Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated:
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Encoded by Dr. B
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Who do you know right
now that's dangerous?
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I got a friend and he and
I love to fuck shit up.
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There is no one like Quentin.
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There's Quentin.
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He makes a different
kind of movie.
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You're gonna land the
word nigger a hundred
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and ten times on Christmas?
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Quentin loves strong
female characters.
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Brilliant, hilarious,
and disturbing.
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From the mind of
Quentin Tarantino,
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he really is a powerhouse
of creativity.
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It's Quentin's World.
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It's his baby.
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He wrote it.
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He's a lightning rod.
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He's absolutely unique.
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He's the voice of
his generation.
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It's the end of
an era of Quentin
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and the Weinstein Company.
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He's not gonna fade out.
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This is why he talks
about making ten.
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Quentin is a champion
of the female.
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And he's just the build,
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but he gets the
opportunity to do this.
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And then there are the movies.
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Now, that's what he
says about himself,
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about how he sees the world,
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his very purpose of existence.
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Quentin's sort of a
natural born filmmaker.
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It's his passion.
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It's where he connects
with the full range of
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human feeling.
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And I think that you really
see the through line
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of his fascinations as
a human being running
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all the way through
what matters to him,
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looking at race in America...
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...looking at what is romance...
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...commitment...
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...honor...
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...betrayal,
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loyalty...
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...and people having to
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do the right thing.
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It's for sure the end of an era.
The Weinsteins
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have been the distributor of
every single film of
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...his in the United States.
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Eight movies, all of them,
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very successful.
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He surely is immortality.
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A friend of mine, he turned
me onto Quentin Tarantino,...
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...who was
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stuffing video boxes at
Imperial Entertainment.
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And we had this meeting
and he seemed like kind of
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an overzealous geek.
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Pardon, pardon me.
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But guess what?
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He had the talent to back it up.
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He would sleep on my couch.
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I don't think he had
a car at the time
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and flat broke.
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"I want to get in
the movie business.
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Do I think I can write?
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I'm gonna give it a stab,
'cause all it takes is
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a pen and paper."
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I asked him about
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writing on a computer.
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He said, "You can't
write on a computer."
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I'm like, "Why not?"
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He's like, "You can't write
poetry on a computer.
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He's like, "My pen is
my antennae to God.
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That's how I write.
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It just- it just flows.
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It's just a receiver."
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He has a red pen and a
black pen, felt tip,
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and yellow legal pad, and
dit-dit-dit-dit-dit-dit-dit.
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That was it.
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Five minutes later,
he's got dialogue that would
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take some people an
entire lifetime to write.
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I think Quentin
basically writes novels
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and then when he's directing,
he's basically adapting
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his own novel to the screen.
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A lot of different
things are gonna happen.
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It's a roller coaster ride.
Oh, yeah, baby.
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You're gonna be horrified.
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(groans)
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You're gonna feel relief.
Then say something.
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Something.
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You're gonna feel romance.
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Quentin is above all a romantic.
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First script,
True Romance,
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Clarence saving Alabama is
the beginning of rescuing
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the princess that really
pays off in Django coming
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back to rescue Broomhilda.
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The first script of his I read
was Natural Born Killers.
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And when I read that I went,
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whoa, this guy's amazing.
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Then I read True Romance.
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I went, what the?
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What's going on.
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What's wrong with Hollywood?
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Where is everybody?
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You'd take home a slog of
twenty scripts a weekend
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and you're looking for
that thing that jumps off
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the page where the
characters are alive,
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where the dialogue
doesn't feel trite.
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Every kid wants to
give you a script
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and you- you- you with
the best intentions,
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you go, God, I
hope this is good.
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And then by page two
it's like turning like
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(groans)
oh, I can't turn the page.
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This is really just terrible.
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Not with Quentin.
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No way.
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Oh, they're brilliant
screenplays.
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Can you imagine having to
sell those to pay your rent?
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I mean, wow, you know.
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(inhales) I read a lot.
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(exhales)
Especially about things
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about history.
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I find that shit fascinating.
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Here's a fact.
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I don't know whether
you know or not.
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Well...
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Sicilians were
spawned by niggers.
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Uh, come again?
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(laughs)
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You look at the stuff
that Quentin writes.
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If it was on stage,
he'd have the Pulitzer.
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You know, because it's movies,
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everyone said, "Oh,
he was in a video store.
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He stole."
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Which of course launched
a thousand people working
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in video stores going,
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"Oh, I'm gonna be
the next Tarantino."
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Well, literally,
there's Quentin
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and there's everyone else.
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There's great stories,
great characters.
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Later on in the story...
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Clearly in True Romance,
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Clarence is a surrogate
for Quentin.
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You see his love of cinema
present in his voice
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as he expertly carries
you through his films.
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(overlapping) Oh! Ooh. You
have three kung-fu moves.
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In the original draft,
his version of True Romance,
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it was non-linear storytelling.
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The audience is
ahead of the characters
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and on the edge of their seat
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'cause they know
something bad's coming.
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And Tony Scott in his
adaptation made it linear,
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and Quentin loves True Romance,
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but Clarence died in
Quentin's version.
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Sweetie! (sobs)
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He had sold True Romance.
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He was hoping to direct it.
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Baby!
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He wasn't gonna be able to.
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He couldn't get anywhere
with Natural Born Killers.
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Um, he couldn't get that
going to direct, also.
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And he wrote Reservoir
Dogs so that it would be
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set in one contained place,
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so that no matter what happened,
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he was gonna direct this movie
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with the twenty thousand
dollars he had made on
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Golden Girls residuals for
being an Elvis impersonator.
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(sings) I do love you
with all my heart.
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I read a script of
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Reservoir Dogs and I just
hoped that the writer
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who said he was going
to be the director
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was really a director.
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I introduced him to my
friend Lawrence Bender,
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and Lawrence got Reservoir
Dogs all up and running.
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And Lawrence said,
"Give me a month.
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I know somebody who
knows Harvey Keitel."
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And Harvey said yes.
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I was pumping gas, man.
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I was driving a tow truck and,
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uh, I had done Thelma and Louise
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and I had done
some episodic TV.
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And I got that
thing and, you know,
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I- I- I'd never read
anything like it in my life.
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These guys and they're
named after colors.
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Mr. Brown, Mr. White,
Mr. Blonde, Mr. Blue,
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Mr. Orange, and Mr. Pink.
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Why am I Mr. Pink?
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And I remember my agent,
she was saying,
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"Well, you know, they all kill
each other at the end and,
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(clicks tongue) you know,
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there's no money
and, uh, you know,
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nobody's ever heard of
this Quentin guy and...
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You have no way of knowing
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with a first time director
whether they can direct or not.
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You never know.
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But Quentin, even then,
prior to making any film,
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knew every actor's resume.
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This guy was in this.
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I want this guy from this,
and this Lawrence Tierney
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was in Dillinger and I want him.
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He just set about putting
together the ensemble
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and it came out exactly
the way he wanted it.
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I don't know why he had me
stuck in his head to play
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Mr. Blonde, 'cause I didn't
want to play Mr. Blonde.
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I didn't want to get shot
by Tim Roth, you know.
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I don't want to be
killed by Tim Roth.
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I was like, hey, man,
"Who's Tim Roth?"
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00:09:06,842 --> 00:09:08,594
I went along and met with him
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00:09:08,594 --> 00:09:10,429
and- and Harvey Keitel.
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00:09:10,429 --> 00:09:13,599
And they wanted me to read
and I wouldn't read for it.
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00:09:13,599 --> 00:09:16,185
I'm very bad at auditioning.
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I got to memorize all of this?
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There's over four fuckin'
pages of this shit.
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00:09:19,813 --> 00:09:21,481
And they pushed, you know,
they were pushing me.
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00:09:21,481 --> 00:09:23,692
And so, me and Quentin
went and got some food
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00:09:23,692 --> 00:09:26,153
and then some beer, and then
we went down to a pub near me
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00:09:26,153 --> 00:09:27,195
and we got more beer.
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00:09:27,195 --> 00:09:29,907
And we read every
character in the script
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I don't know how many times.
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00:09:31,950 --> 00:09:33,535
I'd let Harvey Keitel kill me,
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00:09:33,535 --> 00:09:36,538
but I don't, I'm not getting
killed by Tim Roth.
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I was on the floor in
a disproportionate
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amount of blood to
what you can actually
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contain in a human body.
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00:09:51,220 --> 00:09:52,930
At the end of the day, one day,
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we- we- we hugged each other.
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00:09:55,098 --> 00:09:57,517
And, you know, we're
both covered with blood,
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00:09:57,517 --> 00:09:59,061
but it's- it's syrup,
basically.
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00:09:59,061 --> 00:09:59,978
It's- it's fake.
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00:09:59,978 --> 00:10:02,189
It's stage blood and
so when it starts to dry
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00:10:02,189 --> 00:10:04,441
a little bit it
gets extremely sticky.
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00:10:04,441 --> 00:10:07,653
And we were hugging
each other, like,
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00:10:07,653 --> 00:10:10,155
you know, doing
the big guy hug thing
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00:10:10,155 --> 00:10:12,532
and we- we couldn't get apart.
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00:10:12,532 --> 00:10:14,159
We were stuck together.
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00:10:14,159 --> 00:10:16,119
(laughs)
235
00:10:16,119 --> 00:10:17,829
And the wardrobe people
were convinced that
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00:10:17,829 --> 00:10:20,332
if we forcefully separated
that it would tear
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00:10:20,332 --> 00:10:22,584
the clothes apart,
and they didn't have
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a lot of budget for wardrobe.
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00:10:24,211 --> 00:10:25,379
In fact, that was my suit.
240
00:10:27,422 --> 00:10:30,842
He told us to come to work in
a black suit with white shirts.
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00:10:30,842 --> 00:10:32,135
They gave us the ties.
242
00:10:32,135 --> 00:10:32,844
That was about it.
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00:10:32,844 --> 00:10:34,388
And if you watch the movie,
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00:10:34,388 --> 00:10:37,683
Steve Buscemi
has black jeans on.
245
00:10:37,683 --> 00:10:39,893
Those aren't- aren't-
aren't suit pants.
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00:10:39,893 --> 00:10:42,145
They're black jeans, man.
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00:10:42,145 --> 00:10:45,023
And my suit, the
jacket or the pants,
248
00:10:45,023 --> 00:10:46,149
don't go together.
249
00:10:46,149 --> 00:10:47,734
They're from two
different suits.
250
00:10:47,734 --> 00:10:50,112
When I see the movie,
that's all I remember is
251
00:10:50,112 --> 00:10:51,697
my pants were too tight, man.
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00:10:51,697 --> 00:10:53,281
They were making me crazy.
253
00:10:53,281 --> 00:10:55,367
And I didn't have black shoes.
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00:10:55,367 --> 00:10:56,368
He wanted everyone
to have black shoes.
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00:10:56,368 --> 00:10:57,452
I didn't have any.
256
00:10:57,452 --> 00:11:00,372
But I had black
cowboy boots, see.
257
00:11:00,372 --> 00:11:02,708
So that's how
the razor ended up
258
00:11:02,708 --> 00:11:04,126
being in the boot,
259
00:11:04,126 --> 00:11:06,128
because what am I gonna
do with this razor?
260
00:11:06,128 --> 00:11:07,295
Where is it gonna come from.
261
00:11:07,295 --> 00:11:08,797
You know that's
how that happened.
262
00:11:09,715 --> 00:11:12,426
In the script it said,
"Mr. Blonde dances
263
00:11:12,426 --> 00:11:15,721
maniacally around
the manacled cop."
264
00:11:15,721 --> 00:11:18,640
And every time we got to
the part of the rehearsal
265
00:11:18,640 --> 00:11:20,058
where that was about to happen,
266
00:11:20,058 --> 00:11:22,394
I would say, "Quentin,
I don't know what to do."
267
00:11:22,394 --> 00:11:23,645
And he'd go, "No, no, no.
268
00:11:23,645 --> 00:11:24,896
We'll- we'll-
we'll shoot another day.
269
00:11:24,896 --> 00:11:26,023
We'll shoot another day."
270
00:11:26,023 --> 00:11:27,941
He didn't want to do,
um, the dancing.
271
00:11:28,859 --> 00:11:29,568
Didn't want to do it.
272
00:11:30,402 --> 00:11:31,028
Iconic.
273
00:11:31,778 --> 00:11:32,362
Right?
274
00:11:32,362 --> 00:11:33,655
Yeah. I was like,
"Fuck, man.
275
00:11:33,655 --> 00:11:36,116
I'll do it,"
(laughs)
276
00:11:36,116 --> 00:11:37,367
from the floor.
277
00:11:37,367 --> 00:11:41,121
I asked him, I said,
um, "What's the music
278
00:11:41,121 --> 00:11:43,707
you're gonna play over
this whole thing?"
279
00:11:43,707 --> 00:11:45,834
And he said, uh, "Well..."
280
00:11:45,834 --> 00:11:48,503
he said, "I really want,
uh, Stealers Wheel.
281
00:11:48,503 --> 00:11:49,963
I want to do
"Stuck In The Middle."
282
00:11:49,963 --> 00:11:52,215
And I said,
"Why don't you play it for me."
283
00:11:52,215 --> 00:11:54,051
And so they put
it on a boom box.
284
00:11:54,051 --> 00:11:57,345
That's actually how it's
actually cued in the movie.
285
00:11:57,345 --> 00:12:00,682
And so I slowly started
to stand up and I sang while
286
00:12:00,682 --> 00:12:03,518
I started to suddenly do my
version of a maniacal dance.
287
00:12:03,518 --> 00:12:07,647
(sings) Well, I don't know why
I came here tonight I got...
288
00:12:07,647 --> 00:12:10,025
Honestly, I don't know
where it came from.
289
00:12:10,025 --> 00:12:10,817
I honestly don't.
290
00:12:10,817 --> 00:12:13,862
(sings) And I'm wondering
how I'll get down the stairs
291
00:12:13,862 --> 00:12:15,530
I can't dance,
which is obvious,
292
00:12:15,530 --> 00:12:17,157
and- and then
sort--I just went with it,
293
00:12:17,157 --> 00:12:18,283
'cause I felt like
it was working
294
00:12:18,283 --> 00:12:19,451
and I didn't hear
him say, "cut".
295
00:12:19,451 --> 00:12:21,119
(sings) ...stuck in
the middle with you.
296
00:12:21,119 --> 00:12:22,704
I felt really respected.
297
00:12:22,704 --> 00:12:24,331
And the fact that
he let me do that,
298
00:12:24,331 --> 00:12:26,083
I mean, I- I loved him for that.
299
00:12:26,083 --> 00:12:28,293
Even the- the ear thing.
300
00:12:28,293 --> 00:12:31,338
He said, "Okay, step in
the frame with the ear."
301
00:12:31,338 --> 00:12:33,757
So I walk in the frame
and I have it in my hand,
302
00:12:33,757 --> 00:12:35,425
which is a horrifying
moment, you know.
303
00:12:35,425 --> 00:12:37,177
Oh, my God.
304
00:12:37,177 --> 00:12:38,970
And he's going,
"Throw it.
305
00:12:38,970 --> 00:12:39,429
Throw it.
306
00:12:39,429 --> 00:12:40,347
Throw it."
307
00:12:40,347 --> 00:12:42,974
And I didn't really
want to throw it,
308
00:12:42,974 --> 00:12:45,977
but I couldn't think of
anything interesting to do.
309
00:12:45,977 --> 00:12:47,979
And so I spoke in it.
310
00:12:47,979 --> 00:12:49,022
Hey, what's going on?
311
00:12:49,022 --> 00:12:50,565
(groans) You hear that?
312
00:12:50,565 --> 00:12:52,317
(groans) (laughs)
So then I threw it.
313
00:12:52,317 --> 00:12:55,028
And I was thinking, God,
if you were that guy,
314
00:12:55,028 --> 00:12:56,405
if someone did that to you,
315
00:12:56,405 --> 00:12:57,823
how horrible would that be?
316
00:12:57,823 --> 00:12:59,407
It was a terrifying movie.
317
00:12:59,407 --> 00:13:00,826
As an audience,
318
00:13:00,826 --> 00:13:03,578
we had never seen anything
like that really.
319
00:13:03,578 --> 00:13:08,959
It felt so new and so
exciting and explosive
320
00:13:08,959 --> 00:13:11,628
and dynamic in
just the dialogue.
321
00:13:11,628 --> 00:13:13,380
Give me that fuckin' thing.
322
00:13:13,380 --> 00:13:15,090
Now what the hell do you
think you're doin'?
323
00:13:15,090 --> 00:13:15,715
Give me my book back.
324
00:13:15,715 --> 00:13:17,008
I'm sick of fuckin' hearing it.
325
00:13:17,008 --> 00:13:19,219
Joe, I'll give it back
to you when we leave.
326
00:13:19,219 --> 00:13:20,512
What do you mean when we leave?
327
00:13:20,512 --> 00:13:21,555
Give me it back now.
328
00:13:21,555 --> 00:13:23,306
For the past fifteen
minutes now,
329
00:13:23,306 --> 00:13:26,935
you've been droning
on about names, Toby.
330
00:13:26,935 --> 00:13:27,686
Toby?
331
00:13:27,686 --> 00:13:29,437
Once we started shooting
Reservoir Dogs...
332
00:13:29,437 --> 00:13:30,230
...and I remember just being
333
00:13:30,230 --> 00:13:32,065
a couple days in,
334
00:13:32,065 --> 00:13:35,777
and I pulled Harvey
Keitel aside and I said,
335
00:13:35,777 --> 00:13:37,362
"Harvey, I'm so excited."
336
00:13:37,362 --> 00:13:39,447
And he said, "Well, why
are you so excited?"
337
00:13:39,447 --> 00:13:41,908
And I said,
"Well, I never imagined
338
00:13:41,908 --> 00:13:44,744
that what we would do on
the film would better
339
00:13:44,744 --> 00:13:46,705
the experience that
I had of sitting alone
340
00:13:46,705 --> 00:13:48,832
in my room reading the script."
341
00:13:48,832 --> 00:13:51,126
I've got Madonna's big dick
coming out of my left ear
342
00:13:51,126 --> 00:13:53,837
and Toby the Jack,
I don't know what,
343
00:13:53,837 --> 00:13:54,880
comin' out of my right.
344
00:13:54,880 --> 00:13:57,090
And Harvey Keitel
said, "Of course,
345
00:13:57,090 --> 00:13:58,049
it's better than that.
346
00:13:58,049 --> 00:13:58,842
I'm here."
347
00:13:58,842 --> 00:13:59,634
(laughs)
348
00:13:59,634 --> 00:14:01,803
There's just so much
good stuff in them.
349
00:14:01,803 --> 00:14:04,222
No only visually,
but, and not only
350
00:14:04,222 --> 00:14:06,641
what the actors say,
but what they do
351
00:14:06,641 --> 00:14:10,520
and how they do it and how
the plot unfolds.
352
00:14:10,520 --> 00:14:13,648
I think the reason
that every critic
353
00:14:13,648 --> 00:14:17,444
and journalist went crazy
for Reservoir Dogs
354
00:14:17,444 --> 00:14:19,070
is rightfully so.
355
00:14:19,070 --> 00:14:23,116
It was the debut of an
extraordinary new voice.
356
00:14:23,116 --> 00:14:30,457
And, you know, it was our
nineties Auteur Indie cinema,
357
00:14:30,457 --> 00:14:33,210
you know, the equivalent
of the French New Wave,
358
00:14:33,210 --> 00:14:36,254
breaking any rules that he
wants.
359
00:14:36,254 --> 00:14:37,380
It was thrilling.
360
00:14:39,007 --> 00:14:43,720
(groans)
361
00:14:43,720 --> 00:14:45,597
We were walking
back to the trailers.
362
00:14:45,597 --> 00:14:48,516
I remember Harvey, he says,
"This is good, right?"
363
00:14:48,516 --> 00:14:49,768
And- and, (chuckles)
I went,
364
00:14:49,768 --> 00:14:51,811
"Yes, really fuckin' good."
365
00:14:51,811 --> 00:14:53,563
(chuckles)
Who's a tough guy?
366
00:14:53,563 --> 00:14:55,565
(wheezes)
Who's a tough guy?
367
00:14:55,565 --> 00:14:57,567
(wheezes) And he went,
"Don't jinx it.
368
00:14:57,567 --> 00:14:58,109
Don't jinx it.
369
00:14:58,109 --> 00:14:58,902
Whatever you do,
don't jinx it."
370
00:14:58,902 --> 00:14:59,945
I said, "Okay."
371
00:14:59,945 --> 00:15:03,531
But it was, the word was
out on this- on this guy.
372
00:15:03,531 --> 00:15:05,200
So when we went
to France with...
373
00:15:05,200 --> 00:15:06,117
..Reservoir Dogs,
374
00:15:06,117 --> 00:15:09,079
it was, um, it was chosen
as an official selection
375
00:15:09,079 --> 00:15:11,790
of the film festival,
which is a very prestigious
376
00:15:11,790 --> 00:15:13,208
place to be,
particularly for
377
00:15:13,208 --> 00:15:14,751
a first time director.
378
00:15:14,751 --> 00:15:16,461
So we showed our
film in the Palais,
379
00:15:16,461 --> 00:15:19,297
and in the three
days prior to that,
380
00:15:19,297 --> 00:15:22,217
Quentin and Lawrence and
I are walking around Cannes
381
00:15:22,217 --> 00:15:24,553
and walking down the
Croisette and looking at
382
00:15:24,553 --> 00:15:26,763
different movies and going
to different screenings
383
00:15:26,763 --> 00:15:28,056
and just... Hey.
384
00:15:28,056 --> 00:15:29,307
...having a good old time.
385
00:15:29,307 --> 00:15:33,645
And then we screen the
film as a midnight special
386
00:15:33,645 --> 00:15:35,188
screening in the Palais.
387
00:15:35,188 --> 00:15:38,233
And the day after that,
388
00:15:38,233 --> 00:15:41,027
when we would walk down
the street as we were
389
00:15:41,027 --> 00:15:42,988
goofy guys wandering around,
390
00:15:42,988 --> 00:15:45,407
you'd start to hear
people going, "Tarantino!
391
00:15:45,407 --> 00:15:46,783
Tarantino!"
392
00:15:46,783 --> 00:15:50,370
And thus the legend
of Quentin began.
393
00:15:50,370 --> 00:15:53,707
The Auteur was born
somewhat as it should be
394
00:15:53,707 --> 00:15:55,500
in Cannes.
395
00:15:55,500 --> 00:15:59,546
The day after it screened,
I got a call from Mario Kassar
396
00:15:59,546 --> 00:16:01,381
who is head of
Carolco and he said,
397
00:16:01,381 --> 00:16:04,467
"All of our directors
on our boat,
398
00:16:04,467 --> 00:16:07,846
um, want to meet Quentin.
399
00:16:07,846 --> 00:16:11,516
Like what is this movie you
made and who is this guy?"
400
00:16:11,516 --> 00:16:13,518
And I said, well,
I'll bring him by.
401
00:16:13,518 --> 00:16:17,355
So we showed up at
the boat and Renny Harlin
402
00:16:17,355 --> 00:16:19,524
and Oliver Stone
and James Cameron
403
00:16:19,524 --> 00:16:22,611
and Paul Verhoeven
were all there
404
00:16:22,611 --> 00:16:25,947
and they just wanted
to meet Quentin.
405
00:16:25,947 --> 00:16:27,907
And, suddenly,
Quentin has,
406
00:16:27,907 --> 00:16:29,117
not only a seat at the table,
407
00:16:29,117 --> 00:16:31,745
but is kind of running
the table and these guys are
408
00:16:31,745 --> 00:16:33,913
so interested in Quentin.
409
00:16:33,913 --> 00:16:36,166
And this is how it
sort of all began.
410
00:16:36,166 --> 00:16:37,667
Quentin came back
411
00:16:37,667 --> 00:16:40,337
from Cannes after
Reservoir Dogs.
412
00:16:40,337 --> 00:16:41,755
Now that was a
fascinating story,
413
00:16:41,755 --> 00:16:44,090
'cause he was crashing
on my couch, right?
414
00:16:44,090 --> 00:16:46,468
So I was, I had to get, uh,
415
00:16:46,468 --> 00:16:48,303
the "Hollywood
Reporter", "Variety",
416
00:16:48,303 --> 00:16:51,389
all of the- the magazines,
"L.A. Weekly",
417
00:16:51,389 --> 00:16:53,350
all the stuff that had
articles on Reservoir Dogs.
418
00:16:53,350 --> 00:16:55,060
Literally, you couldn't
believe how much stuff.
419
00:16:55,060 --> 00:16:55,727
I went, "Oh wait.
420
00:16:55,727 --> 00:16:56,895
This is like a joke."
421
00:16:56,895 --> 00:16:58,605
He went away to Cannes
422
00:16:58,605 --> 00:17:00,398
just another
independent filmmaker
423
00:17:00,398 --> 00:17:01,775
and came back like a star.
424
00:17:04,444 --> 00:17:07,238
Miramax was the company
that stepped up to
425
00:17:07,238 --> 00:17:08,573
take Reservoir Dogs.
426
00:17:08,573 --> 00:17:12,160
Before that, you know,
Quentin was pretty much
427
00:17:12,160 --> 00:17:15,455
nobody wanted to give him
a chance to do fuck all.
428
00:17:15,455 --> 00:17:17,665
So that started the
bond of Quentin
429
00:17:17,665 --> 00:17:19,626
and the Weinstein Brothers.
430
00:17:23,046 --> 00:17:26,049
"The whole mystical,
431
00:17:26,049 --> 00:17:30,053
shamanistic thing that I thought
directing was went 'poof'.
432
00:17:30,053 --> 00:17:31,596
I realized I can do that." - QT
433
00:17:31,596 --> 00:17:33,723
We were in a hotel
room on the road
434
00:17:33,723 --> 00:17:35,975
with Reservoir Dogs
435
00:17:35,975 --> 00:17:38,061
and he's got his legal pads out.
436
00:17:38,061 --> 00:17:39,270
And his thing, you know,
437
00:17:39,270 --> 00:17:40,855
the way that he
does his scripts.
438
00:17:40,855 --> 00:17:43,983
He starts reading all these
characters and stage direction.
439
00:17:43,983 --> 00:17:45,443
I love you, Pumpkin.
440
00:17:45,443 --> 00:17:47,195
And I love you,
Honey Bunny.
441
00:17:47,195 --> 00:17:48,321
And it's Pulp Fiction.
442
00:17:48,321 --> 00:17:49,781
Everybody be cool.
This is a robbery.
443
00:17:49,781 --> 00:17:50,490
What?
444
00:17:50,490 --> 00:17:54,661
Any of you fuckin'
pricks move and I'll execute
445
00:17:54,661 --> 00:17:56,329
every one of ya motherfuckers.
446
00:17:56,329 --> 00:17:58,790
Quentin says,
"This is my next thing.
447
00:17:58,790 --> 00:18:04,045
This is what I'm gonna do."
448
00:18:04,045 --> 00:18:06,381
There was an eagerness
by many financiers
449
00:18:06,381 --> 00:18:09,759
to make Quentin's next movie.
450
00:18:09,759 --> 00:18:11,094
We had agreed,
451
00:18:11,094 --> 00:18:12,804
uh, Harvey Weinstein agreed,
452
00:18:12,804 --> 00:18:14,514
uh, to finance the film.
453
00:18:14,514 --> 00:18:17,767
They never interfered
with his material.
454
00:18:17,767 --> 00:18:21,146
(chuckles)
There's subject matter
455
00:18:21,146 --> 00:18:25,650
and dialogue in Quentin's
pictures that really nobody else
456
00:18:25,650 --> 00:18:29,195
could get away with doing,
especially a white guy.
457
00:18:29,195 --> 00:18:30,572
Did you notice
a sign on the front of
458
00:18:30,572 --> 00:18:32,574
my house that said,
"Dead Nigger Storage."
459
00:18:32,574 --> 00:18:34,033
Jimmy, you know
I ain't seen no shit.
460
00:18:34,033 --> 00:18:36,077
Did you notice a sign on
the front of my house
461
00:18:36,077 --> 00:18:38,621
that said "Dead Nigger Storage?"
462
00:18:38,621 --> 00:18:40,123
No.
463
00:18:40,123 --> 00:18:42,459
I got the script and ...
464
00:18:42,459 --> 00:18:43,126
...I kind of sat
465
00:18:43,126 --> 00:18:44,544
there and stared at it.
466
00:18:44,544 --> 00:18:46,546
When I was done I was like,
467
00:18:46,546 --> 00:18:49,299
"Oh, there's no fuckin'
way the script that's good."
468
00:18:49,299 --> 00:18:52,218
I'm just readin' it like
that because he told me
469
00:18:52,218 --> 00:18:53,511
he wrote this part for me.
470
00:18:53,511 --> 00:18:56,890
You know what they call a- a
Quarter Pounder with Cheese,
471
00:18:56,890 --> 00:18:58,224
uh, in Paris?
472
00:18:58,224 --> 00:18:59,851
They don't call it a Quarter
Pounder with Cheese?
473
00:18:59,851 --> 00:19:00,185
No, man.
474
00:19:00,185 --> 00:19:01,227
They got the metric system.
475
00:19:01,227 --> 00:19:03,480
They wouldn't know what
the fuck a Quarter Pounder is.
476
00:19:03,480 --> 00:19:04,439
Then what do they call it?
477
00:19:04,439 --> 00:19:07,275
They call it, uh,
The Royale with Cheese.
478
00:19:07,275 --> 00:19:08,651
Royale with Cheese.
479
00:19:08,651 --> 00:19:09,360
That's right.
480
00:19:09,360 --> 00:19:11,237
Second time it
was just as amazing.
481
00:19:11,237 --> 00:19:14,491
So it's like, (exhales air),
482
00:19:14,491 --> 00:19:16,117
okay.
483
00:19:16,117 --> 00:19:19,954
If Harvey Weinstein has
the balls to make this movie,
484
00:19:19,954 --> 00:19:21,664
this movie's gonna be awesome.
485
00:19:21,664 --> 00:19:23,416
I know my friends
are gonna love it.
486
00:19:23,416 --> 00:19:25,126
He had built a real fan base
487
00:19:25,126 --> 00:19:27,837
on home video by the time
Pulp Fiction came out.
488
00:19:27,837 --> 00:19:29,672
But I think he learned
something, too.
489
00:19:29,672 --> 00:19:31,674
Watching the film
with enough audiences
490
00:19:31,674 --> 00:19:34,427
when he went and
toured film festivals,
491
00:19:34,427 --> 00:19:36,930
he realized that he needed
to give the audience
492
00:19:36,930 --> 00:19:39,015
permission to laugh.
493
00:19:39,015 --> 00:19:41,017
The dude's head gets blown
off in the back of the car.
494
00:19:41,017 --> 00:19:42,519
I mean people laugh at
that shit and then they
495
00:19:42,519 --> 00:19:43,895
catch themselves
and go, "Oh, shit.
496
00:19:43,895 --> 00:19:44,729
I can't laugh at that."
497
00:19:44,729 --> 00:19:45,605
Oh!
498
00:19:45,605 --> 00:19:46,898
What the fuck's happenin'?
499
00:19:46,898 --> 00:19:48,733
Ah, man. Oh, shit, man.
500
00:19:48,733 --> 00:19:50,318
Oh, man, I shot
Marvin in the face.
501
00:19:50,318 --> 00:19:51,528
Why the fuck'd you do that?
502
00:19:51,528 --> 00:19:55,156
And it's cool, too,
because it's not CGI blood.
503
00:19:55,156 --> 00:19:58,117
He still likes to use squibs
and blood packs and stuff,
504
00:19:58,117 --> 00:20:02,205
so I mean I could be twenty-five
feet across the room
505
00:20:02,205 --> 00:20:03,998
and get blood splattered
on me from shootin'
506
00:20:03,998 --> 00:20:05,625
somebody on the other
side of the room,
507
00:20:05,625 --> 00:20:07,585
which was like awesome.
508
00:20:07,585 --> 00:20:09,087
You're sending The Wolf?
509
00:20:09,087 --> 00:20:11,506
Don't you feel better,
motherfucker?
510
00:20:11,506 --> 00:20:13,550
Shit yeah, Negro.
511
00:20:13,550 --> 00:20:15,093
That's all you had to say.
512
00:20:16,427 --> 00:20:17,136
Like you have to call
513
00:20:17,136 --> 00:20:18,555
someone because
you accidentally shot
514
00:20:18,555 --> 00:20:20,515
someone's head off is amazing,
515
00:20:20,515 --> 00:20:22,141
and then that it becomes, like,
516
00:20:22,141 --> 00:20:26,604
he's so blasé about
cleaning bits of brain up.
517
00:20:26,604 --> 00:20:28,189
Oh, man!
518
00:20:28,189 --> 00:20:30,650
I will never forgive
your ass for this shit.
519
00:20:30,650 --> 00:20:32,193
Because he always
intended it to be funny,
520
00:20:32,193 --> 00:20:34,404
but people sort of felt a
little bit uncomfortable.
521
00:20:34,404 --> 00:20:35,405
Am I allowed to laugh?
522
00:20:35,405 --> 00:20:38,032
Am I sick if I'm laughing?
523
00:20:38,032 --> 00:20:39,325
You know, what's going on?
524
00:20:39,325 --> 00:20:42,495
And with Pulp,
intentionally,
525
00:20:42,495 --> 00:20:44,205
he really let everybody
in on the joke.
526
00:20:44,205 --> 00:20:45,832
They look like a
couple of dorks.
527
00:20:45,832 --> 00:20:47,959
(laughs) (laughs) Ha-ha-ha.
528
00:20:47,959 --> 00:20:49,502
They're your clothes,
motherfucker.
529
00:20:49,502 --> 00:20:52,630
I can look at it and
say this is one of those
530
00:20:52,630 --> 00:20:53,673
gangster characters.
531
00:20:53,673 --> 00:20:55,717
(exhales sharply)
This is how he's thinkin',
532
00:20:55,717 --> 00:20:57,302
this is how he's talkin',
and this is what his
533
00:20:57,302 --> 00:20:58,428
cadence is.
534
00:20:58,428 --> 00:21:01,890
And I will strike down
upon thee with great
535
00:21:01,890 --> 00:21:06,227
vengeance and furious
anger those who attempt
536
00:21:06,227 --> 00:21:09,022
to poison and
destroy my brothers.
537
00:21:09,022 --> 00:21:13,484
And because I spent so
many years doing theater.
538
00:21:13,484 --> 00:21:17,405
And you will know
my name is the Lord
539
00:21:17,405 --> 00:21:20,867
when I lay my
vengeance upon thee.
540
00:21:20,867 --> 00:21:27,665
(screams)
I love a monologue.
541
00:21:27,665 --> 00:21:30,043
I remember when I
originally gave this script
542
00:21:30,043 --> 00:21:31,336
to the Weinsteins,
Harvey read it
543
00:21:31,336 --> 00:21:33,338
and called me up and said,
"You guys are crazy.
544
00:21:33,338 --> 00:21:34,839
You just killed
the main character
545
00:21:34,839 --> 00:21:37,508
in the middle of the movie."
546
00:21:37,508 --> 00:21:41,596
(screams) I said,
547
00:21:41,596 --> 00:21:42,347
"Keep reading."
548
00:21:42,347 --> 00:21:44,849
He said, "But you can't
kill the main character in
549
00:21:44,849 --> 00:21:46,434
the middle of the movie."
550
00:21:46,434 --> 00:21:47,727
I said, "Keep reading."
551
00:21:47,727 --> 00:21:49,062
He said, "Oh, my God.
552
00:21:49,062 --> 00:21:51,230
He comes back, doesn't he?"
553
00:21:51,230 --> 00:21:52,607
He goes, "Is it
a happy ending?"
554
00:21:52,607 --> 00:21:54,233
I said, "It's a happy ending.
555
00:21:55,318 --> 00:21:57,904
And the beauty of Quentin
is that when it's time to
556
00:21:57,904 --> 00:22:01,407
shoot the film, though he
wrote it and he conceived it
557
00:22:01,407 --> 00:22:02,867
and he knows where it's going...
558
00:22:04,160 --> 00:22:04,911
Hello?
559
00:22:05,995 --> 00:22:09,749
...the actors are a
huge part of that soup
560
00:22:09,749 --> 00:22:12,126
that creates that
character of the story.
561
00:22:12,126 --> 00:22:12,877
(on intercom) Vincent?
562
00:22:15,254 --> 00:22:17,507
Vincent?
563
00:22:17,507 --> 00:22:19,509
I'm on the intercom.
564
00:22:19,509 --> 00:22:22,887
And he wrote the part
565
00:22:22,887 --> 00:22:27,100
that John Travolta played
in that movie for Michael.
566
00:22:27,100 --> 00:22:29,310
And Michael didn't do it.
567
00:22:29,310 --> 00:22:31,896
I was already committed
to Wyatt Earp.
568
00:22:31,896 --> 00:22:34,357
And now here's Quentin
wants me to do Pulp Fiction.
569
00:22:34,357 --> 00:22:36,943
And they were both going
at the same time.
570
00:22:36,943 --> 00:22:39,278
You know look at Travolta
in Pulp Fiction.
571
00:22:39,278 --> 00:22:41,489
It's one of the most
extraordinary performances
572
00:22:41,489 --> 00:22:44,826
in a- in a film that's
filled to the brim
573
00:22:44,826 --> 00:22:46,661
with extraordinary performances.
574
00:22:46,661 --> 00:22:51,749
(gasps) (screams)
John had to be convinced.
575
00:22:51,749 --> 00:22:53,418
But the moment that they met,
576
00:22:53,418 --> 00:22:56,045
it was clear that it- it
was their destiny to-
577
00:22:56,045 --> 00:22:57,046
to work together.
578
00:22:57,046 --> 00:23:00,925
Isn't it true that a part of
John Travolta being in it,
579
00:23:00,925 --> 00:23:03,678
it became John's comeback.
580
00:23:03,678 --> 00:23:06,681
He was doing movies
about talking babies and,
581
00:23:06,681 --> 00:23:09,434
suddenly, he's,
you know, Vincent Vega.
582
00:23:09,434 --> 00:23:11,144
You know he had that wig on.
583
00:23:11,144 --> 00:23:15,148
Nobody'd ever seen
Travolta with a fuckin' gun.
584
00:23:17,066 --> 00:23:19,360
And that was a huge,
huge reason
585
00:23:19,360 --> 00:23:20,486
why the movie worked.
586
00:23:20,486 --> 00:23:22,697
John Travolta can move
like almost nobody else.
587
00:23:24,240 --> 00:23:26,826
The dance scene
that Quentin gives him
588
00:23:26,826 --> 00:23:32,498
is so incredible because Quentin
gets what this guy can do
589
00:23:32,498 --> 00:23:33,791
and lets him do it.
590
00:23:33,791 --> 00:23:35,668
That was neat, man,
that whole thing and,
591
00:23:35,668 --> 00:23:37,378
uh, I- I wouldn't have
come up with that,
592
00:23:37,378 --> 00:23:38,755
you know.
593
00:23:38,755 --> 00:23:40,965
The twist wouldn't haven't
have been exactly the same.
594
00:23:40,965 --> 00:23:42,717
He would have had to
change the script that
595
00:23:42,717 --> 00:23:44,552
they don't win
the dance contest.
596
00:23:47,013 --> 00:23:48,681
When you're on a set
and working with Quentin,
597
00:23:48,681 --> 00:23:51,434
he always seemed to me
like he kept a very healthy
598
00:23:51,434 --> 00:23:54,812
distance between himself
and producer types.
599
00:23:54,812 --> 00:23:56,773
And what Quentin
wanted, Quentin got,
600
00:23:56,773 --> 00:23:58,107
deservedly so.
601
00:23:59,067 --> 00:23:59,942
Action!
602
00:23:59,942 --> 00:24:01,194
We were a bit into production
603
00:24:01,194 --> 00:24:03,362
and Harvey Weinstein
came to visit.
604
00:24:03,362 --> 00:24:06,949
I purposely wanted to take
him to the Jack Rabbit Slim set
605
00:24:06,949 --> 00:24:08,409
because we built it.
606
00:24:08,409 --> 00:24:09,452
It's cool.
607
00:24:09,452 --> 00:24:10,870
It's really filmy.
608
00:24:10,870 --> 00:24:13,623
And Quentin isn't the
"build sets" kind of guy.
609
00:24:13,623 --> 00:24:15,833
He's the "find a real
place and do it".
610
00:24:15,833 --> 00:24:18,753
And as we walked in, I
didn't tell Harvey what we
611
00:24:18,753 --> 00:24:19,712
were shooting.
612
00:24:19,712 --> 00:24:21,547
And I just remember
looking at him and going,
613
00:24:21,547 --> 00:24:23,466
"Welcome to Quentin World."
614
00:24:23,466 --> 00:24:26,177
He just said,
"What- what- what is this?
615
00:24:26,177 --> 00:24:27,595
This is crazy."
616
00:24:27,595 --> 00:24:30,181
You know with the race
track and the dancers
617
00:24:30,181 --> 00:24:32,725
and the trophies
and the characters
618
00:24:32,725 --> 00:24:34,268
imitating other characters.
619
00:24:35,645 --> 00:24:37,730
You know Quentin just has
in his head I want people
620
00:24:37,730 --> 00:24:41,609
to sit in the back seat of a
nineteen-fifty-seven Cadillac.
621
00:24:41,609 --> 00:24:44,904
And, you know, they need to
drink an Amos and Andy shake.
622
00:24:44,904 --> 00:24:47,323
And he comes up with all
this stuff in the same way
623
00:24:47,323 --> 00:24:48,866
that he comes up
with his own products.
624
00:24:50,409 --> 00:24:51,202
Mm...
625
00:24:52,286 --> 00:24:54,956
This is a tasty burger.
626
00:24:54,956 --> 00:24:57,625
Vincent, have you ever
had a Big Kahuna burger?
627
00:24:57,625 --> 00:25:00,211
By the time Pulp
Fiction came around,
628
00:25:00,211 --> 00:25:02,171
he was doing his
own product placement.
629
00:25:02,839 --> 00:25:04,006
Give me a pack of Red Apples.
630
00:25:04,006 --> 00:25:05,174
Filters?
631
00:25:05,174 --> 00:25:06,300
Nah.
632
00:25:06,300 --> 00:25:08,094
And that's when
Red Apple came about.
633
00:25:08,094 --> 00:25:10,221
That's when Kahuna
burger came about.
634
00:25:10,221 --> 00:25:12,807
That's when all of that
stuff started to happen.
635
00:25:12,807 --> 00:25:15,852
Red Apple tobacco
is not a real thing.
636
00:25:15,852 --> 00:25:17,436
That's a Quentin cigarette.
637
00:25:17,436 --> 00:25:20,398
There's a great moment
638
00:25:20,398 --> 00:25:22,108
in Hateful Eight where...
639
00:25:22,108 --> 00:25:24,402
...Demian Bichir is standing
640
00:25:24,402 --> 00:25:25,945
behind the bar.
641
00:25:25,945 --> 00:25:29,657
And he's having a smoke
of Red Apple tobacco.
642
00:25:29,657 --> 00:25:31,284
And he's just standing there
like this and he's going,
643
00:25:31,284 --> 00:25:31,909
"Hmm.
644
00:25:31,909 --> 00:25:32,869
This is pretty good."
645
00:25:32,869 --> 00:25:33,995
(chuckles) Like this.
646
00:25:33,995 --> 00:25:37,415
And we got all pissed off
because he got to do
647
00:25:37,415 --> 00:25:39,250
the Red Apple moment.
648
00:25:39,250 --> 00:25:41,460
He got to have it himself.
649
00:25:41,460 --> 00:25:44,088
Everybody from costumes
down to every detail,
650
00:25:44,088 --> 00:25:46,173
to props,
to Red Apple tobacco,
651
00:25:46,173 --> 00:25:50,177
to everything,
there's nothing random
652
00:25:50,177 --> 00:25:52,013
about anything
in a Quentin movie.
653
00:25:52,013 --> 00:25:54,599
Remember her cutting
the ropes off
654
00:25:54,599 --> 00:25:56,309
when she's in the coffin.
655
00:25:56,309 --> 00:25:57,852
That's Mr. Blonde's razor.
656
00:25:57,852 --> 00:25:58,436
It's brilliant, right?
657
00:25:58,436 --> 00:25:59,604
That's cool.
658
00:25:59,604 --> 00:26:01,772
There's a little nod when
you're watching Reservoir Dogs.
659
00:26:01,772 --> 00:26:02,940
If you every hear Mr. White,
660
00:26:02,940 --> 00:26:04,358
somebody says,
"How's Bama?"
661
00:26:04,358 --> 00:26:06,068
By the way,
how's Alabama?
662
00:26:06,068 --> 00:26:06,986
Alabama?
663
00:26:08,279 --> 00:26:11,324
I haven't seen Bama
over a year and a half.
664
00:26:11,324 --> 00:26:13,326
And you understand
that Alabama left,
665
00:26:13,326 --> 00:26:17,580
met Mr. White, learned
about the- the bank heist
666
00:26:17,580 --> 00:26:19,916
or jewelry thief
business from him,
667
00:26:19,916 --> 00:26:22,168
and they couldn't be
together because she was
668
00:26:22,168 --> 00:26:23,753
still in love with Clarence
and she'd be in
669
00:26:23,753 --> 00:26:25,880
love with Clarence
for his whole life.
670
00:26:25,880 --> 00:26:29,175
So all these characters
live in Quentin's universe.
671
00:26:29,175 --> 00:26:31,677
And Vic here, I mean
he's only been nothing
672
00:26:31,677 --> 00:26:35,473
but good luck for us and, that
guys a fuckin' rabbit's foot.
673
00:26:35,473 --> 00:26:38,517
Vic Vega, Vincent Vega,
the Vega Brothers.
674
00:26:38,517 --> 00:26:41,020
And, uh, how
'bout your fella here?
675
00:26:41,020 --> 00:26:42,355
Vincent Vega.
676
00:26:42,355 --> 00:26:44,607
With film it's not
just characters
677
00:26:44,607 --> 00:26:47,234
and it's not just action
and it's not just cinema,
678
00:26:47,234 --> 00:26:49,528
but it's celluloid,
it's seeing it on the film,
679
00:26:49,528 --> 00:26:51,781
and it's the soundtrack,
but also,
680
00:26:51,781 --> 00:26:55,534
amazingly, taking songs
they know and reimagining.
681
00:26:55,534 --> 00:26:56,577
(sings) Bow, bow, bow...
682
00:26:56,577 --> 00:27:00,998
...you'll be a woman soon.
(sings)...a woman...
683
00:27:00,998 --> 00:27:04,377
And you just sit there
and you just- you can't
684
00:27:04,377 --> 00:27:07,922
believe that you're
hearing the song in a new
685
00:27:07,922 --> 00:27:08,965
and different way.
686
00:27:08,965 --> 00:27:10,633
(sings) He's not your kind.
(sings) He's not your kind.
687
00:27:10,633 --> 00:27:13,469
And so much of those songs
were background on the radio
688
00:27:13,469 --> 00:27:15,137
when you were kids or
when you were adults
689
00:27:15,137 --> 00:27:16,597
driving around.
690
00:27:16,597 --> 00:27:19,684
And Quentin takes them and
he takes that background,
691
00:27:19,684 --> 00:27:22,019
counterpoints it
against something that
692
00:27:22,019 --> 00:27:23,312
it doesn't make sense with.
693
00:27:25,022 --> 00:27:27,400
Or he uses it to
emphasize a scene.
694
00:27:27,400 --> 00:27:29,819
What he makes are really rich,
695
00:27:29,819 --> 00:27:32,530
densely textured mosaics.
696
00:27:32,530 --> 00:27:35,032
Try to dissect it,
you'd almost undoubtedly miss
697
00:27:35,032 --> 00:27:36,993
so many of the pieces
and the ways they interact
698
00:27:36,993 --> 00:27:38,661
with each other and
the way they make sense
699
00:27:38,661 --> 00:27:39,370
with each other.
700
00:27:39,370 --> 00:27:40,204
I remember being
701
00:27:40,204 --> 00:27:42,623
on the set of From Dust Till
Dawn while they were
702
00:27:42,623 --> 00:27:44,917
shooting that, and I said,
and by that time Pulp Fiction
703
00:27:44,917 --> 00:27:45,960
just went through the roof.
704
00:27:45,960 --> 00:27:47,628
I said, "Quentin,
did you have any idea
705
00:27:47,628 --> 00:27:48,212
how big this would be?
706
00:27:48,212 --> 00:27:51,173
He goes, (inhales sharply)
"Yeah, no."
707
00:27:51,173 --> 00:27:52,008
(laughs)
708
00:27:52,008 --> 00:27:55,761
The Palme d'Or goes to...
709
00:27:55,761 --> 00:27:56,804
...Pulp Fiction.
710
00:28:32,757 --> 00:28:34,675
What do you do after
that masterpiece?
711
00:28:34,675 --> 00:28:36,177
When you know you're damned.
712
00:28:36,177 --> 00:28:37,219
There's, you know,
713
00:28:37,219 --> 00:28:40,473
after Citizen Kane,
Welles walks away
714
00:28:40,473 --> 00:28:41,599
from Magnificent Ambersons.
715
00:28:41,599 --> 00:28:42,850
Quentin's made Pulp Fiction.
716
00:28:42,850 --> 00:28:46,020
He's made one of the great films
of the last half century.
717
00:28:46,020 --> 00:28:49,398
So what does he do next?
718
00:28:49,398 --> 00:28:53,611
A genre film that in and of
itself is really wonderful.
719
00:28:53,611 --> 00:28:55,780
Plays with time,
plays with character,
720
00:28:55,780 --> 00:28:57,490
plays with your perceptions,
721
00:28:57,490 --> 00:29:00,117
and he doesn't try
and redo Pulp Fiction.
722
00:29:00,117 --> 00:29:01,452
I know he has
723
00:29:01,452 --> 00:29:05,247
this strong Blaxploitation
influence in his life.
724
00:29:05,247 --> 00:29:05,915
For God's sake.
725
00:29:05,915 --> 00:29:08,542
People say he makes
726
00:29:08,542 --> 00:29:09,543
revenge movies.
727
00:29:09,543 --> 00:29:12,379
You know, those were
sort of revenge movies,
728
00:29:12,379 --> 00:29:14,215
all about gettin' the man
or gettin' back at the man Sweet
729
00:29:14,215 --> 00:29:16,467
or gettin' back at the person
who did somethin' bad to you.
730
00:29:16,467 --> 00:29:20,054
It's one of those things
that makes his movies fun.
731
00:29:20,054 --> 00:29:21,847
And those are the things
732
00:29:21,847 --> 00:29:24,934
that influenced his young
cinema experiences,
733
00:29:24,934 --> 00:29:26,227
like mine.
734
00:29:26,227 --> 00:29:27,603
He broke everything down.
735
00:29:27,603 --> 00:29:29,730
He explained, like,
"When I was a kid,
736
00:29:29,730 --> 00:29:31,607
my mom dated black guys.
737
00:29:31,607 --> 00:29:33,776
Black guys would try to
get in good with my mom,
738
00:29:33,776 --> 00:29:37,822
would take me to, uh,
Blaxploitation films
739
00:29:37,822 --> 00:29:39,240
to watch as a kid.
740
00:29:39,240 --> 00:29:40,991
So that's what I grew up on.
741
00:29:40,991 --> 00:29:45,746
So I'm writing what I saw,
what's inside my DNA,
742
00:29:45,746 --> 00:29:47,665
and then that's
why my characters are
743
00:29:47,665 --> 00:29:49,041
always very strong."
744
00:29:49,041 --> 00:29:50,167
You helped her,
didn't you?
745
00:29:50,167 --> 00:29:51,085
When you're sort of bred
746
00:29:51,085 --> 00:29:52,461
into naturally appreciating,
747
00:29:52,461 --> 00:29:54,338
it's not like
someone's taught you,
748
00:29:54,338 --> 00:29:57,299
you should respect women,
or black people are equal.
749
00:29:57,299 --> 00:29:59,135
Like someone's not
teaching you that lesson.
750
00:29:59,135 --> 00:30:01,011
You just know it to be true.
751
00:30:01,011 --> 00:30:02,763
This is how he views the world,
752
00:30:02,763 --> 00:30:06,392
and he paints the world the
way he sees it in his movies.
753
00:30:06,392 --> 00:30:09,603
And so the power is
this is his truth.
754
00:30:09,603 --> 00:30:11,397
Jackie Brown is in many ways
755
00:30:11,397 --> 00:30:13,983
an ode to the sort of
Blaxploitation films
756
00:30:13,983 --> 00:30:14,525
of the period.
757
00:30:14,525 --> 00:30:16,235
And who are you gonna cast?
758
00:30:16,235 --> 00:30:17,069
Pam Grier.
759
00:30:18,112 --> 00:30:19,363
I'd heard about Foxy Brown
760
00:30:19,363 --> 00:30:21,282
and Coffy and all
the Pam Grier movie.
761
00:30:21,282 --> 00:30:21,740
You know, of course,
762
00:30:21,740 --> 00:30:23,033
Pam Grier's had
a glorious career
763
00:30:23,033 --> 00:30:24,785
even up before
Quentin Tarantino.
764
00:30:24,785 --> 00:30:26,954
He just, like, has made
her that- that much cooler
765
00:30:26,954 --> 00:30:27,788
in my opinion.
766
00:30:27,788 --> 00:30:29,707
Pam Grier can kick ass,
767
00:30:29,707 --> 00:30:30,332
you know what I mean?
768
00:30:30,332 --> 00:30:32,793
It's not all Foxy Brown
and it ain't all,
769
00:30:32,793 --> 00:30:34,378
you know, Straight
Outta Compton.
770
00:30:37,631 --> 00:30:40,259
Jackie Brown, to me,
that performance is
771
00:30:40,259 --> 00:30:42,678
so amazing and beautiful.
772
00:30:42,678 --> 00:30:44,889
But still like so strong
773
00:30:44,889 --> 00:30:48,017
and so flawed and desperate,
774
00:30:48,017 --> 00:30:50,102
and yet very sort of steely.
775
00:30:50,102 --> 00:30:52,479
I mean he writes women
like nobody's business.
776
00:30:52,479 --> 00:30:55,816
In the last forty-five
to fifty years,
777
00:30:55,816 --> 00:31:00,196
women have not been given
a fair shake in terms of,
778
00:31:00,196 --> 00:31:05,159
uh, leading roles in, uh,
movies where we can see
779
00:31:05,159 --> 00:31:07,036
what makes the woman tick.
780
00:31:07,036 --> 00:31:08,495
That's why you came
here to kill me.
781
00:31:08,495 --> 00:31:09,497
(chuckles) I ain't come
over here to kill you.
782
00:31:09,497 --> 00:31:10,247
Oh, no, that's fine.
783
00:31:10,247 --> 00:31:10,831
It's okay.
784
00:31:11,999 --> 00:31:12,917
Now I forgive you.
785
00:31:12,917 --> 00:31:14,418
That's the thing with
Quentin's dialogue.
786
00:31:14,418 --> 00:31:15,502
A couple of men
that would be like,
787
00:31:15,502 --> 00:31:17,671
I mean, women don't
really talk like that.
788
00:31:17,671 --> 00:31:18,797
And I was like
(laughs).
789
00:31:18,797 --> 00:31:21,509
Aw, that's cute,
(inhales) 'cause we really do.
790
00:31:21,509 --> 00:31:24,011
Now if I have to do
more than a year,
791
00:31:24,011 --> 00:31:26,472
you'll pay another one
hundred thousand dollars.
792
00:31:26,472 --> 00:31:27,973
Women would come up
to us and be like,
793
00:31:27,973 --> 00:31:28,766
"Oh, my God.
794
00:31:28,766 --> 00:31:30,893
How- Is he a woman
on the inside?"
795
00:31:30,893 --> 00:31:32,019
I'm like yeah, he's kind of,
796
00:31:32,019 --> 00:31:33,229
he's a bit of woman
on the inside.
797
00:31:33,229 --> 00:31:34,605
He's a little bit
black on the inside.
798
00:31:34,605 --> 00:31:36,857
He's just got a whole bunch
of stuff going on in him.
799
00:31:36,857 --> 00:31:39,777
If you think
that you know more
800
00:31:39,777 --> 00:31:42,821
about a movie or an actor
or- or anything to do
801
00:31:42,821 --> 00:31:45,532
with cinema history,
he will just sit there
802
00:31:45,532 --> 00:31:49,328
and smile and listen to you,
and then he will bury you
803
00:31:49,328 --> 00:31:51,121
with how much stuff he knows.
804
00:31:51,121 --> 00:31:53,415
Exactly the fact that Quentin
didn't go to film school.
805
00:31:53,415 --> 00:31:55,709
I guess his film school
was video archives
806
00:31:55,709 --> 00:32:00,130
and the endless movies that
he could learn and read and,
807
00:32:00,130 --> 00:32:03,509
uh, watch and, uh,
and enjoy and turn other
808
00:32:03,509 --> 00:32:04,176
people onto.
809
00:32:04,176 --> 00:32:06,053
Get himself gone.
810
00:32:06,053 --> 00:32:09,265
The films that he gets
off on vary vastly.
811
00:32:09,265 --> 00:32:11,267
Everybody's after Kowalski
812
00:32:11,267 --> 00:32:13,936
He's passionate
about Vanishing Point
813
00:32:13,936 --> 00:32:15,437
and that genre.
814
00:32:15,437 --> 00:32:19,984
And then Moeshe.
815
00:32:19,984 --> 00:32:21,944
He just loves the
TV show Moesha.
816
00:32:21,944 --> 00:32:23,112
Moeshe.
817
00:32:23,112 --> 00:32:25,114
I would have
never guessed that.
818
00:32:25,114 --> 00:32:27,366
And I- I think he's like
that about all kinds of things.
819
00:32:27,366 --> 00:32:28,534
I think he's like
that with food,
820
00:32:28,534 --> 00:32:32,121
like he loves amazingly
high quality French dishes
821
00:32:32,121 --> 00:32:34,331
and he- he will smash
a Pink's hotdog,
822
00:32:34,331 --> 00:32:36,875
you know, like I honestly,
I think he's kind of like
823
00:32:36,875 --> 00:32:37,835
that with women.
824
00:32:37,835 --> 00:32:39,628
..break my heart
825
00:32:39,628 --> 00:32:41,880
and make me sad.
826
00:32:41,880 --> 00:32:44,425
Tell me what did I do wrong.
827
00:32:44,425 --> 00:32:46,010
He's sort of like,
if he's in love with you
828
00:32:46,010 --> 00:32:47,219
and you're a big, black,
829
00:32:47,219 --> 00:32:49,054
curvy, gorgeous lady,
he's all about big,
830
00:32:49,054 --> 00:32:49,930
black curves.
831
00:32:49,930 --> 00:32:51,432
(sings) My baby love...
832
00:32:52,308 --> 00:32:53,517
And if you're a waify,
833
00:32:53,517 --> 00:32:55,811
skinny little white model type
and he's in love with you,
834
00:32:55,811 --> 00:32:58,147
he just thinks that's the
hottest thing on the planet.
835
00:32:58,147 --> 00:32:59,940
He's just like an appreciator.
836
00:33:01,400 --> 00:33:03,110
He knows everybody.
837
00:33:03,110 --> 00:33:06,238
And when he meets an
actor from my era,
838
00:33:06,238 --> 00:33:07,948
the era when he was growin' up,
839
00:33:07,948 --> 00:33:12,494
he amazes them and amazed
me by reminding me of this
840
00:33:12,494 --> 00:33:14,079
and that and things and moments
841
00:33:14,079 --> 00:33:16,498
and scenes that he remembers.
842
00:33:16,498 --> 00:33:20,628
He also built a way of sharing
his vision with people.
843
00:33:20,628 --> 00:33:22,212
It wasn't storyboards.
844
00:33:22,212 --> 00:33:24,381
It was references.
845
00:33:24,381 --> 00:33:27,176
And so he'd say,
846
00:33:27,176 --> 00:33:29,928
"The warehouse looks like this."
847
00:33:29,928 --> 00:33:32,765
Or, "Look at this film
for a reference for
848
00:33:32,765 --> 00:33:34,850
what I'm kind of
trying to do here."
849
00:33:34,850 --> 00:33:36,810
When you're in
rehearsal with him,...
850
00:33:36,810 --> 00:33:38,937
...you're discussing
those references,
851
00:33:38,937 --> 00:33:42,066
specifically, and he gives
you stuff to watch.
852
00:33:42,066 --> 00:33:44,902
It's not something you come to
853
00:33:44,902 --> 00:33:46,737
lightly with him.
854
00:33:46,737 --> 00:33:48,030
It's not a rip-off
855
00:33:48,030 --> 00:33:50,658
that's just crap.
856
00:33:50,658 --> 00:33:52,576
And it's not even an homage.
857
00:33:54,161 --> 00:33:57,164
It's that he's using
the tools of cinema to make
858
00:33:57,164 --> 00:33:59,249
more resonant
and greater cinema.
859
00:33:59,958 --> 00:34:03,587
Quentin uses filmic vocabulary.
860
00:34:03,587 --> 00:34:05,339
If you look at great art,
861
00:34:05,339 --> 00:34:08,050
that's what musicians
do, composers do,
862
00:34:08,050 --> 00:34:09,593
painters do, sculptors do.
863
00:34:09,593 --> 00:34:10,844
'Cause he always, you know,
864
00:34:12,513 --> 00:34:15,974
elevates everything
and charges everything.
865
00:34:15,974 --> 00:34:19,478
The detective was the
genre that I started with.
866
00:34:19,478 --> 00:34:22,940
Old cars, old clothes,
old jokes, fast women,
867
00:34:22,940 --> 00:34:24,316
they all lied to me.
868
00:34:24,316 --> 00:34:26,568
The cynical,
but human detective.
869
00:34:26,568 --> 00:34:29,071
Robert Forster as Banyon.
870
00:34:29,071 --> 00:34:30,906
One of the things
Quentin does is incur
871
00:34:30,906 --> 00:34:32,449
talent all the time.
872
00:34:32,449 --> 00:34:33,617
I mean a lot of
times people will
873
00:34:33,617 --> 00:34:35,744
resurrect old actors
and they have them do
874
00:34:35,744 --> 00:34:36,662
what they always did.
875
00:34:36,662 --> 00:34:42,209
What Quentin always does
is he pushes them further.
876
00:34:42,209 --> 00:34:43,836
He takes them to a new place.
877
00:34:45,421 --> 00:34:47,464
He gives them a
different career.
878
00:34:47,464 --> 00:34:49,675
When my career was
at the very bottom,
879
00:34:49,675 --> 00:34:51,051
in walks Quentin.
880
00:34:51,051 --> 00:34:54,096
He said, "I am
adapting Rum Punch,
881
00:34:54,096 --> 00:34:57,141
an Elmore Leonard
novel, to a movie."
882
00:34:57,141 --> 00:34:59,184
And I said to him,
"I don't think they're gonna
883
00:34:59,184 --> 00:35:01,061
let you hire me."
884
00:35:01,061 --> 00:35:03,981
That period in my career,
the distributors
885
00:35:03,981 --> 00:35:05,190
didn't want me.
886
00:35:05,190 --> 00:35:07,109
They wanted, you know,
somebody with a bigger name.
887
00:35:07,109 --> 00:35:09,820
And he said, and I will
never forget him for it,
888
00:35:09,820 --> 00:35:12,948
he said, "I hire
anybody I want."
889
00:35:12,948 --> 00:35:15,909
And that is the first
moment when I said,
890
00:35:15,909 --> 00:35:19,246
"Wow, Bob, this is
a life-changer."
891
00:35:19,246 --> 00:35:21,582
All right, before we start
talking about stewardesses,
892
00:35:21,582 --> 00:35:23,375
let's get Beaumont
out of the way first.
893
00:35:23,375 --> 00:35:25,544
Uh, you know, I think
somebody already did.
894
00:35:25,544 --> 00:35:27,171
I got a call from my agents.
895
00:35:27,171 --> 00:35:28,964
They said that, uh,
Vince Gilligan was
896
00:35:28,964 --> 00:35:29,715
gonna call me.
897
00:35:32,468 --> 00:35:33,594
I picked up the phone.
898
00:35:33,594 --> 00:35:36,305
Vince said, "Uh,
we've been saving a role
899
00:35:36,305 --> 00:35:37,639
called "The Disappearer".
900
00:35:37,639 --> 00:35:40,267
We've been calling it
the Robert Forster role.
901
00:35:40,267 --> 00:35:41,935
And it was, in fact,
902
00:35:41,935 --> 00:35:43,187
a straight shooter.
903
00:35:43,187 --> 00:35:44,396
It's gonna take me
904
00:35:44,396 --> 00:35:47,065
some time to get your
new situation fixed.
905
00:35:47,065 --> 00:35:48,692
Until then, you're
gonna be staying here.
906
00:35:48,692 --> 00:35:51,028
I've got a place
downstairs out of sight.
907
00:35:51,028 --> 00:35:53,363
And, uh, this was
a direct result,
908
00:35:53,363 --> 00:35:54,948
of course, of Jackie Brown.
909
00:35:54,948 --> 00:35:59,495
People kept sayin' well,
it's not Pulp Fiction.
910
00:35:59,495 --> 00:36:01,371
No, it's fuckin' Jackie Brown.
911
00:36:01,371 --> 00:36:03,373
It's a different pace,
it's a different story
912
00:36:03,373 --> 00:36:05,459
and it's about different
kinds of people.
913
00:36:05,459 --> 00:36:08,253
Yeah, there are some
criminals in there,
914
00:36:08,253 --> 00:36:10,964
but it's really an adult
movie about people
915
00:36:10,964 --> 00:36:12,925
in a certain place in
their life when it's time
916
00:36:12,925 --> 00:36:14,718
for them to make a choice
about how they want to live
917
00:36:14,718 --> 00:36:15,552
the rest of their life.
918
00:36:15,552 --> 00:36:17,012
It's a crossroads movie.
919
00:36:17,012 --> 00:36:19,014
If you had the chance,
unemployed now,
920
00:36:20,390 --> 00:36:23,101
to walk away with a
half million dollars
921
00:36:24,520 --> 00:36:25,437
would you take it?
922
00:36:25,437 --> 00:36:28,815
Despite whatever the
minor violence is in it,
923
00:36:28,815 --> 00:36:32,569
it's just a great story
about these people trying
924
00:36:32,569 --> 00:36:33,987
to figure out their lives.
925
00:36:37,741 --> 00:36:41,036
When Jackie Brown
came out of the prison
926
00:36:41,036 --> 00:36:44,998
and had that long walk toward me
927
00:36:44,998 --> 00:36:47,876
and it is accompanied
by music...
928
00:36:52,297 --> 00:37:01,348
(sings) Why do I keep my
mind on you all the time?
929
00:37:01,348 --> 00:37:02,349
And I don't even know you...
930
00:37:02,349 --> 00:37:05,227
...you're watching
this guy fall in love
931
00:37:05,227 --> 00:37:06,311
with a woman.
932
00:37:08,522 --> 00:37:13,026
I cannot tell you how
emotive that was,
933
00:37:13,026 --> 00:37:15,529
and for a director to do that.
934
00:37:15,529 --> 00:37:17,739
They never do that.
935
00:37:17,739 --> 00:37:20,200
Out of all those films,
Jackie Brown is sort of like
936
00:37:20,200 --> 00:37:21,577
the best one.
937
00:37:21,577 --> 00:37:24,496
Yeah, for me, just because
of the cinematic beauty
938
00:37:24,496 --> 00:37:27,708
and gentleness of that
particular story.
939
00:37:27,708 --> 00:37:29,293
(sing) ...baby.
940
00:37:29,293 --> 00:37:30,168
Hmm.
941
00:37:30,168 --> 00:37:31,420
(sing) Gave you the love
you never knew, girl.
942
00:37:31,420 --> 00:37:33,297
Who is this?
943
00:37:33,297 --> 00:37:34,965
The Delphonics.
(sing) Didn't I do it baby...
944
00:37:37,217 --> 00:37:38,051
It's nice.
945
00:37:38,051 --> 00:37:38,886
Mm-hmm.
946
00:37:51,648 --> 00:37:53,150
The main influences of Kill Bill
947
00:37:53,150 --> 00:37:59,948
is all the best of
Hong Kong cinema.
948
00:37:59,948 --> 00:38:01,325
Quentin is in love
949
00:38:01,325 --> 00:38:02,618
with the culture.
950
00:38:02,618 --> 00:38:04,369
When he does martial arts stuff,
951
00:38:04,369 --> 00:38:07,998
he's recreating the energy
and he's participating as
952
00:38:07,998 --> 00:38:10,250
somebody who is so
thrilled watching this.
953
00:38:11,710 --> 00:38:14,129
The last script Quentin
gave me was Kill Bill...
954
00:38:14,129 --> 00:38:14,713
And it was like almost
955
00:38:14,713 --> 00:38:16,131
the size of a small phone book.
956
00:38:16,131 --> 00:38:16,840
Remember those?
957
00:38:18,050 --> 00:38:20,010
Story by Q and U,
958
00:38:21,219 --> 00:38:23,221
meaning U as in Uma.
959
00:38:23,221 --> 00:38:25,265
We've all just been
calling her the bride on
960
00:38:25,265 --> 00:38:26,475
account of the dress.
961
00:38:26,475 --> 00:38:29,353
You can tell she was pregnant.
962
00:38:29,353 --> 00:38:31,146
(spits)
963
00:38:31,146 --> 00:38:33,774
That woman deserves
her revenge and-
964
00:38:33,774 --> 00:38:35,150
and we deserve to die.
965
00:38:35,150 --> 00:38:37,611
I could see the
faces of the cunts
966
00:38:37,611 --> 00:38:42,407
who did this to me and
the dicks responsible.
967
00:38:42,407 --> 00:38:44,034
It read like a novel.
968
00:38:44,034 --> 00:38:45,077
It was funny.
969
00:38:45,077 --> 00:38:46,870
It had all this action in it,
970
00:38:46,870 --> 00:38:48,955
you know, but it read in-
in a way that you just
971
00:38:48,955 --> 00:38:49,956
could not put it down.
972
00:38:49,956 --> 00:38:50,707
He would tell me what to read.
973
00:38:50,707 --> 00:38:51,124
I was like, wait.
974
00:38:51,124 --> 00:38:53,126
Okay, I'm gonna read
it so now I know
975
00:38:53,126 --> 00:38:54,920
what action I'm gonna do.
976
00:38:54,920 --> 00:38:57,589
And I'd start reading
and I'd forget
977
00:38:57,589 --> 00:38:59,675
to read for the stunts
and I just would read
978
00:38:59,675 --> 00:39:00,384
the whole thing again.
979
00:39:00,384 --> 00:39:01,677
It happened four times.
980
00:39:01,677 --> 00:39:03,512
That was when I first
had my kind of like
981
00:39:03,512 --> 00:39:06,640
professional moment
of, "Holy shit.
982
00:39:06,640 --> 00:39:08,433
I'm gonna be a part
of something magic."
983
00:39:15,941 --> 00:39:19,319
Quentin has it as Boomer
is this part of The Bride
984
00:39:19,319 --> 00:39:21,446
and Zoë is this
part of The Bride.
985
00:39:21,446 --> 00:39:23,573
Whatever's in front of
the camera is different parts
986
00:39:23,573 --> 00:39:24,908
of the same whole.
987
00:39:24,908 --> 00:39:26,868
We were doing the scene
where she runs up
988
00:39:26,868 --> 00:39:27,703
the banister.
989
00:39:27,703 --> 00:39:29,037
And he came to me
and he was like,
990
00:39:29,037 --> 00:39:31,081
"So, what are you
doing in the shot?"
991
00:39:31,081 --> 00:39:33,709
And I was like, I'm
running up the banister.
992
00:39:33,709 --> 00:39:34,751
And he was like,
"Yeah, but why?"
993
00:39:34,751 --> 00:39:37,838
And I was like, trick question.
994
00:39:37,838 --> 00:39:38,839
'Cause that's my job."
995
00:39:38,839 --> 00:39:39,589
You know, and
he was like, "No,
996
00:39:39,589 --> 00:39:42,050
but why is The Bride
running up the banister?"
997
00:39:42,050 --> 00:39:45,303
and I was like,
"Oh, to get to O-Ren."
998
00:39:45,303 --> 00:39:47,889
And he was like, "And why is
she trying to get to O-Ren?"
999
00:39:49,099 --> 00:39:50,600
It sounds like
such actor-speak,
1000
00:39:50,600 --> 00:39:53,186
but my running up
the banister shifted,
1001
00:39:53,186 --> 00:39:54,771
because now
I have an intention.
1002
00:39:54,771 --> 00:39:56,523
Now I have a reason outside of
1003
00:39:56,523 --> 00:39:58,316
just technically
getting it right.
1004
00:39:58,316 --> 00:40:00,736
That was always super
important to Quentin,
1005
00:40:00,736 --> 00:40:02,446
"'cause that bitch
fucked up my life
1006
00:40:02,446 --> 00:40:03,405
and I want her to die."
1007
00:40:07,659 --> 00:40:10,829
The fact that he always
has women in these strong
1008
00:40:10,829 --> 00:40:14,124
positions isn't something
that he necessarily
1009
00:40:14,124 --> 00:40:16,334
highlights or billboards.
(overlapping) (whistles)
1010
00:40:16,334 --> 00:40:17,961
To him, of course,
it makes sense
1011
00:40:17,961 --> 00:40:21,840
these are women doing this,
are fighting or are leaders.
1012
00:40:21,840 --> 00:40:22,799
He does it and, it's for him,
1013
00:40:22,799 --> 00:40:23,717
it's just natural.
1014
00:40:23,717 --> 00:40:26,845
It's such an interesting
conversation to have these days,
1015
00:40:27,763 --> 00:40:31,516
girl power and a quality
that sort of feels like
1016
00:40:31,516 --> 00:40:34,269
it's all kind of
coming to a head.
1017
00:40:34,269 --> 00:40:38,148
The biggest feat is gonna
be making it normal
1018
00:40:38,148 --> 00:40:41,026
that we are in lead
positions as opposed to
1019
00:40:41,026 --> 00:40:42,360
it being the fight.
1020
00:40:43,403 --> 00:40:46,698
And that's where Quentin
is just a priceless ally.
1021
00:40:46,698 --> 00:40:48,867
And I think he needs to sit
in an interview and be like,
1022
00:40:48,867 --> 00:40:50,494
"Listen, women should
have these roles
1023
00:40:50,494 --> 00:40:50,827
and women..."
1024
00:40:50,827 --> 00:40:53,705
Like he doesn't have to
drive it because he's-
1025
00:40:53,705 --> 00:40:55,957
he's just presenting it
as such.
1026
00:40:55,957 --> 00:40:58,585
Now if any of you
sons of bitches (yells)
1027
00:40:58,585 --> 00:41:03,215
got anything else to say,
now's the fuckin' time!
1028
00:41:03,215 --> 00:41:07,594
O-Ren Ishii is a survivor.
1029
00:41:12,474 --> 00:41:16,436
She is a woman who was
probably never going to die
1030
00:41:16,436 --> 00:41:18,396
peacefully of old age.
1031
00:41:18,396 --> 00:41:20,065
She swore revenge.
1032
00:41:21,024 --> 00:41:23,068
It only made sense
that in the end,
1033
00:41:23,068 --> 00:41:25,362
in her great honor,
she was killed
1034
00:41:25,362 --> 00:41:27,030
with the Hattori Hanso sword.
1035
00:41:31,326 --> 00:41:33,703
Uma worked her ass off
and was in training
1036
00:41:33,703 --> 00:41:36,206
for a long time before
I was even on board.
1037
00:41:36,206 --> 00:41:37,582
She had a crazy schedule.
1038
00:41:37,582 --> 00:41:39,376
She was in just
about every shot.
1039
00:41:39,376 --> 00:41:42,003
We were shooting in Beijing.
1040
00:41:42,003 --> 00:41:43,255
She had a newborn.
1041
00:41:44,422 --> 00:41:47,384
She was under intense
amounts of physical pressure.
1042
00:41:47,384 --> 00:41:49,427
(grunts) (grunts)
1043
00:41:49,427 --> 00:41:50,679
Cut. Great.
1044
00:41:50,679 --> 00:41:51,221
Excellent.
1045
00:41:51,221 --> 00:41:51,763
Excellent.
1046
00:41:51,763 --> 00:41:55,141
Check (indistinct)
(laughs)
1047
00:41:55,141 --> 00:41:57,644
Like, you know, she was
in pain a lot of the time.
1048
00:41:57,644 --> 00:42:00,355
She was sort of like,
she had blisters and cuts,
1049
00:42:00,355 --> 00:42:00,730
things like that.
1050
00:42:00,730 --> 00:42:03,108
It's just part of
the- the deal.
1051
00:42:03,108 --> 00:42:04,234
It feels good to be tough.
1052
00:42:04,234 --> 00:42:06,152
It's strangely
sort of liberating.
1053
00:42:06,152 --> 00:42:07,779
Yeah, I'm bleeding.
1054
00:42:07,779 --> 00:42:08,405
Keep rolling.
1055
00:42:09,489 --> 00:42:13,076
The girl fight
between Uma and, uh,
1056
00:42:13,076 --> 00:42:16,121
Vivica Fox in Kill Bill is,
1057
00:42:16,121 --> 00:42:18,331
without a doubt,
the greatest fight
1058
00:42:18,331 --> 00:42:20,667
any two women
ever had in a movie.
1059
00:42:20,667 --> 00:42:22,252
It's crazy good.
1060
00:42:32,637 --> 00:42:35,056
Vivica and Uma just
were so great in that scene.
1061
00:42:35,056 --> 00:42:36,391
When I'd sit
there and watch,
1062
00:42:36,391 --> 00:42:37,893
I'd forget that
I was there to do a job.
1063
00:42:37,893 --> 00:42:39,185
When the daughter
comes in the door,
1064
00:42:39,185 --> 00:42:41,396
I'm just like God,
it's beautiful.
1065
00:42:41,396 --> 00:42:44,649
The mother versus
assassin just like
1066
00:42:44,649 --> 00:42:46,902
(clicks tongue)
in one shot. Perfect.
1067
00:42:47,611 --> 00:42:48,737
Mommy, I'm home.
1068
00:42:48,737 --> 00:42:50,238
Hey, baby.
1069
00:42:50,238 --> 00:42:51,781
How was school?
1070
00:42:51,781 --> 00:42:53,283
It softened everything.
1071
00:42:53,283 --> 00:42:54,242
Just amazing.
1072
00:42:54,242 --> 00:42:55,785
And- and- and
The Bride sells it,
1073
00:42:55,785 --> 00:42:57,621
too, because she knows,
you know.
1074
00:42:58,705 --> 00:42:59,706
It's just genius.
1075
00:42:59,706 --> 00:43:02,876
It's absolute,
irrevocable genius, man.
1076
00:43:02,876 --> 00:43:06,004
There's a viciousness
and yet their femininity
1077
00:43:06,004 --> 00:43:07,797
never went away for a second.
1078
00:43:09,132 --> 00:43:11,134
It's all about presentation.
1079
00:43:11,134 --> 00:43:12,928
You walk through
a shoji screen and then,
1080
00:43:12,928 --> 00:43:15,722
suddenly, there's this
winter wonderland.
1081
00:43:18,141 --> 00:43:22,562
He really worked with
the designers to create this
1082
00:43:22,562 --> 00:43:25,357
beautiful visual that
also turned into a wonderful
1083
00:43:25,357 --> 00:43:27,901
sound backdrop for
what we were doing.
1084
00:43:29,736 --> 00:43:31,154
There's the bamboo
water fountain.
1085
00:43:31,154 --> 00:43:33,114
It almost acts as a metronome.
1086
00:43:33,907 --> 00:43:37,994
It was absolutely beautiful,
1087
00:43:37,994 --> 00:43:40,246
like when you are watching
something from another time.
1088
00:43:41,581 --> 00:43:43,458
It's one of the perfect
examples of movie magic
1089
00:43:43,458 --> 00:43:46,795
where the practicality of
it was kind of difficult.
1090
00:43:47,587 --> 00:43:50,757
The snow we were using was
sort of difficult to breathe.
1091
00:43:50,757 --> 00:43:51,758
So in between takes,
1092
00:43:51,758 --> 00:43:54,302
we had the protective
masks on and, you know,
1093
00:43:54,302 --> 00:43:56,429
we were constantly having
to cover our footprints.
1094
00:43:59,391 --> 00:44:03,061
And action!
1095
00:44:03,061 --> 00:44:04,062
Women work for him.
1096
00:44:04,062 --> 00:44:06,982
They are fiercely loyal
'cause he actually
1097
00:44:06,982 --> 00:44:08,733
is very protective of them.
1098
00:44:08,733 --> 00:44:10,068
He promotes them.
1099
00:44:10,068 --> 00:44:11,861
He works creatively with them.
1100
00:44:11,861 --> 00:44:13,822
And when you look at
the female characters
1101
00:44:13,822 --> 00:44:15,031
in his films,
1102
00:44:15,031 --> 00:44:16,908
they're all quite remarkable.
1103
00:44:17,742 --> 00:44:18,702
Cut! Okay?
1104
00:44:18,702 --> 00:44:20,412
Yeah. Terrific!
1105
00:44:24,165 --> 00:44:25,041
You guys were great.
1106
00:44:25,041 --> 00:44:26,292
That was terrific.
1107
00:44:26,292 --> 00:44:27,711
Part of me still feels
like I don't want to talk
1108
00:44:27,711 --> 00:44:30,797
about it because I don't
want people to- to know.
1109
00:44:30,797 --> 00:44:34,551
(indistinct) It was
the camera angle
1110
00:44:34,551 --> 00:44:37,178
that sold the fact that
my head had been cut off
1111
00:44:38,138 --> 00:44:40,974
so I look like I had a little
bit of a cone head in real life.
1112
00:44:40,974 --> 00:44:42,308
And then when you
see it in the movie,
1113
00:44:42,308 --> 00:44:44,060
it's just like
angels are singing.
1114
00:44:48,898 --> 00:44:50,483
There's something
beautiful in understanding
1115
00:44:50,483 --> 00:44:52,277
that- that is done in camera.
1116
00:44:55,238 --> 00:44:56,573
That was completely practical
1117
00:44:56,573 --> 00:44:58,616
because you know
Quentin doesn't,
1118
00:44:58,616 --> 00:45:00,994
is a fan of avoiding
CGI when possible.
1119
00:45:07,250 --> 00:45:08,752
He adores Uma.
1120
00:45:10,420 --> 00:45:13,381
And nobody was more
enthusiastic than Quentin.
1121
00:45:13,381 --> 00:45:16,760
I mean, he's still like a
kid when he gets worked up.
1122
00:45:16,760 --> 00:45:18,470
Sometimes you do dumb things.
1123
00:45:30,023 --> 00:45:32,484
This is the thing
with this business.
1124
00:45:32,484 --> 00:45:37,739
You make the best level of plans
and you have great people.
1125
00:45:40,742 --> 00:45:42,827
And then sometimes
there's human error.
1126
00:45:53,880 --> 00:45:54,923
Everyone was just having
1127
00:45:54,923 --> 00:45:56,925
fun making a movie.
1128
00:45:57,759 --> 00:45:59,511
And everybody was
damn happy to be on a
1129
00:45:59,511 --> 00:46:02,097
set with Quentin Tarantino.
1130
00:46:02,097 --> 00:46:04,516
And everybody was damn
happy to be represented
1131
00:46:04,516 --> 00:46:06,726
and distributed by
Harvey Weinstein
1132
00:46:06,726 --> 00:46:07,811
and the Weinstein Company.
1133
00:46:15,318 --> 00:46:17,821
What was weird
about Harvey is,
1134
00:46:17,821 --> 00:46:19,531
and this was true of
his relationship with
1135
00:46:19,531 --> 00:46:21,741
competitors and with people,
1136
00:46:21,741 --> 00:46:24,369
was he- he was a bully
and he enjoyed it.
1137
00:46:24,369 --> 00:46:28,540
He had this- this
enormous power that,
1138
00:46:30,208 --> 00:46:33,169
I know he was conscious
that he had it,
1139
00:46:33,169 --> 00:46:36,005
and I know that he would
consciously use it,
1140
00:46:38,341 --> 00:46:41,636
but whether or not he
realized he was using it
1141
00:46:41,636 --> 00:46:45,140
in such an obstructive way,
1142
00:46:45,140 --> 00:46:46,766
I don't know about that.
1143
00:46:46,766 --> 00:46:49,352
I'll tell you a funny thing
that happened in Cannes.
1144
00:46:49,352 --> 00:46:51,938
I was at this little reception
thing with Quentin.
1145
00:46:51,938 --> 00:46:54,399
Here comes Harvey and he
comes around the corner
1146
00:46:54,399 --> 00:46:57,152
and he's sweating,
like profusely sweating.
1147
00:46:57,152 --> 00:46:59,821
And he's got this really
angry face, you know.
1148
00:46:59,821 --> 00:47:01,865
You see a Harvey
Weinstein in that mood,
1149
00:47:03,783 --> 00:47:06,035
everybody literally froze.
1150
00:47:06,035 --> 00:47:08,037
And right before he
had come in the room,
1151
00:47:08,037 --> 00:47:10,039
Quentin had introduced
me to Harvey's wife
1152
00:47:10,039 --> 00:47:11,082
and his little daughter.
1153
00:47:11,082 --> 00:47:14,502
And the little daughter
had a doll in her hand
1154
00:47:14,502 --> 00:47:17,964
and she had handed me the
doll while we were talking.
1155
00:47:17,964 --> 00:47:21,426
And so I was holding the
doll when Harvey came around
1156
00:47:21,426 --> 00:47:23,469
the corner and came
into the room.
1157
00:47:23,469 --> 00:47:26,222
And he looked at me
and he looked at Quentin
1158
00:47:26,222 --> 00:47:28,475
and he looked at
his wife and child
1159
00:47:28,475 --> 00:47:30,518
and he sized up the situation
1160
00:47:30,518 --> 00:47:33,146
and he took the
doll out of my hand
1161
00:47:33,146 --> 00:47:35,482
and handed it back to his
little kid, to his daughter.
1162
00:47:36,816 --> 00:47:38,401
And Quentin goes,
"Harvey, Harvey,
1163
00:47:38,401 --> 00:47:38,985
what are you doing?
1164
00:47:38,985 --> 00:47:41,821
He goes, Michael's gonna
do The Hateful Eight.
1165
00:47:41,821 --> 00:47:44,407
Michael's gonna do The
Hateful Eight with us."
1166
00:47:44,407 --> 00:47:47,118
And Harvey kind of-
kind of stood there
1167
00:47:47,118 --> 00:47:48,745
and his eyes were
shifting back and forth
1168
00:47:48,745 --> 00:47:52,665
and he was thinking on his feet.
1169
00:47:52,665 --> 00:47:54,000
Mm. Mm. Mm. (scoffs)
And, all of a sudden, he went
1170
00:47:54,000 --> 00:47:55,835
and he took the doll
from the little girl
1171
00:47:55,835 --> 00:47:57,003
and gave it back to me.
1172
00:47:57,003 --> 00:48:02,050
And I- I took it and I -- I-
I didn't know what to say.
1173
00:48:02,050 --> 00:48:03,134
I mean it was like...
1174
00:48:03,134 --> 00:48:05,887
And he walked away
right in that moment.
1175
00:48:05,887 --> 00:48:09,307
He gave me the damn the thing
and then he walked away.
1176
00:48:09,307 --> 00:48:11,643
And I remember
going, oh, my God.
1177
00:48:11,643 --> 00:48:13,478
And Quentin was
laughing hysterically.
1178
00:48:13,478 --> 00:48:15,396
When Quentin finds something
funny and he laughs,
1179
00:48:15,396 --> 00:48:16,856
he's got a great laugh.
1180
00:48:16,856 --> 00:48:19,776
And, of course, I gave
the doll back to the girl.
1181
00:48:19,776 --> 00:48:21,819
It was very strange
and I'll never forget it.
1182
00:48:21,819 --> 00:48:23,655
It was like, wow.
1183
00:48:23,655 --> 00:48:25,114
Where did that come from?
1184
00:48:25,114 --> 00:48:26,616
Holy shit.
1185
00:48:26,616 --> 00:48:28,117
You know a year later,
you know,
1186
00:48:28,117 --> 00:48:29,452
the guy's being indicted.
1187
00:48:41,464 --> 00:48:43,675
Quentin loves genre.
1188
00:48:47,470 --> 00:48:50,598
He used to do his
QT Fest in Austin.
1189
00:48:50,598 --> 00:48:54,018
There's a big rule that we
have during this festival.
1190
00:48:54,018 --> 00:48:57,063
You don't laugh to
show that you're superior
1191
00:48:57,063 --> 00:49:00,817
than the movie or how much
cooler you are than the movie,
1192
00:49:00,817 --> 00:49:02,652
because I'm telling
you nobody here is cooler
1193
00:49:02,652 --> 00:49:03,903
than this movie.
1194
00:49:03,903 --> 00:49:05,530
These movies are fuckin' cool.
1195
00:49:05,530 --> 00:49:07,073
For ten days he
would show movies.
1196
00:49:07,073 --> 00:49:08,908
He would have double
features every night,
1197
00:49:08,908 --> 00:49:10,326
some nights triple features,
1198
00:49:10,326 --> 00:49:14,914
and showed Asian films and
genre films from all over.
1199
00:49:14,914 --> 00:49:16,708
Constantly people would
talk movies with him,
1200
00:49:16,708 --> 00:49:18,084
which is what he loves.
1201
00:49:18,084 --> 00:49:19,919
And so I think there
was a period of time
1202
00:49:19,919 --> 00:49:22,714
where Austin was a very
safe haven for Quentin.
1203
00:49:22,714 --> 00:49:24,257
Quentin and Robert
were hanging out a
1204
00:49:24,257 --> 00:49:25,800
lot together at that time.
1205
00:49:25,800 --> 00:49:27,427
I remember Quentin
and Robert took me
1206
00:49:27,427 --> 00:49:29,512
and Edgar right
out for Mexican food.
1207
00:49:29,512 --> 00:49:30,430
And they told us the
1208
00:49:30,430 --> 00:49:32,849
whole concept of Grindhouse.
1209
00:49:32,849 --> 00:49:34,601
Quentin's part of Grindhouse
1210
00:49:34,601 --> 00:49:35,310
is extraordinary.
1211
00:49:35,310 --> 00:49:36,686
I think it's so smart.
1212
00:49:36,686 --> 00:49:38,771
It's like lots of
people have done
1213
00:49:38,771 --> 00:49:40,356
chase films and
lots of people have
1214
00:49:40,356 --> 00:49:41,733
done revenge films.
1215
00:49:41,733 --> 00:49:45,486
And it is such a
remarkable pro woman,
1216
00:49:45,486 --> 00:49:48,364
feminist, but also cinematic,
1217
00:49:48,364 --> 00:49:51,367
a visionary cinematic,
exciting film.
1218
00:49:52,702 --> 00:49:53,536
He rang me and was like,
1219
00:49:53,536 --> 00:49:55,121
Zoë, I've finished the
script for Death Proof.
1220
00:49:55,121 --> 00:49:58,041
He had told me that it was
gonna be about a stunt guy
1221
00:49:58,041 --> 00:49:59,917
whose car was death proof
1222
00:49:59,917 --> 00:50:01,336
and that he killed
women with it.
1223
00:50:02,462 --> 00:50:04,839
Every troupe that you've
seen where a woman is
1224
00:50:04,839 --> 00:50:08,259
brutalized is referred to
1225
00:50:08,259 --> 00:50:10,011
and then he flips
it on its head.
1226
00:50:10,011 --> 00:50:11,387
Hey!
1227
00:50:11,387 --> 00:50:13,639
(screams) Now I want blood.
1228
00:50:13,639 --> 00:50:14,932
It's about redemption.
1229
00:50:14,932 --> 00:50:15,975
It's about power.
1230
00:50:15,975 --> 00:50:17,352
It's about feminism.
1231
00:50:17,352 --> 00:50:18,811
(grunts) Oh, you want...
(grunts)
1232
00:50:18,811 --> 00:50:22,148
He makes roles for
women that he wants to see.
1233
00:50:22,148 --> 00:50:24,692
I remember saying to him,
"As long as you cast
1234
00:50:24,692 --> 00:50:27,070
someone in the movie that looks
like me so I can work on it."
1235
00:50:27,070 --> 00:50:28,488
Nice.
1236
00:50:28,488 --> 00:50:29,947
Nice. Thank you.
1237
00:50:29,947 --> 00:50:30,281
Yep.
1238
00:50:30,281 --> 00:50:31,324
Like, it's on you, buddy.
1239
00:50:31,324 --> 00:50:32,575
Like if I'm terrible at this,
1240
00:50:32,575 --> 00:50:35,828
if I fuck it up,
it's your fault.
1241
00:50:35,828 --> 00:50:36,829
(inhales) And he, at
one point, was like,
1242
00:50:36,829 --> 00:50:37,664
"Look, this is my job.
1243
00:50:37,664 --> 00:50:39,082
This is what I do.
1244
00:50:39,082 --> 00:50:41,376
I make good casting choices."
1245
00:50:41,376 --> 00:50:43,378
And he said, "I know you
and I know what I want
1246
00:50:43,378 --> 00:50:44,796
and I know I can get it."
1247
00:50:44,796 --> 00:50:46,047
So you just need to relax
1248
00:50:46,047 --> 00:50:47,548
and know your lines.
1249
00:50:47,548 --> 00:50:48,007
I remember...
1250
00:50:48,007 --> 00:50:49,550
..thinking this is like a,
1251
00:50:49,550 --> 00:50:52,178
yeah, it's a great
night at the theater,
1252
00:50:52,178 --> 00:50:53,638
you know, in nineteen seventy.
1253
00:50:56,140 --> 00:50:58,434
I'd gone in and
interviewed for those
1254
00:50:58,434 --> 00:51:01,229
kinds of movies,
you know, so I knew,
1255
00:51:01,229 --> 00:51:01,687
I knew them.
1256
00:51:01,687 --> 00:51:02,480
I knew what he was doing.
1257
00:51:02,480 --> 00:51:03,523
I thought it was pretty great.
1258
00:51:03,523 --> 00:51:05,983
Do I frighten you?
1259
00:51:05,983 --> 00:51:07,485
I was what a stuntman
would look like.
1260
00:51:07,485 --> 00:51:09,028
Big scar, that (indistinct).
1261
00:51:09,028 --> 00:51:10,029
He goes, "Yeah,
let's do the eyes."
1262
00:51:10,029 --> 00:51:11,239
And you mean big, don't you?
and he said,
1263
00:51:11,239 --> 00:51:12,115
"Oh, yeah."
1264
00:51:12,115 --> 00:51:14,534
The old school action hero
and the stunt guy are
1265
00:51:14,534 --> 00:51:16,285
really important to him
and I think this was an
1266
00:51:16,285 --> 00:51:17,703
exciting way for him
to say thank you
1267
00:51:17,703 --> 00:51:20,123
to the stunt people
of- of the industry.
1268
00:51:20,123 --> 00:51:20,915
Now.
1269
00:51:20,915 --> 00:51:22,708
That's that Quentin
magic is- is getting as
1270
00:51:22,708 --> 00:51:24,293
much of it to be as
real as possible.
1271
00:51:24,293 --> 00:51:27,338
(groan) (scream)
We're doing ninety miles
1272
00:51:27,338 --> 00:51:29,841
an hour for a lot of that
stuff down that road.
1273
00:51:29,841 --> 00:51:32,301
She's strapped to
the hood of that car.
1274
00:51:32,301 --> 00:51:33,511
There's nothing you can do.
1275
00:51:33,511 --> 00:51:36,222
If he catches his tire
on the edge of the road
1276
00:51:36,222 --> 00:51:39,225
and we go over,
that's it for Zoë.
1277
00:51:39,225 --> 00:51:40,768
It's not gonna
be a broken arm.
1278
00:51:40,768 --> 00:51:41,519
He came up to me
one time and he's like,
1279
00:51:41,519 --> 00:51:42,478
"Zoë, come and look at this."
1280
00:51:42,478 --> 00:51:44,063
And I sat there and I was
all excited to see it and
1281
00:51:44,063 --> 00:51:45,857
I was watching it
and I was like,
1282
00:51:45,857 --> 00:51:46,399
"Oh, my God.
1283
00:51:46,399 --> 00:51:47,275
It looks amazing."
1284
00:51:47,275 --> 00:51:48,484
I was so over the moon.
1285
00:51:48,484 --> 00:51:49,569
He was like,
"What's wrong with it?"
1286
00:51:49,569 --> 00:51:50,069
And I was like, "What?
1287
00:51:50,069 --> 00:51:50,736
What are you talking about?
1288
00:51:50,736 --> 00:51:51,696
There's nothing
wrong with that.
1289
00:51:51,696 --> 00:51:53,322
That's fuckin' gold."
1290
00:51:53,322 --> 00:51:54,490
He was like, there's
something wrong with it.
1291
00:51:54,490 --> 00:51:54,907
What is it?
1292
00:51:54,907 --> 00:51:57,410
And I was like,
"I don't know, Quentin.
1293
00:51:57,410 --> 00:51:59,036
I think you're
being a bit fussy."
1294
00:51:59,036 --> 00:52:01,205
You know, and he was like,
"What don't we see in the
1295
00:52:01,205 --> 00:52:02,790
whole four minutes?"
1296
00:52:02,790 --> 00:52:03,666
And I was like, "What?
1297
00:52:03,666 --> 00:52:05,334
(gasps) My face."
1298
00:52:05,334 --> 00:52:08,296
And we never once saw
my face because my job for
1299
00:52:08,296 --> 00:52:10,673
so long had been
to know exactly
1300
00:52:10,673 --> 00:52:12,258
where the camera
was so I'd avoid it.
1301
00:52:12,258 --> 00:52:13,134
I'd have an arm up.
1302
00:52:13,134 --> 00:52:15,678
I'd use my hair or
my body or whatever,
1303
00:52:15,678 --> 00:52:16,762
'cause that was my job.
1304
00:52:16,762 --> 00:52:19,348
If you saw my face,
the take was ruined.
1305
00:52:19,348 --> 00:52:19,765
And he was like,
1306
00:52:19,765 --> 00:52:20,892
"I love that
you're that good at it,
1307
00:52:20,892 --> 00:52:22,602
but I need you to
reverse it because the
1308
00:52:22,602 --> 00:52:25,938
whole point of this is
that we can see it's you."
1309
00:52:27,482 --> 00:52:30,151
He loves to help
actors get to a place
1310
00:52:30,151 --> 00:52:32,487
where they can
completely bring it.
1311
00:52:35,865 --> 00:52:37,783
So how's Quentin different
from other directors?
1312
00:52:37,783 --> 00:52:41,996
(laughs)
I never, never fear
1313
00:52:41,996 --> 00:52:43,998
that my joy is
gonna be cut off.
1314
00:52:43,998 --> 00:52:44,624
Wahoo!
1315
00:52:44,624 --> 00:52:49,504
(laughs) Hey, ladies,
that was fun.
1316
00:52:49,504 --> 00:52:54,342
(laughs) Acting in
Death Proof was a blast.
1317
00:52:54,342 --> 00:52:56,052
We had so much fun.
I mean, it's a bar scene.
1318
00:52:56,052 --> 00:52:57,720
Quentin is a bartender.
1319
00:52:57,720 --> 00:52:59,305
And there was one
scene where Quentin had
1320
00:52:59,305 --> 00:53:00,640
to do these Irish car bombs.
1321
00:53:00,640 --> 00:53:02,517
And Quentin's like,
"It's got to be real or the foam
1322
00:53:02,517 --> 00:53:03,559
won't be correct."
1323
00:53:03,559 --> 00:53:05,937
And Quentin's like
"I can't be there to see
1324
00:53:05,937 --> 00:53:08,105
how the take looks,
so this is a long take.
1325
00:53:08,105 --> 00:53:09,232
You've- you've got
to do this right,
1326
00:53:09,232 --> 00:53:11,859
but I'm drinking real
Guinness and real Jager.
1327
00:53:11,859 --> 00:53:12,860
You guys can't fuck it up."
1328
00:53:12,860 --> 00:53:13,110
Right.
1329
00:53:13,110 --> 00:53:13,694
Okay, okay.
1330
00:53:13,694 --> 00:53:14,278
Everyone's ready.
1331
00:53:14,278 --> 00:53:14,987
Last shot of the night.
1332
00:53:14,987 --> 00:53:16,239
It's like six-thirty
in the morning. Aah!
1333
00:53:16,239 --> 00:53:19,116
So we're like, boom,
boom, boom, boom.
1334
00:53:19,116 --> 00:53:20,451
And Quentin's like,
how'd it turn out, Jimmy.
1335
00:53:20,451 --> 00:53:23,246
And he's like, actually
that was- that was great.
1336
00:53:23,246 --> 00:53:24,163
Quentin said,
"Cool, cool.
1337
00:53:24,163 --> 00:53:25,206
We should get one for safety,
1338
00:53:25,206 --> 00:53:26,082
right?"
1339
00:53:26,082 --> 00:53:26,791
Boom, boom.
1340
00:53:26,791 --> 00:53:28,501
He drinks another shot,
drinks another shot.
1341
00:53:28,501 --> 00:53:30,503
And I don't know how,
but we started singing this
1342
00:53:30,503 --> 00:53:32,839
song from Blazing Saddles,
where I was like,
1343
00:53:32,839 --> 00:53:34,507
(sings) din-din-din-in,
din-din-din.
1344
00:53:34,507 --> 00:53:35,091
(sings) Throw out your hands,
1345
00:53:35,091 --> 00:53:35,842
Stick out your tush...
(sings) Throw out your hands,
1346
00:53:35,842 --> 00:53:38,261
(speaks) And I just started
doing it to Quentin.
1347
00:53:38,261 --> 00:53:39,720
And he just started laughing.
1348
00:53:39,720 --> 00:53:41,138
And he's like,
"Ah, that was so fun.
1349
00:53:41,138 --> 00:53:42,223
He's like, "Ah,
yeah, yeah, yeah.
1350
00:53:42,223 --> 00:53:43,558
Let's- let's just
do another one."
1351
00:53:43,558 --> 00:53:45,309
And we're like,
yeah, but now it's like
1352
00:53:45,309 --> 00:53:46,561
seven fifteen in the morning.
1353
00:53:46,561 --> 00:53:47,979
And so Quentin's like,
1354
00:53:47,979 --> 00:53:49,438
"Action!"
And he goes,
1355
00:53:49,438 --> 00:53:53,150
"pshew" and slams the glass
down and shatters it
1356
00:53:53,150 --> 00:53:56,862
and cuts his hand and falls
off the table laughing.
1357
00:53:56,862 --> 00:54:00,408
And he's like,
"Ah-ha-ha-ha!
1358
00:54:00,408 --> 00:54:02,368
That was so funny.
1359
00:54:02,368 --> 00:54:04,161
Oh, my God!"
1360
00:54:04,161 --> 00:54:07,039
I think we did
about twelve takes.
1361
00:54:07,039 --> 00:54:09,792
Finally at like, maybe
it's eight-forty-five
1362
00:54:09,792 --> 00:54:12,378
in the morning, I was
leaving and Quentin, like,
1363
00:54:12,378 --> 00:54:13,170
grabbed my arm.
He's like,
1364
00:54:13,170 --> 00:54:14,213
"You're stayin' and you're
having a drink with us, right?"
1365
00:54:14,213 --> 00:54:15,131
I said, "Yeah, yeah.
1366
00:54:15,131 --> 00:54:15,715
Let me be right back."
1367
00:54:15,715 --> 00:54:16,674
And I like ran away
1368
00:54:16,674 --> 00:54:19,051
back to the hotel to sleep.
I don't know.
1369
00:54:19,051 --> 00:54:20,803
All I heard was someone
may have been puking
1370
00:54:20,803 --> 00:54:21,887
in a dumpster at eleven o'clock
the next morning.
1371
00:54:24,140 --> 00:54:26,851
when I saw
Death Proof,
1372
00:54:26,851 --> 00:54:29,145
in that scene
1373
00:54:29,145 --> 00:54:31,397
where the girls are
sitting in the car
1374
00:54:31,397 --> 00:54:34,567
driving and talking,
nothing happens.
1375
00:54:34,567 --> 00:54:39,947
They don't say anything that's
really relevant to anything.
1376
00:54:39,947 --> 00:54:43,701
It goes on and it goes on
and I think it goes on for
1377
00:54:43,701 --> 00:54:45,036
forty-five minutes,
1378
00:54:45,036 --> 00:54:48,831
and they are still
driving and talking.
1379
00:54:48,831 --> 00:54:56,380
And I was so smitten by
that moment that it really
1380
00:54:56,380 --> 00:55:01,802
clicked that- that
yeah, despite all the
1381
00:55:01,802 --> 00:55:05,598
extraordinary
entertainment that these
1382
00:55:05,598 --> 00:55:13,648
movies deliver, there is
an allure and a suction
1383
00:55:13,648 --> 00:55:15,399
that pulls you in.
1384
00:55:17,068 --> 00:55:21,906
There is always that, this-
this strength in it.
1385
00:55:21,906 --> 00:55:24,450
(sings) Where the
hell are my keys?
1386
00:55:24,450 --> 00:55:25,368
Here they are.
1387
00:55:50,643 --> 00:55:53,562
I think Quentin's influence
on film is twofold.
1388
00:55:53,562 --> 00:55:55,439
One is that
he's empowered
1389
00:55:55,439 --> 00:55:57,233
a lot of half-ass
filmmakers to make some
1390
00:55:57,233 --> 00:55:59,360
very bad films
because they don't know
1391
00:55:59,360 --> 00:56:00,861
how to watch his films.
1392
00:56:00,861 --> 00:56:02,321
They miss the poetry
1393
00:56:02,321 --> 00:56:05,783
and the elegance and the
eloquence of his filmmaking.
1394
00:56:05,783 --> 00:56:07,702
And so they go and they-
they had a lot of,
1395
00:56:07,702 --> 00:56:09,870
you know, bizarre violence
and- and people
1396
00:56:09,870 --> 00:56:13,666
mistreating people and they
miss his passionate humanism.
1397
00:56:13,666 --> 00:56:16,502
Inglourious Basterds,
this is a film that teaches
1398
00:56:16,502 --> 00:56:19,338
filmmakers how to make
movies because the opening
1399
00:56:19,338 --> 00:56:24,135
scene is literally Quentin
saying to everybody,
1400
00:56:24,135 --> 00:56:25,720
"Oh, you think
you know who I am,
1401
00:56:25,720 --> 00:56:27,221
and you think you
know what I can do,
1402
00:56:27,221 --> 00:56:29,306
and you think you've
seen a war movie before.
1403
00:56:29,306 --> 00:56:30,725
Well, I'm gonna mess with you
1404
00:56:30,725 --> 00:56:33,102
in a way you haven't
even begun to think."
1405
00:56:35,479 --> 00:56:36,564
Papa!
1406
00:56:36,564 --> 00:56:37,815
That I'm in control.
1407
00:56:37,815 --> 00:56:39,692
Then you were in
the palm of my hands
1408
00:56:39,692 --> 00:56:42,027
and you're on my trip.
1409
00:56:42,027 --> 00:56:43,904
The German general comes in.
1410
00:56:43,904 --> 00:56:46,532
You can't quite figure out
why he's being so friendly.
1411
00:56:49,410 --> 00:56:51,620
And you don't know why
are they so scared?
1412
00:56:54,957 --> 00:56:55,708
And then at a certain point,
1413
00:56:55,708 --> 00:56:57,793
Quentin takes you
under the house.
1414
00:56:59,795 --> 00:57:02,089
And it's really a
horrific moment.
1415
00:57:06,844 --> 00:57:08,763
You know, it's not Robert
Wise with The Haunting
1416
00:57:08,763 --> 00:57:10,556
where he's freaking you
out with camera angles.
1417
00:57:10,556 --> 00:57:13,058
It's not Toby Hooper's, uh,
1418
00:57:13,058 --> 00:57:14,185
Texas Chainsaw where
1419
00:57:14,185 --> 00:57:15,895
he's like shoving
your face in it.
1420
00:57:15,895 --> 00:57:17,563
It's what's not happening.
1421
00:57:17,563 --> 00:57:20,357
A German soldier conducts
a search of a house
1422
00:57:20,357 --> 00:57:22,902
suspected of hiding Jews.
1423
00:57:22,902 --> 00:57:24,403
Where does the hawk look?
1424
00:57:24,403 --> 00:57:25,571
He looks in the barn.
1425
00:57:25,571 --> 00:57:26,614
He looks in the attic.
1426
00:57:26,614 --> 00:57:27,782
He looks in the cellar.
1427
00:57:27,782 --> 00:57:31,285
He looks everywhere
he would hide.
1428
00:57:31,285 --> 00:57:33,204
But there's so many places
that wouldn't even have
1429
00:57:33,204 --> 00:57:35,414
occurred to a hawk to hide.
1430
00:57:35,414 --> 00:57:37,792
No, you're not turning a
corner and suddenly having
1431
00:57:37,792 --> 00:57:38,793
a cat screech.
1432
00:57:38,793 --> 00:57:40,002
And you go, "Oh!"
1433
00:57:40,002 --> 00:57:41,003
It's not cutting.
1434
00:57:41,003 --> 00:57:44,131
It's all intellectual
and it's all unbearable.
1435
00:57:45,341 --> 00:57:47,426
Point out to me the areas
where they're hiding.
1436
00:58:07,029 --> 00:58:09,573
The dialogue is,
1437
00:58:09,573 --> 00:58:10,991
so to say,
1438
00:58:10,991 --> 00:58:13,160
the tiny tip of the iceberg.
1439
00:58:14,537 --> 00:58:15,996
It's a clue.
1440
00:58:20,626 --> 00:58:23,546
I thank you for your time.
1441
00:58:26,006 --> 00:58:28,050
We shan't be bothering
your family any longer.
1442
00:58:29,009 --> 00:58:31,929
So Quentin, in his dialogue,
1443
00:58:31,929 --> 00:58:35,724
doesn't tell you how to say it,
1444
00:58:35,724 --> 00:58:39,395
but he gives you like
a whole abundance
1445
00:58:39,395 --> 00:58:41,897
of elements of what to say.
1446
00:58:41,897 --> 00:58:43,023
...adieu.
1447
00:58:46,652 --> 00:58:51,407
You derive fun from trying
to figure that out.
1448
00:58:51,407 --> 00:58:53,534
That's it.
1449
00:58:53,534 --> 00:58:55,911
(chuckles) And Quentin
starts there and then he
1450
00:58:55,911 --> 00:58:57,872
goes and messes in doing
almost every other way he
1451
00:58:57,872 --> 00:59:00,207
can in terms of
what a war film does.
1452
00:59:00,207 --> 00:59:03,961
(pants) (speaks French)
1453
00:59:03,961 --> 00:59:04,503
I remember the
1454
00:59:04,503 --> 00:59:06,088
first rehearsal from
Inglourious Basterds.
1455
00:59:06,088 --> 00:59:08,090
We all sat around and
everybody had our scripts
1456
00:59:08,090 --> 00:59:08,632
and we had our lines.
1457
00:59:08,632 --> 00:59:10,217
Quentin's like close
your scripts.
1458
00:59:10,217 --> 00:59:11,844
And he's like,
who are you?
1459
00:59:11,844 --> 00:59:13,262
And I was like,
"I'm Donny Donowitz."
1460
00:59:13,262 --> 00:59:15,848
And you had to go
on and on and on
1461
00:59:15,848 --> 00:59:17,141
about your backstory.
1462
00:59:17,141 --> 00:59:17,892
And he's like,
"Well, how did you feel
1463
00:59:17,892 --> 00:59:19,351
when he joined the Basterds?
1464
00:59:19,351 --> 00:59:19,852
What did you think about
1465
00:59:19,852 --> 00:59:21,520
Stiglitz coming
into the Basterds?"
1466
00:59:21,520 --> 00:59:23,272
Everybody had to have
their answers ready.
1467
00:59:23,272 --> 00:59:25,524
And there was one
person who didn't.
1468
00:59:25,524 --> 00:59:26,984
You!
1469
00:59:26,984 --> 00:59:27,651
And...
1470
00:59:27,651 --> 00:59:30,529
...you weren't
there the next day.
1471
00:59:30,529 --> 00:59:32,781
And that guy was an extra.
1472
00:59:32,781 --> 00:59:35,743
So I was really,
really training for it.
1473
00:59:35,743 --> 00:59:38,120
And I knew the bat scene,
that was the scene.
1474
00:59:38,120 --> 00:59:40,414
Like, this-It was like
if I do nothing else in
1475
00:59:40,414 --> 00:59:42,958
my life, it is this scene.
1476
00:59:42,958 --> 00:59:44,710
You hear that?
1477
00:59:46,337 --> 00:59:47,129
Yes.
1478
00:59:50,424 --> 00:59:53,177
It's Sergeant Donny Donowitz.
1479
00:59:53,177 --> 00:59:55,763
You might know him
better by his nickname,
1480
00:59:55,763 --> 00:59:58,182
The Bear Jew.
1481
00:59:58,182 --> 01:00:00,184
Quentin just gave me
the most heroic...
1482
01:00:00,184 --> 01:00:03,687
The one they call
"The Bear Jew"...
1483
01:00:03,687 --> 01:00:05,230
...is a Golem!
1484
01:00:05,230 --> 01:00:06,565
He's like you have Brad Pitt
1485
01:00:06,565 --> 01:00:07,816
and Hitler building you up.
1486
01:00:07,816 --> 01:00:09,652
He's like this is
gonna be your moment.
1487
01:00:09,652 --> 01:00:11,236
And, you know, I was gonna
come out of this tunnel.
1488
01:00:11,236 --> 01:00:12,696
Quentin was like,
"I got the best tunnel.
1489
01:00:12,696 --> 01:00:13,739
You're gonna be tapping
with a bat and
1490
01:00:13,739 --> 01:00:14,865
you're gonna come out."
1491
01:00:14,865 --> 01:00:17,117
Well, I got some weights
and we set up a punching bag,
1492
01:00:17,117 --> 01:00:19,203
so that Brad was
doing the whole scene
1493
01:00:19,203 --> 01:00:21,580
and I was in the back
and I was like lifting weights
1494
01:00:21,580 --> 01:00:23,374
and doing pull-ups, like,
I wanted to be ready like-
1495
01:00:23,374 --> 01:00:24,124
like an animal.
1496
01:00:24,124 --> 01:00:25,542
And Quentin was like,
all right,
1497
01:00:25,542 --> 01:00:26,335
we're gettin' to
you after lunch.
1498
01:00:26,335 --> 01:00:26,418
We're gettin' to you.
1499
01:00:26,418 --> 01:00:27,378
And then by the end,
he's like,
1500
01:00:27,378 --> 01:00:28,379
we're gonna do you next,
so be ready, ready.
1501
01:00:28,379 --> 01:00:30,339
And he was like,
well, that's a wrap.
1502
01:00:30,339 --> 01:00:30,965
And I was like (grunt).
1503
01:00:30,965 --> 01:00:32,341
And I would, like, sit
there at the end of day
1504
01:00:32,341 --> 01:00:35,552
and like (groan) like
getting all made up and ready,
1505
01:00:35,552 --> 01:00:36,929
pumped up, ready to go,
1506
01:00:36,929 --> 01:00:38,389
and then it would be like
the night at the gym and
1507
01:00:38,389 --> 01:00:40,391
in the morning the gym,
and then ready for it.
1508
01:00:40,391 --> 01:00:43,394
And Quentin did that to me
for about four or five days.
1509
01:00:43,394 --> 01:00:46,230
He finally, and he just like
had me like a caged animal.
1510
01:00:46,230 --> 01:00:47,815
He was, of course,
doing it on purpose.
1511
01:00:54,196 --> 01:00:55,739
And when I came out
with that bat,
1512
01:00:55,739 --> 01:00:57,825
I was so, so ready.
1513
01:00:57,825 --> 01:01:00,285
And then I just started
wailing on that dummy.
1514
01:01:00,285 --> 01:01:02,621
(grunts) I'm going
completely crazy.
1515
01:01:02,621 --> 01:01:04,123
I mean I think I lost my voice
1516
01:01:04,123 --> 01:01:05,708
for a couple days after that.
1517
01:01:08,502 --> 01:01:10,963
I know that Quentin really
wanted,
1518
01:01:10,963 --> 01:01:15,426
um, authentic, um, actors
to be really German,
1519
01:01:15,426 --> 01:01:16,677
to be really French.
1520
01:01:16,677 --> 01:01:18,804
Um, he spent months
and months and months in
1521
01:01:18,804 --> 01:01:20,556
Germany trying to find
the right people,
1522
01:01:20,556 --> 01:01:23,434
especially for Christoph
Waltz's character.
1523
01:01:28,647 --> 01:01:31,025
And I know that he
had said himself,
1524
01:01:31,025 --> 01:01:32,860
that if he wouldn't
have found Christoph,
1525
01:01:32,860 --> 01:01:34,945
he wouldn't have been
able to make this film.
1526
01:01:44,663 --> 01:01:47,291
Quentin was very
secretive about,
1527
01:01:47,291 --> 01:01:49,001
uh, Christoph's character.
1528
01:01:49,001 --> 01:01:51,253
Uh, even at the
read-throughs we didn't
1529
01:01:51,253 --> 01:01:54,298
get to really see
his performance.
1530
01:01:59,303 --> 01:02:00,846
In the theatre
when Christoph comes in
1531
01:02:00,846 --> 01:02:03,724
and confronts Bridget,
1532
01:02:03,724 --> 01:02:05,893
we never rehearsed that scene,
1533
01:02:05,893 --> 01:02:08,562
so it was a complete
surprise to me when
1534
01:02:08,562 --> 01:02:11,732
he started going crazy on the
laugh and- and the way he
1535
01:02:11,732 --> 01:02:12,649
did that scene.
1536
01:02:17,154 --> 01:02:30,292
(laughs) And I think it
kind of shows in my face.
1537
01:02:30,292 --> 01:02:32,127
Christoph just found
this character.
1538
01:02:32,127 --> 01:02:35,839
He had a really specific
idea of how he wanted to
1539
01:02:35,839 --> 01:02:39,551
play it and together with
Quentin they just had this
1540
01:02:39,551 --> 01:02:43,222
great bond and it got bigger
and bigger and bigger.
1541
01:02:43,222 --> 01:02:47,101
There is definitely an
exuberance about the
1542
01:02:47,101 --> 01:02:49,353
medium that he spreads.
1543
01:02:49,353 --> 01:02:53,732
And there is no, no
inoculation against this bug.
1544
01:02:53,732 --> 01:02:56,443
You get infected whether
you want to or not.
1545
01:02:56,443 --> 01:02:59,863
(laughs) Well, I don't
know whether you want to
1546
01:02:59,863 --> 01:03:02,116
or not, because
that's part of the,
1547
01:03:02,116 --> 01:03:06,495
part of the infection that
you do want to get infected.
1548
01:03:06,495 --> 01:03:08,330
It's like going to
a whore house to
1549
01:03:08,330 --> 01:03:10,916
get infected with the syphilis.
1550
01:03:10,916 --> 01:03:13,127
I've never been killed on film,
1551
01:03:13,127 --> 01:03:15,420
so as the day approached,
I was getting more and more
1552
01:03:15,420 --> 01:03:17,089
nervous about it.
1553
01:03:17,089 --> 01:03:19,883
I'm in my trailer and Quentin
comes in and he goes,
1554
01:03:19,883 --> 01:03:22,136
"Well, I don't really
trust Christoph to
1555
01:03:22,136 --> 01:03:24,555
kill you, so I'm
gonna do it myself."
1556
01:03:24,555 --> 01:03:26,557
And he was like,
"Well, look at this.
1557
01:03:26,557 --> 01:03:30,936
They cut off SS sleeves
that fit me and I'm gonna
1558
01:03:30,936 --> 01:03:33,730
put them on and then
I'm just gonna be on top of
1559
01:03:33,730 --> 01:03:34,857
you and I'm gonna
be strangling you,
1560
01:03:34,857 --> 01:03:37,109
and it's gonna be great."
1561
01:03:37,109 --> 01:03:38,068
I was like, " Oh, oh.
1562
01:03:38,068 --> 01:03:38,902
Yeah, that's great.
1563
01:03:38,902 --> 01:03:39,570
Sure.
1564
01:03:39,570 --> 01:03:40,404
Fair enough.
1565
01:03:40,404 --> 01:03:40,821
Why not?"
1566
01:03:40,821 --> 01:03:43,115
And- and now I'm
really panicking.
1567
01:03:43,115 --> 01:03:46,160
And so we know we do the
stunt and like I'm finally
1568
01:03:46,160 --> 01:03:49,413
on the ground and I just
have this to the end of
1569
01:03:49,413 --> 01:03:52,958
my life vision of Quentin,
who by all means is three
1570
01:03:52,958 --> 01:03:56,712
times Christoph's size
and his hands are three times
1571
01:03:56,712 --> 01:03:59,131
Christoph's hands on top of me,
1572
01:03:59,131 --> 01:04:01,633
you know, with put-on
sleeves that are three
1573
01:04:01,633 --> 01:04:04,303
sizes too small for
him strangling me.
1574
01:04:04,303 --> 01:04:07,473
And I was just like,
well, at least if I die,
1575
01:04:07,473 --> 01:04:09,892
it's Quentin Tarantino
who killed me today.
1576
01:04:09,892 --> 01:04:10,893
Ooh!
1577
01:04:10,893 --> 01:04:17,649
(gasps) I guess he
really gets in there.
1578
01:04:17,649 --> 01:04:19,109
Quentin is very hands-on.
1579
01:04:19,109 --> 01:04:20,569
He sits next to camera.
1580
01:04:20,569 --> 01:04:22,905
Usually directors
sit at video village,
1581
01:04:22,905 --> 01:04:24,406
sometimes in a different room.
1582
01:04:24,406 --> 01:04:26,575
You feel like he's involved,
1583
01:04:26,575 --> 01:04:29,119
he's there, he's kind of
holding your hand a little bit.
1584
01:04:29,119 --> 01:04:33,123
At the end of the day, you
feel like he sees everything.
1585
01:04:33,123 --> 01:04:35,834
He laughs when there's
like a joke in the scene.
1586
01:04:35,834 --> 01:04:37,961
He's always like--
Sometimes you have to cut
1587
01:04:37,961 --> 01:04:39,421
because we can
hear Quentin laughing.
1588
01:04:39,421 --> 01:04:40,839
It's- It's pretty great.
1589
01:04:43,008 --> 01:04:45,177
(laughs) Hi, Sally.
1590
01:04:45,177 --> 01:04:46,803
(laughs) Any time you get
a take and he likes it,
1591
01:04:46,803 --> 01:04:49,306
he's like, "All right,
another one to shout to Sally.
1592
01:04:49,306 --> 01:04:53,769
(laughs) Hi, Sally.
(chuckles)
1593
01:04:53,769 --> 01:04:56,438
He called me right after
he met Sally Menke
1594
01:04:56,438 --> 01:04:58,690
and he said,
I've met this gal.
1595
01:04:58,690 --> 01:05:01,944
I think we're gonna work on
all our movies together.
1596
01:05:01,944 --> 01:05:04,780
Look into the camera
and tell my lonely editor
1597
01:05:04,780 --> 01:05:06,531
stuck in Los Angeles
1598
01:05:06,531 --> 01:05:08,659
that's in her room
all by herself, hello.
1599
01:05:08,659 --> 01:05:09,993
Her name is Sally.
1600
01:05:09,993 --> 01:05:12,162
Hello, Sally.
1601
01:05:12,162 --> 01:05:13,413
And welcome to
happy first day.
1602
01:05:13,413 --> 01:05:14,748
And happy first day!
1603
01:05:14,748 --> 01:05:17,584
Now all together, go.
1604
01:05:17,584 --> 01:05:21,296
Hello, Sally and
happy first day!
1605
01:05:21,296 --> 01:05:22,881
Sally Menke, unfortunately,
1606
01:05:22,881 --> 01:05:25,217
is not with us anymore.
1607
01:05:25,217 --> 01:05:28,428
But she was Quentin's
major contributing editor
1608
01:05:28,428 --> 01:05:31,265
for all of his movies
for a while there.
1609
01:05:31,265 --> 01:05:38,522
She is my only true
genuine collaborator
1610
01:05:38,522 --> 01:05:42,734
from beginning to end
and that's the way it is.
1611
01:05:42,734 --> 01:05:44,194
They just knew
each other so well,
1612
01:05:44,194 --> 01:05:46,571
it felt like kind of
their unspoken language.
1613
01:05:46,571 --> 01:05:49,283
She was one of those
women that could be like,
1614
01:05:49,283 --> 01:05:50,617
"You're being self-indulgent."
1615
01:05:50,617 --> 01:05:53,370
And he'd be like, "Fine!"
1616
01:05:53,370 --> 01:05:58,208
I think he could hear Sally's
voice when he's shooting.
1617
01:05:58,208 --> 01:06:00,502
And so tonight I want
to thank my co-writer,
1618
01:06:00,502 --> 01:06:03,463
Sally Menke.
1619
01:06:03,463 --> 01:06:06,758
She was his cheerleader
1620
01:06:06,758 --> 01:06:09,052
and his editor
all rolled into one.
1621
01:06:09,052 --> 01:06:10,178
Hi, Sally.
1622
01:06:12,097 --> 01:06:12,931
Hi, Sally.
1623
01:06:13,390 --> 01:06:14,683
Hi, Sally.
1624
01:06:14,683 --> 01:06:15,392
Cut!
1625
01:06:15,392 --> 01:06:17,477
The Basterds will be
waiting from you.
1626
01:06:17,477 --> 01:06:19,104
(to self/Sally)
Fucking, fucky, fuck.
1627
01:06:19,104 --> 01:06:20,105
So, close.
1628
01:06:20,105 --> 01:06:21,857
Hello, Sally. So close.
1629
01:06:38,332 --> 01:06:42,419
The resonance of his
cinema is to push you
1630
01:06:42,419 --> 01:06:45,130
with every tool at his
disposal and he's a master
1631
01:06:45,130 --> 01:06:46,757
at most of those tools.
1632
01:06:46,757 --> 01:06:49,509
I remember that ending
watching it and my parents,
1633
01:06:49,509 --> 01:06:50,719
my parents were crying.
1634
01:06:50,719 --> 01:06:51,970
It was just this incredible,
1635
01:06:51,970 --> 01:06:53,430
incredible moment.
1636
01:06:53,430 --> 01:06:59,686
I get to
be the Jew that shot Hitler.
1637
01:06:59,686 --> 01:07:00,479
It's the greatest.
1638
01:07:00,479 --> 01:07:02,064
Everywhere I go,
people recognize me for
1639
01:07:02,064 --> 01:07:03,899
The Bear Jew, every country.
1640
01:07:03,899 --> 01:07:04,691
It's incredible.
1641
01:07:04,691 --> 01:07:09,863
I think
the people who think that
1642
01:07:09,863 --> 01:07:12,449
Inglourious Basterds goes
off the rails when Hitler
1643
01:07:12,449 --> 01:07:16,953
dies misses that we all
are watching the movie and
1644
01:07:16,953 --> 01:07:18,705
we all know we're
watching a movie.
1645
01:07:18,705 --> 01:07:19,915
He didn't change history,
1646
01:07:19,915 --> 01:07:25,003
nor does he ever
claim to do that.
1647
01:07:25,003 --> 01:07:29,758
But he's doing
exactly the- the- the
1648
01:07:29,758 --> 01:07:39,226
quintessential task of
what storytelling is all about.
1649
01:07:39,226 --> 01:07:40,977
What if?
1650
01:07:40,977 --> 01:07:44,564
I've never had the desire
to be part of repeating my
1651
01:07:44,564 --> 01:07:46,817
country's history
over and over and over,
1652
01:07:46,817 --> 01:07:49,069
so the set seemed
really refreshing.
1653
01:07:49,069 --> 01:07:51,988
(laughs) And, uh,
only Quentin Tarantino gets
1654
01:07:51,988 --> 01:07:54,032
away with stuff like that.
1655
01:07:54,032 --> 01:07:55,784
I mean, what a
ballsy movie to make.
1656
01:07:55,784 --> 01:07:58,620
That guy makes a movie,
that's a movie called
1657
01:07:58,620 --> 01:08:00,205
Inglourious Basterds where
the bastards aren't really
1658
01:08:00,205 --> 01:08:02,290
in it that much, a war
movie where there's almost
1659
01:08:02,290 --> 01:08:05,627
no war, and it's two-thirds
in a foreign language.
1660
01:08:05,627 --> 01:08:07,838
It's just like, how
do you do that?
1661
01:08:07,838 --> 01:08:09,214
How do you have the
confidence and the balls
1662
01:08:09,214 --> 01:08:12,217
to do that coming off
of what was the biggest
1663
01:08:12,217 --> 01:08:13,927
commercial failure
of your career?
1664
01:08:13,927 --> 01:08:15,137
I'm alive.
1665
01:08:15,137 --> 01:08:17,973
(speaks German) He's like,
I'm gonna do something
1666
01:08:17,973 --> 01:08:19,224
bold and brave and different.
1667
01:08:19,224 --> 01:08:20,684
Then he does it
again with Django.
1668
01:08:20,684 --> 01:08:22,227
And everyone's
still doubting him.
1669
01:08:22,227 --> 01:08:23,979
How can you do a slavery
movie at Christmas?
1670
01:08:23,979 --> 01:08:25,021
And he said, watch this.
1671
01:08:25,021 --> 01:08:26,398
It's his biggest movie ever.
1672
01:08:40,078 --> 01:08:40,704
Everyone is standing
1673
01:08:40,704 --> 01:08:42,539
in the Quentin Tarantino
line to work.
1674
01:08:42,539 --> 01:08:43,707
I don't care who they are.
1675
01:08:43,707 --> 01:08:46,168
I don't care how
big your star shines
1676
01:08:46,168 --> 01:08:47,753
and what you do
at the box office.
1677
01:08:47,753 --> 01:08:52,466
You are still Quentin
Tarantino deprived
1678
01:08:52,466 --> 01:08:54,092
if you haven't gotten a
chance to work with him.
1679
01:08:54,092 --> 01:08:57,262
(indistinct) . ..your black ass.
1680
01:08:57,262 --> 01:09:01,433
(laughs) I get a chance to
meet Quentin Tarantino.
1681
01:09:02,559 --> 01:09:04,019
Hey, white boy.
1682
01:09:04,019 --> 01:09:06,646
I said, hey, white boy.
1683
01:09:06,646 --> 01:09:07,814
Shut up, black.
1684
01:09:07,814 --> 01:09:09,524
You ain't got nothing'
to say I want to hear.
1685
01:09:09,524 --> 01:09:17,449
You make unknowns,
celebrities, stars.
1686
01:09:17,449 --> 01:09:20,243
But you turn stars
into legends.
1687
01:09:20,243 --> 01:09:26,708
I said, I know
the dude needs to be able
1688
01:09:26,708 --> 01:09:27,417
to ride his horse.
1689
01:09:27,417 --> 01:09:28,752
I got my own horse at the crib.
1690
01:09:28,752 --> 01:09:29,628
It'll be cool.
1691
01:09:29,628 --> 01:09:32,964
And not only did he allow me
to take on the character,
1692
01:09:32,964 --> 01:09:34,424
but I got a chance
to ride my own
1693
01:09:34,424 --> 01:09:36,134
horse in the film.
1694
01:09:36,134 --> 01:09:38,011
My valet, Django.
1695
01:09:38,011 --> 01:09:41,056
These are our horses,
Tony and Fritz.
1696
01:09:41,056 --> 01:09:44,684
We had Bruce there,
1697
01:09:44,684 --> 01:09:47,354
Bruce Dern, who's done
every western that's
1698
01:09:47,354 --> 01:09:49,022
ever been made for television,
1699
01:09:49,022 --> 01:09:51,483
played every bad guy
you could imagine.
1700
01:09:51,483 --> 01:09:55,695
Django, Django, you got sin,
1701
01:09:55,695 --> 01:09:57,572
Django.
1702
01:09:57,572 --> 01:10:00,242
The boy's got sin.
1703
01:10:00,242 --> 01:10:02,494
When you've watched this man
for however many year, what,
1704
01:10:02,494 --> 01:10:05,872
thirty, forty, fifty
years of his career,
1705
01:10:05,872 --> 01:10:06,831
and to step in.
1706
01:10:06,831 --> 01:10:08,750
And that's what you
need, you know?
1707
01:10:08,750 --> 01:10:12,212
No political correctness.
1708
01:10:12,212 --> 01:10:15,340
No softening the blows.
1709
01:10:15,340 --> 01:10:17,551
I want you to burn a
runaway "R" right here on
1710
01:10:17,551 --> 01:10:20,595
his cheek, and the girl, too.
1711
01:10:20,595 --> 01:10:23,765
(gasps) Getting into the role
and working with Quentin,
1712
01:10:23,765 --> 01:10:25,559
Quentin was, especially
in the beginning
1713
01:10:25,559 --> 01:10:26,685
because he didn't know me.
1714
01:10:26,685 --> 01:10:27,853
You know, he knew Samuel.
1715
01:10:27,853 --> 01:10:28,770
He knew Christoph.
1716
01:10:28,770 --> 01:10:30,355
And so he was like, "Listen.
1717
01:10:30,355 --> 01:10:32,065
You know, we really got
to put the work in."
1718
01:10:32,065 --> 01:10:34,067
And so I would come in
and I was doing my lines
1719
01:10:34,067 --> 01:10:36,027
really sort of Jim Brownish,
1720
01:10:36,027 --> 01:10:38,029
like, you know,
like I was already the guy.
1721
01:10:38,029 --> 01:10:39,239
And I remember him going, "Uh,
1722
01:10:39,239 --> 01:10:40,031
let's take a break."
1723
01:10:40,031 --> 01:10:40,657
He takes me in the room.
1724
01:10:40,657 --> 01:10:41,783
He says, "Hey, listen.
1725
01:10:41,783 --> 01:10:42,659
Listen.
1726
01:10:42,659 --> 01:10:44,035
You- you- you got
to be a slave."
1727
01:10:44,035 --> 01:10:44,828
I said, "What do you
mean?" He said,
1728
01:10:44,828 --> 01:10:47,789
"You- you have to be a slave."
1729
01:10:47,789 --> 01:10:49,040
And I said,
" I- I don't get it."
1730
01:10:49,040 --> 01:10:52,127
He says, "You're
already too macho
1731
01:10:52,127 --> 01:10:54,087
and you're too in control."
1732
01:10:56,798 --> 01:10:59,259
The Louis bag and the Range
Rover you're driving,
1733
01:10:59,259 --> 01:11:00,927
all of this, and so
you have to come in and
1734
01:11:00,927 --> 01:11:03,013
strip that all the way,
'cause I don't want this
1735
01:11:03,013 --> 01:11:06,933
to be a mistake that if I
hired someone who is like
1736
01:11:06,933 --> 01:11:09,352
yourself or some other
person who's well known,
1737
01:11:09,352 --> 01:11:11,521
that you couldn't break
away from your persona and
1738
01:11:11,521 --> 01:11:13,898
that's why I work with
the people that I work with.
1739
01:11:16,401 --> 01:11:19,195
And so the next day,
I left all that at the crib
1740
01:11:19,195 --> 01:11:24,993
and sunk into that- that
type of person who was
1741
01:11:24,993 --> 01:11:28,705
strong on the inside, but
afraid to allow it to come out
1742
01:11:28,705 --> 01:11:32,042
because you would be murdered.
1743
01:11:32,042 --> 01:11:34,461
Imagine if anyone here
saw someone you love and you
1744
01:11:34,461 --> 01:11:38,840
can't say nothing
'cause they'll kill you both.
1745
01:11:38,840 --> 01:11:43,428
(sings) Broomhilda, come
on and get on my horse.
1746
01:11:43,428 --> 01:11:49,434
Broomhilda (beatboxing...)
That was powerful.
1747
01:11:49,434 --> 01:11:52,604
Even in the rehearsal,
I had to do certain things
1748
01:11:52,604 --> 01:11:55,523
in order to get the fear
out of my character
1749
01:11:55,523 --> 01:11:58,068
when it came to Sam because
he came in like this.
1750
01:11:58,068 --> 01:12:00,070
He howls to everything.
1751
01:12:00,070 --> 01:12:02,280
I can literally say he's
1752
01:12:02,280 --> 01:12:04,783
probably the best actor
I've worked with.
1753
01:12:04,783 --> 01:12:06,326
You scaring me.
1754
01:12:06,326 --> 01:12:09,120
(gasps) Why is it
I'm scarin' you?
1755
01:12:09,120 --> 01:12:12,290
Because you're scary.
1756
01:12:12,290 --> 01:12:13,375
Oh, fuck.
1757
01:12:13,375 --> 01:12:15,460
Oh, fuck, it's incredible.
1758
01:12:15,460 --> 01:12:17,379
I told Quentin Stephen
was gonna
1759
01:12:17,379 --> 01:12:18,463
have his fans.
1760
01:12:18,463 --> 01:12:21,549
(chuckles) Stephen could
read, write, count,
1761
01:12:21,549 --> 01:12:22,676
do all those things,
1762
01:12:22,676 --> 01:12:23,635
and he had a disguise.
1763
01:12:23,635 --> 01:12:26,096
He disguised himself
as a feeble old man
1764
01:12:26,096 --> 01:12:27,639
and he wasn't.
1765
01:12:27,639 --> 01:12:29,766
And he realized that
inside the confines of
1766
01:12:29,766 --> 01:12:32,018
Candyland, he was king.
1767
01:12:32,018 --> 01:12:34,688
Even when Calvin was home,
he was king.
1768
01:12:34,688 --> 01:12:36,606
He's gonna stay
in the big house?
1769
01:12:36,606 --> 01:12:38,316
Stephen, he's a slaver.
1770
01:12:38,316 --> 01:12:39,317
It's different.
1771
01:12:39,317 --> 01:12:40,735
In the big house?
1772
01:12:40,735 --> 01:12:41,987
The character is
the characters.
1773
01:12:41,987 --> 01:12:42,570
And that's why I...
1774
01:12:42,570 --> 01:12:43,196
...think people love
1775
01:12:43,196 --> 01:12:44,239
his characters is that
1776
01:12:44,239 --> 01:12:45,782
they are honest,
whether you like them,
1777
01:12:45,782 --> 01:12:47,200
whether you agree with them
or disagree with them,
1778
01:12:47,200 --> 01:12:48,493
they are who they are.
1779
01:12:48,493 --> 01:12:49,703
The film has
already sparked
1780
01:12:49,703 --> 01:12:53,039
controversy over its repeated
use of the "N" word.
1781
01:12:53,039 --> 01:12:55,834
And now, Director, Spike Lee
says he won't go to see it.
1782
01:12:55,834 --> 01:12:57,460
Spike, (chuckles)
Spike Lee's,
1783
01:12:57,460 --> 01:12:59,087
you know and
I respect Spike Lee,
1784
01:12:59,087 --> 01:13:02,006
you know, but Spike
Lee's that guy.
1785
01:13:02,006 --> 01:13:06,511
You know, it's like
Spike Lee is like the-
1786
01:13:06,511 --> 01:13:11,391
the old dude with the nice
little house that has the grass.
1787
01:13:11,391 --> 01:13:13,935
Don't you get on my grass,
you little motherfuckers.
1788
01:13:16,271 --> 01:13:19,399
That's my grass,
every blade of it is.
1789
01:13:19,941 --> 01:13:21,818
Little motherfuckers.
1790
01:13:21,818 --> 01:13:22,777
You know.
1791
01:13:22,777 --> 01:13:24,070
You're not gonna get
1792
01:13:24,070 --> 01:13:25,864
Samuel Jackson to say
1793
01:13:25,864 --> 01:13:29,409
nigger, nigger, nigger if he
feels he's demeaning anybody.
1794
01:13:29,409 --> 01:13:31,411
You know, I mean Samuel
Jackson's gonna turn to
1795
01:13:31,411 --> 01:13:33,204
you and tell you where to go.
1796
01:13:33,204 --> 01:13:35,498
You take Twelve Years A Slave,
1797
01:13:35,498 --> 01:13:38,293
which is supposedly
made by an "auteur",
1798
01:13:38,293 --> 01:13:41,546
so Steve McQueen's very
different from Quentin.
1799
01:13:41,546 --> 01:13:45,300
So when you have a song
that says nigger three
1800
01:13:45,300 --> 01:13:47,594
hundred times in it
and nobody says shit.
1801
01:13:47,594 --> 01:13:48,636
(sings) Nigger run,
1802
01:13:48,636 --> 01:13:53,099
nigger flew, nigger tore
his shirt in two Run,
1803
01:13:53,099 --> 01:13:55,435
run or the pattyroller
will get you Run nigger
1804
01:13:55,435 --> 01:13:56,895
run Well you better get away
1805
01:13:56,895 --> 01:13:59,564
So, it's okay for him
to use it because
1806
01:13:59,564 --> 01:14:03,943
he's artistically attacking
the system or the way people
1807
01:14:03,943 --> 01:14:05,612
think and feel in a way.
1808
01:14:05,612 --> 01:14:08,823
Then Quentin's just doing
it to just scrape the
1809
01:14:08,823 --> 01:14:10,116
blackboard with his nails.
1810
01:14:10,116 --> 01:14:11,868
You know, and that's not true.
1811
01:14:11,868 --> 01:14:14,329
There is no dishonesty in
anything that he writes
1812
01:14:14,329 --> 01:14:16,956
or how people talk,
feel, or speak.
1813
01:14:16,956 --> 01:14:18,583
There you go!
1814
01:14:18,583 --> 01:14:20,585
The consumer, especially
black consumers,
1815
01:14:20,585 --> 01:14:22,670
they understand
that it's a movie.
1816
01:14:22,670 --> 01:14:25,590
Sometimes we get a little
overboard with our
1817
01:14:25,590 --> 01:14:28,343
sensitivity level with-
with everything,
1818
01:14:28,343 --> 01:14:30,678
because nobody was really
payin' attention to that.
1819
01:14:30,678 --> 01:14:32,806
They were comin' to see
their favorite director
1820
01:14:32,806 --> 01:14:35,391
direct some of their
favorite stars.
1821
01:14:35,391 --> 01:14:37,977
If it's Quentin, if it's Samuel,
1822
01:14:37,977 --> 01:14:40,104
if it's Leo, it's Christoph,
1823
01:14:40,104 --> 01:14:42,524
Carry Washington, and myself,
1824
01:14:42,524 --> 01:14:46,069
I- I just find it hard
for us to fuck that up.
1825
01:14:46,069 --> 01:14:48,029
All three are champions.
1826
01:14:49,030 --> 01:14:51,324
Samson's a champion.
1827
01:14:51,324 --> 01:14:52,784
Them other two pretty good.
1828
01:14:55,245 --> 01:14:56,830
Calvin-- You know we live
in a very politically
1829
01:14:56,830 --> 01:14:59,582
correct society now to
where almost everything,
1830
01:14:59,582 --> 01:15:01,501
it almost chokes
art a little bit.
1831
01:15:03,253 --> 01:15:06,005
That's just the way it was.
1832
01:15:06,005 --> 01:15:07,882
What's your name, boy?
1833
01:15:07,882 --> 01:15:10,260
His name is Django Freeman.
1834
01:15:10,260 --> 01:15:12,220
His characters are
a part of him.
1835
01:15:12,220 --> 01:15:13,263
It's how he creates.
1836
01:15:13,263 --> 01:15:14,973
But they're living breathing
characters to him.
1837
01:15:14,973 --> 01:15:18,393
There's a great story that
his mom told me about when
1838
01:15:18,393 --> 01:15:21,271
he was a little boy and he
was playing with his GI Joes
1839
01:15:21,271 --> 01:15:22,814
and he was using foul language.
1840
01:15:22,814 --> 01:15:24,732
And I think it was
like, you know,
1841
01:15:24,732 --> 01:15:25,942
"Fuck you. Die."
1842
01:15:25,942 --> 01:15:26,901
And you know, like, whatever.
1843
01:15:26,901 --> 01:15:28,486
And she came around the
corner and she was like,
1844
01:15:28,486 --> 01:15:30,029
Quentin, don't you
use that language.
1845
01:15:30,029 --> 01:15:31,364
And he said,
"It's not me, Mom.
1846
01:15:31,364 --> 01:15:32,031
It's just the guys.
1847
01:15:32,031 --> 01:15:33,700
That's how they talk."
1848
01:15:35,451 --> 01:15:36,953
I count two guns, Nigger.
1849
01:15:40,957 --> 01:15:43,126
You said in seventy-six
years on this plantation,
1850
01:15:43,126 --> 01:15:45,879
you've seen all manner
of shit done to niggers,
1851
01:15:45,879 --> 01:15:47,505
but I notice...
1852
01:15:47,505 --> 01:15:48,798
you didn't mention kneecapping.
1853
01:15:48,798 --> 01:15:50,550
Oh, God!
1854
01:15:50,550 --> 01:15:52,010
Motherfucker!
1855
01:15:52,010 --> 01:15:55,263
Leonardo DiCaprio had a problem
saying the word nigger.
1856
01:15:55,263 --> 01:15:56,055
"Pal.
1857
01:15:56,055 --> 01:15:57,390
(inhales) Pal, it's just.
1858
01:15:57,390 --> 01:15:59,934
(exhales) It's tough
for me to say this."
1859
01:15:59,934 --> 01:16:01,895
And, uh, I remember
Samuel Jackson going,
1860
01:16:01,895 --> 01:16:03,146
Get over it, motherfucker.
1861
01:16:03,146 --> 01:16:04,480
This is just another
Tuesday, motherfucker.
1862
01:16:04,480 --> 01:16:06,024
I don't give a fuck about
these motherfuckers.
1863
01:16:06,024 --> 01:16:07,650
Look at- look at
who I am, motherfucker.
1864
01:16:07,650 --> 01:16:09,736
Fuck! And it was like...
1865
01:16:09,736 --> 01:16:11,029
You know, and I said, "Yeah."
1866
01:16:11,029 --> 01:16:12,655
I said, "Leo, Leo,
we're- we're not friends."
1867
01:16:12,655 --> 01:16:14,198
I said, "This is
just another Thursday.
1868
01:16:14,198 --> 01:16:16,451
This is your property.
1869
01:16:16,451 --> 01:16:17,535
These aren't humans.
1870
01:16:17,535 --> 01:16:18,870
These are your property."
1871
01:16:22,582 --> 01:16:24,042
And when Leo came
in the next day,
1872
01:16:24,042 --> 01:16:25,668
it was literally like, I
was like, "What's up, Leo?
1873
01:16:27,295 --> 01:16:28,254
What's up fam?"
1874
01:16:29,380 --> 01:16:30,381
He didn't speak.
1875
01:16:31,007 --> 01:16:32,383
You won't mind me
handling this nigger
1876
01:16:32,383 --> 01:16:33,968
anyway I see fit.
1877
01:16:35,011 --> 01:16:36,554
He's your nigger.
1878
01:16:40,725 --> 01:16:44,771
Mr. Stonesipher, let
Marshall and the bitches
1879
01:16:44,771 --> 01:16:47,565
send D'Artagnan
to nigger heaven.
1880
01:16:47,565 --> 01:16:50,693
Quentin allowed us to
transport back to that
1881
01:16:50,693 --> 01:16:53,988
time and it was- it was
really real. It was intent.
1882
01:16:53,988 --> 01:16:58,743
Leonardo had that gigantic
sequence where he becomes
1883
01:16:58,743 --> 01:17:01,746
wise to what Schultz
and Django are up to.
1884
01:17:01,746 --> 01:17:05,750
He brought his hand down
and smashed the glass.
1885
01:17:05,750 --> 01:17:09,837
So now blood is running
down his hand.
1886
01:17:09,837 --> 01:17:12,465
He's kind of getting white.
1887
01:17:12,465 --> 01:17:13,883
Leo never breaks.
1888
01:17:13,883 --> 01:17:15,301
He goes all the way
through 'cause he knows
1889
01:17:15,301 --> 01:17:16,427
it's a great take.
1890
01:17:16,427 --> 01:17:19,097
Where were we?
1891
01:17:19,097 --> 01:17:22,433
Quentin's right there,
right at the lens next to him,
1892
01:17:22,433 --> 01:17:24,018
not in some video village.
1893
01:17:24,018 --> 01:17:25,395
In fact there are no monitors
1894
01:17:25,395 --> 01:17:28,231
on a Quentin Tarantino movie.
There is no video village.
1895
01:17:28,231 --> 01:17:30,775
And you can see it
in the performances.
1896
01:17:30,775 --> 01:17:35,488
Broomhilda here is my
property and I can choose
1897
01:17:35,488 --> 01:17:39,784
to do with my property
whatever I so desire.
1898
01:17:39,784 --> 01:17:41,661
After Leonardo
finished, you know,
1899
01:17:41,661 --> 01:17:43,830
his fellow actors, his peers,
1900
01:17:43,830 --> 01:17:46,791
and the crew, basically,
gave him a standing ovation.
1901
01:17:46,791 --> 01:17:48,793
And I think that it
was the first time
1902
01:17:48,793 --> 01:17:51,879
that Leo had really been
in that atmosphere,
1903
01:17:51,879 --> 01:17:54,132
that brotherhood,
and that spirit of fun.
1904
01:17:54,132 --> 01:17:55,508
After a hundred
rolls of film,
1905
01:17:55,508 --> 01:17:57,385
they, all of sudden,
I'm- now I'm in chains,
1906
01:17:57,385 --> 01:17:59,470
like, all of a sudden
they start playing music.
1907
01:17:59,470 --> 01:18:01,681
(sings) Ba-ba-ba-ba-ba-ba-ba...
1908
01:18:01,681 --> 01:18:02,807
(speaks) I was like,
what's going on?
1909
01:18:02,807 --> 01:18:03,224
What's all this?
1910
01:18:03,224 --> 01:18:04,100
They start bringing
out tequila.
1911
01:18:04,100 --> 01:18:05,852
I say, what? Oh, shit!
1912
01:18:05,852 --> 01:18:07,020
This is great.
I said, what the fuck?
1913
01:18:07,020 --> 01:18:08,521
I said, what kind
of set is this?
1914
01:18:08,521 --> 01:18:10,273
He says, "My kinda
set, motherfucker."
1915
01:18:10,815 --> 01:18:11,816
Quentin had called
1916
01:18:11,816 --> 01:18:14,152
everybody in and- and-
and we were waiting
1917
01:18:14,152 --> 01:18:17,947
for- for everybody to
come in and we chatted and...
1918
01:18:17,947 --> 01:18:20,158
And then Quentin
came and said, "Okay.
1919
01:18:20,158 --> 01:18:23,703
I thought about this for a
long time and this morning
1920
01:18:23,703 --> 01:18:26,372
at three o'clock I came
to the conclusion,
1921
01:18:26,372 --> 01:18:29,667
now this is
what's going to happen."
1922
01:18:29,667 --> 01:18:31,961
And then he acted
out that whole scene,
1923
01:18:31,961 --> 01:18:35,590
this big battle inside.
1924
01:18:37,842 --> 01:18:40,303
And then Quentin said, "Well,
1925
01:18:40,303 --> 01:18:42,013
I thought about ending
the movie here,
1926
01:18:42,013 --> 01:18:44,515
but then this happens."
1927
01:18:44,515 --> 01:18:46,601
And he threw himself
on the floor.
1928
01:18:46,601 --> 01:18:48,353
And he jumped up
and threw his gun.
1929
01:18:48,353 --> 01:18:51,856
You know, I- I think he
had like fifteen and shot
1930
01:18:51,856 --> 01:18:55,610
and- and really acted
out the whole scene.
1931
01:18:55,610 --> 01:18:57,320
Bob Richardson
was sitting there,
1932
01:18:59,030 --> 01:19:03,493
you know, trying to control
his- his blood pressure.
1933
01:19:03,493 --> 01:19:07,080
And the- and the- the-
the stunt coordinator,
1934
01:19:07,080 --> 01:19:10,500
who is about seven feet
tall and five feet wide
1935
01:19:10,500 --> 01:19:14,045
was leaning against
the wall like that.
1936
01:19:14,045 --> 01:19:17,882
(chuckles) And the- and
the special effects guy
1937
01:19:17,882 --> 01:19:19,050
started to cry.
1938
01:19:19,050 --> 01:19:28,893
That main hall
was literally destroyed
1939
01:19:28,893 --> 01:19:34,232
and the blood was squirted
up to the second story.
1940
01:19:34,232 --> 01:19:36,275
Blood up to the
gallery of that,
1941
01:19:36,275 --> 01:19:38,319
literally everywhere.
1942
01:19:38,319 --> 01:19:39,070
Ow!
1943
01:19:39,070 --> 01:19:39,487
God!
1944
01:19:39,487 --> 01:19:41,072
The furniture,
the interior,
1945
01:19:41,072 --> 01:19:45,201
everything thrashed to
the size of toothpicks.
1946
01:19:45,201 --> 01:19:48,579
And you want to tell me
that's a true story?
1947
01:19:48,579 --> 01:19:50,998
True is what
happened on the set.
1948
01:19:50,998 --> 01:19:54,919
True is what happens
on the screen.
1949
01:19:54,919 --> 01:19:57,755
But the violence? No.
1950
01:19:58,714 --> 01:20:00,591
The violence is opera.
1951
01:20:02,009 --> 01:20:04,762
Django...!
1952
01:20:05,179 --> 01:20:07,473
You (indistinct) son of a...
1953
01:20:07,473 --> 01:20:09,767
Django's not trying
to cure slavery.
1954
01:20:10,852 --> 01:20:12,645
He just wants to take out
the people that did him
1955
01:20:12,645 --> 01:20:13,980
bad and get with his girl.
1956
01:20:16,941 --> 01:20:18,401
This is a love story.
1957
01:20:21,571 --> 01:20:23,364
Django is the- is
the super hero.
1958
01:20:23,364 --> 01:20:25,575
He's the guy who rides
off into the sunset.
1959
01:20:25,575 --> 01:20:28,035
And you don't see a lot of
black characters that do that.
1960
01:20:28,035 --> 01:20:29,996
You don't see in Hollywood
when a black character's
1961
01:20:29,996 --> 01:20:33,583
in that type of setting of
slavery does what he does,
1962
01:20:33,583 --> 01:20:35,835
kills the bad white
folks, gets his girl,
1963
01:20:35,835 --> 01:20:37,461
and rides off into the sunset.
1964
01:20:54,812 --> 01:20:56,022
It's about eight
people trapped
1965
01:20:56,022 --> 01:20:57,940
in a blizzard in
a haberdashery
1966
01:20:57,940 --> 01:20:59,525
in the middle of nowhere.
1967
01:20:59,525 --> 01:21:02,862
It's a mixture of
western, who-done-it,
1968
01:21:02,862 --> 01:21:05,156
revenge movie.
It's all those things.
1969
01:21:05,156 --> 01:21:06,407
Want to make a deal?
1970
01:21:06,407 --> 01:21:07,116
Huh?
1971
01:21:07,116 --> 01:21:09,368
The deal
still stands, Chris.
1972
01:21:09,368 --> 01:21:11,871
You ain't got nothing
we can't forgive.
1973
01:21:11,871 --> 01:21:13,998
The Hateful Eight is
kind of almost like a- a
1974
01:21:13,998 --> 01:21:16,500
bookend of Reservoir Dogs.
1975
01:21:16,500 --> 01:21:18,169
It'd just be more bullshit.
1976
01:21:20,796 --> 01:21:22,215
This man set us up.
1977
01:21:22,215 --> 01:21:25,009
He creates an initial scenario,
1978
01:21:25,009 --> 01:21:26,844
an initial group of people,
1979
01:21:28,429 --> 01:21:30,431
and he throws them together
1980
01:21:30,431 --> 01:21:31,807
often in one room.
1981
01:21:31,807 --> 01:21:36,854
And then he explores what
might happen by putting
1982
01:21:36,854 --> 01:21:39,732
this group of people
in the same room,
1983
01:21:39,732 --> 01:21:42,235
like Reservoir Dogs
or The Hateful Eight.
1984
01:21:42,235 --> 01:21:43,778
It's a complete ensemble piece,
1985
01:21:43,778 --> 01:21:47,365
which is pretty incredible
because you've got eight people
1986
01:21:47,365 --> 01:21:50,993
in there talking to each other
about some very specific,
1987
01:21:50,993 --> 01:21:55,164
interesting, and sometimes
very hateful things.
1988
01:21:55,164 --> 01:22:01,671
(spits) (grunts) What
the- (groans) (groans)
1989
01:22:01,671 --> 01:22:05,049
He lets the
characters be infused
1990
01:22:05,049 --> 01:22:07,718
by the actors that he
chooses to portray them.
1991
01:22:08,928 --> 01:22:11,013
He played me a piece of
music and then he said,
1992
01:22:11,013 --> 01:22:13,057
"I think it would be nice
if Daisy played the guitar
1993
01:22:13,057 --> 01:22:14,809
and sang this song."
1994
01:22:14,809 --> 01:22:16,477
It really focused me
1995
01:22:16,477 --> 01:22:18,813
because I had to practice
that fucking instrument
1996
01:22:18,813 --> 01:22:22,066
everyday whenever
I was not on camera.
1997
01:22:22,066 --> 01:22:25,778
(sings) I'll kill you
bastards one and all I'll
1998
01:22:25,778 --> 01:22:29,490
gun the floggers down It
was ama-I had never played
1999
01:22:29,490 --> 01:22:31,367
guitar in my life.
2000
01:22:31,367 --> 01:22:36,038
(sings) And you'll be
dead Behind me John
2001
01:22:36,038 --> 01:22:40,543
When I get to Mexico.
2002
01:22:40,543 --> 01:22:42,086
He wanted it to
come from the inside.
2003
01:22:42,086 --> 01:22:43,629
And when you are singing
a song to yourself,
2004
01:22:43,629 --> 01:22:46,465
you're immediately going inward.
2005
01:22:46,465 --> 01:22:48,175
Give me that guitar.
2006
01:22:48,175 --> 01:22:50,678
I think he has a way
of getting into each
2007
01:22:50,678 --> 01:22:54,557
character and
letting them breathe
2008
01:22:54,557 --> 01:22:56,142
and create their life.
2009
01:22:56,142 --> 01:22:59,979
(laughs) He gave me the script.
2010
01:22:59,979 --> 01:23:03,524
He goes, "Here.
You're Joe Gage."
2011
01:23:03,524 --> 01:23:05,901
A bastards work
is never done,
2012
01:23:05,901 --> 01:23:08,237
huh, John Ruth?
2013
01:23:08,237 --> 01:23:10,114
That's right, Joe Gage.
2014
01:23:10,114 --> 01:23:13,159
And I said, "Thanks
for thinking of me."
2015
01:23:13,159 --> 01:23:17,079
And he goes, "Michael, you
were there at the beginning,
2016
01:23:17,079 --> 01:23:21,167
and by God you're gonna
be here now, you know."
2017
01:23:28,341 --> 01:23:30,259
I find him to be the same man,
2018
01:23:31,385 --> 01:23:35,264
but just with a
lot more of a pack.
2019
01:23:35,264 --> 01:23:38,142
He's more of a package
than he was, you know.
2020
01:23:38,142 --> 01:23:39,477
He pays attention.
2021
01:23:40,561 --> 01:23:44,857
He also became much more
sophisticated as a filmmaker.
2022
01:23:44,857 --> 01:23:48,069
His mastery of blocking
and his mastery of camera
2023
01:23:48,069 --> 01:23:51,614
movement and that
choreography is really
2024
01:23:51,614 --> 01:23:55,451
pronounced and you can
really see his growth.
2025
01:23:55,451 --> 01:23:58,162
Also, you are seeing his
maturity as a human being.
2026
01:23:58,162 --> 01:24:00,081
He may look at
the same things,
2027
01:24:00,081 --> 01:24:03,000
but through the lens of
where he sits right now.
2028
01:24:03,000 --> 01:24:06,379
Who said it that, uh,
Kurt Russell's character was
2029
01:24:06,379 --> 01:24:08,172
based on, yeah.
2030
01:24:08,172 --> 01:24:10,424
I think John Ruth was
a lot nicer guy that
2031
01:24:10,424 --> 01:24:11,634
Harvey Weinstein.
2032
01:24:11,634 --> 01:24:12,760
If Kurt was supposed
to be Harvey,
2033
01:24:12,760 --> 01:24:15,513
then that must have been
Harvey's good side.
2034
01:24:15,513 --> 01:24:17,098
You ruin that letter of his,
2035
01:24:17,098 --> 01:24:19,183
that nigger's gonna stomp
your ass to death.
2036
01:24:19,183 --> 01:24:22,144
And when he do, I'm gonna
sit back on that wagon
2037
01:24:22,144 --> 01:24:23,813
wheel, watch, and laugh.
2038
01:24:23,813 --> 01:24:26,190
(exhales) Yeah, if you
read them on the page it
2039
01:24:26,190 --> 01:24:27,525
was a little more accurate.
2040
01:24:27,525 --> 01:24:29,652
Kurt's the most charming
person on the planet.
2041
01:24:29,652 --> 01:24:33,447
When that sun comes out,
I'm taking this woman into
2042
01:24:33,447 --> 01:24:35,783
Red Rock to hang.
2043
01:24:35,783 --> 01:24:38,911
The association of
Quentin and Harvey
2044
01:24:38,911 --> 01:24:40,329
over twenty-five years,
2045
01:24:40,329 --> 01:24:42,206
it was a pretty
good brotherhood.
2046
01:24:42,206 --> 01:24:44,542
It was a pretty good
combination of Hollywood
2047
01:24:44,542 --> 01:24:48,254
power and of talent.
2048
01:24:48,254 --> 01:24:50,673
In the past, with the
Weinstein Company,
2049
01:24:50,673 --> 01:24:53,801
whatever he said was-
was the word of God.
2050
01:24:53,801 --> 01:24:55,970
These guys, there was a toll,
2051
01:24:57,555 --> 01:24:58,222
you know?
2052
01:24:58,222 --> 01:25:01,350
He earned, he made enough
money for everybody.
2053
01:25:03,602 --> 01:25:04,186
We shot on seventy,
2054
01:25:04,186 --> 01:25:08,023
because he knew
that if we went to the
2055
01:25:08,023 --> 01:25:09,775
expense of shooting
on seventy,
2056
01:25:09,775 --> 01:25:11,819
they were gonna
project it in seventy.
2057
01:25:11,819 --> 01:25:14,697
And it was the exhibition,
which was as important
2058
01:25:14,697 --> 01:25:16,615
as the image capture.
2059
01:25:16,615 --> 01:25:20,870
Quentin cares about cinema
and caring about cinema
2060
01:25:20,870 --> 01:25:22,872
means literally
caring about cinema,
2061
01:25:22,872 --> 01:25:25,833
caring about film,
the romance of cinema,
2062
01:25:25,833 --> 01:25:28,335
how it looks and feels,
and for him,
2063
01:25:28,335 --> 01:25:31,088
he doesn't feel that
digital technology
2064
01:25:31,088 --> 01:25:35,968
approximates the impact
that that flicker has on us.
2065
01:25:35,968 --> 01:25:37,052
He just bought a theater.
2066
01:25:37,052 --> 01:25:38,929
He owns the new Beverly Cinema.
2067
01:25:38,929 --> 01:25:41,849
I've been going there recently
introducing pictures.
2068
01:25:41,849 --> 01:25:43,559
I love the new Beverly.
I was there last week.
2069
01:25:43,559 --> 01:25:44,685
We watched a print of Seven,
2070
01:25:44,685 --> 01:25:45,769
which had silver in it.
2071
01:25:45,769 --> 01:25:47,062
It was incredible.
2072
01:25:47,062 --> 01:25:47,813
It was so beautiful.
2073
01:25:47,813 --> 01:25:49,607
I mean Quentin leaned
over to me and he's like,
2074
01:25:49,607 --> 01:25:50,691
"Take a good look.
2075
01:25:50,691 --> 01:25:51,942
You're never gonna see
a finisher movie look
2076
01:25:51,942 --> 01:25:52,693
this good again.
2077
01:25:52,693 --> 01:25:55,279
(chuckles) It's
like sad, but true.
2078
01:25:55,279 --> 01:25:56,822
He wrote it in the script,
glorious seventy
2079
01:25:56,822 --> 01:26:00,659
millimeter about
six times during the
2080
01:26:00,659 --> 01:26:01,452
first twenty pages.
2081
01:26:01,452 --> 01:26:03,537
And my jaw dropped
when I saw that.
2082
01:26:03,537 --> 01:26:04,914
I was like, "You're
kidding me, right?
2083
01:26:04,914 --> 01:26:06,373
You're gonna
actually do this?"
2084
01:26:26,936 --> 01:26:29,355
Once he found
this big, gorgeous,
2085
01:26:29,355 --> 01:26:31,899
beautiful seventy
millimeter format,
2086
01:26:31,899 --> 01:26:35,986
he realized that there
was an intimacy.
2087
01:26:35,986 --> 01:26:38,322
He'd shot a hundred
close ups of Sam Jackson,
2088
01:26:38,322 --> 01:26:40,241
but he never shot a
close up of Sam Jackson
2089
01:26:40,241 --> 01:26:41,909
that looked like that.
2090
01:26:41,909 --> 01:26:45,621
And you literally could
get even deeper underneath
2091
01:26:45,621 --> 01:26:47,873
the skin and into the
hearts and minds of these
2092
01:26:47,873 --> 01:26:51,335
characters and hold
these big wide frames
2093
01:26:51,335 --> 01:26:54,922
so that you were
almost in theater.
2094
01:26:54,922 --> 01:26:57,341
Everybody had to be on
at every given moment in
2095
01:26:57,341 --> 01:27:00,344
those rooms all the time.
2096
01:27:00,344 --> 01:27:02,429
I don't know really that
Quentin would have felt
2097
01:27:02,429 --> 01:27:05,140
all that comfortable doing
the seventy millimeter thing
2098
01:27:05,140 --> 01:27:09,228
if Bob Richardson wasn't
his partner doing it with him.
2099
01:27:09,228 --> 01:27:11,313
Bob brings so much
to the table both
2100
01:27:11,313 --> 01:27:14,525
technically and creatively.
2101
01:27:14,525 --> 01:27:19,780
Quentin's exuberance and
his enthusiasm for films
2102
01:27:19,780 --> 01:27:23,993
and filmmaking is so
unbelievably vast.
2103
01:27:23,993 --> 01:27:27,496
And that's the way he
was making Reservoir Dogs
2104
01:27:27,496 --> 01:27:29,665
and that's the way he is
making The Hateful Eight,
2105
01:27:29,665 --> 01:27:33,502
and that spirit is contagious.
2106
01:27:34,795 --> 01:27:37,131
Quentin values friendship.
2107
01:27:37,131 --> 01:27:40,384
Quentin values
deep relationships.
2108
01:27:40,384 --> 01:27:44,889
Quentin values a rag tag
sort of family that is
2109
01:27:44,889 --> 01:27:47,725
more committed to each other
than even actual blood.
2110
01:27:47,725 --> 01:27:49,810
And I think that you
see that on our set.
2111
01:27:49,810 --> 01:27:52,104
(chuckles) That was a great one.
2112
01:27:52,104 --> 01:27:53,230
We have the same people.
2113
01:27:53,230 --> 01:27:55,357
Our script supervisor
has been with Quentin since
2114
01:27:55,357 --> 01:27:56,400
Reservoir Dogs.
2115
01:27:56,400 --> 01:27:58,819
Our sound mixer, I think,
has been with us since Pulp.
2116
01:27:58,819 --> 01:28:02,323
The makeup crew, stunts,
everybody feels like
2117
01:28:02,323 --> 01:28:03,407
they're coming home.
2118
01:28:03,407 --> 01:28:04,658
It's that Quentin thing
where you're suddenly
2119
01:28:04,658 --> 01:28:06,619
working around family
and to see so many familiar
2120
01:28:06,619 --> 01:28:10,205
faces and that loyalty that
Quentin has to his people,
2121
01:28:10,205 --> 01:28:11,624
his crew, and his cast.
2122
01:28:11,624 --> 01:28:13,083
There's music playing.
2123
01:28:13,083 --> 01:28:15,294
There's conversation.
2124
01:28:15,294 --> 01:28:16,128
There's laughter.
2125
01:28:16,128 --> 01:28:17,963
Quentin's like,
"No cell phones on set.
2126
01:28:17,963 --> 01:28:18,756
Let's go to work."
2127
01:28:18,756 --> 01:28:21,425
And if you were caught
with a cell phone,
2128
01:28:21,425 --> 01:28:23,135
you'd be fired, no
matter who you are.
2129
01:28:23,135 --> 01:28:25,179
We called him Checkpoint
Charlie where you had to
2130
01:28:25,179 --> 01:28:27,556
turn in your cell phone
and he put it in a Ziploc
2131
01:28:27,556 --> 01:28:29,350
bag with your name on it,
and there were absolutely
2132
01:28:29,350 --> 01:28:30,726
no cell phones allowed on set.
2133
01:28:30,726 --> 01:28:32,019
And so we talk to each other,
2134
01:28:32,019 --> 01:28:33,979
we dance, we sing,
we laugh.
2135
01:28:33,979 --> 01:28:35,606
We talk about
what we just did and
2136
01:28:35,606 --> 01:28:37,191
how we can make it
better the next time.
2137
01:28:37,191 --> 01:28:39,401
Just like an extraordinary
experience just being on
2138
01:28:39,401 --> 01:28:41,070
set when it's that down take.
2139
01:28:41,070 --> 01:28:43,030
He laughs openly during takes.
2140
01:28:43,030 --> 01:28:43,864
He cheers.
2141
01:28:43,864 --> 01:28:46,325
I imagine that he
cuts himself out.
2142
01:28:46,325 --> 01:28:48,202
Douche Bag take one.
2143
01:28:48,202 --> 01:28:50,496
Twenty-eight prick,
take two.
2144
01:28:50,496 --> 01:28:56,335
Humiliation,
take one, mark.
2145
01:28:56,335 --> 01:28:58,754
(indistinct) Premiere take one.
(indistinct) Premiere.
2146
01:28:58,754 --> 01:29:05,636
(laughs) His sets have
become the most unique
2147
01:29:05,636 --> 01:29:07,596
set experience you can have.
2148
01:29:07,596 --> 01:29:09,390
What Quentin
would say all the time,
2149
01:29:09,390 --> 01:29:15,896
"All right, we got this
and we could move on,
2150
01:29:15,896 --> 01:29:17,690
but we're gonna do one more."
2151
01:29:17,690 --> 01:29:20,317
We're gonna do one more.
2152
01:29:20,317 --> 01:29:21,485
Why?
2153
01:29:21,944 --> 01:29:27,908
Because we love making movies.
2154
01:29:27,908 --> 01:29:29,994
I said, "Man, I'm- I'm-
I'm on that train."
2155
01:29:30,828 --> 01:29:32,079
He's a fan.
2156
01:29:32,079 --> 01:29:34,498
You know he loves movies.
2157
01:29:34,498 --> 01:29:35,958
He appreciates people.
2158
01:29:35,958 --> 01:29:38,502
He's a fan of fans.
2159
01:29:38,502 --> 01:29:40,629
He appreciates life.
2160
01:29:40,629 --> 01:29:43,132
His way of socializing
is inviting people over to
2161
01:29:43,132 --> 01:29:44,466
watch a movie.
2162
01:29:44,466 --> 01:29:46,385
He gets us all together.
2163
01:29:46,385 --> 01:29:48,429
He screens a
movie of some sort.
2164
01:29:48,429 --> 01:29:49,805
Hey, everybody,
come on and sit down.
2165
01:29:49,805 --> 01:29:51,432
Let's watch this.
2166
01:29:51,432 --> 01:29:52,933
And he'd go get some
popcorn and sit there and
2167
01:29:52,933 --> 01:29:53,892
watch it with you.
2168
01:29:53,892 --> 01:29:56,520
It's a collective experience.
2169
01:29:57,146 --> 01:30:00,274
He was showing it to
us for the first time.
2170
01:30:00,274 --> 01:30:02,025
We're just this
group of, you know,
2171
01:30:02,025 --> 01:30:06,697
people and actors that he
had chosen to use in his movie.
2172
01:30:06,697 --> 01:30:08,699
After the screening was over,
2173
01:30:08,699 --> 01:30:10,034
I couldn't help but notice.
2174
01:30:10,034 --> 01:30:14,830
He wasn't just sweating,
he was- he was drenched.
2175
01:30:14,830 --> 01:30:19,543
And yet, I've never
met anyone who honestly
2176
01:30:19,543 --> 01:30:22,963
comes even remotely close to
the confidence he has when it
2177
01:30:22,963 --> 01:30:25,424
comes to making his movie.
2178
01:30:25,424 --> 01:30:27,676
It's amazing to me that
he would have any nerves on
2179
01:30:27,676 --> 01:30:28,719
the other end at all.
2180
01:30:29,720 --> 01:30:32,097
But is shows, you know,
how much he cares.
2181
01:30:39,229 --> 01:30:42,649
He was big and
he was everywhere.
2182
01:30:48,572 --> 01:30:50,365
And everybody feared him.
2183
01:31:13,597 --> 01:31:15,015
Quentin and Harvey
2184
01:31:15,015 --> 01:31:16,767
Weinstein are two
different animals.
2185
01:31:18,602 --> 01:31:19,019
I get it.
2186
01:31:19,019 --> 01:31:21,104
I understand why a
lot of these girls
2187
01:31:21,104 --> 01:31:22,189
didn't say anything.
2188
01:31:23,273 --> 01:31:24,691
Their life depended on it.
2189
01:31:27,986 --> 01:31:31,490
If my livelihood, the
preservation of my children,
2190
01:31:33,826 --> 01:31:35,869
if that is
dependent upon someone
2191
01:31:35,869 --> 01:31:39,957
else that has power,
like a Harvey Weinstein,
2192
01:31:39,957 --> 01:31:41,667
it's really scary.
2193
01:31:43,627 --> 01:31:47,548
That's the underbelly
of the industry that
2194
01:31:47,548 --> 01:31:50,259
nobody knows about
and it's really dark
2195
01:31:50,259 --> 01:31:52,261
and it's really fucked up.
2196
01:31:53,220 --> 01:31:54,763
I've been told things
from a few people
2197
01:31:54,763 --> 01:31:56,348
who haven't
even shown up yet.
2198
01:31:59,309 --> 01:32:01,144
I'll say exactly
what Quentin said.
2199
01:32:01,144 --> 01:32:02,020
He simply said, "Listen.
2200
01:32:02,020 --> 01:32:03,981
I knew about it
for a long time.
2201
01:32:05,274 --> 01:32:07,025
And I should have said
something, but I didn't."
2202
01:32:10,445 --> 01:32:11,780
The fear factor
2203
01:32:11,780 --> 01:32:13,740
should never have
entered into any of it.
2204
01:32:13,740 --> 01:32:15,617
And that's what I think
the average person doesn't
2205
01:32:15,617 --> 01:32:19,371
understand, the fear
and the emotional shutdown
2206
01:32:19,371 --> 01:32:24,084
that you'd have to
force yourself into.
2207
01:32:24,084 --> 01:32:24,626
Oh, my God.
2208
01:32:24,626 --> 01:32:26,211
I can't believe
what just happened.
2209
01:32:26,211 --> 01:32:28,213
And who am I gonna
say anything to?
2210
01:32:28,213 --> 01:32:31,592
And if I do say
something, I'm finished.
2211
01:32:31,592 --> 01:32:33,093
I won't be in
another movie and
2212
01:32:33,093 --> 01:32:35,804
I won't be able to
fulfill my life.
2213
01:32:35,804 --> 01:32:37,306
That's a pretty hard thing.
2214
01:32:49,860 --> 01:32:51,904
Now you find out about
these hundreds of
2215
01:32:51,904 --> 01:32:54,531
thousands of dollars that
was paid out to these
2216
01:32:54,531 --> 01:32:56,617
different girls in
situations with him.
2217
01:32:57,784 --> 01:32:58,702
But see the people
2218
01:32:58,702 --> 01:33:00,203
who are complicit with that,
2219
01:33:00,203 --> 01:33:01,747
who followed his orders,
2220
01:33:01,747 --> 01:33:04,458
they're just as blameable
and corrupted as- as him.
2221
01:33:04,917 --> 01:33:05,834
And a lot of that ain't
2222
01:33:05,834 --> 01:33:07,169
on the cover of Time Magazine.
2223
01:33:07,169 --> 01:33:08,295
They're still hiding.
2224
01:33:08,295 --> 01:33:10,714
There's a lot of them
out there who were
2225
01:33:10,714 --> 01:33:12,549
more than
happy to follow the
2226
01:33:12,549 --> 01:33:14,718
orders and the ideals of,
2227
01:33:14,718 --> 01:33:16,220
uh, Harvey's opinion.
2228
01:33:19,723 --> 01:33:21,558
And the fact
that your own body,
2229
01:33:21,558 --> 01:33:25,854
your own face, your
physical being is what you
2230
01:33:25,854 --> 01:33:28,023
use as your
instrument of work,
2231
01:33:28,523 --> 01:33:30,442
and if that gets
persecuted and that gets
2232
01:33:30,442 --> 01:33:32,110
ruined and that gets destroyed,
2233
01:33:32,110 --> 01:33:34,696
and somebody like Harvey
has the power to do that,
2234
01:33:34,696 --> 01:33:35,781
don't hire that person.
2235
01:33:36,073 --> 01:33:37,157
And the people who would take
2236
01:33:37,157 --> 01:33:39,201
a call from a Harvey Weinstein,
2237
01:33:39,201 --> 01:33:40,410
"Oh, that was Harvey."
2238
01:33:40,410 --> 01:33:44,247
(smacks lips) "Yeah, he says
not to hire so and so."
2239
01:33:50,003 --> 01:33:54,591
Having now separated
himself so instantaneously
2240
01:33:54,591 --> 01:33:56,885
from Harvey, that
was the end of it.
2241
01:34:10,399 --> 01:34:11,858
It's the end of an era.
2242
01:34:13,777 --> 01:34:15,612
It's an era that
certainly made a point
2243
01:34:15,612 --> 01:34:19,074
and was envied by an
awful lot of people.
2244
01:34:25,414 --> 01:34:26,623
He has moved on.
2245
01:34:30,794 --> 01:34:32,004
He's making a new movie.
2246
01:34:32,004 --> 01:34:33,630
He's doing Once Upon
a Time in Hollywood.
2247
01:34:35,465 --> 01:34:36,216
And it ain't with the
2248
01:34:36,216 --> 01:34:37,217
Weinstein Company.
2249
01:34:37,884 --> 01:34:42,305
Quentin Tarantino
is a rock star.
2250
01:34:43,932 --> 01:34:46,601
Quentin Tarantino can do
a movie about any subject
2251
01:34:46,601 --> 01:34:49,062
matter that he wants to
because Quentin Tarantino
2252
01:34:49,062 --> 01:34:51,273
stands out in front of
the movie a little bit.
2253
01:34:56,153 --> 01:34:57,738
He's not gonna fade out.
2254
01:34:57,738 --> 01:34:59,781
This is why he talks
about making ten.
2255
01:34:59,781 --> 01:35:02,659
He doesn't want to be
that guy who people go,
2256
01:35:02,659 --> 01:35:04,202
"Oh, most of them was good,
2257
01:35:04,202 --> 01:35:06,747
but his stuff, you know
as his stuff used to be,
2258
01:35:06,747 --> 01:35:08,957
but you know he's a bit
too old for it now,
2259
01:35:08,957 --> 01:35:09,833
you know.
2260
01:35:09,833 --> 01:35:10,542
Bless him."
2261
01:35:10,542 --> 01:35:11,251
Doesn't want that.
2262
01:35:11,251 --> 01:35:12,335
I don't know, man.
2263
01:35:12,335 --> 01:35:15,005
I think he needs to live
to a hundred and fifty or
2264
01:35:15,005 --> 01:35:17,841
two hundred years just so
he can accomplish whatever
2265
01:35:17,841 --> 01:35:19,134
he wants to accomplish.
2266
01:35:19,134 --> 01:35:25,390
You know how his
characters are related.
2267
01:35:25,390 --> 01:35:26,308
There's always a kind of a
2268
01:35:26,308 --> 01:35:28,477
family history
that runs through.
2269
01:35:28,477 --> 01:35:29,269
I'm Doctor King Schultz.
2270
01:35:29,269 --> 01:35:30,729
This is my horse Fritz.
2271
01:35:31,646 --> 01:35:33,398
Full loads? Obviously.
2272
01:35:34,066 --> 01:35:38,820
Dandy Michaels, Joe Nash, and...
2273
01:35:38,820 --> 01:35:39,946
Crazy Craig Koons.
2274
01:35:41,281 --> 01:35:43,784
This here is Captain Koons.
2275
01:35:43,784 --> 01:35:46,661
He was in the POW
camp with Daddy.
2276
01:35:46,661 --> 01:35:47,871
You know there's a family chain,
2277
01:35:47,871 --> 01:35:49,498
that there's a string
that runs from the beginning
2278
01:35:49,498 --> 01:35:50,499
through to the end.
2279
01:35:52,459 --> 01:35:54,795
Hello, little man.
2280
01:35:54,795 --> 01:35:56,671
So I am in Hateful Eight,
2281
01:35:56,671 --> 01:35:59,883
the great- great
grandfather of
2282
01:35:59,883 --> 01:36:02,010
Michael Fassbender's character
2283
01:36:02,010 --> 01:36:03,470
in Inglourious Basterds.
2284
01:36:03,470 --> 01:36:06,973
I'm watching Kill Bill,
and there's Earl McGraw alive
2285
01:36:06,973 --> 01:36:09,726
as a character in it
with his son, James Parks.
2286
01:36:09,726 --> 01:36:12,396
I said, "They got killed in From
Dust Till Dawn One and Two."
2287
01:36:12,396 --> 01:36:14,314
He goes,
"This happens before that."
2288
01:36:14,314 --> 01:36:15,357
I'm like, "Oh, God.
2289
01:36:15,357 --> 01:36:17,943
You- you like a gen-He's-
he's- he reminds me of like
2290
01:36:17,943 --> 01:36:19,069
Norman Lear, you know,
2291
01:36:19,069 --> 01:36:21,446
how All In The Family
begot The Jeffersons and
2292
01:36:21,446 --> 01:36:22,989
The Jeffersons begot
the Good Times
2293
01:36:22,989 --> 01:36:24,324
and so on and so forth.
2294
01:36:24,324 --> 01:36:26,701
He was gonna make
the Vega Brothers,
2295
01:36:26,701 --> 01:36:28,328
which would be me and John,
2296
01:36:28,328 --> 01:36:29,371
which would have been great,
2297
01:36:29,371 --> 01:36:30,205
right?
2298
01:36:30,205 --> 01:36:31,289
'Cause that would be believable,
2299
01:36:31,289 --> 01:36:31,915
right?
2300
01:36:31,915 --> 01:36:35,210
It would have to be a prequel
because we're both dead,
2301
01:36:35,210 --> 01:36:36,920
which doesn't make sense,
2302
01:36:36,920 --> 01:36:38,755
but that's how it would be.
2303
01:36:38,755 --> 01:36:39,965
He's got his ten.
2304
01:36:39,965 --> 01:36:41,216
He'll do other stuff.
2305
01:36:41,216 --> 01:36:43,885
(stammers) And I know some
of his plans and they're
2306
01:36:43,885 --> 01:36:44,928
fucking amazing.
2307
01:36:44,928 --> 01:36:46,972
You're writing
your life story.
2308
01:36:46,972 --> 01:36:48,640
You bet I am.
2309
01:36:48,640 --> 01:36:50,058
Am I in it?
2310
01:36:50,058 --> 01:36:53,353
(chuckles) You just entered.
2311
01:36:53,353 --> 01:36:55,063
I mean, I wonder when
he starts writing books
2312
01:36:55,063 --> 01:36:56,857
whether he will,
some of these characters will
2313
01:36:56,857 --> 01:36:58,191
show up in his novels.
2314
01:36:59,860 --> 01:37:01,611
It's complete.
It's a hundred percent.
2315
01:37:01,611 --> 01:37:04,823
And sacrificed relationship,
2316
01:37:04,823 --> 01:37:06,867
having children,
all of that stuff to
2317
01:37:06,867 --> 01:37:08,869
pursue his dream.
2318
01:37:08,869 --> 01:37:11,413
He's a complete filmmaker
and- and an artist in- in
2319
01:37:11,413 --> 01:37:12,622
the full on sense.
2320
01:37:13,832 --> 01:37:14,708
We're gonna miss it.
2321
01:37:14,708 --> 01:37:17,794
We're gonna miss the
opportunity that he brings.
2322
01:37:17,794 --> 01:37:19,838
And it's true of all of us.
2323
01:37:19,838 --> 01:37:22,048
If your phone
buzzes in your pocket
2324
01:37:22,048 --> 01:37:23,550
and you take it
out of your pocket
2325
01:37:23,550 --> 01:37:24,551
and you look at it and it says
2326
01:37:24,551 --> 01:37:26,511
QT on it,
you go please, please,
2327
01:37:26,511 --> 01:37:30,557
please, oh just please,
please be one, please.
2328
01:37:30,557 --> 01:37:32,267
You know and
(imitates phone on).
2329
01:37:32,267 --> 01:37:34,436
Hi. And he goes, "Hi.
2330
01:37:34,436 --> 01:37:35,979
Um, I've got something
I want you to read."
2331
01:37:35,979 --> 01:37:37,272
And you're done.
174221
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