
- 942
- 00:38:01,304 --> 00:38:02,597
- with the culture.
- 943
- 00:38:02,597 --> 00:38:04,348
- When he does martial arts stuff,
- 944
- 00:38:04,348 --> 00:38:07,977
- he's recreating the energy
- and he's participating as
- 945
- 00:38:07,977 --> 00:38:10,229
- somebody who is so
- thrilled watching this.
- 946
- 00:38:11,689 --> 00:38:14,108
- The last script Quentin
- gave me was Kill Bill...
- 947
- 00:38:14,108 --> 00:38:14,692
- And it was like almost
- 948
- 00:38:14,692 --> 00:38:16,110
- the size of a small phone book.
- 949
- 00:38:16,110 --> 00:38:16,819
- Remember those?
- 950
- 00:38:18,029 --> 00:38:19,989
- Story by Q and U,
- 951
- 00:38:21,198 --> 00:38:23,200
- meaning U as in Uma.
- 952
- 00:38:23,200 --> 00:38:25,244
- We've all just been
- calling her the bride on
- 953
- 00:38:25,244 --> 00:38:26,454
- account of the dress.
- 954
- 00:38:26,454 --> 00:38:29,332
- You can tell she was pregnant.
- 955
- 00:38:31,125 --> 00:38:33,753
- That woman deserves
- her revenge and-
- 956
- 00:38:33,753 --> 00:38:35,129
- and we deserve to die.
- 957
- 00:38:35,129 --> 00:38:37,590
- I could see the
- faces of the cunts
- 958
- 00:38:37,590 --> 00:38:42,386
- who did this to me and
- the dicks responsible.
- 959
- 00:38:42,386 --> 00:38:44,013
- It read like a novel.
- 960
- 00:38:44,013 --> 00:38:45,056
- It was funny.
- 961
- 00:38:45,056 --> 00:38:46,849
- It had all this action in it,
- 962
- 00:38:46,849 --> 00:38:48,934
- you know, but it read in-
- in a way that you just
- 963
- 00:38:48,934 --> 00:38:49,935
- could not put it down.
- 964
- 00:38:49,935 --> 00:38:50,686
- He would tell me what to read.
- 965
- 00:38:50,686 --> 00:38:51,103
- I was like, wait.
- 966
- 00:38:51,103 --> 00:38:53,105
- Okay, I'm gonna read
- it so now I know
- 967
- 00:38:53,105 --> 00:38:54,899
- what action I'm gonna do.
- 968
- 00:38:54,899 --> 00:38:57,568
- And I'd start reading
- and I'd forget
- 969
- 00:38:57,568 --> 00:38:59,654
- to read for the stunts
- and I just would read
- 970
- 00:38:59,654 --> 00:39:00,363
- the whole thing again.
- 971
- 00:39:00,363 --> 00:39:01,656
- It happened four times.
- 972
- 00:39:01,656 --> 00:39:03,491
- That was when I first
- had my kind of like
- 973
- 00:39:03,491 --> 00:39:06,619
- professional moment
- of, "Holy shit.
- 974
- 00:39:06,619 --> 00:39:08,412
- I'm gonna be a part
- of something magic."
- 975
- 00:39:15,920 --> 00:39:19,298
- Quentin has it as Boomer
- is this part of The Bride
- 976
- 00:39:19,298 --> 00:39:21,425
- and Zoë is this
- part of The Bride.
- 977
- 00:39:21,425 --> 00:39:23,552
- Whatever's in front of
- the camera is different parts
- 978
- 00:39:23,552 --> 00:39:24,887
- of the same whole.
- 979
- 00:39:24,887 --> 00:39:26,847
- We were doing the scene
- where she runs up
- 980
- 00:39:26,847 --> 00:39:27,682
- the banister.
- 981
- 00:39:27,682 --> 00:39:29,016
- And he came to me
- and he was like,
- 982
- 00:39:29,016 --> 00:39:31,060
- "So, what are you
- doing in the shot?"
- 983
- 00:39:31,060 --> 00:39:33,688
- And I was like, I'm
- running up the banister.
- 984
- 00:39:33,688 --> 00:39:34,730
- And he was like,
- "Yeah, but why?"
- 985
- 00:39:34,730 --> 00:39:37,817
- And I was like, trick question.
- 986
- 00:39:37,817 --> 00:39:38,818
- 'Cause that's my job."
- 987
- 00:39:38,818 --> 00:39:39,568
- You know, and
- he was like, "No,
- 988
- 00:39:39,568 --> 00:39:42,029
- but why is The Bride
- running up the banister?"
- 989
- 00:39:42,029 --> 00:39:45,282
- and I was like,
- "Oh, to get to O-Ren."
- 990
- 00:39:45,282 --> 00:39:47,868
- And he was like, "And why is
- she trying to get to O-Ren?"
- 991
- 00:39:49,078 --> 00:39:50,579
- It sounds like
- such actor-speak,
- 992
- 00:39:50,579 --> 00:39:53,165
- but my running up
- the banister shifted,
- 993
- 00:39:53,165 --> 00:39:54,750
- because now
- I have an intention.
- 994
- 00:39:54,750 --> 00:39:56,502
- Now I have a reason outside of
- 995
- 00:39:56,502 --> 00:39:58,295
- just technically
- getting it right.
- 996
- 00:39:58,295 --> 00:40:00,715
- That was always super
- important to Quentin,
- 997
- 00:40:00,715 --> 00:40:02,425
- "'cause that bitch
- fucked up my life
- 998
- 00:40:02,425 --> 00:40:03,384
- and I want her to die."
- 999
- 00:40:07,638 --> 00:40:10,808
- The fact that he always
- has women in these strong
- 1000
- 00:40:10,808 --> 00:40:14,103
- positions isn't something
- that he necessarily
- 1001
- 00:40:14,103 --> 00:40:16,313
- highlights or billboards.
- 1002
- 00:40:16,313 --> 00:40:17,940
- To him, of course,
- it makes sense
- 1003
- 00:40:17,940 --> 00:40:21,819
- these are women doing this,
- are fighting or are leaders.
- 1004
- 00:40:21,819 --> 00:40:22,778
- He does it and, it's for him,
- 1005
- 00:40:22,778 --> 00:40:23,696
- it's just natural.
- 1006
- 00:40:23,696 --> 00:40:26,824
- It's such an interesting
- conversation to have these days,
- 1007
- 00:40:27,742 --> 00:40:31,495
- girl power and a quality
- that sort of feels like
- 1008
- 00:40:31,495 --> 00:40:34,248
- it's all kind of
- coming to a head.
- 1009
- 00:40:34,248 --> 00:40:38,127
- The biggest feat is gonna
- be making it normal
- 1010
- 00:40:38,127 --> 00:40:41,005
- that we are in lead
- positions as opposed to
- 1011
- 00:40:41,005 --> 00:40:42,339
- it being the fight.
- 1012
- 00:40:43,382 --> 00:40:46,677
- And that's where Quentin
- is just a priceless ally.
- 1013
- 00:40:46,677 --> 00:40:48,846
- And I think he needs to sit
- in an interview and be like,
- 1014
- 00:40:48,846 --> 00:40:50,473
- "Listen, women should
- have these roles
- 1015
- 00:40:50,473 --> 00:40:50,806
- and women..."
- 1016
- 00:40:50,806 --> 00:40:53,684
- Like he doesn't have to
- drive it because he's-
- 1017
- 00:40:53,684 --> 00:40:55,936
- he's just presenting it
- as such.
- 1018
- 00:40:55,936 --> 00:40:58,564
- Now if any of you
- sons of bitches
- 1019
- 00:40:58,564 --> 00:41:03,194
- got anything else to say,
- now's the fuckin' time!
- 1020
- 00:41:03,194 --> 00:41:07,573
- O-Ren Ishii is a survivor.
- 1021
- 00:41:12,453 --> 00:41:16,415
- She is a woman who was
- probably never going to die
- 1022
- 00:41:16,415 --> 00:41:18,375
- peacefully of old age.
- 1023
- 00:41:18,375 --> 00:41:20,044
- She swore revenge.
- 1024
- 00:41:21,003 --> 00:41:23,047
- It only made sense
- that in the end,
- 1025
- 00:41:23,047 --> 00:41:25,341
- in her great honor,
- she was killed
- 1026
- 00:41:25,341 --> 00:41:27,009
- with the Hattori Hanso sword.
- 1027
- 00:41:31,305 --> 00:41:33,682
- Uma worked her ass off
- and was in training
- 1028
- 00:41:33,682 --> 00:41:36,185
- for a long time before
- I was even on board.
- 1029
- 00:41:36,185 --> 00:41:37,561
- She had a crazy schedule.
- 1030
- 00:41:37,561 --> 00:41:39,355
- She was in just
- about every shot.
- 1031
- 00:41:39,355 --> 00:41:41,982
- We were shooting in Beijing.
- 1032
- 00:41:41,982 --> 00:41:43,234
- She had a newborn.
- 1033
- 00:41:44,401 --> 00:41:47,363
- She was under intense
- amounts of physical pressure.
- 1034
- 00:41:49,406 --> 00:41:50,658
- Cut. Great.
- 1035
- 00:41:50,658 --> 00:41:51,200
- Excellent.
- 1036
- 00:41:51,200 --> 00:41:51,742
- Excellent.
- 1037
- 00:41:51,742 --> 00:41:55,120
- Check
- 1038
- 00:41:55,120 --> 00:41:57,623
- Like, you know, she was
- in pain a lot of the time.
- 1039
- 00:41:57,623 --> 00:42:00,334
- She was sort of like,
- she had blisters and cuts,
- 1040
- 00:42:00,334 --> 00:42:00,709
- things like that.
- 1041
- 00:42:00,709 --> 00:42:03,087
- It's just part of
- the- the deal.
- 1042
- 00:42:03,087 --> 00:42:04,213
- It feels good to be tough.
- 1043
- 00:42:04,213 --> 00:42:06,131
- It's strangely
- sort of liberating.
- 1044
- 00:42:06,131 --> 00:42:07,758
- Yeah, I'm bleeding.
- 1045
- 00:42:07,758 --> 00:42:08,384
- Keep rolling.
- 1046
- 00:42:09,468 --> 00:42:13,055
- The girl fight
- between Uma and, uh,
- 1047
- 00:42:13,055 --> 00:42:16,100
- Vivica Fox in Kill Bill is,
- 1048
- 00:42:16,100 --> 00:42:18,310
- without a doubt,
- the greatest fight
- 1049
- 00:42:18,310 --> 00:42:20,646
- any two women
- ever had in a movie.
- 1050
- 00:42:20,646 --> 00:42:22,231
- It's crazy good.
- 1051
- 00:42:32,616 --> 00:42:35,035
- Vivica and Uma just
- were so great in that scene.
- 1052
- 00:42:35,035 --> 00:42:36,370
- When I'd sit
- there and watch,
- 1053
- 00:42:36,370 --> 00:42:37,872
- I'd forget that
- I was there to do a job.
- 1054
- 00:42:37,872 --> 00:42:39,164
- When the daughter
- comes in the door,
- 1055
- 00:42:39,164 --> 00:42:41,375
- I'm just like God,
- it's beautiful.
- 1056
- 00:42:41,375 --> 00:42:44,628
- The mother versus
- assassin just like
- 1057
- 00:42:44,628 --> 00:42:46,881
- in one shot. Perfect.
- 1058
- 00:42:47,590 --> 00:42:48,716
- Mommy, I'm home.
- 1059
- 00:42:48,716 --> 00:42:50,217
- Hey, baby.
- 1060
- 00:42:50,217 --> 00:42:51,760
- How was school?
- 1061
- 00:42:51,760 --> 00:42:53,262
- It softened everything.
- 1062
- 00:42:53,262 --> 00:42:54,221
- Just amazing.
- 1063
- 00:42:54,221 --> 00:42:55,764
- And- and- and
- The Bride sells it,
- 1064
- 00:42:55,764 --> 00:42:57,600
- too, because she knows,
- you know.
- 1065
- 00:42:58,684 --> 00:42:59,685
- It's just genius.
- 1066
- 00:42:59,685 --> 00:43:02,855
- It's absolute,
- irrevocable genius, man.
- 1067
- 00:43:02,855 --> 00:43:05,983
- There's a viciousness
- and yet their femininity
- 1068
- 00:43:05,983 --> 00:43:07,776
- never went away for a second.
- 1069
- 00:43:09,111 --> 00:43:11,113
- It's all about presentation.
- 1070
- 00:43:11,113 --> 00:43:12,907
- You walk through
- a shoji screen and then,
- 1071
- 00:43:12,907 --> 00:43:15,701
- suddenly, there's this
- winter wonderland.
- 1072
- 00:43:18,120 --> 00:43:22,541
- He really worked with
- the designers to create this
- 1073
- 00:43:22,541 --> 00:43:25,336
- beautiful visual that
- also turned into a wonderful
- 1074
- 00:43:25,336 --> 00:43:27,880
- sound backdrop for
- what we were doing.
- 1075
- 00:43:29,715 --> 00:43:31,133
- There's the bamboo
- water fountain.
- 1076
- 00:43:31,133 --> 00:43:33,093
- It almost acts as a metronome.
- 1077
- 00:43:33,886 --> 00:43:37,973
- It was absolutely beautiful,
- 1078
- 00:43:37,973 --> 00:43:40,225
- like when you are watching
- something from another time.
- 1079
- 00:43:41,560 --> 00:43:43,437
- It's one of the perfect
- examples of movie magic
- 1080
- 00:43:43,437 --> 00:43:46,774
- where the practicality of
- it was kind of difficult.
- 1081
- 00:43:47,566 --> 00:43:50,736
- The snow we were using was
- sort of difficult to breathe.
- 1082
- 00:43:50,736 --> 00:43:51,737
- So in between takes,
- 1083
- 00:43:51,737 --> 00:43:54,281
- we had the protective
- masks on and, you know,
- 1084
- 00:43:54,281 --> 00:43:56,408
- we were constantly having
- to cover our footprints.
- 1085
- 00:43:59,370 --> 00:44:03,040
- And action!
- 1086
- 00:44:03,040 --> 00:44:04,041
- Women work for him.
- 1087
- 00:44:04,041 --> 00:44:06,961
- They are fiercely loyal
- 'cause he actually
- 1088
- 00:44:06,961 --> 00:44:08,712
- is very protective of them.
- 1089
- 00:44:08,712 --> 00:44:10,047
- He promotes them.
- 1090
- 00:44:10,047 --> 00:44:11,840
- He works creatively with them.
- 1091
- 00:44:11,840 --> 00:44:13,801
- And when you look at
- the female characters
- 1092
- 00:44:13,801 --> 00:44:15,010
- in his films,
- 1093
- 00:44:15,010 --> 00:44:16,887
- they're all quite remarkable.
- 1094
- 00:44:17,721 --> 00:44:18,681
- Cut! Okay?
- 1095
- 00:44:18,681 --> 00:44:20,391
- Yeah. Terrific!
- 1096
- 00:44:24,144 --> 00:44:25,020
- You guys were great.
- 1097
- 00:44:25,020 --> 00:44:26,271
- That was terrific.
- 1098
- 00:44:26,271 --> 00:44:27,690
- Part of me still feels
- like I don't want to talk
- 1099
- 00:44:27,690 --> 00:44:30,776
- about it because I don't
- want people to- to know.
- 1100
- 00:44:30,776 --> 00:44:34,530
- It was
- the camera angle
- 1101
- 00:44:34,530 --> 00:44:37,157
- that sold the fact that
- my head had been cut off
- 1102
- 00:44:38,117 --> 00:44:40,953
- so I look like I had a little
- bit of a cone head in real life.
- 1103
- 00:44:40,953 --> 00:44:42,287
- And then when you
- see it in the movie,
- 1104
- 00:44:42,287 --> 00:44:44,039
- it's just like
- angels are singing.
- 1105
- 00:44:48,877 --> 00:44:50,462
- There's something
- beautiful in understanding
- 1106
- 00:44:50,462 --> 00:44:52,256
- that- that is done in camera.
- 1107
- 00:44:55,217 --> 00:44:56,552
- That was completely practical
- 1108
- 00:44:56,552 --> 00:44:58,595
- because you know
- Quentin doesn't,
- 1109
- 00:44:58,595 --> 00:45:00,973
- is a fan of avoiding
- CGI when possible.
- 1110
- 00:45:07,229 --> 00:45:08,731
- He adores Uma.
- 1111
- 00:45:10,399 --> 00:45:13,360
- And nobody was more
- enthusiastic than Quentin.
- 1112
- 00:45:13,360 --> 00:45:16,739
- I mean, he's still like a
- kid when he gets worked up.
- 1113
- 00:45:16,739 --> 00:45:18,449
- Sometimes you do dumb things.
- 1114
- 00:45:30,002 --> 00:45:32,463
- This is the thing
- with this business.
- 1115
- 00:45:32,463 --> 00:45:37,718
- You make the best level of plans
- and you have great people.
- 1116
- 00:45:40,721 --> 00:45:42,806
- And then sometimes
- there's human error.
- 1117
- 00:45:53,859 --> 00:45:54,902
- Everyone was just having
- 1118
- 00:45:54,902 --> 00:45:56,904
- fun making a movie.
- 1119
- 00:45:57,738 --> 00:45:59,490
- And everybody was
- damn happy to be on a
- 1120
- 00:45:59,490 --> 00:46:02,076
- set with Quentin Tarantino.
- 1121
- 00:46:02,076 --> 00:46:04,495
- And everybody was damn
- happy to be represented
- 1122
- 00:46:04,495 --> 00:46:06,705
- and distributed by
- Harvey Weinstein
- 1123
- 00:46:06,705 --> 00:46:07,790
- and the Weinstein Company.
- 1124
- 00:46:15,297 --> 00:46:17,800
- What was weird
- about Harvey is,
- 1125
- 00:46:17,800 --> 00:46:19,510
- and this was true of
- his relationship with
- 1126
- 00:46:19,510 --> 00:46:21,720
- competitors and with people,
- 1127
- 00:46:21,720 --> 00:46:24,348
- was he- he was a bully
- and he enjoyed it.
- 1128
- 00:46:24,348 --> 00:46:28,519
- He had this- this
- enormous power that,
- 1129
- 00:46:30,187 --> 00:46:33,148
- I know he was conscious
- that he had it,
- 1130
- 00:46:33,148 --> 00:46:35,984
- and I know that he would
- consciously use it,
- 1131
- 00:46:38,320 --> 00:46:41,615
- but whether or not he
- realized he was using it
- 1132
- 00:46:41,615 --> 00:46:45,119
- in such an obstructive way,
- 1133
- 00:46:45,119 --> 00:46:46,745
- I don't know about that.
- 1134
- 00:46:46,745 --> 00:46:49,331
- I'll tell you a funny thing
- that happened in Cannes.
- 1135
- 00:46:49,331 --> 00:46:51,917
- I was at this little reception
- thing with Quentin.
- 1136
- 00:46:51,917 --> 00:46:54,378
- Here comes Harvey and he
- comes around the corner
- 1137
- 00:46:54,378 --> 00:46:57,131
- and he's sweating,
- like profusely sweating.
- 1138
- 00:46:57,131 --> 00:46:59,800
- And he's got this really
- angry face, you know.
- 1139
- 00:46:59,800 --> 00:47:01,844
- You see a Harvey
- Weinstein in that mood,
- 1140
- 00:47:03,762 --> 00:47:06,014
- everybody literally froze.
- 1141
- 00:47:06,014 --> 00:47:08,016
- And right before he
- had come in the room,
- 1142
- 00:47:08,016 --> 00:47:10,018
- Quentin had introduced
- me to Harvey's wife
- 1143
- 00:47:10,018 --> 00:47:11,061
- and his little daughter.
- 1144
- 00:47:11,061 --> 00:47:14,481
- And the little daughter
- had a doll in her hand
- 1145
- 00:47:14,481 --> 00:47:17,943
- and she had handed me the
- doll while we were talking.
- 1146
- 00:47:17,943 --> 00:47:21,405
- And so I was holding the
- doll when Harvey came around
- 1147
- 00:47:21,405 --> 00:47:23,448
- the corner and came
- into the room.
- 1148
- 00:47:23,448 --> 00:47:26,201
- And he looked at me
- and he looked at Quentin
- 1149
- 00:47:26,201 --> 00:47:28,454
- and he looked at
- his wife and child
- 1150
- 00:47:28,454 --> 00:47:30,497
- and he sized up the situation
- 1151
- 00:47:30,497 --> 00:47:33,125
- and he took the
- doll out of my hand
- 1152
- 00:47:33,125 --> 00:47:35,461
- and handed it back to his
- little kid, to his daughter.
- 1153
- 00:47:36,795 --> 00:47:38,380
- And Quentin goes,
- "Harvey, Harvey,
- 1154
- 00:47:38,380 --> 00:47:38,964
- what are you doing?
- 1155
- 00:47:38,964 --> 00:47:41,800
- He goes, Michael's gonna
- do The Hateful Eight.
- 1156
- 00:47:41,800 --> 00:47:44,386
- Michael's gonna do The
- Hateful Eight with us."
- 1157
- 00:47:44,386 --> 00:47:47,097
- And Harvey kind of-
- kind of stood there
- 1158
- 00:47:47,097 --> 00:47:48,724
- and his eyes were
- shifting back and forth
- 1159
- 00:47:48,724 --> 00:47:52,644
- and he was thinking on his feet.
- 1160
- 00:47:52,644 --> 00:47:53,979
- Mm. Mm. Mm.
- And, all of a sudden, he went
- 1161
- 00:47:53,979 --> 00:47:55,814
- and he took the doll
- from the little girl
- 1162
- 00:47:55,814 --> 00:47:56,982
- and gave it back to me.
- 1163
- 00:47:56,982 --> 00:48:02,029
- And I- I took it and I -- I-
- I didn't know what to say.
- 1164
- 00:48:02,029 --> 00:48:03,113
- I mean it was like...
- 1165
- 00:48:03,113 --> 00:48:05,866
- And he walked away
- right in that moment.
- 1166
- 00:48:05,866 --> 00:48:09,286
- He gave me the damn the thing
- and then he walked away.
- 1167
- 00:48:09,286 --> 00:48:11,622
- And I remember
- going, oh, my God.
- 1168
- 00:48:11,622 --> 00:48:13,457
- And Quentin was
- laughing hysterically.
- 1169
- 00:48:13,457 --> 00:48:15,375
- When Quentin finds something
- funny and he laughs,
- 1170
- 00:48:15,375 --> 00:48:16,835
- he's got a great laugh.
- 1171
- 00:48:16,835 --> 00:48:19,755
- And, of course, I gave
- the doll back to the girl.
- 1172
- 00:48:19,755 --> 00:48:21,798
- It was very strange
- and I'll never forget it.
- 1173
- 00:48:21,798 --> 00:48:23,634
- It was like, wow.
- 1174
- 00:48:23,634 --> 00:48:25,093
- Where did that come from?
- 1175
- 00:48:25,093 --> 00:48:26,595
- Holy shit.
- 1176
- 00:48:26,595 --> 00:48:28,096
- You know a year later,
- you know,
- 1177
- 00:48:28,096 --> 00:48:29,431
- the guy's being indicted.
- 1178
- 00:48:41,443 --> 00:48:43,654
- Quentin loves genre.
- 1179
- 00:48:47,449 --> 00:48:50,577
- He used to do his
- QT Fest in Austin.
- 1180
- 00:48:50,577 --> 00:48:53,997
- There's a big rule that we
- have during this festival.
- 1181
- 00:48:53,997 --> 00:48:57,042
- You don't laugh to
- show that you're superior
- 1182
- 00:48:57,042 --> 00:49:00,796
- than the movie or how much
- cooler you are than the movie,
- 1183
- 00:49:00,796 --> 00:49:02,631
- because I'm telling
- you nobody here is cooler
- 1184
- 00:49:02,631 --> 00:49:03,882
- than this movie.
- 1185
- 00:49:03,882 --> 00:49:05,509
- These movies are fuckin' cool.
- 1186
- 00:49:05,509 --> 00:49:07,052
- For ten days he
- would show movies.
- 1187
- 00:49:07,052 --> 00:49:08,887
- He would have double
- features every night,
- 1188
- 00:49:08,887 --> 00:49:10,305
- some nights triple features,
- 1189
- 00:49:10,305 --> 00:49:14,893
- and showed Asian films and
- genre films from all over.
- 1190
- 00:49:14,893 --> 00:49:16,687
- Constantly people would
- talk movies with him,
- 1191
- 00:49:16,687 --> 00:49:18,063
- which is what he loves.
- 1192
- 00:49:18,063 --> 00:49:19,898
- And so I think there
- was a period of time
- 1193
- 00:49:19,898 --> 00:49:22,693
- where Austin was a very
- safe haven for Quentin.
- 1194
- 00:49:22,693 --> 00:49:24,236
- Quentin and Robert
- were hanging out a
- 1195
- 00:49:24,236 --> 00:49:25,779
- lot together at that time.
- 1196
- 00:49:25,779 --> 00:49:27,406
- I remember Quentin
- and Robert took me
- 1197
- 00:49:27,406 --> 00:49:29,491
- and Edgar right
- out for Mexican food.
- 1198
- 00:49:29,491 --> 00:49:30,409
- And they told us the
- 1199
- 00:49:30,409 --> 00:49:32,828
- whole concept of Grindhouse.
- 1200
- 00:49:32,828 --> 00:49:34,580
- Quentin's part of Grindhouse
- 1201
- 00:49:34,580 --> 00:49:35,289
- is extraordinary.
- 1202
- 00:49:35,289 --> 00:49:36,665
- I think it's so smart.
- 1203
- 00:49:36,665 --> 00:49:38,750
- It's like lots of
- people have done
- 1204
- 00:49:38,750 --> 00:49:40,335
- chase films and
- lots of people have
- 1205
- 00:49:40,335 --> 00:49:41,712
- done revenge films.
- 1206
- 00:49:41,712 --> 00:49:45,465
- And it is such a
- remarkable pro woman,
- 1207
- 00:49:45,465 --> 00:49:48,343
- feminist, but also cinematic,
- 1208
- 00:49:48,343 --> 00:49:51,346
- a visionary cinematic,
- exciting film.
- 1209
- 00:49:52,681 --> 00:49:53,515
- He rang me and was like,
- 1210
- 00:49:53,515 --> 00:49:55,100
- Zoë, I've finished the
- script for Death Proof.
- 1211
- 00:49:55,100 --> 00:49:58,020
- He had told me that it was
- gonna be about a stunt guy
- 1212
- 00:49:58,020 --> 00:49:59,896
- whose car was death proof
- 1213
- 00:49:59,896 --> 00:50:01,315
- and that he killed
- women with it.
- 1214
- 00:50:02,441 --> 00:50:04,818
- Every troupe that you've
- seen where a woman is
- 1215
- 00:50:04,818 --> 00:50:08,238
- brutalized is referred to
- 1216
- 00:50:08,238 --> 00:50:09,990
- and then he flips
- it on its head.
- 1217
- 00:50:09,990 --> 00:50:11,366
- Hey!
- 1218
- 00:50:11,366 --> 00:50:13,618
- Now I want blood.
- 1219
- 00:50:13,618 --> 00:50:14,911
- It's about redemption.
- 1220
- 00:50:14,911 --> 00:50:15,954
- It's about power.
- 1221
- 00:50:15,954 --> 00:50:17,331
- It's about feminism.
- 1222
- 00:50:17,331 --> 00:50:18,790
- Oh, you want...
- 1223
- 00:50:18,790 --> 00:50:22,127
- He makes roles for
- women that he wants to see.
- 1224
- 00:50:22,127 --> 00:50:24,671
- I remember saying to him,
- "As long as you cast
- 1225
- 00:50:24,671 --> 00:50:27,049
- someone in the movie that looks
- like me so I can work on it."
- 1226
- 00:50:27,049 --> 00:50:28,467
- Nice.
- 1227
- 00:50:28,467 --> 00:50:29,926
- Nice. Thank you.
- 1228
- 00:50:29,926 --> 00:50:30,260
- Yep.
- 1229
- 00:50:30,260 --> 00:50:31,303
- Like, it's on you, buddy.
- 1230
- 00:50:31,303 --> 00:50:32,554
- Like if I'm terrible at this,
- 1231
- 00:50:32,554 --> 00:50:35,807
- if I fuck it up,
- it's your fault.
- 1232
- 00:50:35,807 --> 00:50:36,808
- And he, at
- one point, was like,
- 1233
- 00:50:36,808 --> 00:50:37,643
- "Look, this is my job.
- 1234
- 00:50:37,643 --> 00:50:39,061
- This is what I do.
- 1235
- 00:50:39,061 --> 00:50:41,355
- I make good casting choices."
- 1236
- 00:50:41,355 --> 00:50:43,357
- And he said, "I know you
- and I know what I want
- 1237
- 00:50:43,357 --> 00:50:44,775
- and I know I can get it."
- 1238
- 00:50:44,775 --> 00:50:46,026
- So you just need to relax
- 1239
- 00:50:46,026 --> 00:50:47,527
- and know your lines.
- 1240
- 00:50:47,527 --> 00:50:47,986
- I remember...
- 1241
- 00:50:47,986 --> 00:50:49,529
- ..thinking this is like a,
- 1242
- 00:50:49,529 --> 00:50:52,157
- yeah, it's a great
- night at the theater,
- 1243
- 00:50:52,157 --> 00:50:53,617
- you know, in nineteen seventy.
- 1244
- 00:50:56,119 --> 00:50:58,413
- I'd gone in and
- interviewed for those
- 1245
- 00:50:58,413 --> 00:51:01,208
- kinds of movies,
- you know, so I knew,
- 1246
- 00:51:01,208 --> 00:51:01,666
- I knew them.
- 1247
- 00:51:01,666 --> 00:51:02,459
- I knew what he was doing.
- 1248
- 00:51:02,459 --> 00:51:03,502
- I thought it was pretty great.
- 1249
- 00:51:03,502 --> 00:51:05,962
- Do I frighten you?
- 1250
- 00:51:05,962 --> 00:51:07,464
- I was what a stuntman
- would look like.
- 1251
- 00:51:07,464 --> 00:51:09,007
- Big scar, that.
- 1252
- 00:51:09,007 --> 00:51:10,008
- He goes, "Yeah,
- let's do the eyes."
- 1253
- 00:51:10,008 --> 00:51:11,218
- And you mean big, don't you?
- and he said,
- 1254
- 00:51:11,218 --> 00:51:12,094
- "Oh, yeah."
- 1255
- 00:51:12,094 --> 00:51:14,513
- The old school action hero
- and the stunt guy are
- 1256
- 00:51:14,513 --> 00:51:16,264
- really important to him
- and I think this was an
- 1257
- 00:51:16,264 --> 00:51:17,682
- exciting way for him
- to say thank you
- 1258
- 00:51:17,682 --> 00:51:20,102
- to the stunt people
- of- of the industry.
- 1259
- 00:51:20,102 --> 00:51:20,894
- Now.
- 1260
- 00:51:20,894 --> 00:51:22,687
- That's that Quentin
- magic is- is getting as
- 1261
- 00:51:22,687 --> 00:51:24,272
- much of it to be as
- real as possible.
- 1262
- 00:51:24,272 --> 00:51:27,317
- We're doing ninety miles
- 1263
- 00:51:27,317 --> 00:51:29,820
- an hour for a lot of that
- stuff down that road.
- 1264
- 00:51:29,820 --> 00:51:32,280
- She's strapped to
- the hood of that car.
- 1265
- 00:51:32,280 --> 00:51:33,490
- There's nothing you can do.
- 1266
- 00:51:33,490 --> 00:51:36,201
- If he catches his tire
- on the edge of the road
- 1267
- 00:51:36,201 --> 00:51:39,204
- and we go over,
- that's it for Zoë.
- 1268
- 00:51:39,204 --> 00:51:40,747
- It's not gonna
- be a broken arm.
- 1269
- 00:51:40,747 --> 00:51:41,498
- He came up to me
- one time and he's like,
- 1270
- 00:51:41,498 --> 00:51:42,457
- "Zoë, come and look at this."
- 1271
- 00:51:42,457 --> 00:51:44,042
- And I sat there and I was
- all excited to see it and
- 1272
- 00:51:44,042 --> 00:51:45,836
- I was watching it
- and I was like,
- 1273
- 00:51:45,836 --> 00:51:46,378
- "Oh, my God.
- 1274
- 00:51:46,378 --> 00:51:47,254
- It looks amazing."
- 1275
- 00:51:47,254 --> 00:51:48,463
- I was so over the moon.
- 1276
- 00:51:48,463 --> 00:51:49,548
- He was like,
- "What's wrong with it?"
- 1277
- 00:51:49,548 --> 00:51:50,048
- And I was like, "What?
- 1278
- 00:51:50,048 --> 00:51:50,715
- What are you talking about?
- 1279
- 00:51:50,715 --> 00:51:51,675
- There's nothing
- wrong with that.
- 1280
- 00:51:51,675 --> 00:51:53,301
- That's fuckin' gold."
- 1281
- 00:51:53,301 --> 00:51:54,469
- He was like, there's
- something wrong with it.
- 1282
- 00:51:54,469 --> 00:51:54,886
- What is it?
- 1283
- 00:51:54,886 --> 00:51:57,389
- And I was like,
- "I don't know, Quentin.
- 1284
- 00:51:57,389 --> 00:51:59,015
- I think you're
- being a bit fussy."
- 1285
- 00:51:59,015 --> 00:52:01,184
- You know, and he was like,
- "What don't we see in the
- 1286
- 00:52:01,184 --> 00:52:02,769
- whole four minutes?"
- 1287
- 00:52:02,769 --> 00:52:03,645
- And I was like, "What?
- 1288
- 00:52:03,645 --> 00:52:05,313
- My face."
- 1289
- 00:52:05,313 --> 00:52:08,275
- And we never once saw
- my face because my job for
- 1290
- 00:52:08,275 --> 00:52:10,652
- so long had been
- to know exactly
- 1291
- 00:52:10,652 --> 00:52:12,237
- where the camera
- was so I'd avoid it.
- 1292
- 00:52:12,237 --> 00:52:13,113
- I'd have an arm up.
- 1293
- 00:52:13,113 --> 00:52:15,657
- I'd use my hair or
- my body or whatever,
- 1294
- 00:52:15,657 --> 00:52:16,741
- 'cause that was my job.
- 1295
- 00:52:16,741 --> 00:52:19,327
- If you saw my face,
- the take was ruined.
- 1296
- 00:52:19,327 --> 00:52:19,744
- And he was like,
- 1297
- 00:52:19,744 --> 00:52:20,871
- "I love that
- you're that good at it,
- 1298
- 00:52:20,871 --> 00:52:22,581
- but I need you to
- reverse it because the
- 1299
- 00:52:22,581 --> 00:52:25,917
- whole point of this is
- that we can see it's you."
- 1300
- 00:52:27,461 --> 00:52:30,130
- He loves to help
- actors get to a place
- 1301
- 00:52:30,130 --> 00:52:32,466
- where they can
- completely bring it.
- 1302
- 00:52:35,844 --> 00:52:37,762
- So how's Quentin different
- from other directors?
- 1303
- 00:52:37,762 --> 00:52:41,975
- I never, never fear
- 1304
- 00:52:41,975 --> 00:52:43,977
- that my joy is
- gonna be cut off.
- 1305
- 00:52:43,977 --> 00:52:44,603
- Wahoo!
- 1306
- 00:52:44,603 --> 00:52:49,483
- Hey, ladies,
- that was fun.
- 1307
- 00:52:49,483 --> 00:52:54,321
- Acting in
- Death Proof was a blast.
- 1308
- 00:52:54,321 --> 00:52:56,031
- We had so much fun.
- I mean, it's a bar scene.
- 1309
- 00:52:56,031 --> 00:52:57,699
- Quentin is a bartender.
- 1310
- 00:52:57,699 --> 00:52:59,284
- And there was one
- scene where Quentin had
- 1311
- 00:52:59,284 --> 00:53:00,619
- to do these Irish car bombs.
- 1312
- 00:53:00,619 --> 00:53:02,496
- And Quentin's like,
- "It's got to be real or the foam
- 1313
- 00:53:02,496 --> 00:53:03,538
- won't be correct."
- 1314
- 00:53:03,538 --> 00:53:05,916
- And Quentin's like
- "I can't be there to see
- 1315
- 00:53:05,916 --> 00:53:08,084
- how the take looks,
- so this is a long take.
- 1316
- 00:53:08,084 --> 00:53:09,211
- You've- you've got
- to do this right,
- 1317
- 00:53:09,211 --> 00:53:11,838
- but I'm drinking real
- Guinness and real Jager.
- 1318
- 00:53:11,838 --> 00:53:12,839
- You guys can't fuck it up."
- 1319
- 00:53:12,839 --> 00:53:13,089
- Right.
- 1320
- 00:53:13,089 --> 00:53:13,673
- Okay, okay.
- 1321
- 00:53:13,673 --> 00:53:14,257
- Everyone's ready.
- 1322
- 00:53:14,257 --> 00:53:14,966
- Last shot of the night.
- 1323
- 00:53:14,966 --> 00:53:16,218
- It's like six-thirty
- in the morning. Aah!
- 1324
- 00:53:16,218 --> 00:53:19,095
- So we're like, boom,
- boom, boom, boom.
- 1325
- 00:53:19,095 --> 00:53:20,430
- And Quentin's like,
- how'd it turn out, Jimmy.
- 1326
- 00:53:20,430 --> 00:53:23,225
- And he's like, actually
- that was- that was great.
- 1327
- 00:53:23,225 --> 00:53:24,142
- Quentin said,
- "Cool, cool.
- 1328
- 00:53:24,142 --> 00:53:25,185
- We should get one for safety,
- 1329
- 00:53:25,185 --> 00:53:26,061
- right?"
- 1330
- 00:53:26,061 --> 00:53:26,770
- Boom, boom.
- 1331
- 00:53:26,770 --> 00:53:28,480
- He drinks another shot,
- drinks another shot.
- 1332
- 00:53:28,480 --> 00:53:30,482
- And I don't know how,
- but we started singing this
- 1333
- 00:53:30,482 --> 00:53:32,818
- song from Blazing Saddles,
- where I was like,
- 1334
- 00:53:32,818 --> 00:53:34,486
- din-din-din-in,
- din-din-din.
- 1335
- 00:53:34,486 --> 00:53:35,070
- Throw out your hands,
- 1336
- 00:53:35,070 --> 00:53:35,821
- - Stick out your tush...
- - Throw out your hands,
- 1337
- 00:53:35,821 --> 00:53:38,240
- And I just started
- doing it to Quentin.
- 1338
- 00:53:38,240 --> 00:53:39,699
- And he just started laughing.
- 1339
- 00:53:39,699 --> 00:53:41,117
- And he's like,
- "Ah, that was so fun.
- 1340
- 00:53:41,117 --> 00:53:42,202
- He's like, "Ah,
- yeah, yeah, yeah.
- 1341
- 00:53:42,202 --> 00:53:43,537
- Let's- let's just
- do another one."
- 1342
- 00:53:43,537 --> 00:53:45,288
- And we're like,
- yeah, but now it's like
- 1343
- 00:53:45,288 --> 00:53:46,540
- seven fifteen in the morning.
- 1344
- 00:53:46,540 --> 00:53:47,958
- And so Quentin's like,
- 1345
- 00:53:47,958 --> 00:53:49,417
- "Action!"
- And he goes,
- 1346
- 00:53:49,417 --> 00:53:53,129
- "pshew" and slams the glass
- down and shatters it
- 1347
- 00:53:53,129 --> 00:53:56,841
- and cuts his hand and falls
- off the table laughing.
- 1348
- 00:53:56,841 --> 00:54:00,387
- And he's like,
- "Ah-ha-ha-ha!
- 1349
- 00:54:00,387 --> 00:54:02,347
- That was so funny.
- 1350
- 00:54:02,347 --> 00:54:04,140
- Oh, my God!"
- 1351
- 00:54:04,140 --> 00:54:07,018
- I think we did
- about twelve takes.
- 1352
- 00:54:07,018 --> 00:54:09,771
- Finally at like, maybe
- it's eight-forty-five
- 1353
- 00:54:09,771 --> 00:54:12,357
- in the morning, I was
- leaving and Quentin, like,
- 1354
- 00:54:12,357 --> 00:54:13,149
- grabbed my arm.
- He's like,
- 1355
- 00:54:13,149 --> 00:54:14,192
- "You're stayin' and you're
- having a drink with us, right?"
- 1356
- 00:54:14,192 --> 00:54:15,110
- I said, "Yeah, yeah.
- 1357
- 00:54:15,110 --> 00:54:15,694
- Let me be right back."
- 1358
- 00:54:15,694 --> 00:54:16,653
- And I like ran away
- 1359
- 00:54:16,653 --> 00:54:19,030
- back to the hotel to sleep.
- I don't know.
- 1360
- 00:54:19,030 --> 00:54:20,782
- All I heard was someone
- may have been puking
- 1361
- 00:54:20,782 --> 00:54:21,866
- in a dumpster at eleven o'clock
- the next morning.
- 1362
- 00:54:24,119 --> 00:54:26,830
- when I saw
- Death Proof,
- 1363
- 00:54:26,830 --> 00:54:29,124
- in that scene
- 1364
- 00:54:29,124 --> 00:54:31,376
- where the girls are
- sitting in the car
- 1365
- 00:54:31,376 --> 00:54:34,546
- driving and talking,
- nothing happens.
- 1366
- 00:54:34,546 --> 00:54:39,926
- They don't say anything that's
- really relevant to anything.
- 1367
- 00:54:39,926 --> 00:54:43,680
- It goes on and it goes on
- and I think it goes on for
- 1368
- 00:54:43,680 --> 00:54:45,015
- forty-five minutes,
- 1369
- 00:54:45,015 --> 00:54:48,810
- and they are still
- driving and talking.
- 1370
- 00:54:48,810 --> 00:54:56,359
- And I was so smitten by
- that moment that it really
- 1371
- 00:54:56,359 --> 00:55:01,781
- clicked that- that
- yeah, despite all the
- 1372
- 00:55:01,781 --> 00:55:05,577
- extraordinary
- entertainment that these
- 1373
- 00:55:05,577 --> 00:55:13,627
- movies deliver, there is
- an allure and a suction
- 1374
- 00:55:13,627 --> 00:55:15,378
- that pulls you in.
- 1375
- 00:55:17,047 --> 00:55:21,885
- There is always that, this-
- this strength in it.
- 1376
- 00:55:21,885 --> 00:55:24,429
- Where the
- hell are my keys?
- 1377
- 00:55:24,429 --> 00:55:25,347
- Here they are.
- 1378
- 00:55:50,622 --> 00:55:53,541
- I think Quentin's influence
- on film is twofold.
- 1379
- 00:55:53,541 --> 00:55:55,418
- One is that
- he's empowered
- 1380
- 00:55:55,418 --> 00:55:57,212
- a lot of half-ass
- filmmakers to make some
- 1381
- 00:55:57,212 --> 00:55:59,339
- very bad films
- because they don't know
- 1382
- 00:55:59,339 --> 00:56:00,840
- how to watch his films.
- 1383
- 00:56:00,840 --> 00:56:02,300
- They miss the poetry
- 1384
- 00:56:02,300 --> 00:56:05,762
- and the elegance and the
- eloquence of his filmmaking.
- 1385
- 00:56:05,762 --> 00:56:07,681
- And so they go and they-
- they had a lot of,
- 1386
- 00:56:07,681 --> 00:56:09,849
- you know, bizarre violence
- and- and people
- 1387
- 00:56:09,849 --> 00:56:13,645
- mistreating people and they
- miss his passionate humanism.
- 1388
- 00:56:13,645 --> 00:56:16,481
- Inglourious Basterds,
- this is a film that teaches
- 1389
- 00:56:16,481 --> 00:56:19,317
- filmmakers how to make
- movies because the opening
- 1390
- 00:56:19,317 --> 00:56:24,114
- scene is literally Quentin
- saying to everybody,
- 1391
- 00:56:24,114 --> 00:56:25,699
- "Oh, you think
- you know who I am,
- 1392
- 00:56:25,699 --> 00:56:27,200
- and you think you
- know what I can do,
- 1393
- 00:56:27,200 --> 00:56:29,285
- and you think you've
- seen a war movie before.
- 1394
- 00:56:29,285 --> 00:56:30,704
- Well, I'm gonna mess with you
- 1395
- 00:56:30,704 --> 00:56:33,081
- in a way you haven't
- even begun to think."
- 1396
- 00:56:35,458 --> 00:56:36,543
- Papa!
- 1397
- 00:56:36,543 --> 00:56:37,794
- That I'm in control.
- 1398
- 00:56:37,794 --> 00:56:39,671
- Then you were in
- the palm of my hands
- 1399
- 00:56:39,671 --> 00:56:42,006
- and you're on my trip.
- 1400
- 00:56:42,006 --> 00:56:43,883
- The German general comes in.
- 1401
- 00:56:43,883 --> 00:56:46,511
- You can't quite figure out
- why he's being so friendly.
- 1402
- 00:56:49,389 --> 00:56:51,599
- And you don't know why
- are they so scared?
- 1403
- 00:56:54,936 --> 00:56:55,687
- And then at a certain point,
- 1404
- 00:56:55,687 --> 00:56:57,772
- Quentin takes you
- under the house.
- 1405
- 00:56:59,774 --> 00:57:02,068
- And it's really a
- horrific moment.
- 1406
- 00:57:06,823 --> 00:57:08,742
- You know, it's not Robert
- Wise with The Haunting
- 1407
- 00:57:08,742 --> 00:57:10,535
- where he's freaking you
- out with camera angles.
- 1408
- 00:57:10,535 --> 00:57:13,037
- It's not Toby Hooper's, uh,
- 1409
- 00:57:13,037 --> 00:57:14,164
- Texas Chainsaw where
- 1410
- 00:57:14,164 --> 00:57:15,874
- he's like shoving
- your face in it.
- 1411
- 00:57:15,874 --> 00:57:17,542
- It's what's not happening.
- 1412
- 00:57:17,542 --> 00:57:20,336
- A German soldier conducts
- a search of a house
- 1413
- 00:57:20,336 --> 00:57:22,881
- suspected of hiding Jews.
- 1414
- 00:57:22,881 --> 00:57:24,382
- Where does the hawk look?
- 1415
- 00:57:24,382 --> 00:57:25,550
- He looks in the barn.
- 1416
- 00:57:25,550 --> 00:57:26,593
- He looks in the attic.
- 1417
- 00:57:26,593 --> 00:57:27,761
- He looks in the cellar.
- 1418
- 00:57:27,761 --> 00:57:31,264
- He looks everywhere
- he would hide.
- 1419
- 00:57:31,264 --> 00:57:33,183
- But there's so many places
- that wouldn't even have
- 1420
- 00:57:33,183 --> 00:57:35,393
- occurred to a hawk to hide.
- 1421
- 00:57:35,393 --> 00:57:37,771
- No, you're not turning a
- corner and suddenly having
- 1422
- 00:57:37,771 --> 00:57:38,772
- a cat screech.
- 1423
- 00:57:38,772 --> 00:57:39,981
- And you go, "Oh!"
- 1424
- 00:57:39,981 --> 00:57:40,982
- It's not cutting.
- 1425
- 00:57:40,982 --> 00:57:44,110
- It's all intellectual
- and it's all unbearable.
- 1426
- 00:57:45,320 --> 00:57:47,405
- Point out to me the areas
- where they're hiding.
- 1427
- 00:58:07,008 --> 00:58:09,552
- The dialogue is,
- 1428
- 00:58:09,552 --> 00:58:10,970
- so to say,
- 1429
- 00:58:10,970 --> 00:58:13,139
- the tiny tip of the iceberg.
- 1430
- 00:58:14,516 --> 00:58:15,975
- It's a clue.
- 1431
- 00:58:20,605 --> 00:58:23,525
- I thank you for your time.
- 1432
- 00:58:25,985 --> 00:58:28,029
- We shan't be bothering
- your family any longer.
- 1433
- 00:58:28,988 --> 00:58:31,908
- So Quentin, in his dialogue,
- 1434
- 00:58:31,908 --> 00:58:35,703
- doesn't tell you how to say it,
- 1435
- 00:58:35,703 --> 00:58:39,374
- but he gives you like
- a whole abundance
- 1436
- 00:58:39,374 --> 00:58:41,876
- of elements of what to say.
- 1437
- 00:58:41,876 --> 00:58:43,002
- ...adieu.
- 1438
- 00:58:46,631 --> 00:58:51,386
- You derive fun from trying
- to figure that out.
- 1439
- 00:58:51,386 --> 00:58:53,513
- That's it.
- 1440
- 00:58:53,513 --> 00:58:55,890
- And Quentin
- starts there and then he
- 1441
- 00:58:55,890 --> 00:58:57,851
- goes and messes in doing
- almost every other way he
- 1442
- 00:58:57,851 --> 00:59:00,186
- can in terms of
- what a war film does.
- 1443
- 00:59:03,940 --> 00:59:04,482
- I remember the
- 1444
- 00:59:04,482 --> 00:59:06,067
- first rehearsal from
- Inglourious Basterds.
- 1445
- 00:59:06,067 --> 00:59:08,069
- We all sat around and
- everybody had our scripts
- 1446
- 00:59:08,069 --> 00:59:08,611
- and we had our lines.
- 1447
- 00:59:08,611 --> 00:59:10,196
- Quentin's like close
- your scripts.
- 1448
- 00:59:10,196 --> 00:59:11,823
- And he's like,
- who are you?
- 1449
- 00:59:11,823 --> 00:59:13,241
- And I was like,
- "I'm Donny Donowitz."
- 1450
- 00:59:13,241 --> 00:59:15,827
- And you had to go
- on and on and on
- 1451
- 00:59:15,827 --> 00:59:17,120
- about your backstory.
- 1452
- 00:59:17,120 --> 00:59:17,871
- And he's like,
- "Well, how did you feel
- 1453
- 00:59:17,871 --> 00:59:19,330
- when he joined the Basterds?
- 1454
- 00:59:19,330 --> 00:59:19,831
- What did you think about
- 1455
- 00:59:19,831 --> 00:59:21,499
- Stiglitz coming
- into the Basterds?"
- 1456
- 00:59:21,499 --> 00:59:23,251
- Everybody had to have
- their answers ready.
- 1457
- 00:59:23,251 --> 00:59:25,503
- And there was one
- person who didn't.
- 1458
- 00:59:25,503 --> 00:59:26,963
- You!
- 1459
- 00:59:26,963 --> 00:59:27,630
- And...
- 1460
- 00:59:27,630 --> 00:59:30,508
- ...you weren't
- there the next day.
- 1461
- 00:59:30,508 --> 00:59:32,760
- And that guy was an extra.
- 1462
- 00:59:32,760 --> 00:59:35,722
- So I was really,
- really training for it.
- 1463
- 00:59:35,722 --> 00:59:38,099
- And I knew the bat scene,
- that was the scene.
- 1464
- 00:59:38,099 --> 00:59:40,393
- Like, this-It was like
- if I do nothing else in
- 1465
- 00:59:40,393 --> 00:59:42,937
- my life, it is this scene.
- 1466
- 00:59:42,937 --> 00:59:44,689
- You hear that?
- 1467
- 00:59:46,316 --> 00:59:47,108
- Yes.
- 1468
- 00:59:50,403 --> 00:59:53,156
- It's Sergeant Donny Donowitz.
- 1469
- 00:59:53,156 --> 00:59:55,742
- You might know him
- better by his nickname,
- 1470
- 00:59:55,742 --> 00:59:58,161
- The Bear Jew.
- 1471
- 00:59:58,161 --> 01:00:00,163
- Quentin just gave me
- the most heroic...
- 1472
- 01:00:00,163 --> 01:00:03,666
- The one they call
- "The Bear Jew"...
- 1473
- 01:00:03,666 --> 01:00:05,209
- ...is a Golem!
- 1474
- 01:00:05,209 --> 01:00:06,544
- He's like you have Brad Pitt
- 1475
- 01:00:06,544 --> 01:00:07,795
- and Hitler building you up.
- 1476
- 01:00:07,795 --> 01:00:09,631
- He's like this is
- gonna be your moment.
- 1477
- 01:00:09,631 --> 01:00:11,215
- And, you know, I was gonna
- come out of this tunnel.
- 1478
- 01:00:11,215 --> 01:00:12,675
- Quentin was like,
- "I got the best tunnel.
- 1479
- 01:00:12,675 --> 01:00:13,718
- You're gonna be tapping
- with a bat and
- 1480
- 01:00:13,718 --> 01:00:14,844
- you're gonna come out."
- 1481
- 01:00:14,844 --> 01:00:17,096
- Well, I got some weights
- and we set up a punching bag,
- 1482
- 01:00:17,096 --> 01:00:19,182
- so that Brad was
- doing the whole scene
- 1483
- 01:00:19,182 --> 01:00:21,559
- and I was in the back
- and I was like lifting weights
- 1484
- 01:00:21,559 --> 01:00:23,353
- and doing pull-ups, like,
- I wanted to be ready like-
- 1485
- 01:00:23,353 --> 01:00:24,103
- like an animal.
- 1486
- 01:00:24,103 --> 01:00:25,521
- And Quentin was like,
- all right,
- 1487
- 01:00:25,521 --> 01:00:26,314
- we're gettin' to
- you after lunch.
- 1488
- 01:00:26,314 --> 01:00:26,397
- We're gettin' to you.
- 1489
- 01:00:26,397 --> 01:00:27,357
- And then by the end,
- he's like,
- 1490
- 01:00:27,357 --> 01:00:28,358
- we're gonna do you next,
- so be ready, ready.
- 1491
- 01:00:28,358 --> 01:00:30,318
- And he was like,
- well, that's a wrap.
- 1492
- 01:00:30,318 --> 01:00:30,944
- And I was like.
- 1493
- 01:00:30,944 --> 01:00:32,320
- And I would, like, sit
- there at the end of day
- 1494
- 01:00:32,320 --> 01:00:35,531
- and like like
- getting all made up and ready,
- 1495
- 01:00:35,531 --> 01:00:36,908
- pumped up, ready to go,
- 1496
- 01:00:36,908 --> 01:00:38,368
- and then it would be like
- the night at the gym and
- 1497
- 01:00:38,368 --> 01:00:40,370
- in the morning the gym,
- and then ready for it.
- 1498
- 01:00:40,370 --> 01:00:43,373
- And Quentin did that to me
- for about four or five days.
- 1499
- 01:00:43,373 --> 01:00:46,209
- He finally, and he just like
- had me like a caged animal.
- 1500
- 01:00:46,209 --> 01:00:47,794
- He was, of course,
- doing it on purpose.
- 1501
- 01:00:54,175 --> 01:00:55,718
- And when I came out
- with that bat,
- 1502
- 01:00:55,718 --> 01:00:57,804
- I was so, so ready.
- 1503
- 01:00:57,804 --> 01:01:00,264
- And then I just started
- wailing on that dummy.
- 1504
- 01:01:00,264 --> 01:01:02,600
- I'm going
- completely crazy.
- 1505
- 01:01:02,600 --> 01:01:04,102
- I mean I think I lost my voice
- 1506
- 01:01:04,102 --> 01:01:05,687
- for a couple days after that.
- 1507
- 01:01:08,481 --> 01:01:10,942
- I know that Quentin really
- wanted,
- 1508
- 01:01:10,942 --> 01:01:15,405
- um, authentic, um, actors
- to be really German,
- 1509
- 01:01:15,405 --> 01:01:16,656
- to be really French.
- 1510
- 01:01:16,656 --> 01:01:18,783
- Um, he spent months
- and months and months in
- 1511
- 01:01:18,783 --> 01:01:20,535
- Germany trying to find
- the right people,
- 1512
- 01:01:20,535 --> 01:01:23,413
- especially for Christoph
- Waltz's character.
- 1513
- 01:01:28,626 --> 01:01:31,004
- And I know that he
- had said himself,
- 1514
- 01:01:31,004 --> 01:01:32,839
- that if he wouldn't
- have found Christoph,
- 1515
- 01:01:32,839 --> 01:01:34,924
- he wouldn't have been
- able to make this film.
- 1516
- 01:01:44,642 --> 01:01:47,270
- Quentin was very
- secretive about,
- 1517
- 01:01:47,270 --> 01:01:48,980
- uh, Christoph's character.
- 1518
- 01:01:48,980 --> 01:01:51,232
- Uh, even at the
- read-throughs we didn't
- 1519
- 01:01:51,232 --> 01:01:54,277
- get to really see
- his performance.
- 1520
- 01:01:59,282 --> 01:02:00,825
- In the theatre
- when Christoph comes in
- 1521
- 01:02:00,825 --> 01:02:03,703
- and confronts Bridget,
- 1522
- 01:02:03,703 --> 01:02:05,872
- we never rehearsed that scene,
- 1523
- 01:02:05,872 --> 01:02:08,541
- so it was a complete
- surprise to me when
- 1524
- 01:02:08,541 --> 01:02:11,711
- he started going crazy on the
- laugh and- and the way he
- 1525
- 01:02:11,711 --> 01:02:12,628
- did that scene.
- 1526
- 01:02:17,133 --> 01:02:30,271
- And I think it
- kind of shows in my face.
- 1527
- 01:02:30,271 --> 01:02:32,106
- Christoph just found
- this character.
- 1528
- 01:02:32,106 --> 01:02:35,818
- He had a really specific
- idea of how he wanted to
- 1529
- 01:02:35,818 --> 01:02:39,530
- play it and together with
- Quentin they just had this
- 1530
- 01:02:39,530 --> 01:02:43,201
- great bond and it got bigger
- and bigger and bigger.
- 1531
- 01:02:43,201 --> 01:02:47,080
- There is definitely an
- exuberance about the
- 1532
- 01:02:47,080 --> 01:02:49,332
- medium that he spreads.
- 1533
- 01:02:49,332 --> 01:02:53,711
- And there is no, no
- inoculation against this bug.
- 1534
- 01:02:53,711 --> 01:02:56,422
- You get infected whether
- you want to or not.
- 1535
- 01:02:56,422 --> 01:02:59,842
- Well, I don't
- know whether you want to
- 1536
- 01:02:59,842 --> 01:03:02,095
- or not, because
- that's part of the,
- 1537
- 01:03:02,095 --> 01:03:06,474
- part of the infection that
- you do want to get infected.
- 1538
- 01:03:06,474 --> 01:03:08,309
- It's like going to
- a whore house to
- 1539
- 01:03:08,309 --> 01:03:10,895
- get infected with the syphilis.
- 1540
- 01:03:10,895 --> 01:03:13,106
- I've never been killed on film,
- 1541
- 01:03:13,106 --> 01:03:15,399
- so as the day approached,
- I was getting more and more
- 1542
- 01:03:15,399 --> 01:03:17,068
- nervous about it.
- 1543
- 01:03:17,068 --> 01:03:19,862
- I'm in my trailer and Quentin
- comes in and he goes,
- 1544
- 01:03:19,862 --> 01:03:22,115
- "Well, I don't really
- trust Christoph to
- 1545
- 01:03:22,115 --> 01:03:24,534
- kill you, so I'm
- gonna do it myself."
- 1546
- 01:03:24,534 --> 01:03:26,536
- And he was like,
- "Well, look at this.
- 1547
- 01:03:26,536 --> 01:03:30,915
- They cut off SS sleeves
- that fit me and I'm gonna
- 1548
- 01:03:30,915 --> 01:03:33,709
- put them on and then
- I'm just gonna be on top of
- 1549
- 01:03:33,709 --> 01:03:34,836
- you and I'm gonna
- be strangling you,
- 1550
- 01:03:34,836 --> 01:03:37,088
- and it's gonna be great."
- 1551
- 01:03:37,088 --> 01:03:38,047
- I was like, " Oh, oh.
- 1552
- 01:03:38,047 --> 01:03:38,881
- Yeah, that's great.
- 1553
- 01:03:38,881 --> 01:03:39,549
- Sure.
- 1554
- 01:03:39,549 --> 01:03:40,383
- Fair enough.
- 1555
- 01:03:40,383 --> 01:03:40,800
- Why not?"
- 1556
- 01:03:40,800 --> 01:03:43,094
- And- and now I'm
- really panicking.
- 1557
- 01:03:43,094 --> 01:03:46,139
- And so we know we do the
- stunt and like I'm finally
- 1558
- 01:03:46,139 --> 01:03:49,392
- on the ground and I just
- have this to the end of
- 1559
- 01:03:49,392 --> 01:03:52,937
- my life vision of Quentin,
- who by all means is three
- 1560
- 01:03:52,937 --> 01:03:56,691
- times Christoph's size
- and his hands are three times
- 1561
- 01:03:56,691 --> 01:03:59,110
- Christoph's hands on top of me,
- 1562
- 01:03:59,110 --> 01:04:01,612
- you know, with put-on
- sleeves that are three
- 1563
- 01:04:01,612 --> 01:04:04,282
- sizes too small for
- him strangling me.
- 1564
- 01:04:04,282 --> 01:04:07,452
- And I was just like,
- well, at least if I die,
- 1565
- 01:04:07,452 --> 01:04:09,871
- it's Quentin Tarantino
- who killed me today.
- 1566
- 01:04:09,871 --> 01:04:10,872
- Ooh!
- 1567
- 01:04:10,872 --> 01:04:17,628
- I guess he
- really gets in there.
- 1568
- 01:04:17,628 --> 01:04:19,088
- Quentin is very hands-on.
- 1569
- 01:04:19,088 --> 01:04:20,548
- He sits next to camera.
- 1570
- 01:04:20,548 --> 01:04:22,884
- Usually directors
- sit at video village,
- 1571
- 01:04:22,884 --> 01:04:24,385
- sometimes in a different room.
- 1572
- 01:04:24,385 --> 01:04:26,554
- You feel like he's involved,
- 1573
- 01:04:26,554 --> 01:04:29,098
- he's there, he's kind of
- holding your hand a little bit.
- 1574
- 01:04:29,098 --> 01:04:33,102
- At the end of the day, you
- feel like he sees everything.
- 1575
- 01:04:33,102 --> 01:04:35,813
- He laughs when there's
- like a joke in the scene.
- 1576
- 01:04:35,813 --> 01:04:37,940
- He's always like--
- Sometimes you have to cut
- 1577
- 01:04:37,940 --> 01:04:39,400
- because we can
- hear Quentin laughing.
- 1578
- 01:04:39,400 --> 01:04:40,818
- It's- It's pretty great.
- 1579
- 01:04:42,987 --> 01:04:45,156
- Hi, Sally.
- 1580
- 01:04:45,156 --> 01:04:46,782
- Any time you get
- a take and he likes it,
- 1581
- 01:04:46,782 --> 01:04:49,285
- he's like, "All right,
- another one to shout to Sally.
- 1582
- 01:04:49,285 --> 01:04:53,748
- Hi, Sally.
- 1583
- 01:04:53,748 --> 01:04:56,417
- He called me right after
- he met Sally Menke
- 1584
- 01:04:56,417 --> 01:04:58,669
- and he said,
- I've met this gal.
- 1585
- 01:04:58,669 --> 01:05:01,923
- I think we're gonna work on
- all our movies together.
- 1586
- 01:05:01,923 --> 01:05:04,759
- Look into the camera
- and tell my lonely editor
- 1587
- 01:05:04,759 --> 01:05:06,510
- stuck in Los Angeles
- 1588
- 01:05:06,510 --> 01:05:08,638
- that's in her room
- all by herself, hello.
- 1589
- 01:05:08,638 --> 01:05:09,972
- Her name is Sally.
- 1590
- 01:05:09,972 --> 01:05:12,141
- Hello, Sally.
- 1591
- 01:05:12,141 --> 01:05:13,392
- And welcome to
- happy first day.
- 1592
- 01:05:13,392 --> 01:05:14,727
- And happy first day!
- 1593
- 01:05:14,727 --> 01:05:17,563
- Now all together, go.
- 1594
- 01:05:17,563 --> 01:05:21,275
- Hello, Sally and
- happy first day!
- 1595
- 01:05:21,275 --> 01:05:22,860
- Sally Menke, unfortunately,
- 1596
- 01:05:22,860 --> 01:05:25,196
- is not with us anymore.
- 1597
- 01:05:25,196 --> 01:05:28,407
- But she was Quentin's
- major contributing editor
- 1598
- 01:05:28,407 --> 01:05:31,244
- for all of his movies
- for a while there.
- 1599
- 01:05:31,244 --> 01:05:38,501
- She is my only true
- genuine collaborator
- 1600
- 01:05:38,501 --> 01:05:42,713
- from beginning to end
- and that's the way it is.
- 1601
- 01:05:42,713 --> 01:05:44,173
- They just knew
- each other so well,
- 1602
- 01:05:44,173 --> 01:05:46,550
- it felt like kind of
- their unspoken language.
- 1603
- 01:05:46,550 --> 01:05:49,262
- She was one of those
- women that could be like,
- 1604
- 01:05:49,262 --> 01:05:50,596
- "You're being self-indulgent."
- 1605
- 01:05:50,596 --> 01:05:53,349
- And he'd be like, "Fine!"
- 1606
- 01:05:53,349 --> 01:05:58,187
- I think he could hear Sally's
- voice when he's shooting.
- 1607
- 01:05:58,187 --> 01:06:00,481
- And so tonight I want
- to thank my co-writer,
- 1608
- 01:06:00,481 --> 01:06:03,442
- Sally Menke.
- 1609
- 01:06:03,442 --> 01:06:06,737
- She was his cheerleader
- 1610
- 01:06:06,737 --> 01:06:09,031
- and his editor
- all rolled into one.
- 1611
- 01:06:09,031 --> 01:06:10,157
- Hi, Sally.
- 1612
- 01:06:12,076 --> 01:06:12,910
- Hi, Sally.
- 1613
- 01:06:13,369 --> 01:06:14,662
- Hi, Sally.
- 1614
- 01:06:14,662 --> 01:06:15,371
- Cut!
- 1615
- 01:06:15,371 --> 01:06:17,456
- The Basterds will be
- waiting from you.
- 1616
- 01:06:17,456 --> 01:06:19,083
- Fucking, fucky, fuck.
- 1617
- 01:06:19,083 --> 01:06:20,084
- So, close.
- 1618
- 01:06:20,084 --> 01:06:21,836
- Hello, Sally. So close.
- 1619
- 01:06:38,311 --> 01:06:42,398
- The resonance of his
- cinema is to push you
- 1620
- 01:06:42,398 --> 01:06:45,109
- with every tool at his
- disposal and he's a master
- 1621
- 01:06:45,109 --> 01:06:46,736
- at most of those tools.
- 1622
- 01:06:46,736 --> 01:06:49,488
- I remember that ending
- watching it and my parents,
- 1623
- 01:06:49,488 --> 01:06:50,698
- my parents were crying.
- 1624
- 01:06:50,698 --> 01:06:51,949
- It was just this incredible,
- 1625
- 01:06:51,949 --> 01:06:53,409
- incredible moment.
- 1626
- 01:06:53,409 --> 01:06:59,665
- I get to
- be the Jew that shot Hitler.
- 1627
- 01:06:59,665 --> 01:07:00,458
- It's the greatest.
- 1628
- 01:07:00,458 --> 01:07:02,043
- Everywhere I go,
- people recognize me for
- 1629
- 01:07:02,043 --> 01:07:03,878
- The Bear Jew, every country.
- 1630
- 01:07:03,878 --> 01:07:04,670
- It's incredible.
- 1631
- 01:07:04,670 --> 01:07:09,842
- I think
- the people who think that
- 1632
- 01:07:09,842 --> 01:07:12,428
- Inglourious Basterds goes
- off the rails when Hitler
- 1633
- 01:07:12,428 --> 01:07:16,932
- dies misses that we all
- are watching the movie and
- 1634
- 01:07:16,932 --> 01:07:18,684
- we all know we're
- watching a movie.
- 1635
- 01:07:18,684 --> 01:07:19,894
- He didn't change history,
- 1636
- 01:07:19,894 --> 01:07:24,982
- nor does he ever
- claim to do that.
- 1637
- 01:07:24,982 --> 01:07:29,737
- But he's doing
- exactly the- the- the
- 1638
- 01:07:29,737 --> 01:07:39,205
- quintessential task of
- what storytelling is all about.
- 1639
- 01:07:39,205 --> 01:07:40,956
- What if?
- 1640
- 01:07:40,956 --> 01:07:44,543
- I've never had the desire
- to be part of repeating my
- 1641
- 01:07:44,543 --> 01:07:46,796
- country's history
- over and over and over,
- 1642
- 01:07:46,796 --> 01:07:49,048
- so the set seemed
- really refreshing.
- 1643
- 01:07:49,048 --> 01:07:51,967
- And, uh,
- only Quentin Tarantino gets
- 1644
- 01:07:51,967 --> 01:07:54,011
- away with stuff like that.
- 1645
- 01:07:54,011 --> 01:07:55,763
- I mean, what a
- ballsy movie to make.
- 1646
- 01:07:55,763 --> 01:07:58,599
- That guy makes a movie,
- that's a movie called
- 1647
- 01:07:58,599 --> 01:08:00,184
- Inglourious Basterds where
- the bastards aren't really
- 1648
- 01:08:00,184 --> 01:08:02,269
- in it that much, a war
- movie where there's almost
- 1649
- 01:08:02,269 --> 01:08:05,606
- no war, and it's two-thirds
- in a foreign language.
- 1650
- 01:08:05,606 --> 01:08:07,817
- It's just like, how
- do you do that?
- 1651
- 01:08:07,817 --> 01:08:09,193
- How do you have the
- confidence and the balls
- 1652
- 01:08:09,193 --> 01:08:12,196
- to do that coming off
- of what was the biggest
- 1653
- 01:08:12,196 --> 01:08:13,906
- commercial failure
- of your career?
- 1654
- 01:08:13,906 --> 01:08:15,116
- I'm alive.
- 1655
- 01:08:15,116 --> 01:08:17,952
- He's like,
- I'm gonna do something
- 1656
- 01:08:17,952 --> 01:08:19,203
- bold and brave and different.
- 1657
- 01:08:19,203 --> 01:08:20,663
- Then he does it
- again with Django.
- 1658
- 01:08:20,663 --> 01:08:22,206
- And everyone's
- still doubting him.
- 1659
- 01:08:22,206 --> 01:08:23,958
- How can you do a slavery
- movie at Christmas?
- 1660
- 01:08:23,958 --> 01:08:25,000
- And he said, watch this.
- 1661
- 01:08:25,000 --> 01:08:26,377
- It's his biggest movie ever.
- 1662
- 01:08:40,057 --> 01:08:40,683
- Everyone is standing
- 1663
- 01:08:40,683 --> 01:08:42,518
- in the Quentin Tarantino
- line to work.
- 1664
- 01:08:42,518 --> 01:08:43,686
- I don't care who they are.
- 1665
- 01:08:43,686 --> 01:08:46,147
- I don't care how
- big your star shines
- 1666
- 01:08:46,147 --> 01:08:47,732
- and what you do
- at the box office.
- 1667
- 01:08:47,732 --> 01:08:52,445
- You are still Quentin
- Tarantino deprived
- 1668
- 01:08:52,445 --> 01:08:54,071
- if you haven't gotten a
- chance to work with him.
- 1669
- 01:08:54,071 --> 01:08:57,241
- . ..your black ass.
- 1670
- 01:08:57,241 --> 01:09:01,412
- I get a chance to
- meet Quentin Tarantino.
- 1671
- 01:09:02,538 --> 01:09:03,998
- Hey, white boy.
- 1672
- 01:09:03,998 --> 01:09:06,625
- I said, hey, white boy.
- 1673
- 01:09:06,625 --> 01:09:07,793
- Shut up, black.
- 1674
- 01:09:07,793 --> 01:09:09,503
- You ain't got nothing'
- to say I want to hear.
- 1675
- 01:09:09,503 --> 01:09:17,428
- You make unknowns,
- celebrities, stars.
- 1676
- 01:09:17,428 --> 01:09:20,222
- But you turn stars
- into legends.
- 1677
- 01:09:20,222 --> 01:09:26,687
- I said, I know
- the dude needs to be able
- 1678
- 01:09:26,687 --> 01:09:27,396
- to ride his horse.
- 1679
- 01:09:27,396 --> 01:09:28,731
- I got my own horse at the crib.
- 1680
- 01:09:28,731 --> 01:09:29,607
- It'll be cool.
- 1681
- 01:09:29,607 --> 01:09:32,943
- And not only did he allow me
- to take on the character,
- 1682
- 01:09:32,943 --> 01:09:34,403
- but I got a chance
- to ride my own
- 1683
- 01:09:34,403 --> 01:09:36,113
- horse in the film.
- 1684
- 01:09:36,113 --> 01:09:37,990
- My valet, Django.
- 1685
- 01:09:37,990 --> 01:09:41,035
- These are our horses,
- Tony and Fritz.
- 1686
- 01:09:41,035 --> 01:09:44,663
- We had Bruce there,
- 1687
- 01:09:44,663 --> 01:09:47,333
- Bruce Dern, who's done
- every western that's
- 1688
- 01:09:47,333 --> 01:09:49,001
- ever been made for television,
- 1689
- 01:09:49,001 --> 01:09:51,462
- played every bad guy
- you could imagine.
- 1690
- 01:09:51,462 --> 01:09:55,674
- Django, Django, you got sin,
- 1691
- 01:09:55,674 --> 01:09:57,551
- Django.
- 1692
- 01:09:57,551 --> 01:10:00,221
- The boy's got sin.
- 1693
- 01:10:00,221 --> 01:10:02,473
- When you've watched this man
- for however many year, what,
- 1694
- 01:10:02,473 --> 01:10:05,851
- thirty, forty, fifty
- years of his career,
- 1695
- 01:10:05,851 --> 01:10:06,810
- and to step in.
- 1696
- 01:10:06,810 --> 01:10:08,729
- And that's what you
- need, you know?
- 1697
- 01:10:08,729 --> 01:10:12,191
- No political correctness.
- 1698
- 01:10:12,191 --> 01:10:15,319
- No softening the blows.
- 1699
- 01:10:15,319 --> 01:10:17,530
- I want you to burn a
- runaway "R" right here on
- 1700
- 01:10:17,530 --> 01:10:20,574
- his cheek, and the girl, too.
- 1701
- 01:10:20,574 --> 01:10:23,744
- Getting into the role
- and working with Quentin,
- 1702
- 01:10:23,744 --> 01:10:25,538
- Quentin was, especially
- in the beginning
- 1703
- 01:10:25,538 --> 01:10:26,664
- because he didn't know me.
- 1704
- 01:10:26,664 --> 01:10:27,832
- You know, he knew Samuel.
- 1705
- 01:10:27,832 --> 01:10:28,749
- He knew Christoph.
- 1706
- 01:10:28,749 --> 01:10:30,334
- And so he was like, "Listen.
- 1707
- 01:10:30,334 --> 01:10:32,044
- You know, we really got
- to put the work in."
- 1708
- 01:10:32,044 --> 01:10:34,046
- And so I would come in
- and I was doing my lines
- 1709
- 01:10:34,046 --> 01:10:36,006
- really sort of Jim Brownish,
- 1710
- 01:10:36,006 --> 01:10:38,008
- like, you know,
- like I was already the guy.
- 1711
- 01:10:38,008 --> 01:10:39,218
- And I remember him going, "Uh,
- 1712
- 01:10:39,218 --> 01:10:40,010
- let's take a break."
- 1713
- 01:10:40,010 --> 01:10:40,636
- He takes me in the room.
- 1714
- 01:10:40,636 --> 01:10:41,762
- He says, "Hey, listen.
- 1715
- 01:10:41,762 --> 01:10:42,638
- Listen.
- 1716
- 01:10:42,638 --> 01:10:44,014
- You- you- you got
- to be a slave."
- 1717
- 01:10:44,014 --> 01:10:44,807
- I said, "What do you
- mean?" He said,
- 1718
- 01:10:44,807 --> 01:10:47,768
- "You- you have to be a slave."
- 1719
- 01:10:47,768 --> 01:10:49,019
- And I said,
- " I- I don't get it."
- 1720
- 01:10:49,019 --> 01:10:52,106
- He says, "You're
- already too macho
- 1721
- 01:10:52,106 --> 01:10:54,066
- and you're too in control."
- 1722
- 01:10:56,777 --> 01:10:59,238
- The Louis bag and the Range
- Rover you're driving,
- 1723
- 01:10:59,238 --> 01:11:00,906
- all of this, and so
- you have to come in and
- 1724
- 01:11:00,906 --> 01:11:02,992
- strip that all the way,
- 'cause I don't want this
- 1725
- 01:11:02,992 --> 01:11:06,912
- to be a mistake that if I
- hired someone who is like
- 1726
- 01:11:06,912 --> 01:11:09,331
- yourself or some other
- person who's well known,
- 1727
- 01:11:09,331 --> 01:11:11,500
- that you couldn't break
- away from your persona and
- 1728
- 01:11:11,500 --> 01:11:13,877
- that's why I work with
- the people that I work with.
- 1729
- 01:11:16,380 --> 01:11:19,174
- And so the next day,
- I left all that at the crib
- 1730
- 01:11:19,174 --> 01:11:24,972
- and sunk into that- that
- type of person who was
- 1731
- 01:11:24,972 --> 01:11:28,684
- strong on the inside, but
- afraid to allow it to come out
- 1732
- 01:11:28,684 --> 01:11:32,021
- because you would be murdered.
- 1733
- 01:11:32,021 --> 01:11:34,440
- Imagine if anyone here
- saw someone you love and you
- 1734
- 01:11:34,440 --> 01:11:38,819
- can't say nothing
- 'cause they'll kill you both.
- 1735
- 01:11:38,819 --> 01:11:43,407
- Broomhilda, come
- on and get on my horse.
- 1736
- 01:11:43,407 --> 01:11:49,413
- Broomhilda
- That was powerful.
- 1737
- 01:11:49,413 --> 01:11:52,583
- Even in the rehearsal,
- I had to do certain things
- 1738
- 01:11:52,583 --> 01:11:55,502
- in order to get the fear
- out of my character
- 1739
- 01:11:55,502 --> 01:11:58,047
- when it came to Sam because
- he came in like this.
- 1740
- 01:11:58,047 --> 01:12:00,049
- He howls to everything.
- 1741
- 01:12:00,049 --> 01:12:02,259
- I can literally say he's
- 1742
- 01:12:02,259 --> 01:12:04,762
- probably the best actor
- I've worked with.
- 1743
- 01:12:04,762 --> 01:12:06,305
- You scaring me.
- 1744
- 01:12:06,305 --> 01:12:09,099
- Why is it
- I'm scarin' you?
- 1745
- 01:12:09,099 --> 01:12:12,269
- Because you're scary.
- 1746
- 01:12:12,269 --> 01:12:13,354
- Oh, fuck.
- 1747
- 01:12:13,354 --> 01:12:15,439
- Oh, fuck, it's incredible.
- 1748
- 01:12:15,439 --> 01:12:17,358
- I told Quentin Stephen
- was gonna
- 1749
- 01:12:17,358 --> 01:12:18,442
- have his fans.
- 1750
- 01:12:18,442 --> 01:12:21,528
- Stephen could
- read, write, count,
- 1751
- 01:12:21,528 --> 01:12:22,655
- do all those things,
- 1752
- 01:12:22,655 --> 01:12:23,614
- and he had a disguise.
- 1753
- 01:12:23,614 --> 01:12:26,075
- He disguised himself
- as a feeble old man
- 1754
- 01:12:26,075 --> 01:12:27,618
- and he wasn't.
- 1755
- 01:12:27,618 --> 01:12:29,745
- And he realized that
- inside the confines of
- 1756
- 01:12:29,745 --> 01:12:31,997
- Candyland, he was king.
- 1757
- 01:12:31,997 --> 01:12:34,667
- Even when Calvin was home,
- he was king.
- 1758
- 01:12:34,667 --> 01:12:36,585
- He's gonna stay
- in the big house?
- 1759
- 01:12:36,585 --> 01:12:38,295
- Stephen, he's a slaver.
- 1760
- 01:12:38,295 --> 01:12:39,296
- It's different.
- 1761
- 01:12:39,296 --> 01:12:40,714
- In the big house?
- 1762
- 01:12:40,714 --> 01:12:41,966
- The character is
- the characters.
- 1763
- 01:12:41,966 --> 01:12:42,549
- And that's why I...
- 1764
- 01:12:42,549 --> 01:12:43,175
- ...think people love
- 1765
- 01:12:43,175 --> 01:12:44,218
- his characters is that
- 1766
- 01:12:44,218 --> 01:12:45,761
- they are honest,
- whether you like them,
- 1767
- 01:12:45,761 --> 01:12:47,179
- whether you agree with them
- or disagree with them,
- 1768
- 01:12:47,179 --> 01:12:48,472
- they are who they are.
- 1769
- 01:12:48,472 --> 01:12:49,682
- The film has
- already sparked
- 1770
- 01:12:49,682 --> 01:12:53,018
- controversy over its repeated
- use of the "N" word.
- 1771
- 01:12:53,018 --> 01:12:55,813
- And now, Director, Spike Lee
- says he won't go to see it.
- 1772
- 01:12:55,813 --> 01:12:57,439
- Spike,
- Spike Lee's,
- 1773
- 01:12:57,439 --> 01:12:59,066
- you know and
- I respect Spike Lee,
- 1774
- 01:12:59,066 --> 01:13:01,985
- you know, but Spike
- Lee's that guy.
- 1775
- 01:13:01,985 --> 01:13:06,490
- You know, it's like
- Spike Lee is like the-
- 1776
- 01:13:06,490 --> 01:13:11,370
- the old dude with the nice
- little house that has the grass.
- 1777
- 01:13:11,370 --> 01:13:13,914
- Don't you get on my grass,
- you little motherfuckers.
- 1778
- 01:13:16,250 --> 01:13:19,378
- That's my grass,
- every blade of it is.
- 1779
- 01:13:19,920 --> 01:13:21,797
- Little motherfuckers.
- 1780
- 01:13:21,797 --> 01:13:22,756
- You know.
- 1781
- 01:13:22,756 --> 01:13:24,049
- You're not gonna get
- 1782
- 01:13:24,049 --> 01:13:25,843
- Samuel Jackson to say
- 1783
- 01:13:25,843 --> 01:13:29,388
- nigger, nigger, nigger if he
- feels he's demeaning anybody.
- 1784
- 01:13:29,388 --> 01:13:31,390
- You know, I mean Samuel
- Jackson's gonna turn to
- 1785
- 01:13:31,390 --> 01:13:33,183
- you and tell you where to go.
- 1786
- 01:13:33,183 --> 01:13:35,477
- You take Twelve Years A Slave,
- 1787
- 01:13:35,477 --> 01:13:38,272
- which is supposedly
- made by an "auteur",
- 1788
- 01:13:38,272 --> 01:13:41,525
- so Steve McQueen's very
- different from Quentin.
- 1789
- 01:13:41,525 --> 01:13:45,279
- So when you have a song
- that says nigger three
- 1790
- 01:13:45,279 --> 01:13:47,573
- hundred times in it
- and nobody says shit.
- 1791
- 01:13:47,573 --> 01:13:48,615
- Nigger run,
- 1792
- 01:13:48,615 --> 01:13:53,078
- nigger flew, nigger tore
- his shirt in two Run,
- 1793
- 01:13:53,078 --> 01:13:55,414
- run or the pattyroller
- will get you Run nigger
- 1794
- 01:13:55,414 --> 01:13:56,874
- run Well you better get away
- 1795
- 01:13:56,874 --> 01:13:59,543
- So, it's okay for him
- to use it because
- 1796
- 01:13:59,543 --> 01:14:03,922
- he's artistically attacking
- the system or the way people
- 1797
- 01:14:03,922 --> 01:14:05,591
- think and feel in a way.
- 1798
- 01:14:05,591 --> 01:14:08,802
- Then Quentin's just doing
- it to just scrape the
- 1799
- 01:14:08,802 --> 01:14:10,095
- blackboard with his nails.
- 1800
- 01:14:10,095 --> 01:14:11,847
- You know, and that's not true.
- 1801
- 01:14:11,847 --> 01:14:14,308
- There is no dishonesty in
- anything that he writes
- 1802
- 01:14:14,308 --> 01:14:16,935
- or how people talk,
- feel, or speak.
- 1803
- 01:14:16,935 --> 01:14:18,562
- There you go!
- 1804
- 01:14:18,562 --> 01:14:20,564
- The consumer, especially
- black consumers,
- 1805
- 01:14:20,564 --> 01:14:22,649
- they understand
- that it's a movie.
- 1806
- 01:14:22,649 --> 01:14:25,569
- Sometimes we get a little
- overboard with our
- 1807
- 01:14:25,569 --> 01:14:28,322
- sensitivity level with-
- with everything,
- 1808
- 01:14:28,322 --> 01:14:30,657
- because nobody was really
- payin' attention to that.
- 1809
- 01:14:30,657 --> 01:14:32,785
- They were comin' to see
- their favorite director
- 1810
- 01:14:32,785 --> 01:14:35,370
- direct some of their
- favorite stars.
- 1811
- 01:14:35,370 --> 01:14:37,956
- If it's Quentin, if it's Samuel,
- 1812
- 01:14:37,956 --> 01:14:40,083
- if it's Leo, it's Christoph,
- 1813
- 01:14:40,083 --> 01:14:42,503
- Carry Washington, and myself,
- 1814
- 01:14:42,503 --> 01:14:46,048
- I- I just find it hard
- for us to fuck that up.
- 1815
- 01:14:46,048 --> 01:14:48,008
- All three are champions.
- 1816
- 01:14:49,009 --> 01:14:51,303
- Samson's a champion.
- 1817
- 01:14:51,303 --> 01:14:52,763
- Them other two pretty good.
- 1818
- 01:14:55,224 --> 01:14:56,809
- Calvin-- You know we live
- in a very politically
- 1819
- 01:14:56,809 --> 01:14:59,561
- correct society now to
- where almost everything,
- 1820
- 01:14:59,561 --> 01:15:01,480
- it almost chokes
- art a little bit.
- 1821
- 01:15:03,232 --> 01:15:05,984
- That's just the way it was.
- 1822
- 01:15:05,984 --> 01:15:07,861
- What's your name, boy?
- 1823
- 01:15:07,861 --> 01:15:10,239
- His name is Django Freeman.
- 1824
- 01:15:10,239 --> 01:15:12,199
- His characters are
- a part of him.
- 1825
- 01:15:12,199 --> 01:15:13,242
- It's how he creates.
- 1826
- 01:15:13,242 --> 01:15:14,952
- But they're living breathing
- characters to him.
- 1827
- 01:15:14,952 --> 01:15:18,372
- There's a great story that
- his mom told me about when
- 1828
- 01:15:18,372 --> 01:15:21,250
- he was a little boy and he
- was playing with his GI Joes
- 1829
- 01:15:21,250 --> 01:15:22,793
- and he was using foul language.
- 1830
- 01:15:22,793 --> 01:15:24,711
- And I think it was
- like, you know,
- 1831
- 01:15:24,711 --> 01:15:25,921
- "Fuck you. Die."
- 1832
- 01:15:25,921 --> 01:15:26,880
- And you know, like, whatever.
- 1833
- 01:15:26,880 --> 01:15:28,465
- And she came around the
- corner and she was like,
- 1834
- 01:15:28,465 --> 01:15:30,008
- Quentin, don't you
- use that language.
- 1835
- 01:15:30,008 --> 01:15:31,343
- And he said,
- "It's not me, Mom.
- 1836
- 01:15:31,343 --> 01:15:32,010
- It's just the guys.
- 1837
- 01:15:32,010 --> 01:15:33,679
- That's how they talk."
- 1838
- 01:15:35,430 --> 01:15:36,932
- I count two guns, Nigger.
- 1839
- 01:15:40,936 --> 01:15:43,105
- You said in seventy-six
- years on this plantation,
- 1840
- 01:15:43,105 --> 01:15:45,858
- you've seen all manner
- of shit done to niggers,
- 1841
- 01:15:45,858 --> 01:15:47,484
- but I notice...
- 1842
- 01:15:47,484 --> 01:15:48,777
- you didn't mention kneecapping.
- 1843
- 01:15:48,777 --> 01:15:50,529
- Oh, God!
- 1844
- 01:15:50,529 --> 01:15:51,989
- Motherfucker!
- 1845
- 01:15:51,989 --> 01:15:55,242
- Leonardo DiCaprio had a problem
- saying the word nigger.
- 1846
- 01:15:55,242 --> 01:15:56,034
- "Pal.
- 1847
- 01:15:56,034 --> 01:15:57,369
- Pal, it's just.
- 1848
- 01:15:57,369 --> 01:15:59,913
- It's tough
- for me to say this."
- 1849
- 01:15:59,913 --> 01:16:01,874
- And, uh, I remember
- Samuel Jackson going,
- 1850
- 01:16:01,874 --> 01:16:03,125
- Get over it, motherfucker.
- 1851
- 01:16:03,125 --> 01:16:04,459
- This is just another
- Tuesday, motherfucker.
- 1852
- 01:16:04,459 --> 01:16:06,003
- I don't give a fuck about
- these motherfuckers.
- 1853
- 01:16:06,003 --> 01:16:07,629
- Look at- look at
- who I am, motherfucker.
- 1854
- 01:16:07,629 --> 01:16:09,715
- Fuck! And it was like...
- 1855
- 01:16:09,715 --> 01:16:11,008
- You know, and I said, "Yeah."
- 1856
- 01:16:11,008 --> 01:16:12,634
- I said, "Leo, Leo,
- we're- we're not friends."
- 1857
- 01:16:12,634 --> 01:16:14,177
- I said, "This is
- just another Thursday.
- 1858
- 01:16:14,177 --> 01:16:16,430
- This is your property.
- 1859
- 01:16:16,430 --> 01:16:17,514
- These aren't humans.
- 1860
- 01:16:17,514 --> 01:16:18,849
- These are your property."
- 1861
- 01:16:22,561 --> 01:16:24,021
- And when Leo came
- in the next day,
- 1862
- 01:16:24,021 --> 01:16:25,647
- it was literally like, I
- was like, "What's up, Leo?
- 1863
- 01:16:27,274 --> 01:16:28,233
- What's up fam?"
- 1864
- 01:16:29,359 --> 01:16:30,360
- He didn't speak.
- 1865
- 01:16:30,986 --> 01:16:32,362
- You won't mind me
- handling this nigger
- 1866
- 01:16:32,362 --> 01:16:33,947
- anyway I see fit.
- 1867
- 01:16:34,990 --> 01:16:36,533
- He's your nigger.
- 1868
- 01:16:40,704 --> 01:16:44,750
- Mr. Stonesipher, let
- Marshall and the bitches
- 1869
- 01:16:44,750 --> 01:16:47,544
- send D'Artagnan
- to nigger heaven.
- 1870
- 01:16:47,544 --> 01:16:50,672
- Quentin allowed us to
- transport back to that
- 1871
- 01:16:50,672 --> 01:16:53,967
- time and it was- it was
- really real. It was intent.
- 1872
- 01:16:53,967 --> 01:16:58,722
- Leonardo had that gigantic
- sequence where he becomes
- 1873
- 01:16:58,722 --> 01:17:01,725
- wise to what Schultz
- and Django are up to.
- 1874
- 01:17:01,725 --> 01:17:05,729
- He brought his hand down
- and smashed the glass.
- 1875
- 01:17:05,729 --> 01:17:09,816
- So now blood is running
- down his hand.
- 1876
- 01:17:09,816 --> 01:17:12,444
- He's kind of getting white.
- 1877
- 01:17:12,444 --> 01:17:13,862
- Leo never breaks.
- 1878
- 01:17:13,862 --> 01:17:15,280
- He goes all the way
- through 'cause he knows
- 1879
- 01:17:15,280 --> 01:17:16,406
- it's a great take.
- 1880
- 01:17:16,406 --> 01:17:19,076
- Where were we?
- 1881
- 01:17:19,076 --> 01:17:22,412
- Quentin's right there,
- right at the lens next to him,
- 1882
- 01:17:22,412 --> 01:17:23,997
- not in some video village.
- 1883
- 01:17:23,997 --> 01:17:25,374
- In fact there are no monitors
- 1884
- 01:17:25,374 --> 01:17:28,210
- on a Quentin Tarantino movie.
- There is no video village.
- 1885
- 01:17:28,210 --> 01:17:30,754
- And you can see it
- in the performances.
- 1886
- 01:17:30,754 --> 01:17:35,467
- Broomhilda here is my
- property and I can choose
- 1887
- 01:17:35,467 --> 01:17:39,763
- to do with my property
- whatever I so desire.
- 1888
- 01:17:39,763 --> 01:17:41,640
- After Leonardo
- finished, you know,
- 1889
- 01:17:41,640 --> 01:17:43,809
- his fellow actors, his peers,
- 1890
- 01:17:43,809 --> 01:17:46,770
- and the crew, basically,
- gave him a standing ovation.
- 1891
- 01:17:46,770 --> 01:17:48,772
- And I think that it
- was the first time
- 1892
- 01:17:48,772 --> 01:17:51,858
- that Leo had really been
- in that atmosphere,
- 1893
- 01:17:51,858 --> 01:17:54,111
- that brotherhood,
- and that spirit of fun.
- 1894
- 01:17:54,111 --> 01:17:55,487
- After a hundred
- rolls of film,
- 1895
- 01:17:55,487 --> 01:17:57,364
- they, all of sudden,
- I'm- now I'm in chains,
- 1896
- 01:17:57,364 --> 01:17:59,449
- like, all of a sudden
- they start playing music.
- 1897
- 01:17:59,449 --> 01:18:01,660
- Ba-ba-ba-ba-ba-ba-ba...
- 1898
- 01:18:01,660 --> 01:18:02,786
- I was like,
- what's going on?
- 1899
- 01:18:02,786 --> 01:18:03,203
- What's all this?
- 1900
- 01:18:03,203 --> 01:18:04,079
- They start bringing
- out tequila.
- 1901
- 01:18:04,079 --> 01:18:05,831
- I say, what? Oh, shit!
- 1902
- 01:18:05,831 --> 01:18:06,999
- This is great.
- I said, what the fuck?
- 1903
- 01:18:06,999 --> 01:18:08,500
- I said, what kind
- of set is this?
- 1904
- 01:18:08,500 --> 01:18:10,252
- He says, "My kinda
- set, motherfucker."
- 1905
- 01:18:10,794 --> 01:18:11,795
- Quentin had called
- 1906
- 01:18:11,795 --> 01:18:14,131
- everybody in and- and-
- and we were waiting
- 1907
- 01:18:14,131 --> 01:18:17,926
- for- for everybody to
- come in and we chatted and...
- 1908
- 01:18:17,926 --> 01:18:20,137
- And then Quentin
- came and said, "Okay.
- 1909
- 01:18:20,137 --> 01:18:23,682
- I thought about this for a
- long time and this morning
- 1910
- 01:18:23,682 --> 01:18:26,351
- at three o'clock I came
- to the conclusion,
- 1911
- 01:18:26,351 --> 01:18:29,646
- now this is
- what's going to happen."
- 1912
- 01:18:29,646 --> 01:18:31,940
- And then he acted
- out that whole scene,
- 1913
- 01:18:31,940 --> 01:18:35,569
- this big battle inside.
- 1914
- 01:18:37,821 --> 01:18:40,282
- And then Quentin said, "Well,
- 1915
- 01:18:40,282 --> 01:18:41,992
- I thought about ending
- the movie here,
- 1916
- 01:18:41,992 --> 01:18:44,494
- but then this happens."
- 1917
- 01:18:44,494 --> 01:18:46,580
- And he threw himself
- on the floor.
- 1918
- 01:18:46,580 --> 01:18:48,332
- And he jumped up
- and threw his gun.
- 1919
- 01:18:48,332 --> 01:18:51,835
- You know, I- I think he
- had like fifteen and shot
- 1920
- 01:18:51,835 --> 01:18:55,589
- and- and really acted
- out the whole scene.
- 1921
- 01:18:55,589 --> 01:18:57,299
- Bob Richardson
- was sitting there,
- 1922
- 01:18:59,009 --> 01:19:03,472
- you know, trying to control
- his- his blood pressure.
- 1923
- 01:19:03,472 --> 01:19:07,059
- And the- and the- the-
- the stunt coordinator,
- 1924
- 01:19:07,059 --> 01:19:10,479
- who is about seven feet
- tall and five feet wide
- 1925
- 01:19:10,479 --> 01:19:14,024
- was leaning against
- the wall like that.
- 1926
- 01:19:14,024 --> 01:19:17,861
- And the- and
- the special effects guy
- 1927
- 01:19:17,861 --> 01:19:19,029
- started to cry.
- 1928
- 01:19:19,029 --> 01:19:28,872
- That main hall
- was literally destroyed
- 1929
- 01:19:28,872 --> 01:19:34,211
- and the blood was squirted
- up to the second story.
- 1930
- 01:19:34,211 --> 01:19:36,254
- Blood up to the
- gallery of that,
- 1931
- 01:19:36,254 --> 01:19:38,298
- literally everywhere.
- 1932
- 01:19:38,298 --> 01:19:39,049
- Ow!
- 1933
- 01:19:39,049 --> 01:19:39,466
- God!
- 1934
- 01:19:39,466 --> 01:19:41,051
- The furniture,
- the interior,
- 1935
- 01:19:41,051 --> 01:19:45,180
- everything thrashed to
- the size of toothpicks.
- 1936
- 01:19:45,180 --> 01:19:48,558
- And you want to tell me
- that's a true story?
- 1937
- 01:19:48,558 --> 01:19:50,977
- True is what
- happened on the set.
- 1938
- 01:19:50,977 --> 01:19:54,898
- True is what happens
- on the screen.
- 1939
- 01:19:54,898 --> 01:19:57,734
- But the violence? No.
- 1940
- 01:19:58,693 --> 01:20:00,570
- The violence is opera.
- 1941
- 01:20:01,988 --> 01:20:04,741
- Django...!
- 1942
- 01:20:05,158 --> 01:20:07,452
- You son of a...
- 1943
- 01:20:07,452 --> 01:20:09,746
- Django's not trying
- to cure slavery.
- 1944
- 01:20:10,831 --> 01:20:12,624
- He just wants to take out
- the people that did him
- 1945
- 01:20:12,624 --> 01:20:13,959
- bad and get with his girl.
- 1946
- 01:20:16,920 --> 01:20:18,380
- This is a love story.
- 1947
- 01:20:21,550 --> 01:20:23,343
- Django is the- is
- the super hero.
- 1948
- 01:20:23,343 --> 01:20:25,554
- He's the guy who rides
- off into the sunset.
- 1949
- 01:20:25,554 --> 01:20:28,014
- And you don't see a lot of
- black characters that do that.
- 1950
- 01:20:28,014 --> 01:20:29,975
- You don't see in Hollywood
- when a black character's
- 1951
- 01:20:29,975 --> 01:20:33,562
- in that type of setting of
- slavery does what he does,
- 1952
- 01:20:33,562 --> 01:20:35,814
- kills the bad white
- folks, gets his girl,
- 1953
- 01:20:35,814 --> 01:20:37,440
- and rides off into the sunset.
- 1954
- 01:20:54,791 --> 01:20:56,001
- It's about eight
- people trapped
- 1955
- 01:20:56,001 --> 01:20:57,919
- in a blizzard in
- a haberdashery
- 1956
- 01:20:57,919 --> 01:20:59,504
- in the middle of nowhere.
- 1957
- 01:20:59,504 --> 01:21:02,841
- It's a mixture of
- western, who-done-it,
- 1958
- 01:21:02,841 --> 01:21:05,135
- revenge movie.
- It's all those things.
- 1959
- 01:21:05,135 --> 01:21:06,386
- Want to make a deal?
- 1960
- 01:21:06,386 --> 01:21:07,095
- Huh?
- 1961
- 01:21:07,095 --> 01:21:09,347
- The deal
- still stands, Chris.
- 1962
- 01:21:09,347 --> 01:21:11,850
- You ain't got nothing
- we can't forgive.
- 1963
- 01:21:11,850 --> 01:21:13,977
- The Hateful Eight is
- kind of almost like a- a
- 1964
- 01:21:13,977 --> 01:21:16,479
- bookend of Reservoir Dogs.
- 1965
- 01:21:16,479 --> 01:21:18,148
- It'd just be more bullshit.
- 1966
- 01:21:20,775 --> 01:21:22,194
- This man set us up.
- 1967
- 01:21:22,194 --> 01:21:24,988
- He creates an initial scenario,
- 1968
- 01:21:24,988 --> 01:21:26,823
- an initial group of people,
- 1969
- 01:21:28,408 --> 01:21:30,410
- and he throws them together
- 1970
- 01:21:30,410 --> 01:21:31,786
- often in one room.
- 1971
- 01:21:31,786 --> 01:21:36,833
- And then he explores what
- might happen by putting
- 1972
- 01:21:36,833 --> 01:21:39,711
- this group of people
- in the same room,
- 1973
- 01:21:39,711 --> 01:21:42,214
- like Reservoir Dogs
- or The Hateful Eight.
- 1974
- 01:21:42,214 --> 01:21:43,757
- It's a complete ensemble piece,
- 1975
- 01:21:43,757 --> 01:21:47,344
- which is pretty incredible
- because you've got eight people
- 1976
- 01:21:47,344 --> 01:21:50,972
- in there talking to each other
- about some very specific,
- 1977
- 01:21:50,972 --> 01:21:55,143
- interesting, and sometimes
- very hateful things.
- 1978
- 01:21:55,143 --> 01:22:01,650
- What
- the-
- 1979
- 01:22:01,650 --> 01:22:05,028
- He lets the
- characters be infused
- 1980
- 01:22:05,028 --> 01:22:07,697
- by the actors that he
- chooses to portray them.
- 1981
- 01:22:08,907 --> 01:22:10,992
- He played me a piece of
- music and then he said,
- 1982
- 01:22:10,992 --> 01:22:13,036
- "I think it would be nice
- if Daisy played the guitar
- 1983
- 01:22:13,036 --> 01:22:14,788
- and sang this song."
- 1984
- 01:22:14,788 --> 01:22:16,456
- It really focused me
- 1985
- 01:22:16,456 --> 01:22:18,792
- because I had to practice
- that fucking instrument
- 1986
- 01:22:18,792 --> 01:22:22,045
- everyday whenever
- I was not on camera.
- 1987
- 01:22:22,045 --> 01:22:25,757
- I'll kill you
- bastards one and all I'll
- 1988
- 01:22:25,757 --> 01:22:29,469
- gun the floggers down It
- was ama-I had never played
- 1989
- 01:22:29,469 --> 01:22:31,346
- guitar in my life.
- 1990
- 01:22:31,346 --> 01:22:36,017
- And you'll be
- dead Behind me John
- 1991
- 01:22:36,017 --> 01:22:40,522
- When I get to Mexico.
- 1992
- 01:22:40,522 --> 01:22:42,065
- He wanted it to
- come from the inside.
- 1993
- 01:22:42,065 --> 01:22:43,608
- And when you are singing
- a song to yourself,
- 1994
- 01:22:43,608 --> 01:22:46,444
- you're immediately going inward.
- 1995
- 01:22:46,444 --> 01:22:48,154
- Give me that guitar.
- 1996
- 01:22:48,154 --> 01:22:50,657
- I think he has a way
- of getting into each
- 1997
- 01:22:50,657 --> 01:22:54,536
- character and
- letting them breathe
- 1998
- 01:22:54,536 --> 01:22:56,121
- and create their life.
- 1999
- 01:22:56,121 --> 01:22:59,958
- He gave me the script.
- 2000
- 01:22:59,958 --> 01:23:03,503
- He goes, "Here.
- You're Joe Gage."
- 2001
- 01:23:03,503 --> 01:23:05,880
- A bastards work
- is never done,
- 2002
- 01:23:05,880 --> 01:23:08,216
- huh, John Ruth?
- 2003
- 01:23:08,216 --> 01:23:10,093
- That's right, Joe Gage.
- 2004
- 01:23:10,093 --> 01:23:13,138
- And I said, "Thanks
- for thinking of me."
- 2005
- 01:23:13,138 --> 01:23:17,058
- And he goes, "Michael, you
- were there at the beginning,
- 2006
- 01:23:17,058 --> 01:23:21,146
- and by God you're gonna
- be here now, you know."
- 2007
- 01:23:28,320 --> 01:23:30,238
- I find him to be the same man,
- 2008
- 01:23:31,364 --> 01:23:35,243
- but just with a
- lot more of a pack.
- 2009
- 01:23:35,243 --> 01:23:38,121
- He's more of a package
- than he was, you know.
- 2010
- 01:23:38,121 --> 01:23:39,456
- He pays attention.
- 2011
- 01:23:40,540 --> 01:23:44,836
- He also became much more
- sophisticated as a filmmaker.
- 2012
- 01:23:44,836 --> 01:23:48,048
- His mastery of blocking
- and his mastery of camera
- 2013
- 01:23:48,048 --> 01:23:51,593
- movement and that
- choreography is really
- 2014
- 01:23:51,593 --> 01:23:55,430
- pronounced and you can
- really see his growth.
- 2015
- 01:23:55,430 --> 01:23:58,141
- Also, you are seeing his
- maturity as a human being.
- 2016
- 01:23:58,141 --> 01:24:00,060
- He may look at
- the same things,
- 2017
- 01:24:00,060 --> 01:24:02,979
- but through the lens of
- where he sits right now.
- 2018
- 01:24:02,979 --> 01:24:06,358
- Who said it that, uh,
- Kurt Russell's character was
- 2019
- 01:24:06,358 --> 01:24:08,151
- based on, yeah.
- 2020
- 01:24:08,151 --> 01:24:10,403
- I think John Ruth was
- a lot nicer guy that
- 2021
- 01:24:10,403 --> 01:24:11,613
- Harvey Weinstein.
- 2022
- 01:24:11,613 --> 01:24:12,739
- If Kurt was supposed
- to be Harvey,
- 2023
- 01:24:12,739 --> 01:24:15,492
- then that must have been
- Harvey's good side.
- 2024
- 01:24:15,492 --> 01:24:17,077
- You ruin that letter of his,
- 2025
- 01:24:17,077 --> 01:24:19,162
- that nigger's gonna stomp
- your ass to death.
- 2026
- 01:24:19,162 --> 01:24:22,123
- And when he do, I'm gonna
- sit back on that wagon
- 2027
- 01:24:22,123 --> 01:24:23,792
- wheel, watch, and laugh.
- 2028
- 01:24:23,792 --> 01:24:26,169
- Yeah, if you
- read them on the page it
- 2029
- 01:24:26,169 --> 01:24:27,504
- was a little more accurate.
- 2030
- 01:24:27,504 --> 01:24:29,631
- Kurt's the most charming
- person on the planet.
- 2031
- 01:24:29,631 --> 01:24:33,426
- When that sun comes out,
- I'm taking this woman into
- 2032
- 01:24:33,426 --> 01:24:35,762
- Red Rock to hang.
- 2033
- 01:24:35,762 --> 01:24:38,890
- The association of
- Quentin and Harvey
- 2034
- 01:24:38,890 --> 01:24:40,308
- over twenty-five years,
- 2035
- 01:24:40,308 --> 01:24:42,185
- it was a pretty
- good brotherhood.
- 2036
- 01:24:42,185 --> 01:24:44,521
- It was a pretty good
- combination of Hollywood
- 2037
- 01:24:44,521 --> 01:24:48,233
- power and of talent.
- 2038
- 01:24:48,233 --> 01:24:50,652
- In the past, with the
- Weinstein Company,
- 2039
- 01:24:50,652 --> 01:24:53,780
- whatever he said was-
- was the word of God.
- 2040
- 01:24:53,780 --> 01:24:55,949
- These guys, there was a toll,
- 2041
- 01:24:57,534 --> 01:24:58,201
- you know?
- 2042
- 01:24:58,201 --> 01:25:01,329
- He earned, he made enough
- money for everybody.
- 2043
- 01:25:03,581 --> 01:25:04,165
- We shot on seventy,
- 2044
- 01:25:04,165 --> 01:25:08,002
- because he knew
- that if we went to the
- 2045
- 01:25:08,002 --> 01:25:09,754
- expense of shooting
- on seventy,
- 2046
- 01:25:09,754 --> 01:25:11,798
- they were gonna
- project it in seventy.
- 2047
- 01:25:11,798 --> 01:25:14,676
- And it was the exhibition,
- which was as important
- 2048
- 01:25:14,676 --> 01:25:16,594
- as the image capture.
- 2049
- 01:25:16,594 --> 01:25:20,849
- Quentin cares about cinema
- and caring about cinema
- 2050
- 01:25:20,849 --> 01:25:22,851
- means literally
- caring about cinema,
- 2051
- 01:25:22,851 --> 01:25:25,812
- caring about film,
- the romance of cinema,
- 2052
- 01:25:25,812 --> 01:25:28,314
- how it looks and feels,
- and for him,
- 2053
- 01:25:28,314 --> 01:25:31,067
- he doesn't feel that
- digital technology
- 2054
- 01:25:31,067 --> 01:25:35,947
- approximates the impact
- that that flicker has on us.
- 2055
- 01:25:35,947 --> 01:25:37,031
- He just bought a theater.
- 2056
- 01:25:37,031 --> 01:25:38,908
- He owns the new Beverly Cinema.
- 2057
- 01:25:38,908 --> 01:25:41,828
- I've been going there recently
- introducing pictures.
- 2058
- 01:25:41,828 --> 01:25:43,538
- I love the new Beverly.
- I was there last week.
- 2059
- 01:25:43,538 --> 01:25:44,664
- We watched a print of Seven,
- 2060
- 01:25:44,664 --> 01:25:45,748
- which had silver in it.
- 2061
- 01:25:45,748 --> 01:25:47,041
- It was incredible.
- 2062
- 01:25:47,041 --> 01:25:47,792
- It was so beautiful.
- 2063
- 01:25:47,792 --> 01:25:49,586
- I mean Quentin leaned
- over to me and he's like,
- 2064
- 01:25:49,586 --> 01:25:50,670
- "Take a good look.
- 2065
- 01:25:50,670 --> 01:25:51,921
- You're never gonna see
- a finisher movie look
- 2066
- 01:25:51,921 --> 01:25:52,672
- this good again.
- 2067
- 01:25:52,672 --> 01:25:55,258
- It's
- like sad, but true.
- 2068
- 01:25:55,258 --> 01:25:56,801
- He wrote it in the script,
- glorious seventy
- 2069
- 01:25:56,801 --> 01:26:00,638
- millimeter about
- six times during the
- 2070
- 01:26:00,638 --> 01:26:01,431
- first twenty pages.
- 2071
- 01:26:01,431 --> 01:26:03,516
- And my jaw dropped
- when I saw that.
- 2072
- 01:26:03,516 --> 01:26:04,893
- I was like, "You're
- kidding me, right?
- 2073
- 01:26:04,893 --> 01:26:06,352
- You're gonna
- actually do this?"
- 2074
- 01:26:26,915 --> 01:26:29,334
- Once he found
- this big, gorgeous,
- 2075
- 01:26:29,334 --> 01:26:31,878
- beautiful seventy
- millimeter format,
- 2076
- 01:26:31,878 --> 01:26:35,965
- he realized that there
- was an intimacy.
- 2077
- 01:26:35,965 --> 01:26:38,301
- He'd shot a hundred
- close ups of Sam Jackson,
- 2078
- 01:26:38,301 --> 01:26:40,220
- but he never shot a
- close up of Sam Jackson
- 2079
- 01:26:40,220 --> 01:26:41,888
- that looked like that.
- 2080
- 01:26:41,888 --> 01:26:45,600
- And you literally could
- get even deeper underneath
- 2081
- 01:26:45,600 --> 01:26:47,852
- the skin and into the
- hearts and minds of these
- 2082
- 01:26:47,852 --> 01:26:51,314
- characters and hold
- these big wide frames
- 2083
- 01:26:51,314 --> 01:26:54,901
- so that you were
- almost in theater.
- 2084
- 01:26:54,901 --> 01:26:57,320
- Everybody had to be on
- at every given moment in
- 2085
- 01:26:57,320 --> 01:27:00,323
- those rooms all the time.
- 2086
- 01:27:00,323 --> 01:27:02,408
- I don't know really that
- Quentin would have felt
- 2087
- 01:27:02,408 --> 01:27:05,119
- all that comfortable doing
- the seventy millimeter thing
- 2088
- 01:27:05,119 --> 01:27:09,207
- if Bob Richardson wasn't
- his partner doing it with him.
- 2089
- 01:27:09,207 --> 01:27:11,292
- Bob brings so much
- to the table both
- 2090
- 01:27:11,292 --> 01:27:14,504
- technically and creatively.
- 2091
- 01:27:14,504 --> 01:27:19,759
- Quentin's exuberance and
- his enthusiasm for films
- 2092
- 01:27:19,759 --> 01:27:23,972
- and filmmaking is so
- unbelievably vast.
- 2093
- 01:27:23,972 --> 01:27:27,475
- And that's the way he
- was making Reservoir Dogs
- 2094
- 01:27:27,475 --> 01:27:29,644
- and that's the way he is
- making The Hateful Eight,
- 2095
- 01:27:29,644 --> 01:27:33,481
- and that spirit is contagious.
- 2096
- 01:27:34,774 --> 01:27:37,110
- Quentin values friendship.
- 2097
- 01:27:37,110 --> 01:27:40,363
- Quentin values
- deep relationships.
- 2098
- 01:27:40,363 --> 01:27:44,868
- Quentin values a rag tag
- sort of family that is
- 2099
- 01:27:44,868 --> 01:27:47,704
- more committed to each other
- than even actual blood.
- 2100
- 01:27:47,704 --> 01:27:49,789
- And I think that you
- see that on our set.
- 2101
- 01:27:49,789 --> 01:27:52,083
- That was a great one.
- 2102
- 01:27:52,083 --> 01:27:53,209
- We have the same people.
- 2103
- 01:27:53,209 --> 01:27:55,336
- Our script supervisor
- has been with Quentin since
- 2104
- 01:27:55,336 --> 01:27:56,379
- Reservoir Dogs.
- 2105
- 01:27:56,379 --> 01:27:58,798
- Our sound mixer, I think,
- has been with us since Pulp.
- 2106
- 01:27:58,798 --> 01:28:02,302
- The makeup crew, stunts,
- everybody feels like
- 2107
- 01:28:02,302 --> 01:28:03,386
- they're coming home.
- 2108
- 01:28:03,386 --> 01:28:04,637
- It's that Quentin thing
- where you're suddenly
- 2109
- 01:28:04,637 --> 01:28:06,598
- working around family
- and to see so many familiar
- 2110
- 01:28:06,598 --> 01:28:10,184
- faces and that loyalty that
- Quentin has to his people,
- 2111
- 01:28:10,184 --> 01:28:11,603
- his crew, and his cast.
- 2112
- 01:28:11,603 --> 01:28:13,062
- There's music playing.
- 2113
- 01:28:13,062 --> 01:28:15,273
- There's conversation.
- 2114
- 01:28:15,273 --> 01:28:16,107
- There's laughter.
- 2115
- 01:28:16,107 --> 01:28:17,942
- Quentin's like,
- "No cell phones on set.
- 2116
- 01:28:17,942 --> 01:28:18,735
- Let's go to work."
- 2117
- 01:28:18,735 --> 01:28:21,404
- And if you were caught
- with a cell phone,
- 2118
- 01:28:21,404 --> 01:28:23,114
- you'd be fired, no
- matter who you are.
- 2119
- 01:28:23,114 --> 01:28:25,158
- We called him Checkpoint
- Charlie where you had to
- 2120
- 01:28:25,158 --> 01:28:27,535
- turn in your cell phone
- and he put it in a Ziploc
- 2121
- 01:28:27,535 --> 01:28:29,329
- bag with your name on it,
- and there were absolutely
- 2122
- 01:28:29,329 --> 01:28:30,705
- no cell phones allowed on set.
- 2123
- 01:28:30,705 --> 01:28:31,998
- And so we talk to each other,
- 2124
- 01:28:31,998 --> 01:28:33,958
- we dance, we sing,
- we laugh.
- 2125
- 01:28:33,958 --> 01:28:35,585
- We talk about
- what we just did and
- 2126
- 01:28:35,585 --> 01:28:37,170
- how we can make it
- better the next time.
- 2127
- 01:28:37,170 --> 01:28:39,380
- Just like an extraordinary
- experience just being on
- 2128
- 01:28:39,380 --> 01:28:41,049
- set when it's that down take.
- 2129
- 01:28:41,049 --> 01:28:43,009
- He laughs openly during takes.
- 2130
- 01:28:43,009 --> 01:28:43,843
- He cheers.
- 2131
- 01:28:43,843 --> 01:28:46,304
- I imagine that he
- cuts himself out.
- 2132
- 01:28:46,304 --> 01:28:48,181
- Douche Bag take one.
- 2133
- 01:28:48,181 --> 01:28:50,475
- Twenty-eight prick,
- take two.
- 2134
- 01:28:50,475 --> 01:28:56,314
- Humiliation,
- take one, mark.
- 2135
- 01:28:56,314 --> 01:28:58,733
- - Premiere take one.
- - Premiere.
- 2136
- 01:28:58,733 --> 01:29:05,615
- His sets have
- become the most unique
- 2137
- 01:29:05,615 --> 01:29:07,575
- set experience you can have.
- 2138
- 01:29:07,575 --> 01:29:09,369
- What Quentin
- would say all the time,
- 2139
- 01:29:09,369 --> 01:29:15,875
- "All right, we got this
- and we could move on,
- 2140
- 01:29:15,875 --> 01:29:17,669
- but we're gonna do one more."
- 2141
- 01:29:17,669 --> 01:29:20,296
- We're gonna do one more.
- 2142
- 01:29:20,296 --> 01:29:21,464
- Why?
- 2143
- 01:29:21,923 --> 01:29:27,887
- Because we love making movies.
- 2144
- 01:29:27,887 --> 01:29:29,973
- I said, "Man, I'm- I'm-
- I'm on that train."
- 2145
- 01:29:30,807 --> 01:29:32,058
- He's a fan.
- 2146
- 01:29:32,058 --> 01:29:34,477
- You know he loves movies.
- 2147
- 01:29:34,477 --> 01:29:35,937
- He appreciates people.
- 2148
- 01:29:35,937 --> 01:29:38,481
- He's a fan of fans.
- 2149
- 01:29:38,481 --> 01:29:40,608
- He appreciates life.
- 2150
- 01:29:40,608 --> 01:29:43,111
- His way of socializing
- is inviting people over to
- 2151
- 01:29:43,111 --> 01:29:44,445
- watch a movie.
- 2152
- 01:29:44,445 --> 01:29:46,364
- He gets us all together.
- 2153
- 01:29:46,364 --> 01:29:48,408
- He screens a
- movie of some sort.
- 2154
- 01:29:48,408 --> 01:29:49,784
- Hey, everybody,
- come on and sit down.
- 2155
- 01:29:49,784 --> 01:29:51,411
- Let's watch this.
- 2156
- 01:29:51,411 --> 01:29:52,912
- And he'd go get some
- popcorn and sit there and
- 2157
- 01:29:52,912 --> 01:29:53,871
- watch it with you.
- 2158
- 01:29:53,871 --> 01:29:56,499
- It's a collective experience.
- 2159
- 01:29:57,125 --> 01:30:00,253
- He was showing it to
- us for the first time.
- 2160
- 01:30:00,253 --> 01:30:02,004
- We're just this
- group of, you know,
- 2161
- 01:30:02,004 --> 01:30:06,676
- people and actors that he
- had chosen to use in his movie.
- 2162
- 01:30:06,676 --> 01:30:08,678
- After the screening was over,
- 2163
- 01:30:08,678 --> 01:30:10,013
- I couldn't help but notice.
- 2164
- 01:30:10,013 --> 01:30:14,809
- He wasn't just sweating,
- he was- he was drenched.
- 2165
- 01:30:14,809 --> 01:30:19,522
- And yet, I've never
- met anyone who honestly
- 2166
- 01:30:19,522 --> 01:30:22,942
- comes even remotely close to
- the confidence he has when it
- 2167
- 01:30:22,942 --> 01:30:25,403
- comes to making his movie.
- 2168
- 01:30:25,403 --> 01:30:27,655
- It's amazing to me that
- he would have any nerves on
- 2169
- 01:30:27,655 --> 01:30:28,698
- the other end at all.
- 2170
- 01:30:29,699 --> 01:30:32,076
- But is shows, you know,
- how much he cares.
- 2171
- 01:30:39,208 --> 01:30:42,628
- He was big and
- he was everywhere.
- 2172
- 01:30:48,551 --> 01:30:50,344
- And everybody feared him.
- 2173
- 01:31:13,576 --> 01:31:14,994
- Quentin and Harvey
- 2174
- 01:31:14,994 --> 01:31:16,746
- Weinstein are two
- different animals.
- 2175
- 01:31:18,581 --> 01:31:18,998
- I get it.
- 2176
- 01:31:18,998 --> 01:31:21,083
- I understand why a
- lot of these girls
- 2177
- 01:31:21,083 --> 01:31:22,168
- didn't say anything.
- 2178
- 01:31:23,252 --> 01:31:24,670
- Their life depended on it.
- 2179
- 01:31:27,965 --> 01:31:31,469
- If my livelihood, the
- preservation of my children,
- 2180
- 01:31:33,805 --> 01:31:35,848
- if that is
- dependent upon someone
- 2181
- 01:31:35,848 --> 01:31:39,936
- else that has power,
- like a Harvey Weinstein,
- 2182
- 01:31:39,936 --> 01:31:41,646
- it's really scary.
- 2183
- 01:31:43,606 --> 01:31:47,527
- That's the underbelly
- of the industry that
- 2184
- 01:31:47,527 --> 01:31:50,238
- nobody knows about
- and it's really dark
- 2185
- 01:31:50,238 --> 01:31:52,240
- and it's really fucked up.
- 2186
- 01:31:53,199 --> 01:31:54,742
- I've been told things
- from a few people
- 2187
- 01:31:54,742 --> 01:31:56,327
- who haven't
- even shown up yet.
- 2188
- 01:31:59,288 --> 01:32:01,123
- I'll say exactly
- what Quentin said.
- 2189
- 01:32:01,123 --> 01:32:01,999
- He simply said, "Listen.
- 2190
- 01:32:01,999 --> 01:32:03,960
- I knew about it
- for a long time.
- 2191
- 01:32:05,253 --> 01:32:07,004
- And I should have said
- something, but I didn't."
- 2192
- 01:32:10,424 --> 01:32:11,759
- The fear factor
- 2193
- 01:32:11,759 --> 01:32:13,719
- should never have
- entered into any of it.
- 2194
- 01:32:13,719 --> 01:32:15,596
- And that's what I think
- the average person doesn't
- 2195
- 01:32:15,596 --> 01:32:19,350
- understand, the fear
- and the emotional shutdown
- 2196
- 01:32:19,350 --> 01:32:24,063
- that you'd have to
- force yourself into.
- 2197
- 01:32:24,063 --> 01:32:24,605
- Oh, my God.
- 2198
- 01:32:24,605 --> 01:32:26,190
- I can't believe
- what just happened.
- 2199
- 01:32:26,190 --> 01:32:28,192
- And who am I gonna
- say anything to?
- 2200
- 01:32:28,192 --> 01:32:31,571
- And if I do say
- something, I'm finished.
- 2201
- 01:32:31,571 --> 01:32:33,072
- I won't be in
- another movie and
- 2202
- 01:32:33,072 --> 01:32:35,783
- I won't be able to
- fulfill my life.
- 2203
- 01:32:35,783 --> 01:32:37,285
- That's a pretty hard thing.
- 2204
- 01:32:49,839 --> 01:32:51,883
- Now you find out about
- these hundreds of
- 2205
- 01:32:51,883 --> 01:32:54,510
- thousands of dollars that
- was paid out to these
- 2206
- 01:32:54,510 --> 01:32:56,596
- different girls in
- situations with him.
- 2207
- 01:32:57,763 --> 01:32:58,681
- But see the people
- 2208
- 01:32:58,681 --> 01:33:00,182
- who are complicit with that,
- 2209
- 01:33:00,182 --> 01:33:01,726
- who followed his orders,
- 2210
- 01:33:01,726 --> 01:33:04,437
- they're just as blameable
- and corrupted as- as him.
- 2211
- 01:33:04,896 --> 01:33:05,813
- And a lot of that ain't
- 2212
- 01:33:05,813 --> 01:33:07,148
- on the cover of Time Magazine.
- 2213
- 01:33:07,148 --> 01:33:08,274
- They're still hiding.
- 2214
- 01:33:08,274 --> 01:33:10,693
- There's a lot of them
- out there who were
- 2215
- 01:33:10,693 --> 01:33:12,528
- more than
- happy to follow the
- 2216
- 01:33:12,528 --> 01:33:14,697
- orders and the ideals of,
- 2217
- 01:33:14,697 --> 01:33:16,199
- uh, Harvey's opinion.
- 2218
- 01:33:19,702 --> 01:33:21,537
- And the fact
- that your own body,
- 2219
- 01:33:21,537 --> 01:33:25,833
- your own face, your
- physical being is what you
- 2220
- 01:33:25,833 --> 01:33:28,002
- use as your
- instrument of work,
- 2221
- 01:33:28,502 --> 01:33:30,421
- and if that gets
- persecuted and that gets
- 2222
- 01:33:30,421 --> 01:33:32,089
- ruined and that gets destroyed,
- 2223
- 01:33:32,089 --> 01:33:34,675
- and somebody like Harvey
- has the power to do that,
- 2224
- 01:33:34,675 --> 01:33:35,760
- don't hire that person.
- 2225
- 01:33:36,052 --> 01:33:37,136
- And the people who would take
- 2226
- 01:33:37,136 --> 01:33:39,180
- a call from a Harvey Weinstein,
- 2227
- 01:33:39,180 --> 01:33:40,389
- "Oh, that was Harvey."
- 2228
- 01:33:40,389 --> 01:33:44,226
- "Yeah, he says
- not to hire so and so."
- 2229
- 01:33:49,982 --> 01:33:54,570
- Having now separated
- himself so instantaneously
- 2230
- 01:33:54,570 --> 01:33:56,864
- from Harvey, that
- was the end of it.
- 2231
- 01:34:10,378 --> 01:34:11,837
- It's the end of an era.
- 2232
- 01:34:13,756 --> 01:34:15,591
- It's an era that
- certainly made a point
- 2233
- 01:34:15,591 --> 01:34:19,053
- and was envied by an
- awful lot of people.
- 2234
- 01:34:25,393 --> 01:34:26,602
- He has moved on.
- 2235
- 01:34:30,773 --> 01:34:31,983
- He's making a new movie.
- 2236
- 01:34:31,983 --> 01:34:33,609
- He's doing Once Upon
- a Time in Hollywood.
- 2237
- 01:34:35,444 --> 01:34:36,195
- And it ain't with the
- 2238
- 01:34:36,195 --> 01:34:37,196
- Weinstein Company.
- 2239
- 01:34:37,863 --> 01:34:42,284
- Quentin Tarantino
- is a rock star.
- 2240
- 01:34:43,911 --> 01:34:46,580
- Quentin Tarantino can do
- a movie about any subject
- 2241
- 01:34:46,580 --> 01:34:49,041
- matter that he wants to
- because Quentin Tarantino
- 2242
- 01:34:49,041 --> 01:34:51,252
- stands out in front of
- the movie a little bit.
- 2243
- 01:34:56,132 --> 01:34:57,717
- He's not gonna fade out.
- 2244
- 01:34:57,717 --> 01:34:59,760
- This is why he talks
- about making ten.
- 2245
- 01:34:59,760 --> 01:35:02,638
- He doesn't want to be
- that guy who people go,
- 2246
- 01:35:02,638 --> 01:35:04,181
- "Oh, most of them was good,
- 2247
- 01:35:04,181 --> 01:35:06,726
- but his stuff, you know
- as his stuff used to be,
- 2248
- 01:35:06,726 --> 01:35:08,936
- but you know he's a bit
- too old for it now,
- 2249
- 01:35:08,936 --> 01:35:09,812
- you know.
- 2250
- 01:35:09,812 --> 01:35:10,521
- Bless him."
- 2251
- 01:35:10,521 --> 01:35:11,230
- Doesn't want that.
- 2252
- 01:35:11,230 --> 01:35:12,314
- I don't know, man.
- 2253
- 01:35:12,314 --> 01:35:14,984
- I think he needs to live
- to a hundred and fifty or
- 2254
- 01:35:14,984 --> 01:35:17,820
- two hundred years just so
- he can accomplish whatever
- 2255
- 01:35:17,820 --> 01:35:19,113
- he wants to accomplish.
- 2256
- 01:35:19,113 --> 01:35:25,369
- You know how his
- characters are related.
- 2257
- 01:35:25,369 --> 01:35:26,287
- There's always a kind of a
- 2258
- 01:35:26,287 --> 01:35:28,456
- family history
- that runs through.
- 2259
- 01:35:28,456 --> 01:35:29,248
- I'm Doctor King Schultz.
- 2260
- 01:35:29,248 --> 01:35:30,708
- This is my horse Fritz.
- 2261
- 01:35:31,625 --> 01:35:33,377
- Full loads? Obviously.
- 2262
- 01:35:34,045 --> 01:35:38,799
- Dandy Michaels, Joe Nash, and...
- 2263
- 01:35:38,799 --> 01:35:39,925
- Crazy Craig Koons.
- 2264
- 01:35:41,260 --> 01:35:43,763
- This here is Captain Koons.
- 2265
- 01:35:43,763 --> 01:35:46,640
- He was in the POW
- camp with Daddy.
- 2266
- 01:35:46,640 --> 01:35:47,850
- You know there's a family chain,
- 2267
- 01:35:47,850 --> 01:35:49,477
- that there's a string
- that runs from the beginning
- 2268
- 01:35:49,477 --> 01:35:50,478
- through to the end.
- 2269
- 01:35:52,438 --> 01:35:54,774
- Hello, little man.
- 2270
- 01:35:54,774 --> 01:35:56,650
- So I am in Hateful Eight,
- 2271
- 01:35:56,650 --> 01:35:59,862
- the great- great
- grandfather of
- 2272
- 01:35:59,862 --> 01:36:01,989
- Michael Fassbender's character
- 2273
- 01:36:01,989 --> 01:36:03,449
- in Inglourious Basterds.
- 2274
- 01:36:03,449 --> 01:36:06,952
- I'm watching Kill Bill,
- and there's Earl McGraw alive
- 2275
- 01:36:06,952 --> 01:36:09,705
- as a character in it
- with his son, James Parks.
- 2276
- 01:36:09,705 --> 01:36:12,375
- I said, "They got killed in From
- Dust Till Dawn One and Two."
- 2277
- 01:36:12,375 --> 01:36:14,293
- He goes,
- "This happens before that."
- 2278
- 01:36:14,293 --> 01:36:15,336
- I'm like, "Oh, God.
- 2279
- 01:36:15,336 --> 01:36:17,922
- You- you like a gen-He's-
- he's- he reminds me of like
- 2280
- 01:36:17,922 --> 01:36:19,048
- Norman Lear, you know,
- 2281
- 01:36:19,048 --> 01:36:21,425
- how All In The Family
- begot The Jeffersons and
- 2282
- 01:36:21,425 --> 01:36:22,968
- The Jeffersons begot
- the Good Times
- 2283
- 01:36:22,968 --> 01:36:24,303
- and so on and so forth.
- 2284
- 01:36:24,303 --> 01:36:26,680
- He was gonna make
- the Vega Brothers,
- 2285
- 01:36:26,680 --> 01:36:28,307
- which would be me and John,
- 2286
- 01:36:28,307 --> 01:36:29,350
- which would have been great,
- 2287
- 01:36:29,350 --> 01:36:30,184
- right?
- 2288
- 01:36:30,184 --> 01:36:31,268
- 'Cause that would be believable,
- 2289
- 01:36:31,268 --> 01:36:31,894
- right?
- 2290
- 01:36:31,894 --> 01:36:35,189
- It would have to be a prequel
- because we're both dead,
- 2291
- 01:36:35,189 --> 01:36:36,899
- which doesn't make sense,
- 2292
- 01:36:36,899 --> 01:36:38,734
- but that's how it would be.
- 2293
- 01:36:38,734 --> 01:36:39,944
- He's got his ten.
- 2294
- 01:36:39,944 --> 01:36:41,195
- He'll do other stuff.
- 2295
- 01:36:41,195 --> 01:36:43,864
- And I know some
- of his plans and they're
- 2296
- 01:36:43,864 --> 01:36:44,907
- fucking amazing.
- 2297
- 01:36:44,907 --> 01:36:46,951
- You're writing
- your life story.
- 2298
- 01:36:46,951 --> 01:36:48,619
- You bet I am.
- 2299
- 01:36:48,619 --> 01:36:50,037
- Am I in it?
- 2300
- 01:36:50,037 --> 01:36:53,332
- You just entered.
- 2301
- 01:36:53,332 --> 01:36:55,042
- I mean, I wonder when
- he starts writing books
- 2302
- 01:36:55,042 --> 01:36:56,836
- whether he will,
- some of these characters will
- 2303
- 01:36:56,836 --> 01:36:58,170
- show up in his novels.
- 2304
- 01:36:59,839 --> 01:37:01,590
- It's complete.
- It's a hundred percent.
- 2305
- 01:37:01,590 --> 01:37:04,802
- And sacrificed relationship,
- 2306
- 01:37:04,802 --> 01:37:06,846
- having children,
- all of that stuff to
- 2307
- 01:37:06,846 --> 01:37:08,848
- pursue his dream.
- 2308
- 01:37:08,848 --> 01:37:11,392
- He's a complete filmmaker
- and- and an artist in- in
- 2309
- 01:37:11,392 --> 01:37:12,601
- the full on sense.
- 2310
- 01:37:13,811 --> 01:37:14,687
- We're gonna miss it.
- 2311
- 01:37:14,687 --> 01:37:17,773
- We're gonna miss the
- opportunity that he brings.
- 2312
- 01:37:17,773 --> 01:37:19,817
- And it's true of all of us.
- 2313
- 01:37:19,817 --> 01:37:22,027
- If your phone
- buzzes in your pocket
- 2314
- 01:37:22,027 --> 01:37:23,529
- and you take it
- out of your pocket
- 2315
- 01:37:23,529 --> 01:37:24,530
- and you look at it and it says
- 2316
- 01:37:24,530 --> 01:37:26,490
- QT on it,
- you go please, please,
- 2317
- 01:37:26,490 --> 01:37:30,536
- please, oh just please,
- please be one, please.
- 2318
- 01:37:30,536 --> 01:37:32,246
- You know and.
- 2319
- 01:37:32,246 --> 01:37:34,415
- Hi. And he goes, "Hi.
- 2320
- 01:37:34,415 --> 01:37:35,958
- Um, I've got something
- I want you to read."
- 2321
- 01:37:35,958 --> 01:37:37,251
- And you're done.
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