Steve and Anthony overdose on Pulp Fiction.
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[00:00:00] Welcome to Properly Howard, a podcast that reviews classic films and other pulp fiction,
[00:00:26] or in this case, the movie pulp fiction. Directed by Quentin Tarantino, pulp fiction stars Samuel
[00:00:33] L. Jackson, John Travolta and Bruce Willis in what we assume is a very dark sequel to
[00:00:38] Look Who's Talking.
[00:00:41] Pulp fiction is a wild ride chock full of guns, gimps and pocket watches that could use a
[00:00:46] little purell. With me to discuss this as always is Dr. Anthony Ladon.
[00:00:53] Just a quick note. I'm not able to record next week so I'm going to suggest that
[00:00:59] we put out our Dune Conversation next week.
[00:01:02] Okay.
[00:01:04] So if you're listening to this and you're expecting a Fellonies and Fugazies film
[00:01:10] next week, we're going to take a break from that and put out our discussion on Dune 2,
[00:01:17] which may be a little late to have that conversation but probably that film is just
[00:01:22] now available to purchase.
[00:01:24] Yeah, I believe so.
[00:01:26] At home viewing. Anyway, that'll be next week and then the week after we will
[00:01:31] return to our Fellonies and Fugazies series.
[00:01:37] How about this one?
[00:01:39] You like that?
[00:01:41] I like that.
[00:01:45] I don't know why this is uploaded, but I don't hate it.
[00:01:51] I don't hate it at all. This song has my favorite shitty guitar solo.
[00:02:09] Is that right?
[00:02:12] Oh yeah, absolutely.
[00:02:14] He calls it out.
[00:02:16] He says,
[00:02:18] Now listen to this. So he really wants you to listen to the guitar solo.
[00:02:23] Then what happens next? It's two notes.
[00:02:29] That's it. That's all it is. It's two notes.
[00:02:32] Crazy that those two guys are fighting over that music.
[00:02:43] Really excited about that guitar solo.
[00:02:46] Man, you know what? I'm remembering this a little bit differently now that I hear it.
[00:02:51] Yeah, those guys are really fighting over the artistic energy behind that song.
[00:03:03] Steve, do you want to start with anal rape or hamburgers for breakfast or feet?
[00:03:11] Which one of those?
[00:03:12] Yeah, that's not the order I normally go in.
[00:03:23] Now, have you ever had a burger for breakfast?
[00:03:27] I didn't know we were going with that one.
[00:03:32] Yeah, sure. I mean, I can't.
[00:03:34] I mean, I think that's really the hot topic everyone wants to know.
[00:03:39] I can't remember a specific time, but I think it would be like crazy if I've gone this many
[00:03:44] years and not had a burger for breakfast. I think I know I've gone to like, you know,
[00:03:49] on a road trip or something and then you get to a place and they're like,
[00:03:52] well, we have burgers now. And I'm like, oh.
[00:03:56] Yeah, it feels like to me it has to be like post nine o'clock.
[00:04:02] I'm gonna throw this out to you. It was yesterday? Yesterday, I think it was.
[00:04:06] Maybe the day before. We had leftover turkey burgers.
[00:04:11] And my wife made a scramble with one of the leftover turkey burgers for breakfast.
[00:04:16] But that counts eggs.
[00:04:19] Yeah, but you can get a burger with an egg on it.
[00:04:23] You're muddling the waters for sure.
[00:04:25] You're saying an egg makes it breakfast?
[00:04:28] Because I got some fried rice that I want to talk to you about.
[00:04:33] I feel like if it's a breakfast burrito there's egg involved, right?
[00:04:40] Most of the time, yeah.
[00:04:42] So if it's a breakfast burger, like is there such a thing as a burger?
[00:04:48] Like if you're going to design a breakfast burger,
[00:04:50] it would absolutely have a fried egg on it, right?
[00:04:53] Yeah, but you can get that any old time.
[00:04:55] You get a loco moco in Hawaii any old time.
[00:05:01] Let me throw an idea at you, all right?
[00:05:03] So, you know, let's keep with the Hawaiian theme.
[00:05:08] The Hawaiian theme.
[00:05:10] Let's say you had a couple sweet buns, a hash brown, a beef patty,
[00:05:17] some cheddar cheese, and a fried egg.
[00:05:21] Would that be an appetizing breakfast?
[00:05:24] Oh, absolutely.
[00:05:25] I've never had it. Just made it up.
[00:05:27] I feel like I want it right now.
[00:05:30] Since it's Big Kahuna Burger, I have to wonder, like, I mean, is it on a Hawaiian roll?
[00:05:35] Looks like me and Vincent caught you boys at breakfast.
[00:05:37] Sorry about that.
[00:05:39] What you having?
[00:05:42] Hamburgers.
[00:05:42] Hamburgers!
[00:05:44] The cornerstone of any nutritious breakfast.
[00:05:47] What kind of hamburgers?
[00:05:51] Cheeseburgers.
[00:05:51] No, no, no, no, no.
[00:05:52] Where'd you get them?
[00:05:53] McDonald's, Wendy's, Jack in the Box.
[00:05:55] Where?
[00:05:57] Big Kahuna Burger.
[00:05:58] Big Kahuna Burger.
[00:05:59] That's that Hawaiian burger joint.
[00:06:01] I hear they got some tasty burgers.
[00:06:03] I ain't never had one myself.
[00:06:04] How are they?
[00:06:05] I mean, I think that that's probably what happened with Big Kahuna Burger.
[00:06:08] They're like, well, OK, let's design a breakfast burger because we're going to be open early.
[00:06:13] We might as well have it.
[00:06:13] How early is this?
[00:06:14] They tried a few different things.
[00:06:16] They must have tried a few different things and then decided,
[00:06:18] what are we reinventing the wheel for?
[00:06:20] You know what people like?
[00:06:21] Hamburgers.
[00:06:22] Let's just serve hamburgers and people can decide when they want to eat them.
[00:06:27] So I think this is worth discussing because the whole movie,
[00:06:31] Pulp Fiction plays with kind of timelines, right?
[00:06:34] At least in terms of how it presents itself.
[00:06:37] So you have to do a little bit of reverse engineering
[00:06:39] to find out where things fall into place.
[00:06:43] Now I want you to say a lot more about this.
[00:06:47] About the timeline?
[00:06:48] I've got like notes and notes and notes on the use of time in this movie,
[00:06:53] but I want to hear your observations on this.
[00:06:56] It's hard to know exactly what time anything is because every clock is set to 420.
[00:07:01] I don't know if you knew that or not.
[00:07:03] I was thinking that every clock was set to heroin.
[00:07:06] That was my impression.
[00:07:12] In terms of the time sequence, your first scene, of course, comes back
[00:07:20] in the final scene which is neither of those is actually
[00:07:23] the final moment in the timeline of this movie.
[00:07:27] If I'm correct, if I'm wrong, the final moment in this movie is Zed's Dead Baby, right?
[00:07:36] In terms of the timeline.
[00:07:38] If you were going to butcher this movie and reorder it so that the story ends at the most
[00:07:49] ultimate scene, Zed's Dead Baby is the end.
[00:07:54] But this movie is bookended by breakfast.
[00:07:57] I've got to go back to that.
[00:08:01] They go to the apartment to meet up with Brad, right?
[00:08:07] To get the briefcase.
[00:08:08] And they actually give themselves a little time because they're early,
[00:08:11] so they have a little bit of time.
[00:08:13] Sun's out.
[00:08:14] Then they go through that whole sequence.
[00:08:17] It's not too early to start talking about foot fetishes,
[00:08:20] but let's continue with the storyline of thought.
[00:08:23] They've already purchased breakfast at Big Kahuna Burger.
[00:08:27] Big Kahuna Burger is open pretty early because then later we get, of course,
[00:08:35] the Bonnie situation which follows directly from this.
[00:08:40] By the time they are done cleaning the car and getting ready to leave,
[00:08:46] they do a little bit of a hose down.
[00:08:49] This is before Bonnie gets home at what?
[00:08:51] Nine?
[00:08:52] Yeah.
[00:08:53] How much time has gone by?
[00:08:55] How early is Big Kahuna Burger open?
[00:08:59] Also Winston the Wolf.
[00:09:04] What party is he at?
[00:09:06] He's at a Black Tie party that's happening before noon.
[00:09:11] I mean, not even before noon, probably before 10.
[00:09:13] This is before nine.
[00:09:15] This is like before Bonnie gets home.
[00:09:19] This is quite the party.
[00:09:20] This is like a 730 party.
[00:09:22] A 730 AM party.
[00:09:24] This is a Black Tie event.
[00:09:26] It's going to be at my house.
[00:09:28] I want you to be at my house.
[00:09:29] Black Tie event.
[00:09:30] We're going to start at 730 AM.
[00:09:34] It's going to be gowns and tuxedos.
[00:09:37] What's going on there?
[00:09:40] That's such an assumed moment, right?
[00:09:42] I mean, Jimmy's in a robe.
[00:09:47] The Wolf is in a tux.
[00:09:53] That's incredible to me.
[00:09:54] Is this like a pre-funeral party?
[00:09:56] Is there such a thing as that?
[00:10:01] My theory on this is that this movie is intentionally playing with time.
[00:10:11] I think it all is in service to the idea that this is not linear.
[00:10:15] Nothing about this is linear.
[00:10:16] As we just mentioned, you end with Vincent Vega alive walking out of the
[00:10:21] diner in volleyball clothes and a 9mm in his elastic waist.
[00:10:26] He's not dead anymore.
[00:10:27] We saw him die earlier, but because this is a very pulpy approach to time,
[00:10:34] it doesn't really affect your enjoyment of that final scene.
[00:10:38] In addition to that, what decade is this in?
[00:10:43] The hairstyles are from the 70s.
[00:10:46] These are Hitmen wearing black ties.
[00:10:50] They're wearing black suits and ties.
[00:10:52] That suggests like a 1940s gangster movie.
[00:10:56] They do a little time-traveling thing to Jack Rabbit's Slims into the 50s.
[00:11:02] Esmeralda's old-timey cab looks like it's 40s or something like that.
[00:11:11] There's just no realistic time-stare.
[00:11:13] Jules has a cell phone.
[00:11:15] Jules has a cell phone for sure.
[00:11:17] No one else in the diner has a cell phone.
[00:11:20] Otherwise, that whole scene wouldn't work.
[00:11:22] This movie is sort of like consciously suggesting that it lives in every decade.
[00:11:31] Or none.
[00:11:33] Yeah, or none.
[00:11:34] Like 40s, 50s, 60s, 70s, 80s and 90s.
[00:11:38] It doesn't really matter.
[00:11:40] It could exist in any of them.
[00:11:41] It serves almost as like a cinematic purgatory.
[00:11:44] That's right.
[00:11:45] Even down to the breakfast cereal.
[00:11:49] At one point, Eric Stoltz is eating a breakfast cereal called Fruit Brute.
[00:11:54] Totally discontinued in the 90s.
[00:11:58] This is a discontinued cereal.
[00:12:02] Yeah, of the Count Chocula and the Frankenberry and Booberry life.
[00:12:09] People don't realize there's a fruit.
[00:12:14] I love Fruit Brute, my new fruit flavored cereal.
[00:12:16] I love Count Chocula.
[00:12:18] I love Frankenberry.
[00:12:19] But new Fruit Brute has fruit flavored sweeties for the howling good taste of food.
[00:12:23] Every season of Properly Howard has a werewolf in it.
[00:12:28] We absolutely have a werewolf on that cereal box.
[00:12:31] Exactly.
[00:12:32] Werewolf cereal for sure.
[00:12:34] Anyway, all that is to say that the timing in this movie is like a shotgun.
[00:12:41] It's like scattered all over the place.
[00:12:43] I think it's sort of intentional.
[00:12:44] It's like, I don't care how this is going to play out in sort of linear space.
[00:12:52] What I care is how you feel in the moment and how you feel at the end of the film.
[00:12:58] And when I first watched this, I think I went to the theater three times to watch it.
[00:13:04] It was a revelation.
[00:13:05] Time is just one of the things he's playing with.
[00:13:08] But it does not necessarily make any sense.
[00:13:11] It doesn't matter that it doesn't make it.
[00:13:14] Right.
[00:13:14] And again, obviously we have a watch, which is a central focal point of a movie
[00:13:18] that's messing with time.
[00:13:20] Yeah, absolutely.
[00:13:23] And it is interesting that the watch is introduced to us as having just left
[00:13:30] someone's colon leading us to another path.
[00:13:36] A colon centric plot line.
[00:13:42] This watch was on your daddy's wrist when he was shot down over that Hanoi.
[00:13:47] It was captured in a Vietnamese prison camp.
[00:13:51] He knew that if the gooks ever saw the watch, it'd be confiscated, taken away.
[00:13:58] The way your dad looked at it, this watch was your birthright.
[00:14:02] He'd be damned if any slopes were going to put the greasy yellow hands
[00:14:05] on his boy's birthright.
[00:14:06] So he hid it.
[00:14:07] In one place he knew he could hide something, his ass.
[00:14:10] Five long years he wore this watch up his ass.
[00:14:14] Then he died of dysentery.
[00:14:16] He'd give me the watch.
[00:14:18] I hid this uncomfortable hunk of metal up my ass two years.
[00:14:22] Then after seven years, I was sent home to my family.
[00:14:28] Now, little man, I give the watch to you.
[00:14:35] What is your history with this movie?
[00:14:37] I saw it when it came out.
[00:14:41] I was had different reaction, I think than you did.
[00:14:45] I mean, I was like, I didn't know what to think.
[00:14:47] Like I was, it was, it was, I'd never seen anything like it.
[00:14:50] Right.
[00:14:52] Just like couldn't stop thinking about it.
[00:14:56] And I remember watching it with with Heather when we were like, I think newly married.
[00:15:03] And, and I felt like guilty liking it as much as I did.
[00:15:09] I remember, I remember a conversation with you about this.
[00:15:12] We've not seen this together, but we were on the phone with each other.
[00:15:16] I don't know how to feel because my biggest laugh in the film was when
[00:15:21] the poor guy gets his head blown off.
[00:15:24] And you felt a little guilty about that.
[00:15:28] And I, for whatever reason, I didn't feel any guilt at all.
[00:15:31] I was just totally happy with every bit of this movie.
[00:15:38] Had you seen Regidivar Dogs yet?
[00:15:41] No, I hadn't.
[00:15:42] So this movie, I think kind of serves almost as a gateway for, at least for me,
[00:15:47] like in terms of reconciling the ability to find humor in Grim and,
[00:15:54] and understanding how dark comedy can be, how glorious dialogue is and what you can do to a scene.
[00:16:06] Right.
[00:16:08] Because I mean, there's like rewatching this, you know, I watch this all the time, but like
[00:16:14] the overdose scene is hilarious.
[00:16:16] It's crazy.
[00:16:16] And I remember when I first saw it, I was like, and it is, it's crazy intense.
[00:16:19] And it's like one of these movies, the more you watch it,
[00:16:22] like you appreciate the concept of the intensity when you had first seen it.
[00:16:26] But like, it's not intense anymore because you're just, you're just,
[00:16:29] I don't know how your experiences with it, but I just, I just kind of marvel over it.
[00:16:34] But that sequence where he's with Travolta and Stoltz and they're trying to go through
[00:16:40] administering the shot and like Stoltz just like pumps his arm and he goes, okay,
[00:16:44] so we got low and I have to like, I have to stab her three times.
[00:16:47] Just like that whole sequence is, it's still super funny.
[00:16:50] So this last time I was really focusing on Rosanna Arquette's face.
[00:16:57] Oh yeah.
[00:16:57] She's so funny because she's so pissed.
[00:17:00] Like the whole thing is putting her out and she's like yelling at Eric Stoltz
[00:17:06] and you know, she's acting like you probably should act.
[00:17:10] Right.
[00:17:10] If someone brings someone into your living room who's about to OD
[00:17:16] and then when she realizes what's going to happen,
[00:17:21] she just gets like this wicked fascination on her face.
[00:17:26] Totally.
[00:17:27] What's going to happen now?
[00:17:28] And so as an audience member, you're like taking cues from the way that she feels
[00:17:35] about this whole thing.
[00:17:36] Like she's thinking I might see someone actually die right here on my floor.
[00:17:43] It's a little bit exciting or who knows what's going to happen.
[00:17:47] Right?
[00:17:47] So if you're going to wake me up, at least let me see something I've never seen before.
[00:17:54] Right.
[00:17:55] Gosh, this film is like, it's like haymaker after haymaker.
[00:18:01] It's like just a knockout scene and then you're on to the next one
[00:18:06] and you're like, oh geez, Christopher Walken,
[00:18:09] just delivering the best Christopher Walken monologue you've ever seen.
[00:18:14] And then you're like on the next scene, you're like, oh my gosh,
[00:18:17] I get to watch Eric Stoltz and Travolta argue about this whole adrenaline shot
[00:18:23] and then, oh, I get to watch the wolf.
[00:18:25] Oh, I love the scene with the wolf.
[00:18:29] There's no moment in this movie where you're like,
[00:18:32] oh, I wish I was with those other people.
[00:18:35] Right.
[00:18:36] Every bit of this movie is just a knockout punch.
[00:18:40] I think when I first watched this movie a few times,
[00:18:43] maybe I felt like the butch plot was a little less than.
[00:18:49] Okay, interesting.
[00:18:50] That's interesting because you're a big Bruce Willis guy.
[00:18:53] Yeah, but yeah, and just in terms of like,
[00:18:56] because it's where the pace slows down, right?
[00:19:01] But like just rewatching it and listening to the whole,
[00:19:05] the boxing commentators in the background,
[00:19:08] well, he had to know that he killed him, the way he looked.
[00:19:11] And then you find out he doesn't,
[00:19:13] but it's an interesting element, right?
[00:19:14] So that's kind of telling you a little bit something about
[00:19:17] their perception of him.
[00:19:19] So something obviously changed in the ring, right?
[00:19:21] Like he kind of, it demonstrates that this butch character
[00:19:27] maybe loses himself in this process, right?
[00:19:31] Because the way that their commentators are talking about how,
[00:19:34] the way that he looked and the way he looked down,
[00:19:36] you knew he knew he killed him.
[00:19:37] And it's like, so maybe on some level he did,
[00:19:39] but something comes out of him because we see him
[00:19:42] blow up about the watch, right?
[00:19:45] So there's obviously an element to this guy that is like,
[00:19:48] there's a flip or there's a switch that could be flipped
[00:19:51] and he's not necessarily maybe as aware or control himself.
[00:19:55] He's got this sort of well of violence in him,
[00:20:00] but he can be pretty, he can put a good face on, right?
[00:20:05] He can sit there and take it from Marcellus Wallace,
[00:20:07] or he can like be playful with his girlfriend,
[00:20:11] or he can be super cool with the cab driver.
[00:20:15] But underneath it all, he's just a man of violence.
[00:20:21] And you kind of get to see him in real time,
[00:20:23] like realize I just killed a guy.
[00:20:26] So he's smoking a cigarette and she asks,
[00:20:29] what does it feel like to kill a man?
[00:20:30] And in real time you can kind of see him realize,
[00:20:36] I don't feel anything.
[00:20:39] I don't feel guilty at all about just killing that guy,
[00:20:42] which of course allows him to kind of almost become
[00:20:46] a samurai warrior by the end.
[00:20:48] Right.
[00:20:50] Let's talk about Travolta.
[00:20:52] Sure.
[00:20:53] We're at a unique place in the career of Travolta
[00:20:56] because I don't think that we were old enough to like
[00:21:01] really love his welcome back cotter years, right?
[00:21:06] Yeah.
[00:21:06] I don't think I had it.
[00:21:09] My mom would reference it,
[00:21:10] like if we watched something else with them.
[00:21:12] But I was like, whatever you say weirdo.
[00:21:15] And then there was like a four year period
[00:21:17] where he was just on top of the world.
[00:21:20] He was the biggest star in the world, right?
[00:21:22] He missed all of that.
[00:21:24] Well, I mean, how many times have you seen Greece, right?
[00:21:27] Like when you were younger, I assume you've seen a lot.
[00:21:30] I was just talking with Sarah about this yesterday.
[00:21:32] Like she's seen it a lot.
[00:21:34] I've maybe seen it one and a half times.
[00:21:37] Like all I know is that it's a super gross movie
[00:21:42] with John Travolta who's pretty sexy.
[00:21:45] So I mean, here's my first exposure to Travolta.
[00:21:53] It was Dana Carvey's impression of John Travolta on SNL.
[00:21:59] I just didn't know why I was going to watch Saturday Night Fever.
[00:22:01] I was too young for that.
[00:22:03] I never watched Saturday Night Fever,
[00:22:06] but I felt like I was aware of it enough, you know?
[00:22:09] And I was aware of Urban Cowboy.
[00:22:12] Like I was aware of these things because they,
[00:22:14] maybe because I had an older sister
[00:22:17] who may have been interested.
[00:22:19] I had seen the boy in the plastic bubble.
[00:22:23] There's a couple of like odd ones that I watched.
[00:22:26] There was two of a kind, two of a kind.
[00:22:28] The other one with Olivia Newton John,
[00:22:32] where I think has something to do with like God
[00:22:36] and some angels trying to orchestrate their lives
[00:22:38] or something.
[00:22:40] It sounds right out of my alley.
[00:22:41] He says with a question mark.
[00:22:42] I've never seen this.
[00:22:43] I've never even heard of it.
[00:22:45] Yeah, there's no necessary reason to have.
[00:22:48] It's crazy that like that's one of the ones
[00:22:50] that I remember having seen.
[00:22:52] And I think the reason why it really stands out
[00:22:54] is because Separate Ways by Journey,
[00:22:57] I believe was featured prominently in two of a kind.
[00:23:01] It's funny because Travolta was like an entity, right?
[00:23:03] Like he was a concept.
[00:23:04] Like I hadn't seen Carrie at this point.
[00:23:08] I for sure didn't see Perfect with Jamie Lee Curtis,
[00:23:12] which is now a wonderful meme.
[00:23:15] But yeah, I don't think I watched Saturday Night Fever
[00:23:18] until like way later.
[00:23:20] So really it was-
[00:23:20] You just mentioned like half of those
[00:23:22] I've never heard of before.
[00:23:24] And so-
[00:23:24] Oh, okay.
[00:23:25] Yeah, I mean there's just a lot there
[00:23:27] that I am not familiar with.
[00:23:29] You never saw the boy in the plastic bubble?
[00:23:31] Should I?
[00:23:36] Are we doing a Travolta season?
[00:23:40] Two of a kind is Four Angels,
[00:23:42] played by Charles Durning,
[00:23:44] Scatman Crothers,
[00:23:46] Castula Guerra,
[00:23:47] and Beatrice Strait have been in charge of heaven
[00:23:50] for the last 25 years.
[00:23:52] They are playing a golf match in heaven
[00:23:53] when their game is interrupted by God,
[00:23:56] voiced by Gene Hackman,
[00:23:57] who has returned to the office
[00:23:59] and does not like what he sees down on earth.
[00:24:01] God wants to order up another flood
[00:24:03] and start all over again,
[00:24:05] despite his promise in the rainbow
[00:24:07] that he never would again.
[00:24:09] But the Four Angels persuade him
[00:24:10] to reconsider,
[00:24:11] reasoning that if a typical earth man can reform,
[00:24:14] it would prove that all mankind is capable of it.
[00:24:17] God agrees to the scheme
[00:24:18] and the typical earth man selected by the Angels
[00:24:21] is Zach Mellon,
[00:24:21] played by John Travolta,
[00:24:23] a failed inventor who, threatened by loan sharks,
[00:24:26] decides to hold up a bank.
[00:24:28] Zach points his gun at bank teller Debbie Wilder,
[00:24:31] the Olivia Newton John,
[00:24:32] who ostensibly gives him all the money.
[00:24:34] However, when Zach peers into the sack after the robbery,
[00:24:36] he sees that Debbie has substituted bank deposit slips
[00:24:38] for the cash and has kept the money for herself.
[00:24:41] Zach tracks her down to reclaim his stolen money
[00:24:43] while dodging the loan sharks
[00:24:44] and the evil interventions of the devil,
[00:24:46] played by Oliver Reed.
[00:24:48] The two come to develop a romantic relationship
[00:24:50] which is put to the test
[00:24:51] when they are threatened by a masked thug.
[00:24:54] Now, that doesn't sound crazier
[00:24:59] than a lot of Old Testament stuff.
[00:25:01] I was just gonna say this sounds like the book of Job,
[00:25:06] but instead of Job you've got Nante here.
[00:25:09] That sounds amazing to me.
[00:25:11] I feel like I need to watch this tonight.
[00:25:13] What is this called again?
[00:25:16] Two of a Kind.
[00:25:18] Why name it Two of a Kind?
[00:25:19] Well, it was originally gonna be called...
[00:25:21] That's a forced name for what you just described.
[00:25:23] It was originally gonna be called Second Chance.
[00:25:26] That sounds a lot better.
[00:25:29] It sounds better.
[00:25:35] All right, so let's say a decade
[00:25:39] of pretty underwhelming work.
[00:25:44] So much so that Tarantino has to fight for Travolta
[00:25:48] to be in this movie.
[00:25:51] He's just totally committed to the idea
[00:25:55] that Vincent Vega must be played by John Travolta.
[00:26:00] He's even willing to pull it from Miramax.
[00:26:02] If they don't give him Travolta,
[00:26:04] they're trying to foist upon him Daniel Day-Lewis.
[00:26:10] Really?
[00:26:11] Yes.
[00:26:12] Tarantino says no way.
[00:26:13] I do not want anyone but Travolta.
[00:26:17] Could you imagine?
[00:26:19] So...
[00:26:21] No, I can't imagine.
[00:26:23] You better be right.
[00:26:25] You know what I mean?
[00:26:27] I don't want the guy from My Left Foot.
[00:26:30] Give me the guy from Urban Cowboy.
[00:26:34] Totally.
[00:26:36] You ever see Two of a Kind, Chief?
[00:26:39] I mean...
[00:26:41] That's kind of impressive.
[00:26:44] You know, Tarantino has kind of become known
[00:26:46] for giving someone a second career.
[00:26:50] Tarantino is not Tarantino yet.
[00:26:51] Right.
[00:26:52] I mean...
[00:26:52] That's right.
[00:26:54] So no, I'm sorry.
[00:26:56] No Daniel Day-Lewis.
[00:26:58] I want Travolta.
[00:27:01] He's so in love with John Travolta
[00:27:04] that he is living in his old apartment.
[00:27:07] Did you know this?
[00:27:08] No.
[00:27:08] This is before he's rich and famous or anything.
[00:27:11] He's living in John Travolta's old apartment building,
[00:27:15] maybe even the same apartment as John Travolta.
[00:27:20] Invites John Travolta up
[00:27:22] when he thinks he's gonna get cast.
[00:27:25] Plays some board games with him.
[00:27:29] Sorry Daniel Day-Lewis.
[00:27:31] Bruce Wayne.
[00:27:32] I'm sorry.
[00:27:32] I'm sorry.
[00:27:33] I'm sorry.
[00:27:34] I'm sorry.
[00:27:34] I'm sorry.
[00:27:35] Daniel Day-Lewis.
[00:27:36] Bruce Willis would have been interested in the role.
[00:27:39] Nope.
[00:27:39] We want Travolta.
[00:27:43] And I think it's better with John Travolta?
[00:27:49] I mean...
[00:27:50] Yeah, well, this movie as it is constructed
[00:27:54] I think is better.
[00:27:55] I mean, it's hard to imagine not Travolta.
[00:27:58] I mean, I could imagine Daniel Day-Lewis
[00:28:02] becoming John Travolta and everybody believes it.
[00:28:06] But this movie absolutely feels like it requires John Travolta.
[00:28:12] What did you think about what happened to Antoine?
[00:28:15] Who's Antoine?
[00:28:15] Tony Rocky horror.
[00:28:17] You know him.
[00:28:19] He fell out of a window.
[00:28:22] Well, that is one way to say it.
[00:28:23] Another way to say it would be that he was thrown out.
[00:28:26] Another way would be was he was thrown out by Marcellus.
[00:28:30] And yet even another way is to say he was thrown out
[00:28:32] of a window by Marcellus because of you.
[00:28:35] Is that a fact?
[00:28:37] No, no, it's not a fact.
[00:28:38] It's just what I heard.
[00:28:39] That's just what I heard.
[00:28:41] Who told you?
[00:28:42] They.
[00:28:44] They talk a lot, don't they?
[00:28:48] They certainly do.
[00:28:50] They certainly do.
[00:28:51] Don't be shy, Benson.
[00:28:52] What else did they say?
[00:28:53] Well, I'm not shy.
[00:28:56] Did it involve the F word?
[00:28:58] No, no, no, no.
[00:28:59] They just said that Antoine had given you a foot massage.
[00:29:04] And?
[00:29:04] And nothing.
[00:29:06] That's it.
[00:29:10] You heard Marcellus threw Tony Rocky out of a four story window
[00:29:14] for giving me a foot massage.
[00:29:16] Can you believe that?
[00:29:19] Well, I mean, at the time I was told it sounded reasonable.
[00:29:22] Marcellus throwing Tony out of a four story window
[00:29:26] for massaging my feet seemed reasonable.
[00:29:28] No, it seemed excessive, but that doesn't mean it didn't happen.
[00:29:31] Of course, because this movie has become what it is,
[00:29:34] it's almost impossible to think of someone else in this role.
[00:29:40] Right.
[00:29:42] The thing that's crazy is that they still got Daniel Dave Lewis
[00:29:44] to play the Gimp and it's wild that he's uncredited,
[00:29:47] but unbelievable how he just dissolves into that character.
[00:29:52] He can't go to sleep unless he's wearing the leather suit now.
[00:29:57] He's got to be in that box.
[00:29:58] That's why they had to zip his mouth shut
[00:30:00] because every time they unzipped it, he was going,
[00:30:01] Drainage!
[00:30:13] I love this movie for its theology.
[00:30:20] Yes, I've seen you speak to it quite a bit.
[00:30:23] Yeah, I really love this part of it.
[00:30:29] It's interesting because it's kind of a movie
[00:30:33] best known for the amount of sin that is in this.
[00:30:38] You want a movie about different kinds of sin?
[00:30:41] Pulp Fiction is absolutely...
[00:30:43] You're going to see a lot of varieties of that in this movie,
[00:30:49] but I've always loved that part of it.
[00:30:52] Because I think that there is a religious experience in this movie
[00:30:58] and leading to a conversion experience.
[00:31:04] Again, in real time you get to see the character
[00:31:06] try to talk through this new religious reality he's stepping into.
[00:31:15] I think it's fascinating, I think it's really well done.
[00:31:18] I think it's someone who clearly knows what he's talking about.
[00:31:22] Feels very authentic to me
[00:31:23] and in a movie that feels very surreal in a lot of other ways.
[00:31:27] The Jules character,
[00:31:30] you never get the sense that he doesn't believe what he's saying.
[00:31:36] Oh man, that's good.
[00:31:39] That's good, man.
[00:31:40] You're starting to lighten up.
[00:31:43] We've been sitting there all serious and shit.
[00:31:45] Man, I've just been sitting here thinking.
[00:31:47] About what?
[00:31:48] About the miracle we witnessed.
[00:31:50] The miracle you witnessed.
[00:31:51] I witnessed a freak occurrence.
[00:31:53] What is a miracle, Vincent?
[00:31:55] The act of God.
[00:31:58] And what's an act of God?
[00:32:03] When God makes the impossible possible.
[00:32:08] But this morning I don't think it qualifies.
[00:32:12] Hey Vincent, don't you see that shit don't matter?
[00:32:15] You're judging this shit the wrong way.
[00:32:17] I mean it could be God stopped the bullets or he changed Coke to Pepsi,
[00:32:21] he found my fucking car keys.
[00:32:23] You don't judge shit like this based on merit.
[00:32:25] Now whether or not what we experienced was an according to royal miracle is insignificant.
[00:32:31] But what is significant is I felt the touch of God.
[00:32:35] God got involved.
[00:32:38] But why?
[00:32:39] Well that's what's fucking with me.
[00:32:40] I don't know why, but I can't go back to sleep.
[00:32:44] You serious?
[00:32:45] You really thinking about quitting?
[00:32:47] The life?
[00:32:48] Yeah.
[00:32:49] Most definitely.
[00:32:50] Fuck.
[00:32:51] Well you have three key theological moments right in these three sort of vignettes
[00:32:57] that are key right so you've got you have Jules' conversion right so that's a big moment.
[00:33:03] I felt the touch of God.
[00:33:04] Yeah you've got Butch receiving grace.
[00:33:09] He actually drives away on a motorcycle called Grace.
[00:33:12] It's not a motorcycle baby it's a chopper.
[00:33:14] Exactly which I know there's been a lot of discussions like you know different
[00:33:20] you know critiques and deep dives that suggest that Marcellus Wallace is like he's the devil
[00:33:24] but you know because of the 666 briefcase but I would suggest that maybe he's more
[00:33:28] maybe more of a God figure in this.
[00:33:31] Interesting.
[00:33:32] And then and then then you have the other scene which is a resurrection.
[00:33:37] Oh where's the resurrection?
[00:33:39] Mia Wallace.
[00:33:41] So that's interesting because you could almost say that Vincent Vega is resurrected
[00:33:47] because you see him die in the bathroom midway through the film
[00:33:52] and then Tarantino resurrects him in the next scene.
[00:33:55] Right right.
[00:33:56] But yeah I wouldn't they basically keep uh he you know he brings her back to life when she's
[00:34:02] basically the right.
[00:34:03] Yeah yeah yeah I like that a lot.
[00:34:05] Now the other part of this that I love is that Jules is always quoting
[00:34:11] this verse from Ezekiel you know he's I just thought it was some cold-blooded
[00:34:15] shit that I said right before I pop a cap in someone's ass and then he has this
[00:34:22] experience and now he has to reinterpret what the verse means and sort of rearrange the metaphors
[00:34:32] and he realizes I am the tyranny of evil men
[00:34:37] but in order for my life to have meaning I've got to be the shepherd I've got to go live
[00:34:44] this kind of pilgrim experience.
[00:34:47] Like Kane from Kung Fu where I go around walk around and get adventures and help people
[00:34:54] that need help almost an eastern point of view and of course it's the call out from
[00:34:59] Kane from Kung Fu but it's sort of like um very anti-materialistic you know very
[00:35:07] altruistic you know emptying of ego but it's also very kind of like 1970s uh
[00:35:16] television right like right like all like Kane but you also got the Incredible Hulk or you've got
[00:35:23] Highway to Heaven you know we've got all of these other these shows where every week
[00:35:28] someone who's traveling around America meets someone else that he that needs their help
[00:35:35] you know we could probably name a dozen shows that had that premise.
[00:35:39] Right. So Tarantino is drawing from religion but it's in service to this this really kind of
[00:35:46] childhood pop culture idea of the world. Well and then the misreading or the the
[00:35:52] misquoting of the of the scripture I think is important too um because he knows it by heart
[00:35:59] but he knows it wrong. Yeah all right. Which I think is which I think is is an interesting
[00:36:05] element of um of maybe the the theological approach that even uh Tarantino is taking
[00:36:11] in this right because he's taking some theological liberties why not take some
[00:36:15] liberties with with the verse itself um and yeah the verse itself is pulp right it's sort of
[00:36:23] like this this uh distorted version uh but also you could say that that's how people
[00:36:30] approach religion right they they memorize it rigidly wrong. Right and and more importantly I
[00:36:38] think apply it into the life that they want to live. Right. Find me a verse that justifies my
[00:36:45] actions and in this particular case he's he's memorized it incorrectly he's applied it to his
[00:36:52] life because it thinks it sounds badass now he's reinterpreting the already misinterpreted
[00:36:58] verse to then go with his new uh found uh lifestyle and choice right and I think and
[00:37:05] and in that in and of itself is what he's suggesting when he says God got involved
[00:37:10] it's it's an interesting element this whole idea of that God getting involved and if go back to
[00:37:16] that sort of Marcellus Wallace character uh who's gonna get me out of this jam so what does he
[00:37:21] do he gets on the phone and he and he's and he's talking to Marcellus Wallace and Marcellus
[00:37:25] Wallace isn't really giving him the answers he wants and he's like look I just want you to
[00:37:28] tell me that it's gonna be taken care of right how many prayers are that
[00:37:34] right right that makes sense and so Marcellus Wallace is like hey I'm gonna send I'm gonna
[00:37:39] send you an angel I'm gonna send you the wolf right and uh you know and it's this whole I
[00:37:45] I think it's a really fascinating thing where you know Marcellus Wallace is giving uh butch
[00:37:51] you know instructions basically I'm asking you to humble yourself I am asking you to do what
[00:37:58] you think is the unthinkable for my will and then later even though that's broken because of
[00:38:06] because of circumstances because he's because butch shows himself put in a situation where
[00:38:11] he could have abandoned his God but he came back to to defend he was offered grace
[00:38:18] I like that the the scene with Maynard and Zed that absolutely is hell from
[00:38:25] Willis's perspective uh he has to become righteous he has to become someone who
[00:38:34] has at least a little bit of honor which is actually why he chooses the samurai sword what
[00:38:40] tradition can we draw from that considers you know the idea of killing with honor
[00:38:48] you know you don't kill someone with a chainsaw you know you don't kill someone
[00:38:51] with a baseball bat you kill someone with a samurai sword samurai has honor and so he
[00:38:57] chooses that path and uh I I mean that to me I don't necessarily need it all to make
[00:39:05] sense theologically but in the world of this film it's fascinating well and here's where I
[00:39:12] will take it even further the idea of like oh well it doesn't have to make sense
[00:39:16] theologically because you know I'm just enjoying it for what it is and this is this
[00:39:20] film's version of theology you could take it a step further and say look this is how we always
[00:39:25] reconcile theology you know if you I know that this part might sort of undercut this part right
[00:39:32] let's talk about that one right now or that part's a paradox you just have to accept that
[00:39:36] part by faith this is the important part over here yeah this this this was all a metaphor this
[00:39:41] was this really happened this here's here's how here's how I've mapped it out like
[00:39:44] you know like trying to find a serial killer you just have all these different strands
[00:39:48] that connect to somewhere and at the end of it is like oh well there's grace because like you see
[00:39:52] that too with like even the Tony rockahorah story right uh this is why marcellus wallace made the
[00:39:57] decision he did and mia breaks it down basically suggesting look we do not understand why
[00:40:02] marcellus wallace does what marcellus wallace does and it's not for us to necessarily know
[00:40:08] but what do we do we fill in the blanks and we create these narratives and I just
[00:40:12] I like that a lot so a couple connections with other Tarantino films I guess Vincent Vega
[00:40:27] is supposed to be Mr Blonde's brother correct so Mr Blonde is a character in Reservoir Dogs
[00:40:36] you got the samurai sword right right which connects you to kill Bill and at one point
[00:40:44] Bill's brother in volume two says that he hawked his Hanzo sword at a secondhand store right
[00:40:53] which is actually where he finds the seminar now he didn't we know that he didn't do it
[00:40:57] because the bride finds it but it's almost like this alternate reality where he did hawk it
[00:41:05] just and just just for Bruce Willis to find it and use it
[00:41:08] um interestingly in that show there's this this idea that uh you know this blade is so sharp that
[00:41:16] even if you met god god would be cut I love that that line um you know this again you know set in
[00:41:27] LA kind of a surrealistic LA this is you know in the same way he plays with time
[00:41:32] you know the the geography doesn't quite work in this movie but it doesn't really matter
[00:41:38] right um you know there's no traffic there's hardly any traffic in this LA
[00:41:46] right and that's why I look at it sort of it feels like a purgatory uh type like like
[00:41:51] they're or they're all already like condemned right it's like they don't like they don't know
[00:41:56] where they are existing in time or in space right it's just uh it's it's it does it's so
[00:42:05] it's such an effective way to tell a story like more than just being an interesting thing to do
[00:42:11] right like oh that's different because it was I think its first reaction is like well that's
[00:42:14] different but it's also what it does is that when you see it and you don't know about the
[00:42:20] time situation until like maybe after like because you will have a moment like wait isn't
[00:42:24] he dead you know wait why are they in the clothes wait and then so then when you make
[00:42:27] the connection you go wow I just watched a movie that just completely disrupted time
[00:42:32] for apparently no reason yet I wasn't I didn't have a problem with it like you know whenever
[00:42:39] you see like I don't ever seen the memes where people like take the words and then they
[00:42:44] misspell them but they misspell them in such a way that like you can still read it you
[00:42:48] know and it's like almost kind of feels like it's doing that kind of a trick and so it's
[00:42:52] it it it effectively tells you yeah this time time is a construct and you might not
[00:43:00] what you think you need to be able to understand these things is not maybe what you really
[00:43:04] let me ask you something when did you make this decision when you were sitting there eating
[00:43:08] that muffin oh yeah I was sitting here eating my muffin and drinking my coffee and replaying
[00:43:13] the incident in my head when I had what alcoholics refer to as a moment of clarity
[00:43:19] one of the interesting things about this that I like is that it does a bit of an homage to like
[00:43:27] 1970s crime dramas but the thing that marked 70s crime drama was like the hyper realism that
[00:43:35] it was trying to uh put on the screen and this film is extremely surrealistic so we already
[00:43:42] talked about the time thing right right but the dialogue it's not this is not how real
[00:43:49] people talk it's almost like someone walks in the room with this pre-rehearsed monologue
[00:43:56] and it's always it's sort of perfectly delivered um with a perfect kind of like curated deep cut
[00:44:04] needle drop the perfect lighting the perfect you know the camera work is always framed in such
[00:44:10] a way that you're always reminded that you're watching a movie you know you're he doesn't
[00:44:16] really want you to get lost in the world as much as just to kind of sit back and admire
[00:44:25] the the artistry of this he he throws in these stylistic flourishes that you know maybe don't
[00:44:34] couldn't work in a previous film it's like there's this moment where Uma Thurman
[00:44:39] is outside of jack rabbit's limbs and she's telling Travolta not to be a square
[00:44:46] and she creates a imaginary square in the air right that disappears like magic
[00:44:56] and and then he just moves on it's like the you wouldn't find that in the 70s crime drama
[00:45:02] right right and it does cause you a moment of like wait what like why did that happen
[00:45:10] he doesn't do it anywhere else in the film but you know maybe it's and maybe it's
[00:45:15] like we know he's on drugs so maybe it's from his perspective uh you know maybe this is sort
[00:45:20] of a heroin fueled perception of everything going on right yeah i mean in many ways uh
[00:45:29] his his uh films or he has multiple films i think and especially this one that sort of
[00:45:34] work almost is like a pastiche in a way right like it's it's a collection of styles
[00:45:40] from us from that he's you know sort of recreating i do like that uh that there are certain roles in
[00:45:50] this film that he had in mind for specific people so the wolf was always supposed to be
[00:45:56] harvey kytel right but he kind of had the idea of laurence fishburne for the uh the
[00:46:05] jewels character interesting doing an interview in new york almost 20 years ago and
[00:46:10] woman from texas came up and interrupted the interview i don't mean to bother you but i can
[00:46:15] can i have your autograph mr jackson and so i gave her i wrote you know blah blah blah sam
[00:46:23] jackson yeah um and so sam and i have this running gag about it can this film work if
[00:46:30] it's laurence fishburne i mean i think it can it's just gonna work differently
[00:46:39] uh the samuel l jackson flair is not there but i think he could certainly deliver uh
[00:46:45] elements of the uh the gravitas of the conversion um yeah but sometimes i can find
[00:46:52] laurence fishburne to be a little bit campy well i mean it's not like samuel l jackson doesn't do
[00:47:00] camp at times right right but there's but it feels like that's who he is well and for us
[00:47:11] oh at least for me that was the first time i'd ever saw him on the screen
[00:47:15] um and so for me that that actor is always that character but for i think for like people of my
[00:47:23] children's generation it's fury right this is he's the guy that brings together the the avengers
[00:47:31] sure you know the and not that honestly what how many movies was he in where he was fury he was
[00:47:36] like like 12 movies or something something around that yeah i mean it's a lot i'm trying
[00:47:43] to think i i had i had experienced um and i knew he was in uh jurassic park obviously um
[00:47:52] like i didn't i mean i did not like watch that go oh yeah he was from good fellows
[00:47:56] um right or he was the guy that robbed the the mcdowell's from coming to america
[00:48:02] i feel like if there's anything that you would probably know him from it would probably be
[00:48:06] uh
[00:48:12] but this the this character this character is just so much more memorable but i was
[00:48:18] gonna ask you this is there a main character in this film it's funny because travolta gets the
[00:48:24] best actor nod well and also he he is connected to most more of the storylines than anyone else
[00:48:34] i think right right yeah so i guess you could say that he's the main character but but in the
[00:48:39] butch one he's not in it very much he just dies on the toilet he's not in it very much
[00:48:45] but the butch character is is how he dies and he does have a an interaction with him at the
[00:48:51] bar right palooka beforehand yeah punchy um but you know so travolta sort of i guess
[00:49:04] you were going to come up with the main character it's travolta but for me the most memorable
[00:49:09] performances are sam jackson and bruce willis right yeah yeah interesting sam jackson gets
[00:49:19] nominated for the um supporting actor um but if you know upon rewatch it really does feel like
[00:49:29] travolta supporting uh jackson in my opinion and samuel jackson because of the way it ends
[00:49:36] it's like he this is his big conversion experience at the end he delivers this
[00:49:40] major monologue he's larger than life jews you give that fucking nimrod 1500
[00:49:44] dollars and i'll shoot him on general principle no yolanda yolanda he ain't gonna do a god
[00:49:48] damn motherfucking thing vince shut the come on yolanda stay with me baby
[00:49:54] now i ain't giving it to him vince i'm buying something for my money
[00:49:59] you want to know what i'm buying ringo what your life i'm giving you that money so i don't have
[00:50:06] to kill your ass you read the bible ringo not regularly no oh there's this passage i got
[00:50:15] memorized ezekiel 25 17 the path of the righteous man is beset on all sides by the
[00:50:23] on all sides by the inequities of the selfish and the tyranny of evil men blessed is he who in
[00:50:29] the name of charity and goodwill shepherds the week through the valley of darkness for
[00:50:33] he is truly his brother's keeper and the finder of lost children and i will strike down upon
[00:50:38] thee with great vengeance and furious anger those who attempt to poison and destroy my
[00:50:43] brothers and you will know i am the lord when i lay my vengeance upon you i've been saying
[00:50:52] that shit for years and if you heard it that meant your ass i never gave much thought to what
[00:50:59] it meant i just thought it was some cold-blooded shit to say to a motherfucker before i popped
[00:51:03] the cap in his ass i saw some shit this morning made me think twice see now i'm thinking
[00:51:11] maybe it means you're the evil man and i'm the righteous man and mr nine millimeter here
[00:51:18] he's the shepherd protecting my righteous ass in the valley of darkness
[00:51:22] or it could mean you're the righteous man and i'm the shepherd and it's the world that's evil
[00:51:29] and selfish now i'd like that but that shit ain't the truth the truth is
[00:51:38] you're the weak and i am the tyranny of evil men but i'm trying ringo i'm trying real hard
[00:51:53] to be the shepherd well he's got more monologues than anybody right i mean
[00:51:58] right and he doesn't die he he's he he gets to survive yeah and uh
[00:52:06] and he really i mean he really moves he moves him especially the the sequence during the bulk of
[00:52:12] avani situation where you know he's he's very angry at travolta uh even though because travolta
[00:52:21] doesn't have lava but um man i bet that scene makes me laugh every time what are the funniest
[00:52:30] scenes in this for you because i could probably name 10 that i just can't yeah i think
[00:52:36] i love i love almost all the i mean the bonnie's situation is is pretty fantastic i mean obviously
[00:52:43] that's the whole end of the movie but i mean the um i look at that mostly as just them in
[00:52:49] the house the i think the part that maybe makes me laugh the hardest every single time
[00:52:56] is when uh the wolf uh gets his coffee takes a sip stops turns around and gives him a little
[00:53:05] hey it's pretty good coffee look it's he does it's almost out of a commercial it is it's it's an i
[00:53:11] i i get i get giddy for it every time it's so value added it's such a a fun callback to
[00:53:19] kind of a throwaway sequence of talking about you know it gets freeze-dried taste his choice
[00:53:24] but uh i love that i also love that when they're kind of like rolling through the
[00:53:30] scenario of what if bonnie does come home and sees them oh man moving a dead body around
[00:53:37] just such a goofy moment it's such a it's like a rare rare goofy moment in the film they're all
[00:53:42] kind of like a little bit like hunched over like like they don't quite have a good grasp on the
[00:53:47] body and they they look up like they're you know children caught with their hand in the
[00:53:52] cookie jar right it's just so hilarious uh the winston wolf uh writing down body no head
[00:54:09] there's a lot i mean so that stuff i mean again the uh the the over the od scene is
[00:54:17] is hysterical um the um i mean obviously i mean there's there's there's really
[00:54:23] bizarre humor in the whole watch monologue even the the tension of uh of you know with
[00:54:32] talking about kahuna burgers and there are a number of scenes in this movie that are just
[00:54:38] laugh out loud funny and it makes me wonder is this a comedy right yeah i i would say i mean i
[00:54:47] can't imagine a movie that makes me laugh this much not being a comedy all right then is this
[00:54:55] the best comedy that's a really good question i mean that's an interesting because if this
[00:55:00] is a comedy it's got to be one of the best ever right yeah no that's a good point because
[00:55:09] it's it's rare to have a movie of this caliber period and if it's a comedy then
[00:55:15] yeah wouldn't wouldn't that have to elevate it because what to make the humor out of those
[00:55:21] sequences in any of those moments if you're just to read about what they are on paper you'd be
[00:55:26] like well there's no way that's funny so the scene where they're cleaning up the brain and
[00:55:31] skull in the car is maybe the one of the funniest scenes ever ever in a movie the
[00:55:39] interactions between jackson and trivolta in that where they're both just so angry in each other
[00:55:50] how would you describe that it tonally there's a hundred versions of that scene that don't work
[00:55:58] but for whatever reason the way that it's placed and the way it's delivered in this movie
[00:56:04] makes it hilarious yeah brain detail is an amazing line brain detail oh my gosh
[00:56:15] um all right is there a trope that you like uh i'm kind of a sucker for a macguffin
[00:56:24] um yeah and uh and i'm a sucker for swords sword a good sword good samurai sword scene
[00:56:33] uh it's fantastic the diner is amazing by the way like just just the whole setting of the diner
[00:56:38] um like it's it's amazing how the scene is so uh like so dramatic and so intense
[00:56:47] and it's he's in this like t-shirt with this jerry curl and then behind him is like this faux
[00:56:53] stone of a diner we've all been to and it's just it's it's it's incredible that that's
[00:57:01] like he does a really good job of making you feel like you know you've been to these diners so
[00:57:05] anybody can show up in there and it's like the idea that there were these two hitmen that were
[00:57:10] dressed like that because of just because of a series of circumstances so it's just the use of
[00:57:17] the everyday uh by the way that's sarah loves that scene so much because uh amanda
[00:57:25] plumber's physical comedy in that scene is so brilliant oh so good like at one point the way
[00:57:30] that she's sliding in the background like like swinging the gun around uh you know the way she
[00:57:35] puts the one the one hand with no gun and it almost looks like she's trying to point it at
[00:57:41] like she's got one on travolta now and then she just has an empty hand pointed and it's
[00:57:46] it's the this idea of just like panic it seems so genuine she's so amazing you just hear
[00:57:52] in the background shut him in the face and then when he opens it is all that what i think
[00:57:58] what is it she's she goes through so many different emotions she's so perfect for that scene
[00:58:07] oh my gosh um so i the trope that i like is i like it when directors put themselves in the movie
[00:58:14] even if it's a minor role and i think for some people they hate it you know you know who oh
[00:58:19] you're hitchcock you know like oh you think you're so you think you're so good and
[00:58:24] i remember back in the day when i watched this my girlfriend at the time thought that
[00:58:31] tarantino was just a horrible actor and he should have never put himself in the movie
[00:58:36] i think he's great what do you think about tarantino in this uh that would be a this
[00:58:43] would be my tweak oh you would you would rather have someone else in that role
[00:58:48] yeah because there's a couple of moments where he does disrupt the timing and i forgive it
[00:58:55] a lot because of the dialogue and the overall sense of the scene uh heather not a fan of
[00:59:01] tarantino's acting uh you put steve buscemi in this role and um it's it's otherworldly
[00:59:11] interesting interesting so buscemi giving that whole conversation about coffee
[00:59:19] would be dynamite interesting what do you think about butch's girlfriend could people
[00:59:27] some people really hate her performance in this um i i could definitely see how some people might
[00:59:35] feel like she's the uh the girlfriend from caddyshack type of a disruption um but uh
[00:59:44] i think it works because of of what they've done with the butch character like she's
[00:59:53] um kind of dumb like i mean well but she's all right she might be a little bit dumb but
[00:59:59] she's also like culturally unaware like she like you get the sense like she's younger
[01:00:04] she's from france she doesn't quite she certainly doesn't know how the the world
[01:00:09] of crime works right right so it's not necessarily an intelligence thing it's just
[01:00:14] that she's kind of an innocent she's kind of innocent to this greedy culture that or she's
[01:00:20] a sociopath who loves pancakes she has the only but i think however you define her
[01:00:30] who do you think is going to be going on this journey with butch
[01:00:34] you know what i mean like like who's who's going with butch who's gonna stick around
[01:00:41] because he lost his ass watch or you know what i mean like there's just
[01:00:46] there's an element of that that kind of makes sense in this like like do you think he's
[01:00:50] gonna have a strong counterpart with him you know this is a this is a highly risky plan
[01:01:00] that he goes through and it's he's messing with the wrong guy and it takes a wrong turn
[01:01:08] at zeds to to get out of it he would have been hunted forever in the same way that maybe
[01:01:16] she's misguided and naive you could make the same argument about but she's willing to like
[01:01:22] throw her life away and run around the world with him you know go on the lamb become a
[01:01:26] fugitive so you know maybe she's just attracted to guys that are not good for her or something
[01:01:34] like that right well she has she doesn't like when he does the voice though she does at
[01:01:40] least draw some boundaries he does she does not like the mongolite voice um my wife thinks
[01:01:46] that she's hilarious she just loves the scene so much all of their scenes together and i die
[01:01:55] laughing when she's finally standing next to the chopper and she just starts crying and he
[01:02:02] realizes if i'm gonna get her on the back of this thing i'm gonna ask i'm gonna have to stop
[01:02:07] and ask her how her breakfast right it's just it's just the perfect way to end that
[01:02:14] that little uh that character's story um is this movie better worse ron par with a ron
[01:02:22] howard film oh yeah this is uh i mean i like look with all due respect to howard i mean come
[01:02:30] on he just there's only one person that could make this if howard does this film is the
[01:02:35] character fonzi referenced that's interesting yeah i don't know uh they may have changed it to
[01:02:43] vinnie barbarino um sure i for me this is a howard plus 12 yeah i was gonna go howard
[01:02:50] plus 11 so we're not we're not too far off all right i think this is definitely the highest
[01:02:56] i think this is the highest rating that we've given a movie is there half the battle one to
[01:03:02] grow in moment in this film um be careful out there kids i was thinking if you go to the
[01:03:09] bathroom expect the worst i always do
[01:03:13] do
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