Steve and Anthony buddy up with Once Upon a Time in Hollywood.
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00:19 --> 00:25 [SPEAKER_03]: Welcome to Properly Howard, a podcast that reviews classic films and other book fiction.
00:25 --> 00:30 [SPEAKER_03]: Today we take a look at Quentin Tarantino's once upon a time in Hollywood.
00:30 --> 00:42 [SPEAKER_03]: starring Leonardo DiCaprio and Brad Pitt, once upon a time in Hollywood, revises the history of the Manson family killings by creating an alternate reality where the world is viewed through the spaces between women's toes.
00:43 --> 00:48 [SPEAKER_03]: With me to discuss this film as always is Dr. Anthony LaDon.
00:50 --> 00:53 [SPEAKER_01]: Steve, do you find it demeaning when I call you pumpkin pus?
00:54 --> 00:56 [SPEAKER_03]: It depends on the context.
00:57 --> 01:00 [SPEAKER_03]: All right, and court, I didn't like it.
01:04 --> 01:05 [SPEAKER_01]: When I was a character witness for you.
01:06 --> 01:06 [SPEAKER_01]: Yeah.
01:07 --> 01:08 [SPEAKER_03]: You know, it's clearly uncomfortable.
01:08 --> 01:10 [SPEAKER_03]: It was just, it was a yes or no question too.
01:12 --> 01:15 [SPEAKER_01]: You honor, are they permission to treat this as a hostile witness?
01:18 --> 01:24 [SPEAKER_03]: It's pumpkin pus in the court right now at the record show that he pointed to the defendant.
01:28 --> 01:34 [SPEAKER_01]: I can't imagine any time in my life where pumpkin plus would be a property that made me, for anyone.
01:38 --> 01:38 [SPEAKER_01]: All right.
01:40 --> 01:42 [SPEAKER_01]: I got, man, I got tons to talk about.
01:43 --> 01:45 [SPEAKER_01]: I thought I'd toss it to you.
01:46 --> 01:48 [SPEAKER_01]: How do you want to jump into this film?
01:50 --> 01:53 [SPEAKER_03]: Um, I mean, there's, yeah, there's a lot of different angles, right?
01:53 --> 01:55 [SPEAKER_03]: I mean, I got, so how many times have you seen this?
01:57 --> 01:58 [SPEAKER_01]: Maybe it doesn't.
02:00 --> 02:04 [SPEAKER_01]: And I read the novelization, which is a twelve-hour set, you know?
02:04 --> 02:13 [SPEAKER_03]: Well, the thing is, I mean, this is a lot of your life has been, this is not a truncated film by any stretch.
02:13 --> 02:14 [SPEAKER_01]: Well, I will say this.
02:15 --> 02:18 [SPEAKER_01]: When I say that, I've watched it a dozen times.
02:19 --> 02:27 [SPEAKER_01]: The first, I would say the first, forty, five minutes of this film, I just think is kind of a cool nostalgic hang.
02:29 --> 02:36 [SPEAKER_01]: And so sometimes I'll just like throw it on late in the evening to kind of just jump back into this world.
02:36 --> 02:38 [SPEAKER_01]: And I won't finish it.
02:38 --> 02:40 [SPEAKER_01]: I mean, it's two, what is it?
02:40 --> 02:41 [SPEAKER_01]: Almost three hours, something like that.
02:41 --> 02:42 [SPEAKER_03]: Yeah, like two, four, do you think?
02:43 --> 03:02 [SPEAKER_01]: to forty so if when I say that I don't really know how many times I've watched this movie I've watched the beginning of this movie a lot and it's a much different movie at the end than there is a different movie and it's a much different movie in the last ten minutes
03:03 --> 03:04 [SPEAKER_01]: Right, yeah, yeah, yeah.
03:04 --> 03:16 [SPEAKER_01]: So I've seen this movie a lot and, you know, I read Tarantino's novelization of this, which sort of exists in an alternate plane, you know, the plots a little bit different, the Indian different.
03:18 --> 03:24 [SPEAKER_01]: It's sort of like an old friend at this point, which is a weird because it came out in the last five years, you know?
03:25 --> 03:25 [SPEAKER_01]: Is that right?
03:27 --> 03:28 [SPEAKER_01]: I think it's two thousand eighteen.
03:30 --> 03:31 [SPEAKER_03]: Well, it is two twenty twenty five.
03:32 --> 03:32 [SPEAKER_03]: Oh shit.
03:36 --> 03:39 [SPEAKER_01]: Baby, baby, baby, I'm out of time.
03:39 --> 03:42 [SPEAKER_01]: It's time.
03:42 --> 03:43 [SPEAKER_01]: Just double check.
03:44 --> 03:44 [SPEAKER_01]: Was it?
03:44 --> 03:45 [SPEAKER_01]: Two thousand eighteen?
03:45 --> 03:52 [SPEAKER_01]: I'm, I'm, I'm painting myself as an expert of this movie and I'll probably have the, the date, the date wrong.
03:53 --> 03:54 [SPEAKER_01]: Two thousand nineteen.
03:54 --> 03:55 [SPEAKER_01]: Yeah.
03:55 --> 03:55 [SPEAKER_01]: Okay.
03:56 --> 03:57 [SPEAKER_01]: closer.
03:57 --> 04:03 [SPEAKER_01]: Yeah, in the case, in the case.
04:04 --> 04:19 [SPEAKER_01]: All right, so I'm happy to talk for a long time about this, but I was kind of curious about your entry point and the sort of burning topics of conversation that were on your mind.
04:19 --> 04:21 [SPEAKER_03]: So I saw this.
04:21 --> 04:22 [SPEAKER_03]: I did not see it in the theater.
04:24 --> 04:30 [SPEAKER_03]: I think you had already seen it a couple of times before I had chance to watch it.
04:31 --> 04:32 [SPEAKER_03]: And I loved it.
04:33 --> 04:41 [SPEAKER_03]: So for a Tarantino flick, there are significant pockets that don't feel Tarantino specific.
04:41 --> 04:52 [SPEAKER_03]: And I think that might be one of the reasons why I admire it and maybe admire his work in it because, I mean, there's definitely dialogue you can chew over.
04:53 --> 05:00 [SPEAKER_03]: It feels like it comes in little and like in little bite size versions.
05:01 --> 05:10 [SPEAKER_03]: I've just really this time really enjoying camera angles and like really enjoying the camera angles.
05:10 --> 05:17 [SPEAKER_03]: Like the choices that were made and why they were made and looking at it maybe a little more technically this time around.
05:18 --> 05:21 [SPEAKER_03]: You know, like why does why does so much of it work?
05:22 --> 05:24 [SPEAKER_03]: And, you know, why, like, so many choices.
05:24 --> 05:28 [SPEAKER_03]: Like, I just kept on like, we ended up pausing the movie a lot because we have like a thousand dogs.
05:28 --> 05:37 [SPEAKER_03]: And so, and anytime a horse or dog showed up with this frequent, you're property is spawn ran to dogs.
05:38 --> 05:39 [SPEAKER_01]: Exactly.
05:39 --> 05:41 [SPEAKER_03]: Yeah, it's very much.
05:41 --> 05:43 [SPEAKER_01]: Delete all the hippies and just add more dogs.
05:43 --> 05:49 [SPEAKER_03]: They have replaced the hippies with dogs and I'm just, I'm just instead of being blind in a bed, I'm just grumpy on a couch.
05:54 --> 06:06 [SPEAKER_03]: The, yeah, so I mean, like, so I mean, yeah, speaking of spawn ranch, I mean, that the entire spawn ranch sequence is is a masterclass, I think, and directing and cinematography, I just love it.
06:07 --> 06:21 [SPEAKER_03]: But yeah, so like I said, like a lot of the, a lot of the choice, overall just the entire thing is such a fascinating, you don't have to have the Manson family sharing tape thing at all.
06:22 --> 06:23 [SPEAKER_01]: Oh, interesting.
06:23 --> 06:23 [SPEAKER_03]: You know what I mean?
06:23 --> 06:29 [SPEAKER_03]: Like, I mean, I think give a very compelling story, even if it really doesn't go anywhere.
06:29 --> 06:30 [SPEAKER_03]: You know what I mean?
06:30 --> 06:40 [SPEAKER_03]: Like, I mean, I'm so interested in the Cliff Booth, you know, Rick Dalton, you know, world that like, almost anything could have happened, right?
06:40 --> 06:42 [SPEAKER_03]: Like it didn't even have to be the man's effect.
06:42 --> 06:46 [SPEAKER_03]: It could have been just anybody that caused sort of this ending sequence.
06:46 --> 06:47 [SPEAKER_01]: Yeah, you could take this movie.
06:49 --> 06:51 [SPEAKER_01]: You could splice out all the man's and family stuff.
06:53 --> 06:56 [SPEAKER_01]: And you'd have to end it in a different way.
06:57 --> 06:57 [SPEAKER_01]: Sure.
06:58 --> 07:00 [SPEAKER_01]: But it would still be an interesting movie to watch.
07:01 --> 07:01 [SPEAKER_03]: Right.
07:01 --> 07:05 [SPEAKER_03]: And I don't think you can get away with the degree of violence.
07:06 --> 07:08 [SPEAKER_03]: If it's not feeling somehow.
07:10 --> 07:16 [SPEAKER_03]: Like there's this sort of, because you just know how awful the the Sharon Tate situation was.
07:17 --> 07:20 [SPEAKER_03]: So you kind of feel a little bit more like, it's a little more cathartic.
07:21 --> 07:22 [SPEAKER_03]: Like sort of like having glorious bastards.
07:22 --> 07:30 [SPEAKER_03]: It's like, wow, look, they're just, you know, pummeling Nazis and blowing Hitler's face clean off of his skull.
07:30 --> 07:33 [SPEAKER_03]: It's like, yeah, because that's, we don't like them.
07:34 --> 07:36 [SPEAKER_03]: Historically, not fans.
07:38 --> 07:45 [SPEAKER_03]: So I think, I mean, this is a very violent ending to a movie that has very little violence in it up into this point.
07:47 --> 07:54 [SPEAKER_03]: And again, it did I think it serves as a bit of catharsis as this sort of like revenge porn kind of ending.
07:55 --> 08:00 [SPEAKER_03]: It's really something because it then is like you didn't you definitely know you're back into a Tarantino world.
08:01 --> 08:10 [SPEAKER_03]: But like there is a I think the first time I saw it I was like well that was really jarring that was like certainly a fun ride, but then there was kind of this like I really didn't enjoy that.
08:11 --> 08:17 [SPEAKER_03]: It resolves a little bit with Rick Dalton, maybe things going his way, you know, which is sort of like a bizarre.
08:17 --> 08:19 [SPEAKER_01]: Wow, we're going to have to talk about through.
08:20 --> 08:22 [SPEAKER_01]: I, I have a different take on this.
08:22 --> 08:27 [SPEAKER_01]: I think, I think you need the Manson stuff.
08:28 --> 08:38 [SPEAKER_01]: I think it's still an enjoyable movie without it, but I think, and this kind of goes to one of the questions we usually ask, and that is, who's this movie for?
08:38 --> 08:48 [SPEAKER_01]: I don't think that this movie works if you don't have some external knowledge of the relationship between Sharon Tate and the Manson family.
08:49 --> 08:54 [SPEAKER_03]: Well, but if you don't have them at all, is this the Dalton
08:56 --> 09:00 [SPEAKER_03]: The Dalton Cliff Booth story and I think it has to go somewhere.
09:00 --> 09:11 [SPEAKER_03]: I think I think it has to resolve or finish in some other way and you could actually just it could even just be home intruders and you don't even necessarily have that if you wanted to I think you have something.
09:12 --> 09:13 [SPEAKER_03]: Interesting.
09:13 --> 09:13 [SPEAKER_01]: Yeah.
09:13 --> 09:14 [SPEAKER_01]: There anyway.
09:14 --> 09:15 [SPEAKER_01]: Oh, for sure.
09:15 --> 09:16 [SPEAKER_01]: It's interesting for sure.
09:16 --> 09:26 [SPEAKER_01]: It's interesting, but I think that like I don't know if you know what to be worried about and I think that with most of Tarantino's movies, it's pretty clear.
09:27 --> 09:29 [SPEAKER_01]: You gotta be worried about these Nazis.
09:29 --> 09:30 [SPEAKER_01]: You know, sure.
09:30 --> 09:32 [SPEAKER_01]: You gotta be worried about these gangsters.
09:33 --> 09:41 [SPEAKER_01]: I think that if you don't know that these hippies are a threat, it's a hard movie to keep track of until you get to spawn Ranch.
09:43 --> 09:45 [SPEAKER_03]: Well, yeah, but I mean, you spend so much time away from it, too, right?
09:45 --> 09:50 [SPEAKER_03]: Like, I mean, we're in Rick Dalton's world so much.
09:51 --> 10:01 [SPEAKER_03]: And Rick Dalton has the briefest interaction with the Manson family of anybody in this film.
10:04 --> 10:11 [SPEAKER_01]: On top of that, Sharon Tate and I mean, he fries her, but I think she was probably not going to make it.
10:13 --> 10:14 [SPEAKER_01]: It's possible.
10:15 --> 10:20 [SPEAKER_03]: I mean, you think she was going to come on out of that pool and be a threat.
10:22 --> 10:25 [SPEAKER_01]: Look, I don't know what kind of interactions they would have had.
10:27 --> 10:29 [SPEAKER_01]: We probably wouldn't have been there.
10:29 --> 10:31 [SPEAKER_03]: I think you could have maybe coaxed a confession.
10:33 --> 10:47 [SPEAKER_01]: The other thing I was going to say is, in the sense that these are two different stories, like parallel stories, it's interesting that the Brad Pitt character and the Margot Robbie character never shares scene.
10:47 --> 10:48 [SPEAKER_02]: Hmm.
10:48 --> 10:49 [SPEAKER_01]: They never share a scene.
10:50 --> 10:57 [SPEAKER_01]: The closest you get is that he's on the roof fixing the antenna at about the same time.
10:57 --> 11:00 [SPEAKER_01]: She's listening to power of ear and the raiders.
11:00 --> 11:00 [SPEAKER_01]: Right.
11:01 --> 11:07 [SPEAKER_01]: I mean, you could have shot this whole movie and they would never have to be on the set at the same time.
11:08 --> 11:08 [SPEAKER_01]: Right.
11:08 --> 11:10 [SPEAKER_01]: which is kind of nuts.
11:10 --> 11:17 [SPEAKER_01]: This movie was built as, look at these three movie stars, and they're in a Tarantino movie.
11:18 --> 11:20 [SPEAKER_01]: This is going to be bonkers.
11:21 --> 11:27 [SPEAKER_01]: And then Tarantino does the flex of like, yeah, but two of these guys are never going to be in the same scene at the same time.
11:28 --> 11:28 [SPEAKER_01]: Right.
11:29 --> 11:32 [SPEAKER_01]: And until the very end, the caprio.
11:33 --> 11:33 [SPEAKER_01]: Right.
11:33 --> 11:35 [SPEAKER_03]: He only even meets her at the end.
11:35 --> 11:42 [SPEAKER_01]: And that's, you, your two hours and thirty nine minutes into this movie before they actually even share a scene.
11:42 --> 11:49 [SPEAKER_03]: Well, it almost feels like the entire movie is like a prologue to the Rick Dalton's story.
11:49 --> 11:50 [SPEAKER_01]: Say more about that.
11:51 --> 12:00 [SPEAKER_03]: Well, because you've got the not so subtle metaphorical moment where he's sitting there reading his book about easy, breezy.
12:01 --> 12:04 [SPEAKER_03]: And he's asked how far into this story are you?
12:04 --> 12:10 [SPEAKER_03]: And he says, I'm halfway, which is exactly what this movie is saying is that this is halfway through.
12:12 --> 12:15 [SPEAKER_03]: his journey through life and becoming useless.
12:17 --> 12:30 [SPEAKER_03]: So, but then he ends up at the end getting invited up to, you know, Sharon Tate's home, which would, you know, imply that now there is a potential
12:32 --> 12:55 [SPEAKER_03]: interaction with Roman Polansky and you know others you've got this kind of kind of fanboy moment where you know totally he'd everything he's done like all the way to you know the fiss of McClusky and you know all of that is like so even his more maybe obscure work is like is kind of revered and so he's like it's kind of an interesting element of
12:56 --> 12:57 [SPEAKER_03]: just Hollywood in general.
12:58 --> 13:00 [SPEAKER_01]: Yeah, you could read that film.
13:00 --> 13:07 [SPEAKER_01]: I have a complicated relationship with the end of this film in that when I first saw it, I thought, what it ended there?
13:07 --> 13:08 [SPEAKER_01]: Like, what?
13:08 --> 13:09 [SPEAKER_01]: Wait a second.
13:09 --> 13:12 [SPEAKER_01]: I thought the Manson family was going to kill Sharon Tate.
13:14 --> 13:14 [SPEAKER_01]: Right.
13:14 --> 13:14 [SPEAKER_01]: Right.
13:15 --> 13:16 [SPEAKER_01]: And I thought, oh, of course not.
13:16 --> 13:22 [SPEAKER_01]: Of course, of course, they're not going to kill because he's rewriting history like he has done in his other films.
13:23 --> 13:24 [SPEAKER_01]: But I thought,
13:26 --> 13:53 [SPEAKER_01]: what's gonna happen when he gets up the hill maybe there's an even worse scenario that's up there and then it ends and I thought I don't get it like I enjoyed the movie but I don't get the ending and I'm a little disappointed with the ending yeah that was my first watch right and then sort of my second third watch I had this idea I was gonna save this for later but I'm gonna
13:54 --> 13:55 [SPEAKER_01]: I'm gonna play it for you now.
13:55 --> 14:19 [SPEAKER_01]: Listen to the music as he enters the gate and walks up the hill into the dark trees.
14:21 --> 14:23 [SPEAKER_01]: How would you describe that music?
14:25 --> 14:28 [SPEAKER_03]: Um, what sounds daunting.
14:29 --> 14:31 [SPEAKER_01]: Donting a little bit eerie.
14:32 --> 14:34 [SPEAKER_03]: Yeah, but it is the sixties.
14:34 --> 14:36 [SPEAKER_03]: Everything seemed a little eerie.
14:36 --> 14:39 [SPEAKER_01]: That's a particular, that's a particular choice.
14:39 --> 14:40 [SPEAKER_01]: That's a particular choice.
14:41 --> 14:47 [SPEAKER_01]: I guess my second watch, my theory was he's not going to get killed by the man's in family.
14:47 --> 14:49 [SPEAKER_01]: He's going to get swallowed up by Hollywood.
14:50 --> 15:01 [SPEAKER_01]: And so he may think that this is sort of a leveling up of his career, but the big monster at the end of this thing is Hollywood itself.
15:02 --> 15:13 [SPEAKER_01]: It's just going to chill you up and spit you out and I wonder if there isn't some kind of commentary on like you think that this is a happy ending.
15:14 --> 15:14 [SPEAKER_01]: Think again.
15:16 --> 15:26 [SPEAKER_01]: So I don't I'm not sure that that's the right way to read this film after I've read the novelization, but that choice of music is very specific.
15:26 --> 15:27 [SPEAKER_03]: Right.
15:28 --> 15:34 [SPEAKER_03]: Yeah, I at part of me feels that that's almost too simplistic of a resolve.
15:35 --> 15:41 [SPEAKER_03]: You know, to go through that journey and just be like, and at the end of the day, Hollywood's the real monster, not the Manson family.
15:42 --> 15:44 [SPEAKER_03]: I feel like you can have both.
15:46 --> 15:50 [SPEAKER_03]: I guess maybe maybe taking that maybe a step further and talking about the idea of cult.
15:51 --> 15:51 [SPEAKER_01]: Okay.
15:51 --> 15:56 [SPEAKER_03]: because if you have, I mean, as Heather and I were discussing, she's just like, like, do they even know?
15:57 --> 16:07 [SPEAKER_03]: Like, the only, it seems like the only reason why they are going to kill these people is because someone that they put their trust in said to do it.
16:07 --> 16:08 [SPEAKER_03]: Like, that's kind of it, right?
16:08 --> 16:11 [SPEAKER_03]: I mean, there's no critical thinking per se.
16:13 --> 16:15 [SPEAKER_03]: There's almost no fear.
16:15 --> 16:16 [SPEAKER_03]: There's almost a,
16:19 --> 16:28 [SPEAKER_03]: a fetish sizing of the activity and there's this whole, you know, it's almost as if, I mean, I think it's interesting.
16:28 --> 16:31 [SPEAKER_03]: It comes in and says, you know, I'm the devil.
16:31 --> 16:34 [SPEAKER_03]: Yeah, I should give you some devil shit or something.
16:34 --> 16:39 [SPEAKER_03]: You know, he, it's performative in a way, right?
16:39 --> 16:48 [SPEAKER_03]: So they're in this cult and they're just buying everything that's being sold to them and they think that somehow
16:49 --> 16:55 [SPEAKER_03]: this obedience and sort of playing this part is like a higher calling of sorts.
16:56 --> 17:01 [SPEAKER_03]: And you could kind of maybe draw that parallel to the notion of what Rick Dalton is going through, right?
17:01 --> 17:10 [SPEAKER_03]: I mean, he says he like this idea of easy breezy coming to terms with his becoming more useless.
17:10 --> 17:12 [SPEAKER_03]: It's like, well, based on what?
17:12 --> 17:17 [SPEAKER_03]: Based on this world that you have kind of enclosed yourself in.
17:18 --> 17:30 [SPEAKER_01]: Yeah, yeah, both Rick and the the Manson family have determined their self worth through that either the cult of the family or the cult of Hollywood, right?
17:31 --> 17:31 [SPEAKER_03]: Right.
17:31 --> 17:34 [SPEAKER_03]: But one gets the other and what needs the other, right?
17:34 --> 17:39 [SPEAKER_03]: And I think that's really important because I think the Manson family has this whole idea like this sort of like
17:40 --> 17:51 [SPEAKER_03]: For all true wisdom, it's like, well, look at these Hollywood people, look at these, look at these, record producers, look at all these people that have taught us this and taught us that and we owe it to them, right?
17:51 --> 17:55 [SPEAKER_03]: And it's like, yeah, but so in a way, you don't exist without them.
17:55 --> 17:58 [SPEAKER_03]: And you've actually even this thing you're critiquing.
17:59 --> 18:03 [SPEAKER_03]: you're like the whole idea like they taught us how to murder so we should go murder them.
18:03 --> 18:22 [SPEAKER_03]: It's like yeah, that's don't you see the thing like you're you're saying oh we are going to collectively become this to go against that also worship me about it like I'm the movie star of this like man says the movie star that's great scene because it's clear Austin Butler here is fantastic
18:23 --> 18:26 [SPEAKER_01]: He's like, I can't believe that was Rick Dalton.
18:26 --> 18:29 [SPEAKER_01]: I used to, I was my favorite lunchbox.
18:31 --> 18:33 [SPEAKER_01]: Jake Kiel is my favorite lunchbox.
18:33 --> 18:35 [SPEAKER_01]: And then he's like, no, right, let's go get him.
18:36 --> 18:36 [SPEAKER_03]: Right.
18:37 --> 18:42 [SPEAKER_03]: Well, and that's, and that's why I think it's kind of fascinating about the disconnect, right?
18:42 --> 18:49 [SPEAKER_03]: Because the disconnect, Dalton has the, maybe the biggest disconnect in the movie at the end.
18:50 --> 18:54 [SPEAKER_03]: He just torched a person in his pool with the flamethrower.
18:54 --> 18:57 [SPEAKER_03]: He just said goodbye to his really good friend.
18:57 --> 19:03 [SPEAKER_03]: Instead of being like, dude, I'm going to the hospital with you because you essentially saved all of our lives.
19:03 --> 19:05 [SPEAKER_03]: And instead, he's just like, all right, well, see you tomorrow.
19:05 --> 19:07 [SPEAKER_03]: You know, I'll bug you, you know, maybe you'll bring bagels.
19:07 --> 19:08 [SPEAKER_03]: We don't know.
19:08 --> 19:08 [SPEAKER_03]: I doubt he does.
19:08 --> 19:13 [SPEAKER_01]: I'll bring bagels after my pool party with the pool and the family.
19:13 --> 19:15 [SPEAKER_03]: So I read that as, I don't think he goes to the hospital.
19:16 --> 19:19 [SPEAKER_03]: I think he stays at that for the balance he has.
19:19 --> 19:22 [SPEAKER_03]: And so that's where the disc like his disconnect afterwards.
19:22 --> 19:43 [SPEAKER_03]: He's just so enamored with the idea of getting called up to to make it to the Polanski house that it almost doesn't matter all the things they just went through instead he wants to talk up like he's he's and he's excited because they're talking about his films that he was in and it's like that's that feel like to me that feels like a parallel to like a spawn ranch moment.
19:44 --> 19:46 [SPEAKER_03]: So when you hear that sound when you hear that music it's almost
19:47 --> 19:49 [SPEAKER_03]: like he's headed to his own spawn ranch, so to speak.
19:50 --> 19:53 [SPEAKER_01]: So since we're already talking about, I'm just gonna play this scene.
19:53 --> 19:54 [SPEAKER_06]: What do you mean, like, kind of rob you?
19:55 --> 19:56 [SPEAKER_06]: We don't know what the fuck they wanted with.
19:57 --> 19:57 [SPEAKER_06]: Were they robbing me?
19:57 --> 20:00 [SPEAKER_06]: I don't know, were they freaking out on some bummer trip?
20:01 --> 20:03 [SPEAKER_06]: Who knows, but they tried to kill me while I'm a buddy.
20:04 --> 20:05 [SPEAKER_06]: Jesus Christ, are you serious?
20:05 --> 20:07 [SPEAKER_06]: Yeah, I'm fucking serious.
20:07 --> 20:13 [SPEAKER_06]: Now, my buddy in his dog killed two of them, and then, uh, those shit, I, I forged the last one.
20:13 --> 20:14 [SPEAKER_06]: Torch?
20:15 --> 20:17 [SPEAKER_06]: Yeah, I'm burning rest to a crisp.
20:18 --> 20:19 [SPEAKER_06]: How'd you do that?
20:19 --> 20:25 [SPEAKER_06]: Well, believe it or not, I got a flamethrower in the tool shed from the fourteen-fist of McCusky.
20:26 --> 20:26 [SPEAKER_06]: Yeah.
20:28 --> 20:28 [SPEAKER_06]: Yeah.
20:29 --> 20:29 [SPEAKER_06]: Yeah.
20:30 --> 20:30 [SPEAKER_06]: That's the one.
20:31 --> 20:32 [SPEAKER_06]: Yeah, it still works too.
20:32 --> 20:33 [SPEAKER_06]: Thank God.
20:34 --> 20:35 [SPEAKER_06]: Hey, is everybody okay?
20:35 --> 20:39 [SPEAKER_06]: Well, the fucking hip is aren't, that's for God damn sure.
20:43 --> 20:46 [SPEAKER_01]: I think that that is one of the funniest lines.
20:47 --> 20:48 [SPEAKER_01]: The fucking hippies aren't.
20:48 --> 20:49 [SPEAKER_01]: That's for God damn shit.
20:49 --> 20:50 [SPEAKER_01]: It made me think.
20:51 --> 20:57 [SPEAKER_01]: Is this movie like a two hour and forty minute joke just to get to this punch line?
20:58 --> 21:02 [SPEAKER_01]: Because I laugh hard every time.
21:03 --> 21:08 [SPEAKER_01]: And it's such a fantastic scene because he goes from like, I'm an utter shock.
21:09 --> 21:09 [SPEAKER_01]: I can't believe it.
21:11 --> 21:13 [SPEAKER_01]: to, hey, someone cares about me.
21:14 --> 21:15 [SPEAKER_01]: Someone's asking if I'm okay.
21:16 --> 21:17 [SPEAKER_03]: Right, he's a hero.
21:17 --> 21:25 [SPEAKER_03]: And then he's the hero that he's, because the whole, he's been relegated to playing the heavy because they've, they've unheroed him.
21:25 --> 21:27 [SPEAKER_03]: And now he's reheroed himself.
21:28 --> 21:34 [SPEAKER_01]: And then it goes to a different level when this, you know, well, he realizes this hairstyles.
21:34 --> 21:35 [SPEAKER_01]: He's washed by movies.
21:36 --> 21:43 [SPEAKER_01]: And he's clearly a fan, and then he's thinking, holy moly, I've gotten into the Polansky residence.
21:44 --> 21:47 [SPEAKER_01]: So it's like, everything gets washed away at that moment.
21:48 --> 21:54 [SPEAKER_01]: He's thinking, if they've seen my movies, and if they're talking about me, they know who I am.
21:55 --> 21:58 [SPEAKER_01]: And maybe I'm not middle management in Hollywood.
21:59 --> 22:02 [SPEAKER_01]: Maybe I'm upwardly mobile, you know.
22:03 --> 22:03 [SPEAKER_01]: Right.
22:03 --> 22:11 [SPEAKER_01]: And he literally walks up a hill to level up to sort of the higher echelon of Hollywood.
22:12 --> 22:15 [SPEAKER_01]: And I just think now I love the ending.
22:15 --> 22:20 [SPEAKER_01]: It's interesting to me because the novelization doesn't end this way at all.
22:20 --> 22:26 [SPEAKER_01]: But in the world of this movie, it's the most tragic ending and the most satisfying ending at the same time.
22:27 --> 22:31 [SPEAKER_03]: We have because you can't just have, you can't just revise this necessarily.
22:31 --> 22:36 [SPEAKER_03]: And say, OK, well, look, Sharon takes a live now in this world.
22:39 --> 22:48 [SPEAKER_03]: Rick Dalton's the hero whatever you know because it's like because Rick Dalton has not exactly demonstrated throughout the movie a reason why we should necessarily root for him.
22:49 --> 23:03 [SPEAKER_03]: He's just kind of he was kind of an it guy who's clinging and his entire identity is he's Rick Dalton one way or another and he just needs you to know he's Rick Dalton.
23:04 --> 23:06 [SPEAKER_01]: Who's Rick Dalton in our childhood?
23:07 --> 23:20 [SPEAKER_01]: I'm trying to think of like someone who was a TV star, maybe an action TV star, who almost made it with a movie career, but didn't quite make it with a movie career.
23:22 --> 23:26 [SPEAKER_01]: I was thinking of Russell Hoff, but I've been thinking, hassle Hoff never really had the movie career.
23:27 --> 23:29 [SPEAKER_03]: No, that's true.
23:29 --> 23:33 [SPEAKER_03]: I don't even, yeah, I mean, and he kind of just became
23:34 --> 23:36 [SPEAKER_03]: But he became David Hasselhoff, right?
23:36 --> 23:53 [SPEAKER_03]: And I think that's kind of what the Rick Dalton character was moving towards, like he was becoming this bit part guy, but then like I think later invention is sort of the, well, we've just created you as a character, like the real you, just you existing is kind of amusing enough.
23:55 --> 23:57 [SPEAKER_03]: That's an interesting question.
23:57 --> 23:58 [SPEAKER_01]: Okay, try this on for size.
24:00 --> 24:02 [SPEAKER_01]: Because the eighties are fundamentally different than the sixties.
24:05 --> 24:06 [SPEAKER_01]: It's Hulk Hogan.
24:08 --> 24:09 [SPEAKER_03]: Oh, I could see that.
24:09 --> 24:11 [SPEAKER_01]: You know, we didn't have cowboys.
24:12 --> 24:24 [SPEAKER_01]: We had wrestlers who were every bit as sort of cliche and sort of tapping into that like aspirational muscle man mentality.
24:25 --> 24:32 [SPEAKER_01]: And then, you know, in his world, in the wrestling world, was there anyone bigger than Hulk Cogan?
24:32 --> 24:33 [SPEAKER_01]: No, certainly not.
24:34 --> 24:35 [SPEAKER_01]: And then he got too big.
24:36 --> 24:37 [SPEAKER_01]: He got too big for the sport.
24:37 --> 24:39 [SPEAKER_01]: I try to move the career on precise.
24:40 --> 24:42 [SPEAKER_01]: And it almost worked, right?
24:43 --> 24:44 [SPEAKER_01]: But it didn't come back.
24:44 --> 24:45 [SPEAKER_01]: It didn't quite work.
24:46 --> 24:47 [SPEAKER_01]: And then he had to come back.
24:47 --> 24:48 [SPEAKER_01]: So I was thinking, come back as the heel.
24:49 --> 24:49 [SPEAKER_01]: Yeah.
24:50 --> 24:51 [SPEAKER_01]: That's right.
24:52 --> 24:52 [SPEAKER_01]: That's right.
24:52 --> 24:53 [SPEAKER_01]: He was gasoline.
24:54 --> 24:57 [SPEAKER_01]: So I think that maybe Hulk Hogan is the is the right analogy here.
24:59 --> 25:00 [SPEAKER_03]: Yeah, that feels that feels good.
25:02 --> 25:03 [SPEAKER_03]: Yeah, it's it.
25:05 --> 25:07 [SPEAKER_03]: Yeah, the ending is like because there's so much.
25:08 --> 25:10 [SPEAKER_03]: It's such an abrupt.
25:12 --> 25:12 [SPEAKER_03]: climax.
25:13 --> 25:15 [SPEAKER_03]: And it's so different than everything that we had seen.
25:15 --> 25:35 [SPEAKER_03]: And it's a bit of a magic trick, how we pulls it off, a Tarantino because it's, and maybe it's because we are Tarantino trained so that if it happens, if something like that happens, you kind of can just get on board with it.
25:36 --> 25:40 [SPEAKER_03]: You know, if Nelson switches to where we're getting, you know,
25:40 --> 25:57 [SPEAKER_01]: a lot more narration and it's being narrated by an actor that's already in the film but okay I want to ask you about that I want to but before I do I do want to make a note about you know you started talking about the the the camera choices in this film
25:59 --> 26:07 [SPEAKER_01]: I think that part of the Tarantino training is to kind of come for the dialogue, like every choice.
26:10 --> 26:18 [SPEAKER_01]: And even the timeline, even mess with the timeline, the time doesn't necessarily matter as much as the dialogue matters.
26:18 --> 26:26 [SPEAKER_01]: The plot sequence doesn't really matter as much as the whole thing is built around the climactic dialogue.
26:26 --> 26:27 [SPEAKER_01]: And in this film,
26:29 --> 26:30 [SPEAKER_01]: It's just different.
26:30 --> 26:32 [SPEAKER_01]: It's just structured differently.
26:33 --> 26:36 [SPEAKER_01]: The camera is is more important than the dialogue.
26:37 --> 26:40 [SPEAKER_01]: The sequence of events is more important than the dialogue.
26:41 --> 26:44 [SPEAKER_01]: It still has those moments of Tarantino dialogue.
26:46 --> 26:48 [SPEAKER_01]: But this is a departure for him.
26:50 --> 26:52 [SPEAKER_01]: And it certainly feels different.
26:52 --> 26:57 [SPEAKER_01]: And there are long-structured this movie where you're like listening to radio commercials.
26:58 --> 26:58 [SPEAKER_03]: Right.
26:59 --> 27:02 [SPEAKER_01]: Just a completely different.
27:03 --> 27:10 [SPEAKER_03]: Well, it feels in many ways like he's directing a movie in that time frame.
27:11 --> 27:12 [SPEAKER_03]: Oh, sure.
27:12 --> 27:15 [SPEAKER_03]: The way the way that the music is presented.
27:16 --> 27:21 [SPEAKER_03]: the, uh, some of the longer shots, um, you know, wider shots.
27:22 --> 27:45 [SPEAKER_03]: So it's, uh, it's, it's a, that's where I think some of the magic is where it feels, um, even, like, I mean, there's obviously moments where it's, you know, with some CGI and some, some elements to get you like into the actual world itself, like, you know, playing up, um, a whole balloon, playing up, things like, uh,
27:45 --> 27:47 [SPEAKER_03]: The greatest scape shot and all that.
27:47 --> 27:49 [SPEAKER_03]: So those are very intentional.
27:49 --> 28:04 [SPEAKER_03]: But when those moments aren't happening, the rest of the film does feel like it's being directed with a certain level of care to direct it as if it was made in that time frame without using a lot of gimmicky type things.
28:04 --> 28:09 [SPEAKER_03]: Like it could easily go to really grainy or it could do something, you know, but he doesn't.
28:09 --> 28:14 [SPEAKER_03]: He just, I think, stylistically directs it in a way that feels like it's a movie from that time frame.
28:15 --> 28:16 [SPEAKER_03]: And, and it really works.
28:17 --> 28:22 [SPEAKER_03]: It's because those, like, because on one hand, you go, oh, well, you know, directing and acting and all these things they evolve over time.
28:23 --> 28:27 [SPEAKER_03]: But there are elements of those types of films that maybe aren't being used as much.
28:27 --> 28:33 [SPEAKER_03]: And so I think for him to use it in a way with a modern eye is really, it's really clever.
28:34 --> 28:37 [SPEAKER_03]: And, and it helps kind of create that world and you do feel
28:39 --> 29:05 [SPEAKER_01]: I was just kind of, I always felt like it was authentic to that timeframe as much as I know about it, you know, but a lot of bare feet, a lot of bare feet, a lot of bare feet, a lot of bare feet, a lot of bare feet, a lot of bare feet, a lot of bare feet, a lot of bare feet, a lot of bare feet, a lot of bare feet, a lot of bare feet, a lot of bare feet, a lot of bare feet, a lot of bare feet, a lot of bare feet, a lot of bare feet, a lot of bare feet, a lot of bare feet, a lot of bare feet, a lot of bare feet, a lot of bare feet, a lot of bare feet, a lot of bare feet, a lot of bare feet, a lot of bare feet, a lot of bare feet, a lot of bare feet, a lot of bare feet, a lot of bare feet, a lot of bare feet, a lot of bare feet, a lot of bare feet, a lot of bare
29:05 --> 29:09 [SPEAKER_03]: Yeah, this is like it, that's his like Abrams lens flare at this point.
29:11 --> 29:17 [SPEAKER_01]: And I have seen from Dustle Dawn and I do know that there's a famous footsene in that movie.
29:18 --> 29:21 [SPEAKER_01]: This is still the most footy Tarantino movie.
29:22 --> 29:23 [SPEAKER_03]: Yeah, yeah, for sure.
29:25 --> 29:32 [SPEAKER_03]: So again, there's so much to talk about in this because like I feel like I've done because of this movie, I've done more research into the Manson
29:33 --> 29:55 [SPEAKER_01]: of the family murder all right let's let's talk about the nonsense i think all right so i think the mansions are kind of crucial to understanding why this is a dangerous world otherwise it's it does feel like hey just hanging out with some some old friends right which i can't i can absolutely enjoy it on that level i think that
29:56 --> 30:06 [SPEAKER_01]: you appreciate the movie a lot better if you know that this beautiful blonde woman who's just living at the peak of her life.
30:07 --> 30:15 [SPEAKER_01]: I think you kind of need to know that historically she's brutally murdered by the Manson family.
30:16 --> 30:19 [SPEAKER_01]: It's like this huge dark cloud hanging over the film.
30:19 --> 30:27 [SPEAKER_01]: I really think it's crucial to the movie that Tarantino gets to resurrect Sharon Tate.
30:28 --> 30:30 [SPEAKER_01]: And a lot of his movies are about second chances.
30:31 --> 30:35 [SPEAKER_01]: Like, let's reimagine, you know, post-bell American South.
30:35 --> 30:38 [SPEAKER_01]: Let's reimagine Nazi Germany.
30:38 --> 30:40 [SPEAKER_01]: So this time we get to kill Hitler.
30:40 --> 30:48 [SPEAKER_01]: This time these dirty hippies run into a different kind of psychopath and one that they can't overcome.
30:49 --> 30:54 [SPEAKER_01]: But by the end, what happens is she gets a second chance.
30:54 --> 30:56 [SPEAKER_01]: And even go back to pole fiction.
30:56 --> 31:00 [SPEAKER_01]: It's like, here we have a villain in jewels who gets a second chance.
31:02 --> 31:05 [SPEAKER_01]: And so he loves this particular theme in his movies.
31:06 --> 31:12 [SPEAKER_01]: And so there's this crucial sequence of events.
31:13 --> 31:17 [SPEAKER_01]: It's like three different kinds of villains set side by side in the film.
31:18 --> 31:26 [SPEAKER_01]: It starts with Cliff Booth climbing up on the roof and he's thinking back to like his time on a movie set on the Green Hornet.
31:26 --> 31:30 [SPEAKER_06]: A lot of them on fire hit him with a fucking blanket, right?
31:30 --> 31:32 [SPEAKER_06]: Get creative, do whatever you want.
31:32 --> 31:33 [SPEAKER_06]: He's just as happy for the opportunity.
31:38 --> 31:39 [SPEAKER_05]: I don't dig him.
31:42 --> 31:44 [SPEAKER_05]: And I don't think the vibe he brings on a set.
31:45 --> 31:47 [SPEAKER_05]: What is this on him?
31:47 --> 31:48 [SPEAKER_05]: I'll be between him.
31:48 --> 31:49 [SPEAKER_05]: Come on, man.
31:49 --> 31:49 [SPEAKER_05]: What?
31:50 --> 31:52 [SPEAKER_05]: The dude killed his fucking wife.
31:54 --> 31:55 [SPEAKER_05]: Come on, man.
31:56 --> 31:57 [SPEAKER_06]: You don't believe that old shit do you?
31:58 --> 31:59 [SPEAKER_05]: Yes, Reg, I do.
32:00 --> 32:02 [SPEAKER_05]: And I work with my wife and she believes it.
32:03 --> 32:04 [SPEAKER_05]: She doesn't want his creepy ass around.
32:06 --> 32:07 [SPEAKER_01]: Where they don't like him.
32:09 --> 32:11 [SPEAKER_01]: And he gets accused of murdering his wife.
32:12 --> 32:17 [SPEAKER_01]: Then you see a flashback within the flashback of him on the boat.
32:18 --> 32:19 [SPEAKER_01]: He's got the harpoon gun.
32:20 --> 32:30 [SPEAKER_01]: And right before he pulls the trigger over the harpoon gun, we'd cut away to another scene that results in him beating up one of the most celebrated heroes over the sixties.
32:31 --> 32:32 [SPEAKER_01]: And so he's the villain.
32:32 --> 32:39 [SPEAKER_01]: There's no question at this point, the Cliff Booth, who we've been hanging out with, who super cool, in reality,
32:40 --> 32:42 [SPEAKER_01]: He's a wife killing murder.
32:43 --> 32:43 [SPEAKER_01]: He's a villain.
32:44 --> 32:44 [SPEAKER_01]: We assume.
32:45 --> 32:45 [SPEAKER_01]: We don't know.
32:45 --> 32:46 [SPEAKER_01]: We didn't see it.
32:46 --> 32:46 [SPEAKER_01]: All right.
32:46 --> 32:47 [SPEAKER_01]: All right.
32:47 --> 32:56 [SPEAKER_01]: Well, I think the movie is trying to tell us this is the kind of guy who's not going to blink if a hippie girl who breaks into his house comes at him with a knife.
32:57 --> 32:59 [SPEAKER_01]: I think that's crucial to establish.
33:00 --> 33:06 [SPEAKER_01]: This is the kind of guy who's not going to think twice about killing hippie, right?
33:07 --> 33:07 [SPEAKER_03]: Right.
33:07 --> 33:08 [SPEAKER_03]: All right, then.
33:08 --> 33:13 [SPEAKER_03]: The same guy that can go into spawn ranch with that kind of aura.
33:15 --> 33:15 [SPEAKER_01]: That's right.
33:16 --> 33:19 [SPEAKER_01]: So you've established that this guy on the roof is a villain.
33:20 --> 33:26 [SPEAKER_01]: And then immediately you cut to Charlie Manson and all of a sudden you're thinking, oh, that's the real villain.
33:27 --> 33:32 [SPEAKER_01]: And now I know that these two, if they ever square off, this is the fight.
33:33 --> 33:34 [SPEAKER_01]: This is what I'm looking for.
33:35 --> 33:41 [SPEAKER_01]: Because this guy on the roof who's a villain, I want to see him kill that guy on the ground.
33:42 --> 33:43 [SPEAKER_03]: Eventually, right?
33:43 --> 33:47 [SPEAKER_03]: I can get on board with a fictional villain against a real villain.
33:47 --> 33:47 [SPEAKER_01]: That's right.
33:47 --> 33:48 [SPEAKER_01]: That's right.
33:48 --> 33:56 [SPEAKER_01]: And then so all the sudden you're forgiving this wife killing monster because there's like a real life monster.
33:57 --> 33:59 [SPEAKER_01]: who happened to collaborate with the Beach Boys for a little bit.
34:00 --> 34:03 [SPEAKER_01]: But there's a real life monster down on the ground there.
34:04 --> 34:09 [SPEAKER_03]: And then the immediate is, is Manson responsible for Coca-Cola, because that makes it even worse.
34:09 --> 34:14 [SPEAKER_01]: I was going to say, what is more in the various, the collaboration with Manson or John Stamos?
34:17 --> 34:17 [SPEAKER_01]: Yeah.
34:17 --> 34:19 [SPEAKER_01]: John Stamos doesn't exist.
34:19 --> 34:22 [SPEAKER_03]: John Stamos is so lucky that Charles Manson existed.
34:22 --> 34:26 [SPEAKER_01]: It's the dominant interest I had about about this.
34:27 --> 34:34 [SPEAKER_01]: Manson was in jail at San Quentin and John Stemos's show was set in San Francisco.
34:35 --> 34:37 [SPEAKER_03]: Oh, so I've never seen them together.
34:38 --> 34:40 [SPEAKER_01]: This exists in the same cinematic.
34:42 --> 34:43 [SPEAKER_03]: Yeah.
34:43 --> 34:49 [SPEAKER_03]: So after Dalton connects with Roman Polansky, things start to shift and Charles Manson starts at full house.
34:49 --> 34:51 [SPEAKER_01]: Oh, and let's not forget that
34:51 --> 34:55 [SPEAKER_01]: Roman Philancy is a real-life monster, right?
34:55 --> 35:01 [SPEAKER_03]: Right, so maybe this was actually maybe this whole thing was Tarantino redeeming Roman Philancy.
35:01 --> 35:05 [SPEAKER_03]: This tragedy doesn't happen, so maybe he doesn't go on his little adventure.
35:06 --> 35:09 [SPEAKER_01]: So, okay, so then after you establish.
35:09 --> 35:19 [SPEAKER_03]: And that is funny that you said that because the first time I saw this move because I didn't really, I didn't know all the connections between Tate and Philancy and all that stuff.
35:20 --> 35:25 [SPEAKER_03]: Well, wait, as soon as Blanski was on this scene, it's like, I was probably more creeped out when I knew that, uh, Blanski's in this.
35:31 --> 35:43 [SPEAKER_01]: So, okay, so after you establish booth as a villain and then you establish Manson as a villain, you cut to Rick Dalton, who's playing a movie villain.
35:45 --> 35:51 [SPEAKER_01]: He's playing Caleb wearing a literal black hat on an old Western scene.
35:52 --> 35:57 [SPEAKER_01]: And so anyway, this is sort of about second chances in that
35:59 --> 36:06 [SPEAKER_01]: You have Cliff Booth, who's a villain, but he might get a chance to be a hero if he just places cards right.
36:07 --> 36:11 [SPEAKER_01]: And if he can just overcome this other villain, which we never really get to see.
36:12 --> 36:21 [SPEAKER_01]: And then Rick Dalton, who is a villain on screen and man, if it could just work out for him, maybe he could be the hero again.
36:22 --> 36:24 [SPEAKER_01]: But it all culminates.
36:25 --> 36:26 [SPEAKER_01]: in Sharon take getting a second chance.
36:27 --> 36:34 [SPEAKER_01]: She gets to live on screen again without the shadow of the man's and family hanging over her head.
36:35 --> 36:38 [SPEAKER_01]: And I think that ultimately, I think that that's what this movie is about.
36:39 --> 36:45 [SPEAKER_01]: It's it's Tarantino's fixation on second chances that makes this movie work.
36:46 --> 36:53 [SPEAKER_03]: Well, on the other side of this and this, I don't mean for this to sound crass or anything, but what's the most famous thing that Sharon takes ever done?
36:54 --> 36:55 [SPEAKER_01]: killed by Charlie Manson.
36:56 --> 36:56 [SPEAKER_03]: Yeah.
36:57 --> 36:57 [SPEAKER_03]: That's right.
36:58 --> 37:03 [SPEAKER_03]: So so in this in this end, it's possible.
37:03 --> 37:17 [SPEAKER_03]: And again, I'm not saying that this is necessarily going forward, but you know, in the end, Sharon Tates legacy may be she may be more forgotten in this world than going forward.
37:18 --> 37:19 [SPEAKER_01]: Well, that's right.
37:20 --> 37:39 [SPEAKER_01]: And because of the popularity of this movie and because he, you know, put three of the biggest stars on Earth in this film, he gets to put, you know, a sixty-second clip of the wrecking crew on, we actually watched part of that film in this film.
37:40 --> 37:40 [SPEAKER_03]: Right.
37:40 --> 37:42 [SPEAKER_03]: I was actually more interested in CC and company.
37:43 --> 37:46 [SPEAKER_03]: I was looking that one up and I'm like, dude, I got to see this.
37:49 --> 37:51 [SPEAKER_03]: It's pretty genius that we see so little of Manson, I think.
37:53 --> 37:53 [SPEAKER_01]: You know what?
37:53 --> 37:54 [SPEAKER_01]: Okay, I want to talk about that.
37:54 --> 38:02 [SPEAKER_01]: Before this movie came out, I heard rumors that Tarantina's working on a new film, and it had been a while.
38:03 --> 38:12 [SPEAKER_01]: And what I heard was, it's a new film set in like, nineteen sixties Hollywood, and it's about the Manson family.
38:14 --> 38:16 [SPEAKER_01]: And I, at that point, I just thought, oh God.
38:19 --> 38:21 [SPEAKER_01]: Because I think he's coming off hatefully.
38:22 --> 38:25 [SPEAKER_01]: You know, hate, hate, hatefully is not one of my favorite movies.
38:28 --> 38:30 [SPEAKER_01]: And I just, oh, no, this could go really wrong.
38:32 --> 38:36 [SPEAKER_01]: And then I started watching this movie and I completely forgot.
38:36 --> 38:42 [SPEAKER_01]: I was so enthralled with the cliff in the, in the, in the Rick of it all.
38:42 --> 38:43 [SPEAKER_01]: Yeah.
38:43 --> 38:44 [SPEAKER_01]: That I totally forgot.
38:44 --> 38:47 [SPEAKER_01]: I was watching a, a Manson family movie.
38:47 --> 38:49 [SPEAKER_03]: And is that part of his tricks?
38:50 --> 38:59 [SPEAKER_03]: Is that one of his tricks that he's doing is like, he puts us into a world where, because like, we only can know
38:59 --> 39:05 [SPEAKER_03]: You know, you're saying you and I and like people of our age, we can only know Manson through legend.
39:07 --> 39:09 [SPEAKER_03]: Yeah, at least those those events, right?
39:10 --> 39:13 [SPEAKER_03]: If you were aware of the Manson thing, you're not going to necessarily be shocked by it.
39:13 --> 39:20 [SPEAKER_03]: I mean, you will be shocked, maybe with some details, and maybe you didn't realize, but by revising it and taking us through this sort of
39:21 --> 39:25 [SPEAKER_03]: And once they hold home, but it's kind of like the Rick Dalton life, is there some dull dreams?
39:27 --> 39:33 [SPEAKER_03]: We're fascinated by it because of the acting and the dialogue and all the tension that we know it's baked in.
39:34 --> 39:43 [SPEAKER_03]: But he does a thing where he surprises us and gives us shock about a story that we might be otherwise de sensitized to by changing it.
39:44 --> 39:50 [SPEAKER_03]: And so the shock of the man's and family murders had to be just insane
39:51 --> 39:59 [SPEAKER_03]: at that time, whether you are in Hollywood or not, but probably especially if you were in Hollywood because you do feel like you're in this bubble, right?
40:00 --> 40:03 [SPEAKER_03]: You do feel special if you're in Hollywood or at least you're trying to be special.
40:04 --> 40:17 [SPEAKER_03]: And the idea that something can come in and burst that bubble and almost get to you because of the fact that you're special or perceive your special makes you feel very vulnerable and it's a jarring thing.
40:18 --> 40:19 [SPEAKER_03]: And so I think what's fascinating about this
40:20 --> 40:29 [SPEAKER_03]: is that we are like kind of swept up in it, and then this incident happens, but it's not the way we expect, so we can't predict it.
40:30 --> 40:40 [SPEAKER_03]: And it's so over the top and so violent, you're like, whoa, that was just way out of where I was thinking, where I was comfortable at or where I was being pulled you to sleep.
40:41 --> 40:46 [SPEAKER_01]: There's almost like, the movie is almost like a lullaby.
40:47 --> 40:47 [SPEAKER_03]: Yeah.
40:48 --> 40:51 [SPEAKER_03]: Well, and it gets you so used to this world that you're in it.
40:51 --> 40:57 [SPEAKER_03]: And it's like, that's as if to say, yeah, that was what life was like, you're in this, you're in your world, you're in your life.
40:57 --> 41:00 [SPEAKER_03]: And then something comes in and completely disrupts it and you're, and you're different for it.
41:01 --> 41:02 [SPEAKER_03]: But what happened.
41:02 --> 41:05 [SPEAKER_03]: So we're sitting there like still going to, whoa, that scene was crazy.
41:05 --> 41:12 [SPEAKER_03]: He just flamethrower, there was dog food to the face of phone, you know, all that stuff was like, you're still processing that.
41:12 --> 41:16 [SPEAKER_03]: And then they go right back to real life because it wasn't the
41:16 --> 41:21 [SPEAKER_03]: For them, it wasn't this life altering Hollywood changing thing.
41:23 --> 41:24 [SPEAKER_03]: It was the hippies died.
41:24 --> 41:26 [SPEAKER_03]: The hippies got was Commitum.
41:27 --> 41:30 [SPEAKER_03]: No celebrity was injured in this.
41:30 --> 41:30 [SPEAKER_03]: You know what I mean?
41:30 --> 41:31 [SPEAKER_00]: It's like so.
41:31 --> 41:33 [SPEAKER_03]: So their world actually maintains.
41:33 --> 41:35 [SPEAKER_03]: It actually did exactly what it's supposed to do.
41:36 --> 41:37 [SPEAKER_03]: Being special mattered.
41:38 --> 41:39 [SPEAKER_03]: They were left alone.
41:39 --> 41:44 [SPEAKER_03]: And so now they go back to the to the sixties in Hollywood already in progress.
41:45 --> 41:46 [SPEAKER_03]: And we're like, what?
41:46 --> 41:46 [SPEAKER_01]: Okay.
41:46 --> 41:47 [SPEAKER_01]: I like that.
41:47 --> 41:49 [SPEAKER_01]: I like that a lot.
41:49 --> 41:49 [SPEAKER_01]: I like that a lot.
41:50 --> 41:53 [SPEAKER_01]: I also want to say that in the process of doing that.
41:55 --> 41:58 [SPEAKER_01]: Tarantino completely belittles these people.
41:59 --> 42:01 [SPEAKER_01]: These hippies, these these cult members.
42:03 --> 42:07 [SPEAKER_01]: They're not so much monsters as they are kind of buffoons.
42:07 --> 42:09 [SPEAKER_01]: Right.
42:09 --> 42:13 [SPEAKER_01]: Like the one thing that I knew about that story was that when
42:15 --> 42:18 [SPEAKER_01]: The murderers went into her house, they said, I'm the devil.
42:19 --> 42:21 [SPEAKER_00]: And I'm here to give the devil his business.
42:21 --> 42:24 [SPEAKER_01]: And so, Tarantino grabs that dialogue.
42:24 --> 42:25 [SPEAKER_01]: And this is what he does with it.
42:26 --> 42:28 [SPEAKER_01]: Spawn Ranch, yeah.
42:30 --> 42:33 [SPEAKER_04]: I don't know your name, but I remember that hair.
42:34 --> 42:36 [SPEAKER_04]: And you, I remember your white little face.
42:38 --> 42:39 [SPEAKER_04]: And you were on a horsey.
42:39 --> 42:40 [SPEAKER_04]: Yeah.
42:40 --> 42:43 [SPEAKER_04]: You are.
42:45 --> 42:46 [SPEAKER_00]: and the devil.
42:47 --> 42:49 [SPEAKER_00]: And I'm here to give the devil his business.
42:53 --> 42:54 [SPEAKER_04]: No, I was dumber than that.
42:54 --> 42:56 [SPEAKER_04]: Something like, raps.
42:56 --> 42:59 [SPEAKER_04]: Cut you out of the text.
43:00 --> 43:00 [UNKNOWN]: Tax.
43:04 --> 43:05 [SPEAKER_03]: That's so good.
43:05 --> 43:14 [SPEAKER_01]: So there's a pause right after that line of dialogue, which if you've known anything about the Manson story, it's a famous bit of dialogue from history.
43:15 --> 43:18 [SPEAKER_01]: And there's this, it's almost like three beats in between.
43:19 --> 43:21 [SPEAKER_01]: I'm the devil, and I'm here to do the devil's business.
43:23 --> 43:30 [SPEAKER_01]: And it's just the right comedic timing to have Cliff Boose say, no, it was dumb.
43:32 --> 43:34 [SPEAKER_03]: Well, yeah, because it does.
43:34 --> 43:35 [SPEAKER_03]: It totally undercuts.
43:36 --> 43:43 [SPEAKER_03]: It takes, you know, the reason why the Manson family, though these killers are
43:44 --> 43:53 [SPEAKER_03]: So sinister and part of our culture, and there are cultural villains, and it gives them a mystique.
43:53 --> 43:55 [SPEAKER_03]: They're elevated because they pulled it off.
43:57 --> 44:13 [SPEAKER_03]: If you don't do it, if you get killed by a dog food or a telephone, then everything that you said up into that point was really like, it's a footnote of like, yeah, well, you guys go out into the wrong house, you idiots, you know what I mean?
44:14 --> 44:18 [SPEAKER_03]: And it's almost like Tarantino's kind of showing the difference between success and failure, right?
44:18 --> 44:24 [SPEAKER_03]: I mean, you'll be perceived kind of how successful you are.
44:24 --> 44:28 [SPEAKER_03]: And in this case, they were getting useless like easy breezy.
44:29 --> 44:33 [SPEAKER_01]: So here's the other line that makes me laugh hard every time.
44:35 --> 44:37 [SPEAKER_02]: Oh, my God, you're fucking heavy.
44:42 --> 44:43 [SPEAKER_01]: He's got the blender.
44:43 --> 44:44 [SPEAKER_01]: He goes, it was curtains.
44:45 --> 44:47 [SPEAKER_01]: He sees the car in the driveway.
44:47 --> 44:48 [SPEAKER_01]: He just incredulous.
44:49 --> 44:51 [SPEAKER_01]: He just hates him so much.
44:51 --> 44:53 [SPEAKER_01]: He hates these guys so much.
44:53 --> 45:03 [SPEAKER_03]: Well, unlike to your point, if you, Tarantino doesn't have to tell you why these are or scary people, even if you've seen it be kind of bumbling.
45:05 --> 45:07 [SPEAKER_03]: Because we know who they are in real life.
45:08 --> 45:11 [SPEAKER_03]: So the tension starts to add up and you're just like, whoa,
45:12 --> 45:13 [SPEAKER_03]: What's going to happen?
45:16 --> 45:18 [SPEAKER_01]: So I've known a lot of hippies in my life.
45:19 --> 45:23 [SPEAKER_01]: I've got a pretty strong affection for old hippies.
45:23 --> 45:24 [SPEAKER_01]: I've known a lot of them.
45:25 --> 45:29 [SPEAKER_01]: And I have a certain affinity for this culture.
45:29 --> 45:34 [SPEAKER_01]: I don't think that people would consider, they won't look at me and know that about me.
45:35 --> 45:38 [SPEAKER_01]: But it's kind of a big part of my childhood.
45:39 --> 45:42 [SPEAKER_01]: Neighbors were hippies, you know, grew up around hippies.
45:43 --> 45:48 [SPEAKER_01]: This is maybe the most anti-hippin movie ever made.
45:49 --> 45:49 [SPEAKER_01]: Love it so much.
45:51 --> 45:53 [SPEAKER_01]: In the novelization, it's more over.
45:53 --> 45:56 [SPEAKER_01]: It is maybe the most anti-attalion.
45:59 --> 46:00 [SPEAKER_01]: book I've ever known.
46:00 --> 46:00 [SPEAKER_01]: I want to read it.
46:03 --> 46:10 [SPEAKER_01]: Still I do not come to Tarantino movies for moralization.
46:12 --> 46:15 [SPEAKER_01]: I come just for the storytelling.
46:16 --> 46:18 [SPEAKER_01]: He's just the best at what he does.
46:19 --> 46:20 [SPEAKER_01]: And I'm in.
46:20 --> 46:22 [SPEAKER_01]: I've got season tickets.
46:22 --> 46:24 [SPEAKER_01]: I'm going to come to everything.
46:24 --> 46:30 [SPEAKER_01]: Tarantino does everything he does is in service to the story that he's telling.
46:31 --> 46:36 [SPEAKER_01]: And, you know, I mean, I think he wants it to work internally within the world.
46:38 --> 46:43 [SPEAKER_01]: But I think conversations about like, you know, did Bruce Lee get a raw deal in this movie?
46:43 --> 46:45 [SPEAKER_01]: I just, I think you've missed the point.
46:46 --> 46:50 [SPEAKER_01]: If everyone in this movie is villainous in a particular way.
46:51 --> 46:59 [SPEAKER_03]: Yeah, and I think he by showing the training scene with Bruce Lee and Sharon Tate.
47:01 --> 47:26 [SPEAKER_03]: it looked kind of sweet because I mean, I think you make Bruce Lee sort of this you know blow hard kind of character and then he gets bested by Cliff Booth and you and so I think it's it's pretty clear at this point is it's like hey guys this is a different world this is a different world than the real world that like I don't think he's I don't think he's like yeah finally I can
47:26 --> 47:29 [SPEAKER_03]: Like in the same way that you're like, oh, well, he gets to resurrect Sharon Tade.
47:29 --> 47:33 [SPEAKER_03]: I don't think his intent is to is to tear Bruce Lee down.
47:33 --> 47:41 [SPEAKER_01]: No, in fact, I think that that scene is specifically in service to the point that Cliff Booth is a killer.
47:42 --> 47:48 [SPEAKER_03]: And if he can best Bruce Lee, then maybe maybe we shouldn't be too worried about what's going to happen to him later.
47:49 --> 47:51 [SPEAKER_01]: It's right, and it allows the ending of the movie to work.
47:51 --> 48:01 [SPEAKER_01]: Because when the hippies come in the house, this guy is not, not only is he a killer, and not only does he, will he not flinch?
48:02 --> 48:02 [SPEAKER_01]: He's on acid.
48:03 --> 48:06 [SPEAKER_03]: Yeah, and he, it really, I mean, so he's a bit of a sociopath.
48:07 --> 48:08 [SPEAKER_03]: I mean, is what we get, right?
48:08 --> 48:13 [SPEAKER_01]: Which is, which is kind of crazy because it's like, that guy's got dirty Harry's gun.
48:13 --> 48:14 [SPEAKER_01]: Yeah.
48:15 --> 48:17 [SPEAKER_01]: And Cliff Booth has got his finger and their point name.
48:18 --> 48:19 [SPEAKER_01]: Yeah, that's amazing.
48:19 --> 48:24 [SPEAKER_01]: Gun versus finger and the whole time I'm thinking, oh, dude, you are in trouble.
48:24 --> 48:27 [SPEAKER_01]: All right, let's talk about the dog.
48:29 --> 48:30 [SPEAKER_01]: Best movie dog ever.
48:33 --> 48:37 [SPEAKER_03]: I mean, Benji, the hunted still is chilling, but you're a dog guy.
48:37 --> 48:39 [SPEAKER_01]: What, what do you think about Brandy?
48:39 --> 48:40 [SPEAKER_03]: Love Brandy.
48:40 --> 48:42 [SPEAKER_03]: Love, I mean, that sometimes, you know,
48:43 --> 49:11 [SPEAKER_03]: dogs in movies can be a bit kind of a cheat whether it's a cheat for comic relief or it's a cheat for pull it your heartstrings and what I like about this dog is like I mean there were funny moments but the dog's all business the dog is the dog has has so much personality in so you know little scenes and I think that it's I would
49:11 --> 49:14 [SPEAKER_03]: of all the things I talk about, like, you know, Tarantino directing.
49:15 --> 49:17 [SPEAKER_03]: He just directed the hell out of this dog.
49:19 --> 49:21 [SPEAKER_01]: Is this now in the dog is fun?
49:22 --> 49:23 [SPEAKER_03]: For sure.
49:23 --> 49:28 [SPEAKER_01]: In the novelization, it's supposed to be a pitbull, but I kind of get the sense that this is not a straight pitbull.
49:29 --> 49:31 [SPEAKER_03]: I thought it was, but maybe.
49:31 --> 49:34 [SPEAKER_01]: Okay, I mean, you know, dogs better than I know dogs.
49:35 --> 49:40 [SPEAKER_03]: Yeah, and so, you know, you take a dog that is, you know, kind of the,
49:41 --> 49:49 [SPEAKER_03]: It's a kind of dog that like you specifically like you may not rent apartments if you have that specific dog right like I mean there's
49:51 --> 50:02 [SPEAKER_01]: Well, in the novelization, and I'll just spoil this one little chapter for people, there's this other stuntman who owes Cliff money.
50:03 --> 50:12 [SPEAKER_01]: And he doesn't think he's ever going to get the money back, but the guy comes to his house and he says, look, I know I owe you a certain amount of money, and I don't have it, but I've got this dog.
50:13 --> 50:18 [SPEAKER_01]: And this dog is the best dog fighting dog, this side of the Mississippi.
50:19 --> 50:25 [SPEAKER_01]: And what I could do is we could stake this dog in a bunch of dog fights all over Southern California.
50:25 --> 50:29 [SPEAKER_01]: We could make some money and you could you could have fifty percent of the stake.
50:31 --> 50:38 [SPEAKER_01]: So what ends up happening is they do this and Brandy is just like just just wrecking shop.
50:39 --> 50:46 [SPEAKER_01]: And finally, the other stuntman goes to Cliff and he says, all right, one last round.
50:47 --> 50:50 [SPEAKER_01]: And Cliff's like, there's no way Brandy has another fight in her.
50:50 --> 50:50 [SPEAKER_01]: She'll die.
50:50 --> 50:53 [SPEAKER_01]: And the guy says, that's the beauty of it.
50:53 --> 50:55 [SPEAKER_01]: We're gonna put her up against another dog.
50:55 --> 50:57 [SPEAKER_01]: We're gonna bet all of her money on the other dog.
50:59 --> 51:01 [SPEAKER_01]: And then we'll just say goodbye to Brandy.
51:01 --> 51:03 [SPEAKER_01]: We'll clean up, we'll walk away.
51:03 --> 51:07 [SPEAKER_01]: And Cliff Booth is so upset by this, he kills the other stuntman.
51:09 --> 51:17 [SPEAKER_01]: And so that's why he's got this dog who's like, you know, in the same way that Cliff Booth is established as a killer.
51:17 --> 51:19 [SPEAKER_01]: This dog is established as a killer.
51:20 --> 51:25 [SPEAKER_01]: And but of course, you don't know that in the film and I don't think you need to know any of that in the film.
51:25 --> 51:33 [SPEAKER_01]: You know, this dog obeys no matter what this dog is is absolutely going to be there when he needs the dog to be there.
51:34 --> 51:34 [SPEAKER_03]: Totally.
51:34 --> 51:35 [SPEAKER_03]: Yeah, I love that.
51:38 --> 51:43 [SPEAKER_03]: And does this novelization, is this what's going to be some of the basis for the series that's coming out?
51:43 --> 51:44 [SPEAKER_03]: Or do we not know that?
51:44 --> 51:46 [SPEAKER_01]: So that's a good question.
51:46 --> 51:47 [SPEAKER_01]: I don't know a lot about the series.
51:47 --> 51:49 [SPEAKER_01]: I know that the Fincher is going to direct, which I love.
51:49 --> 51:50 [SPEAKER_01]: Yeah.
51:52 --> 52:05 [SPEAKER_01]: I would imagine that a lot of these other stories about Cliff Booth will either be referenced in a show, or maybe they'll be portrayed in the show.
52:07 --> 52:14 [SPEAKER_01]: It'd be really interesting to see how they pull this off because he's a moral monster this guy.
52:17 --> 52:28 [SPEAKER_01]: The other thing we find about clip booth is that he's got more confirmed kills in World War II with a knife than any other soldier.
52:29 --> 52:31 [SPEAKER_01]: So he's won the Medal of Valor.
52:31 --> 52:33 [SPEAKER_01]: So sort of establishing
52:34 --> 52:36 [SPEAKER_01]: This guy's a psychopath.
52:38 --> 52:41 [SPEAKER_01]: And because he was in a war, he became a hero because of that.
52:42 --> 52:43 [SPEAKER_01]: That's funny.
52:43 --> 52:46 [SPEAKER_01]: Any other walk of life.
52:47 --> 52:49 [SPEAKER_01]: He's a serial killer in any other walk of life.
52:50 --> 52:55 [SPEAKER_01]: So I think it's an interesting sort of moral dilemma for the audience.
52:57 --> 52:58 [SPEAKER_03]: Yeah, because I'll be honest.
53:00 --> 53:05 [SPEAKER_03]: I I almost forget the wife murderer thing until it almost every time.
53:06 --> 53:08 [SPEAKER_03]: And then it gets reminded and then you're like.
53:09 --> 53:10 [SPEAKER_01]: All right.
53:11 --> 53:15 [SPEAKER_01]: You're like, Jean jacket, Jean with jeans.
53:15 --> 53:16 [SPEAKER_01]: Can I pull that on?
53:16 --> 53:16 [SPEAKER_01]: Yeah.
53:17 --> 53:21 [SPEAKER_01]: Like, oh, maybe if I had that convertible, that Carnegie is really great.
53:21 --> 53:28 [SPEAKER_01]: Maybe if I had that blue convertible, I could pull off the Jean jacket with the jeans and the moccasins.
53:29 --> 53:29 [SPEAKER_01]: Oh, man.
53:29 --> 53:30 [SPEAKER_01]: But maybe I need that hair.
53:31 --> 53:32 [SPEAKER_01]: Wife murder.
53:32 --> 53:32 [SPEAKER_01]: What the?
53:34 --> 53:35 [SPEAKER_03]: Oh, it's taking a shirt off.
53:40 --> 53:56 [SPEAKER_01]: All right, so almost like clockwork in a Tarantino film, you can expect some actor who was big about fifteen years ago to have a sort of a resurgence on screen.
53:57 --> 53:59 [SPEAKER_01]: And I'm wondering who that is in this film.
54:01 --> 54:03 [SPEAKER_03]: Yeah, because he's already worked with Russell twice.
54:05 --> 54:06 [SPEAKER_03]: at this point.
54:07 --> 54:07 [SPEAKER_01]: That's right.
54:09 --> 54:13 [SPEAKER_01]: By the way, the other really funny line in this film is... What the fuck is going on here?
54:14 --> 54:16 [SPEAKER_06]: Hey, jackass, this is our series lead.
54:17 --> 54:18 [SPEAKER_06]: How fucking you thinking?
54:18 --> 54:19 [SPEAKER_04]: Oh, you're right, Janet.
54:19 --> 54:20 [SPEAKER_04]: I'm sorry about that.
54:20 --> 54:22 [SPEAKER_04]: But fucking Janet, me, you prick!
54:23 --> 54:23 [SPEAKER_04]: Hey!
54:24 --> 54:25 [SPEAKER_04]: Is that it?
54:25 --> 54:27 [SPEAKER_01]: No.
54:27 --> 54:30 [SPEAKER_01]: Just kidding, I'm so at the big old grin on my face.
54:30 --> 54:31 [SPEAKER_01]: What's going on, guys?
54:35 --> 54:38 [SPEAKER_01]: All right, so who do you think he's and keep it and keep in mind?
54:39 --> 54:40 [SPEAKER_03]: And it's important for the podcast.
54:40 --> 54:41 [SPEAKER_03]: Kurt Russell is how we got here.
54:42 --> 54:43 [SPEAKER_01]: That's right.
54:43 --> 54:43 [SPEAKER_01]: Yeah.
54:44 --> 54:47 [SPEAKER_01]: Is there a actor that was revived?
54:47 --> 54:48 [SPEAKER_01]: I don't know.
54:50 --> 54:53 [SPEAKER_01]: I mean, I'm trying to, oh, for sure, I'm trying to, yeah.
54:53 --> 54:55 [SPEAKER_01]: Let me, let me make it my pitch.
54:56 --> 54:56 [SPEAKER_01]: All right.
54:57 --> 54:58 [SPEAKER_01]: I think it's patino.
54:59 --> 55:04 [SPEAKER_01]: And I want you to listen just to this brief scene.
55:04 --> 55:06 [SPEAKER_00]: Jino Jino.
55:07 --> 55:08 [SPEAKER_01]: The face in the misty mind.
55:09 --> 55:10 [SPEAKER_02]: Hello, Mr. Shores.
55:10 --> 55:11 [SPEAKER_00]: Oh, Jino.
55:12 --> 55:14 [SPEAKER_00]: I, uh, I have a meeting with a free house.
55:15 --> 55:16 [SPEAKER_00]: Cowboy Matt.
55:16 --> 55:19 [SPEAKER_02]: He's waiting for you in the bar.
55:20 --> 55:21 [SPEAKER_01]: Okay.
55:23 --> 55:25 [SPEAKER_01]: That's Pacino not overacting.
55:26 --> 55:28 [SPEAKER_03]: Yeah, it doesn't at all in the entire film.
55:31 --> 55:35 [SPEAKER_01]: When the last time we saw that, it's like, I love number one.
55:35 --> 55:39 [SPEAKER_01]: I love Jean, the Jean, the Jean, like I say that to myself every now and again.
55:40 --> 55:42 [SPEAKER_01]: Jean, the Jean, the Jean.
55:42 --> 55:44 [SPEAKER_01]: Just love the cadence of it.
55:44 --> 55:47 [SPEAKER_01]: And he delivers that in a charismatic way.
55:49 --> 55:51 [SPEAKER_01]: He's very memorable in this part.
55:51 --> 55:54 [SPEAKER_01]: You believe him as sort of like old school Hollywood.
55:56 --> 55:57 [SPEAKER_01]: Some guy with gravitas.
55:59 --> 56:08 [SPEAKER_01]: the gravely voice, the unmistakably al Pacino, and he's not overacting.
56:09 --> 56:20 [SPEAKER_03]: Yeah, and I had to go further to a small role, big name, and he pulls it off, right, without doing.
56:21 --> 56:23 [SPEAKER_03]: Like he shows that he's a
56:24 --> 56:25 [SPEAKER_03]: good actor, right?
56:26 --> 56:27 [SPEAKER_03]: Still a good actor.
56:27 --> 56:35 [SPEAKER_03]: Still somebody that can, that can command the scene with subtlety.
56:37 --> 56:39 [SPEAKER_01]: And I love heat.
56:39 --> 56:40 [SPEAKER_01]: I love the movie heat.
56:42 --> 56:44 [SPEAKER_01]: He's acting like he's on cocaine the entire time in heat.
56:45 --> 56:46 [SPEAKER_01]: That probably is.
56:47 --> 56:51 [SPEAKER_01]: I mean, he's overacting in a lot of these movies.
56:52 --> 56:52 [SPEAKER_01]: Right.
56:53 --> 57:03 [SPEAKER_01]: I really think this particular Pacino has been lost for twenty years, maybe more.
57:03 --> 57:04 [SPEAKER_01]: Yeah.
57:04 --> 57:10 [SPEAKER_01]: So I think that this is maybe Tarantino's sort of revival of a previous actor.
57:12 --> 57:19 [SPEAKER_03]: Yeah, because he doesn't ask him to do, like, Pacino's been doing Pacino things because he's Pacino.
57:19 --> 57:23 [SPEAKER_03]: You know, it's like, that's who I know who could do this.
57:24 --> 57:33 [SPEAKER_03]: and, and, you know, a patina can do the yell or it can do the, and whatever it is, but like, he's, it's like, I'm casting you to do this role because I think you're a great actor.
57:34 --> 57:35 [SPEAKER_03]: Kind of full stop.
57:35 --> 57:38 [SPEAKER_03]: We, but isn't that all, but, but that's also kind of said.
57:38 --> 57:48 [SPEAKER_03]: I mean, like, there's an interesting point too, where, uh, as he's get as the capers getting ready to play Caleb and they're like, well, we want to put you in this
57:49 --> 57:55 [SPEAKER_03]: you know, we want to make you look like a hippie or a heart like a hell's angel and he's just like, well, they're not going to know it's me.
57:55 --> 57:57 [SPEAKER_01]: He's like, yeah, that's right.
57:57 --> 57:58 [SPEAKER_03]: Like that's the point.
57:59 --> 58:03 [SPEAKER_03]: And in a way, you know, maybe Tarantino is kind of tipping his hat and how.
58:03 --> 58:08 [SPEAKER_03]: Yes, how like like he picked Travolta because he's I think Travolta can do that.
58:09 --> 58:09 [SPEAKER_03]: Yeah, like that.
58:09 --> 58:11 [SPEAKER_03]: Not because and in a way, what does he do?
58:11 --> 58:12 [SPEAKER_03]: He's Travolta.
58:13 --> 58:16 [SPEAKER_03]: He puts him in a different hair and a different outfit.
58:16 --> 58:17 [SPEAKER_03]: So kind of almost
58:17 --> 58:21 [SPEAKER_03]: I feel like he, I think, I think, Tarantino's revealing himself in that scene.
58:22 --> 58:23 [SPEAKER_01]: Yeah, I think so too.
58:23 --> 58:28 [SPEAKER_01]: Like, and in Jackie Brown, I think, De Nero's wearing a mustache.
58:28 --> 58:28 [SPEAKER_01]: Yeah.
58:28 --> 58:32 [SPEAKER_01]: Yeah, a little bit like a near-do well, you know.
58:34 --> 58:34 [SPEAKER_03]: Right.
58:34 --> 58:42 [SPEAKER_03]: And not like, I mean, De Nero at that stage in his career was like, like, if he's going to be a bad guy, it's like,
58:43 --> 59:12 [SPEAKER_01]: he's gonna be like kind of like a classy bad guy smart bad guy and like he's just kind of a fuck yeah no he's he's totally sort of beta to Samuel Jackson's alpha right and that's a that's a bold casting choice okay no Sam Jackson in this film he wasn't Bruce Lee no Sam Jackson in this film definitely missed him
59:13 --> 59:27 [SPEAKER_01]: I kept waiting for some little, you know, maybe he's like a voice-off screen or something, something, choice to have Kurt Russell be the narrator, which is interesting.
59:27 --> 59:33 [SPEAKER_03]: Again, not just interesting to have him be the narrator, but he's in the movie.
59:36 --> 59:43 [SPEAKER_03]: But not in a way that it would make sense that he would be, so that part kind of trips me up
59:43 --> 59:47 [SPEAKER_03]: And it's like, it could just be just tent.
59:47 --> 59:49 [SPEAKER_03]: Let's have him do it, you know, but there is.
59:50 --> 59:55 [SPEAKER_03]: But I am like, I'm just kind of fascinated by why.
59:55 --> 01:00:09 [SPEAKER_03]: And so I think because I believe that there may be some intentionality, I keep trying to figure out like, is there something about his character that that would suggest that he should, you know,
01:00:10 --> 01:00:15 [SPEAKER_03]: that he would be the one to make, to kind of catch us up the speed.
01:00:16 --> 01:00:18 [SPEAKER_01]: Well, two things, two things.
01:00:18 --> 01:00:23 [SPEAKER_01]: One is he has the Hollywood scoops, right?
01:00:24 --> 01:00:27 [SPEAKER_01]: He knows that there's rumors about Cliff Booth.
01:00:28 --> 01:00:31 [SPEAKER_01]: You know, he's got an negotiate with his wife once.
01:00:31 --> 01:00:33 [SPEAKER_01]: He's got an negotiate with the stuntman one.
01:00:34 --> 01:00:36 [SPEAKER_01]: He's kind of in that role in the film.
01:00:36 --> 01:00:42 [SPEAKER_01]: So he kind of needs to know these stories because he kind of wants, he wants, he needs everyone to get along on the set.
01:00:43 --> 01:00:44 [SPEAKER_01]: So he's that guy.
01:00:45 --> 01:00:49 [SPEAKER_01]: Number two, the film is based on him.
01:00:49 --> 01:00:57 [SPEAKER_01]: Tarantino got the idea for a guy in a stuntman when he was hanging out on death proof.
01:00:57 --> 01:01:04 [SPEAKER_01]: And he found out that Kurt Russell stuntman was hanging out with him on these sets for over ten years.
01:01:05 --> 01:01:06 [SPEAKER_01]: Sometimes he never even worked.
01:01:07 --> 01:01:07 [SPEAKER_01]: Ha!
01:01:08 --> 01:01:10 [SPEAKER_01]: So his, his, his, his, something that was named John Casino.
01:01:11 --> 01:01:12 [SPEAKER_01]: And he saw them sitting in there.
01:01:13 --> 01:01:14 [SPEAKER_01]: They're sitting in the same clothes.
01:01:14 --> 01:01:16 [SPEAKER_01]: They looked very much the same.
01:01:17 --> 01:01:18 [SPEAKER_01]: And Tarantino of that.
01:01:18 --> 01:01:20 [SPEAKER_01]: That's an interesting idea.
01:01:21 --> 01:01:22 [SPEAKER_01]: And he's, you know, started right there.
01:01:22 --> 01:01:23 [SPEAKER_01]: Well, that makes sense.
01:01:24 --> 01:01:35 [SPEAKER_01]: And then in the novelization, he goes out of his way to think Kurt Russell for all of the old Hollywood stories, you know, because he, he grew up in Hollywood.
01:01:35 --> 01:01:37 [SPEAKER_03]: Right, right, right, right as a kid.
01:01:37 --> 01:01:37 [SPEAKER_01]: As a kid.
01:01:37 --> 01:01:41 [SPEAKER_01]: And so he didn't just know that Hollywood stories have his own era.
01:01:42 --> 01:01:45 [SPEAKER_01]: He knew the Hollywood stories of his father's era too.
01:01:45 --> 01:01:51 [SPEAKER_01]: And a lot of the stories that came from Russell made it into this movie.
01:01:53 --> 01:01:53 [SPEAKER_03]: Okay.
01:01:53 --> 01:01:55 [SPEAKER_03]: Well, that's pretty read.
01:01:55 --> 01:01:56 [SPEAKER_01]: It's pretty great.
01:01:57 --> 01:01:59 [SPEAKER_01]: And, you know, so you bring them into the movie.
01:01:59 --> 01:02:01 [SPEAKER_01]: You find a place for them in the movie.
01:02:02 --> 01:02:05 [SPEAKER_01]: You think, well, maybe we'll make them the narrator too.
01:02:06 --> 01:02:26 [SPEAKER_03]: Well, and also, I mean, it's, it's pretty great that, you know, he's, he was stuntman Mike and now he's the stuntman, you know, kind of like the, the guys crawling this, the stuntman thing, and, but he's the, he's the more moral of this stuntman in this particular case, which is not the case with the death proof.
01:02:29 --> 01:02:31 [SPEAKER_03]: And I mean, but I like is that like,
01:02:32 --> 01:02:45 [SPEAKER_03]: In the three movies that Tarantino's used, Kurt Russell, and we know I'm a Kurt Russell fan is he's just given Kurt Russell a lot of, a lot of chances to be a lot of things.
01:02:45 --> 01:02:47 [SPEAKER_03]: I mean, like he's really led him act.
01:02:48 --> 01:02:53 [SPEAKER_01]: Yeah, Tarantino's kind of famous for like seeing a scene, an actor and an old part.
01:02:54 --> 01:02:57 [SPEAKER_01]: Maybe he gets underappreciated, but kind of like nerosene and things.
01:02:57 --> 01:02:59 [SPEAKER_01]: No, there's something there.
01:03:00 --> 01:03:05 [SPEAKER_01]: And if I ever have a rule where I can use that, I'm going to find a spot for that.
01:03:07 --> 01:03:07 [SPEAKER_01]: Right.
01:03:07 --> 01:03:08 [SPEAKER_01]: And yeah, I love that.
01:03:10 --> 01:03:12 [SPEAKER_01]: I love that little partnership.
01:03:14 --> 01:03:19 [SPEAKER_01]: Steve, was there a Tropically Shea or a Devisonist movie that you appreciated?
01:03:21 --> 01:03:25 [SPEAKER_03]: I do like the putting Rick Dalton in.
01:03:26 --> 01:03:28 [SPEAKER_03]: different pieces of that era.
01:03:28 --> 01:03:35 [SPEAKER_03]: Like when you is doing the green door song, it's amazing.
01:03:36 --> 01:03:54 [SPEAKER_03]: And you know, yeah, so like those little elements, I like, I think that they, they can easily be gimmicky, but I think it's, I think you get a little comical leaf in it, but I think you also do a really, it helps you sort of
01:03:54 --> 01:04:17 [SPEAKER_03]: see the bigger picture of what these actors go through because like when I was younger and I like if you see somebody on love boat or you see somebody on you know maybe one of those like lap in or one of those types of things you don't you just go oh I recognize them and that's but you don't necessarily know what that means for that's right you know what I mean like because I was going through my love boat phase for a while and I was like
01:04:17 --> 01:04:22 [SPEAKER_03]: I think love boat means two different things to two different types of people.
01:04:22 --> 01:04:26 [SPEAKER_03]: There are those that are like, oh man, my agent just got me a love boat.
01:04:27 --> 01:04:30 [SPEAKER_03]: This is going to be a chance for me to get out there and be on on it.
01:04:30 --> 01:04:34 [SPEAKER_03]: And then there's the other side that's like, I'm going to do love boat again.
01:04:36 --> 01:04:37 [SPEAKER_03]: This is who I am.
01:04:37 --> 01:04:40 [SPEAKER_01]: At this stage of my career, the best I can do is love boat.
01:04:41 --> 01:04:41 [SPEAKER_03]: Yeah.
01:04:42 --> 01:04:43 [SPEAKER_03]: Yeah.
01:04:43 --> 01:04:47 [SPEAKER_03]: So that kind of stuff, I think is really, I really like that.
01:04:49 --> 01:04:51 [SPEAKER_01]: I love all the Western sets.
01:04:51 --> 01:04:58 [SPEAKER_01]: And I love that sometimes they're actual sets, you know, like spawn ranch, like that was an actual place.
01:04:58 --> 01:05:03 [SPEAKER_01]: It was a place that old Hollywood used to film Westerns.
01:05:03 --> 01:05:05 [SPEAKER_01]: It was actually rented out by
01:05:07 --> 01:05:11 [SPEAKER_01]: an old, you know, Hollywood guy who rented it out to the man's and family.
01:05:12 --> 01:05:14 [SPEAKER_01]: There was an actual person named squeaky.
01:05:14 --> 01:05:20 [SPEAKER_01]: So a lot of this, a lot of the important scenes in this movie are filmed on a Western set, right?
01:05:21 --> 01:05:28 [SPEAKER_01]: But then you get like the Western cliches in real life and Western cliches that are kind of fake.
01:05:30 --> 01:05:33 [SPEAKER_01]: Like when Austin Butler is writing a horse,
01:05:34 --> 01:05:37 [SPEAKER_01]: He looks really cool, right in the horse, you know?
01:05:38 --> 01:05:51 [SPEAKER_01]: And, you know, he's like on horseback and he looks like he's been riding horses this whole life and I'm just thinking, I don't think anyone's wrote a horse that looks cooler than this.
01:05:53 --> 01:05:55 [SPEAKER_01]: So anyway, I like that.
01:05:56 --> 01:05:56 [SPEAKER_01]: I like that.
01:05:56 --> 01:06:04 [SPEAKER_01]: I like that the Western sets were kind of integral to the film but also kind of used as clichés in the film.
01:06:05 --> 01:06:09 [SPEAKER_01]: Um, was there a tweak you would have made to this film to improve it?
01:06:11 --> 01:06:18 [SPEAKER_03]: Um, it's, it's kind of hard for me to say, I mean, because like, I would say it for a two hour and forty minute movie.
01:06:18 --> 01:06:20 [SPEAKER_03]: There were a lot of times I'm like, well, I want to go back to that spot.
01:06:22 --> 01:06:27 [SPEAKER_03]: Like I wanted more, I wanted more Cliff Booth memories.
01:06:27 --> 01:06:29 [SPEAKER_03]: You know, I wanted more of those types of things.
01:06:29 --> 01:06:31 [SPEAKER_03]: And so it's like, it was
01:06:32 --> 01:06:36 [SPEAKER_03]: I feel like there was, I definitely would not have more Manson.
01:06:36 --> 01:06:37 [SPEAKER_03]: I think that was perfect.
01:06:39 --> 01:06:41 [SPEAKER_03]: The specter of Manson I think was enough.
01:06:42 --> 01:06:43 [SPEAKER_03]: I don't know.
01:06:43 --> 01:06:44 [SPEAKER_03]: It's hard to say.
01:06:44 --> 01:06:48 [SPEAKER_03]: I mean, it's like, I don't, I'm not going to say it's a perfect movie, but man, it's so many ways.
01:06:48 --> 01:06:49 [SPEAKER_01]: It's a near perfect movie.
01:06:50 --> 01:06:55 [SPEAKER_01]: I'm going to make the same gripe that I've made with child actors that I've made before.
01:06:56 --> 01:06:56 [SPEAKER_01]: You and you.
01:06:58 --> 01:07:02 [SPEAKER_01]: to put Tarantino dialogue on the lips of an eight year old actor.
01:07:05 --> 01:07:06 [SPEAKER_01]: It just takes me out.
01:07:07 --> 01:07:12 [SPEAKER_01]: And this is not just, this is not just like a sin of movie making.
01:07:12 --> 01:07:17 [SPEAKER_01]: This is almost like the textbook example of the sin.
01:07:18 --> 01:07:21 [SPEAKER_01]: That child actor has gotta be a genius.
01:07:22 --> 01:07:25 [SPEAKER_01]: And maybe to kind of fan in was a genius, right?
01:07:26 --> 01:07:35 [SPEAKER_01]: You know, who's in this movie and, you know, maybe there's a little homage to her here, or maybe an homage to, you know, Kurt Russell, who was a child actor as well.
01:07:36 --> 01:07:38 [SPEAKER_01]: Maybe they were, maybe they talked just like that.
01:07:39 --> 01:07:41 [SPEAKER_01]: But it was a problem.
01:07:41 --> 01:07:42 [SPEAKER_01]: It was a problem for me.
01:07:43 --> 01:07:46 [SPEAKER_01]: And sometimes it works, like the world tenant bombs, I don't mind it.
01:07:47 --> 01:07:53 [SPEAKER_01]: You know, these kids are geniuses and I'm buying in this film, didn't buy it.
01:07:53 --> 01:07:58 [SPEAKER_01]: So that was the thing about this movie that I would absolutely change.
01:07:58 --> 01:08:00 [SPEAKER_03]: Yeah, that might be one of my favorite scenes.
01:08:00 --> 01:08:01 [SPEAKER_01]: I know everyone loves it.
01:08:01 --> 01:08:02 [SPEAKER_01]: Everyone loves it.
01:08:03 --> 01:08:03 [SPEAKER_03]: Cheapers.
01:08:05 --> 01:08:06 [SPEAKER_01]: I mean, here's a thing.
01:08:10 --> 01:08:16 [SPEAKER_03]: If you can handle Cliff Booth beating up Bruce Lee, you should be able to handle a child.
01:08:16 --> 01:08:18 [SPEAKER_01]: For some reason, I didn't bother me.
01:08:19 --> 01:08:34 [SPEAKER_01]: All right, so I think you're right in that it was crucial for the film to have him talk about easy breezy and his emotions kind of sneak up on him in a way he wasn't expecting.
01:08:35 --> 01:08:38 [SPEAKER_01]: That was totally necessary for the movie.
01:08:41 --> 01:08:43 [SPEAKER_01]: Could they have done it with like a fifteen-year-old actor?
01:08:43 --> 01:08:45 [SPEAKER_01]: So it was a little bit more believable?
01:08:45 --> 01:08:46 [SPEAKER_03]: No.
01:08:46 --> 01:08:47 [SPEAKER_03]: I don't think you can.
01:08:47 --> 01:08:48 [SPEAKER_03]: I don't think you can.
01:08:49 --> 01:08:53 [SPEAKER_03]: I think he has to feel disarmed.
01:08:53 --> 01:09:02 [SPEAKER_03]: He has to feel, because a fifteen-year-old in the sixties, and it's Leonardo DiCaprio, is dateable.
01:09:08 --> 01:09:12 [SPEAKER_01]: Well, and there's also a theme in the movie.
01:09:12 --> 01:09:18 [SPEAKER_01]: You know, sort of like older man, younger woman theme in this film.
01:09:19 --> 01:09:21 [SPEAKER_01]: You've got it with Bruce Dern.
01:09:21 --> 01:09:23 [SPEAKER_01]: Yeah.
01:09:23 --> 01:09:25 [SPEAKER_01]: Who was supposed to be Bert Reynolds, right?
01:09:26 --> 01:09:27 [SPEAKER_01]: Yeah.
01:09:27 --> 01:09:34 [SPEAKER_01]: Bruce Dern is a shipping squeaky on the regular.
01:09:37 --> 01:09:54 [SPEAKER_01]: and then you've got the sort of the chemistry between pussycat and cliff in the car and you haven't kind of haven't go out of his way to say no you're not eighteen and right and then you're not worth it so there's that
01:09:55 --> 01:09:57 [SPEAKER_03]: So I do think you do have to have that separation.
01:09:57 --> 01:10:16 [SPEAKER_03]: I think you do need to have the the male female component with with and I think you need to also because what's more Hollywood than that right well and also juxtaposing this girl who's young and at the beginning of the career he's moving towards the end of the career and
01:10:18 --> 01:10:23 [SPEAKER_03]: despite all of her intelligence, she's still is putting all of her, she's heading down this trajectory and even mentions that.
01:10:24 --> 01:10:24 [SPEAKER_01]: Yeah.
01:10:24 --> 01:10:25 [SPEAKER_01]: Yeah.
01:10:25 --> 01:10:27 [SPEAKER_01]: No, you'd be living it in eight years or whatever.
01:10:27 --> 01:10:37 [SPEAKER_03]: And I think that there's something kind of important about that to say, who knows, maybe Rick Dalton at that age was that.
01:10:38 --> 01:10:42 [SPEAKER_03]: And this is what this industry will do to you.
01:10:42 --> 01:10:46 [SPEAKER_01]: All right, because you didn't come up with a tweak, let me throw a question at you.
01:10:48 --> 01:10:49 [SPEAKER_01]: What do you think about Zoe Bell?
01:10:50 --> 01:10:52 [SPEAKER_03]: Yeah, I would definitely.
01:10:53 --> 01:10:57 [SPEAKER_03]: I don't think she's, she's, they used her plenty.
01:10:58 --> 01:11:01 [SPEAKER_01]: I think it because it was a comedic scene.
01:11:02 --> 01:11:03 [SPEAKER_01]: They kind of get away with her.
01:11:03 --> 01:11:05 [SPEAKER_03]: Yeah.
01:11:05 --> 01:11:07 [SPEAKER_01]: But what are you putting around it by?
01:11:08 --> 01:11:08 [SPEAKER_01]: Yes.
01:11:08 --> 01:11:15 [SPEAKER_03]: When you're surrounded by everybody's just absolutely pitch perfect in every note and then she comes in and it's just like,
01:11:15 --> 01:11:27 [SPEAKER_01]: You've got, yes, you've got actors at the top of their game throwing heat a hundred miles an hour and you bring in like a very noticeable Texas leaker.
01:11:28 --> 01:11:28 [SPEAKER_01]: Yeah, yeah.
01:11:29 --> 01:11:30 [SPEAKER_01]: It's, it's, man, it sticks out.
01:11:31 --> 01:11:32 [SPEAKER_03]: Yeah, that's a good call.
01:11:33 --> 01:11:34 [SPEAKER_03]: That did bother me.
01:11:34 --> 01:11:35 [SPEAKER_03]: And it bothers me every time I watch it.
01:11:36 --> 01:11:38 [SPEAKER_03]: Um, and I just, I just forgive it because it's so about.
01:11:41 --> 01:11:43 [SPEAKER_01]: I laugh every time commercial enters that scene.
01:11:43 --> 01:11:44 [SPEAKER_01]: It's fantastic.
01:11:45 --> 01:11:45 [SPEAKER_01]: Uh, all right.
01:11:45 --> 01:11:49 [SPEAKER_01]: Is this movie better or on par with a Ron Howard movie?
01:11:50 --> 01:11:51 [SPEAKER_03]: It's like a Howard plus five.
01:11:51 --> 01:11:54 [SPEAKER_03]: No offense to Howard, but you can't, Howard can't do this.
01:11:55 --> 01:11:55 [SPEAKER_01]: Nope.
01:11:56 --> 01:11:57 [SPEAKER_03]: I don't think there's many people that can.
01:11:57 --> 01:11:58 [SPEAKER_03]: I think there's one.
01:11:59 --> 01:12:00 [SPEAKER_01]: I'm gonna say Howard plus fifteen.
01:12:01 --> 01:12:02 [SPEAKER_01]: Wow, I love that.
01:12:02 --> 01:12:06 [SPEAKER_01]: Because it's Tarantino and it may be his best film.
01:12:07 --> 01:12:09 [SPEAKER_01]: It may be him at the top of his game.
01:12:09 --> 01:12:19 [SPEAKER_01]: I mean, we talked, we started by talking about the film working this, the camera working this, the dialogue is just the right amount of dialogue.
01:12:21 --> 01:12:26 [SPEAKER_01]: It's just, it's like he's an expert on this particular thing.
01:12:28 --> 01:12:31 [SPEAKER_01]: And he just poured his heart and soul into it.
01:12:33 --> 01:12:39 [SPEAKER_01]: And it didn't come out the other end feeling self-indulgent, which it totally could have felt like.
01:12:40 --> 01:12:41 [SPEAKER_01]: Right.
01:12:42 --> 01:12:54 [SPEAKER_01]: Um, specific for this season of bacon rap, which bacon character could be inserted into this film and makes sense.
01:12:57 --> 01:13:00 [SPEAKER_01]: I'll start unless you got someone in mind.
01:13:00 --> 01:13:02 [SPEAKER_03]: There you go.
01:13:03 --> 01:13:06 [SPEAKER_01]: I'm going to say Detective Sean Divine from Mystic River.
01:13:07 --> 01:13:21 [SPEAKER_01]: I'm going to say throw him in as a detective, sniffing around the man's and family, and let him do a little bit of exposition to kind of tell us what is actually being investigated.
01:13:21 --> 01:13:24 [SPEAKER_01]: And it would probably make the movie four hours long.
01:13:24 --> 01:13:25 [SPEAKER_01]: I'd be fine with that.
01:13:27 --> 01:13:32 [SPEAKER_03]: I'd be okay if it was Ren from Footloose who popped his tire.
01:13:33 --> 01:13:35 [SPEAKER_01]: Pop to tire right in front of the playboy mansion.
01:13:35 --> 01:13:44 [SPEAKER_01]: All right Steve, is there half the battle one to groan?
01:13:45 --> 01:13:46 [SPEAKER_01]: Moment is film.
01:13:48 --> 01:13:49 [SPEAKER_03]: Just leave the hippies alone.
01:13:52 --> 01:13:55 [SPEAKER_01]: I say this to someone who's hitchhike a lot in my life.
01:13:55 --> 01:13:56 [SPEAKER_01]: He'll be really careful.
01:13:58 --> 01:13:59 [SPEAKER_01]: Be really careful.
01:14:00 --> 01:14:03 [SPEAKER_01]: You don't know who's picking you up.
01:14:03 --> 01:14:04 [SPEAKER_03]: Just use the Uber.
01:15:15 --> 01:15:18 [UNKNOWN]: In a cocoon of horror