Original subtitles

Hey everybody, welcome to the Executive Producer Commentary for Hostel.

I'm joined by Boaz Yakin, Scotty Spiegel and Quentin Tarantino.

Hi there.

Hi there.

That sounded so professional.

She sounded really gay.

I was going for gay.

Yeah, I was professionally gay.

Oh man, I can't believe it.

Alright, so Raw Nerve, there's the logo.

There you go.

So Boaz and Scotty, we all do Raw Nerve together.

That is our company.

That's a horror company that we started to make movies just like this.

Quentin Tarantino presents the fucking coolest opening credit on a movie.

Quentin Tarantino, a company that created to make movies just like this.

Raw Nerve and Quentin Tarantino working together as companies.

Two companies.

Yeah, two companies.

And Derek too.

Bully, I say.

Yeah, so these opening titles we shot, you know, just to get everyone in the mood, you know,

something nice and creepy to start it out.

And that was one of the things people said was like, are you concerned that it's not scary

from the opening minutes?

That's why I put this in.

But I also wanted to, I like the idea of going on the journey with the guys, that we get seduced

along with the guys.

That's why it starts off all fun.

You know, that's one of the things I like so much about the movie.

It was one of the things I was even saying in the press junket about, one thing that's

so cool about the film is, as opposed to a lot of horror films or just a lot of Hollywood

movies the last 20 years, this is a genuine story.

It unfolds.

You don't know everything that's going to happen from the first 10 or 15 minutes, as opposed

to what I call situation movies, where they set up a situation in the first 15 minutes

and then try to just live up to it.

Right.

Here this is always just kind of unfolding and it's just, you know, getting worse and worse

and deeper and deeper as it goes.

Thank you.

And what tortures me is that it's like, I wish people knew nothing about the movie when

they went to go see it.

All right, Bully, they're the executive producers.

Yeah.

Yeah.

Well, I think on some level that the structure of it works to its advantage in that even if

people know something about it, what they're really doing for the first part of the film

is getting to know the characters and whatever you know, once the characters start working,

played really well by Derek Richardson and the other guys, you end up caring about them even

if you know what's going to happen and you're locked into the story.

And it even becomes like this, like, you know, like Titanic, this like other shoe that you

know is about to drop.

Exactly.

And like, wait a minute, I actually care about these guys.

Exactly.

I paid to see a torture horror film, but now maybe I'm not so sure I want to see that now.

Exactly.

Oh, yeah.

There's Roman Polanski.

Oh, the Roman Polanski line.

Ah.

Yeah.

That's the thing.

They didn't make the cut.

One of my contributions.

Well, Quentin had a great line that, yeah, that was in the red light district, which were

put on the DVD where they're walking and he's like, dude, I think you saw Roman Polanski.

Yeah.

I like that.

That is so cool.

And then you called me from Prague.

Yeah.

Then we were shooting and I was like, dude, we just fucking saw Roman Polanski.

We actually saw Roman Polanski because he was there doing scoring for Oliver Twist.

And it was awesome.

But didn't you think you thought you saw him in New York or something?

Yeah.

I have this weird mythical experience where I was at the museum and I was looking for an

exhibit and Roman Polanski walked up to me and told me to go see a different exhibit.

And I was like, that's Roman Polanski.

What's he doing?

He can't be here.

Yeah.

He can't be in New York.

And everyone I asked was like, no, he never sneaks over the border.

And I was like, but I saw him.

So, I don't know.

But that's like a director's fantasy.

I saw ghosts.

I actually had a friend bump into Roman Polanski.

Oh, really?

That's where I got the idea.

That's awesome.

Cool.

Yeah.

But I was at Video Archives.

A guy I knew went to Amsterdam.

Man, I saw Roman Polanski there.

Yeah.

Well, that was just so cool about, like, having, I mean, you know, honestly, having, like,

three, like, awesome, you know, writer/directors as your producers was everybody, like, you'd

said, like, you know, I remember Quentin saying, like, you know, I've got this line of dialogue

and I've never been able to use it in a movie.

So, maybe it could fit in here.

And now that actually didn't make the cut, you know.

But we've talked about it for, I feel like it has, now that we've talked about it for

20 minutes.

Maybe we should talk about the things that are...

As opposed to anything that's going on screen.

That's actually in the movie.

Um, no, I remember it was, it was Quentin, it was you who, like, totally kicked me.

Dan Frisch, producer.

Dan Frisch, co-producer as Fanny Pac-Man.

Um, you were totally, you know, kicked me in the ass and were really, like, excited when

I first told you the idea for Hostel.

We were at your house.

Remember that?

No, it was like, really, it was, that's one of my favorite parts here.

Yeah, Athor having sex.

I love that.

Which is based on truth, right?

Oh, absolutely.

I was in Iceland with my friend Isi and, uh, we're like, where did Athor go?

And the next thing you know, we get this text message on his phone and Athor's in the

bathroom and he's having sex with a girl and he's, like, texting us and sending pictures

of it.

And I thought, this guy's a genius.

I gotta put that in a movie.

That's why, look, it said inspired by true events.

That's the true event.

That's the true event.

This, this definitely, uh, this, this, uh, part with, um, Derek Richardson's character,

uh, some of the, the Eli dialogue basically where, um, there was such an emphasis on the

word gay in the dialogue and there were so many, like, taunts that way.

Uh, I, I asked Eli, I said, well, what if one of the guys really, uh, really is gay,

actually, because it, the Derek Richardson character was presented as really sensitive but

not quite gay and just the dialogue gave rise to that idea.

It kind of came out of the, uh, out of the way it was written.

Well, that was, that was, like, a great idea that Boaz had.

We thought it would really help with kind of the misdirect, too, of making, you know,

you had said, like, yeah, if you do that, there's some subplot where maybe he's gay

that'll make everyone really believe he's the main character.

Right.

And it's gonna get resolved instead of just having him get fucking killed off at minute 36.

Well, actually, that's actually one of my favorite parts about the movie, all right,

is, uh, the moment that he has with the, um, with the Dutch businessman.

And, uh, when he grabs his leg and you realize, oh, my God, this guy is deeper than what we thought.

He's just not a knucklehead on, uh, uh, you know, in Amsterdam chasing pussy and stuff.

It's like, uh, oh, he's got his own little problems that he's dealing with.

He's trying to fit in and all that.

And that whole speech that the, uh, the Dutch guy gives afterwards,

oh, if I was you, your age, that time, I would have done the exact same thing.

It's one of my favorite parts of the whole script.

Well, that's the horror of it is the guy who, the only guy who's sympathetic to Derek

is the guy who ends up horribly killing him.

Yeah.

Well, yeah, you realize he's like.

Yeah, there's no bonding moment when they actually are together in the torture room.

Well, yeah, exactly.

Well, he says, and that's what I thought was a really cool thing that Boaz was, like,

talking about the connection with the food.

And then we talked about, okay, that he has a connection with the food,

and that's why he wants to get to know Josh, to have the connection with him before he tortures him.

And it's like, does this guy have some weird repressed issues that he's acting out on these guys?

He drills him.

Now, Eli, Eli, was this shot in Amsterdam?

Where was this shot?

Uh, this was on a stage in Prague.

You know, we actually -- the design of this came from a brothel in Tokyo.

That we -- we saw photographs.

Like, you know, that's one of the things I love about the Japanese.

It's like, that's -- that's their brothel.

Yeah, right.

And so we shot this on a stage.

Everything that was Amsterdam, we actually shot in Prague.

You know, we didn't really have the money to go over to Amsterdam,

and we felt that we could -- there were enough locations that we could keep it contained

and kind of fake it for Amsterdam.

You do a -- you do a -- you do a great job as far as --

Oh, that's concerned.

I've been to Amsterdam a bunch of times, and I didn't per se know you didn't shoot in Amsterdam.

You know what they call sneeper in Amsterdam?

Sneeper Royale.

I'm just kidding.

No, thank you.

I appreciate that.

But no, I would like to say thanks to Quentin.

Honestly, you know, you were the one -- I told you the idea.

I was like at this crossroads with a bunch of different projects, and I really wasn't sure what to do next.

And you were like, you've got to do this movie with raw nerve.

Do it with Boaz and Scotty.

Make it low budget.

Like, this could be your Miike movie.

Yeah, well, it was funny because when you were telling me the story, we were actually -- he had come over.

It was like a Saturday afternoon.

We were swimming in my pool.

It was really cool.

And Eli was just -- you know, he was his flavor of the month.

He had just done Cabin Fever, so all the studios were talking to him about, you know, remaking this, remaking that.

And so he's describing to me some of these things.

And, you know, it's like, but what do you -- don't you have a -- you're a writer/director.

Don't you have something that you want to do?

And then he proceeded to describe this exact story.

And after he did, it was like, oh, my God, don't waste your fucking time on that shit.

If you do that shit, I wouldn't even see it.

All right?

This is what you got to do.

You got to make your McCain movie.

Yeah.

No, and that's -- and that's what -- that's what affected me.

I thought, man, if I did that other movie and Quentin wouldn't see it, that would really suck.

And I'm like, I can't let -- you know, it's weird.

It's like you were so supportive of Cabin Fever and Peter Jackson and these guys.

Like, you start to get those -- you know, in a weird way, you get, like, the sophomore jitters.

I'm like, God, I don't want to -- I don't want to let these guys down.

Like, they really like my film.

But, you know, you get nervous.

But then I think, you know what?

I can't worry about that.

I just -- I can't let myself down.

Like, that's what you got to focus on.

And then everything else will fall into place.

Well, it was just the -- it was just -- it was just the idea that you're a writer/director.

You shouldn't be just going out and taking assignments as your second film.

Your second film is even more important than your first film if your first film's good.

Right.

So, win or lose, up or down, it's got to be -- I think --

It's got to be your own thing.

It's got to be your own thing.

No, you're so right about that.

And I'm so -- and I want to thank all you guys for that, for really helping keep me on track.

Because I feel like this is the perfect second movie to do.

I feel like it was contained enough.

But, you know, I got to do a lot more things.

It's a more ambitious film than Cabin Fever.

But, you know, it was just so helpful having you guys, you know, there with a support.

I mean, you know, I remember right as soon as I was done with the first draft of the script, you know, I think before I showed it to Quentin, I showed it to Boaz and Scotty.

And we went to Scotty's house and, you know, that's where you're like, oh, Scotty was like, you've got to run the girls over.

And I was like, no, no, you shouldn't do that.

And, Boaz, you had talked about, you know, like the thing with Josh and the thing with the kids.

Oh, yeah, absolutely.

Let me ask you a question based on what you're talking about.

How did you feel the support was from like people in the business to do something this hardcore as your second film, like agents and people like that?

You know, it's weird.

I think that they felt like if it cost a certain number, they were supportive because they figured, well, Cabin Fever did 70 million on DVD.

So if this movie, even if it doesn't come out in theaters, like they just do calculations.

I mean, you know.

Was there not pressure to do like kind of a more commercial comedy?

Oh, yeah.

I mean, you'd hear that like certainly from agents and managers.

And they they say, well, yeah, you know, it's I heard from other horror directors.

We're saying don't do a horror movie.

Don't do two horror movies or you'll become a horror guy.

And you think that's what's cool about you.

You want to be the horror guy.

That's exactly you different from all of those guys.

I was like, that's that's exactly it.

Like, that's my dream to be the horror guy.

This isn't a horror movie.

This is a thriller.

Oh, God, don't get me started on that.

Supernatural thriller.

Supernatural thriller.

Yeah.

It's a backpack.

If it was 95, they'd be calling this a science fiction film.

Yeah.

Science fiction is good.

People like that.

Yeah, exactly.

It's good.

Let's call it a thriller now.

I don't care.

Just call it a horror movie.

Call it a horror movie.

Is that is that is that horrible?

No, that was makeup.

That was makeup.

This actually this guy Lubomir played Alex is actually a really good looking guy.

And he came out of the makeup trailer.

And I was like, no, man, he should look like a sewer rat.

So he gave him like, you know, the way we lit him.

And like, we put all those zits on him and made his hair look really greasy.

And I was like, make him make him have some horrible thing on his lips.

So he smokes the pipe.

And it's like, ah, I don't want to smoke.

But for the people watching this, I just want to say that, you know, it's really not fun

making movies with all kinds of naked girls and beautiful chicks.

It seems like fun, but actually it's torture.

How did you cast those girls in just that shot?

Oh, that shot.

Okay.

Just those digital camera shots.

They had to be cast.

Were they cast by you?

Yeah, we had to, unfortunately.

Were you there on the day that those shots were done?

Actually, I took every single one of these photographs myself.

Because we had to, honestly, I had to, we had to have a casting session.

We saw, I think, 75 naked girls in two days.

And it was exhausting.

It was very, very difficult work.

That's what I've been trying to say.

Yeah, it's tough.

And I'm sorry, I don't know why you'd bring that up and remind me of that trauma, Boaz.

Because I'm trying to keep it real here.

I'm trying to de-glamorize the business.

Yeah, so we had to cast those girls.

And then we did a photo shoot.

And the first day we did that, that was actually before we started shooting,

was we did that photo shoot with those girls.

And we had a photographer who was taking photos that looked like they were for a magazine.

And I was like, these gotta look like some cheap digital camera photos with a flash.

And I just took them, I just took a bunch of them.

And those are the ones we wound up using.

And that was when we were shooting.

We were in a Chris Briggs apartment in Prague.

And it was so hot.

It was like 100 degrees.

And so I peeled off my sweatshirt and I was just wearing a wife beater.

And these three naked girls were on the bed and they start talking in Slovakian.

"Gorilka" and everyone on the crew starts laughing.

And I asked my AD, I was like, "What does gorilka mean?"

And he just goes, "It means gorilla."

And they were making fun of my chest hair.

Because I look like a gorilka.

Yeah, because Eli's even hairier than Robin Williams.

Oh, thank you.

Oh.

You know.

Is that Robin Williams and Fisher King?

Wow.

That ain't nothing to swimming with Eli.

I had to have the pool guy come out and I had to get a new filter when Eli swims in my pool.

Oh, my God.

Oh, good Lord.

By the way, these are green screen shots.

These are brilliantly executed green screen shots.

This was shot on a set, right?

Yeah, this was all shot on a stage.

Yeah, and we green screened that.

And Bob Kurtzman at Precinct 13 comped in those backgrounds.

We shot the plates.

And I love it.

They even did the reflection in the glass and everything.

That's cool.

Oh, really?

I really did not know that.

You see the reflection of Aether.

This was all shot on a stage.

All of these shots.

Bob Kurtzman did that?

Bob Kurtzman at Precinct 13.

I think it's great using the technology to create effects that people don't notice as opposed

to the ones that people do.

Right.

There's a lot of that in this movie.

Oh, yeah.

There are a lot of CG shots.

My whole thing was you shouldn't notice anything.

I want people to be in the story.

And that's what George Folsey says about his editing.

If people tell me it was a well-edited movie, then I haven't done my job.

Because you should just be into the story.

Getting back to my chest hair, I mean, it's not all over my back and stuff.

No, no, no.

It's more like David B. Ross.

I don't want people to think you're swimming with King Kong or Mighty Joe Young in your pool.

It wasn't that bad.

Well, you know, the chest area is similar.

Yeah.

No, it was like...

Oh, man.

You're the one that said they were calling you Gorilka.

No, I mean, from the moment that I said that, that kind of became my nickname on set.

Like the crew would be like...

Try new Gorilka.

We have Gorilka.

What's that?

Sorry.

It sounds like a product.

Try new Gorilka.

Tell us about this cool actor.

Jan Vlasak, who played a Dutch businessman.

You know, he's one of the best actors in the Czech Republic.

We called him Hannibal Cechter.

I think the Cechsist Chainsaw Masker was the other working title while we were shooting.

But he came in and read and he just had these piercing, steely eyes.

And I remember when we were looking at actors to play this part, you know, there were different actors.

People had suggested a number of kind of famous people.

And we had talked a lot about, you know, the studio was saying, well, should you get a big star to play the Dutch businessman?

That's your main bad guy.

And it was...

I remember, Quentin, you were like, man, there's so many great, like, regional actors.

Like, what if you got someone who's just like the best actor from Prague to play that?

And that way people didn't know he was the bad guy.

They didn't see it coming.

And this guy came in and we all agreed that that would be kind of the best way to go.

And this guy came in an audition and he was just terrifying.

He doesn't speak a word of English.

He speaks Czech.

He's a Shakespearean actor.

He's an amazing, amazing actor and said that he would learn the English phonetically.

And he did and he completely got the inflections and the subtlety.

Yeah, I find it really hard to believe that he did that all phonetically, to say the truth.

I find it really hard to believe that Shakespeare was Czechoslovakian.

It is hard to believe that.

"Czechspear," they called him.

Well, you know, it was funny because, like, you know, there was talk about Rutger Hauer.

There was talk about a few people.

Yeah, like, staying.

All these names were thrown up.

And the thing is, it was like, actually, all the people would have given really good performances.

Actually, I could see Rutger Hauer doing a very good job in this movie.

But if it was actually somebody, a foreign actor that we've never seen before,

it was just gonna just be more scary.

It'd be more real, more scary.

You just buy into it even more.

Not seeing a star doing a turn.

Yeah, no, and that's what was really cool is that, you know, in shooting the scenes with him and Derek Richardson,

the torture scene, I mean, both of them were so good.

That, you know, with an actor like Jan, I mean, there's very little direction.

You just kind of sit back and let him do his thing.

He was really, he was really cool.

I realized, Sting was like, I was like one of the names that got thrown out.

I mean, you know, I think Rutger Hauer was the guy we were really kind of thinking about.

But, you know, it's just one of those things where you're in Prague and it's low budget.

And, you know, we thought, God, you know, let's get this guy.

I think he could really, and he rarely does movies.

He mainly, mostly does theater.

But this cab driver who we have next was completely insane.

He couldn't drive.

And he actually did most of the scenes staring at his lines.

He had no teeth.

He looks rough and toothless.

Oh, man.

But he was great.

What a great find, huh?

It just lends that credibility to the whole proceedings where you just feel definitely I'm a fish out of water.

Oh, yeah.

Well, I mean, that's one of the things.

There's no point in going to a country like this and then, like, bringing a bunch of Hollywood actors with you.

You bring the ones that you're supposed to bring.

Yeah.

But just even the fact that Ator, Ator Gudenson, all right, is really Icelandic.

And he's obviously genuinely foreign, all right?

Yeah.

Just adds to the reality of the whole proceedings.

Exactly.

But everybody, you see, every shopkeeper needs to be somebody from that area.

Yeah.

This was actually shot.

This is an awesome shot.

Yeah.

It's actually shot at Epcot Center.

Yeah.

It's not really Europe.

It does look somehow fanciful.

Well, I couldn't believe it when I saw this.

It's like, you know, I remember I finished the script.

You know, we must have wrote it in about probably two and a half or three weeks.

And then the next day I got on a plane to go to Prague and the first place they took me was this village.

And I was like, you have to be kidding me.

This is exactly what I wrote.

And this is an old monastery.

We visited probably about six or seven monasteries.

And then we found this one.

And we could just dress it however we wanted.

And this was really cool.

You know, the Quentin that you let us use this clip of Pulp Fiction.

That was cool.

That's funny.

You know, it's just so funny to hear him say, give this, you know, we're trying to find what moment do we use.

Right.

And then this speech was like, you know, just like hearing that.

He sounds like the cab driver.

Yeah.

Exactly.

And what was so funny was when I showed like a cut of the movie to the crew and like after that moment in the U.S. audiences like brings the house down.

But then in Prague, like that was like, you know, people were just watching it.

Yeah.

Well, it's Pulp Fiction on TV.

What's so big about that?

Yeah, exactly.

The wealth is new, yeah.

But that came from my brother Gabe was traveling and he walked into a hostel and he said it was like, I think it was in London, either London or France, where he walked in and the whole lobby was sitting around watching Pulp Fiction.

He got there at like midnight.

It was like everyone in the hostel was gathered around this TV watching it.

That's too cool.

That's really cool.

And that was like, that was like one of his traveling memories.

Like also like Chris Briggs walked into a room and there was a couple having sex and there was another dude in the room and they were all supposed to be sharing it.

And he was like, ah, ah.

And the guy was like, no, it's all right, man.

They're so fucked up.

Don't worry about it.

And then he tried to have a conversation.

The guy was like, so, you know, where are you going?

Where are you traveling?

And Chris like had to try and play it cool.

Like he wasn't completely just trying not to stare at these people.

He was like, ah, Amsterdam.

I think, you know.

Ah, Antwerp.

Like just trying to be cool about it.

Well, you know, it's funny when you tell the story about like going to the hostel and people watching Pulp Fiction.

I think that's kind of a thing as far as like when you're young and you have friends that travel to Europe.

Some sort of pop culture thing when you go to Europe.

A friend of mine just told me about being in Paris.

And he was like, had never been to Paris before.

And he was with a bunch of druggie guys and they all walked into a place and there was this giant poster of Dressed to Kill.

Yeah, over the couch.

Yeah, like the first time I went to Iceland in '91, like the Doors had come out here in like February.

And then I went to Iceland in July and it was like just coming out over there.

So just after like Doors Mania had died down here.

Yeah.

I went over there and it was like everywhere.

They had the Jim Morrison posters.

Well, I remember going to Amsterdam and walking into a hash bar and there was a poster for Say Anything in the hash bar.

Right.

And I remember walking down the Red Light District and some chick had a poster for Born on the Fourth of July.

Like in her room.

In her room.

Like that's going to get you in the mood.

It's going to get you in the mood.

It just seems like of all the Tom Cruise posters to put up, Born on the Fourth of July wouldn't be the top of an Amsterdam whores red light window drive-in thing.

Well, maybe she wanted to show that she wasn't just going to put the cocktail poster up with the rest of them.

Right, yeah, exactly.

She was showing she was deeper.

She liked to sophisticate it.

But that could have ended up with mixed results.

Hellah!

Hellah!

Hellah!

Oh, would you?

Oh, look at these lasses here.

My goodness.

And where'd you find these gorgeous gals?

I think the dialogue that Eli came up with here is actually really good in terms of just giving you the sense of all these people from different cultures kind of not quite gelling and some of them gelling.

And the real sense of the Americans not fitting in, whereas Europeans can get along much more easily.

Exactly.

I think that's kind of the, even though Eli doesn't push it that much, that's the subtext of the movie.

And it comes across pretty well.

It makes it definitely a little more interesting than your usual guys on a road trip movie.

Especially with Derek Richards as this character who's just so obviously uncomfortable in his own skin.

Right, yeah.

That he can't feel comfortable or down in any, I mean, he would be that way in America.

Yeah.

Here it's just exemplified.

It's just, yeah.

It gets exacerbated.

Yeah, those girls, I mean, you know, we auditioned a lot of girls.

And I'd say probably out of the 400 girls that came in, nobody came close to Barbara in terms of the performance.

She came in and she was like a young Monica Bellucci.

Explain which one's Barbara.

You know, the brunette Natalia.

You know, Natalia, yes.

I know.

I was saying explain to the…

I know, you're right.

I'm sorry.

I got that.

To all of our friends at home, all right, in TV land.

Of course, Barbara.

All of our friends in TV land.

Thank you.

Sorry.

Is that what Red Skelton used to say?

Red Skelton!

Sorry, you've got four directors in a room.

Carol Burnett, all my friends in TV land.

See, if Barbara came in to read for Natalia, nobody came close to her.

She was just, you know, she looked like a young Monica Bellucci, but she had that European beauty of, like, Maria Schneider or, like, Emanuel Bayar,

where it's like that otherworldly European goddess beauty.

And her performance, she was so scary, she could be just disturbing.

But, like, the way she looks here is that's how she normally looks.

Like, that's her with very little makeup on.

But, whereas, you know, later, you know, we put all that drug addict makeup on her.

And then Yana came in.

Yana had never acted before.

She was a model.

And, uh, but I loved the way she looked.

And she was very, very comfortable on camera.

Um, and just kind of had this, you know, for her, it was great because we wrote roles where they could speak broken English.

You know, they didn't have to speak perfect English.

Um, and I know that most of the heavy lifting, you know, you really need, Natalia has really the heavy, dramatic stuff.

Um, but I thought they did a fine job.

And look, you know, there was really cool of them to do the nudity.

Because that was not, that's, that's not easy to find girls that can act.

That'll, that'll put themselves out there like that.

Um, like the girls from the camera, you know, there are a lot of, you know, there's lots of different agencies.

It was not hard to find girls that would be naked, but find girls that would sort of do the nudity.

And be naked and be good actors.

Deliver a performance.

Deliver a performance.

But it is, but, but having said that though, it is different in Europe, isn't it?

So much different in Europe.

Explain that.

Uh, you know, in America, what I've noticed anyways, is that, you know, ever since American Pie, you know, you know, with the internet, like, Shannon Elizabeth basically got known as the naked girl from American Pie.

And it kind of hurt her for a while.

You know, it just, it stopped.

I don't know, I would disagree that it hurt her.

Well, it hurt her that.

She's famous.

She's famous.

And she's a working actress as on a sitcom.

Yeah, but she's famous as, you know, it took her a while to shed that, that naked girl from American Pie.

And what it did was it actually scared a lot of other actresses from doing nudity.

Because girls would say, I don't want to get known as the naked girl from American Pie.

And whereas in Europe, it's just like a different thing.

There's so much less uptight about nudity over there that they'll do it.

It's like there's nudity in movies, there's nudity on television.

Like, they don't care.

And you see over in America, you know, Janet Jackson shows her nipple and everyone goes insane.

But in Europe, they're laughing at us for stuff like that.

I've found it interesting in French films and European films.

Sometimes you'll see a film that has nudity in it, but it's never during the parts that the nudity would be in an American film.

Like, they'll do the sex scene with all their clothes on and then the next morning they'll get out of bed.

And they'll be completely naked with their clothes off, peeing in the bathroom and all that stuff.

Whereas in an American film, they sort of save the money shot.

Okay, that actress is getting paid $10 million to show her nipple for 30 seconds in a sex scene.

In a way, it's a much more purient kind of attitude towards the whole thing, which you exploit.

But almost all the famous, like, French actresses have not only done nudity, have done it, like, continuously.

Yeah, and that's what I said. I was like, look, it didn't hurt.

I mean, even in America, Angelina Jolie did it in Gia.

I mean, Nicole Kidman's done nudity. Halle Berry.

Like, I just went through the Oscar-winning actresses that had done nudity.

And they're sort of like, okay, it's not just going to make me look like, you know, some...

But actually, it was interesting what you were saying, though, about how, you know, they were really nervous at the beginning of the day.

And when it came down to the day, they were very nervous about it.

Yeah, they were nervous about doing the sex scene.

And they were very like, well, okay, well, what exactly am I going to see?

What exactly were you going to show? And this and that and the other.

But then once they were on the set and realized it wasn't a big deal and the crew didn't care and no one was judging them.

Yeah, that's what I said.

It was just like any other working day.

It was like any other day. I'm like, I hate to break it to you, but the crew is really thinking about lunch and when we're going to wrap.

Like, they're not interested in waiting to see you naked. They want to get done so they can go home.

And they can go get drinks. They can go out with their family.

What I never understood is, like, some actresses who are going to do nudity.

It's a close set and then, like, it ends up in, like, eight billion theaters and eight billion DVDs.

You're like, oh, well, it's a good thing that the crew wasn't able to see you, but the rest of the world will.

But everyone else on the planet was.

It's ridiculous.

For all the nudity in the film, I think this performance by Derek Richardson as a young guy having sex for one of the first times in his life is really one of his best moments.

It really connects you to him emotionally.

Yeah. And you notice how, like, Jay Hernandez is just completely in the background.

We really made such a conscious choice.

And, you know, I remember actually, Quentin, the first time I told you the story, I was like, okay, if I have these two guys, how can I keep having them escape?

I can't have them escape and then get caught and then brought back there and then escape.

Like, how fucking dangerous is this place if these Americans can keep getting out of there?

And you just said, do the psycho switch.

You fucking kill your main character.

Make it all about this guy and all about his experience and we're following him and then you fucking kill him.

And it will completely pull the rug out from under the audience.

That was your suggestion.

It was such a great idea and totally freed me up, really, to be able to tell, like, the story and to go in that direction, just knowing that all these little things that I set up about, like, is he gay?

Like, you don't have to pay any of it off because we're just going to kill him.

Right.

And then the audience would, I wanted them to feel as kind of helpless and lost as, you know, as Paxton does.

Yeah, one of the things I was thinking about, I think at the time was, I was like, well, you should, like, kill one guy and then make sure the other guy gets maimed.

Yes.

Yeah.

So, no bullshit pussy.

The guy just managed to get away scot-free.

No, he's going to be fucking scarred for life from this.

I don't know, Scotty, what did you think when you first read the script?

Oh, I thought it was cool, man.

I thought it was really disturbing.

And a lot of it, too, reminded me of that really underrated Australian film, Long Weekend.

Long Weekend.

Where you're just into this story.

Colin Eggleston.

Yeah.

And you're just into it.

And it's just, I don't know, so incredibly believable.

And then all of a sudden, out of the blue, you're like, whoa, what in the hell?

What's going on here?

Yeah.

Yeah.

And that it can happen.

And that it's, but I just thought it was just a terrific, tight thriller and horror film.

Yeah.

And I know you like to say you wrote it in two and a half weeks, but that's not exactly accurate

in the sense that you write incredibly fast, but then you go in and you do changes.

Yeah.

And by the time you've done your, like, fourth or fifth pass, you've done as much work as

someone who's done the same thing in, like, two months, but you've done it, like, so quickly

over and over and over again.

Scotty and I used to laugh that, like, when we'd go over a note session, we would expect

you to come back, like, a week later, two weeks later, and, like, we'd hang the phone

up and then the door would ring.

Ding dong.

And we were like, who's that?

Here are the pages.

Like, ding ding.

There's the, like, hey, I got the pages.

And you just, you just ended up doing, like, five drafts in the amount of time somebody else

would do one.

And it was sort of your process of getting to the same place.

Oh, no, you were on fire.

There's no doubt about it.

Well, you know, it's weird.

It's like, you know, I mean, I realized that, you know, it was a number of things.

I mean, Quentin was really helpful in getting me off the computer and that, like, writing

longhand and writing with a pen and, and just, you know, kind of not feeling tied to the

typewriter.

No wonder none of the actors could read their dialogue.

Yeah.

I was all like, I know my stick figure writing, but.

Well, you know, I mean, it's actually, it was, it was, it was funny.

Cause I just remember that, that, that day when we were hanging out at the pool, at that

moment, you knew what your next movie was going to be.

Yeah.

I didn't know.

And you were like, okay, I got to get the fuck out of here.

I got to go home.

Yeah.

It was weird.

Like, as soon as you said it, I felt like this weird, like itch, like, I really want

to hang out, but like, I hope you understand, but I really want to write.

And you were like, no man, go, go.

And I really did.

I really, you know, I felt like I just was getting distracted by email and phone calls and meetings

and I canceled everything.

And I was just like, you know, I just thought for raw nerve.

I mean, you know, originally we were going to like just produce movies and look for movies

for other people to direct.

And maybe we direct one or two.

And I was like, no, this has got to be like, let's do this, man.

Let's get our brand out there and make this our first theatrical movie.

And it just seemed like, it just seemed like, it just everything made sense.

It was like, oh my God.

It was, do you know what it was?

It was like, everything was right there in front of me.

But sometimes you need just like your friend to just smack you around.

Right, yeah.

What are you, look at this opportunity.

You have a company, you have like these incredible guys and like, they're like terrific writers

and friends and this is what you should be doing.

And it just totally like set me straight, you know?

The, the, sorry, the Japanese girl who plays Kana.

Oh yeah.

Is she, is she known there or is she?

Who is she?

Jennifer Lim.

She's a, Jennifer Lim is terrific.

She's a British actress.

She lives in London and she's on the TV show League of Gentlemen, which is a really popular

cult TV show in England.

And, um, you know, it's, it was really hard to find a Japanese girl in Prague.

Honestly, like Yuki, I think is the only Japanese girl in Prague.

There are lots of Thai girls.

There are lots of, you know, like we're trying to say, okay, should they both be Thai?

I wanted them to both be, you know, from the same place.

And, um, you know, but, but Jennifer came in and, uh, you know, her mother's Japanese.

And, uh, and so she, uh, she just auditioned from London and we flew her over.

It's easy to get from London to Prague, but I thought she did such a great job.

Of course, her last name is what?

Lim?

Lim.

Yeah.

Lim.

She loses a limb.

What'd you say?

She loses a couple of those.

A museum of torture.

Museum of torture.

Love that.

Ooh.

This, this was just a fortuitous coincidence that this place was actually there.

Cause originally the scene was conceived for an art museum, right?

Yeah.

I, I find art museums.

But there was a piece of dialogue in there about the museum of medieval torture.

Yeah, Quentin had a great line, uh, that we wound up cutting for time, that, uh, where

he's like, they're talking about what to do and what to do.

And he goes, and Athor goes, "Oh, I know what to do.

Let's get seriously fucking stoned and go to the museum of torture."

Yeah.

Uh, and, uh, then they, of course, wind up, you know, go to the museum of torture.

I mean, it was one of those fortuitous things where you feel like, okay, this was meant to

be.

Uh, we were on the location scale.

This is the Scotty.

I put this in just for Scotty.

Oh, man.

The Scotty Spiegel jump.

That was great.

The guy, like, I went to the museum and I, and I started going, "Oh, wait, what if

the guy jumped out and grabbed you?"

It reminds me of that Christopher Lee movie.

Horror Castle.

Yeah, yeah, yeah.

With that demented executioner character.

Yeah.

But, you know, it was an art gallery.

And, I mean, I just, from traveling around, I go to art, I always go to art museums by

myself and they can be really weird and creepy and eerie.

But then we're in this location where the village is and they had a museum of torture.

And I thought, "Well, this is perfect.

The whole movie's about torture as entertainment and how this has been going on in human history

for hundreds of years."

And, and we actually took their screams, the screams of Derek and Jay.

Oh, yeah.

We put them in the soundtrack there.

Oh, excellent.

When they're walking through, they're hearing their own, and they see that chair, you know,

that kind of death chair and they wind up in the chair.

And, you know, this is just one of those things where it's like you're in a location

and you see it and you go, "How can we not shoot here?"

Well, one of the things I like about it is, like what you're saying,

there's like a thing running throughout the whole film of torture as entertainment.

And it's not even a subtext.

It's a text.

Right.

No, these people, you know, I mean, I think the subtext is more kind of exploitation

and walking into a room to, you know, sort of like these guys in Amsterdam getting

the hookers, they, you know, winding up as the hookers in the window.

Here's a Scott Spiegel transition coming up.

Eli, do you want to talk about how this shot comes in?

More head.

Yeah, I mean, this is the Aether head and, you know, we see Yuki.

And this was like a great thing where, you know, when Quentin read the draft of the script,

he's like, "Oh, man, what if you cut to Yuki and she's tied up?"

And the guy's got a fucking bolt cutter and he's cutting off her toes one by one.

And we're like, "Yeah!"

And then it was one of those things that I thought, "You know what?

Wouldn't it be great if we did a total Scottie Spiegel edit?"

Which you did so many of in, uh, in Intruder.

Like these classic thing where you set up for one clip, you're expecting, you're expecting...

Oh, you did it so well.

And then, like...

And I was...

We tried to find a movie where someone's, like, clipping with hedge clippers or something.

Alma Dovar does that a lot.

Oh.

Building up, building up, and then, like, cuts to her toe.

That was great.

And then it's a...

Total Scottie Spiegel cut!

Oh, but you did it so well.

It was great.

It was too classic.

I love that stuff.

Even the Czech crew was like, "We are doing the Scottie Spiegel shot."

Like, they were like...

That kind of got known as, like, a Spiegel cut.

Oh, what in the heck?

Like, "We are doing Spiegel cut."

I mean, yeah.

I mean, I don't know why she's doing her toes in the lobby, but I thought...

She was gonna do them tomato.

But...

Tomato.

She's cutting her red toenails that are already painted.

You know what?

Yeah.

But I loved it.

I just thought, you know what?

If you're thinking about that at this point in the movie...

Yeah.

And do you know what's so funny is that, honestly, that image...

But it's the red that sells that.

Of the bolt cutter that kind of this little piggy went to Slovakia going over...

Like, that...

Like, in the trailer, that's, like, the single image that people remember the most.

Yeah.

You know?

It's always, like, that simple stuff.

Yeah, you never know.

I mean, it's weird.

It's like, that gets the biggest reaction.

The biggest laugh in the movie is when they're in the disco.

Uh, and he's talking to Josh.

He's talking to the Dutch business man.

And Jaren Anders goes, "Hey, Josh, faggot."

And he kind of says it under his breath.

It totally is his throwaway.

And that, like, always gets the biggest laugh in the movie.

Ridiculous.

Ridiculous.

I actually had with...

I actually had an idea before this got Spiegel cut.

It's, like, cut off all the toes, and then they're all, like, on a newspaper.

All right?

Yeah, so they're collecting them on the newspaper.

They're just picking up the newspaper.

They're dumping the toes in the trash.

Oh!

Oh!

Oh!

I should have shot that.

That would have been so friggin' cool.

Oh!

Oh!

Like, little tater tots.

Oh!

Oh!

Sitting on a newspaper.

And then you're picking them up and kind of have to hold the newspaper together.

Oh, no, no.

We should have...

What we should have done is she should have cut off her toes and cut them to be eating

pigs in a blanket.

Oh!

This little piggy went to...

Yeah.

Yuck.

I love the scene with these guys.

Like, I feel like this is, like, that, you know, they've dropped the, you know, the act

of trying to be cool.

Like, I feel like it's such a real moment between the two of them.

Oh, I love that.

One of my favorite pieces of dialogue is, like, "Look, we can not fuck these girls

and go home tomorrow, or we can go home tomorrow and still fuck these girls."

Yeah.

And that's the whole idea, is that, you notice they're staying in room 237, of course,

my shining reference.

God.

Don't go in room 237.

This is my favorite song, "Third Galaxy" by Michal David.

We played this over and over.

It was a big hit from Prague in 1982.

Awesome.

Yeah, I mean, that's the idea, is that, like, these girls aren't even girls to them.

They're just stories.

You know, like, everyone has, like...

And that's why Amsterdam looks like an X-rated Disneyland.

Like, the girls are just a ride.

And this, they're, like, they don't give a shit about these girls.

They're only fucking them so they can talk about it later on.

Yeah, yeah, yeah.

There's no keeping in touch.

No one's connecting to anyone like a human being.

That's cool.

Everyone's just looking to what they can get from the other person.

And I think that the girls do a great job.

You know, this is kind of the last moment where they're nice to them,

and you just see the look on her face when he leaves.

And she says goodbye.

Do you think that in countries where these folks are from in Eastern Europe that people are going to get upset that so many of them in the movie are seen as kind of being in cahoots with each other and kind of basically all banding together to kind of fuck over the Americans?

Do you think that that's kind of something that's going to turn them off or that they're just going to laugh about it?

I think they're going to love it.

I mean, you know, I mean, Slovakia, I've, you know, made it seem like this really scary place.

It's really nice and beautiful and the people are friendly.

But, you know, as I pointed out to the crew when they read the script was that the people that are doing the worst shit in the movie are Americans.

It's Americans, Japanese, the Germans, the so-called, like, westernized, you know, nations.

And we even have the crew members, like the kind of the thug guys are all speaking Russian.

So I really wanted to feel like it was the Russian mafia that had just kind of gone to this area of Slovakia and sort of taken it over.

I'm very curious to see how they react.

I mean, I think that they'll find it funny, hopefully, or they'll fucking torture me to death.

I mean, you know what, I mean, one of the things about the movie that works in particularly for, you know, Americans or, you know, people in westernized countries is just the fact that this is all happening in Eastern Europe.

Like, you cross a border and then you're in a no-man's land.

Yeah.

And it's one of the more chilling moments in the movie is when the detective, when he goes to see about his friend and talks to the cop.

And the cop goes, "Oh, you're a very long way from home."

Yeah, you're so far from home.

And it just kind of like, you know, drives it home.

But, like, you know, if they were in the Middle East, if they were in Eastern Europe, either one of the two, it's like, it's not westernized.

Yeah.

We're just, you know, we're Americans and now we don't have any connection to anything that we know and are from.

Or familiar with.

And it seems like anything could happen.

And if anything does happen, you're shit out of luck.

Yeah.

Well, I think that Americans have this false sense that, like, we're Americans and we have the most powerful army in the world and we're protected and no one's going to fuck with us.

But, you know, there are areas of the world where it doesn't fucking matter.

People always feel like someone's going to come and save the day.

I think there's something interesting about the fact that Jay Hernandez, who's Mexican, Latino, plays this sort of representation of American attitude in the film.

And it really came about because he was the best actor that we could find for the part.

He was written as a much more kind of blonde, white guy.

And I was actually quite nervous about it.

Eli felt real comfortable with it, you know.

And, in fact, it's an interesting, it ends up, I think, giving this thing an interesting dimension in that America is a place where people of all ethnicities and races end up becoming American to the rest of the world.

More or less.

And, in fact, there is a line that we did, that we put in later when he's about to be tortured by a German where he, suddenly, at that point in the movie, he starts to go, wait a minute, look at me, I'm not American.

Yeah, like he's trying to play it off like he's Spanish or Mexican or something.

It's like, fuck you, you've been taking advantage of being American for the whole picture and now that it's about to cost you, you're trying to, like, deny it.

Yeah, I know.

Well, still, if it's going to save your life, you're going to try anything, I'm sure.

Yeah, no, I love that he pulls that and then the guy just pulls out the passport and he's like, American.

And that was, you know, I remember, I have such a vivid memory of, like, talking with you about that scene, Quentin.

You got up and you were, like, started acting it out.

You were like, you know, I'm like, if I went there, I'm going to pay for America.

I want to make sure he's fucking American.

And you can have the guy being like, you know, talk, talk, talk.

And the guy's like, what the fuck?

And you're like, okay, he's American.

And that's where that came from.

Well, actually, that was one of the things, that was one of the things that I kept, like, focusing in about the script is I wanted to know the, I wanted to know all the details of exactly the minutia of how this place works.

You are a customer.

Right.

How did this place work?

And, you know, to get the Asian girl.

Okay.

He asked for an Asian girl.

How long did he have to wait?

Yeah.

To get the Asian girl.

Does that mean, like, chill in Amsterdam for two weeks until we give you a call?

Yeah.

What does that mean?

Stay close.

And this cut, this was a great edit, Quentin, that you helped us with, where we fade out on Pax and, you know, fade in on Josh.

And we had some really cool flashes and scares that were in between, but I thought that that really helped preserve the mystery.

Yeah.

And I think Boaz and Scott, you guys were talking about, you know, I said, like, we fade up and we see Josh in a chair.

And I remember you guys were saying, well, what if we didn't know who it was at first?

It's just one of the guys in the room.

Yeah.

And then the hood is revealed and then it's Josh.

And this was where Derek Richardson and, uh...

I can't even watch the scene because I got to like Derek so much that, that watching him go through this is just excruciating.

And, you know, and that's, and that's one of the reasons we cast him is that we, we like Derek so much.

He's such a funny, likable guy and so sweet.

And, and it's just, well, before we were shooting it, we thought, God, it's really gonna be horrible watching Derek Richardson get tortured.

And that's what I wanted.

I didn't want people cheering in this scene.

I wanted people to be so aghast.

But, uh, what was really cool was, uh, after the screening in Iceland, one girl said to me that during this scene, she was just so appalled by the torture that was going on.

And by the end of the movie, she was cheering on the blood.

Like she wanted to see more blood.

And that it scared her that she could like find it within herself to be cheering for blood.

Yeah.

Yeah.

Yeah.

Yeah.

That you know, everyone has it within them, that everybody has that capacity for violence.

Ah, that's a great shot.

The driller killer.

The gore on the drill.

I love the meat.

I love the meat on the, on the, on the pigtail thing.

Yeah.

That was a good bit.

Yeah.

And that was actually pork.

That was actual pork.

Yeah.

Yeah.

Yeah.

Yeah.

Yeah.

Yeah.

here that we really liked but it it kind of took away from this where he talks about how the witch

finders in medieval europe used to torture people and uh you know it you know finding name of the

finding the witch and um we just felt that like it it kind of really took away from this moment

where he just sort of turns and you know it also felt like how could well if josh had heard that

guy talking he would have figured out it was him but here it's it seems plausible he had just had

no idea what the hell was going on until he takes off the mask now eli when we were we were talking

about this scene where he he cuts the back of josh's legs so that he can't walk out of the room

and kind of leaves and tells him he can go one of the things we had talked about was the idea of seeing

him go off to the side and just like pee in the bathroom while josh was trying to crawl out what

what happened you did why did you decide not to go with that well two things one it was just we

couldn't build there was just a limited amount of sets we could build them you know on our budget and

we that's why i had him whistling going off and we put in sound effects from going to the bathroom but

the music wound up drowning it out i felt like in shooting it and watching it like i just wanted

to stay with josh that makes and if you had the guy peeing it just took away from the moment of escape

like i felt like oh my god this is a chance i wanted the door josh the door josh the door

and that kind of going away from that uh even when we were shooting like trying to shoot shots of a

cutaway of the guy off to the side waiting it just sort of it didn't feel right totally understand

but i thought yawn was so scary at this moment in this scene like this really just hard to believe

he doesn't understand the words he's saying i mean he knows it he knows the translation he is but he

doesn't remember he really doesn't speak any english and then i'd go up to after and give him direction

he'd have to go through the translator ah now i love i love this yell this this is real the the the part

that i never thought you would do is actually show the legs coming apart and do the special effect

that that that's where uh this movie really pushed it well this this moment here when he was writhing

around in the chair it came down and crushed his toe and split his toe open so when he's screaming

there he's screaming for real and i remember you know i was trying to get derrick to that place

where he would loosen up and and you know it's when we have actors like that you don't have to tell

them to get upset he's doing it on his own but i just said my only direction to him i said do you want

this do you want to do any more takes of this and he said i don't know and i said if you want this to

be your last take make it your last take that's up to you and he just went for it that's a good piece

of direction yes anyway that's and there's there's the split that boaz was talking about that was

howard burger from kmb ah all right yeah let's talk about kmb man man they're awesome you guys like

did they now did they meet on evil dead 2 did those i met those guys on evil dead 2 and then i called

them up because to do my first movie intruder which was you know 130 000 dollars and um looking for

somebody else they may know who could do the effects cheaply he greg says greg nicotero's like i'll do it

and uh we're off and running next thing you know he's working with quentin they're working then they

formed their company uh yeah like greg an intruder i guess yeah greg and uh uh greg nicotero and bob

kurtzman i met those guys same thing as scotty same thing as boaz before i'd even directed a movie

right right yeah i was at me too i think it was at bob kurtzman's house for christmas oh that's

yeah yeah yeah from dust till dawn yeah exactly yeah yeah exactly but you know before i'd ever shot a

film right right right that's really cool and they did reservoir dogs yeah they did the yeah they did

reservoir dogs they've worked on they've worked on all my films and and it was bob kurtzman was the

first guy uh who's the k in k and b yeah that's right uh used to be the k in k and b but that's

he now does precinct 13 did our digital effects and he uh um he was the first person to ever hire me

to write anything that's right oh wow he hired me to write uh dust till dawn that was his idea it was

his story exactly and uh uh he offered he offered it to scotty scotty was busy at that time and said

well how about my friend quentin and scotty been doing that to a lot of people and this was the first

guy that actually came over with some money and for um i think he had twelve hundred dollars

for me to write the script for uh uh dust till dawn but that was great because i i quit my day job

to write dust till dawn that was some pretty substantial money oh yeah oh i don't see oh

you know how broke i was i was like i was like you must have had a very low standard of living for

twelve hundred dollars well it was well the thing about it was well actually when you make ten thousand

dollars a year and you get 1200 bam like that yeah yeah that's a lot all right that's a whole lot of

yeah that's like that's two months all right and so i i quit my job and i was just like okay now i'm

being paid to write and i'm going to be a writer and you know what i never had to take another day job

again after that it was just like something else came along that i got seven thousand four

something else came along i got three thousand four yeah exactly next thing i know i'm paying for

myself as a writer so freaking cool well yeah well kmb and it's it's great because i knew that after

cabin fever those guys went on to kill bill to china to kill bill and they were telling quentin about

cabin fever so when he came back you had heard about it from kmb oh yeah yeah totally absolutely

and we met each other at the undead screening for like a second only one screening they were going

to have out of the movie uh that william morris yeah and i saw it and you were i was sitting right

behind you and i was like so nervous but really excited and then you came to see it at uh the los

angeles film festival and that's what and boaz and i met on price above rubies yes with eli being the

stand-in for for one of the main characters yeah i'd wearing playing a hasid playing a hasid and i

had done the like the budget and helped with the schedule for and then i on the movie and then oh with

the producer john panade i was working for john and and then he said well do you want to work on the

movie and i said yeah you can make me the stand-in and boaz what are your memories of me as a stand-in

yeah i i the only the only comment i remember making about eli on price above rubies was

god without knowing it was eli isn't it amazing how much better the frame actually looks when the

real actor steps into the shot isn't it amazing how the composition just seems to get better without

even moving the camera yeah boaz and adam hollander were waxing poetic about how much better the frame

was without me in it plus that stand-ins too hairy yeah oh good come on but i was playing a hasidic jews

you were in character i was in character if i'm too hairy for the hasidim then i'm serious trouble

you're too you're too hairy to play an ascetic jew yeah sorry don't let me in

we're like we're into hair but god damn i think that this is this is an interesting section of the of

the film because jay hernandez has been playing a more unlikable kind of

narcissistic character yeah well yeah like a fat boy suddenly suddenly because of the situation that

he finds himself in and that the audience finds himself in with him stuck with they start to feel

for him for his dilemma you know i think that's something interesting that that you see in film

where uh just by the nature of the fact that you are with a character you can be with an even terribly

unlikable character and because they're in jeopardy you start to feel for them you know and i think

that this is a really interesting switch from derek to jay and because of what you put him through

the audience can't help suddenly feeling for the guy that dog tortures me i love that dog a little

dog why is that little poodle there why did that just happen or did you put him in there no it was

this neighbor the lady if you look to the left she lived in that apartment that damn poodle she let

it run around i love that i love i i try to throw dogs or anything around anything that run through the

frame i'm not against i'm into i'm into live things running through the frame i'm all about animals but i

wanted look at that washing machine that's still there look at how gross this place must be raining

cats and dogs because i just stepped in a poodle oh no i love the little de niro guy in the next

shot look at de niro he's awesome that's a very little de niro yeah they're creepy looking dudes but

i it's not it's not that there was a dog it's that it was like the cleanest fluffiest most groomed

poodle yeah it looked pretty mangy to me all right that's cool maybe maybe i'm being it was the environment

it was in that really brought it down yeah actually seeing a poodle walking around in that shitty

environment this scene this pub is an actual like it's it's you walk in there it's like you're walking

into the 50s the way is that part of the the the coasters is that they're part of the real we didn't

touch a thing in this place yeah nor should we we did not touch anything the only thing we had to do

is ask the like there are these patrons that have probably been there for 50 years i mean this place

my dp milan i'm a sound guy tomash used to hang out at this place in high school almost like as a goof

because it was like this old communist pub and uh you know when they read the script uh they were like

you got to see this location we walked in we didn't have to do anything to it um yeah this actually

kind of reminds me of that place in iceland uh that that director he owns the bar there yeah yeah the

guy who did reikivik 101 yeah balthazar um yeah and this scene was my favorite scene with the girls i

thought yana really really did a great job the blonde and barbara's natalia is fantastic

and it took a lot of makeup to get those girls to look that way um and if you notice like yana's arms

track marks and stuff and i was really i i just i don't know i've had that situation where like your

your friend hooks up with a girl and then your friend's missing but you've got to get like in from

you need their help but like you can't quite scream at them but do they not understand what they're

saying are they playing lost in translation where are my friends and this these folks are all actually

college professors and doctors uh in prague but the economy is so bad that they're forced to sit

around in bars and play film extras you know there were some scary looking people there

for artists how did the girls how did the uh did the girls give you any problems about making them

dressing them down no honestly the girls loved it i mean these girls are so used to looking beautiful

all the time and they both have done modeling and and so they really really threw themselves into it and

i kept checking the makeup trailer i was like all right more dark darker circles under the eyes and

bad teeth and dirt under their fingernails they loved it they they felt so free they felt like they didn't

have to try and look nice you know they just look disgusting and i love that when jay hernandez

walks in they're still almost trying to keep up the act like yeah hey but half-heartedly that's what

i like about it they're half-heartedly keeping up the act yeah they're just almost seeing if

he'll if he'll bite like hey um and the scene coming up in the car actually i i we cut it pretty

short but but uh i actually like wish i'd left it a little longer i love how just that distant and cold

you know if you think of how she was in the beginning in the sauna and and quinn i remember you said

your comment was that like you thought the girls looked so beautiful by the beginning of the movie

and by the end you just went to kill them yeah and barbara she even put on weight like she put on

like an extra five pounds or face like she looks really very different in the disco then this was

towards the end of the shoot she's gained weight and like to make herself look like and i don't know

it's it's it's hard to find girls i've found maybe you guys have a different experience that'll that'll do

that oh yeah god that's no that's just great i didn't know i didn't know i didn't know that you

did the oh yeah i guess i did know yeah you were doing the disco stuff early on so this was way

down the end of the shoot this is about four or five weeks later and then this factory god this place

was this is the greatest yeah and this was when this is the thing that like this and the village

was what sold me on shooting in prague was that it's it's so funny because in the background look

behind i love that shot by the way yeah reflection in the window i love that yeah that was i was

really happy with how the shot turned out and then nate barr did such a cool great score with his

cello music here well you know one of the things i started thinking about and i hadn't thought about

it before because it's kind of an exciting time right now in horror films because there is like a new

wave of horror movies yeah these kind of ultra violent films realistic that started off with takashi

mckay yeah six years ago yeah and is now finally yeah and battle royale and everything has now has

definitely worked its way into america and and it's doing well too it's to me it's the first legitimate

horror uh subgenre to exist since the the slasher films of the 80s wow and um i mean you could say

the scream ones but they're retro and they're connected to the slasher films of the 80s yeah and it's

really exciting time for horror films but one of the things is as much as this is a different

film okay i'm gonna shut up for two seconds that's we mentioned takashi mckay okay yeah

i love the ways all your money spend all your money in there that's takashi mckay the director

we're talking about and and i had not discovered he's the godfather of uh this project of this ultra

violent horror movies of this entire sub-genre and it was so cool of him to do this cameo and he was

just he flew over and the guy makes like six movies a year and he flew over nine hours from japan to

prog just to do that one little bit well and and when i had read one of the drafts i'm like okay we

need to have some level of normalcy here because i'm not going to buy the fact that he just blindly

goes in there yes scott's goes no way no way am i going in there forget it and then you had the

great idea of casting him as just kind of like kind of a guy that's just like hey it's kind of cool in

there you can spend all and i was like oh man well it's just one thing that makes it legitimate all

right exactly sort of kind of not the takashi mckay calms minors no no but you know what i mean

that's the idea is that he's so out of place and there's limos and there's some guy coming out

with some obviously some rich like what is he doing there well i guess it's not that bad because

that guy there are limos outside with drivers waiting maybe that's the way they do it this okay it's a little

funky but all right yes i love the way she says yes and like this is my favorite shot two of them in

their standoff um yeah no and mikay it was so cool of him to do it and it was really fun having him on

set and he does not speak any english at all and he really learned that fanatically and rehearsed all

morning and you know he's such a fan of quentin's work and it's really like he was just so sweet

it was so nice to have on set oh but what i was going to say before but he didn't have to audition for it

yeah sorry go ahead um one of the things and i think it's a good time to bring it up here is like

as much as we're talking about it being a um this new sub-genre there also is this aspect of

this actually also plays into all the cliches of a gothic horror story where you have the beautiful

women you know the sirens that are learning the guys to the animus place and and it's it's

in eastern europe no less okay where they usually were all right transylvania that kind of stuff

yeah and then this factory is the stand-in for the gothic castle that all the torture you know all the

hell happens you know almost in every almost every cliche of a gothic horror story this is a modern

version of it it's amazing no i love uh i love gothic horror films i love vampire i love all these

you've got dungeons yeah i love that stuff i love that european feel and dracula and that's i never

it's so funny because i never made that it's like dracula's daughters are luring these guys yeah

yeah and this was this was the basement of this mental hospital but one of the things that makes

it so great is also is as opposed to a gothic horror story it's not just the evil count or the

evil baron or whoever who's doing all this stuff this is a commercial enterprise it makes it even all the

worse that it actually is a commercial enterprise yeah people are doing it for money and then this

scene this was great like uh you know shooting in this location it was really creepy down there

and we're filming in the basement of a mental hospital it was actually a functioning hospital where 1100

people live and this wing had been shut down for like 50 years built in like 1910 so you just go in

these rooms and you feel like horrible things that happened to people like people had been tortured to

death in there i love this sequence it sort of reminds me just in in terms of tone of what happens

at the end of the first texas chainsaw massacre where you've seen all this horror but then there's

this moment where she's just sitting in a room and everything's going insane around yeah and you're

just like okay now i'm in hell finally right you kind of want to be there and you kind of don't

and uh that's where you get to i love that montage yeah that's where you get to at this point where

you're like okay finally i'm really in hell you know and apparently that was shot at the end of a 27

hour day yeah i heard it was like that she was really going crazy and that they kept vomiting

because they oh they're burning animal carcasses right outside the house um but yeah that's the idea

is that this is supposed to be like a dante's inferno hell version of the brothel you know we saw josh

walking up and down the halls looking in the rooms and now jay hernandez gets a similar experience

um and that that was that was the idea and then this was here we come in with uh you know the guys

walk in and it's it's that scene it's so funny like i see it but it's i remember quentin acting it out

going talk speak you know i really like uh that jay kind of courageously doesn't try to act like the

action hero dude in any of this stuff he looks like a scared little kid and i think a lot of young

actors would be a lot try try to cover a little bit more oh yeah try to put on a little bit more of an

act and bully says jay hernandez macho nonsense so buzz when you were talking about jay hernandez

um yeah i was just saying that i really uh i like the way he plays the rest of the film and these

scenes in the movie and that he doesn't try and kind of put on a macho attitude or kind of make

himself look good the way a lot of young actors might try to do he he really plays it terrified and

extremely vulnerable and i think it really helps the uh the picture

well yeah that was one of the things we talked about was uh that he you know if someone's about

to kill you would you be like a tough guy or would you sit there crying kind of begging begging for

help and i thought that was really you know ray brave of jay certainly i know young actors but

especially in like that latino culture like that you don't want to look like a pussy and he really

i thought made himself you know look like he's terrified and very sympathetic in a way that you

you really really i think you know for he's been kind of such a sexist dick dickhead up to the point

that josh disappears that this is the moment where he really really wins the audience's sympathy over

remember this eli this is cool a cool gag i thought it'd be kind of cool if he had like

that yeah this is scotty spiegel oh and he just really milked it for every last

where he's snipping and snipping and snipping you think he got him in the face and then uh it's

actually he was you know collecting the hair a little momentum oh and this actor was completely

what a fucking nuts we had to be careful about putting tools in his hand because he was like

started swinging them at crew members and stuff is that right oh yeah yeah but he was like just

nervous he wasn't nuts he was you know but he's uh he's great casting yeah this guy was really

scary where's he from peter peter you know he's a playwright and he lives in uh prague and he came

in and he just had those eyes all he had to do was staring at that weird that like lester light bulb

head he is actually shakespeare he actually what well i also like it i also like the fact that he's kind

of timid about it at first too right he's a little nervous about doing it about you know well that was

that was one of the things you talked about uh quentin where you're like if this guy came to do it

have these people done it before or is maybe is it some guys like first time like he's going to a hooker

like he's never been to a prostitute before and he doesn't know how to act and that's why i kind

of want it's you know he almost sort of mirrors how nervous josh is yeah where he wants to do it

he feels bad now when he's speaking german here there was an issue about having the subtitles there

or not i think ultimately i'm on your side of of not having them there but i thought that was really

cool remember there was a discussion there for two seconds yeah no we watched the movie and and we

didn't have the subtitles on and i felt like suddenly subtitles coming in the movie just sort of took away

from the moment that that like i like the idea that you know there's nine languages in the film

and nothing's ever subtitled yeah i like that too that that you just don't know what he's saying but

i also like to think that that like people like puzzles you know like i'm sure you know you've been

on the internet and everyone's like yes it's marcellus wallace's soul in the box and pulpit like if

you give people a little mystery they'll go they'd love to go and decode it and whether or not they're

totally wrong um you know i felt like something like that it would just be great you know you feel

like one if one person knows german kids will look around on the internet to try and find you know

what it means or what did he say or it doesn't really matter ultimately i love the way you directed

that too because of the ball you just you just cut right to the chase you know it was really cool like

what is he doing oh i get it yeah and this came not so much as a pulp fiction reference this really came

of like just talking with greg nicotero of like what could we gag him with that we could actually that

they would have that we could rig the tubes to spray the vomit out yeah yeah yeah that was that was kind

of uh you know greg nicotero i went over to kmb and we sat down and we kind of walked through the

different tortures ah um and he said i can rig this ball and and this was uh this was a fun shot to do

you know you just start to hear the chainsaw revving up and like oh and and i remember you know this

was the thing we all talked about was how do we get him out of the chair you know and i remember in

this script there was something where he the chair fell over and his hands landed on the chainsaw

quentin was like all right that was my moment yeah i'm calling on that oh yeah we're gonna put this

script through the test and if anything feels like movie convenience we're taking it out that it's got

to be like what would happen and i remember bo as we talked about like could he cut his arm off or cut

his hand oh yeah i remember there was a pass where um jay's hand got cut off at the wrist and that's how he got his

hand out of the cuffs and i remember saying he'll never survive the rest of the film if his entire

hand is off he'll be in shock for the rest of the picture so we came up with this idea of just getting

enough fingers off so that like his hand could get out of the handcuff in a way it's more horrible i think

i think people can identify with things that are a little bit off kilter more than they can with

things that are just totally clean you know oh no actually i agree it's like that's why like uh you

see the decapitation in a movie is one thing you see a paper cut in a movie then everyone goes

yeah it's so true it's like the the bolt cutter on the toe somehow that metal ripping around the toe

and this is yeah i mean the weird part about it you don't even see the toe get cut but people are

talking about that and not the whole leg getting cut off you know the leg getting cut off i think it's

amazing that you got away with what you got away with in a rated r picture uh on hostile well i think

it reflects the culture where we're at right now i mean you know for at war how much worse is my movie

you know yeah i mean actually i think the ratings board is like just really kind of turned a really

really interesting corner for like horror for horror films in particular all right uh in the last few years

because they kind of get it now they just kind of get the fact that okay fans are going to see this

it's not like you know when you see freddie versus jason the it's clearly marked yeah and if it's got

our names on it like what i don't know what mother's going to take their kid to see this movie they'd be

shocked that there's blood i mean we're not hiding it your cool mother's will take your cool is better

eli roth's mother i walked up to her after the screening and i'm feeling kind of appalled that a

middle-aged lady had sat through it and i was like boy it's kind of hard to take and she goes what do you mean

yeah i know try growing up bringing all your friends like the evil dead the first screening

my mom's bringing like her her church group and i'm like oh here we go they lasted about they last

about 20 minutes that was it and then they kind of got mad at me and never things were never the same

again her church group yeah oh yeah they just like no don't bring them to this oh please

yeah i always tell my parents friends i'm like i know even if you want to be nice don't and that's

scotty spiegel picking up the fingers that's it i thought maybe you could still reattach him or

something i don't know what the time limit is but grab him yeah take him anyways and boaz

i remember you had talked about the chainsaw and like crawling towards the chainsaw and extending

that fight that was a really cool thing that you came up with that just sort of crystallized that

whole scene because i didn't want it to be like i wanted the second scene to be more of a fun

scene where josh's torture is just horrible and awful this one i wanted to feel more actiony

more music because we've seen we don't want to sit through that twice um and you pulled it off too

as far as i'm concerned well thanks yeah the audience is like oh come on yeah yeah look at

this a whole different dynamic than it is in uh the the derrick scene and then boaz you were not i

mean this is what you referred to as the monty python helmet yes i i've still never recovered from this

helmet yeah boaz is not a fan of the helmet i like the helmet in iceland they all like cheered when

he put on a viking helmet yeah i know my audience i know my audience you know one of the things that

i also think you did that i also think you did well was i was real worried about the uh the russian

mafia goons so to speak looking like something out of a steven seagal film you know with the bad

ponytails and like yeah you know and somehow the way they're all cast in the mix of of like real gothic

looking kind of igor guys like this and uh and the way that they they're shaved and all that i i i think

they kind of end up looking kind of classic uh rather than kind of 80s which i appreciate i really

think you pulled it off well i think a lot of that is the fact that they when the thugs showed up they

looked like a bunch of high school science professors and we had to use crew members like that's two crew

members there you know like this guy came in yosef uh and he's really a hunchback i mean that's we just

got the best body language of the entire movie yeah he just looked like this big kind of loping you know

he looked like a almost like a star wars monster and he couldn't really move like we tried to hit him

on the head with a sledgehammer he couldn't fall down but he was just perfect you know and at first

the idea was that you were never going to see the butcher's face until the last minute but then when he came in

it's just like we just started shooting we're like how can you not shoot that that face is money yeah

oh it's great and this and this is what a howard burger termed the trolley of death

look and there's the hand falling and and this is like that's this is like the total scott spiegel

school perspective angle yeah you know yes i'm still honing my chops oh a handbrake

oh why oh scotty sorry i'm laughing at my own jokes bent and crisp what the what in

the heck this is just this oh no this is really poignant actually this is just so sad this is a

real kitchen in the mental hospital and all those meat hooks is real and that table is the actual

table that they had in there for 50 years oh i can smell it we didn't have to oh my god this we were

dry heaving because when he turned on that buzz saw it smelled so horrible and this is george folzie

when i saw george do the pass it was george's idea to cut the scene to the chops

really oh that's a great time i'd never cut that before that's really great look at his mouth it's

like it's been sewn up oh my god like that just seems so horrible like after he was dead he sewed his

mouth up for some reason and just the way he threw that i mean this guy that's gnarly tobe

i know that's a life of its own yeah this is you know kevin wasner was on set you know he got like

we got he got real meat it was really disgusting and i loved like the texas chainsaw massacre feel

of this room it just felt like dirty and grimy and it was scary down there and while we were filming

this scene a red bull sponsored like they gave us red bull for the movie and uh they these they'd have

these girls show up and like these tight tiny red bull outfits these like hot check girls and like

the red bull girls came down into the set where we had all this meat and like the guys like who wants

a red bull and all the guys are like just salivating and this is scotty spiegel classic picking up like

he's reaching for them right but he only has a few fingers yeah he can't quite get him he doesn't want

to get noticed and oh no and then they go into the too bad into the furnace they go out of the frying pan

you know something like that oh boy yeah this was this room smelled so bad and the worst part is we

had to do some pickup shots the next day we went back and the props guy left the meat in overnight and

it was all rotting and it just was like it was really disgusting this is the real furnace room there

it's a real old working oven it was so it was this hospital was just insane to shoot there it's very

this guy is just so fucking rules joseph do you know what's so funny is he seemed like this this big

lurch kind of guy and um then like he just like you know asked if he could take a picture we took a

photo and like two days later he had like seven or eight pictures they had posted on his website that

were going on the internet i was like lurch you can't do that man you gotta take these down he's like

giving away like derek getting killed that's roman our second ad who we put in the movie about 16 times

uh and this elevator was actually a set we built oh really from the set yeah the elevator was the

set okay and we were like just making that you know all the all the sounds i mean this was just

on a sound stage but this was the location at uh the at the hospital bonita

you know that's actually doing a really good job of all those yeah just as he disappears they turn

around yeah i was really happy with those guys that's really cool and then you see the bloody

footprints leading to the door and then we have uh you know the change room kind of the first moment to

catch our breath this is definitely probably my favorite scene in the movie when the american

businessman comes out because it it really kind of solidifies the moral center or lack of moral center

of the people participating in this it really it makes it modern and it makes it topical and it really

lets you understand where all this is coming from and i think the actor did a great job too you did a

great job writing the dialogue yeah thank you did a great job well this was one of those scenes where i

was just really happy with how it kind of all you know now we see the police here and on it that like

you know where it all kind of came together and and just i remember we were talking you know with

quentin we had long discussions about who to talk who to cast as the american businessman

and you know we weren't sure and should it be older guy should be younger guy or slick guy like

who's gonna do it and then there was like at one point we're like man maybe quentin should do it

but it was like suddenly if like it would just we can't have mikay and tarantino both go to this place

it's like do only like awesome violent movie directors show up i'm like that's not going to

help our cause that we're really nice guys if we're all just showing up here to torture people you could

spend all your money yeah yeah i'm like living in an apartment like mikay yeah mikay recommended

this place to you when last time you saw him fucking mikay told me about this place it's

fucking cool yeah well you know we credited we credited mikay as himself in the movie it's just

to cash his name is like mikay takashi is takashi mikay that was the credit um but yeah i think the

final choice of making the guy basically a yuppie yeah is uh is really and this was the best choice

i think i did i come up with that yeah yeah scotty thing oh the tattoo that was that was no that was

scotty uh you know we were we were talking about like scott's like oh what if like you have to get a

tattoo to do it like to show how committed you are and that you're not going to rat them out and you know you

get a tattoo and then you're in the club and he's asking where's your tattoo and you're like oh wait

a minute yeah i'm not how the old ralph crammed in yeah i think you had the idea of the tattoo and

the business i had the idea that there'd be different prices yeah it was on the back of the car that was

cool i think oh man it was right yeah oh man but again that's why i like you know a movie like this

what what makes it i think is those little touches is you know everyone was like and we all did it

because we all wanted to make you know it's like it was like not the studio movie we're just making our own

movie making a movie as violent as we wanted to make it as sick as and everyone got to put their

own flavor in it which is so much fun and you never know quite what to expect yeah yet it still delivers

well rick was really great i mean and this is a scene where i was so nervous to shoot it because

it was a lot of dialogue we had a little time to shoot it and right away he was just he got it

it's like a real rush right yeah i've been all over the world you know i've been everywhere and the

bottom line is pussy's pussy you know every strip club every whorehouse every it's all the same

shit you know i just fucked the girl two days ago and i don't even remember the color of her tits

but this this is something you never forget right

right oh here's the gun yeah but i love jay like jay i thought did a really good job of just

like trying to keep his cool and being shocked and there's the tattoo come on let me see yours

oh and he's like anyway he just unzips his fly no i didn't mean

horrible you know there was stuff that we had written in about his hands starting to bleed and

drip and you know it just sort of took away from this yeah yeah i like the two of them i mean it's

one of the things i like so much about the script is the fact that you've got all this these like

legitimate set pieces going on here but then also you have these big acting scenes like this or jay

talking german and all the other and it's like yeah you you walk away talking about these scenes

yeah no what's really cool is a lot of people have told me that this is this is the scene they

find the most disturbing in the movie i mean yeah there's the eye gasm and the legs getting cut

off and all that stuff but like but this is this is the scene that people tend to sort of think

about like because it's just you know but this was great though because it's like you know the movie

is not just you know you know one long line it's all these ups and downs and ups and downs and

like cool cool character bits but like in psycho when um norman bates is talking to janet lee in

in a parlor with all the stuffed animals that creeps me out yeah and there's nobody getting

stabbed in the shower or anything it's just a creepy ass yeah what's weird ass scene watch as i think one

of the things i i think is one of the creepiest things in the whole movie is uh jay and derek showing

back up to their room after they think that they uh the hostile things are both gone and there's two new

broads there yeah saying the exact same thing exactly and you see like really a mousetrap it's

a fucking mousetrap and they've set the whole thing up and honestly that was that was chris briggs

i mean it was it was briggs that was so good with touches like that and in chris as we were shooting

chris is like what if he said you're so far from home like there were little touches that like it was

great you know having him there and said like just having everyone just always thinking about like

how do we maximize every single scene in the movie exactly you know and then you know you got the key

chain with a tattoo and it's all part of this thing and and this boaz remember we were talking about cutting

out the eye that was something that we were talking about yeah well sometimes the most memorable

things come out of what's being already developed in the script like you had her getting her eye

tortured basically and kind of hanging out and then she started running around with the eye like

that and i was kind of like well eli i mean don't you think it's going to be a hard to shoot and

be unrealistic that you'd be able to deal with having her eye out like that and you're like well

let's cut it off in the scene and i was like oh that's going to be too hard to watch and you're

like no let's go for it and you really came up with one of the most memorable things in the movie

oh yeah no you said that you're like what he actually let it in yeah it's amazing oh and wasn't

that the blowtorch or when he had a blowtorch to cauterize his wounds for his fingers we shot that

we shot that but yeah but it felt like he wrapped his hand earlier and that's like would he wrap it and

then cut her eye out and then blow torch it it just felt like too much um it's really this is just

unbelievably gross yeah and i thought jennifer and jay did a good job of playing it real really feeling

horrible and i and i love like again like they don't know what they're saying they just like she's

screaming in japanese he's panicked he's trying to save her but i think this is the moment where everyone

really likes like starts to really root for jay when he goes to save the girl actually this scene has a

group bit of that that great scene in casualties of war when the vietnam girl is like take me away and

michael jay box trying to explain how he can't but they can't understand each other and it's all pat

it's all panicky and time is out of the essence interesting yeah here it is the eye gasm one take and i can't

believe thank you

absolutely unnecessary press that qualifies you as a very bad person eli oh we love it

vitrious humor i think is the medical term for that and howard and greg and oh it's just the nastiest

yeah k and b did such a great job kevin wasser's for the long time was that a good idea yeah i'm like

i don't but you know look at the smoke you see the smoke it's coming out of the chimney bob kurtzman

added that like that was really cool as we went through the movie and found every little place to

take like a digital like kind of touch just to punch it up they did very cool and you know at the

beginning in amsterdam it's so controlled and colorful and here now it's like all handheld and it's ash and

gray and you know they're in this horrible place and we didn't have to dress this factory it's really

really like that and then i love i love the outfit jay's wearing in this scene he looks like a land

alone or something in the early 70s or mid-60s film it makes the movie look kind of timeless yeah like

european cool exactly really good you know yeah yeah he's out he's out of his football jerseys

yeah he's in some weird he's into the list samurai outfit it's our onset dresser radon with the walkie

and like two more of our crew guys running after him um but these guys are great these stunt guys the

bald guy yeah these two guys look really you don't want to mess with those cuts yeah and from this point

on it's a chase movie now yeah it's weird you know i didn't set out to make a revenge movie or a chase

but it's like as you're doing it it just sort of you kind of realize that that's actually what it is and

this is the best way to sort of serve the story and this was a longer scene we had with him like

trying to scream and she was just panicking but now we're here here we are back in chesky krimlov and

this was originally like at a stoplight and this was i have to thank all three of you guys were like

run those fucking bitches over and i remember quentin read the script and you're like you told me you're

like you're missing the the audience cheering moment yeah you're missing yeah this is the audience cheer

moment we we need a release right yeah in a good way yeah and this is like if you're not if you don't

have them run over the girls you are just you're you're robbing the audience of your big cheer moment

yeah and that's what i mean that's look that's what's great about having you guys on board the

movies it does actually get the strongest reaction out of anything in the film yeah yeah but i think this

and the fingers at the end but this is clearly the moment that everyone wants i mean you just but it was

what's great though you put the the sore on the guy's face so we actually recognize that guy yeah after

like it seemed like a lifetime has passed yeah like you know like oh and there they are and

boom this stunt girl was awesome my god she really hit the stones ouch

and yana i love that and if that wasn't good enough yeah and this is quentin's idea i remember that the

fucking thugs car run him over like yeah that almost crushed the other stunt guy's head um

bubble gum and here come the bubble gum gang now i remember it was funny because when we were

shooting there was concern that the kids looked too cute that they didn't look dangerous and so when

we were cutting the movie we played it that the kids actually are cute and adorable which makes this

scene that much more horrific i also think it was really helped by um some of the effects that you added in

later where when they're beating the guys you actually added in digital head crushes yes and

that's bob christman you really sold the effect that they had on these bad guys i think in a really

powerful way i wish it was something we could have done with him trying to do the stick with no with

missing fingers but it would have slowed down the momentum this this is really cool check this out

i mean one thing is so cool though is about the fact like you just had the run over scene and the audience

is cheering for that and then you just right right immediately afterwards you're giving him another

cheer moment yeah yeah like having an orgasm now on the good side yeah man having a gorgasm

a gorgasm and this is bob kurtz and the artist dave matherly did a boom that was great

and this they did a great job these kids fucking love this they were so happy oh man and then this

i love this shot this makes it to me that is so cool because like you know that's what the life is

worth a piece of gum and at the end of the day they're still kids you know that's what i love about

that that that's what their currency is you know the japanese girls 50 000 and 100 euros an hour and

well this guy the price of a bag of bubble gum that's all your life is worth to these kids

but i also i remember this was something we talked about where uh you know like what's

just the feeling like of him trying to escape and the the feeling that everywhere you go there's

just you're going to get your head crushed in by something like you know the police are there the

police are in on it they're all bad yeah yeah i also like how ambiguous it is about the fact that

we don't know how much the police are involved right all right that one cop was there for all we know

there's one guy right involved in the actual the the police commissioner guy whoever we talked to

could have just been completely on the up and up these guys could be on the up and up you you don't

know yeah but they're not about to find out either yeah i wouldn't find out uh and then this guy in the

left that thug we called him bob because of his hair he was actually a boxer former boxer and a poet

and he came in the audition and he read some of his czech poetry to me and it was a very tender but

awkward moment where this like brute is reading his poetry to me and i was like i have to cast him

now or he'll kill me but yeah this was uh scott you would love this these boxes we have this on the dvd

um the prop guy decided to put like a made in slovakia in huge letters in english and i'm like i don't

think boxes that are made in slovakia say made in slovakia on them it's crazy we had to paint over

them oh man i thought jennifer did a really nice job here i'm realizing

yeah it's a great moment i've actually at the from the screening the other night this is like a couple

people brought up that this is one of their favorite moments in the movie is her seeing herself oh cool

and then being able to enable him to escape to escape yeah yeah i thought you know jennifer did a good

job and it's hard to act with all that you know half your face is covered up with those effects but i

thought she really did a great job the thing is so funny is you know it's almost like the scene in seven

about you know the girl who dies because of vanity but i've actually known about three girls who've seen

the movie go yeah i'd i'd kill myself what's the point there was stuff we shot of her and yuki always

checking their hair and always looking in the mirror but it wound up not making it in the cut so that

would that sort of played into this a little more but i still felt like it was bad enough she figured

what's the point plus she's probably not in her right state of mind this is this is also a green

screen shot that looks that that manages to look like a stunt yeah i mean i mean she jumped but that's

green screen composited that's real and no i love that though and by the way those are the same uh

fire extinguishers filled with blood that they used on kill bill ah there you go a link yeah no

it's fun like that's what's great about kmb to be like oh man these are the fire hoses from kill

bill they split some of those body parts were left over from kill bill yes there were kill bill

body parts and some body parts from land of the dead now uh this ending is something we should we

should talk about yeah because there's several versions of it uh versions of varying degrees of

darkness actually um the uh the original version in the script basically had jay hernandez discovering

that the dutch businessman was with his beloved daughter and in a terrible act of revenge he killed

the dutch businessman's daughter and then fled the scene leaving the dutch businessman uh weeping over the

death of the only thing he loves um on set you decided that that was too intense yeah i just

couldn't believe that jay hernandez would say yes and you came up you came nobody wanted to see that

you came up with a solution that i thought was actually really interesting which was a kind of

ambiguous ending which is i guess on one of the dvd versions of the film eventually yeah eventually

it'll be on one of the dvd versions of the film where jay hernandez actually kidnaps the dutch

businessman's daughter and you don't know what's going to happen to her at the end of the film and

it's it's very weak very morally ambiguous and uh that's really my favorite of the endings um

but as we were making the film um with a studio at the end of the day and reactions to the film were

pretty varied along uh as to how people felt about that we ended up going back and shooting a much more

kind of revenge oriented uh ending well i you know i actually prefer this ending and it's interesting

because it took i i didn't think that i would um what i love about this ending is that you what i

realized is that we had set up like there's such a language of violence in this movie and every revenge

is paid off so viscerally and so violently that you want to see the girls get it and those bitches get

run over and you want to see the thugs die and they get their heads crushed in and everyone you want to

see die the german surgeon who's torturing jay with a chainsaw gets shot in the head everyone you

want to see die just gets it so we've basically cock teased the audience and got them so right that

the person you want to see die the most you're there they are so expecting a bloodbath and what i did

was it gave them a psychological twist and i think that there were like you know 10 of the audience

thought it was great but everyone else was like but what but they were just totally thrown by the

fact that there wasn't blood i i have to say watching it with an audience and also myself feeling a

little huh just a little like not you know like you've jerked me off and you haven't allowed me to

come yeah and that was the studio's point it's like you got them hard you got them hard you got them

hard and they're like thanks go home whereas here the moment when he starts cutting these fingers

yeah stop it chris nelson did such a great thing yeah this guy and i think this is the man he's also

the groom too yeah the groom and the moment he kicks in the door here and this was a scene that i

really had time to kick in the door oh that's my favorite part yeah that's my favorite part i love

that too drowning it and jay just that reminds me of in psycho 2 when when he takes the show oh yeah yeah

yeah exactly yeah i mean for me the moment when he looks and sees the reflection and it's the callback to

josh that gets revenge on the fingers he makes sure there's a teeth on the ground you go all the way

back to the very end and like you know the toilet seat cover thing no less yeah and right there

it's like reminiscent of exactly i love that shot obviously that's great yeah k and b doing that

awesome neck and the blood the head in the toilet i just thought you needed the toilet pov with the

blood going in yeah oh no the finger with this i love yeah we had some uh oh that's great though

you'd take that's awesome yeah and i like the idea that he leaves i mean we i shot him picking

up the fingers and taking them like he was going to use them himself but it's just kind of cheap in

the moment oh man if we could have cgi'd some red blood coming through the card you know what i'm

saying just like in the center but no it's great you did i kind of like it floating on the thing

yeah no no it's great it's awesome it's really creepy and very gross and it just was all george

foles he wanted the whole shoot was a shot what if he just pulled away and we just craned up and

just craned up and then we did it and i'm like that's that's it feels like the end of the movie

very very cool yeah yes there you have it so yeah i mean you know it's weird i think testing is a very

weird strange horrible thing and i think that people give way too much see miike takashi's takashi miike

well i'm excited people are going to hopefully get a chance to see both versions yeah i think that's

really great yeah i mean i love it too i love it too but you could feel the difference uh in the audience

you know sir robert wait what i think jerking people off and not letting them come is its own

interesting quality to it i would agree with that except if it wasn't the last moment of the movie

yeah but you actually the thing about it is to me the ending you know if you're going to go with it

you got to go with him killing the girl and i don't buy he would kill the girl now that i've got to know

the character i just can't see jay hernandez doing that i don't care and the ambiguous one if he's not

killing her for he's just saving her that that wasn't enough for me yeah yeah i like to think that

maybe he is going to kill her but then i watch it with a bunch of people go no there's no way that

guy's going to kill that girl yeah it was george would say it's neither fish nor foul it's like that

here or there you know it's not it's like it's if you're going to commit to it do it that is a good

georgism do it like george i just think it's neither fish nor foul you can't see him do george's face

when he does his finger snaps i gotta get george in on the commentary just such he's edited so many

great blaxploitation movies that's quite in love so many great heart produced so many great horror

movies uh american world from london treating place it was such an honor to work with jd's revenge

bucktown yeah it was so fun like but i wanted the movie to feel like a classic movie i wanted it to

have the classic orchestral score and not have like mtv style editing or any of that flashy

shit i wanted to to feel like a classical type film i have to say i was kind of taken aback because i

did i hadn't noticed before but you're right that was so cool george cutting to like the the chomps

the chomps that was so well that's good that you didn't notice it yeah i never noticed it yeah it

means that you're in in the story which is really cool but yeah i don't know the most fun thing for

me um you know i tell everybody that i took like less of a paycheck on this than i did on cabin fever

i just like like we all did this for the love william holden theater we did i'm holding his credit in the

movie i know william holden as a credit we mixed the powers god damn it yeah

yeah they let us mix in the holden stage which is where they did spider-man it's just like one of

the biggest stages at sony and that's where that's where the studio was great you know they put in

like another 750 000 just into the sound so see that courtesy of quentin tarantino there you go

very fancy and sex fever the other movies watching on the little tv is the porn version of cabin

fever sex fever you used to date that director no i don't know about that we went out for sushi once

i don't know if it qualifies my dating her for sushi yeah for sushi she invited me to sushi and we

went out sushi and she told me what it was like to shoot an anal gangbang it was good times good

and now everybody in the world knows that you gotta be putting me on man thanks well thanks you guys

for joining thank you everyone awesome bye bye are you out there in tv land bye everybody in tv land

bully i say oh good night god bless