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These are the user uploaded subtitles that are being translated: 1 00:00:14,581 --> 00:00:16,624 Who do you know right now that's dangerous? 2 00:00:16,624 --> 00:00:19,878 I got a friend and he and I love to fuck shit up. 3 00:00:19,878 --> 00:00:22,464 There is no one like Quentin. 4 00:00:23,632 --> 00:00:24,799 There's Quentin. 5 00:00:28,511 --> 00:00:30,055 He makes a different kind of movie. 6 00:00:31,514 --> 00:00:33,516 You're gonna land the word nigger a hundred 7 00:00:33,516 --> 00:00:35,435 and ten times on Christmas? 8 00:00:37,520 --> 00:00:39,647 Quentin loves strong female characters. 9 00:00:41,524 --> 00:00:44,319 Brilliant, hilarious, and disturbing. 10 00:00:47,197 --> 00:00:49,449 From the mind of Quentin Tarantino, 11 00:00:50,408 --> 00:00:52,952 he really is a powerhouse of creativity. 12 00:00:52,952 --> 00:00:53,912 It's Quentin's World. 13 00:00:53,912 --> 00:00:54,829 It's his baby. 14 00:00:54,829 --> 00:00:56,122 He wrote it. 15 00:00:56,122 --> 00:00:56,915 He's a lightning rod. 16 00:00:56,915 --> 00:00:58,541 He's absolutely unique. 17 00:00:58,541 --> 00:01:00,335 He's the voice of his generation. 18 00:01:03,463 --> 00:01:05,382 It's the end of an era of Quentin 19 00:01:05,382 --> 00:01:07,092 and the Weinstein Company. 20 00:01:07,092 --> 00:01:08,676 He's not gonna fade out. 21 00:01:08,676 --> 00:01:10,136 This is why he talks about making ten. 22 00:01:11,429 --> 00:01:15,100 Quentin is a champion of the female. 23 00:01:16,351 --> 00:01:17,769 And he's just the build, 24 00:01:17,769 --> 00:01:19,604 but he gets the opportunity to do this. 25 00:01:35,161 --> 00:01:38,957 And then there are the movies. 26 00:01:38,957 --> 00:01:43,169 Now, that's what he says about himself, 27 00:01:43,169 --> 00:01:45,255 about how he sees the world, 28 00:01:45,255 --> 00:01:49,926 his very purpose of existence. 29 00:01:49,926 --> 00:01:52,595 Quentin's sort of a natural born filmmaker. 30 00:01:52,595 --> 00:01:54,097 It's his passion. 31 00:01:54,097 --> 00:01:57,434 It's where he connects with the full range of 32 00:01:57,434 --> 00:01:58,726 human feeling. 33 00:01:58,726 --> 00:02:00,395 And I think that you really see the through line 34 00:02:00,395 --> 00:02:02,897 of his fascinations as a human being running 35 00:02:02,897 --> 00:02:04,816 all the way through what matters to him, 36 00:02:04,816 --> 00:02:06,901 looking at race in America... 37 00:02:06,901 --> 00:02:09,487 ...looking at what is romance... 38 00:02:09,487 --> 00:02:11,030 ...commitment... 39 00:02:11,030 --> 00:02:11,948 ...honor... 40 00:02:11,948 --> 00:02:13,616 ...betrayal, 41 00:02:13,616 --> 00:02:14,951 loyalty... 42 00:02:14,951 --> 00:02:16,953 ...and people having to 43 00:02:16,953 --> 00:02:17,912 do the right thing. 44 00:02:21,749 --> 00:02:24,752 It's for sure the end of an era. The Weinsteins 45 00:02:24,752 --> 00:02:27,297 have been the distributor of every single film of 46 00:02:27,297 --> 00:02:28,715 ...his in the United States. 47 00:02:28,715 --> 00:02:30,467 Eight movies, all of them, 48 00:02:30,467 --> 00:02:31,718 very successful. 49 00:02:33,344 --> 00:02:35,096 He surely is immortality. 50 00:02:45,482 --> 00:02:48,109 A friend of mine, he turned me onto Quentin Tarantino,... 51 00:02:48,109 --> 00:02:48,610 ...who was 52 00:02:48,610 --> 00:02:51,571 stuffing video boxes at Imperial Entertainment. 53 00:02:51,571 --> 00:02:53,865 And we had this meeting and he seemed like kind of 54 00:02:53,865 --> 00:02:55,283 an overzealous geek. 55 00:02:55,283 --> 00:02:56,951 Pardon, pardon me. 56 00:02:56,951 --> 00:02:57,660 But guess what? 57 00:02:57,660 --> 00:02:59,287 He had the talent to back it up. 58 00:02:59,287 --> 00:03:01,122 He would sleep on my couch. 59 00:03:01,122 --> 00:03:03,041 I don't think he had a car at the time 60 00:03:03,041 --> 00:03:04,417 and flat broke. 61 00:03:04,417 --> 00:03:06,503 "I want to get in the movie business. 62 00:03:06,503 --> 00:03:07,587 Do I think I can write? 63 00:03:07,587 --> 00:03:10,298 I'm gonna give it a stab, 'cause all it takes is 64 00:03:10,298 --> 00:03:11,174 a pen and paper." 65 00:03:11,174 --> 00:03:11,841 I asked him about 66 00:03:11,841 --> 00:03:12,550 writing on a computer. 67 00:03:12,550 --> 00:03:13,968 He said, "You can't write on a computer." 68 00:03:13,968 --> 00:03:14,636 I'm like, "Why not?" 69 00:03:14,636 --> 00:03:16,262 He's like, "You can't write poetry on a computer. 70 00:03:16,262 --> 00:03:18,014 He's like, "My pen is my antennae to God. 71 00:03:18,014 --> 00:03:18,765 That's how I write. 72 00:03:18,765 --> 00:03:20,016 It just- it just flows. 73 00:03:20,016 --> 00:03:21,059 It's just a receiver." 74 00:03:21,059 --> 00:03:23,728 He has a red pen and a black pen, felt tip, 75 00:03:23,728 --> 00:03:26,606 and yellow legal pad, and dit-dit-dit-dit-dit-dit-dit. 76 00:03:26,606 --> 00:03:27,315 That was it. 77 00:03:27,315 --> 00:03:29,651 Five minutes later, he's got dialogue that would 78 00:03:29,651 --> 00:03:31,903 take some people an entire lifetime to write. 79 00:03:31,903 --> 00:03:35,323 I think Quentin basically writes novels 80 00:03:35,323 --> 00:03:38,701 and then when he's directing, he's basically adapting 81 00:03:38,701 --> 00:03:40,328 his own novel to the screen. 82 00:03:40,328 --> 00:03:42,622 A lot of different things are gonna happen. 83 00:03:42,622 --> 00:03:44,916 It's a roller coaster ride. Oh, yeah, baby. 84 00:03:44,916 --> 00:03:46,709 You're gonna be horrified. 85 00:03:46,709 --> 00:03:47,335 (groans) 86 00:03:47,335 --> 00:03:49,879 You're gonna feel relief. Then say something. 87 00:03:51,339 --> 00:03:52,840 Something. 88 00:03:52,840 --> 00:03:54,384 You're gonna feel romance. 89 00:03:57,136 --> 00:04:00,932 Quentin is above all a romantic. 90 00:04:00,932 --> 00:04:03,184 First script, True Romance, 91 00:04:03,184 --> 00:04:05,562 Clarence saving Alabama is the beginning of rescuing 92 00:04:05,562 --> 00:04:08,189 the princess that really pays off in Django coming 93 00:04:08,189 --> 00:04:09,857 back to rescue Broomhilda. 94 00:04:13,820 --> 00:04:17,574 The first script of his I read was Natural Born Killers. 95 00:04:17,574 --> 00:04:18,658 And when I read that I went, 96 00:04:18,658 --> 00:04:21,369 whoa, this guy's amazing. 97 00:04:21,369 --> 00:04:22,870 Then I read True Romance. 98 00:04:22,870 --> 00:04:24,289 I went, what the? 99 00:04:24,289 --> 00:04:25,456 What's going on. 100 00:04:25,456 --> 00:04:26,916 What's wrong with Hollywood? 101 00:04:26,916 --> 00:04:28,001 Where is everybody? 102 00:04:28,001 --> 00:04:30,712 You'd take home a slog of twenty scripts a weekend 103 00:04:30,712 --> 00:04:36,009 and you're looking for that thing that jumps off 104 00:04:36,009 --> 00:04:37,886 the page where the characters are alive, 105 00:04:37,886 --> 00:04:39,679 where the dialogue doesn't feel trite. 106 00:04:39,679 --> 00:04:41,514 Every kid wants to give you a script 107 00:04:41,514 --> 00:04:43,224 and you- you- you with the best intentions, 108 00:04:43,224 --> 00:04:44,559 you go, God, I hope this is good. 109 00:04:44,559 --> 00:04:46,644 And then by page two it's like turning like 110 00:04:46,644 --> 00:04:49,022 (groans) oh, I can't turn the page. 111 00:04:49,022 --> 00:04:51,357 This is really just terrible. 112 00:04:51,357 --> 00:04:52,525 Not with Quentin. 113 00:04:52,525 --> 00:04:53,192 No way. 114 00:04:53,526 --> 00:04:55,820 Oh, they're brilliant screenplays. 115 00:04:55,820 --> 00:04:59,198 Can you imagine having to sell those to pay your rent? 116 00:04:59,198 --> 00:05:01,993 I mean, wow, you know. 117 00:05:01,993 --> 00:05:05,163 (inhales) I read a lot. 118 00:05:05,163 --> 00:05:07,373 (exhales) Especially about things 119 00:05:07,373 --> 00:05:08,249 about history. 120 00:05:10,585 --> 00:05:12,670 I find that shit fascinating. 121 00:05:14,297 --> 00:05:15,006 Here's a fact. 122 00:05:15,006 --> 00:05:17,216 I don't know whether you know or not. 123 00:05:17,216 --> 00:05:17,800 Well... 124 00:05:21,137 --> 00:05:25,183 Sicilians were spawned by niggers. 125 00:05:28,895 --> 00:05:33,149 Uh, come again? 126 00:05:33,566 --> 00:05:35,902 (laughs) 127 00:05:35,902 --> 00:05:37,612 You look at the stuff that Quentin writes. 128 00:05:37,612 --> 00:05:39,656 If it was on stage, he'd have the Pulitzer. 129 00:05:39,656 --> 00:05:40,698 You know, because it's movies, 130 00:05:40,698 --> 00:05:41,866 everyone said, "Oh, he was in a video store. 131 00:05:41,866 --> 00:05:42,325 He stole." 132 00:05:42,325 --> 00:05:44,744 Which of course launched a thousand people working 133 00:05:44,744 --> 00:05:45,536 in video stores going, 134 00:05:45,536 --> 00:05:46,871 "Oh, I'm gonna be the next Tarantino." 135 00:05:46,871 --> 00:05:48,665 Well, literally, there's Quentin 136 00:05:48,665 --> 00:05:49,791 and there's everyone else. 137 00:05:50,917 --> 00:05:53,378 There's great stories, great characters. 138 00:05:53,378 --> 00:05:54,796 Later on in the story... 139 00:05:54,796 --> 00:05:57,006 Clearly in True Romance, 140 00:05:57,006 --> 00:05:59,550 Clarence is a surrogate for Quentin. 141 00:06:00,468 --> 00:06:03,972 You see his love of cinema present in his voice 142 00:06:03,972 --> 00:06:05,890 as he expertly carries you through his films. 143 00:06:05,890 --> 00:06:07,892 (overlapping) Oh! Ooh. You have three kung-fu moves. 144 00:06:07,892 --> 00:06:10,937 In the original draft, his version of True Romance, 145 00:06:10,937 --> 00:06:12,647 it was non-linear storytelling. 146 00:06:12,647 --> 00:06:14,607 The audience is ahead of the characters 147 00:06:14,607 --> 00:06:16,067 and on the edge of their seat 148 00:06:16,067 --> 00:06:18,069 'cause they know something bad's coming. 149 00:06:18,069 --> 00:06:21,656 And Tony Scott in his adaptation made it linear, 150 00:06:21,656 --> 00:06:23,741 and Quentin loves True Romance, 151 00:06:23,741 --> 00:06:25,660 but Clarence died in Quentin's version. 152 00:06:25,660 --> 00:06:28,037 Sweetie! (sobs) 153 00:06:28,037 --> 00:06:29,122 He had sold True Romance. 154 00:06:29,122 --> 00:06:30,373 He was hoping to direct it. 155 00:06:30,373 --> 00:06:31,290 Baby! 156 00:06:31,290 --> 00:06:32,750 He wasn't gonna be able to. 157 00:06:32,750 --> 00:06:34,961 He couldn't get anywhere with Natural Born Killers. 158 00:06:34,961 --> 00:06:37,255 Um, he couldn't get that going to direct, also. 159 00:06:37,255 --> 00:06:39,924 And he wrote Reservoir Dogs so that it would be 160 00:06:39,924 --> 00:06:41,342 set in one contained place, 161 00:06:41,342 --> 00:06:42,885 so that no matter what happened, 162 00:06:42,885 --> 00:06:44,429 he was gonna direct this movie 163 00:06:44,429 --> 00:06:46,097 with the twenty thousand dollars he had made on 164 00:06:46,097 --> 00:06:49,851 Golden Girls residuals for being an Elvis impersonator. 165 00:06:49,851 --> 00:06:58,901 (sings) I do love you with all my heart. 166 00:06:58,901 --> 00:07:00,278 I read a script of 167 00:07:00,278 --> 00:07:04,031 Reservoir Dogs and I just hoped that the writer 168 00:07:04,031 --> 00:07:06,159 who said he was going to be the director 169 00:07:06,159 --> 00:07:08,661 was really a director. 170 00:07:08,661 --> 00:07:10,872 I introduced him to my friend Lawrence Bender, 171 00:07:10,872 --> 00:07:17,378 and Lawrence got Reservoir Dogs all up and running. 172 00:07:17,378 --> 00:07:20,548 And Lawrence said, "Give me a month. 173 00:07:20,548 --> 00:07:22,759 I know somebody who knows Harvey Keitel." 174 00:07:22,759 --> 00:07:24,218 And Harvey said yes. 175 00:07:45,114 --> 00:07:47,408 I was pumping gas, man. 176 00:07:47,408 --> 00:07:49,452 I was driving a tow truck and, 177 00:07:49,452 --> 00:07:53,247 uh, I had done Thelma and Louise 178 00:07:53,247 --> 00:07:56,793 and I had done some episodic TV. 179 00:07:56,793 --> 00:08:00,922 And I got that thing and, you know, 180 00:08:00,922 --> 00:08:03,758 I- I- I'd never read anything like it in my life. 181 00:08:03,758 --> 00:08:06,385 These guys and they're named after colors. 182 00:08:06,385 --> 00:08:11,808 Mr. Brown, Mr. White, Mr. Blonde, Mr. Blue, 183 00:08:11,808 --> 00:08:14,393 Mr. Orange, and Mr. Pink. 184 00:08:14,393 --> 00:08:15,561 Why am I Mr. Pink? 185 00:08:15,561 --> 00:08:17,146 And I remember my agent, she was saying, 186 00:08:17,146 --> 00:08:21,108 "Well, you know, they all kill each other at the end and, 187 00:08:21,108 --> 00:08:22,401 (clicks tongue) you know, 188 00:08:22,401 --> 00:08:25,112 there's no money and, uh, you know, 189 00:08:25,112 --> 00:08:27,782 nobody's ever heard of this Quentin guy and... 190 00:08:27,782 --> 00:08:29,367 You have no way of knowing 191 00:08:29,367 --> 00:08:32,286 with a first time director whether they can direct or not. 192 00:08:32,286 --> 00:08:33,454 You never know. 193 00:08:33,454 --> 00:08:37,416 But Quentin, even then, prior to making any film, 194 00:08:37,416 --> 00:08:40,086 knew every actor's resume. 195 00:08:40,086 --> 00:08:41,254 This guy was in this. 196 00:08:41,254 --> 00:08:43,631 I want this guy from this, and this Lawrence Tierney 197 00:08:43,631 --> 00:08:45,466 was in Dillinger and I want him. 198 00:08:45,466 --> 00:08:48,261 He just set about putting together the ensemble 199 00:08:48,261 --> 00:08:51,389 and it came out exactly the way he wanted it. 200 00:08:52,807 --> 00:08:55,101 I don't know why he had me stuck in his head to play 201 00:08:55,101 --> 00:08:59,021 Mr. Blonde, 'cause I didn't want to play Mr. Blonde. 202 00:08:59,021 --> 00:09:02,191 I didn't want to get shot by Tim Roth, you know. 203 00:09:02,191 --> 00:09:03,985 I don't want to be killed by Tim Roth. 204 00:09:03,985 --> 00:09:06,821 I was like, hey, man, "Who's Tim Roth?" 205 00:09:06,821 --> 00:09:08,573 I went along and met with him 206 00:09:08,573 --> 00:09:10,408 and- and Harvey Keitel. 207 00:09:10,408 --> 00:09:13,578 And they wanted me to read and I wouldn't read for it. 208 00:09:13,578 --> 00:09:16,164 I'm very bad at auditioning. 209 00:09:16,164 --> 00:09:18,124 I got to memorize all of this? 210 00:09:18,124 --> 00:09:19,792 There's over four fuckin' pages of this shit. 211 00:09:19,792 --> 00:09:21,460 And they pushed, you know, they were pushing me. 212 00:09:21,460 --> 00:09:23,671 And so, me and Quentin went and got some food 213 00:09:23,671 --> 00:09:26,132 and then some beer, and then we went down to a pub near me 214 00:09:26,132 --> 00:09:27,174 and we got more beer. 215 00:09:27,174 --> 00:09:29,886 And we read every character in the script 216 00:09:29,886 --> 00:09:30,887 I don't know how many times. 217 00:09:31,929 --> 00:09:33,514 I'd let Harvey Keitel kill me, 218 00:09:33,514 --> 00:09:36,517 but I don't, I'm not getting killed by Tim Roth. 219 00:09:36,517 --> 00:09:41,355 [GUNFIRE] 220 00:09:44,442 --> 00:09:47,653 I was on the floor in a disproportionate 221 00:09:47,653 --> 00:09:49,530 amount of blood to what you can actually 222 00:09:49,530 --> 00:09:51,199 contain in a human body. 223 00:09:51,199 --> 00:09:52,909 At the end of the day, one day, 224 00:09:52,909 --> 00:09:55,077 we- we- we hugged each other. 225 00:09:55,077 --> 00:09:57,496 And, you know, we're both covered with blood, 226 00:09:57,496 --> 00:09:59,040 but it's- it's syrup, basically. 227 00:09:59,040 --> 00:09:59,957 It's- it's fake. 228 00:09:59,957 --> 00:10:02,168 It's stage blood and so when it starts to dry 229 00:10:02,168 --> 00:10:04,420 a little bit it gets extremely sticky. 230 00:10:04,420 --> 00:10:07,632 And we were hugging each other, like, 231 00:10:07,632 --> 00:10:10,134 you know, doing the big guy hug thing 232 00:10:10,134 --> 00:10:12,511 and we- we couldn't get apart. 233 00:10:12,511 --> 00:10:14,138 We were stuck together. 234 00:10:14,138 --> 00:10:16,098 (laughs) 235 00:10:16,098 --> 00:10:17,808 And the wardrobe people were convinced that 236 00:10:17,808 --> 00:10:20,311 if we forcefully separated that it would tear 237 00:10:20,311 --> 00:10:22,563 the clothes apart, and they didn't have 238 00:10:22,563 --> 00:10:24,190 a lot of budget for wardrobe. 239 00:10:24,190 --> 00:10:25,358 In fact, that was my suit. 240 00:10:27,401 --> 00:10:30,821 He told us to come to work in a black suit with white shirts. 241 00:10:30,821 --> 00:10:32,114 They gave us the ties. 242 00:10:32,114 --> 00:10:32,823 That was about it. 243 00:10:32,823 --> 00:10:34,367 And if you watch the movie, 244 00:10:34,367 --> 00:10:37,662 Steve Buscemi has black jeans on. 245 00:10:37,662 --> 00:10:39,872 Those aren't- aren't- aren't suit pants. 246 00:10:39,872 --> 00:10:42,124 They're black jeans, man. 247 00:10:42,124 --> 00:10:45,002 And my suit, the jacket or the pants, 248 00:10:45,002 --> 00:10:46,128 don't go together. 249 00:10:46,128 --> 00:10:47,713 They're from two different suits. 250 00:10:47,713 --> 00:10:50,091 When I see the movie, that's all I remember is 251 00:10:50,091 --> 00:10:51,676 my pants were too tight, man. 252 00:10:51,676 --> 00:10:53,260 They were making me crazy. 253 00:10:53,260 --> 00:10:55,346 And I didn't have black shoes. 254 00:10:55,346 --> 00:10:56,347 He wanted everyone to have black shoes. 255 00:10:56,347 --> 00:10:57,431 I didn't have any. 256 00:10:57,431 --> 00:11:00,351 But I had black cowboy boots, see. 257 00:11:00,351 --> 00:11:02,687 So that's how the razor ended up 258 00:11:02,687 --> 00:11:04,105 being in the boot, 259 00:11:04,105 --> 00:11:06,107 because what am I gonna do with this razor? 260 00:11:06,107 --> 00:11:07,274 Where is it gonna come from. 261 00:11:07,274 --> 00:11:08,776 You know that's how that happened. 262 00:11:09,694 --> 00:11:12,405 In the script it said, "Mr. Blonde dances 263 00:11:12,405 --> 00:11:15,700 maniacally around the manacled cop." 264 00:11:15,700 --> 00:11:18,619 And every time we got to the part of the rehearsal 265 00:11:18,619 --> 00:11:20,037 where that was about to happen, 266 00:11:20,037 --> 00:11:22,373 I would say, "Quentin, I don't know what to do." 267 00:11:22,373 --> 00:11:23,624 And he'd go, "No, no, no. 268 00:11:23,624 --> 00:11:24,875 We'll- we'll- we'll shoot another day. 269 00:11:24,875 --> 00:11:26,002 We'll shoot another day." 270 00:11:26,002 --> 00:11:27,920 He didn't want to do, um, the dancing. 271 00:11:28,838 --> 00:11:29,547 Didn't want to do it. 272 00:11:30,381 --> 00:11:31,007 Iconic. 273 00:11:31,757 --> 00:11:32,341 Right? 274 00:11:32,341 --> 00:11:33,634 Yeah. I was like, "Fuck, man. 275 00:11:33,634 --> 00:11:36,095 I'll do it," (laughs) 276 00:11:36,095 --> 00:11:37,346 from the floor. 277 00:11:37,346 --> 00:11:41,100 I asked him, I said, um, "What's the music 278 00:11:41,100 --> 00:11:43,686 you're gonna play over this whole thing?" 279 00:11:43,686 --> 00:11:45,813 And he said, uh, "Well..." 280 00:11:45,813 --> 00:11:48,482 he said, "I really want, uh, Stealers Wheel. 281 00:11:48,482 --> 00:11:49,942 I want to do "Stuck In The Middle." 282 00:11:49,942 --> 00:11:52,194 And I said, "Why don't you play it for me." 283 00:11:52,194 --> 00:11:54,030 And so they put it on a boom box. 284 00:11:54,030 --> 00:11:57,324 That's actually how it's actually cued in the movie. 285 00:11:57,324 --> 00:12:00,661 And so I slowly started to stand up and I sang while 286 00:12:00,661 --> 00:12:03,497 I started to suddenly do my version of a maniacal dance. 287 00:12:03,497 --> 00:12:07,626 (sings) Well, I don't know why I came here tonight I got... 288 00:12:07,626 --> 00:12:10,004 Honestly, I don't know where it came from. 289 00:12:10,004 --> 00:12:10,796 I honestly don't. 290 00:12:10,796 --> 00:12:13,841 (sings) And I'm wondering how I'll get down the stairs 291 00:12:13,841 --> 00:12:15,509 I can't dance, which is obvious, 292 00:12:15,509 --> 00:12:17,136 and- and then sort--I just went with it, 293 00:12:17,136 --> 00:12:18,262 'cause I felt like it was working 294 00:12:18,262 --> 00:12:19,430 and I didn't hear him say, "cut". 295 00:12:19,430 --> 00:12:21,098 (sings) ...stuck in the middle with you. 296 00:12:21,098 --> 00:12:22,683 I felt really respected. 297 00:12:22,683 --> 00:12:24,310 And the fact that he let me do that, 298 00:12:24,310 --> 00:12:26,062 I mean, I- I loved him for that. 299 00:12:26,062 --> 00:12:28,272 Even the- the ear thing. 300 00:12:28,272 --> 00:12:31,317 He said, "Okay, step in the frame with the ear." 301 00:12:31,317 --> 00:12:33,736 So I walk in the frame and I have it in my hand, 302 00:12:33,736 --> 00:12:35,404 which is a horrifying moment, you know. 303 00:12:35,404 --> 00:12:37,156 Oh, my God. 304 00:12:37,156 --> 00:12:38,949 And he's going, "Throw it. 305 00:12:38,949 --> 00:12:39,408 Throw it. 306 00:12:39,408 --> 00:12:40,326 Throw it." 307 00:12:40,326 --> 00:12:42,953 And I didn't really want to throw it, 308 00:12:42,953 --> 00:12:45,956 but I couldn't think of anything interesting to do. 309 00:12:45,956 --> 00:12:47,958 And so I spoke in it. 310 00:12:47,958 --> 00:12:49,001 Hey, what's going on? 311 00:12:49,001 --> 00:12:50,544 (groans) You hear that? 312 00:12:50,544 --> 00:12:52,296 (groans) (laughs) So then I threw it. 313 00:12:52,296 --> 00:12:55,007 And I was thinking, God, if you were that guy, 314 00:12:55,007 --> 00:12:56,384 if someone did that to you, 315 00:12:56,384 --> 00:12:57,802 how horrible would that be? 316 00:12:57,802 --> 00:12:59,386 It was a terrifying movie. 317 00:12:59,386 --> 00:13:00,805 As an audience, 318 00:13:00,805 --> 00:13:03,557 we had never seen anything like that really. 319 00:13:03,557 --> 00:13:08,938 It felt so new and so exciting and explosive 320 00:13:08,938 --> 00:13:11,607 and dynamic in just the dialogue. 321 00:13:11,607 --> 00:13:13,359 Give me that fuckin' thing. 322 00:13:13,359 --> 00:13:15,069 Now what the hell do you think you're doin'? 323 00:13:15,069 --> 00:13:15,694 Give me my book back. 324 00:13:15,694 --> 00:13:16,987 I'm sick of fuckin' hearing it. 325 00:13:16,987 --> 00:13:19,198 Joe, I'll give it back to you when we leave. 326 00:13:19,198 --> 00:13:20,491 What do you mean when we leave? 327 00:13:20,491 --> 00:13:21,534 Give me it back now. 328 00:13:21,534 --> 00:13:23,285 For the past fifteen minutes now, 329 00:13:23,285 --> 00:13:26,914 you've been droning on about names, Toby. 330 00:13:26,914 --> 00:13:27,665 Toby? 331 00:13:27,665 --> 00:13:29,416 Once we started shooting Reservoir Dogs... 332 00:13:29,416 --> 00:13:30,209 ...and I remember just being 333 00:13:30,209 --> 00:13:32,044 a couple days in, 334 00:13:32,044 --> 00:13:35,756 and I pulled Harvey Keitel aside and I said, 335 00:13:35,756 --> 00:13:37,341 "Harvey, I'm so excited." 336 00:13:37,341 --> 00:13:39,426 And he said, "Well, why are you so excited?" 337 00:13:39,426 --> 00:13:41,887 And I said, "Well, I never imagined 338 00:13:41,887 --> 00:13:44,723 that what we would do on the film would better 339 00:13:44,723 --> 00:13:46,684 the experience that I had of sitting alone 340 00:13:46,684 --> 00:13:48,811 in my room reading the script." 341 00:13:48,811 --> 00:13:51,105 I've got Madonna's big dick coming out of my left ear 342 00:13:51,105 --> 00:13:53,816 and Toby the Jack, I don't know what, 343 00:13:53,816 --> 00:13:54,859 comin' out of my right. 344 00:13:54,859 --> 00:13:57,069 And Harvey Keitel said, "Of course, 345 00:13:57,069 --> 00:13:58,028 it's better than that. 346 00:13:58,028 --> 00:13:58,821 I'm here." 347 00:13:58,821 --> 00:13:59,613 (laughs) 348 00:13:59,613 --> 00:14:01,782 There's just so much good stuff in them. 349 00:14:01,782 --> 00:14:04,201 No only visually, but, and not only 350 00:14:04,201 --> 00:14:06,620 what the actors say, but what they do 351 00:14:06,620 --> 00:14:10,499 and how they do it and how the plot unfolds. [GUNFIRE] 352 00:14:10,499 --> 00:14:13,627 I think the reason that every critic 353 00:14:13,627 --> 00:14:17,423 and journalist went crazy for Reservoir Dogs 354 00:14:17,423 --> 00:14:19,049 is rightfully so. 355 00:14:19,049 --> 00:14:23,095 It was the debut of an extraordinary new voice. 356 00:14:23,095 --> 00:14:30,436 And, you know, it was our nineties Auteur Indie cinema, 357 00:14:30,436 --> 00:14:33,189 you know, the equivalent of the French New Wave, 358 00:14:33,189 --> 00:14:36,233 breaking any rules that he wants. [GLASS SHATTERS] 359 00:14:36,233 --> 00:14:37,359 It was thrilling. 360 00:14:38,986 --> 00:14:43,699 [DOOR KICKS OPEN] (groans) 361 00:14:43,699 --> 00:14:45,576 We were walking back to the trailers. 362 00:14:45,576 --> 00:14:48,495 I remember Harvey, he says, "This is good, right?" 363 00:14:48,495 --> 00:14:49,747 And- and, (chuckles) I went, 364 00:14:49,747 --> 00:14:51,790 "Yes, really fuckin' good." 365 00:14:51,790 --> 00:14:53,542 (chuckles) Who's a tough guy? 366 00:14:53,542 --> 00:14:55,544 (wheezes) Who's a tough guy? 367 00:14:55,544 --> 00:14:57,546 (wheezes) And he went, "Don't jinx it. 368 00:14:57,546 --> 00:14:58,088 Don't jinx it. 369 00:14:58,088 --> 00:14:58,881 Whatever you do, don't jinx it." 370 00:14:58,881 --> 00:14:59,924 I said, "Okay." 371 00:14:59,924 --> 00:15:03,510 But it was, the word was out on this- on this guy. 372 00:15:03,510 --> 00:15:05,179 So when we went to France with... 373 00:15:05,179 --> 00:15:06,096 ..Reservoir Dogs, 374 00:15:06,096 --> 00:15:09,058 it was, um, it was chosen as an official selection 375 00:15:09,058 --> 00:15:11,769 of the film festival, which is a very prestigious 376 00:15:11,769 --> 00:15:13,187 place to be, particularly for 377 00:15:13,187 --> 00:15:14,730 a first time director. 378 00:15:14,730 --> 00:15:16,440 So we showed our film in the Palais, 379 00:15:16,440 --> 00:15:19,276 and in the three days prior to that, 380 00:15:19,276 --> 00:15:22,196 Quentin and Lawrence and I are walking around Cannes 381 00:15:22,196 --> 00:15:24,532 and walking down the Croisette and looking at 382 00:15:24,532 --> 00:15:26,742 different movies and going to different screenings 383 00:15:26,742 --> 00:15:28,035 and just... Hey. 384 00:15:28,035 --> 00:15:29,286 ...having a good old time. 385 00:15:29,286 --> 00:15:33,624 And then we screen the film as a midnight special 386 00:15:33,624 --> 00:15:35,167 screening in the Palais. 387 00:15:35,167 --> 00:15:38,212 And the day after that, 388 00:15:38,212 --> 00:15:41,006 when we would walk down the street as we were 389 00:15:41,006 --> 00:15:42,967 goofy guys wandering around, 390 00:15:42,967 --> 00:15:45,386 you'd start to hear people going, "Tarantino! 391 00:15:45,386 --> 00:15:46,762 Tarantino!" 392 00:15:46,762 --> 00:15:50,349 And thus the legend of Quentin began. 393 00:15:50,349 --> 00:15:53,686 The Auteur was born somewhat as it should be 394 00:15:53,686 --> 00:15:55,479 in Cannes. 395 00:15:55,479 --> 00:15:59,525 The day after it screened, I got a call from Mario Kassar 396 00:15:59,525 --> 00:16:01,360 who is head of Carolco and he said, 397 00:16:01,360 --> 00:16:04,446 "All of our directors on our boat, 398 00:16:04,446 --> 00:16:07,825 um, want to meet Quentin. 399 00:16:07,825 --> 00:16:11,495 Like what is this movie you made and who is this guy?" 400 00:16:11,495 --> 00:16:13,497 And I said, well, I'll bring him by. 401 00:16:13,497 --> 00:16:17,334 So we showed up at the boat and Renny Harlin 402 00:16:17,334 --> 00:16:19,503 and Oliver Stone and James Cameron 403 00:16:19,503 --> 00:16:22,590 and Paul Verhoeven were all there 404 00:16:22,590 --> 00:16:25,926 and they just wanted to meet Quentin. 405 00:16:25,926 --> 00:16:27,886 And, suddenly, Quentin has, 406 00:16:27,886 --> 00:16:29,096 not only a seat at the table, 407 00:16:29,096 --> 00:16:31,724 but is kind of running the table and these guys are 408 00:16:31,724 --> 00:16:33,892 so interested in Quentin. 409 00:16:33,892 --> 00:16:36,145 And this is how it sort of all began. 410 00:16:36,145 --> 00:16:37,646 Quentin came back 411 00:16:37,646 --> 00:16:40,316 from Cannes after Reservoir Dogs. 412 00:16:40,316 --> 00:16:41,734 Now that was a fascinating story, 413 00:16:41,734 --> 00:16:44,069 'cause he was crashing on my couch, right? 414 00:16:44,069 --> 00:16:46,447 So I was, I had to get, uh, 415 00:16:46,447 --> 00:16:48,282 the "Hollywood Reporter", "Variety", 416 00:16:48,282 --> 00:16:51,368 all of the- the magazines, "L.A. Weekly", 417 00:16:51,368 --> 00:16:53,329 all the stuff that had articles on Reservoir Dogs. 418 00:16:53,329 --> 00:16:55,039 Literally, you couldn't believe how much stuff. 419 00:16:55,039 --> 00:16:55,706 I went, "Oh wait. 420 00:16:55,706 --> 00:16:56,874 This is like a joke." 421 00:16:56,874 --> 00:16:58,584 He went away to Cannes 422 00:16:58,584 --> 00:17:00,377 just another independent filmmaker 423 00:17:00,377 --> 00:17:01,754 and came back like a star. 424 00:17:04,423 --> 00:17:07,217 Miramax was the company that stepped up to 425 00:17:07,217 --> 00:17:08,552 take Reservoir Dogs. 426 00:17:08,552 --> 00:17:12,139 Before that, you know, Quentin was pretty much 427 00:17:12,139 --> 00:17:15,434 nobody wanted to give him a chance to do fuck all. 428 00:17:15,434 --> 00:17:17,644 So that started the bond of Quentin 429 00:17:17,644 --> 00:17:19,605 and the Weinstein Brothers. 430 00:17:23,025 --> 00:17:26,028 "The whole mystical, 431 00:17:26,028 --> 00:17:30,032 shamanistic thing that I thought directing was went 'poof'. 432 00:17:30,032 --> 00:17:31,575 I realized I can do that." - QT 433 00:17:31,575 --> 00:17:33,702 We were in a hotel room on the road 434 00:17:33,702 --> 00:17:35,954 with Reservoir Dogs 435 00:17:35,954 --> 00:17:38,040 and he's got his legal pads out. 436 00:17:38,040 --> 00:17:39,249 And his thing, you know, 437 00:17:39,249 --> 00:17:40,834 the way that he does his scripts. 438 00:17:40,834 --> 00:17:43,962 He starts reading all these characters and stage direction. 439 00:17:43,962 --> 00:17:45,422 I love you, Pumpkin. 440 00:17:45,422 --> 00:17:47,174 And I love you, Honey Bunny. 441 00:17:47,174 --> 00:17:48,300 And it's Pulp Fiction. 442 00:17:48,300 --> 00:17:49,760 Everybody be cool. This is a robbery. 443 00:17:49,760 --> 00:17:50,469 What? 444 00:17:50,469 --> 00:17:54,640 Any of you fuckin' pricks move and I'll execute 445 00:17:54,640 --> 00:17:56,308 every one of ya motherfuckers. 446 00:17:56,308 --> 00:17:58,769 Quentin says, "This is my next thing. 447 00:17:58,769 --> 00:18:04,024 This is what I'm gonna do." 448 00:18:04,024 --> 00:18:06,360 There was an eagerness by many financiers 449 00:18:06,360 --> 00:18:09,738 to make Quentin's next movie. 450 00:18:09,738 --> 00:18:11,073 We had agreed, 451 00:18:11,073 --> 00:18:12,783 uh, Harvey Weinstein agreed, 452 00:18:12,783 --> 00:18:14,493 uh, to finance the film. 453 00:18:14,493 --> 00:18:17,746 They never interfered with his material. 454 00:18:17,746 --> 00:18:21,125 (chuckles) There's subject matter 455 00:18:21,125 --> 00:18:25,629 and dialogue in Quentin's pictures that really nobody else 456 00:18:25,629 --> 00:18:29,174 could get away with doing, especially a white guy. 457 00:18:29,174 --> 00:18:30,551 Did you notice a sign on the front of 458 00:18:30,551 --> 00:18:32,553 my house that said, "Dead Nigger Storage." 459 00:18:32,553 --> 00:18:34,012 Jimmy, you know I ain't seen no shit. 460 00:18:34,012 --> 00:18:36,056 Did you notice a sign on the front of my house 461 00:18:36,056 --> 00:18:38,600 that said "Dead Nigger Storage?" 462 00:18:38,600 --> 00:18:40,102 No. 463 00:18:40,102 --> 00:18:42,438 I got the script and ... 464 00:18:42,438 --> 00:18:43,105 ...I kind of sat 465 00:18:43,105 --> 00:18:44,523 there and stared at it. 466 00:18:44,523 --> 00:18:46,525 When I was done I was like, 467 00:18:46,525 --> 00:18:49,278 "Oh, there's no fuckin' way the script that's good." 468 00:18:49,278 --> 00:18:52,197 I'm just readin' it like that because he told me 469 00:18:52,197 --> 00:18:53,490 he wrote this part for me. 470 00:18:53,490 --> 00:18:56,869 You know what they call a- a Quarter Pounder with Cheese, 471 00:18:56,869 --> 00:18:58,203 uh, in Paris? 472 00:18:58,203 --> 00:18:59,830 They don't call it a Quarter Pounder with Cheese? 473 00:18:59,830 --> 00:19:00,164 No, man. 474 00:19:00,164 --> 00:19:01,206 They got the metric system. 475 00:19:01,206 --> 00:19:03,459 They wouldn't know what the fuck a Quarter Pounder is. 476 00:19:03,459 --> 00:19:04,418 Then what do they call it? 477 00:19:04,418 --> 00:19:07,254 They call it, uh, The Royale with Cheese. 478 00:19:07,254 --> 00:19:08,630 Royale with Cheese. 479 00:19:08,630 --> 00:19:09,339 That's right. 480 00:19:09,339 --> 00:19:11,216 Second time it was just as amazing. 481 00:19:11,216 --> 00:19:14,470 So it's like, (exhales air), 482 00:19:14,470 --> 00:19:16,096 okay. 483 00:19:16,096 --> 00:19:19,933 If Harvey Weinstein has the balls to make this movie, 484 00:19:19,933 --> 00:19:21,643 this movie's gonna be awesome. 485 00:19:21,643 --> 00:19:23,395 I know my friends are gonna love it. 486 00:19:23,395 --> 00:19:25,105 He had built a real fan base 487 00:19:25,105 --> 00:19:27,816 on home video by the time Pulp Fiction came out. 488 00:19:27,816 --> 00:19:29,651 But I think he learned something, too. 489 00:19:29,651 --> 00:19:31,653 Watching the film with enough audiences 490 00:19:31,653 --> 00:19:34,406 when he went and toured film festivals, 491 00:19:34,406 --> 00:19:36,909 he realized that he needed to give the audience 492 00:19:36,909 --> 00:19:38,994 permission to laugh. 493 00:19:38,994 --> 00:19:40,996 The dude's head gets blown off in the back of the car. 494 00:19:40,996 --> 00:19:42,498 I mean people laugh at that shit and then they 495 00:19:42,498 --> 00:19:43,874 catch themselves and go, "Oh, shit. 496 00:19:43,874 --> 00:19:44,708 I can't laugh at that." 497 00:19:44,708 --> 00:19:45,584 [GUNSHOT] Oh! 498 00:19:45,584 --> 00:19:46,877 What the fuck's happenin'? 499 00:19:46,877 --> 00:19:48,712 Ah, man. Oh, shit, man. 500 00:19:48,712 --> 00:19:50,297 Oh, man, I shot Marvin in the face. 501 00:19:50,297 --> 00:19:51,507 Why the fuck'd you do that? 502 00:19:51,507 --> 00:19:55,135 And it's cool, too, because it's not CGI blood. 503 00:19:55,135 --> 00:19:58,096 He still likes to use squibs and blood packs and stuff, 504 00:19:58,096 --> 00:20:02,184 so I mean I could be twenty-five feet across the room 505 00:20:02,184 --> 00:20:03,977 and get blood splattered on me from shootin' 506 00:20:03,977 --> 00:20:05,604 somebody on the other side of the room, 507 00:20:05,604 --> 00:20:07,564 which was like awesome. 508 00:20:07,564 --> 00:20:09,066 You're sending The Wolf? 509 00:20:09,066 --> 00:20:11,485 Don't you feel better, motherfucker? 510 00:20:11,485 --> 00:20:13,529 Shit yeah, Negro. 511 00:20:13,529 --> 00:20:15,072 That's all you had to say. 512 00:20:16,406 --> 00:20:17,115 Like you have to call 513 00:20:17,115 --> 00:20:18,534 someone because you accidentally shot 514 00:20:18,534 --> 00:20:20,494 someone's head off is amazing, 515 00:20:20,494 --> 00:20:22,120 and then that it becomes, like, 516 00:20:22,120 --> 00:20:26,583 he's so blasé about cleaning bits of brain up. 517 00:20:26,583 --> 00:20:28,168 Oh, man! 518 00:20:28,168 --> 00:20:30,629 I will never forgive your ass for this shit. 519 00:20:30,629 --> 00:20:32,172 Because he always intended it to be funny, 520 00:20:32,172 --> 00:20:34,383 but people sort of felt a little bit uncomfortable. 521 00:20:34,383 --> 00:20:35,384 Am I allowed to laugh? 522 00:20:35,384 --> 00:20:38,011 Am I sick if I'm laughing? 523 00:20:38,011 --> 00:20:39,304 You know, what's going on? 524 00:20:39,304 --> 00:20:42,474 And with Pulp, intentionally, 525 00:20:42,474 --> 00:20:44,184 he really let everybody in on the joke. 526 00:20:44,184 --> 00:20:45,811 They look like a couple of dorks. 527 00:20:45,811 --> 00:20:47,938 (laughs) (laughs) Ha-ha-ha. 528 00:20:47,938 --> 00:20:49,481 They're your clothes, motherfucker. 529 00:20:49,481 --> 00:20:52,609 I can look at it and say this is one of those 530 00:20:52,609 --> 00:20:53,652 gangster characters. 531 00:20:53,652 --> 00:20:55,696 (exhales sharply) This is how he's thinkin', 532 00:20:55,696 --> 00:20:57,281 this is how he's talkin', and this is what his 533 00:20:57,281 --> 00:20:58,407 cadence is. 534 00:20:58,407 --> 00:21:01,869 And I will strike down upon thee with great 535 00:21:01,869 --> 00:21:06,206 vengeance and furious anger those who attempt 536 00:21:06,206 --> 00:21:09,001 to poison and destroy my brothers. 537 00:21:09,001 --> 00:21:13,463 And because I spent so many years doing theater. 538 00:21:13,463 --> 00:21:17,384 And you will know my name is the Lord 539 00:21:17,384 --> 00:21:20,846 when I lay my vengeance upon thee. 540 00:21:20,846 --> 00:21:27,644 (screams) [GUNFIRE] I love a monologue. 541 00:21:27,644 --> 00:21:30,022 I remember when I originally gave this script 542 00:21:30,022 --> 00:21:31,315 to the Weinsteins, Harvey read it 543 00:21:31,315 --> 00:21:33,317 and called me up and said, "You guys are crazy. 544 00:21:33,317 --> 00:21:34,818 You just killed the main character 545 00:21:34,818 --> 00:21:37,487 in the middle of the movie." 546 00:21:37,487 --> 00:21:41,575 [GUNFIRE] (screams) I said, 547 00:21:41,575 --> 00:21:42,326 "Keep reading." 548 00:21:42,326 --> 00:21:44,828 He said, "But you can't kill the main character in 549 00:21:44,828 --> 00:21:46,413 the middle of the movie." 550 00:21:46,413 --> 00:21:47,706 I said, "Keep reading." 551 00:21:47,706 --> 00:21:49,041 He said, "Oh, my God. 552 00:21:49,041 --> 00:21:51,209 He comes back, doesn't he?" 553 00:21:51,209 --> 00:21:52,586 He goes, "Is it a happy ending?" 554 00:21:52,586 --> 00:21:54,212 I said, "It's a happy ending. 555 00:21:55,297 --> 00:21:57,883 And the beauty of Quentin is that when it's time to 556 00:21:57,883 --> 00:22:01,386 shoot the film, though he wrote it and he conceived it 557 00:22:01,386 --> 00:22:02,846 and he knows where it's going... 558 00:22:04,139 --> 00:22:04,890 Hello? 559 00:22:05,974 --> 00:22:09,728 ...the actors are a huge part of that soup 560 00:22:09,728 --> 00:22:12,105 that creates that character of the story. 561 00:22:12,105 --> 00:22:12,856 (on intercom) Vincent? 562 00:22:15,233 --> 00:22:17,486 Vincent? 563 00:22:17,486 --> 00:22:19,488 I'm on the intercom. 564 00:22:19,488 --> 00:22:22,866 And he wrote the part 565 00:22:22,866 --> 00:22:27,079 that John Travolta played in that movie for Michael. 566 00:22:27,079 --> 00:22:29,289 And Michael didn't do it. 567 00:22:29,289 --> 00:22:31,875 I was already committed to Wyatt Earp. 568 00:22:31,875 --> 00:22:34,336 And now here's Quentin wants me to do Pulp Fiction. 569 00:22:34,336 --> 00:22:36,922 And they were both going at the same time. 570 00:22:36,922 --> 00:22:39,257 You know look at Travolta in Pulp Fiction. 571 00:22:39,257 --> 00:22:41,468 It's one of the most extraordinary performances 572 00:22:41,468 --> 00:22:44,805 in a- in a film that's filled to the brim 573 00:22:44,805 --> 00:22:46,640 with extraordinary performances. 574 00:22:46,640 --> 00:22:51,728 (gasps) (screams) John had to be convinced. 575 00:22:51,728 --> 00:22:53,397 But the moment that they met, 576 00:22:53,397 --> 00:22:56,024 it was clear that it- it was their destiny to- 577 00:22:56,024 --> 00:22:57,025 to work together. 578 00:22:57,025 --> 00:23:00,904 Isn't it true that a part of John Travolta being in it, 579 00:23:00,904 --> 00:23:03,657 it became John's comeback. 580 00:23:03,657 --> 00:23:06,660 He was doing movies about talking babies and, 581 00:23:06,660 --> 00:23:09,413 suddenly, he's, you know, Vincent Vega. 582 00:23:09,413 --> 00:23:11,123 You know he had that wig on. 583 00:23:11,123 --> 00:23:15,127 Nobody'd ever seen Travolta with a fuckin' gun. 584 00:23:15,127 --> 00:23:17,045 [GUNFIRE] 585 00:23:17,045 --> 00:23:19,339 And that was a huge, huge reason 586 00:23:19,339 --> 00:23:20,465 why the movie worked. 587 00:23:20,465 --> 00:23:22,676 John Travolta can move like almost nobody else. 588 00:23:24,219 --> 00:23:26,805 The dance scene that Quentin gives him 589 00:23:26,805 --> 00:23:32,477 is so incredible because Quentin gets what this guy can do 590 00:23:32,477 --> 00:23:33,770 and lets him do it. 591 00:23:33,770 --> 00:23:35,647 That was neat, man, that whole thing and, 592 00:23:35,647 --> 00:23:37,357 uh, I- I wouldn't have come up with that, 593 00:23:37,357 --> 00:23:38,734 you know. 594 00:23:38,734 --> 00:23:40,944 The twist wouldn't haven't have been exactly the same. 595 00:23:40,944 --> 00:23:42,696 He would have had to change the script that 596 00:23:42,696 --> 00:23:44,531 they don't win the dance contest. 597 00:23:46,992 --> 00:23:48,660 When you're on a set and working with Quentin, 598 00:23:48,660 --> 00:23:51,413 he always seemed to me like he kept a very healthy 599 00:23:51,413 --> 00:23:54,791 distance between himself and producer types. 600 00:23:54,791 --> 00:23:56,752 And what Quentin wanted, Quentin got, 601 00:23:56,752 --> 00:23:58,086 deservedly so. 602 00:23:59,046 --> 00:23:59,921 Action! 603 00:23:59,921 --> 00:24:01,173 We were a bit into production 604 00:24:01,173 --> 00:24:03,341 and Harvey Weinstein came to visit. 605 00:24:03,341 --> 00:24:06,928 I purposely wanted to take him to the Jack Rabbit Slim set 606 00:24:06,928 --> 00:24:08,388 because we built it. 607 00:24:08,388 --> 00:24:09,431 It's cool. 608 00:24:09,431 --> 00:24:10,849 It's really filmy. 609 00:24:10,849 --> 00:24:13,602 And Quentin isn't the "build sets" kind of guy. 610 00:24:13,602 --> 00:24:15,812 He's the "find a real place and do it". 611 00:24:15,812 --> 00:24:18,732 And as we walked in, I didn't tell Harvey what we 612 00:24:18,732 --> 00:24:19,691 were shooting. 613 00:24:19,691 --> 00:24:21,526 And I just remember looking at him and going, 614 00:24:21,526 --> 00:24:23,445 "Welcome to Quentin World." 615 00:24:23,445 --> 00:24:26,156 He just said, "What- what- what is this? 616 00:24:26,156 --> 00:24:27,574 This is crazy." 617 00:24:27,574 --> 00:24:30,160 You know with the race track and the dancers 618 00:24:30,160 --> 00:24:32,704 and the trophies and the characters 619 00:24:32,704 --> 00:24:34,247 imitating other characters. 620 00:24:35,624 --> 00:24:37,709 You know Quentin just has in his head I want people 621 00:24:37,709 --> 00:24:41,588 to sit in the back seat of a nineteen-fifty-seven Cadillac. 622 00:24:41,588 --> 00:24:44,883 And, you know, they need to drink an Amos and Andy shake. 623 00:24:44,883 --> 00:24:47,302 And he comes up with all this stuff in the same way 624 00:24:47,302 --> 00:24:48,845 that he comes up with his own products. 625 00:24:50,388 --> 00:24:51,181 Mm... 626 00:24:52,265 --> 00:24:54,935 This is a tasty burger. 627 00:24:54,935 --> 00:24:57,604 Vincent, have you ever had a Big Kahuna burger? 628 00:24:57,604 --> 00:25:00,190 By the time Pulp Fiction came around, 629 00:25:00,190 --> 00:25:02,150 he was doing his own product placement. 630 00:25:02,818 --> 00:25:03,985 Give me a pack of Red Apples. 631 00:25:03,985 --> 00:25:05,153 Filters? 632 00:25:05,153 --> 00:25:06,279 Nah. 633 00:25:06,279 --> 00:25:08,073 And that's when Red Apple came about. 634 00:25:08,073 --> 00:25:10,200 That's when Kahuna burger came about. 635 00:25:10,200 --> 00:25:12,786 That's when all of that stuff started to happen. 636 00:25:12,786 --> 00:25:15,831 Red Apple tobacco is not a real thing. 637 00:25:15,831 --> 00:25:17,415 That's a Quentin cigarette. 638 00:25:17,415 --> 00:25:20,377 There's a great moment 639 00:25:20,377 --> 00:25:22,087 in Hateful Eight where... 640 00:25:22,087 --> 00:25:24,381 ...Demian Bichir is standing 641 00:25:24,381 --> 00:25:25,924 behind the bar. 642 00:25:25,924 --> 00:25:29,636 And he's having a smoke of Red Apple tobacco. 643 00:25:29,636 --> 00:25:31,263 And he's just standing there like this and he's going, 644 00:25:31,263 --> 00:25:31,888 "Hmm. 645 00:25:31,888 --> 00:25:32,848 This is pretty good." 646 00:25:32,848 --> 00:25:33,974 (chuckles) Like this. 647 00:25:33,974 --> 00:25:37,394 And we got all pissed off because he got to do 648 00:25:37,394 --> 00:25:39,229 the Red Apple moment. 649 00:25:39,229 --> 00:25:41,439 He got to have it himself. 650 00:25:41,439 --> 00:25:44,067 Everybody from costumes down to every detail, 651 00:25:44,067 --> 00:25:46,152 to props, to Red Apple tobacco, 652 00:25:46,152 --> 00:25:50,156 to everything, there's nothing random 653 00:25:50,156 --> 00:25:51,992 about anything in a Quentin movie. 654 00:25:51,992 --> 00:25:54,578 Remember her cutting the ropes off 655 00:25:54,578 --> 00:25:56,288 when she's in the coffin. 656 00:25:56,288 --> 00:25:57,831 That's Mr. Blonde's razor. 657 00:25:57,831 --> 00:25:58,415 It's brilliant, right? 658 00:25:58,415 --> 00:25:59,583 That's cool. 659 00:25:59,583 --> 00:26:01,751 There's a little nod when you're watching Reservoir Dogs. 660 00:26:01,751 --> 00:26:02,919 If you every hear Mr. White, 661 00:26:02,919 --> 00:26:04,337 somebody says, "How's Bama?" 662 00:26:04,337 --> 00:26:06,047 By the way, how's Alabama? 663 00:26:06,047 --> 00:26:06,965 Alabama? 664 00:26:08,258 --> 00:26:11,303 I haven't seen Bama over a year and a half. 665 00:26:11,303 --> 00:26:13,305 And you understand that Alabama left, 666 00:26:13,305 --> 00:26:17,559 met Mr. White, learned about the- the bank heist 667 00:26:17,559 --> 00:26:19,895 or jewelry thief business from him, 668 00:26:19,895 --> 00:26:22,147 and they couldn't be together because she was 669 00:26:22,147 --> 00:26:23,732 still in love with Clarence and she'd be in 670 00:26:23,732 --> 00:26:25,859 love with Clarence for his whole life. 671 00:26:25,859 --> 00:26:29,154 So all these characters live in Quentin's universe. 672 00:26:29,154 --> 00:26:31,656 And Vic here, I mean he's only been nothing 673 00:26:31,656 --> 00:26:35,452 but good luck for us and, that guys a fuckin' rabbit's foot. 674 00:26:35,452 --> 00:26:38,496 Vic Vega, Vincent Vega, the Vega Brothers. 675 00:26:38,496 --> 00:26:40,999 And, uh, how 'bout your fella here? 676 00:26:40,999 --> 00:26:42,334 Vincent Vega. 677 00:26:42,334 --> 00:26:44,586 With film it's not just characters 678 00:26:44,586 --> 00:26:47,213 and it's not just action and it's not just cinema, 679 00:26:47,213 --> 00:26:49,507 but it's celluloid, it's seeing it on the film, 680 00:26:49,507 --> 00:26:51,760 and it's the soundtrack, but also, 681 00:26:51,760 --> 00:26:55,513 amazingly, taking songs they know and reimagining. 682 00:26:55,513 --> 00:26:56,556 (sings) Bow, bow, bow... 683 00:26:56,556 --> 00:27:00,977 ...you'll be a woman soon. (sings)...a woman... 684 00:27:00,977 --> 00:27:04,356 And you just sit there and you just- you can't 685 00:27:04,356 --> 00:27:07,901 believe that you're hearing the song in a new 686 00:27:07,901 --> 00:27:08,944 and different way. 687 00:27:08,944 --> 00:27:10,612 (sings) He's not your kind. (sings) He's not your kind. 688 00:27:10,612 --> 00:27:13,448 And so much of those songs were background on the radio 689 00:27:13,448 --> 00:27:15,116 when you were kids or when you were adults 690 00:27:15,116 --> 00:27:16,576 driving around. 691 00:27:16,576 --> 00:27:19,663 And Quentin takes them and he takes that background, 692 00:27:19,663 --> 00:27:21,998 counterpoints it against something that 693 00:27:21,998 --> 00:27:23,291 it doesn't make sense with. 694 00:27:25,001 --> 00:27:27,379 Or he uses it to emphasize a scene. 695 00:27:27,379 --> 00:27:29,798 What he makes are really rich, 696 00:27:29,798 --> 00:27:32,509 densely textured mosaics. 697 00:27:32,509 --> 00:27:35,011 Try to dissect it, you'd almost undoubtedly miss 698 00:27:35,011 --> 00:27:36,972 so many of the pieces and the ways they interact 699 00:27:36,972 --> 00:27:38,640 with each other and the way they make sense 700 00:27:38,640 --> 00:27:39,349 with each other. 701 00:27:39,349 --> 00:27:40,183 I remember being 702 00:27:40,183 --> 00:27:42,602 on the set of From Dust Till Dawn while they were 703 00:27:42,602 --> 00:27:44,896 shooting that, and I said, and by that time Pulp Fiction 704 00:27:44,896 --> 00:27:45,939 just went through the roof. 705 00:27:45,939 --> 00:27:47,607 I said, "Quentin, did you have any idea 706 00:27:47,607 --> 00:27:48,191 how big this would be? 707 00:27:48,191 --> 00:27:51,152 He goes, (inhales sharply) "Yeah, no." 708 00:27:51,152 --> 00:27:51,987 (laughs) 709 00:27:51,987 --> 00:27:55,740 The Palme d'Or goes to... 710 00:27:55,740 --> 00:27:56,783 ...Pulp Fiction. 711 00:27:56,783 --> 00:28:09,170 [CHEERS AND APPLAUSE] 712 00:28:32,736 --> 00:28:34,654 What do you do after that masterpiece? 713 00:28:34,654 --> 00:28:36,156 When you know you're damned. 714 00:28:36,156 --> 00:28:37,198 There's, you know, 715 00:28:37,198 --> 00:28:40,452 after Citizen Kane, Welles walks away 716 00:28:40,452 --> 00:28:41,578 from Magnificent Ambersons. 717 00:28:41,578 --> 00:28:42,829 Quentin's made Pulp Fiction. 718 00:28:42,829 --> 00:28:45,999 He's made one of the great films of the last half century. 719 00:28:45,999 --> 00:28:49,377 So what does he do next? 720 00:28:49,377 --> 00:28:53,590 A genre film that in and of itself is really wonderful. 721 00:28:53,590 --> 00:28:55,759 Plays with time, plays with character, 722 00:28:55,759 --> 00:28:57,469 plays with your perceptions, 723 00:28:57,469 --> 00:29:00,096 and he doesn't try and redo Pulp Fiction. 724 00:29:00,096 --> 00:29:01,431 I know he has 725 00:29:01,431 --> 00:29:05,226 this strong Blaxploitation influence in his life. 726 00:29:05,226 --> 00:29:05,894 For God's sake. 727 00:29:05,894 --> 00:29:08,521 [MACHINE GUN FIRES] People say he makes 728 00:29:08,521 --> 00:29:09,522 revenge movies. 729 00:29:09,522 --> 00:29:12,358 You know, those were sort of revenge movies, 730 00:29:12,358 --> 00:29:14,194 all about gettin' the man or gettin' back at the man Sweet 731 00:29:14,194 --> 00:29:16,446 or gettin' back at the person who did somethin' bad to you. 732 00:29:16,446 --> 00:29:20,033 It's one of those things that makes his movies fun. 733 00:29:20,033 --> 00:29:21,826 And those are the things 734 00:29:21,826 --> 00:29:24,913 that influenced his young cinema experiences, 735 00:29:24,913 --> 00:29:26,206 like mine. 736 00:29:26,206 --> 00:29:27,582 He broke everything down. 737 00:29:27,582 --> 00:29:29,709 He explained, like, "When I was a kid, 738 00:29:29,709 --> 00:29:31,586 my mom dated black guys. 739 00:29:31,586 --> 00:29:33,755 Black guys would try to get in good with my mom, 740 00:29:33,755 --> 00:29:37,801 would take me to, uh, Blaxploitation films 741 00:29:37,801 --> 00:29:39,219 to watch as a kid. 742 00:29:39,219 --> 00:29:40,970 So that's what I grew up on. 743 00:29:40,970 --> 00:29:45,725 So I'm writing what I saw, what's inside my DNA, 744 00:29:45,725 --> 00:29:47,644 and then that's why my characters are 745 00:29:47,644 --> 00:29:49,020 always very strong." 746 00:29:49,020 --> 00:29:50,146 You helped her, didn't you? 747 00:29:50,146 --> 00:29:51,064 When you're sort of bred 748 00:29:51,064 --> 00:29:52,440 into naturally appreciating, 749 00:29:52,440 --> 00:29:54,317 it's not like someone's taught you, 750 00:29:54,317 --> 00:29:57,278 you should respect women, or black people are equal. 751 00:29:57,278 --> 00:29:59,114 Like someone's not teaching you that lesson. 752 00:29:59,114 --> 00:30:00,990 You just know it to be true. 753 00:30:00,990 --> 00:30:02,742 This is how he views the world, 754 00:30:02,742 --> 00:30:06,371 and he paints the world the way he sees it in his movies. 755 00:30:06,371 --> 00:30:09,582 And so the power is this is his truth. 756 00:30:09,582 --> 00:30:11,376 Jackie Brown is in many ways 757 00:30:11,376 --> 00:30:13,962 an ode to the sort of Blaxploitation films 758 00:30:13,962 --> 00:30:14,504 of the period. 759 00:30:14,504 --> 00:30:16,214 And who are you gonna cast? 760 00:30:16,214 --> 00:30:17,048 Pam Grier. 761 00:30:18,091 --> 00:30:19,342 I'd heard about Foxy Brown 762 00:30:19,342 --> 00:30:21,261 and Coffy and all the Pam Grier movie. 763 00:30:21,261 --> 00:30:21,719 You know, of course, 764 00:30:21,719 --> 00:30:23,012 Pam Grier's had a glorious career 765 00:30:23,012 --> 00:30:24,764 even up before Quentin Tarantino. 766 00:30:24,764 --> 00:30:26,933 He just, like, has made her that- that much cooler 767 00:30:26,933 --> 00:30:27,767 in my opinion. 768 00:30:27,767 --> 00:30:29,686 Pam Grier can kick ass, 769 00:30:29,686 --> 00:30:30,311 you know what I mean? 770 00:30:30,311 --> 00:30:32,772 It's not all Foxy Brown and it ain't all, 771 00:30:32,772 --> 00:30:34,357 you know, Straight Outta Compton. 772 00:30:37,610 --> 00:30:40,238 Jackie Brown, to me, that performance is 773 00:30:40,238 --> 00:30:42,657 so amazing and beautiful. 774 00:30:42,657 --> 00:30:44,868 But still like so strong 775 00:30:44,868 --> 00:30:47,996 and so flawed and desperate, 776 00:30:47,996 --> 00:30:50,081 and yet very sort of steely. 777 00:30:50,081 --> 00:30:52,458 I mean he writes women like nobody's business. 778 00:30:52,458 --> 00:30:55,795 In the last forty-five to fifty years, 779 00:30:55,795 --> 00:31:00,175 women have not been given a fair shake in terms of, 780 00:31:00,175 --> 00:31:05,138 uh, leading roles in, uh, movies where we can see 781 00:31:05,138 --> 00:31:07,015 what makes the woman tick. 782 00:31:07,015 --> 00:31:08,474 That's why you came here to kill me. 783 00:31:08,474 --> 00:31:09,476 (chuckles) I ain't come over here to kill you. 784 00:31:09,476 --> 00:31:10,226 Oh, no, that's fine. 785 00:31:10,226 --> 00:31:10,810 It's okay. 786 00:31:11,978 --> 00:31:12,896 Now I forgive you. 787 00:31:12,896 --> 00:31:14,397 That's the thing with Quentin's dialogue. 788 00:31:14,397 --> 00:31:15,481 A couple of men that would be like, 789 00:31:15,481 --> 00:31:17,650 I mean, women don't really talk like that. 790 00:31:17,650 --> 00:31:18,776 And I was like (laughs). 791 00:31:18,776 --> 00:31:21,488 Aw, that's cute, (inhales) 'cause we really do. 792 00:31:21,488 --> 00:31:23,990 Now if I have to do more than a year, 793 00:31:23,990 --> 00:31:26,451 you'll pay another one hundred thousand dollars. 794 00:31:26,451 --> 00:31:27,952 Women would come up to us and be like, 795 00:31:27,952 --> 00:31:28,745 "Oh, my God. 796 00:31:28,745 --> 00:31:30,872 How- Is he a woman on the inside?" 797 00:31:30,872 --> 00:31:31,998 I'm like yeah, he's kind of, 798 00:31:31,998 --> 00:31:33,208 he's a bit of woman on the inside. 799 00:31:33,208 --> 00:31:34,584 He's a little bit black on the inside. 800 00:31:34,584 --> 00:31:36,836 He's just got a whole bunch of stuff going on in him. 801 00:31:36,836 --> 00:31:39,756 If you think that you know more 802 00:31:39,756 --> 00:31:42,800 about a movie or an actor or- or anything to do 803 00:31:42,800 --> 00:31:45,511 with cinema history, he will just sit there 804 00:31:45,511 --> 00:31:49,307 and smile and listen to you, and then he will bury you 805 00:31:49,307 --> 00:31:51,100 with how much stuff he knows. 806 00:31:51,100 --> 00:31:53,394 Exactly the fact that Quentin didn't go to film school. 807 00:31:53,394 --> 00:31:55,688 I guess his film school was video archives 808 00:31:55,688 --> 00:32:00,109 and the endless movies that he could learn and read and, 809 00:32:00,109 --> 00:32:03,488 uh, watch and, uh, and enjoy and turn other 810 00:32:03,488 --> 00:32:04,155 people onto. 811 00:32:04,155 --> 00:32:06,032 Get himself gone. 812 00:32:06,032 --> 00:32:09,244 The films that he gets off on vary vastly. 813 00:32:09,244 --> 00:32:11,246 Everybody's after Kowalski 814 00:32:11,246 --> 00:32:13,915 He's passionate about Vanishing Point 815 00:32:13,915 --> 00:32:15,416 and that genre. 816 00:32:15,416 --> 00:32:19,963 And then Moeshe. 817 00:32:19,963 --> 00:32:21,923 He just loves the TV show Moesha. 818 00:32:21,923 --> 00:32:23,091 Moeshe. 819 00:32:23,091 --> 00:32:25,093 I would have never guessed that. 820 00:32:25,093 --> 00:32:27,345 And I- I think he's like that about all kinds of things. 821 00:32:27,345 --> 00:32:28,513 I think he's like that with food, 822 00:32:28,513 --> 00:32:32,100 like he loves amazingly high quality French dishes 823 00:32:32,100 --> 00:32:34,310 and he- he will smash a Pink's hotdog, 824 00:32:34,310 --> 00:32:36,854 you know, like I honestly, I think he's kind of like 825 00:32:36,854 --> 00:32:37,814 that with women. 826 00:32:37,814 --> 00:32:39,607 ..break my heart 827 00:32:39,607 --> 00:32:41,859 and make me sad. 828 00:32:41,859 --> 00:32:44,404 Tell me what did I do wrong. 829 00:32:44,404 --> 00:32:45,989 He's sort of like, if he's in love with you 830 00:32:45,989 --> 00:32:47,198 and you're a big, black, 831 00:32:47,198 --> 00:32:49,033 curvy, gorgeous lady, he's all about big, 832 00:32:49,033 --> 00:32:49,909 black curves. 833 00:32:49,909 --> 00:32:51,411 (sings) My baby love... 834 00:32:52,287 --> 00:32:53,496 And if you're a waify, 835 00:32:53,496 --> 00:32:55,790 skinny little white model type and he's in love with you, 836 00:32:55,790 --> 00:32:58,126 he just thinks that's the hottest thing on the planet. 837 00:32:58,126 --> 00:32:59,919 He's just like an appreciator. 838 00:33:01,379 --> 00:33:03,089 He knows everybody. 839 00:33:03,089 --> 00:33:06,217 And when he meets an actor from my era, 840 00:33:06,217 --> 00:33:07,927 the era when he was growin' up, 841 00:33:07,927 --> 00:33:12,473 he amazes them and amazed me by reminding me of this 842 00:33:12,473 --> 00:33:14,058 and that and things and moments 843 00:33:14,058 --> 00:33:16,477 and scenes that he remembers. 844 00:33:16,477 --> 00:33:20,607 He also built a way of sharing his vision with people. 845 00:33:20,607 --> 00:33:22,191 It wasn't storyboards. 846 00:33:22,191 --> 00:33:24,360 It was references. 847 00:33:24,360 --> 00:33:27,155 And so he'd say, 848 00:33:27,155 --> 00:33:29,907 "The warehouse looks like this." 849 00:33:29,907 --> 00:33:32,744 Or, "Look at this film for a reference for 850 00:33:32,744 --> 00:33:34,829 what I'm kind of trying to do here." 851 00:33:34,829 --> 00:33:36,789 When you're in rehearsal with him,... 852 00:33:36,789 --> 00:33:38,916 ...you're discussing those references, 853 00:33:38,916 --> 00:33:42,045 specifically, and he gives you stuff to watch. 854 00:33:42,045 --> 00:33:44,881 It's not something you come to 855 00:33:44,881 --> 00:33:46,716 lightly with him. 856 00:33:46,716 --> 00:33:48,009 It's not a rip-off 857 00:33:48,009 --> 00:33:50,637 that's just crap. 858 00:33:50,637 --> 00:33:52,555 And it's not even an homage. 859 00:33:54,140 --> 00:33:57,143 It's that he's using the tools of cinema to make 860 00:33:57,143 --> 00:33:59,228 more resonant and greater cinema. 861 00:33:59,937 --> 00:34:03,566 Quentin uses filmic vocabulary. 862 00:34:03,566 --> 00:34:05,318 If you look at great art, 863 00:34:05,318 --> 00:34:08,029 that's what musicians do, composers do, 864 00:34:08,029 --> 00:34:09,572 painters do, sculptors do. 865 00:34:09,572 --> 00:34:10,823 'Cause he always, you know, 866 00:34:12,492 --> 00:34:15,953 elevates everything and charges everything. 867 00:34:15,953 --> 00:34:19,457 The detective was the genre that I started with. 868 00:34:19,457 --> 00:34:22,919 Old cars, old clothes, old jokes, fast women, 869 00:34:22,919 --> 00:34:24,295 they all lied to me. 870 00:34:24,295 --> 00:34:26,547 The cynical, but human detective. 871 00:34:26,547 --> 00:34:29,050 Robert Forster as Banyon. 872 00:34:29,050 --> 00:34:30,885 One of the things Quentin does is incur 873 00:34:30,885 --> 00:34:32,428 talent all the time. 874 00:34:32,428 --> 00:34:33,596 I mean a lot of times people will 875 00:34:33,596 --> 00:34:35,723 resurrect old actors and they have them do 876 00:34:35,723 --> 00:34:36,641 what they always did. 877 00:34:36,641 --> 00:34:42,188 What Quentin always does is he pushes them further. 878 00:34:42,188 --> 00:34:43,815 He takes them to a new place. 879 00:34:45,400 --> 00:34:47,443 He gives them a different career. 880 00:34:47,443 --> 00:34:49,654 When my career was at the very bottom, 881 00:34:49,654 --> 00:34:51,030 in walks Quentin. 882 00:34:51,030 --> 00:34:54,075 He said, "I am adapting Rum Punch, 883 00:34:54,075 --> 00:34:57,120 an Elmore Leonard novel, to a movie." 884 00:34:57,120 --> 00:34:59,163 And I said to him, "I don't think they're gonna 885 00:34:59,163 --> 00:35:01,040 let you hire me." 886 00:35:01,040 --> 00:35:03,960 That period in my career, the distributors 887 00:35:03,960 --> 00:35:05,169 didn't want me. 888 00:35:05,169 --> 00:35:07,088 They wanted, you know, somebody with a bigger name. 889 00:35:07,088 --> 00:35:09,799 And he said, and I will never forget him for it, 890 00:35:09,799 --> 00:35:12,927 he said, "I hire anybody I want." 891 00:35:12,927 --> 00:35:15,888 And that is the first moment when I said, 892 00:35:15,888 --> 00:35:19,225 "Wow, Bob, this is a life-changer." 893 00:35:19,225 --> 00:35:21,561 All right, before we start talking about stewardesses, 894 00:35:21,561 --> 00:35:23,354 let's get Beaumont out of the way first. 895 00:35:23,354 --> 00:35:25,523 Uh, you know, I think somebody already did. 896 00:35:25,523 --> 00:35:27,150 I got a call from my agents. 897 00:35:27,150 --> 00:35:28,943 They said that, uh, Vince Gilligan was 898 00:35:28,943 --> 00:35:29,694 gonna call me. 899 00:35:32,447 --> 00:35:33,573 I picked up the phone. 900 00:35:33,573 --> 00:35:36,284 Vince said, "Uh, we've been saving a role 901 00:35:36,284 --> 00:35:37,618 called "The Disappearer". 902 00:35:37,618 --> 00:35:40,246 We've been calling it the Robert Forster role. 903 00:35:40,246 --> 00:35:41,914 And it was, in fact, 904 00:35:41,914 --> 00:35:43,166 a straight shooter. 905 00:35:43,166 --> 00:35:44,375 It's gonna take me 906 00:35:44,375 --> 00:35:47,044 some time to get your new situation fixed. 907 00:35:47,044 --> 00:35:48,671 Until then, you're gonna be staying here. 908 00:35:48,671 --> 00:35:51,007 I've got a place downstairs out of sight. 909 00:35:51,007 --> 00:35:53,342 And, uh, this was a direct result, 910 00:35:53,342 --> 00:35:54,927 of course, of Jackie Brown. 911 00:35:54,927 --> 00:35:59,474 People kept sayin' well, it's not Pulp Fiction. 912 00:35:59,474 --> 00:36:01,350 No, it's fuckin' Jackie Brown. 913 00:36:01,350 --> 00:36:03,352 It's a different pace, it's a different story 914 00:36:03,352 --> 00:36:05,438 and it's about different kinds of people. 915 00:36:05,438 --> 00:36:08,232 Yeah, there are some criminals in there, 916 00:36:08,232 --> 00:36:10,943 but it's really an adult movie about people 917 00:36:10,943 --> 00:36:12,904 in a certain place in their life when it's time 918 00:36:12,904 --> 00:36:14,697 for them to make a choice about how they want to live 919 00:36:14,697 --> 00:36:15,531 the rest of their life. 920 00:36:15,531 --> 00:36:16,991 It's a crossroads movie. 921 00:36:16,991 --> 00:36:18,993 If you had the chance, unemployed now, 922 00:36:20,369 --> 00:36:23,080 to walk away with a half million dollars 923 00:36:24,499 --> 00:36:25,416 would you take it? 924 00:36:25,416 --> 00:36:28,794 Despite whatever the minor violence is in it, 925 00:36:28,794 --> 00:36:32,548 it's just a great story about these people trying 926 00:36:32,548 --> 00:36:33,966 to figure out their lives. 927 00:36:37,720 --> 00:36:41,015 When Jackie Brown came out of the prison 928 00:36:41,015 --> 00:36:44,977 and had that long walk toward me 929 00:36:44,977 --> 00:36:47,855 and it is accompanied by music... 930 00:36:52,276 --> 00:37:01,327 (sings) Why do I keep my mind on you all the time? 931 00:37:01,327 --> 00:37:02,328 And I don't even know you... 932 00:37:02,328 --> 00:37:05,206 ...you're watching this guy fall in love 933 00:37:05,206 --> 00:37:06,290 with a woman. 934 00:37:08,501 --> 00:37:13,005 I cannot tell you how emotive that was, 935 00:37:13,005 --> 00:37:15,508 and for a director to do that. 936 00:37:15,508 --> 00:37:17,718 They never do that. 937 00:37:17,718 --> 00:37:20,179 Out of all those films, Jackie Brown is sort of like 938 00:37:20,179 --> 00:37:21,556 the best one. 939 00:37:21,556 --> 00:37:24,475 Yeah, for me, just because of the cinematic beauty 940 00:37:24,475 --> 00:37:27,687 and gentleness of that particular story. 941 00:37:27,687 --> 00:37:29,272 (sing) ...baby. 942 00:37:29,272 --> 00:37:30,147 Hmm. 943 00:37:30,147 --> 00:37:31,399 (sing) Gave you the love you never knew, girl. 944 00:37:31,399 --> 00:37:33,276 Who is this? 945 00:37:33,276 --> 00:37:34,944 The Delphonics. (sing) Didn't I do it baby... 946 00:37:37,196 --> 00:37:38,030 It's nice. 947 00:37:38,030 --> 00:37:38,865 Mm-hmm. 948 00:37:51,627 --> 00:37:53,129 The main influences of Kill Bill 949 00:37:53,129 --> 00:37:59,927 is all the best of Hong Kong cinema. 950 00:37:59,927 --> 00:38:01,304 Quentin is in love 951 00:38:01,304 --> 00:38:02,597 with the culture. 952 00:38:02,597 --> 00:38:04,348 When he does martial arts stuff, 953 00:38:04,348 --> 00:38:07,977 he's recreating the energy and he's participating as 954 00:38:07,977 --> 00:38:10,229 somebody who is so thrilled watching this. 955 00:38:11,689 --> 00:38:14,108 The last script Quentin gave me was Kill Bill... 956 00:38:14,108 --> 00:38:14,692 And it was like almost 957 00:38:14,692 --> 00:38:16,110 the size of a small phone book. 958 00:38:16,110 --> 00:38:16,819 Remember those? 959 00:38:18,029 --> 00:38:19,989 Story by Q and U, 960 00:38:21,198 --> 00:38:23,200 meaning U as in Uma. 961 00:38:23,200 --> 00:38:25,244 We've all just been calling her the bride on 962 00:38:25,244 --> 00:38:26,454 account of the dress. 963 00:38:26,454 --> 00:38:29,332 You can tell she was pregnant. 964 00:38:29,332 --> 00:38:31,125 (spits) 965 00:38:31,125 --> 00:38:33,753 That woman deserves her revenge and- 966 00:38:33,753 --> 00:38:35,129 and we deserve to die. 967 00:38:35,129 --> 00:38:37,590 I could see the faces of the cunts 968 00:38:37,590 --> 00:38:42,386 who did this to me and the dicks responsible. 969 00:38:42,386 --> 00:38:44,013 It read like a novel. 970 00:38:44,013 --> 00:38:45,056 It was funny. 971 00:38:45,056 --> 00:38:46,849 It had all this action in it, 972 00:38:46,849 --> 00:38:48,934 you know, but it read in- in a way that you just 973 00:38:48,934 --> 00:38:49,935 could not put it down. 974 00:38:49,935 --> 00:38:50,686 He would tell me what to read. 975 00:38:50,686 --> 00:38:51,103 I was like, wait. 976 00:38:51,103 --> 00:38:53,105 Okay, I'm gonna read it so now I know 977 00:38:53,105 --> 00:38:54,899 what action I'm gonna do. 978 00:38:54,899 --> 00:38:57,568 And I'd start reading and I'd forget 979 00:38:57,568 --> 00:38:59,654 to read for the stunts and I just would read 980 00:38:59,654 --> 00:39:00,363 the whole thing again. 981 00:39:00,363 --> 00:39:01,656 It happened four times. 982 00:39:01,656 --> 00:39:03,491 That was when I first had my kind of like 983 00:39:03,491 --> 00:39:06,619 professional moment of, "Holy shit. 984 00:39:06,619 --> 00:39:08,412 I'm gonna be a part of something magic." 985 00:39:08,412 --> 00:39:15,920 [SWORDS CLANG] [WALLA] 986 00:39:15,920 --> 00:39:19,298 Quentin has it as Boomer is this part of The Bride 987 00:39:19,298 --> 00:39:21,425 and Zoë is this part of The Bride. 988 00:39:21,425 --> 00:39:23,552 Whatever's in front of the camera is different parts 989 00:39:23,552 --> 00:39:24,887 of the same whole. 990 00:39:24,887 --> 00:39:26,847 We were doing the scene where she runs up 991 00:39:26,847 --> 00:39:27,682 the banister. 992 00:39:27,682 --> 00:39:29,016 And he came to me and he was like, 993 00:39:29,016 --> 00:39:31,060 "So, what are you doing in the shot?" 994 00:39:31,060 --> 00:39:33,688 And I was like, I'm running up the banister. 995 00:39:33,688 --> 00:39:34,730 And he was like, "Yeah, but why?" 996 00:39:34,730 --> 00:39:37,817 And I was like, trick question. 997 00:39:37,817 --> 00:39:38,818 'Cause that's my job." 998 00:39:38,818 --> 00:39:39,568 You know, and he was like, "No, 999 00:39:39,568 --> 00:39:42,029 but why is The Bride running up the banister?" 1000 00:39:42,029 --> 00:39:45,282 and I was like, "Oh, to get to O-Ren." 1001 00:39:45,282 --> 00:39:47,868 And he was like, "And why is she trying to get to O-Ren?" 1002 00:39:49,078 --> 00:39:50,579 It sounds like such actor-speak, 1003 00:39:50,579 --> 00:39:53,165 but my running up the banister shifted, 1004 00:39:53,165 --> 00:39:54,750 because now I have an intention. 1005 00:39:54,750 --> 00:39:56,502 Now I have a reason outside of 1006 00:39:56,502 --> 00:39:58,295 just technically getting it right. 1007 00:39:58,295 --> 00:40:00,715 That was always super important to Quentin, 1008 00:40:00,715 --> 00:40:02,425 "'cause that bitch fucked up my life 1009 00:40:02,425 --> 00:40:03,384 and I want her to die." 1010 00:40:07,638 --> 00:40:10,808 The fact that he always has women in these strong 1011 00:40:10,808 --> 00:40:14,103 positions isn't something that he necessarily 1012 00:40:14,103 --> 00:40:16,313 highlights or billboards. (overlapping) (whistles) 1013 00:40:16,313 --> 00:40:17,940 To him, of course, it makes sense 1014 00:40:17,940 --> 00:40:21,819 these are women doing this, are fighting or are leaders. 1015 00:40:21,819 --> 00:40:22,778 He does it and, it's for him, 1016 00:40:22,778 --> 00:40:23,696 it's just natural. 1017 00:40:23,696 --> 00:40:26,824 It's such an interesting conversation to have these days, 1018 00:40:27,742 --> 00:40:31,495 girl power and a quality that sort of feels like 1019 00:40:31,495 --> 00:40:34,248 it's all kind of coming to a head. 1020 00:40:34,248 --> 00:40:38,127 The biggest feat is gonna be making it normal 1021 00:40:38,127 --> 00:40:41,005 that we are in lead positions as opposed to 1022 00:40:41,005 --> 00:40:42,339 it being the fight. 1023 00:40:43,382 --> 00:40:46,677 And that's where Quentin is just a priceless ally. 1024 00:40:46,677 --> 00:40:48,846 And I think he needs to sit in an interview and be like, 1025 00:40:48,846 --> 00:40:50,473 "Listen, women should have these roles 1026 00:40:50,473 --> 00:40:50,806 and women..." 1027 00:40:50,806 --> 00:40:53,684 Like he doesn't have to drive it because he's- 1028 00:40:53,684 --> 00:40:55,936 he's just presenting it as such. 1029 00:40:55,936 --> 00:40:58,564 Now if any of you sons of bitches (yells) 1030 00:40:58,564 --> 00:41:03,194 got anything else to say, now's the fuckin' time! 1031 00:41:03,194 --> 00:41:07,573 O-Ren Ishii is a survivor. 1032 00:41:12,453 --> 00:41:16,415 She is a woman who was probably never going to die 1033 00:41:16,415 --> 00:41:18,375 peacefully of old age. 1034 00:41:18,375 --> 00:41:20,044 She swore revenge. 1035 00:41:21,003 --> 00:41:23,047 It only made sense that in the end, 1036 00:41:23,047 --> 00:41:25,341 in her great honor, she was killed 1037 00:41:25,341 --> 00:41:27,009 with the Hattori Hanso sword. 1038 00:41:31,305 --> 00:41:33,682 Uma worked her ass off and was in training 1039 00:41:33,682 --> 00:41:36,185 for a long time before I was even on board. 1040 00:41:36,185 --> 00:41:37,561 She had a crazy schedule. 1041 00:41:37,561 --> 00:41:39,355 She was in just about every shot. 1042 00:41:39,355 --> 00:41:41,982 We were shooting in Beijing. 1043 00:41:41,982 --> 00:41:43,234 She had a newborn. 1044 00:41:44,401 --> 00:41:47,363 She was under intense amounts of physical pressure. 1045 00:41:47,363 --> 00:41:49,406 (grunts) (grunts) 1046 00:41:49,406 --> 00:41:50,658 Cut. Great. 1047 00:41:50,658 --> 00:41:51,200 Excellent. 1048 00:41:51,200 --> 00:41:51,742 Excellent. 1049 00:41:51,742 --> 00:41:55,120 Check (indistinct) (laughs) 1050 00:41:55,120 --> 00:41:57,623 Like, you know, she was in pain a lot of the time. 1051 00:41:57,623 --> 00:42:00,334 She was sort of like, she had blisters and cuts, 1052 00:42:00,334 --> 00:42:00,709 things like that. 1053 00:42:00,709 --> 00:42:03,087 It's just part of the- the deal. 1054 00:42:03,087 --> 00:42:04,213 It feels good to be tough. 1055 00:42:04,213 --> 00:42:06,131 It's strangely sort of liberating. 1056 00:42:06,131 --> 00:42:07,758 Yeah, I'm bleeding. 1057 00:42:07,758 --> 00:42:08,384 Keep rolling. 1058 00:42:09,468 --> 00:42:13,055 The girl fight between Uma and, uh, 1059 00:42:13,055 --> 00:42:16,100 Vivica Fox in Kill Bill is, 1060 00:42:16,100 --> 00:42:18,310 without a doubt, the greatest fight 1061 00:42:18,310 --> 00:42:20,646 any two women ever had in a movie. 1062 00:42:20,646 --> 00:42:22,231 It's crazy good. 1063 00:42:22,231 --> 00:42:32,616 [FIGHT WALLA] [GLASS SHATTERS] 1064 00:42:32,616 --> 00:42:35,035 Vivica and Uma just were so great in that scene. 1065 00:42:35,035 --> 00:42:36,370 When I'd sit there and watch, 1066 00:42:36,370 --> 00:42:37,872 I'd forget that I was there to do a job. 1067 00:42:37,872 --> 00:42:39,164 When the daughter comes in the door, 1068 00:42:39,164 --> 00:42:41,375 I'm just like God, it's beautiful. 1069 00:42:41,375 --> 00:42:44,628 The mother versus assassin just like 1070 00:42:44,628 --> 00:42:46,881 (clicks tongue) in one shot. Perfect. 1071 00:42:47,590 --> 00:42:48,716 Mommy, I'm home. 1072 00:42:48,716 --> 00:42:50,217 Hey, baby. 1073 00:42:50,217 --> 00:42:51,760 How was school? 1074 00:42:51,760 --> 00:42:53,262 It softened everything. 1075 00:42:53,262 --> 00:42:54,221 Just amazing. 1076 00:42:54,221 --> 00:42:55,764 And- and- and The Bride sells it, 1077 00:42:55,764 --> 00:42:57,600 too, because she knows, you know. 1078 00:42:58,684 --> 00:42:59,685 It's just genius. 1079 00:42:59,685 --> 00:43:02,855 It's absolute, irrevocable genius, man. 1080 00:43:02,855 --> 00:43:05,983 There's a viciousness and yet their femininity 1081 00:43:05,983 --> 00:43:07,776 never went away for a second. 1082 00:43:09,111 --> 00:43:11,113 It's all about presentation. 1083 00:43:11,113 --> 00:43:12,907 You walk through a shoji screen and then, 1084 00:43:12,907 --> 00:43:15,701 suddenly, there's this winter wonderland. 1085 00:43:18,120 --> 00:43:22,541 He really worked with the designers to create this 1086 00:43:22,541 --> 00:43:25,336 beautiful visual that also turned into a wonderful 1087 00:43:25,336 --> 00:43:27,880 sound backdrop for what we were doing. 1088 00:43:29,715 --> 00:43:31,133 There's the bamboo water fountain. 1089 00:43:31,133 --> 00:43:33,093 It almost acts as a metronome. 1090 00:43:33,886 --> 00:43:37,973 [SWORDS CLANG] It was absolutely beautiful, 1091 00:43:37,973 --> 00:43:40,225 like when you are watching something from another time. 1092 00:43:41,560 --> 00:43:43,437 It's one of the perfect examples of movie magic 1093 00:43:43,437 --> 00:43:46,774 where the practicality of it was kind of difficult. 1094 00:43:47,566 --> 00:43:50,736 The snow we were using was sort of difficult to breathe. 1095 00:43:50,736 --> 00:43:51,737 So in between takes, 1096 00:43:51,737 --> 00:43:54,281 we had the protective masks on and, you know, 1097 00:43:54,281 --> 00:43:56,408 we were constantly having to cover our footprints. 1098 00:43:59,370 --> 00:44:03,040 And action! 1099 00:44:03,040 --> 00:44:04,041 Women work for him. 1100 00:44:04,041 --> 00:44:06,961 They are fiercely loyal 'cause he actually 1101 00:44:06,961 --> 00:44:08,712 is very protective of them. 1102 00:44:08,712 --> 00:44:10,047 He promotes them. 1103 00:44:10,047 --> 00:44:11,840 He works creatively with them. 1104 00:44:11,840 --> 00:44:13,801 And when you look at the female characters 1105 00:44:13,801 --> 00:44:15,010 in his films, 1106 00:44:15,010 --> 00:44:16,887 they're all quite remarkable. 1107 00:44:17,721 --> 00:44:18,681 Cut! Okay? 1108 00:44:18,681 --> 00:44:20,391 Yeah. Terrific! 1109 00:44:24,144 --> 00:44:25,020 You guys were great. 1110 00:44:25,020 --> 00:44:26,271 That was terrific. 1111 00:44:26,271 --> 00:44:27,690 Part of me still feels like I don't want to talk 1112 00:44:27,690 --> 00:44:30,776 about it because I don't want people to- to know. 1113 00:44:30,776 --> 00:44:34,530 (indistinct) It was the camera angle 1114 00:44:34,530 --> 00:44:37,157 that sold the fact that my head had been cut off 1115 00:44:38,117 --> 00:44:40,953 so I look like I had a little bit of a cone head in real life. 1116 00:44:40,953 --> 00:44:42,287 And then when you see it in the movie, 1117 00:44:42,287 --> 00:44:44,039 it's just like angels are singing. 1118 00:44:48,877 --> 00:44:50,462 There's something beautiful in understanding 1119 00:44:50,462 --> 00:44:52,256 that- that is done in camera. 1120 00:44:55,217 --> 00:44:56,552 That was completely practical 1121 00:44:56,552 --> 00:44:58,595 because you know Quentin doesn't, 1122 00:44:58,595 --> 00:45:00,973 is a fan of avoiding CGI when possible. 1123 00:45:07,229 --> 00:45:08,731 He adores Uma. 1124 00:45:10,399 --> 00:45:13,360 And nobody was more enthusiastic than Quentin. 1125 00:45:13,360 --> 00:45:16,739 I mean, he's still like a kid when he gets worked up. 1126 00:45:16,739 --> 00:45:18,449 Sometimes you do dumb things. 1127 00:45:30,002 --> 00:45:32,463 This is the thing with this business. 1128 00:45:32,463 --> 00:45:37,718 You make the best level of plans and you have great people. 1129 00:45:40,721 --> 00:45:42,806 And then sometimes there's human error. 1130 00:45:53,859 --> 00:45:54,902 Everyone was just having 1131 00:45:54,902 --> 00:45:56,904 fun making a movie. 1132 00:45:57,738 --> 00:45:59,490 And everybody was damn happy to be on a 1133 00:45:59,490 --> 00:46:02,076 set with Quentin Tarantino. 1134 00:46:02,076 --> 00:46:04,495 And everybody was damn happy to be represented 1135 00:46:04,495 --> 00:46:06,705 and distributed by Harvey Weinstein 1136 00:46:06,705 --> 00:46:07,790 and the Weinstein Company. 1137 00:46:15,297 --> 00:46:17,800 What was weird about Harvey is, 1138 00:46:17,800 --> 00:46:19,510 and this was true of his relationship with 1139 00:46:19,510 --> 00:46:21,720 competitors and with people, 1140 00:46:21,720 --> 00:46:24,348 was he- he was a bully and he enjoyed it. 1141 00:46:24,348 --> 00:46:28,519 He had this- this enormous power that, 1142 00:46:30,187 --> 00:46:33,148 I know he was conscious that he had it, 1143 00:46:33,148 --> 00:46:35,984 and I know that he would consciously use it, 1144 00:46:38,320 --> 00:46:41,615 but whether or not he realized he was using it 1145 00:46:41,615 --> 00:46:45,119 in such an obstructive way, 1146 00:46:45,119 --> 00:46:46,745 I don't know about that. 1147 00:46:46,745 --> 00:46:49,331 I'll tell you a funny thing that happened in Cannes. 1148 00:46:49,331 --> 00:46:51,917 I was at this little reception thing with Quentin. 1149 00:46:51,917 --> 00:46:54,378 Here comes Harvey and he comes around the corner 1150 00:46:54,378 --> 00:46:57,131 and he's sweating, like profusely sweating. 1151 00:46:57,131 --> 00:46:59,800 And he's got this really angry face, you know. 1152 00:46:59,800 --> 00:47:01,844 You see a Harvey Weinstein in that mood, 1153 00:47:03,762 --> 00:47:06,014 everybody literally froze. 1154 00:47:06,014 --> 00:47:08,016 And right before he had come in the room, 1155 00:47:08,016 --> 00:47:10,018 Quentin had introduced me to Harvey's wife 1156 00:47:10,018 --> 00:47:11,061 and his little daughter. 1157 00:47:11,061 --> 00:47:14,481 And the little daughter had a doll in her hand 1158 00:47:14,481 --> 00:47:17,943 and she had handed me the doll while we were talking. 1159 00:47:17,943 --> 00:47:21,405 And so I was holding the doll when Harvey came around 1160 00:47:21,405 --> 00:47:23,448 the corner and came into the room. 1161 00:47:23,448 --> 00:47:26,201 And he looked at me and he looked at Quentin 1162 00:47:26,201 --> 00:47:28,454 and he looked at his wife and child 1163 00:47:28,454 --> 00:47:30,497 and he sized up the situation 1164 00:47:30,497 --> 00:47:33,125 and he took the doll out of my hand 1165 00:47:33,125 --> 00:47:35,461 and handed it back to his little kid, to his daughter. 1166 00:47:36,795 --> 00:47:38,380 And Quentin goes, "Harvey, Harvey, 1167 00:47:38,380 --> 00:47:38,964 what are you doing? 1168 00:47:38,964 --> 00:47:41,800 He goes, Michael's gonna do The Hateful Eight. 1169 00:47:41,800 --> 00:47:44,386 Michael's gonna do The Hateful Eight with us." 1170 00:47:44,386 --> 00:47:47,097 And Harvey kind of- kind of stood there 1171 00:47:47,097 --> 00:47:48,724 and his eyes were shifting back and forth 1172 00:47:48,724 --> 00:47:52,644 and he was thinking on his feet. 1173 00:47:52,644 --> 00:47:53,979 Mm. Mm. Mm. (scoffs) And, all of a sudden, he went 1174 00:47:53,979 --> 00:47:55,814 and he took the doll from the little girl 1175 00:47:55,814 --> 00:47:56,982 and gave it back to me. 1176 00:47:56,982 --> 00:48:02,029 And I- I took it and I -- I- I didn't know what to say. 1177 00:48:02,029 --> 00:48:03,113 I mean it was like... 1178 00:48:03,113 --> 00:48:05,866 And he walked away right in that moment. 1179 00:48:05,866 --> 00:48:09,286 He gave me the damn the thing and then he walked away. 1180 00:48:09,286 --> 00:48:11,622 And I remember going, oh, my God. 1181 00:48:11,622 --> 00:48:13,457 And Quentin was laughing hysterically. 1182 00:48:13,457 --> 00:48:15,375 When Quentin finds something funny and he laughs, 1183 00:48:15,375 --> 00:48:16,835 he's got a great laugh. 1184 00:48:16,835 --> 00:48:19,755 And, of course, I gave the doll back to the girl. 1185 00:48:19,755 --> 00:48:21,798 It was very strange and I'll never forget it. 1186 00:48:21,798 --> 00:48:23,634 It was like, wow. 1187 00:48:23,634 --> 00:48:25,093 Where did that come from? 1188 00:48:25,093 --> 00:48:26,595 Holy shit. 1189 00:48:26,595 --> 00:48:28,096 You know a year later, you know, 1190 00:48:28,096 --> 00:48:29,431 the guy's being indicted. 1191 00:48:41,443 --> 00:48:43,654 Quentin loves genre. 1192 00:48:47,449 --> 00:48:50,577 He used to do his QT Fest in Austin. 1193 00:48:50,577 --> 00:48:53,997 There's a big rule that we have during this festival. 1194 00:48:53,997 --> 00:48:57,042 You don't laugh to show that you're superior 1195 00:48:57,042 --> 00:49:00,796 than the movie or how much cooler you are than the movie, 1196 00:49:00,796 --> 00:49:02,631 because I'm telling you nobody here is cooler 1197 00:49:02,631 --> 00:49:03,882 than this movie. 1198 00:49:03,882 --> 00:49:05,509 These movies are fuckin' cool. 1199 00:49:05,509 --> 00:49:07,052 For ten days he would show movies. 1200 00:49:07,052 --> 00:49:08,887 He would have double features every night, 1201 00:49:08,887 --> 00:49:10,305 some nights triple features, 1202 00:49:10,305 --> 00:49:14,893 and showed Asian films and genre films from all over. 1203 00:49:14,893 --> 00:49:16,687 Constantly people would talk movies with him, 1204 00:49:16,687 --> 00:49:18,063 which is what he loves. 1205 00:49:18,063 --> 00:49:19,898 And so I think there was a period of time 1206 00:49:19,898 --> 00:49:22,693 where Austin was a very safe haven for Quentin. 1207 00:49:22,693 --> 00:49:24,236 Quentin and Robert were hanging out a 1208 00:49:24,236 --> 00:49:25,779 lot together at that time. 1209 00:49:25,779 --> 00:49:27,406 I remember Quentin and Robert took me 1210 00:49:27,406 --> 00:49:29,491 and Edgar right out for Mexican food. 1211 00:49:29,491 --> 00:49:30,409 And they told us the 1212 00:49:30,409 --> 00:49:32,828 whole concept of Grindhouse. 1213 00:49:32,828 --> 00:49:34,580 Quentin's part of Grindhouse 1214 00:49:34,580 --> 00:49:35,289 is extraordinary. 1215 00:49:35,289 --> 00:49:36,665 I think it's so smart. 1216 00:49:36,665 --> 00:49:38,750 It's like lots of people have done 1217 00:49:38,750 --> 00:49:40,335 chase films and lots of people have 1218 00:49:40,335 --> 00:49:41,712 done revenge films. 1219 00:49:41,712 --> 00:49:45,465 And it is such a remarkable pro woman, 1220 00:49:45,465 --> 00:49:48,343 feminist, but also cinematic, 1221 00:49:48,343 --> 00:49:51,346 a visionary cinematic, exciting film. 1222 00:49:52,681 --> 00:49:53,515 He rang me and was like, 1223 00:49:53,515 --> 00:49:55,100 Zoë, I've finished the script for Death Proof. 1224 00:49:55,100 --> 00:49:58,020 He had told me that it was gonna be about a stunt guy 1225 00:49:58,020 --> 00:49:59,896 whose car was death proof 1226 00:49:59,896 --> 00:50:01,315 and that he killed women with it. 1227 00:50:02,441 --> 00:50:04,818 Every troupe that you've seen where a woman is 1228 00:50:04,818 --> 00:50:08,238 brutalized is referred to 1229 00:50:08,238 --> 00:50:09,990 and then he flips it on its head. 1230 00:50:09,990 --> 00:50:11,366 [GLASS SHATTERS] Hey! 1231 00:50:11,366 --> 00:50:13,618 (screams) Now I want blood. 1232 00:50:13,618 --> 00:50:14,911 It's about redemption. 1233 00:50:14,911 --> 00:50:15,954 It's about power. 1234 00:50:15,954 --> 00:50:17,331 It's about feminism. 1235 00:50:17,331 --> 00:50:18,790 (grunts) Oh, you want... (grunts) 1236 00:50:18,790 --> 00:50:22,127 He makes roles for women that he wants to see. 1237 00:50:22,127 --> 00:50:24,671 I remember saying to him, "As long as you cast 1238 00:50:24,671 --> 00:50:27,049 someone in the movie that looks like me so I can work on it." 1239 00:50:27,049 --> 00:50:28,467 Nice. 1240 00:50:28,467 --> 00:50:29,926 Nice. Thank you. 1241 00:50:29,926 --> 00:50:30,260 Yep. 1242 00:50:30,260 --> 00:50:31,303 Like, it's on you, buddy. 1243 00:50:31,303 --> 00:50:32,554 Like if I'm terrible at this, 1244 00:50:32,554 --> 00:50:35,807 if I fuck it up, it's your fault. 1245 00:50:35,807 --> 00:50:36,808 (inhales) And he, at one point, was like, 1246 00:50:36,808 --> 00:50:37,643 "Look, this is my job. 1247 00:50:37,643 --> 00:50:39,061 This is what I do. 1248 00:50:39,061 --> 00:50:41,355 I make good casting choices." 1249 00:50:41,355 --> 00:50:43,357 And he said, "I know you and I know what I want 1250 00:50:43,357 --> 00:50:44,775 and I know I can get it." 1251 00:50:44,775 --> 00:50:46,026 So you just need to relax 1252 00:50:46,026 --> 00:50:47,527 and know your lines. 1253 00:50:47,527 --> 00:50:47,986 I remember... 1254 00:50:47,986 --> 00:50:49,529 ..thinking this is like a, 1255 00:50:49,529 --> 00:50:52,157 yeah, it's a great night at the theater, 1256 00:50:52,157 --> 00:50:53,617 you know, in nineteen seventy. 1257 00:50:56,119 --> 00:50:58,413 I'd gone in and interviewed for those 1258 00:50:58,413 --> 00:51:01,208 kinds of movies, you know, so I knew, 1259 00:51:01,208 --> 00:51:01,666 I knew them. 1260 00:51:01,666 --> 00:51:02,459 I knew what he was doing. 1261 00:51:02,459 --> 00:51:03,502 I thought it was pretty great. 1262 00:51:03,502 --> 00:51:05,962 Do I frighten you? 1263 00:51:05,962 --> 00:51:07,464 I was what a stuntman would look like. 1264 00:51:07,464 --> 00:51:09,007 Big scar, that (indistinct). 1265 00:51:09,007 --> 00:51:10,008 He goes, "Yeah, let's do the eyes." 1266 00:51:10,008 --> 00:51:11,218 And you mean big, don't you? and he said, 1267 00:51:11,218 --> 00:51:12,094 "Oh, yeah." 1268 00:51:12,094 --> 00:51:14,513 The old school action hero and the stunt guy are 1269 00:51:14,513 --> 00:51:16,264 really important to him and I think this was an 1270 00:51:16,264 --> 00:51:17,682 exciting way for him to say thank you 1271 00:51:17,682 --> 00:51:20,102 to the stunt people of- of the industry. 1272 00:51:20,102 --> 00:51:20,894 Now. 1273 00:51:20,894 --> 00:51:22,687 That's that Quentin magic is- is getting as 1274 00:51:22,687 --> 00:51:24,272 much of it to be as real as possible. 1275 00:51:24,272 --> 00:51:27,317 [CRASH] (groan) (scream) We're doing ninety miles 1276 00:51:27,317 --> 00:51:29,820 an hour for a lot of that stuff down that road. 1277 00:51:29,820 --> 00:51:32,280 She's strapped to the hood of that car. 1278 00:51:32,280 --> 00:51:33,490 There's nothing you can do. 1279 00:51:33,490 --> 00:51:36,201 If he catches his tire on the edge of the road 1280 00:51:36,201 --> 00:51:39,204 and we go over, that's it for Zoë. 1281 00:51:39,204 --> 00:51:40,747 It's not gonna be a broken arm. 1282 00:51:40,747 --> 00:51:41,498 He came up to me one time and he's like, 1283 00:51:41,498 --> 00:51:42,457 "Zoë, come and look at this." 1284 00:51:42,457 --> 00:51:44,042 And I sat there and I was all excited to see it and 1285 00:51:44,042 --> 00:51:45,836 I was watching it and I was like, 1286 00:51:45,836 --> 00:51:46,378 "Oh, my God. 1287 00:51:46,378 --> 00:51:47,254 It looks amazing." 1288 00:51:47,254 --> 00:51:48,463 I was so over the moon. 1289 00:51:48,463 --> 00:51:49,548 He was like, "What's wrong with it?" 1290 00:51:49,548 --> 00:51:50,048 And I was like, "What? 1291 00:51:50,048 --> 00:51:50,715 What are you talking about? 1292 00:51:50,715 --> 00:51:51,675 There's nothing wrong with that. 1293 00:51:51,675 --> 00:51:53,301 That's fuckin' gold." 1294 00:51:53,301 --> 00:51:54,469 He was like, there's something wrong with it. 1295 00:51:54,469 --> 00:51:54,886 What is it? 1296 00:51:54,886 --> 00:51:57,389 And I was like, "I don't know, Quentin. 1297 00:51:57,389 --> 00:51:59,015 I think you're being a bit fussy." 1298 00:51:59,015 --> 00:52:01,184 You know, and he was like, "What don't we see in the 1299 00:52:01,184 --> 00:52:02,769 whole four minutes?" 1300 00:52:02,769 --> 00:52:03,645 And I was like, "What? 1301 00:52:03,645 --> 00:52:05,313 (gasps) My face." 1302 00:52:05,313 --> 00:52:08,275 And we never once saw my face because my job for 1303 00:52:08,275 --> 00:52:10,652 so long had been to know exactly 1304 00:52:10,652 --> 00:52:12,237 where the camera was so I'd avoid it. 1305 00:52:12,237 --> 00:52:13,113 I'd have an arm up. 1306 00:52:13,113 --> 00:52:15,657 I'd use my hair or my body or whatever, 1307 00:52:15,657 --> 00:52:16,741 'cause that was my job. 1308 00:52:16,741 --> 00:52:19,327 If you saw my face, the take was ruined. 1309 00:52:19,327 --> 00:52:19,744 And he was like, 1310 00:52:19,744 --> 00:52:20,871 "I love that you're that good at it, 1311 00:52:20,871 --> 00:52:22,581 but I need you to reverse it because the 1312 00:52:22,581 --> 00:52:25,917 whole point of this is that we can see it's you." 1313 00:52:27,461 --> 00:52:30,130 He loves to help actors get to a place 1314 00:52:30,130 --> 00:52:32,466 where they can completely bring it. 1315 00:52:35,844 --> 00:52:37,762 So how's Quentin different from other directors? 1316 00:52:37,762 --> 00:52:41,975 (laughs) I never, never fear 1317 00:52:41,975 --> 00:52:43,977 that my joy is gonna be cut off. 1318 00:52:43,977 --> 00:52:44,603 Wahoo! 1319 00:52:44,603 --> 00:52:49,483 (laughs) Hey, ladies, that was fun. 1320 00:52:49,483 --> 00:52:54,321 (laughs) Acting in Death Proof was a blast. 1321 00:52:54,321 --> 00:52:56,031 We had so much fun. I mean, it's a bar scene. 1322 00:52:56,031 --> 00:52:57,699 Quentin is a bartender. 1323 00:52:57,699 --> 00:52:59,284 And there was one scene where Quentin had 1324 00:52:59,284 --> 00:53:00,619 to do these Irish car bombs. 1325 00:53:00,619 --> 00:53:02,496 And Quentin's like, "It's got to be real or the foam 1326 00:53:02,496 --> 00:53:03,538 won't be correct." 1327 00:53:03,538 --> 00:53:05,916 And Quentin's like "I can't be there to see 1328 00:53:05,916 --> 00:53:08,084 how the take looks, so this is a long take. 1329 00:53:08,084 --> 00:53:09,211 You've- you've got to do this right, 1330 00:53:09,211 --> 00:53:11,838 but I'm drinking real Guinness and real Jager. 1331 00:53:11,838 --> 00:53:12,839 You guys can't fuck it up." 1332 00:53:12,839 --> 00:53:13,089 Right. 1333 00:53:13,089 --> 00:53:13,673 Okay, okay. 1334 00:53:13,673 --> 00:53:14,257 Everyone's ready. 1335 00:53:14,257 --> 00:53:14,966 Last shot of the night. 1336 00:53:14,966 --> 00:53:16,218 It's like six-thirty in the morning. Aah! 1337 00:53:16,218 --> 00:53:19,095 So we're like, boom, boom, boom, boom. 1338 00:53:19,095 --> 00:53:20,430 And Quentin's like, how'd it turn out, Jimmy. 1339 00:53:20,430 --> 00:53:23,225 And he's like, actually that was- that was great. 1340 00:53:23,225 --> 00:53:24,142 Quentin said, "Cool, cool. 1341 00:53:24,142 --> 00:53:25,185 We should get one for safety, 1342 00:53:25,185 --> 00:53:26,061 right?" 1343 00:53:26,061 --> 00:53:26,770 Boom, boom. 1344 00:53:26,770 --> 00:53:28,480 He drinks another shot, drinks another shot. 1345 00:53:28,480 --> 00:53:30,482 And I don't know how, but we started singing this 1346 00:53:30,482 --> 00:53:32,818 song from Blazing Saddles, where I was like, 1347 00:53:32,818 --> 00:53:34,486 (sings) din-din-din-in, din-din-din. 1348 00:53:34,486 --> 00:53:35,070 (sings) Throw out your hands, 1349 00:53:35,070 --> 00:53:35,821 Stick out your tush... (sings) Throw out your hands, 1350 00:53:35,821 --> 00:53:38,240 (speaks) And I just started doing it to Quentin. 1351 00:53:38,240 --> 00:53:39,699 And he just started laughing. 1352 00:53:39,699 --> 00:53:41,117 And he's like, "Ah, that was so fun. 1353 00:53:41,117 --> 00:53:42,202 He's like, "Ah, yeah, yeah, yeah. 1354 00:53:42,202 --> 00:53:43,537 Let's- let's just do another one." 1355 00:53:43,537 --> 00:53:45,288 And we're like, yeah, but now it's like 1356 00:53:45,288 --> 00:53:46,540 seven fifteen in the morning. 1357 00:53:46,540 --> 00:53:47,958 And so Quentin's like, 1358 00:53:47,958 --> 00:53:49,417 "Action!" And he goes, 1359 00:53:49,417 --> 00:53:53,129 "pshew" and slams the glass down and shatters it 1360 00:53:53,129 --> 00:53:56,841 and cuts his hand and falls off the table laughing. 1361 00:53:56,841 --> 00:54:00,387 And he's like, "Ah-ha-ha-ha! 1362 00:54:00,387 --> 00:54:02,347 That was so funny. 1363 00:54:02,347 --> 00:54:04,140 Oh, my God!" 1364 00:54:04,140 --> 00:54:07,018 I think we did about twelve takes. 1365 00:54:07,018 --> 00:54:09,771 Finally at like, maybe it's eight-forty-five 1366 00:54:09,771 --> 00:54:12,357 in the morning, I was leaving and Quentin, like, 1367 00:54:12,357 --> 00:54:13,149 grabbed my arm. He's like, 1368 00:54:13,149 --> 00:54:14,192 "You're stayin' and you're having a drink with us, right?" 1369 00:54:14,192 --> 00:54:15,110 I said, "Yeah, yeah. 1370 00:54:15,110 --> 00:54:15,694 Let me be right back." 1371 00:54:15,694 --> 00:54:16,653 And I like ran away 1372 00:54:16,653 --> 00:54:19,030 back to the hotel to sleep. I don't know. 1373 00:54:19,030 --> 00:54:20,782 All I heard was someone may have been puking 1374 00:54:20,782 --> 00:54:21,866 in a dumpster at eleven o'clock the next morning. 1375 00:54:21,866 --> 00:54:24,119 [VOMITING] 1376 00:54:24,119 --> 00:54:26,830 when I saw Death Proof, 1377 00:54:26,830 --> 00:54:29,124 in that scene 1378 00:54:29,124 --> 00:54:31,376 where the girls are sitting in the car 1379 00:54:31,376 --> 00:54:34,546 driving and talking, nothing happens. 1380 00:54:34,546 --> 00:54:39,926 They don't say anything that's really relevant to anything. 1381 00:54:39,926 --> 00:54:43,680 It goes on and it goes on and I think it goes on for 1382 00:54:43,680 --> 00:54:45,015 forty-five minutes, 1383 00:54:45,015 --> 00:54:48,810 and they are still driving and talking. 1384 00:54:48,810 --> 00:54:56,359 And I was so smitten by that moment that it really 1385 00:54:56,359 --> 00:55:01,781 clicked that- that yeah, despite all the 1386 00:55:01,781 --> 00:55:05,577 extraordinary entertainment that these 1387 00:55:05,577 --> 00:55:13,627 movies deliver, there is an allure and a suction 1388 00:55:13,627 --> 00:55:15,378 that pulls you in. 1389 00:55:17,047 --> 00:55:21,885 There is always that, this- this strength in it. 1390 00:55:21,885 --> 00:55:24,429 (sings) Where the hell are my keys? 1391 00:55:24,429 --> 00:55:25,347 Here they are. 1392 00:55:50,622 --> 00:55:53,541 I think Quentin's influence on film is twofold. 1393 00:55:53,541 --> 00:55:55,418 One is that he's empowered 1394 00:55:55,418 --> 00:55:57,212 a lot of half-ass filmmakers to make some 1395 00:55:57,212 --> 00:55:59,339 very bad films because they don't know 1396 00:55:59,339 --> 00:56:00,840 how to watch his films. 1397 00:56:00,840 --> 00:56:02,300 They miss the poetry 1398 00:56:02,300 --> 00:56:05,762 and the elegance and the eloquence of his filmmaking. 1399 00:56:05,762 --> 00:56:07,681 And so they go and they- they had a lot of, 1400 00:56:07,681 --> 00:56:09,849 you know, bizarre violence and- and people 1401 00:56:09,849 --> 00:56:13,645 mistreating people and they miss his passionate humanism. 1402 00:56:13,645 --> 00:56:16,481 Inglourious Basterds, this is a film that teaches 1403 00:56:16,481 --> 00:56:19,317 filmmakers how to make movies because the opening 1404 00:56:19,317 --> 00:56:24,114 scene is literally Quentin saying to everybody, 1405 00:56:24,114 --> 00:56:25,699 "Oh, you think you know who I am, 1406 00:56:25,699 --> 00:56:27,200 and you think you know what I can do, 1407 00:56:27,200 --> 00:56:29,285 and you think you've seen a war movie before. 1408 00:56:29,285 --> 00:56:30,704 Well, I'm gonna mess with you 1409 00:56:30,704 --> 00:56:33,081 in a way you haven't even begun to think." 1410 00:56:35,458 --> 00:56:36,543 Papa! 1411 00:56:36,543 --> 00:56:37,794 That I'm in control. 1412 00:56:37,794 --> 00:56:39,671 Then you were in the palm of my hands 1413 00:56:39,671 --> 00:56:42,006 and you're on my trip. 1414 00:56:42,006 --> 00:56:43,883 The German general comes in. 1415 00:56:43,883 --> 00:56:46,511 You can't quite figure out why he's being so friendly. 1416 00:56:46,511 --> 00:56:48,221 [Colonel Hans Landa of the SS...] 1417 00:56:48,221 --> 00:56:49,389 [...Mademoiselle...] 1418 00:56:49,389 --> 00:56:51,599 And you don't know why are they so scared? 1419 00:56:54,936 --> 00:56:55,687 And then at a certain point, 1420 00:56:55,687 --> 00:56:57,772 Quentin takes you under the house. 1421 00:56:59,774 --> 00:57:02,068 And it's really a horrific moment. 1422 00:57:06,823 --> 00:57:08,742 You know, it's not Robert Wise with The Haunting 1423 00:57:08,742 --> 00:57:10,535 where he's freaking you out with camera angles. 1424 00:57:10,535 --> 00:57:13,037 It's not Toby Hooper's, uh, 1425 00:57:13,037 --> 00:57:14,164 Texas Chainsaw where 1426 00:57:14,164 --> 00:57:15,874 he's like shoving your face in it. 1427 00:57:15,874 --> 00:57:17,542 It's what's not happening. 1428 00:57:17,542 --> 00:57:20,336 A German soldier conducts a search of a house 1429 00:57:20,336 --> 00:57:22,881 suspected of hiding Jews. 1430 00:57:22,881 --> 00:57:24,382 Where does the hawk look? 1431 00:57:24,382 --> 00:57:25,550 He looks in the barn. 1432 00:57:25,550 --> 00:57:26,593 He looks in the attic. 1433 00:57:26,593 --> 00:57:27,761 He looks in the cellar. 1434 00:57:27,761 --> 00:57:31,264 He looks everywhere he would hide. 1435 00:57:31,264 --> 00:57:33,183 But there's so many places that wouldn't even have 1436 00:57:33,183 --> 00:57:35,393 occurred to a hawk to hide. 1437 00:57:35,393 --> 00:57:37,771 No, you're not turning a corner and suddenly having 1438 00:57:37,771 --> 00:57:38,772 a cat screech. 1439 00:57:38,772 --> 00:57:39,981 And you go, "Oh!" 1440 00:57:39,981 --> 00:57:40,982 It's not cutting. 1441 00:57:40,982 --> 00:57:44,110 It's all intellectual and it's all unbearable. 1442 00:57:45,320 --> 00:57:47,405 Point out to me the areas where they're hiding. 1443 00:58:07,008 --> 00:58:09,552 The dialogue is, 1444 00:58:09,552 --> 00:58:10,970 so to say, 1445 00:58:10,970 --> 00:58:13,139 the tiny tip of the iceberg. 1446 00:58:14,516 --> 00:58:15,975 It's a clue. 1447 00:58:15,975 --> 00:58:17,602 [Ah, ladies.] 1448 00:58:20,605 --> 00:58:23,525 I thank you for your time. 1449 00:58:25,985 --> 00:58:28,029 We shan't be bothering your family any longer. 1450 00:58:28,988 --> 00:58:31,908 So Quentin, in his dialogue, 1451 00:58:31,908 --> 00:58:35,703 doesn't tell you how to say it, 1452 00:58:35,703 --> 00:58:39,374 but he gives you like a whole abundance 1453 00:58:39,374 --> 00:58:41,876 of elements of what to say. 1454 00:58:41,876 --> 00:58:43,002 ...adieu. 1455 00:58:43,002 --> 00:58:46,631 [MACHINE GUN FIRE] 1456 00:58:46,631 --> 00:58:51,386 You derive fun from trying to figure that out. 1457 00:58:51,386 --> 00:58:53,513 That's it. 1458 00:58:53,513 --> 00:58:55,890 (chuckles) And Quentin starts there and then he 1459 00:58:55,890 --> 00:58:57,851 goes and messes in doing almost every other way he 1460 00:58:57,851 --> 00:59:00,186 can in terms of what a war film does. 1461 00:59:00,186 --> 00:59:03,940 (pants) (speaks French) 1462 00:59:03,940 --> 00:59:04,482 I remember the 1463 00:59:04,482 --> 00:59:06,067 first rehearsal from Inglourious Basterds. 1464 00:59:06,067 --> 00:59:08,069 We all sat around and everybody had our scripts 1465 00:59:08,069 --> 00:59:08,611 and we had our lines. 1466 00:59:08,611 --> 00:59:10,196 Quentin's like close your scripts. 1467 00:59:10,196 --> 00:59:11,823 And he's like, who are you? 1468 00:59:11,823 --> 00:59:13,241 And I was like, "I'm Donny Donowitz." 1469 00:59:13,241 --> 00:59:15,827 And you had to go on and on and on 1470 00:59:15,827 --> 00:59:17,120 about your backstory. 1471 00:59:17,120 --> 00:59:17,871 And he's like, "Well, how did you feel 1472 00:59:17,871 --> 00:59:19,330 when he joined the Basterds? 1473 00:59:19,330 --> 00:59:19,831 What did you think about 1474 00:59:19,831 --> 00:59:21,499 Stiglitz coming into the Basterds?" 1475 00:59:21,499 --> 00:59:23,251 Everybody had to have their answers ready. 1476 00:59:23,251 --> 00:59:25,503 And there was one person who didn't. 1477 00:59:25,503 --> 00:59:26,963 You! 1478 00:59:26,963 --> 00:59:27,630 And... 1479 00:59:27,630 --> 00:59:30,508 [GUNSHOT] ...you weren't there the next day. 1480 00:59:30,508 --> 00:59:32,760 And that guy was an extra. 1481 00:59:32,760 --> 00:59:35,722 So I was really, really training for it. 1482 00:59:35,722 --> 00:59:38,099 And I knew the bat scene, that was the scene. 1483 00:59:38,099 --> 00:59:40,393 Like, this-It was like if I do nothing else in 1484 00:59:40,393 --> 00:59:42,937 my life, it is this scene. 1485 00:59:42,937 --> 00:59:44,689 [BATS CLACK] You hear that? 1486 00:59:46,316 --> 00:59:47,108 Yes. 1487 00:59:50,403 --> 00:59:53,156 It's Sergeant Donny Donowitz. 1488 00:59:53,156 --> 00:59:55,742 You might know him better by his nickname, 1489 00:59:55,742 --> 00:59:58,161 The Bear Jew. 1490 00:59:58,161 --> 01:00:00,163 Quentin just gave me the most heroic... 1491 01:00:00,163 --> 01:00:03,666 The one they call "The Bear Jew"... 1492 01:00:03,666 --> 01:00:05,209 ...is a Golem! 1493 01:00:05,209 --> 01:00:06,544 He's like you have Brad Pitt 1494 01:00:06,544 --> 01:00:07,795 and Hitler building you up. 1495 01:00:07,795 --> 01:00:09,631 He's like this is gonna be your moment. 1496 01:00:09,631 --> 01:00:11,215 And, you know, I was gonna come out of this tunnel. 1497 01:00:11,215 --> 01:00:12,675 Quentin was like, "I got the best tunnel. 1498 01:00:12,675 --> 01:00:13,718 You're gonna be tapping with a bat and 1499 01:00:13,718 --> 01:00:14,844 you're gonna come out." 1500 01:00:14,844 --> 01:00:17,096 Well, I got some weights and we set up a punching bag, 1501 01:00:17,096 --> 01:00:19,182 so that Brad was doing the whole scene 1502 01:00:19,182 --> 01:00:21,559 and I was in the back and I was like lifting weights 1503 01:00:21,559 --> 01:00:23,353 and doing pull-ups, like, I wanted to be ready like- 1504 01:00:23,353 --> 01:00:24,103 like an animal. 1505 01:00:24,103 --> 01:00:25,521 And Quentin was like, all right, 1506 01:00:25,521 --> 01:00:26,314 we're gettin' to you after lunch. 1507 01:00:26,314 --> 01:00:26,397 We're gettin' to you. 1508 01:00:26,397 --> 01:00:27,357 And then by the end, he's like, 1509 01:00:27,357 --> 01:00:28,358 we're gonna do you next, so be ready, ready. 1510 01:00:28,358 --> 01:00:30,318 And he was like, well, that's a wrap. 1511 01:00:30,318 --> 01:00:30,944 And I was like (grunt). 1512 01:00:30,944 --> 01:00:32,320 And I would, like, sit there at the end of day 1513 01:00:32,320 --> 01:00:35,531 and like (groan) like getting all made up and ready, 1514 01:00:35,531 --> 01:00:36,908 pumped up, ready to go, 1515 01:00:36,908 --> 01:00:38,368 and then it would be like the night at the gym and 1516 01:00:38,368 --> 01:00:40,370 in the morning the gym, and then ready for it. 1517 01:00:40,370 --> 01:00:43,373 And Quentin did that to me for about four or five days. 1518 01:00:43,373 --> 01:00:46,209 He finally, and he just like had me like a caged animal. 1519 01:00:46,209 --> 01:00:47,794 He was, of course, doing it on purpose. 1520 01:00:54,175 --> 01:00:55,718 And when I came out with that bat, 1521 01:00:55,718 --> 01:00:57,804 I was so, so ready. 1522 01:00:57,804 --> 01:01:00,264 And then I just started wailing on that dummy. 1523 01:01:00,264 --> 01:01:02,600 (grunts) I'm going completely crazy. 1524 01:01:02,600 --> 01:01:04,102 I mean I think I lost my voice 1525 01:01:04,102 --> 01:01:05,687 for a couple days after that. 1526 01:01:08,481 --> 01:01:10,942 I know that Quentin really wanted, 1527 01:01:10,942 --> 01:01:15,405 um, authentic, um, actors to be really German, 1528 01:01:15,405 --> 01:01:16,656 to be really French. 1529 01:01:16,656 --> 01:01:18,783 Um, he spent months and months and months in 1530 01:01:18,783 --> 01:01:20,535 Germany trying to find the right people, 1531 01:01:20,535 --> 01:01:23,413 especially for Christoph Waltz's character. 1532 01:01:23,413 --> 01:01:26,082 [I did have something else I wanted to ask you.] 1533 01:01:28,626 --> 01:01:31,004 And I know that he had said himself, 1534 01:01:31,004 --> 01:01:32,839 that if he wouldn't have found Christoph, 1535 01:01:32,839 --> 01:01:34,924 he wouldn't have been able to make this film. 1536 01:01:37,677 --> 01:01:39,637 [But right now, for the life of me,] 1537 01:01:39,637 --> 01:01:41,055 [I can't remember what it is.] 1538 01:01:41,723 --> 01:01:44,017 [Oh well, must not have been important.] 1539 01:01:44,642 --> 01:01:47,270 Quentin was very secretive about, 1540 01:01:47,270 --> 01:01:48,980 uh, Christoph's character. 1541 01:01:48,980 --> 01:01:51,232 Uh, even at the read-throughs we didn't 1542 01:01:51,232 --> 01:01:54,277 get to really see his performance. 1543 01:01:59,282 --> 01:02:00,825 In the theatre when Christoph comes in 1544 01:02:00,825 --> 01:02:03,703 [Fräulein von Hammersmark.] and confronts Bridget, 1545 01:02:03,703 --> 01:02:05,872 we never rehearsed that scene, 1546 01:02:05,872 --> 01:02:08,541 so it was a complete surprise to me when 1547 01:02:08,541 --> 01:02:11,711 he started going crazy on the laugh and- and the way he 1548 01:02:11,711 --> 01:02:12,628 did that scene. 1549 01:02:12,628 --> 01:02:14,922 [That's how you injured your leg -- mountain climbing?] 1550 01:02:14,922 --> 01:02:17,133 [Believe it or not, yes it is.] 1551 01:02:17,133 --> 01:02:30,271 (laughs) And I think it kind of shows in my face. 1552 01:02:30,271 --> 01:02:32,106 Christoph just found this character. 1553 01:02:32,106 --> 01:02:35,818 He had a really specific idea of how he wanted to 1554 01:02:35,818 --> 01:02:39,530 play it and together with Quentin they just had this 1555 01:02:39,530 --> 01:02:43,201 great bond and it got bigger and bigger and bigger. 1556 01:02:43,201 --> 01:02:47,080 There is definitely an exuberance about the 1557 01:02:47,080 --> 01:02:49,332 medium that he spreads. 1558 01:02:49,332 --> 01:02:53,711 And there is no, no inoculation against this bug. 1559 01:02:53,711 --> 01:02:56,422 You get infected whether you want to or not. 1560 01:02:56,422 --> 01:02:59,842 (laughs) Well, I don't know whether you want to 1561 01:02:59,842 --> 01:03:02,095 or not, because that's part of the, 1562 01:03:02,095 --> 01:03:06,474 part of the infection that you do want to get infected. 1563 01:03:06,474 --> 01:03:08,309 It's like going to a whore house to 1564 01:03:08,309 --> 01:03:10,895 get infected with the syphilis. 1565 01:03:10,895 --> 01:03:13,106 I've never been killed on film, 1566 01:03:13,106 --> 01:03:15,399 so as the day approached, I was getting more and more 1567 01:03:15,399 --> 01:03:17,068 nervous about it. 1568 01:03:17,068 --> 01:03:19,862 I'm in my trailer and Quentin comes in and he goes, 1569 01:03:19,862 --> 01:03:22,115 "Well, I don't really trust Christoph to 1570 01:03:22,115 --> 01:03:24,534 kill you, so I'm gonna do it myself." 1571 01:03:24,534 --> 01:03:26,536 And he was like, "Well, look at this. 1572 01:03:26,536 --> 01:03:30,915 They cut off SS sleeves that fit me and I'm gonna 1573 01:03:30,915 --> 01:03:33,709 put them on and then I'm just gonna be on top of 1574 01:03:33,709 --> 01:03:34,836 you and I'm gonna be strangling you, 1575 01:03:34,836 --> 01:03:37,088 and it's gonna be great." 1576 01:03:37,088 --> 01:03:38,047 I was like, " Oh, oh. 1577 01:03:38,047 --> 01:03:38,881 Yeah, that's great. 1578 01:03:38,881 --> 01:03:39,549 Sure. 1579 01:03:39,549 --> 01:03:40,383 Fair enough. 1580 01:03:40,383 --> 01:03:40,800 Why not?" 1581 01:03:40,800 --> 01:03:43,094 And- and now I'm really panicking. 1582 01:03:43,094 --> 01:03:46,139 And so we know we do the stunt and like I'm finally 1583 01:03:46,139 --> 01:03:49,392 on the ground and I just have this to the end of 1584 01:03:49,392 --> 01:03:52,937 my life vision of Quentin, who by all means is three 1585 01:03:52,937 --> 01:03:56,691 times Christoph's size and his hands are three times 1586 01:03:56,691 --> 01:03:59,110 Christoph's hands on top of me, 1587 01:03:59,110 --> 01:04:01,612 you know, with put-on sleeves that are three 1588 01:04:01,612 --> 01:04:04,282 sizes too small for him strangling me. 1589 01:04:04,282 --> 01:04:07,452 And I was just like, well, at least if I die, 1590 01:04:07,452 --> 01:04:09,871 it's Quentin Tarantino who killed me today. 1591 01:04:09,871 --> 01:04:10,872 Ooh! 1592 01:04:10,872 --> 01:04:17,628 (gasps) I guess he really gets in there. 1593 01:04:17,628 --> 01:04:19,088 Quentin is very hands-on. 1594 01:04:19,088 --> 01:04:20,548 He sits next to camera. 1595 01:04:20,548 --> 01:04:22,884 Usually directors sit at video village, 1596 01:04:22,884 --> 01:04:24,385 sometimes in a different room. 1597 01:04:24,385 --> 01:04:26,554 You feel like he's involved, 1598 01:04:26,554 --> 01:04:29,098 he's there, he's kind of holding your hand a little bit. 1599 01:04:29,098 --> 01:04:33,102 At the end of the day, you feel like he sees everything. 1600 01:04:33,102 --> 01:04:35,813 He laughs when there's like a joke in the scene. 1601 01:04:35,813 --> 01:04:37,940 He's always like-- Sometimes you have to cut 1602 01:04:37,940 --> 01:04:39,400 because we can hear Quentin laughing. 1603 01:04:39,400 --> 01:04:40,818 It's- It's pretty great. 1604 01:04:42,987 --> 01:04:45,156 (laughs) Hi, Sally. 1605 01:04:45,156 --> 01:04:46,782 (laughs) Any time you get a take and he likes it, 1606 01:04:46,782 --> 01:04:49,285 he's like, "All right, another one to shout to Sally. 1607 01:04:49,285 --> 01:04:53,748 (laughs) Hi, Sally. (chuckles) 1608 01:04:53,748 --> 01:04:56,417 He called me right after he met Sally Menke 1609 01:04:56,417 --> 01:04:58,669 and he said, I've met this gal. 1610 01:04:58,669 --> 01:05:01,923 I think we're gonna work on all our movies together. 1611 01:05:01,923 --> 01:05:04,759 Look into the camera and tell my lonely editor 1612 01:05:04,759 --> 01:05:06,510 stuck in Los Angeles 1613 01:05:06,510 --> 01:05:08,638 that's in her room all by herself, hello. 1614 01:05:08,638 --> 01:05:09,972 Her name is Sally. 1615 01:05:09,972 --> 01:05:12,141 Hello, Sally. 1616 01:05:12,141 --> 01:05:13,392 And welcome to happy first day. 1617 01:05:13,392 --> 01:05:14,727 And happy first day! 1618 01:05:14,727 --> 01:05:17,563 Now all together, go. 1619 01:05:17,563 --> 01:05:21,275 Hello, Sally and happy first day! 1620 01:05:21,275 --> 01:05:22,860 Sally Menke, unfortunately, 1621 01:05:22,860 --> 01:05:25,196 is not with us anymore. 1622 01:05:25,196 --> 01:05:28,407 But she was Quentin's major contributing editor 1623 01:05:28,407 --> 01:05:31,244 for all of his movies for a while there. 1624 01:05:31,244 --> 01:05:38,501 She is my only true genuine collaborator 1625 01:05:38,501 --> 01:05:42,713 from beginning to end and that's the way it is. 1626 01:05:42,713 --> 01:05:44,173 They just knew each other so well, 1627 01:05:44,173 --> 01:05:46,550 it felt like kind of their unspoken language. 1628 01:05:46,550 --> 01:05:49,262 She was one of those women that could be like, 1629 01:05:49,262 --> 01:05:50,596 "You're being self-indulgent." 1630 01:05:50,596 --> 01:05:53,349 And he'd be like, "Fine!" 1631 01:05:53,349 --> 01:05:58,187 I think he could hear Sally's voice when he's shooting. 1632 01:05:58,187 --> 01:06:00,481 And so tonight I want to thank my co-writer, 1633 01:06:00,481 --> 01:06:03,442 Sally Menke. [CHEERS AND APPLAUSE] 1634 01:06:03,442 --> 01:06:06,737 She was his cheerleader 1635 01:06:06,737 --> 01:06:09,031 and his editor all rolled into one. 1636 01:06:09,031 --> 01:06:10,157 Hi, Sally. 1637 01:06:12,076 --> 01:06:12,910 Hi, Sally. 1638 01:06:13,369 --> 01:06:14,662 Hi, Sally. 1639 01:06:14,662 --> 01:06:15,371 Cut! 1640 01:06:15,371 --> 01:06:17,456 The Basterds will be waiting from you. 1641 01:06:17,456 --> 01:06:19,083 (to self/Sally) Fucking, fucky, fuck. 1642 01:06:19,083 --> 01:06:20,084 So, close. 1643 01:06:20,084 --> 01:06:21,836 Hello, Sally. So close. 1644 01:06:38,311 --> 01:06:42,398 The resonance of his cinema is to push you 1645 01:06:42,398 --> 01:06:45,109 with every tool at his disposal and he's a master 1646 01:06:45,109 --> 01:06:46,736 at most of those tools. 1647 01:06:46,736 --> 01:06:49,488 I remember that ending watching it and my parents, 1648 01:06:49,488 --> 01:06:50,698 my parents were crying. 1649 01:06:50,698 --> 01:06:51,949 It was just this incredible, 1650 01:06:51,949 --> 01:06:53,409 incredible moment. 1651 01:06:53,409 --> 01:06:59,665 [MACHINE GUN FIRE] I get to be the Jew that shot Hitler. 1652 01:06:59,665 --> 01:07:00,458 It's the greatest. 1653 01:07:00,458 --> 01:07:02,043 Everywhere I go, people recognize me for 1654 01:07:02,043 --> 01:07:03,878 The Bear Jew, every country. 1655 01:07:03,878 --> 01:07:04,670 It's incredible. 1656 01:07:04,670 --> 01:07:09,842 [MACHINE GUN FIRE] I think the people who think that 1657 01:07:09,842 --> 01:07:12,428 Inglourious Basterds goes off the rails when Hitler 1658 01:07:12,428 --> 01:07:16,932 dies misses that we all are watching the movie and 1659 01:07:16,932 --> 01:07:18,684 we all know we're watching a movie. 1660 01:07:18,684 --> 01:07:19,894 He didn't change history, 1661 01:07:19,894 --> 01:07:24,982 nor does he ever claim to do that. 1662 01:07:24,982 --> 01:07:29,737 But he's doing exactly the- the- the 1663 01:07:29,737 --> 01:07:39,205 quintessential task of what storytelling is all about. 1664 01:07:39,205 --> 01:07:40,956 What if? 1665 01:07:40,956 --> 01:07:44,543 I've never had the desire to be part of repeating my 1666 01:07:44,543 --> 01:07:46,796 country's history over and over and over, 1667 01:07:46,796 --> 01:07:49,048 so the set seemed really refreshing. 1668 01:07:49,048 --> 01:07:51,967 (laughs) And, uh, only Quentin Tarantino gets 1669 01:07:51,967 --> 01:07:54,011 away with stuff like that. 1670 01:07:54,011 --> 01:07:55,763 I mean, what a ballsy movie to make. 1671 01:07:55,763 --> 01:07:58,599 That guy makes a movie, that's a movie called 1672 01:07:58,599 --> 01:08:00,184 Inglourious Basterds where the bastards aren't really 1673 01:08:00,184 --> 01:08:02,269 in it that much, a war movie where there's almost 1674 01:08:02,269 --> 01:08:05,606 no war, and it's two-thirds in a foreign language. 1675 01:08:05,606 --> 01:08:07,817 It's just like, how do you do that? 1676 01:08:07,817 --> 01:08:09,193 How do you have the confidence and the balls 1677 01:08:09,193 --> 01:08:12,196 to do that coming off of what was the biggest 1678 01:08:12,196 --> 01:08:13,906 commercial failure of your career? 1679 01:08:13,906 --> 01:08:15,116 I'm alive. 1680 01:08:15,116 --> 01:08:17,952 (speaks German) He's like, I'm gonna do something 1681 01:08:17,952 --> 01:08:19,203 bold and brave and different. 1682 01:08:19,203 --> 01:08:20,663 Then he does it again with Django. 1683 01:08:20,663 --> 01:08:22,206 And everyone's still doubting him. 1684 01:08:22,206 --> 01:08:23,958 How can you do a slavery movie at Christmas? 1685 01:08:23,958 --> 01:08:25,000 And he said, watch this. 1686 01:08:25,000 --> 01:08:26,377 It's his biggest movie ever. 1687 01:08:40,057 --> 01:08:40,683 Everyone is standing 1688 01:08:40,683 --> 01:08:42,518 in the Quentin Tarantino line to work. 1689 01:08:42,518 --> 01:08:43,686 I don't care who they are. 1690 01:08:43,686 --> 01:08:46,147 I don't care how big your star shines 1691 01:08:46,147 --> 01:08:47,732 and what you do at the box office. 1692 01:08:47,732 --> 01:08:52,445 You are still Quentin Tarantino deprived 1693 01:08:52,445 --> 01:08:54,071 if you haven't gotten a chance to work with him. 1694 01:08:54,071 --> 01:08:57,241 (indistinct) . ..your black ass. 1695 01:08:57,241 --> 01:09:01,412 (laughs) I get a chance to meet Quentin Tarantino. 1696 01:09:02,538 --> 01:09:03,998 Hey, white boy. 1697 01:09:03,998 --> 01:09:06,625 I said, hey, white boy. 1698 01:09:06,625 --> 01:09:07,793 Shut up, black. 1699 01:09:07,793 --> 01:09:09,503 You ain't got nothing' to say I want to hear. 1700 01:09:09,503 --> 01:09:17,428 You make unknowns, celebrities, stars. 1701 01:09:17,428 --> 01:09:20,222 But you turn stars into legends. 1702 01:09:20,222 --> 01:09:26,687 [GUNFIRE] I said, I know the dude needs to be able 1703 01:09:26,687 --> 01:09:27,396 to ride his horse. 1704 01:09:27,396 --> 01:09:28,731 I got my own horse at the crib. 1705 01:09:28,731 --> 01:09:29,607 It'll be cool. 1706 01:09:29,607 --> 01:09:32,943 And not only did he allow me to take on the character, 1707 01:09:32,943 --> 01:09:34,403 but I got a chance to ride my own 1708 01:09:34,403 --> 01:09:36,113 horse in the film. 1709 01:09:36,113 --> 01:09:37,990 My valet, Django. 1710 01:09:37,990 --> 01:09:41,035 These are our horses, Tony and Fritz. 1711 01:09:41,035 --> 01:09:44,663 [LAUGHTER] We had Bruce there, 1712 01:09:44,663 --> 01:09:47,333 Bruce Dern, who's done every western that's 1713 01:09:47,333 --> 01:09:49,001 ever been made for television, 1714 01:09:49,001 --> 01:09:51,462 played every bad guy you could imagine. 1715 01:09:51,462 --> 01:09:55,674 Django, Django, you got sin, 1716 01:09:55,674 --> 01:09:57,551 Django. 1717 01:09:57,551 --> 01:10:00,221 The boy's got sin. 1718 01:10:00,221 --> 01:10:02,473 When you've watched this man for however many year, what, 1719 01:10:02,473 --> 01:10:05,851 thirty, forty, fifty years of his career, 1720 01:10:05,851 --> 01:10:06,810 and to step in. 1721 01:10:06,810 --> 01:10:08,729 And that's what you need, you know? 1722 01:10:08,729 --> 01:10:12,191 No political correctness. 1723 01:10:12,191 --> 01:10:15,319 No softening the blows. 1724 01:10:15,319 --> 01:10:17,530 I want you to burn a runaway "R" right here on 1725 01:10:17,530 --> 01:10:20,574 his cheek, and the girl, too. 1726 01:10:20,574 --> 01:10:23,744 (gasps) Getting into the role and working with Quentin, 1727 01:10:23,744 --> 01:10:25,538 Quentin was, especially in the beginning 1728 01:10:25,538 --> 01:10:26,664 because he didn't know me. 1729 01:10:26,664 --> 01:10:27,832 You know, he knew Samuel. 1730 01:10:27,832 --> 01:10:28,749 He knew Christoph. 1731 01:10:28,749 --> 01:10:30,334 And so he was like, "Listen. 1732 01:10:30,334 --> 01:10:32,044 You know, we really got to put the work in." 1733 01:10:32,044 --> 01:10:34,046 And so I would come in and I was doing my lines 1734 01:10:34,046 --> 01:10:36,006 really sort of Jim Brownish, 1735 01:10:36,006 --> 01:10:38,008 like, you know, like I was already the guy. 1736 01:10:38,008 --> 01:10:39,218 And I remember him going, "Uh, 1737 01:10:39,218 --> 01:10:40,010 let's take a break." 1738 01:10:40,010 --> 01:10:40,636 He takes me in the room. 1739 01:10:40,636 --> 01:10:41,762 He says, "Hey, listen. 1740 01:10:41,762 --> 01:10:42,638 Listen. 1741 01:10:42,638 --> 01:10:44,014 You- you- you got to be a slave." 1742 01:10:44,014 --> 01:10:44,807 I said, "What do you mean?" He said, 1743 01:10:44,807 --> 01:10:47,768 "You- you have to be a slave." 1744 01:10:47,768 --> 01:10:49,019 And I said, " I- I don't get it." 1745 01:10:49,019 --> 01:10:52,106 He says, "You're already too macho 1746 01:10:52,106 --> 01:10:54,066 and you're too in control." 1747 01:10:56,777 --> 01:10:59,238 The Louis bag and the Range Rover you're driving, 1748 01:10:59,238 --> 01:11:00,906 all of this, and so you have to come in and 1749 01:11:00,906 --> 01:11:02,992 strip that all the way, 'cause I don't want this 1750 01:11:02,992 --> 01:11:06,912 to be a mistake that if I hired someone who is like 1751 01:11:06,912 --> 01:11:09,331 yourself or some other person who's well known, 1752 01:11:09,331 --> 01:11:11,500 that you couldn't break away from your persona and 1753 01:11:11,500 --> 01:11:13,877 that's why I work with the people that I work with. 1754 01:11:16,380 --> 01:11:19,174 And so the next day, I left all that at the crib 1755 01:11:19,174 --> 01:11:24,972 and sunk into that- that type of person who was 1756 01:11:24,972 --> 01:11:28,684 strong on the inside, but afraid to allow it to come out 1757 01:11:28,684 --> 01:11:32,021 because you would be murdered. 1758 01:11:32,021 --> 01:11:34,440 Imagine if anyone here saw someone you love and you 1759 01:11:34,440 --> 01:11:38,819 can't say nothing 'cause they'll kill you both. 1760 01:11:38,819 --> 01:11:43,407 (sings) Broomhilda, come on and get on my horse. 1761 01:11:43,407 --> 01:11:49,413 Broomhilda (beatboxing...) That was powerful. 1762 01:11:49,413 --> 01:11:52,583 Even in the rehearsal, I had to do certain things 1763 01:11:52,583 --> 01:11:55,502 in order to get the fear out of my character 1764 01:11:55,502 --> 01:11:58,047 when it came to Sam because he came in like this. 1765 01:11:58,047 --> 01:12:00,049 He howls to everything. 1766 01:12:00,049 --> 01:12:02,259 I can literally say he's 1767 01:12:02,259 --> 01:12:04,762 probably the best actor I've worked with. 1768 01:12:04,762 --> 01:12:06,305 You scaring me. 1769 01:12:06,305 --> 01:12:09,099 (gasps) Why is it I'm scarin' you? 1770 01:12:09,099 --> 01:12:12,269 Because you're scary. 1771 01:12:12,269 --> 01:12:13,354 Oh, fuck. 1772 01:12:13,354 --> 01:12:15,439 Oh, fuck, it's incredible. 1773 01:12:15,439 --> 01:12:17,358 I told Quentin Stephen was gonna 1774 01:12:17,358 --> 01:12:18,442 have his fans. 1775 01:12:18,442 --> 01:12:21,528 (chuckles) Stephen could read, write, count, 1776 01:12:21,528 --> 01:12:22,655 do all those things, 1777 01:12:22,655 --> 01:12:23,614 and he had a disguise. 1778 01:12:23,614 --> 01:12:26,075 He disguised himself as a feeble old man 1779 01:12:26,075 --> 01:12:27,618 and he wasn't. 1780 01:12:27,618 --> 01:12:29,745 And he realized that inside the confines of 1781 01:12:29,745 --> 01:12:31,997 Candyland, he was king. 1782 01:12:31,997 --> 01:12:34,667 Even when Calvin was home, he was king. 1783 01:12:34,667 --> 01:12:36,585 He's gonna stay in the big house? 1784 01:12:36,585 --> 01:12:38,295 Stephen, he's a slaver. 1785 01:12:38,295 --> 01:12:39,296 It's different. 1786 01:12:39,296 --> 01:12:40,714 In the big house? 1787 01:12:40,714 --> 01:12:41,966 The character is the characters. 1788 01:12:41,966 --> 01:12:42,549 And that's why I... 1789 01:12:42,549 --> 01:12:43,175 ...think people love 1790 01:12:43,175 --> 01:12:44,218 his characters is that 1791 01:12:44,218 --> 01:12:45,761 they are honest, whether you like them, 1792 01:12:45,761 --> 01:12:47,179 whether you agree with them or disagree with them, 1793 01:12:47,179 --> 01:12:48,472 they are who they are. 1794 01:12:48,472 --> 01:12:49,682 The film has already sparked 1795 01:12:49,682 --> 01:12:53,018 controversy over its repeated use of the "N" word. 1796 01:12:53,018 --> 01:12:55,813 And now, Director, Spike Lee says he won't go to see it. 1797 01:12:55,813 --> 01:12:57,439 Spike, (chuckles) Spike Lee's, 1798 01:12:57,439 --> 01:12:59,066 you know and I respect Spike Lee, 1799 01:12:59,066 --> 01:13:01,985 you know, but Spike Lee's that guy. 1800 01:13:01,985 --> 01:13:06,490 You know, it's like Spike Lee is like the- 1801 01:13:06,490 --> 01:13:11,370 the old dude with the nice little house that has the grass. 1802 01:13:11,370 --> 01:13:13,914 Don't you get on my grass, you little motherfuckers. 1803 01:13:16,250 --> 01:13:19,378 That's my grass, every blade of it is. 1804 01:13:19,920 --> 01:13:21,797 Little motherfuckers. 1805 01:13:21,797 --> 01:13:22,756 You know. 1806 01:13:22,756 --> 01:13:24,049 You're not gonna get 1807 01:13:24,049 --> 01:13:25,843 Samuel Jackson to say 1808 01:13:25,843 --> 01:13:29,388 nigger, nigger, nigger if he feels he's demeaning anybody. 1809 01:13:29,388 --> 01:13:31,390 You know, I mean Samuel Jackson's gonna turn to 1810 01:13:31,390 --> 01:13:33,183 you and tell you where to go. 1811 01:13:33,183 --> 01:13:35,477 You take Twelve Years A Slave, 1812 01:13:35,477 --> 01:13:38,272 which is supposedly made by an "auteur", 1813 01:13:38,272 --> 01:13:41,525 so Steve McQueen's very different from Quentin. 1814 01:13:41,525 --> 01:13:45,279 So when you have a song that says nigger three 1815 01:13:45,279 --> 01:13:47,573 hundred times in it and nobody says shit. 1816 01:13:47,573 --> 01:13:48,615 (sings) Nigger run, 1817 01:13:48,615 --> 01:13:53,078 nigger flew, nigger tore his shirt in two Run, 1818 01:13:53,078 --> 01:13:55,414 run or the pattyroller will get you Run nigger 1819 01:13:55,414 --> 01:13:56,874 run Well you better get away 1820 01:13:56,874 --> 01:13:59,543 So, it's okay for him to use it because 1821 01:13:59,543 --> 01:14:03,922 he's artistically attacking the system or the way people 1822 01:14:03,922 --> 01:14:05,591 think and feel in a way. 1823 01:14:05,591 --> 01:14:08,802 Then Quentin's just doing it to just scrape the 1824 01:14:08,802 --> 01:14:10,095 blackboard with his nails. 1825 01:14:10,095 --> 01:14:11,847 You know, and that's not true. 1826 01:14:11,847 --> 01:14:14,308 There is no dishonesty in anything that he writes 1827 01:14:14,308 --> 01:14:16,935 or how people talk, feel, or speak. 1828 01:14:16,935 --> 01:14:18,562 There you go! 1829 01:14:18,562 --> 01:14:20,564 The consumer, especially black consumers, 1830 01:14:20,564 --> 01:14:22,649 they understand that it's a movie. 1831 01:14:22,649 --> 01:14:25,569 Sometimes we get a little overboard with our 1832 01:14:25,569 --> 01:14:28,322 sensitivity level with- with everything, 1833 01:14:28,322 --> 01:14:30,657 because nobody was really payin' attention to that. 1834 01:14:30,657 --> 01:14:32,785 They were comin' to see their favorite director 1835 01:14:32,785 --> 01:14:35,370 direct some of their favorite stars. 1836 01:14:35,370 --> 01:14:37,956 If it's Quentin, if it's Samuel, 1837 01:14:37,956 --> 01:14:40,083 if it's Leo, it's Christoph, 1838 01:14:40,083 --> 01:14:42,503 Carry Washington, and myself, 1839 01:14:42,503 --> 01:14:46,048 I- I just find it hard for us to fuck that up. 1840 01:14:46,048 --> 01:14:48,008 All three are champions. 1841 01:14:49,009 --> 01:14:51,303 Samson's a champion. 1842 01:14:51,303 --> 01:14:52,763 Them other two pretty good. 1843 01:14:55,224 --> 01:14:56,809 Calvin-- You know we live in a very politically 1844 01:14:56,809 --> 01:14:59,561 correct society now to where almost everything, 1845 01:14:59,561 --> 01:15:01,480 it almost chokes art a little bit. 1846 01:15:03,232 --> 01:15:05,984 That's just the way it was. 1847 01:15:05,984 --> 01:15:07,861 What's your name, boy? 1848 01:15:07,861 --> 01:15:10,239 His name is Django Freeman. 1849 01:15:10,239 --> 01:15:12,199 His characters are a part of him. 1850 01:15:12,199 --> 01:15:13,242 It's how he creates. 1851 01:15:13,242 --> 01:15:14,952 But they're living breathing characters to him. 1852 01:15:14,952 --> 01:15:18,372 There's a great story that his mom told me about when 1853 01:15:18,372 --> 01:15:21,250 he was a little boy and he was playing with his GI Joes 1854 01:15:21,250 --> 01:15:22,793 and he was using foul language. 1855 01:15:22,793 --> 01:15:24,711 And I think it was like, you know, 1856 01:15:24,711 --> 01:15:25,921 "Fuck you. Die." 1857 01:15:25,921 --> 01:15:26,880 And you know, like, whatever. 1858 01:15:26,880 --> 01:15:28,465 And she came around the corner and she was like, 1859 01:15:28,465 --> 01:15:30,008 Quentin, don't you use that language. 1860 01:15:30,008 --> 01:15:31,343 And he said, "It's not me, Mom. 1861 01:15:31,343 --> 01:15:32,010 It's just the guys. 1862 01:15:32,010 --> 01:15:33,679 That's how they talk." 1863 01:15:35,430 --> 01:15:36,932 I count two guns, Nigger. 1864 01:15:40,936 --> 01:15:43,105 You said in seventy-six years on this plantation, 1865 01:15:43,105 --> 01:15:45,858 you've seen all manner of shit done to niggers, 1866 01:15:45,858 --> 01:15:47,484 but I notice... 1867 01:15:47,484 --> 01:15:48,777 you didn't mention kneecapping. 1868 01:15:48,777 --> 01:15:50,529 [GUNSHOT] Oh, God! 1869 01:15:50,529 --> 01:15:51,989 Motherfucker! 1870 01:15:51,989 --> 01:15:55,242 Leonardo DiCaprio had a problem saying the word nigger. 1871 01:15:55,242 --> 01:15:56,034 "Pal. 1872 01:15:56,034 --> 01:15:57,369 (inhales) Pal, it's just. 1873 01:15:57,369 --> 01:15:59,913 (exhales) It's tough for me to say this." 1874 01:15:59,913 --> 01:16:01,874 And, uh, I remember Samuel Jackson going, 1875 01:16:01,874 --> 01:16:03,125 Get over it, motherfucker. 1876 01:16:03,125 --> 01:16:04,459 This is just another Tuesday, motherfucker. 1877 01:16:04,459 --> 01:16:06,003 I don't give a fuck about these motherfuckers. 1878 01:16:06,003 --> 01:16:07,629 Look at- look at who I am, motherfucker. 1879 01:16:07,629 --> 01:16:09,715 Fuck! And it was like... 1880 01:16:09,715 --> 01:16:11,008 You know, and I said, "Yeah." 1881 01:16:11,008 --> 01:16:12,634 I said, "Leo, Leo, we're- we're not friends." 1882 01:16:12,634 --> 01:16:14,177 I said, "This is just another Thursday. 1883 01:16:14,177 --> 01:16:16,430 This is your property. 1884 01:16:16,430 --> 01:16:17,514 These aren't humans. 1885 01:16:17,514 --> 01:16:18,849 These are your property." 1886 01:16:22,561 --> 01:16:24,021 And when Leo came in the next day, 1887 01:16:24,021 --> 01:16:25,647 it was literally like, I was like, "What's up, Leo? 1888 01:16:27,274 --> 01:16:28,233 What's up fam?" 1889 01:16:29,359 --> 01:16:30,360 He didn't speak. 1890 01:16:30,986 --> 01:16:32,362 You won't mind me handling this nigger 1891 01:16:32,362 --> 01:16:33,947 anyway I see fit. 1892 01:16:34,990 --> 01:16:36,533 He's your nigger. 1893 01:16:40,704 --> 01:16:44,750 Mr. Stonesipher, let Marshall and the bitches 1894 01:16:44,750 --> 01:16:47,544 send D'Artagnan to nigger heaven. 1895 01:16:47,544 --> 01:16:50,672 Quentin allowed us to transport back to that 1896 01:16:50,672 --> 01:16:53,967 time and it was- it was really real. It was intent. 1897 01:16:53,967 --> 01:16:58,722 Leonardo had that gigantic sequence where he becomes 1898 01:16:58,722 --> 01:17:01,725 wise to what Schultz and Django are up to. 1899 01:17:01,725 --> 01:17:05,729 He brought his hand down and smashed the glass. 1900 01:17:05,729 --> 01:17:09,816 So now blood is running down his hand. 1901 01:17:09,816 --> 01:17:12,444 He's kind of getting white. 1902 01:17:12,444 --> 01:17:13,862 Leo never breaks. 1903 01:17:13,862 --> 01:17:15,280 He goes all the way through 'cause he knows 1904 01:17:15,280 --> 01:17:16,406 it's a great take. 1905 01:17:16,406 --> 01:17:19,076 Where were we? 1906 01:17:19,076 --> 01:17:22,412 Quentin's right there, right at the lens next to him, 1907 01:17:22,412 --> 01:17:23,997 not in some video village. 1908 01:17:23,997 --> 01:17:25,374 In fact there are no monitors 1909 01:17:25,374 --> 01:17:28,210 on a Quentin Tarantino movie. There is no video village. 1910 01:17:28,210 --> 01:17:30,754 And you can see it in the performances. 1911 01:17:30,754 --> 01:17:35,467 Broomhilda here is my property and I can choose 1912 01:17:35,467 --> 01:17:39,763 to do with my property whatever I so desire. 1913 01:17:39,763 --> 01:17:41,640 After Leonardo finished, you know, 1914 01:17:41,640 --> 01:17:43,809 his fellow actors, his peers, 1915 01:17:43,809 --> 01:17:46,770 and the crew, basically, gave him a standing ovation. 1916 01:17:46,770 --> 01:17:48,772 And I think that it was the first time 1917 01:17:48,772 --> 01:17:51,858 that Leo had really been in that atmosphere, 1918 01:17:51,858 --> 01:17:54,111 that brotherhood, and that spirit of fun. 1919 01:17:54,111 --> 01:17:55,487 After a hundred rolls of film, 1920 01:17:55,487 --> 01:17:57,364 they, all of sudden, I'm- now I'm in chains, 1921 01:17:57,364 --> 01:17:59,449 like, all of a sudden they start playing music. 1922 01:17:59,449 --> 01:18:01,660 (sings) Ba-ba-ba-ba-ba-ba-ba... 1923 01:18:01,660 --> 01:18:02,786 (speaks) I was like, what's going on? 1924 01:18:02,786 --> 01:18:03,203 What's all this? 1925 01:18:03,203 --> 01:18:04,079 They start bringing out tequila. 1926 01:18:04,079 --> 01:18:05,831 I say, what? Oh, shit! 1927 01:18:05,831 --> 01:18:06,999 This is great. I said, what the fuck? 1928 01:18:06,999 --> 01:18:08,500 I said, what kind of set is this? 1929 01:18:08,500 --> 01:18:10,252 He says, "My kinda set, motherfucker." 1930 01:18:10,794 --> 01:18:11,795 Quentin had called 1931 01:18:11,795 --> 01:18:14,131 everybody in and- and- and we were waiting 1932 01:18:14,131 --> 01:18:17,926 for- for everybody to come in and we chatted and... 1933 01:18:17,926 --> 01:18:20,137 And then Quentin came and said, "Okay. 1934 01:18:20,137 --> 01:18:23,682 I thought about this for a long time and this morning 1935 01:18:23,682 --> 01:18:26,351 at three o'clock I came to the conclusion, 1936 01:18:26,351 --> 01:18:29,646 now this is what's going to happen." 1937 01:18:29,646 --> 01:18:31,940 And then he acted out that whole scene, 1938 01:18:31,940 --> 01:18:35,569 this big battle inside. 1939 01:18:37,821 --> 01:18:40,282 And then Quentin said, "Well, 1940 01:18:40,282 --> 01:18:41,992 I thought about ending the movie here, 1941 01:18:41,992 --> 01:18:44,494 but then this happens." 1942 01:18:44,494 --> 01:18:46,580 And he threw himself on the floor. 1943 01:18:46,580 --> 01:18:48,332 And he jumped up and threw his gun. 1944 01:18:48,332 --> 01:18:51,835 You know, I- I think he had like fifteen and shot 1945 01:18:51,835 --> 01:18:55,589 and- and really acted out the whole scene. 1946 01:18:55,589 --> 01:18:57,299 Bob Richardson was sitting there, 1947 01:18:59,009 --> 01:19:03,472 you know, trying to control his- his blood pressure. 1948 01:19:03,472 --> 01:19:07,059 And the- and the- the- the stunt coordinator, 1949 01:19:07,059 --> 01:19:10,479 who is about seven feet tall and five feet wide 1950 01:19:10,479 --> 01:19:14,024 was leaning against the wall like that. 1951 01:19:14,024 --> 01:19:17,861 (chuckles) And the- and the special effects guy 1952 01:19:17,861 --> 01:19:19,029 started to cry. 1953 01:19:19,029 --> 01:19:28,872 [GUNFIRE] That main hall was literally destroyed 1954 01:19:28,872 --> 01:19:34,211 and the blood was squirted up to the second story. 1955 01:19:34,211 --> 01:19:36,254 Blood up to the gallery of that, 1956 01:19:36,254 --> 01:19:38,298 literally everywhere. 1957 01:19:38,298 --> 01:19:39,049 Ow! 1958 01:19:39,049 --> 01:19:39,466 God! 1959 01:19:39,466 --> 01:19:41,051 The furniture, the interior, 1960 01:19:41,051 --> 01:19:45,180 everything thrashed to the size of toothpicks. 1961 01:19:45,180 --> 01:19:48,558 And you want to tell me that's a true story? 1962 01:19:48,558 --> 01:19:50,977 True is what happened on the set. 1963 01:19:50,977 --> 01:19:54,898 True is what happens on the screen. 1964 01:19:54,898 --> 01:19:57,734 But the violence? No. 1965 01:19:58,693 --> 01:20:00,570 The violence is opera. 1966 01:20:01,988 --> 01:20:04,741 Django...! 1967 01:20:05,158 --> 01:20:07,452 You (indistinct) son of a... 1968 01:20:07,452 --> 01:20:09,746 Django's not trying to cure slavery. 1969 01:20:10,831 --> 01:20:12,624 He just wants to take out the people that did him 1970 01:20:12,624 --> 01:20:13,959 bad and get with his girl. 1971 01:20:16,920 --> 01:20:18,380 This is a love story. 1972 01:20:21,550 --> 01:20:23,343 Django is the- is the super hero. 1973 01:20:23,343 --> 01:20:25,554 He's the guy who rides off into the sunset. 1974 01:20:25,554 --> 01:20:28,014 And you don't see a lot of black characters that do that. 1975 01:20:28,014 --> 01:20:29,975 You don't see in Hollywood when a black character's 1976 01:20:29,975 --> 01:20:33,562 in that type of setting of slavery does what he does, 1977 01:20:33,562 --> 01:20:35,814 kills the bad white folks, gets his girl, 1978 01:20:35,814 --> 01:20:37,440 and rides off into the sunset. 1979 01:20:54,791 --> 01:20:56,001 It's about eight people trapped 1980 01:20:56,001 --> 01:20:57,919 in a blizzard in a haberdashery 1981 01:20:57,919 --> 01:20:59,504 in the middle of nowhere. 1982 01:20:59,504 --> 01:21:02,841 It's a mixture of western, who-done-it, 1983 01:21:02,841 --> 01:21:05,135 revenge movie. It's all those things. 1984 01:21:05,135 --> 01:21:06,386 Want to make a deal? 1985 01:21:06,386 --> 01:21:07,095 Huh? 1986 01:21:07,095 --> 01:21:09,347 [GRUNTS] The deal still stands, Chris. 1987 01:21:09,347 --> 01:21:11,850 You ain't got nothing we can't forgive. 1988 01:21:11,850 --> 01:21:13,977 The Hateful Eight is kind of almost like a- a 1989 01:21:13,977 --> 01:21:16,479 bookend of Reservoir Dogs. 1990 01:21:16,479 --> 01:21:18,148 It'd just be more bullshit. 1991 01:21:20,775 --> 01:21:22,194 This man set us up. 1992 01:21:22,194 --> 01:21:24,988 He creates an initial scenario, 1993 01:21:24,988 --> 01:21:26,823 an initial group of people, 1994 01:21:28,408 --> 01:21:30,410 and he throws them together 1995 01:21:30,410 --> 01:21:31,786 often in one room. 1996 01:21:31,786 --> 01:21:36,833 And then he explores what might happen by putting 1997 01:21:36,833 --> 01:21:39,711 this group of people in the same room, 1998 01:21:39,711 --> 01:21:42,214 like Reservoir Dogs or The Hateful Eight. 1999 01:21:42,214 --> 01:21:43,757 It's a complete ensemble piece, 2000 01:21:43,757 --> 01:21:47,344 which is pretty incredible because you've got eight people 2001 01:21:47,344 --> 01:21:50,972 in there talking to each other about some very specific, 2002 01:21:50,972 --> 01:21:55,143 interesting, and sometimes very hateful things. 2003 01:21:55,143 --> 01:22:01,650 (spits) (grunts) What the- (groans) (groans) 2004 01:22:01,650 --> 01:22:05,028 He lets the characters be infused 2005 01:22:05,028 --> 01:22:07,697 by the actors that he chooses to portray them. 2006 01:22:08,907 --> 01:22:10,992 He played me a piece of music and then he said, 2007 01:22:10,992 --> 01:22:13,036 "I think it would be nice if Daisy played the guitar 2008 01:22:13,036 --> 01:22:14,788 and sang this song." 2009 01:22:14,788 --> 01:22:16,456 It really focused me 2010 01:22:16,456 --> 01:22:18,792 because I had to practice that fucking instrument 2011 01:22:18,792 --> 01:22:22,045 everyday whenever I was not on camera. 2012 01:22:22,045 --> 01:22:25,757 (sings) I'll kill you bastards one and all I'll 2013 01:22:25,757 --> 01:22:29,469 gun the floggers down It was ama-I had never played 2014 01:22:29,469 --> 01:22:31,346 guitar in my life. 2015 01:22:31,346 --> 01:22:36,017 (sings) And you'll be dead Behind me John 2016 01:22:36,017 --> 01:22:40,522 When I get to Mexico. 2017 01:22:40,522 --> 01:22:42,065 He wanted it to come from the inside. 2018 01:22:42,065 --> 01:22:43,608 And when you are singing a song to yourself, 2019 01:22:43,608 --> 01:22:46,444 you're immediately going inward. 2020 01:22:46,444 --> 01:22:48,154 Give me that guitar. 2021 01:22:48,154 --> 01:22:50,657 I think he has a way of getting into each 2022 01:22:50,657 --> 01:22:54,536 character and letting them breathe 2023 01:22:54,536 --> 01:22:56,121 and create their life. 2024 01:22:56,121 --> 01:22:59,958 (laughs) He gave me the script. 2025 01:22:59,958 --> 01:23:03,503 He goes, "Here. You're Joe Gage." 2026 01:23:03,503 --> 01:23:05,880 A bastards work is never done, 2027 01:23:05,880 --> 01:23:08,216 huh, John Ruth? 2028 01:23:08,216 --> 01:23:10,093 That's right, Joe Gage. 2029 01:23:10,093 --> 01:23:13,138 And I said, "Thanks for thinking of me." 2030 01:23:13,138 --> 01:23:17,058 And he goes, "Michael, you were there at the beginning, 2031 01:23:17,058 --> 01:23:21,146 and by God you're gonna be here now, you know." 2032 01:23:28,320 --> 01:23:30,238 I find him to be the same man, 2033 01:23:31,364 --> 01:23:35,243 but just with a lot more of a pack. 2034 01:23:35,243 --> 01:23:38,121 He's more of a package than he was, you know. 2035 01:23:38,121 --> 01:23:39,456 He pays attention. 2036 01:23:40,540 --> 01:23:44,836 He also became much more sophisticated as a filmmaker. 2037 01:23:44,836 --> 01:23:48,048 His mastery of blocking and his mastery of camera 2038 01:23:48,048 --> 01:23:51,593 movement and that choreography is really 2039 01:23:51,593 --> 01:23:55,430 pronounced and you can really see his growth. 2040 01:23:55,430 --> 01:23:58,141 Also, you are seeing his maturity as a human being. 2041 01:23:58,141 --> 01:24:00,060 He may look at the same things, 2042 01:24:00,060 --> 01:24:02,979 but through the lens of where he sits right now. 2043 01:24:02,979 --> 01:24:06,358 Who said it that, uh, Kurt Russell's character was 2044 01:24:06,358 --> 01:24:08,151 based on, yeah. 2045 01:24:08,151 --> 01:24:10,403 I think John Ruth was a lot nicer guy that 2046 01:24:10,403 --> 01:24:11,613 Harvey Weinstein. 2047 01:24:11,613 --> 01:24:12,739 If Kurt was supposed to be Harvey, 2048 01:24:12,739 --> 01:24:15,492 then that must have been Harvey's good side. 2049 01:24:15,492 --> 01:24:17,077 You ruin that letter of his, 2050 01:24:17,077 --> 01:24:19,162 that nigger's gonna stomp your ass to death. 2051 01:24:19,162 --> 01:24:22,123 And when he do, I'm gonna sit back on that wagon 2052 01:24:22,123 --> 01:24:23,792 wheel, watch, and laugh. 2053 01:24:23,792 --> 01:24:26,169 (exhales) Yeah, if you read them on the page it 2054 01:24:26,169 --> 01:24:27,504 was a little more accurate. 2055 01:24:27,504 --> 01:24:29,631 Kurt's the most charming person on the planet. 2056 01:24:29,631 --> 01:24:33,426 When that sun comes out, I'm taking this woman into 2057 01:24:33,426 --> 01:24:35,762 Red Rock to hang. 2058 01:24:35,762 --> 01:24:38,890 The association of Quentin and Harvey 2059 01:24:38,890 --> 01:24:40,308 over twenty-five years, 2060 01:24:40,308 --> 01:24:42,185 it was a pretty good brotherhood. 2061 01:24:42,185 --> 01:24:44,521 It was a pretty good combination of Hollywood 2062 01:24:44,521 --> 01:24:48,233 power and of talent. 2063 01:24:48,233 --> 01:24:50,652 In the past, with the Weinstein Company, 2064 01:24:50,652 --> 01:24:53,780 whatever he said was- was the word of God. 2065 01:24:53,780 --> 01:24:55,949 These guys, there was a toll, 2066 01:24:57,534 --> 01:24:58,201 you know? 2067 01:24:58,201 --> 01:25:01,329 He earned, he made enough money for everybody. 2068 01:25:03,581 --> 01:25:04,165 We shot on seventy, 2069 01:25:04,165 --> 01:25:08,002 because he knew that if we went to the 2070 01:25:08,002 --> 01:25:09,754 expense of shooting on seventy, 2071 01:25:09,754 --> 01:25:11,798 they were gonna project it in seventy. 2072 01:25:11,798 --> 01:25:14,676 And it was the exhibition, which was as important 2073 01:25:14,676 --> 01:25:16,594 as the image capture. 2074 01:25:16,594 --> 01:25:20,849 Quentin cares about cinema and caring about cinema 2075 01:25:20,849 --> 01:25:22,851 means literally caring about cinema, 2076 01:25:22,851 --> 01:25:25,812 caring about film, the romance of cinema, 2077 01:25:25,812 --> 01:25:28,314 how it looks and feels, and for him, 2078 01:25:28,314 --> 01:25:31,067 he doesn't feel that digital technology 2079 01:25:31,067 --> 01:25:35,947 approximates the impact that that flicker has on us. 2080 01:25:35,947 --> 01:25:37,031 He just bought a theater. 2081 01:25:37,031 --> 01:25:38,908 He owns the new Beverly Cinema. 2082 01:25:38,908 --> 01:25:41,828 I've been going there recently introducing pictures. 2083 01:25:41,828 --> 01:25:43,538 I love the new Beverly. I was there last week. 2084 01:25:43,538 --> 01:25:44,664 We watched a print of Seven, 2085 01:25:44,664 --> 01:25:45,748 which had silver in it. 2086 01:25:45,748 --> 01:25:47,041 It was incredible. 2087 01:25:47,041 --> 01:25:47,792 It was so beautiful. 2088 01:25:47,792 --> 01:25:49,586 I mean Quentin leaned over to me and he's like, 2089 01:25:49,586 --> 01:25:50,670 "Take a good look. 2090 01:25:50,670 --> 01:25:51,921 You're never gonna see a finisher movie look 2091 01:25:51,921 --> 01:25:52,672 this good again. 2092 01:25:52,672 --> 01:25:55,258 (chuckles) It's like sad, but true. 2093 01:25:55,258 --> 01:25:56,801 He wrote it in the script, glorious seventy 2094 01:25:56,801 --> 01:26:00,638 millimeter about six times during the 2095 01:26:00,638 --> 01:26:01,431 first twenty pages. 2096 01:26:01,431 --> 01:26:03,516 And my jaw dropped when I saw that. 2097 01:26:03,516 --> 01:26:04,893 I was like, "You're kidding me, right? 2098 01:26:04,893 --> 01:26:06,352 You're gonna actually do this?" 2099 01:26:26,915 --> 01:26:29,334 Once he found this big, gorgeous, 2100 01:26:29,334 --> 01:26:31,878 beautiful seventy millimeter format, 2101 01:26:31,878 --> 01:26:35,965 he realized that there was an intimacy. 2102 01:26:35,965 --> 01:26:38,301 He'd shot a hundred close ups of Sam Jackson, 2103 01:26:38,301 --> 01:26:40,220 but he never shot a close up of Sam Jackson 2104 01:26:40,220 --> 01:26:41,888 that looked like that. 2105 01:26:41,888 --> 01:26:45,600 And you literally could get even deeper underneath 2106 01:26:45,600 --> 01:26:47,852 the skin and into the hearts and minds of these 2107 01:26:47,852 --> 01:26:51,314 characters and hold these big wide frames 2108 01:26:51,314 --> 01:26:54,901 so that you were almost in theater. 2109 01:26:54,901 --> 01:26:57,320 Everybody had to be on at every given moment in 2110 01:26:57,320 --> 01:27:00,323 those rooms all the time. 2111 01:27:00,323 --> 01:27:02,408 I don't know really that Quentin would have felt 2112 01:27:02,408 --> 01:27:05,119 all that comfortable doing the seventy millimeter thing 2113 01:27:05,119 --> 01:27:09,207 if Bob Richardson wasn't his partner doing it with him. 2114 01:27:09,207 --> 01:27:11,292 Bob brings so much to the table both 2115 01:27:11,292 --> 01:27:14,504 technically and creatively. 2116 01:27:14,504 --> 01:27:19,759 Quentin's exuberance and his enthusiasm for films 2117 01:27:19,759 --> 01:27:23,972 and filmmaking is so unbelievably vast. 2118 01:27:23,972 --> 01:27:27,475 And that's the way he was making Reservoir Dogs 2119 01:27:27,475 --> 01:27:29,644 and that's the way he is making The Hateful Eight, 2120 01:27:29,644 --> 01:27:33,481 and that spirit is contagious. 2121 01:27:34,774 --> 01:27:37,110 Quentin values friendship. 2122 01:27:37,110 --> 01:27:40,363 Quentin values deep relationships. 2123 01:27:40,363 --> 01:27:44,868 Quentin values a rag tag sort of family that is 2124 01:27:44,868 --> 01:27:47,704 more committed to each other than even actual blood. 2125 01:27:47,704 --> 01:27:49,789 And I think that you see that on our set. 2126 01:27:49,789 --> 01:27:52,083 (chuckles) That was a great one. 2127 01:27:52,083 --> 01:27:53,209 We have the same people. 2128 01:27:53,209 --> 01:27:55,336 Our script supervisor has been with Quentin since 2129 01:27:55,336 --> 01:27:56,379 Reservoir Dogs. 2130 01:27:56,379 --> 01:27:58,798 Our sound mixer, I think, has been with us since Pulp. 2131 01:27:58,798 --> 01:28:02,302 The makeup crew, stunts, everybody feels like 2132 01:28:02,302 --> 01:28:03,386 they're coming home. 2133 01:28:03,386 --> 01:28:04,637 It's that Quentin thing where you're suddenly 2134 01:28:04,637 --> 01:28:06,598 working around family and to see so many familiar 2135 01:28:06,598 --> 01:28:10,184 faces and that loyalty that Quentin has to his people, 2136 01:28:10,184 --> 01:28:11,603 his crew, and his cast. 2137 01:28:11,603 --> 01:28:13,062 There's music playing. 2138 01:28:13,062 --> 01:28:15,273 There's conversation. 2139 01:28:15,273 --> 01:28:16,107 There's laughter. 2140 01:28:16,107 --> 01:28:17,942 Quentin's like, "No cell phones on set. 2141 01:28:17,942 --> 01:28:18,735 Let's go to work." 2142 01:28:18,735 --> 01:28:21,404 And if you were caught with a cell phone, 2143 01:28:21,404 --> 01:28:23,114 you'd be fired, no matter who you are. 2144 01:28:23,114 --> 01:28:25,158 We called him Checkpoint Charlie where you had to 2145 01:28:25,158 --> 01:28:27,535 turn in your cell phone and he put it in a Ziploc 2146 01:28:27,535 --> 01:28:29,329 bag with your name on it, and there were absolutely 2147 01:28:29,329 --> 01:28:30,705 no cell phones allowed on set. 2148 01:28:30,705 --> 01:28:31,998 And so we talk to each other, 2149 01:28:31,998 --> 01:28:33,958 we dance, we sing, we laugh. 2150 01:28:33,958 --> 01:28:35,585 We talk about what we just did and 2151 01:28:35,585 --> 01:28:37,170 how we can make it better the next time. 2152 01:28:37,170 --> 01:28:39,380 Just like an extraordinary experience just being on 2153 01:28:39,380 --> 01:28:41,049 set when it's that down take. 2154 01:28:41,049 --> 01:28:43,009 He laughs openly during takes. 2155 01:28:43,009 --> 01:28:43,843 He cheers. 2156 01:28:43,843 --> 01:28:46,304 I imagine that he cuts himself out. 2157 01:28:46,304 --> 01:28:48,181 Douche Bag take one. 2158 01:28:48,181 --> 01:28:50,475 Twenty-eight prick, take two. 2159 01:28:50,475 --> 01:28:56,314 [LAUGHTER] Humiliation, take one, mark. 2160 01:28:56,314 --> 01:28:58,733 (indistinct) Premiere take one. (indistinct) Premiere. 2161 01:28:58,733 --> 01:29:05,615 (laughs) His sets have become the most unique 2162 01:29:05,615 --> 01:29:07,575 set experience you can have. 2163 01:29:07,575 --> 01:29:09,369 What Quentin would say all the time, 2164 01:29:09,369 --> 01:29:15,875 "All right, we got this and we could move on, 2165 01:29:15,875 --> 01:29:17,669 but we're gonna do one more." 2166 01:29:17,669 --> 01:29:20,296 We're gonna do one more. 2167 01:29:20,296 --> 01:29:21,464 Why? 2168 01:29:21,923 --> 01:29:27,887 Because we love making movies. 2169 01:29:27,887 --> 01:29:29,973 I said, "Man, I'm- I'm- I'm on that train." 2170 01:29:30,807 --> 01:29:32,058 He's a fan. 2171 01:29:32,058 --> 01:29:34,477 You know he loves movies. 2172 01:29:34,477 --> 01:29:35,937 He appreciates people. 2173 01:29:35,937 --> 01:29:38,481 He's a fan of fans. 2174 01:29:38,481 --> 01:29:40,608 He appreciates life. 2175 01:29:40,608 --> 01:29:43,111 His way of socializing is inviting people over to 2176 01:29:43,111 --> 01:29:44,445 watch a movie. 2177 01:29:44,445 --> 01:29:46,364 He gets us all together. 2178 01:29:46,364 --> 01:29:48,408 He screens a movie of some sort. 2179 01:29:48,408 --> 01:29:49,784 Hey, everybody, come on and sit down. 2180 01:29:49,784 --> 01:29:51,411 Let's watch this. 2181 01:29:51,411 --> 01:29:52,912 And he'd go get some popcorn and sit there and 2182 01:29:52,912 --> 01:29:53,871 watch it with you. 2183 01:29:53,871 --> 01:29:56,499 It's a collective experience. 2184 01:29:57,125 --> 01:30:00,253 He was showing it to us for the first time. 2185 01:30:00,253 --> 01:30:02,004 We're just this group of, you know, 2186 01:30:02,004 --> 01:30:06,676 people and actors that he had chosen to use in his movie. 2187 01:30:06,676 --> 01:30:08,678 After the screening was over, 2188 01:30:08,678 --> 01:30:10,013 I couldn't help but notice. 2189 01:30:10,013 --> 01:30:14,809 He wasn't just sweating, he was- he was drenched. 2190 01:30:14,809 --> 01:30:19,522 And yet, I've never met anyone who honestly 2191 01:30:19,522 --> 01:30:22,942 comes even remotely close to the confidence he has when it 2192 01:30:22,942 --> 01:30:25,403 comes to making his movie. 2193 01:30:25,403 --> 01:30:27,655 It's amazing to me that he would have any nerves on 2194 01:30:27,655 --> 01:30:28,698 the other end at all. 2195 01:30:29,699 --> 01:30:32,076 But is shows, you know, how much he cares. 2196 01:30:39,208 --> 01:30:42,628 He was big and he was everywhere. 2197 01:30:48,551 --> 01:30:50,344 And everybody feared him. 2198 01:31:13,576 --> 01:31:14,994 Quentin and Harvey 2199 01:31:14,994 --> 01:31:16,746 Weinstein are two different animals. 2200 01:31:18,581 --> 01:31:18,998 I get it. 2201 01:31:18,998 --> 01:31:21,083 I understand why a lot of these girls 2202 01:31:21,083 --> 01:31:22,168 didn't say anything. 2203 01:31:23,252 --> 01:31:24,670 Their life depended on it. 2204 01:31:27,965 --> 01:31:31,469 If my livelihood, the preservation of my children, 2205 01:31:33,805 --> 01:31:35,848 if that is dependent upon someone 2206 01:31:35,848 --> 01:31:39,936 else that has power, like a Harvey Weinstein, 2207 01:31:39,936 --> 01:31:41,646 it's really scary. 2208 01:31:43,606 --> 01:31:47,527 That's the underbelly of the industry that 2209 01:31:47,527 --> 01:31:50,238 nobody knows about and it's really dark 2210 01:31:50,238 --> 01:31:52,240 and it's really fucked up. 2211 01:31:53,199 --> 01:31:54,742 I've been told things from a few people 2212 01:31:54,742 --> 01:31:56,327 who haven't even shown up yet. 2213 01:31:59,288 --> 01:32:01,123 I'll say exactly what Quentin said. 2214 01:32:01,123 --> 01:32:01,999 He simply said, "Listen. 2215 01:32:01,999 --> 01:32:03,960 I knew about it for a long time. 2216 01:32:05,253 --> 01:32:07,004 And I should have said something, but I didn't." 2217 01:32:10,424 --> 01:32:11,759 The fear factor 2218 01:32:11,759 --> 01:32:13,719 should never have entered into any of it. 2219 01:32:13,719 --> 01:32:15,596 And that's what I think the average person doesn't 2220 01:32:15,596 --> 01:32:19,350 understand, the fear and the emotional shutdown 2221 01:32:19,350 --> 01:32:24,063 that you'd have to force yourself into. 2222 01:32:24,063 --> 01:32:24,605 Oh, my God. 2223 01:32:24,605 --> 01:32:26,190 I can't believe what just happened. 2224 01:32:26,190 --> 01:32:28,192 And who am I gonna say anything to? 2225 01:32:28,192 --> 01:32:31,571 And if I do say something, I'm finished. 2226 01:32:31,571 --> 01:32:33,072 I won't be in another movie and 2227 01:32:33,072 --> 01:32:35,783 I won't be able to fulfill my life. 2228 01:32:35,783 --> 01:32:37,285 That's a pretty hard thing. 2229 01:32:49,839 --> 01:32:51,883 Now you find out about these hundreds of 2230 01:32:51,883 --> 01:32:54,510 thousands of dollars that was paid out to these 2231 01:32:54,510 --> 01:32:56,596 different girls in situations with him. 2232 01:32:57,763 --> 01:32:58,681 But see the people 2233 01:32:58,681 --> 01:33:00,182 who are complicit with that, 2234 01:33:00,182 --> 01:33:01,726 who followed his orders, 2235 01:33:01,726 --> 01:33:04,437 they're just as blameable and corrupted as- as him. 2236 01:33:04,896 --> 01:33:05,813 And a lot of that ain't 2237 01:33:05,813 --> 01:33:07,148 on the cover of Time Magazine. 2238 01:33:07,148 --> 01:33:08,274 They're still hiding. 2239 01:33:08,274 --> 01:33:10,693 There's a lot of them out there who were 2240 01:33:10,693 --> 01:33:12,528 more than happy to follow the 2241 01:33:12,528 --> 01:33:14,697 orders and the ideals of, 2242 01:33:14,697 --> 01:33:16,199 uh, Harvey's opinion. 2243 01:33:19,702 --> 01:33:21,537 And the fact that your own body, 2244 01:33:21,537 --> 01:33:25,833 your own face, your physical being is what you 2245 01:33:25,833 --> 01:33:28,002 use as your instrument of work, 2246 01:33:28,502 --> 01:33:30,421 and if that gets persecuted and that gets 2247 01:33:30,421 --> 01:33:32,089 ruined and that gets destroyed, 2248 01:33:32,089 --> 01:33:34,675 and somebody like Harvey has the power to do that, 2249 01:33:34,675 --> 01:33:35,760 don't hire that person. 2250 01:33:36,052 --> 01:33:37,136 And the people who would take 2251 01:33:37,136 --> 01:33:39,180 a call from a Harvey Weinstein, 2252 01:33:39,180 --> 01:33:40,389 "Oh, that was Harvey." 2253 01:33:40,389 --> 01:33:44,226 (smacks lips) "Yeah, he says not to hire so and so." 2254 01:33:49,982 --> 01:33:54,570 Having now separated himself so instantaneously 2255 01:33:54,570 --> 01:33:56,864 from Harvey, that was the end of it. 2256 01:34:10,378 --> 01:34:11,837 It's the end of an era. 2257 01:34:13,756 --> 01:34:15,591 It's an era that certainly made a point 2258 01:34:15,591 --> 01:34:19,053 and was envied by an awful lot of people. 2259 01:34:25,393 --> 01:34:26,602 He has moved on. 2260 01:34:30,773 --> 01:34:31,983 He's making a new movie. 2261 01:34:31,983 --> 01:34:33,609 He's doing Once Upon a Time in Hollywood. 2262 01:34:35,444 --> 01:34:36,195 And it ain't with the 2263 01:34:36,195 --> 01:34:37,196 Weinstein Company. 2264 01:34:37,863 --> 01:34:42,284 Quentin Tarantino is a rock star. 2265 01:34:43,911 --> 01:34:46,580 Quentin Tarantino can do a movie about any subject 2266 01:34:46,580 --> 01:34:49,041 matter that he wants to because Quentin Tarantino 2267 01:34:49,041 --> 01:34:51,252 stands out in front of the movie a little bit. 2268 01:34:56,132 --> 01:34:57,717 He's not gonna fade out. 2269 01:34:57,717 --> 01:34:59,760 This is why he talks about making ten. 2270 01:34:59,760 --> 01:35:02,638 He doesn't want to be that guy who people go, 2271 01:35:02,638 --> 01:35:04,181 "Oh, most of them was good, 2272 01:35:04,181 --> 01:35:06,726 but his stuff, you know as his stuff used to be, 2273 01:35:06,726 --> 01:35:08,936 but you know he's a bit too old for it now, 2274 01:35:08,936 --> 01:35:09,812 you know. 2275 01:35:09,812 --> 01:35:10,521 Bless him." 2276 01:35:10,521 --> 01:35:11,230 Doesn't want that. 2277 01:35:11,230 --> 01:35:12,314 I don't know, man. 2278 01:35:12,314 --> 01:35:14,984 I think he needs to live to a hundred and fifty or 2279 01:35:14,984 --> 01:35:17,820 two hundred years just so he can accomplish whatever 2280 01:35:17,820 --> 01:35:19,113 he wants to accomplish. 2281 01:35:19,113 --> 01:35:25,369 You know how his characters are related. 2282 01:35:25,369 --> 01:35:26,287 There's always a kind of a 2283 01:35:26,287 --> 01:35:28,456 family history that runs through. 2284 01:35:28,456 --> 01:35:29,248 I'm Doctor King Schultz. 2285 01:35:29,248 --> 01:35:30,708 This is my horse Fritz. 2286 01:35:31,625 --> 01:35:33,377 Full loads? Obviously. 2287 01:35:34,045 --> 01:35:38,799 Dandy Michaels, Joe Nash, and... 2288 01:35:38,799 --> 01:35:39,925 Crazy Craig Koons. 2289 01:35:41,260 --> 01:35:43,763 This here is Captain Koons. 2290 01:35:43,763 --> 01:35:46,640 He was in the POW camp with Daddy. 2291 01:35:46,640 --> 01:35:47,850 You know there's a family chain, 2292 01:35:47,850 --> 01:35:49,477 that there's a string that runs from the beginning 2293 01:35:49,477 --> 01:35:50,478 through to the end. 2294 01:35:52,438 --> 01:35:54,774 Hello, little man. 2295 01:35:54,774 --> 01:35:56,650 So I am in Hateful Eight, 2296 01:35:56,650 --> 01:35:59,862 the great- great grandfather of 2297 01:35:59,862 --> 01:36:01,989 Michael Fassbender's character 2298 01:36:01,989 --> 01:36:03,449 in Inglourious Basterds. 2299 01:36:03,449 --> 01:36:06,952 I'm watching Kill Bill, and there's Earl McGraw alive 2300 01:36:06,952 --> 01:36:09,705 as a character in it with his son, James Parks. 2301 01:36:09,705 --> 01:36:12,375 I said, "They got killed in From Dust Till Dawn One and Two." 2302 01:36:12,375 --> 01:36:14,293 He goes, "This happens before that." 2303 01:36:14,293 --> 01:36:15,336 I'm like, "Oh, God. 2304 01:36:15,336 --> 01:36:17,922 You- you like a gen-He's- he's- he reminds me of like 2305 01:36:17,922 --> 01:36:19,048 Norman Lear, you know, 2306 01:36:19,048 --> 01:36:21,425 how All In The Family begot The Jeffersons and 2307 01:36:21,425 --> 01:36:22,968 The Jeffersons begot the Good Times 2308 01:36:22,968 --> 01:36:24,303 and so on and so forth. 2309 01:36:24,303 --> 01:36:26,680 He was gonna make the Vega Brothers, 2310 01:36:26,680 --> 01:36:28,307 which would be me and John, 2311 01:36:28,307 --> 01:36:29,350 which would have been great, 2312 01:36:29,350 --> 01:36:30,184 right? 2313 01:36:30,184 --> 01:36:31,268 'Cause that would be believable, 2314 01:36:31,268 --> 01:36:31,894 right? 2315 01:36:31,894 --> 01:36:35,189 It would have to be a prequel because we're both dead, 2316 01:36:35,189 --> 01:36:36,899 which doesn't make sense, 2317 01:36:36,899 --> 01:36:38,734 but that's how it would be. 2318 01:36:38,734 --> 01:36:39,944 He's got his ten. 2319 01:36:39,944 --> 01:36:41,195 He'll do other stuff. 2320 01:36:41,195 --> 01:36:43,864 (stammers) And I know some of his plans and they're 2321 01:36:43,864 --> 01:36:44,907 fucking amazing. 2322 01:36:44,907 --> 01:36:46,951 You're writing your life story. 2323 01:36:46,951 --> 01:36:48,619 You bet I am. 2324 01:36:48,619 --> 01:36:50,037 Am I in it? 2325 01:36:50,037 --> 01:36:53,332 (chuckles) You just entered. 2326 01:36:53,332 --> 01:36:55,042 I mean, I wonder when he starts writing books 2327 01:36:55,042 --> 01:36:56,836 whether he will, some of these characters will 2328 01:36:56,836 --> 01:36:58,170 show up in his novels. 2329 01:36:59,839 --> 01:37:01,590 It's complete. It's a hundred percent. 2330 01:37:01,590 --> 01:37:04,802 And sacrificed relationship, 2331 01:37:04,802 --> 01:37:06,846 having children, all of that stuff to 2332 01:37:06,846 --> 01:37:08,848 pursue his dream. 2333 01:37:08,848 --> 01:37:11,392 He's a complete filmmaker and- and an artist in- in 2334 01:37:11,392 --> 01:37:12,601 the full on sense. 2335 01:37:13,811 --> 01:37:14,687 We're gonna miss it. 2336 01:37:14,687 --> 01:37:17,773 We're gonna miss the opportunity that he brings. 2337 01:37:17,773 --> 01:37:19,817 And it's true of all of us. 2338 01:37:19,817 --> 01:37:22,027 If your phone buzzes in your pocket 2339 01:37:22,027 --> 01:37:23,529 and you take it out of your pocket 2340 01:37:23,529 --> 01:37:24,530 and you look at it and it says 2341 01:37:24,530 --> 01:37:26,490 QT on it, you go please, please, 2342 01:37:26,490 --> 01:37:30,536 please, oh just please, please be one, please. 2343 01:37:30,536 --> 01:37:32,246 You know and (imitates phone on). 2344 01:37:32,246 --> 01:37:34,415 Hi. And he goes, "Hi. 2345 01:37:34,415 --> 01:37:35,958 Um, I've got something I want you to read." 2346 01:37:35,958 --> 01:37:37,251 And you're done. 166142

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