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2:12

Well, you guys know he's had a

2:14

quintuple bypass. He had his kidney

2:16

transplant. I know he just got his

2:19

what are they called? When when you you're

2:21

amputated, you get the prosthetics. They're fit

2:24

in for him now. So Bert,

2:26

I hope all that is going well. Sitting

2:28

in for

2:29

Bert today is our

2:31

good buddy, Quentin Tarantino. Thank

2:34

you. Thank you. You're sitting in for Bergman. Alright. But

2:36

you mean the Hitler guy? The Hitler guy. Yeah.

2:38

Yeah. Exactly. I'm sitting in his

2:40

seat too. His

2:42

ass print is It is. -- right now. Holding

2:45

Yeah. Yep. because that might be little bigger

2:47

than that. I think it's much bigger

2:49

than you guys. Real I

2:52

also wanna point out you have a new bookout,

2:54

cinema speculation. No. No. I told you

2:56

I have begun the audiobook. Mhmm. I think

2:58

I might switch. Yeah. Yeah. Yeah. because you're

3:00

Scott your stock went way down. When you said

3:02

that, I'm sorry. It wasn't the really best way

3:04

to say that. Sorry. just

3:06

wanna let you know that I was actually consuming this

3:09

area. I appreciate it. You

3:11

you know, you like movies so much. You make me feel

3:13

like maybe don't like movies so much.

3:15

I was like, I thought I like movies, and

3:17

I hear you talking. I'm like, what the fuck man?

3:20

But you were exposed to like such I mean,

3:22

this book is like a dive into your

3:25

you know, you're how you've how I grew

3:27

up. Grew up. because everybody, I think,

3:30

fans of you of

3:32

of movies in general, kinda knew the story

3:34

of Quentin worked at a store. Yeah.

3:36

Yeah. And he really likes movies. And then we and

3:38

and I've seen you in interviews site,

3:41

you know, refer to other movies from the

3:43

past. Like, it was clear that you are a a real

3:45

festival. Yeah. Rosenthal. But

3:48

this gets you in from, like, the beginning.

3:50

Like, how how you

3:52

as a kid, you were being taken -- Mhmm. --

3:54

by your mother and going movies all the time.

3:56

Well, it was interesting because when I first came up with the

3:59

idea to

3:59

write the book, the idea was more or less

4:03

just

4:04

ah A book

4:05

of film analysis. Mhmm. So I would

4:07

pick a, you know, my idea I thought was,

4:09

like, I pick a few films. and then I would write

4:11

about them. And that was

4:14

that was just kind of more or less the

4:16

idea. wasn't expecting it to

4:19

be quite as autobiographical as

4:22

it became. But I figured it would be autobiographical

4:25

to some degree. Yeah. Because if you're writing

4:27

about movies personally, then you end up telling

4:29

about yourself in it. I mean, one of my favorite

4:32

critics is Pauline Hale, and they asked her,

4:34

when she ever write her autobiography and she goes,

4:36

no, I I have written my autobiography in every

4:38

one of my reviews. It's just kinda spread out.

4:41

Oh, interesting. So I kinda figured that would be

4:43

the case, but then I ended up writing the first

4:45

chapter. And I think that was my attempt to try

4:47

to write a an introduction -- Mhmm. --

4:49

to the book. which,

4:51

you know, details, you know,

4:54

me in sixty nine, seventy,

4:56

seventy one being taken to a bunch of

4:58

these new Hollywood films by my parents

5:00

when, you know, I was seven and eight

5:02

and nine. And

5:03

when I

5:04

finished that chapter, it was like, was aware of nothing.

5:06

Okay. Well, that's a that's a pretty good chapter. Alright. because

5:09

that's not an introduction. That's that's chapter

5:11

one. Yeah. And then once I wrote that

5:13

chapter, I realized, okay,

5:15

this is the book now. This

5:17

is the look. Now I'm gonna still I'm gonna still

5:19

continue on doing AAAA

5:22

writing about different films, but now all of a sudden

5:24

it had a structure. that it didn't

5:26

have before. They all had to be movie, you know,

5:28

since I was writing about having seen seen

5:31

them at a young age. they

5:34

all had all the movies I wrote about. I had

5:36

to have seen them. Right. I had to

5:38

have seen in the seven, not something you

5:40

saw later. Yeah. Nothing nothing I discovered

5:42

later. Yeah. down the line. You know? And whether

5:44

or not I I, you know, whether or not I

5:46

discuss what it was like seeing it at twelve

5:49

or thirteen or fifteen, you

5:51

know, that remains to be seen. Alright. But

5:53

they all had to come from that area.

5:56

They all had I had had to see it from

5:58

there. and and that kinda

6:00

became the umbilical cord. Mhmm.

6:02

That carried through the book leading to the last chapter,

6:04

which is like the first chapter, another autobiographical

6:07

movie watching thing that kinda takes me

6:09

up to that point -- Right. -- in my life.

6:11

Yeah. I mean, it's like, you you're you

6:13

have, like, this Savant, like,

6:15

ability, I think, when you talk about films.

6:17

Like, you can just site movies. And, like,

6:19

I think I don't know. Were you growing

6:22

up in this time frame Uh-huh. -- was

6:24

the probably the best thing for the filmmaker

6:26

that we know today. Right? Oh, yeah. Absolutely. I mean,

6:28

if it was a different era, we you'd be a different

6:30

guy. Yeah. No. No. No. Absolutely.

6:33

And there also is just this kind of

6:36

really neat thing about the

6:38

fact that, you know, if

6:40

you go through the the timeline of

6:43

of Mark Harris' book, which was pictures of the revolution

6:46

that kinda talked about the beginning of New Hollywood.

6:48

It kind of officially starting

6:51

even though old Hollywood still was dominant

6:53

in sixty seven -- Mhmm. -- with the graduate

6:56

and and Bonnie and Clyde and those movies

6:58

coming out in the heat of the night. So

7:00

if that's the beginning of the

7:02

revolution and sixty

7:04

eight and sixty nine are the are the years

7:06

of the revolutionary war between between old Hollywood

7:09

and new Hollywood was fought. The

7:11

nineteen seventy would be the year that

7:13

the revolution was won. Uh-huh. Well,

7:16

that all coincides with

7:18

me first going to the movies. Right.

7:20

My very first experience going in the movies.

7:22

So my first you know,

7:24

just me even knowing what a movie is and just

7:26

kinda putting it all together is coinciding

7:29

with the greatest period of of

7:31

of motion pictures in the history of

7:33

of of of America. Yeah. Yeah. Now

7:35

I heard you because I heard you do this phenomenal breakdown

7:38

of, like, why I believe eighties,

7:41

movies. Yeah. Yeah. Sucks. Mhmm.

7:43

And then we got but what do you got you back in comparison

7:45

by comparison? Yes. What's your analysis

7:48

of or your thought on current

7:50

state of cinema? It

7:52

makes the eighties look fucking crazy. I'm

7:56

so happy. This terrible as

7:58

the eighties was. Yeah.

7:59

Now we never

8:02

had it so good, like comparison. Yeah.

8:04

I mean, like, most things come out and you're like, this is

8:06

dog shit. I know we can't, like, shit on everybody

8:08

who works on every film because even though that'd be

8:11

fun. but there's so many bad like,

8:13

movies are so bad. Well, you know, it

8:15

it it's yeah. Eileen and look, I and

8:17

I'm not gonna yeah. I'm

8:19

I'm not here as a a filmmaker to throw any windows.

8:22

Any any current any current movies. But

8:24

no. It it does seem like we're live we're living

8:27

We're living through another repressive

8:29

time. Yeah. When it comes to cinema, you

8:32

know, the first really big repressive time

8:34

was the fifties. Then we

8:37

get the generation with the sixties, even the first

8:39

half of the sixties was basically just the fifties part

8:41

two. Mhmm. You know, but then we got

8:43

the seventies and then they had then the pendulum had

8:45

to swing the other end. Right. for the eighties

8:47

and then this pendulum swung the other way again

8:49

for the nineties. I mean, who I mean, I live

8:51

for the nineties, making movies in the nineties.

8:54

I didn't consider the nineties, the seventies

8:56

part two, but it was. It was. And right

8:58

now, well, on retrospect, it absolutely was.

9:00

I didn't think about it then. Right. And

9:03

then and, you know, now

9:05

the pendulum has has has swung this

9:07

way again. So There's I'm just waiting for

9:10

the pendulum to swing back Yeah. Me too. No.

9:12

I just as a fan. Yeah. Yeah. They

9:14

just have to ask you about because I'm I'm a like

9:16

I said, a fan. So

9:19

one thing I never had you know, I always love

9:21

so much in your movies, is

9:24

your writing, like, just like how, you know,

9:26

dialogue and the stories. They're so original

9:28

and they're so fun. And, you know, I

9:30

saw pulp fiction when it came out

9:32

in in theaters, and I was in fucking

9:35

I don't know. think I was a freshman and I was

9:37

fourteen. Uh-huh. And you're like, oh my

9:39

god. This is crazy. freshman in high school?

9:41

Yes. In high school. And

9:44

one thing I was always curious about was what was

9:46

the reception of that script

9:48

like originally when you Like,

9:50

was it celebrated as a, oh my god. Like,

9:53

they could they see what this movie

9:55

would be? Or was it, like, this is a crazy dude?

9:57

You know, like Yeah. And and and I'll

10:00

No. No.

10:02

It wasn't actually. It wasn't

10:04

celebrated or it wasn't It wasn't it wasn't

10:10

It it wasn't the sit situation

10:12

where, like, the whole industry was like, oh my god.

10:14

This is the greatest thing ever. Okay. Okay.

10:18

and they're lining up to do it.

10:21

It because a matter of fact, it was

10:23

we had a

10:25

a deal to make the movie Mhmm.

10:28

-- at Tri Starr Mhmm. -- at the time because

10:30

I did it through Dana Davidos production

10:33

company, Jersey films, and they had a set

10:35

up situation at at

10:37

Tri Starr. And so, you

10:40

know, and they paid me a lot of money to write the script.

10:43

So I hand in the

10:45

script, and then Mike

10:48

Metabolic and all his Tristar executives,

10:50

and then the the

10:53

Dan DiVito Jersey film executive, as we all

10:55

get together to have a big meeting about us. We're in

10:57

this big conference room and whatever. And

11:00

it becomes fairly

11:02

clear. Mike Metabolicoo is not really into

11:04

it. Really? Yeah. Yeah. Yeah. And

11:07

but, you know, to give him

11:10

to

11:11

explain explain it with him a little bit,

11:13

which by the way was

11:16

sort of throwing me a bit

11:18

for a loop for the simple fact

11:20

that you know, I wanted to work

11:22

of all the studios. He was the one that I wanted

11:24

to work with it. I maybe trusted the studio the

11:26

most because Mike Metavey used to run Orion.

11:28

And I loved history -- Yeah. -- of Orion

11:31

movies. I thought they were fantastic. And, you know, I

11:33

thought he was really, you know,

11:35

he he was III thought was a great executive,

11:37

and he was great executive. Alright? But it was towards

11:39

the end of this little tenure. But the thing about

11:42

it though was

11:46

he had just

11:48

gone to, like, a retreat

11:52

that Bill Clinton was

11:54

having with people in in

11:56

Hollywood and the media and

11:59

pop culture. I might be misrepresenting this slightly,

12:01

but but it was something like that. Okay. and

12:05

Clinton was hooranging the

12:08

Hollywood people about the violence

12:10

in movies. Oh, boy. Yeah. Yeah.

12:13

He was hooranging them about the violence

12:15

in movies. He was hooranging them about

12:18

a permissive drug use. And then

12:20

just I mean, Frankly,

12:22

it's fucking strange. Alright. You know, all the things

12:25

you would imagine the right wing would be hoorang. Yeah. Okay.

12:27

Clinton was guilting. Hey,

12:30

guys. Let's turn it down. Yeah. All his big Hollywood

12:33

supporters have shot this. And, like, I think,

12:35

like, really kind of scolding them. Mhmm.

12:37

So Mike Metabolic comes back from that

12:40

and reads pulp fiction. That's

12:42

perfect. Yes. So he's

12:44

just sort of, you know, he's kind of

12:46

not Yeah. And own with the whole

12:48

thing. Okay. You know? And then none of his yes

12:51

men or yes women are are are

12:53

are disagreeing to him disagreeing

12:55

with him. And so I remembered the conversation.

12:58

And this is not the goof on him. We we were,

13:00

you know, we're we're friendly whenever we bump into

13:02

each other. I'm glad it worked out the way it worked out.

13:06

But the thing about it though is I remember

13:08

one of the things is so

13:11

he's He's

13:13

going through a list -- Yeah. -- of the

13:15

grueling things or what he considers the

13:17

grueling things in the movie. Yeah.

13:20

There's quite a few of those if that's your criteria.

13:22

Yeah. So he's going through, you know, and so,

13:24

I mean, he's describe sounds like he's

13:26

describing Ken Russell's The Devils or

13:28

something. I mean, you know, not this comedy.

13:31

alright, that I wrote. Yeah. And

13:34

so when he gets to the end of it, you know,

13:37

I go, Well,

13:39

Mike, did

13:41

you think it was funny? He

13:43

goes, oh,

13:44

what do you mean?

13:46

It's a comedy. Uh-huh. Did

13:49

you think it was funny?

13:53

Well, III guess a little,

13:56

you know, I go, well, it's comedy man.

13:59

And then we go up,

13:59

we talk little bit more and a little bit more.

14:02

And he goes, well, you know, Quentin,

14:04

you say it's a

14:06

comedy. And

14:08

I'm watching the lead character

14:10

shoot a heroin And I really doubt that the audience

14:13

is gonna think that that that that that's

14:15

funny. Mhmm. And I'm like, well,

14:17

maybe not that moment, but I guarantee

14:19

you People are gonna laugh. This is a I'm

14:23

guaranteeing you. Yeah. This will

14:25

get, you know, not that moment. Right? Right. So

14:27

even though that Actually, moment does get a laugh. Sure.

14:29

When you get when John gets that

14:31

smile -- Yeah. -- on his face, you know, that heroin's

14:33

working the whole audience giggles -- Sure. -- at

14:35

that point. But it was just like, you know, he just didn't get

14:37

it. He didn't get it. didn't get it. But but,

14:39

you know, I have to say though, there was an interesting thing,

14:42

though. There was something was always curious about.

14:44

And I give him credit for giving me the answer.

14:47

to this. There was something I was always

14:49

curious about, and I was able to to finally

14:51

ask somebody who knew, who could give

14:53

me the right kind of answer. And and and

14:57

And

14:59

he and he gave me the answer. Even

15:02

if it made him look little bad, he gave me the he gave

15:04

me the honest answer. So one of the things

15:06

is, I I think on the Internet, there's a thing

15:08

floating around about my

15:12

wish list of the cast. Okay.

15:15

hope fiction. Okay. It's kinda floating around

15:17

as and it it's not

15:20

it

15:22

it's not That's

15:24

not really what it was. This

15:26

list that's floating around. What

15:28

that was? I remember my agent telling

15:31

me, Okay. Well, here's the thing, Quinn. What

15:33

you want to do is you want the studio to

15:35

sign off on the on the things

15:37

that you want. Okay. So if they

15:39

sign off, on it than,

15:41

you know, anything on that list, you

15:44

have permission to do. Now if

15:46

they don't sign an event, then you have to negotiate it,

15:48

and you have to talk to them about it. But anything

15:51

like that, but anything that

15:53

they finally agreed to, you're you're good with.

15:55

So then I took a a and didn't know exactly

15:58

who I wanted to play this part or that part

15:59

or this part or that part.

16:01

And so, you know,

16:04

so I wrote a giant list with a ton

16:06

of names. I wanted to get

16:08

them all preapproved. Sure. And I didn't

16:10

know if this is gonna work out if I would

16:12

buy with the person or if they would even

16:14

do a good job. But I wanted to get them approved.

16:16

So in case I did, you know

16:19

And this is an ambitious list. Right?

16:21

Your is your second film? Yeah. Yeah. Exactly.

16:23

And so this it's ambitious that who you ended

16:25

up doing it without even knowing what your list

16:27

was? Yeah. Yeah. Yeah. And but yeah. So it's kind of all

16:29

over the place, but that was kind of the idea that I wanted to be

16:31

able to explore it and go all over the place.

16:33

but then I'm also really very

16:36

opinionated. So it's sort of like something like

16:42

think for, like, for pumpkin and honey bunny for instance.

16:45

Mhmm. I think it was one of those things

16:47

where

16:48

okay. So for pumpkin,

16:50

We will offer the movie to Tim

16:52

Roth. Mhmm. If

16:54

Tim Roth turns it down, we

16:57

will offer it to Christian Slater.

17:00

and this is how you're telling them this. Oh, yeah.

17:02

It's actually it's written on the list. Uh-huh.

17:05

And if we And

17:07

if he turns it down, we will offer it to Johnny

17:10

Depp. And I think it was the same thing with Alabama.

17:13

So, you know, we will offer it to Amanda Plumber.

17:15

As she turns it down, we'll offer it to

17:18

Patricia, our cat blah blah blah. Anyway,

17:20

so So my

17:22

question before you answer this up, before you take

17:24

a further, is it considered at

17:27

the time to are you shooting

17:29

too high? Or is it, like, perfectly

17:31

normal for you to be targeting these

17:33

this talent at the time? No. Yeah. Yeah. I mean,

17:35

the no. They could have done it.

17:37

It's perfectly reasonable. No. I would no. It was

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21:13

bears. Okay.

21:15

After reservoir dot Okay. Well, yeah. For workers,

21:17

we're really so Yeah. It was reasonable. I'm

21:19

sorry. No. No. No. I could no. No. If I you

21:21

know, especially if I was offering him the

21:24

the John Travalter robe -- Sure. Johnny

21:28

Depp would have, you know, would have totally read

21:30

the script. And I'm not saying you would have said yes, you

21:32

know, but they would have considered it.

21:34

Sure. Okay. And so

21:38

Anyhow, so I'm working with the studio. This is like

21:40

a big studio. Alright? I got a studio behind

21:42

me. This is not a little independent -- Mhmm. -- outfit.

21:44

So so Mike

21:47

Metavoy. He's looking at

21:49

the list because Okay. Well, let me just

21:51

look at this list here what you say. Okay. Let

21:53

me give you what how the

21:55

order I would go. I mean, Tim Roth

21:57

is a very fine actor, and I know you just worked with

21:59

them on reservoir dogs, so

22:01

I'm sure that there's connection in the loyalty

22:03

there. However, the order I

22:06

would go in is we would offer it

22:08

to Johnny Depp -- Mhmm. -- first.

22:10

And then if he turns it down, then

22:13

we would offer it to Christian Slater.

22:15

And if he turns it down, I would find

22:17

somebody else other than Tim Roth to

22:19

offer it to. And then if we can't

22:21

do that, Venten Roth.

22:25

And I go, okay,

22:27

Micah, me is your question. This

22:29

is a question I've been dying because I've heard about I've

22:31

heard these kind of stories. before as far as Hollywood

22:33

is concerned. And I've always

22:36

had a question about this, and maybe

22:39

you can answer it.

22:43

Do you think Johnny

22:46

Depp playing the role of

22:48

pumpkin? in this movie,

22:51

which is the opening scene

22:53

and the closing scene. That's it.

22:55

Do you think

22:58

That will add that

23:00

much to the box office take.

23:03

Him playing that role. And

23:06

Mike Metabolicoy said, it

23:07

won't add a dime. It would

23:09

make me feel better though.

23:14

And

23:14

that's summarizes how most studio

23:16

executives are -- Yeah. -- essentially. Right?

23:18

It's like, oh, we're doing chancy material. However,

23:20

if I get these big name actors -- Then I'll -- to

23:22

sign a board, Okay. Well, that's AAAAA

23:26

that gives us something to sell. Yeah. That

23:28

gives us something to sell. And also, we have

23:30

compadres. Yeah. On this. They're

23:33

they like it. They're responding to it. They

23:35

give us a bit of cover. Yeah. And then I get

23:37

to as the studio executive,

23:40

I get to go Well, I did a

23:42

pretty reasonable thing. That's ex no. That and

23:44

that's exactly it. It all blows

23:46

up. Hey, I did my best. Yeah. I got Johnny.

23:48

That Yeah. I got Johnny Depp. I got so I got Patricia,

23:50

our cat. I got Jennifer Jason Lee doing this thing,

23:52

you know. I mean, IIII covered my ass the best

23:54

I could. How was casting?

23:56

because I've always I mean, you know, film

23:58

is obviously incredible film, Bruce

24:01

Willis. Yeah. He's he's so he's great. He's

24:03

so great in it. Right. Was that was

24:05

it like a you read it just yes? Or was

24:08

it like a Well, that was an interesting idea. No.

24:10

That that was a that ended up being very interesting

24:12

story. I mean, we weren't going out

24:14

to Bruce Willis. I mean, that just seemed I

24:16

mean, especially at that

24:18

time, you know, he was one of the top five,

24:21

if not even three biggest

24:23

stars -- Yeah. -- in the world. Yeah. It's

24:25

a surprise when you, like, when you first see the film,

24:27

you're like Bruce Willis isn't oh, you know, you you get

24:29

shocked almost. Absolutely. You know I mean? I mean,

24:31

he was definitely popular in America, but I mean, you go

24:33

to Korea or they're like, no. He's he's

24:35

the man. He's the man. Yeah. And

24:38

so what happened was

24:42

I originally wrote the part for Matt Dillon.

24:45

because Matt Dillon was a was

24:48

a fan of my script for reservoir dogs.

24:51

And and and part of the thing is though, couple

24:54

of kids will try Star's long long since

24:56

gone. We've made the deal with Meramex. And

24:58

part of the thing about Meramex was,

25:01

what was the deal?

25:06

we needed we have an ensemble

25:09

cast, but we needed a Meramex

25:12

at least one approved, if not

25:14

who approved Meramec actors

25:16

-- Okay. -- in the cast. And then from that point

25:19

on, okay, you can cast anybody you want. As long

25:21

as they had one of their, you know, somebody

25:23

they considered a name. that they could sell.

25:25

And so Matt Dillon kind

25:27

of fell into the name category

25:30

that they would they would accept. Okay.

25:32

So so

25:35

I wrote it for Matt, and it kinda seemed like it

25:37

was gonna be easy peasy getting

25:39

him. But

25:42

he read it and he he wasn't so

25:44

sure. He

25:45

wasn't so sure. He wasn't so sure about it.

25:47

He liked it, but he wasn't quite

25:49

so sure. He he was

25:52

disturbed by the fact that there wasn't actually,

25:54

like, he wanted to see butch actually

25:56

boxing. You know, he was really I wanna

25:59

see the fight.

25:59

And

26:02

and there's even a little bit maybe he didn't a

26:04

hundred percent get it. Alright. But

26:08

and I think 000000

26:11

And this happened a lot. Okay. And he didn't wanna play

26:13

that part. He wanted to play the Vincent character. Oh,

26:16

okay. Alright. That was

26:18

that that was almost all the way down the line.

26:20

Anytime I offered somebody a part, they wanted

26:22

to play with somebody else. Sure. And

26:26

so so

26:28

he didn't say

26:29

no, but

26:30

he didn't say yes. So

26:32

so he he still has to think about it. Okay.

26:35

And that was a little

26:37

scary because I thought I had I thought he

26:39

was in the back. Right. And with him in the

26:41

bag, I had a I had a go movie. Okay.

26:44

And all of a sudden, I didn't have such a go

26:46

movie anymore. Mhmm. Alright. So,

26:48

like, holy shit. So in anyway,

26:50

in the meantime,

26:52

ah

26:53

Harvey Cattel,

26:54

who's in the movie, and

26:57

he was one of the guys, so had him. it

27:00

was, you know, he was he was shooting in town. And when he

27:02

was shooting in town, he usually rent

27:04

a house in Malibu. and so he would invite

27:07

friends to come over for the weekend and and and

27:09

hang out. Jesus. And so,

27:11

Mike, I came over and I'm hanging out at at

27:13

at Harvey's Place. And

27:16

then, well, it turns out that Bruce

27:19

Willis was only living about three

27:21

or four or five houses down the

27:23

way. Okay. And so I come over

27:25

to Harvey's, and I'm there, and and some other

27:27

people are there, and they're Bruce Willis. I've never

27:29

met him before. Mhmm. And it turns out

27:31

he is a huge fan

27:34

of reservoir dogs. Okay.

27:36

Huge fan. And like like he goes,

27:38

like, if I had red reservoir dogs, I

27:40

would have been in reservoir dogs. I would have

27:43

agreed to do it, you know. And

27:46

he goes as well, it's one of my favorite. Me and my buddies

27:48

watch it. bunch of times. We know the dialogue by

27:50

heart. We we do the dialogue. Wow.

27:52

That's that's amazing. Yeah. And

27:55

I think it was one of those situations

27:57

where

27:59

he told Harvey that, you know, some time

28:01

earlier, you know, earlier, you know, couple days earlier.

28:03

And he goes, well, you know, he should look at Quinn's

28:06

got a new script out. There might be something he might

28:08

like in it. And then he's gonna be coming

28:10

by on Sunday, you know, to hang out. So if

28:12

you wanna say hello to him, that would be a

28:14

good time. And that's exactly what Bruce did. So Bruce

28:16

called the business agent, hey, get me that damn Tarantino

28:19

script. I wanna read it. So little

28:21

did I know, he had already read pulp

28:23

fiction by the time I show up at Harvey's house

28:25

that Sunday. And so we're all having

28:27

a good time and we're all talking and then he

28:29

goes, Quentin, take

28:31

a walk with me. gonna take it to my house.

28:34

I'm gonna want to introduce you to Demi. Alright.

28:36

Let's take a walk to my place. So we're taking

28:38

a nice walk along the beaches. So look,

28:40

I I wrote your script.

28:43

What

28:43

reservoir dock? No. No. No. The new one, pulp

28:45

fiction.

28:47

wow. I mean, that blue mic. Mine.

28:49

Yeah. Alright? And it

28:51

goes, Yeah.

28:54

So

28:56

I wanna play Vincent. because

28:59

I wanna play Vincent. There you go. Well,

29:03

I

29:03

kinda have a

29:04

John Travolta

29:05

set up to fly for for

29:07

Vincent. And and

29:12

so he goes Oh, well, John's great. John's terrific.

29:14

John's good. John's good. So

29:16

let me keep talking little bit more and goes,

29:18

okay. Well, here's the deal then.

29:23

Okay. John is a good Vincent and I wouldn't wanna

29:25

fuck him up. Alright? So okay.

29:28

His agent ladle tried to throw him John

29:30

Drival to under the bus. Alright? It's great.

29:33

He did. Alright. I

29:35

think even I even remember what his agents.

29:37

He goes. Okay, Quinn.

29:41

I just want to

29:42

just put this out to you. that

29:46

when your movie comes

29:48

out, the last movie,

29:51

Bruce, will have done, that will

29:53

be released, and he named some big Bruce

29:55

Willis movie that, like, roast three hundred

29:57

million dollars or something. That

29:59

will be the last movie that Bruce had

30:01

done. when your movie comes out.

30:04

The last movie, the star of

30:06

your movie, John Travalter, will have done

30:08

will be Look Who's Talking three. I'm

30:11

just saying that.

30:14

I mean, he's not a bad agent. Yeah. Yeah. He's

30:17

a he's that's what they do, man. So So

30:21

then all of a sudden Bruce goes, I

30:25

guess,

30:25

okay, well, how about this? What

30:27

if I play jewels? And

30:31

I go, well, obviously. Because

30:33

the I know he's black. I

30:34

know he's black.

30:36

Page paint. Yeah. Yeah. The Sam Rinks.

30:38

the the the Sam Jackson. Sam Jackson's nine. I'm

30:40

just in face paint. Okay? Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Because,

30:42

look, I know the character is black, but but,

30:44

you know,

30:45

but it's more like just you know,

30:47

but he can just be a hipster dude, you know.

30:49

And -- Sure. -- and I I could do that dialogue

30:51

because I'm like, that's the kind of that's the way me and

30:53

my friends talk with each other. Sure. You

30:56

know? So you could make him a

30:58

white guy, and I could just be this hipster dude

31:00

with John. And and I'm telling you that the the,

31:02

you know you know, That's

31:04

the way Bruno talks. Alright. Bruno talks

31:07

like that. Hard sell for this part, man. Yeah.

31:10

And okay. So

31:13

And that was the real

31:15

hard decision. Well, so that's real pressure

31:18

at that time. I mean, for you. Right? because you have we have one

31:20

of the top three movie stars in the world being, like, I

31:22

will do this. Yes. Exactly. Exactly.

31:24

And it's like You're like I've I've already

31:26

said no once before

31:28

-- Yeah. -- to push somebody else. And

31:31

now he's offering me one more

31:33

bite of the apple to get his full

31:36

attention and his full commitment --

31:38

Uh-huh. -- to this movie, and the movie

31:40

needs it. I mean, it's just you know, it's like

31:42

winning the fucking lottery. Yeah. Getting

31:45

but

31:46

it's not right. It's just

31:48

not right. Mhmm. You

31:51

know, and I told him that,

31:53

well, you know, the part that would

31:55

be fantastic for you is

31:57

is Butch. And and

32:00

You're not right in that moment? You tell him Well,

32:02

I let him know. I let him know. Okay. So then finally,

32:04

I go okay. Well, let me think. Okay. Well, that would be

32:06

a big big change. Let me think about it. Let

32:08

me think about it. Let me call you tomorrow. Okay?

32:11

So I think about it all night long and finally, I I

32:13

realized, look, it III just can't

32:15

make I can't do it. So I call them

32:17

up And I tell him and I'm

32:19

kinda telling him how it's not gonna work.

32:22

And he goes, hey, Quinn, it's

32:24

all okay. Let me take you off the hook. I get it.

32:27

I understand. You wrote the character from black

32:29

guy. You want a black guy. I get it. I get it.

32:31

I go. Okay. But you know, Bruce,

32:33

yes. But

32:36

I think you should be in this movie.

32:38

You you understand it. You

32:41

get the script. You get my sense of humor.

32:43

I think you should be in the movie. Now,

32:45

you you

32:46

naturally were attracted to the Vincent

32:48

character and then you were naturally attracted to the

32:50

jewels character. There is a third lead

32:52

here that I think you would be perfect for.

32:55

And one of the reasons I think you would be perfect

32:57

for Butch is, I

33:00

see him as like a fifties leading man.

33:02

I mean, he could be a star from a fifties movie.

33:04

Yeah. and like the actors that I think

33:07

of when I think of the

33:09

character of Butch is more like actors from the fifties

33:11

like a Ralph Meeker or an Aldo Ray

33:13

or a Brian Keith or somebody like that.

33:16

I would ask you, you've you've had your

33:18

mindset on other people, on other characters.

33:22

I would just ask you to Read

33:25

the script one more time

33:27

with the idea of you playing

33:29

bush. And if you

33:31

don't

33:32

respond fine, but I would just ask

33:34

you to read it one more time with the other characters

33:36

out of your head and with that character

33:38

on your plate. And then if you and if if

33:41

you don't respond, you don't respond. And

33:43

he goes, okay, I'll do that. I can

33:45

do that. I'll do that tonight. Come

33:47

tomorrow.

33:48

And so he did that.

33:50

And then I called him the next day. And

33:53

he said, Quentin,

33:57

The

33:57

shortest

33:59

sentence in

34:00

the bible

34:01

his is

34:02

Jesus wept. The

34:05

shortest sentence in Hollywood is,

34:07

I'm in. And I'm in.

34:10

Wow. Dude, that's an awesome

34:12

story. Yeah. He was a great guy. He's a great

34:14

Yeah. That's a -- Wow. -- what an incredible

34:16

get for the family members. It was it

34:18

opened up everything. It opened up everything.

34:21

I mean, you know, especially how successful

34:23

the movie ended up being overseas. Sure. That

34:25

is a direct result of

34:27

Bruce Wilson. Don't worry you dialed in.

34:29

I know you've been asked, but I don't know. How were you

34:31

dialed in on Travolta for Vincent? Why?

34:34

What? Like, how how was that clear to you? I

34:36

was just always a big man. You just always No. I I

34:38

thought it was I thought it was a damn shame that he wasn't

34:40

as a star as he as

34:42

as he used to be. Yeah. And I thought Hollywood

34:44

was full of shit, alright, for not understanding

34:47

it. And it was even one of those things where it was

34:49

like

34:53

At that time, John Gibraltar was kind of almost the epitome

34:55

of of, you know, I guess, what

34:57

you would cruelly

34:59

call it has been. Mhmm. But

35:01

then I would go out with him

35:03

and

35:03

people would lose their fucking minds.

35:06

We

35:06

would walk in we walk down this street

35:08

and people like, you know, drive down the road. Hey, Chadi.

35:11

Hey, Pomparito. You know, they would just, like,

35:13

screenshot at him all the time as he as

35:15

we're walking down like La Cienega or

35:17

something. Yeah. I I took him

35:19

to, like, at De Bevix. because, like, oh, this

35:21

is kind of as close to jackrabbit

35:24

slims kind of places that exist. So you just

35:26

get an idea of what these weird places

35:29

or at least fifty with these weird fifty joints

35:31

or like. And I take them in there,

35:33

oh, restaurant just lost their fucking mind.

35:35

They actually had to put us into another

35:38

section of the restaurant, keep everybody away.

35:40

Yeah. And then even, like, walking outside,

35:42

like, some

35:43

tourist family were, like, God.

35:45

Just was it was crazy. I

35:47

know. It was just like,

35:50

this guy's a superstar. It's only stupid

35:52

Hollywood who doesn't realize it. Yeah.

35:54

The public absolutely thinks

35:57

he's a start. Just put him in something we're

35:59

seeing and they'll

35:59

go. Wow. So you I mean, that's incredible

36:02

that you -- Mhmm. -- could see it. Alright.

36:05

This is one where I I love

36:07

this these these two little details

36:09

in the scene. And I wonder if there was an

36:11

origin for this, and that is in in

36:13

glorious basterds. Mhmm. There's

36:16

there's

36:16

this character who

36:18

he has he's I think he's supposed to

36:20

be English and he has German parents. Yeah. Yeah.

36:23

So he speaks fluent German,

36:25

albeit with a subtle accent.

36:27

And the reason I think that this resonates

36:29

so much with me -- Mhmm. -- is when you have

36:32

a foreign parent -- Mhmm. -- your

36:34

ear gets tuned -- Mhmm.

36:36

-- to these little details about

36:39

accents. Yeah. Yeah. Uh-huh. That that

36:41

people with an untrained ear don't,

36:43

like, even, like, if you if you don't have a like in line

36:45

of words, if you're American, you speak English.

36:47

You can hear somebody speak English -- Mhmm. -- and

36:50

go, like, where are you from? Like, I have a friend -- Mhmm.

36:52

-- you know, who he he

36:54

can one one of the first times we spoke

36:56

when I met him -- Mhmm. -- because he's Michael,

36:59

and we're we're

37:00

talking, and I was like, where are you from? And he says

37:03

he says, like, you know, Washington and then I'm

37:05

like, you're from Washington. You get your accent.

37:08

so strange. Mhmm. He's like,

37:09

well, I was born in Estonia. When I came

37:11

over, I was ten. I was like, well, yeah, man. That's

37:13

why I'm gonna talk in there. Yeah. I go that's why

37:15

you don't know that your accent's fucking weird

37:17

as fuck. You talk. Yeah. So

37:20

in the movie, what what yeah. I don't

37:22

think don't think Archie Hiccups

37:24

act accent is weird. No. No. It's not.

37:26

It's not it's just not as dramatic

37:29

as the Nazis. I was

37:31

making the the point about my friend.

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39:12

what I know is as a a

39:14

child of a foreign parent -- Yeah. -- is that

39:16

you really get dialed so, like, my mother

39:18

speaks Spanish. Right? She's a Peru. And

39:20

then you grow up and you start to note

39:22

some like, your ear gets tuned to people

39:25

speaking Spanish. Yeah. Yeah. Right? You can start going

39:27

you start identifying It's a difference. No. Yeah. Exactly.

39:29

The difference between Argentina -- Absolutely.

39:31

-- road that I'm between Mexico and

39:34

Spain. Yeah. And then you can

39:36

start to note how

39:39

children of those --

39:41

Yeah. -- parents, how how

39:43

good the child's Spanish in

39:45

other words, in my case, Spanish is. So you're really

39:47

like, oh, yours is really

39:49

off. Yours is really good. But then

39:51

your ear can pick up on just like the slightest

39:53

little detail. Yeah. And that theme

39:55

of that scene, like, that it drives

39:58

it, fascinated me. I was like, oh, this

40:00

is like this is something I felt very

40:02

much like I related to. And I was wondering

40:04

if the origin of it or what that

40:06

was for you. Like, why you dialed in

40:08

on the fact that Well, it's just that's just

40:10

the reality of what would the case would

40:12

be, but where I came up with that concept. of

40:15

that scene in the first place was

40:19

I've

40:19

seen a ton of

40:21

World War two

40:24

cloak and daggery kind of movies

40:26

where some

40:30

the we always

40:31

see them where, like, a a couple Americans

40:33

that speak German. Uh-huh. And speak apparently,

40:36

speak German perfectly. Yes. Alright. and

40:38

they put on Nazi uniforms and they go

40:40

to they go to Nazi restaurants and

40:42

they go to Nazi bars and they're able to

40:44

hang out at general generals

40:47

shut shuthoes with other generals and -- Yeah. --

40:49

and -- Completely -- -- good time. -- completely pass

40:51

themselves off. No worries. And we see that

40:53

in dirty dozen. with

40:56

Lee Marvin and and and Charles Bronson dressed

40:58

up as officers go to that chateau

41:00

where all the other generals are hanging out. And

41:02

it's also you

41:04

know, really played a big and where Eagles dare.

41:06

because memory like Clinique Wood and and

41:09

Richard Burton are all dressed up as Nazi

41:11

officers and they're just sub

41:14

you know, kicking it in German and and

41:16

and selling everything. Now, naturally, them

41:19

being American movies, nobody's speaking

41:21

German. Alright? They're all speaking English and we're supposed

41:23

to just know. Mhmm. They're

41:25

speaking German. And

41:28

and so what

41:30

should be

41:32

the most

41:35

greatest element of suspense can

41:38

they pull off the Germans? Yes. Inside

41:40

of a room full of motherfucking Nazi.

41:43

It's so great. Doesn't exist at

41:45

all in these movies. Yeah. Well,

41:48

English is German and, of course, I can speak

41:50

English and that naturally there's

41:52

never an issue about their accent.

41:55

But then to not you know, but then

41:57

to do it, you know, not with a German actor,

41:59

but with a guy doing German

42:02

-- Yes. -- you know, and then pulling it

42:04

off or not pulling it off. Now That's a whole

42:06

element of suspense that I've never seen

42:08

played out in a movie before. So even though

42:10

I've seen that scene, like, seemingly

42:12

a hundred times. Sure. I

42:14

I love. I love that because I think it's

42:16

such an original take. And it

42:18

also, like, you know, you

42:20

you you you get it. The the other by the way,

42:23

this is not related to, but this is related to

42:25

accents and in your films in

42:29

and kill Bill -- Mhmm. -- when you have Michael

42:31

Parks playing Esteban. Yeah. Yeah.

42:33

Yeah. I did not know that

42:35

that wasn't a Mexican guy. Uh-huh.

42:38

I mean, he he was terrific.

42:40

But, like, I I

42:42

appreciate it so much -- Mhmm. -- as an as

42:45

an audience member. Yeah. Yeah. Watching this

42:47

guy speak and you're like, oh, I

42:49

wonder what Mexican guy this is. Yeah.

42:51

After he's like, so And then you realize And then King

42:53

Pronson. Man, it's

42:55

crazy because It also takes

42:57

me out of other movies -- Mhmm.

42:59

-- when you have somebody

43:02

half assing the accent? Yeah. Yeah. Right

43:04

on. You know what? I'm like, yo, man.

43:06

This is terrible. Like, it

43:08

ruins the sea, it ruins the whole dialogue. I mean,

43:10

I was watching, what was it? How's it going?

43:13

I was like, They're like, dude.

43:15

I'm me. I haven't seen it. So I'm not making

43:17

fun of that movie, but it's dog shit. But he

43:19

he but, like, the actors

43:22

are like, mean, they're all big actors, but they're going

43:24

like it. I am I I want these

43:26

to work out. I'm dead. Are you sick? And,

43:28

like, it's it's in the same scene. You're just

43:30

like, yo, man. You just drop the ax sense.

43:32

Well, they do. Yeah. You're just it's like

43:34

the whole accent just dropped. I don't know. Parks

43:37

was unbelievable in that part. Well,

43:39

that's an actually an interesting story about how that came

43:41

about because, you know, Michael Park is actually one of my favorite

43:43

actors. And I already cashed him in the

43:45

movie. He was, you know, placed the Texas

43:47

Ranger. Yeah. Yeah. And So

43:51

we always have a big, you know,

43:53

a big day in our movies is

43:56

when I have the the script reading. We

43:58

all get together. The the actors have been

44:00

cast. We're getting ready to start production maybe in a

44:02

couple of weeks. And then we get together

44:04

with the actors, and we just all sit around

44:07

the table. and read the script. Mhmm. And

44:09

that's a very very important day for me because

44:11

that's like the closest to me actually seeing the

44:13

movie finished before I start shooting

44:15

the movie because you get get an I'll get

44:18

it. You know, you you you know, the first time I heard the

44:20

heard the script with the actors that they're gonna play

44:22

the roles, all kinda doing

44:24

the thing, I get a sense of the movie.

44:26

And and

44:29

so the thing is you have a bunch of actors

44:32

and maybe not everybody is there.

44:34

So, like, oh, hey, you take this role. Hey,

44:37

you read this one. Mhmm. And

44:39

I had actually had cast Ricardo

44:42

Montibon. to play Esteban. To

44:44

play Esteban. And and

44:47

he couldn't make it. So

44:49

though So

44:51

when so Michael was Eric

44:53

because he was playing the Texas Rangers. So he

44:55

did the Texas Rangers overall. And then

44:57

I threw something else at him and threw something

44:59

else at him. and then I

45:01

go, hey, Mike, would you take would you play Esteban?

45:04

Because, yeah, sure.

45:07

And

45:07

he did such

45:09

a fantastic

45:11

esteban. At this table read? Yeah. At this table

45:13

read. It was

45:15

you know, it just

45:18

stole the show. It

45:19

was just great. And there also

45:21

is this aspect

45:23

as wonderful as an actor as Michael

45:25

Parks is,

45:27

He was always cast inside

45:28

of his own persona -- Mhmm. --

45:30

to one degree night. You can take your own persona

45:33

a zillion different ways. but he was never

45:35

cast to be somebody completely different.

45:37

I mean, like a complete other type of humanity

45:40

-- Mhmm. -- than who he was and talk in

45:42

a completely different way than the way he

45:44

talked. but here he was doing it.

45:46

And I always knew he was a fantastic actor

45:49

that that would be This could be fantastic. This

45:51

he's never been he's never been given an opportunity

45:53

to do a character or like this. Yeah. So

45:56

we paid off Ricardo Montemont,

45:59

and I I cast Michael instead.

46:01

God, that's gotta suck to get that call. That's

46:03

gotta That's a little better Well, as that should have been

46:05

at the fucking table, it should have been there.

46:07

You know, if we get some place better to be, then,

46:09

well, we have some place better to be too. And

46:12

it's with Michael Parks motherfucker. Yeah. Michael

46:15

Parks. Yeah. Michael Parks wasn't too busy.

46:17

There you go. I

46:19

worked I worked on a movie

46:21

where I think it was like, was it the

46:23

hair guy? I mean, I love hair, but I was in

46:25

the hair chair or something. Mhmm. And he was

46:28

I think he had done all he had been on all your films

46:30

at that point. And so I was like,

46:32

how would he like to work on a point of the films? He goes,

46:34

he loves to shoot man. He loves to shoot.

46:37

He said you guys were down, I think, shooting that

46:39

for months longer. Which one? The I

46:41

think the kill bill, whatever you filmed in Mexico Okay.

46:44

Yeah. Yeah. But you but you don't really like to

46:46

shoot, but you like to shoot you shoot film, you still do

46:48

Yeah. And does anybody else do that? But,

46:51

yeah, Christopher Nolan does, you know.

46:53

But it's just a handful. Right? Yeah. It is it

46:55

is a handful. Yeah. Sounds like a handful of the

46:57

highest levels. Yes. Exactly. It's handful

46:59

of the best. So the best so the

47:01

best guys. Shoot on film. Yeah.

47:04

That scene also by the oh, the other coolest

47:06

fuck thing about the past you've seen is the three things.

47:09

Yeah. It's such a cool little detail. Mhmm.

47:11

That just did it just come about something

47:13

you knew you'd seen No. I'd I'd heard I'd heard

47:15

about it. Ryan, go hey, well, that that's

47:17

terrific. And it was actually

47:19

really funny because one of my

47:22

makeup gals is

47:25

She's from Iceland and Heva. Mhmm.

47:27

And she's been working with me for

47:29

for got almost twenty

47:31

years now. Anyway, so she's reading

47:33

the script. she got sent script and she's reading

47:35

it. And she reads the

47:38

whole thing -- Mhmm. -- and she's like, you

47:40

know, so she's from Iceland. So, yeah, they do it

47:42

like this. Mhmm. Right? and she's

47:44

like, what the fuck is he talking about?

47:46

And I don't get that. You know, so she

47:49

she goes to her husband who's American. She goes,

47:51

hold

47:51

up three fingers. And

47:53

he goes like, fuck, he's right.

47:56

Yeah. Yeah. You it's it's

47:58

so distinct. Yeah. Yeah. It's it's something you

48:00

never really think about. Yeah. It's something you never

48:02

think until somebody points it out. It's such

48:05

a cool thing. When

48:07

you like, there's a when

48:09

you what's the the

48:11

top gun is gay? Yeah. Yeah.

48:13

Yeah. With that from a sick woman. Yeah. Yeah.

48:15

You wrote that. Yeah. Well, and me

48:17

and my my buddy,

48:19

Roger Avery, kinda I think Roger

48:22

came up Roger did, I don't think. Roger

48:24

did come up with it first. Mhmm. But

48:26

but back when we are video archives, it's

48:28

like we worked on it. We we we turned

48:30

in a new routine. It's just because

48:33

we did it at at compartments. We did it

48:35

at parties. We did it at and gatherings.

48:37

It was just this routine that It feels

48:40

like stand it feels like stand up. It was a

48:42

whole routine that we did together.

48:44

then that I get I

48:47

I was doing a cameo in this fun little movie

48:49

that I was doing, and I was just told to pretty

48:51

much improvise something. Okay. Well, I

48:53

had that routine ready to go. Oh my

48:56

goodness. I just, like, did it and, like,

48:58

that became a thing. Dude, it's it's so good.

49:00

I mean, it it reminded

49:02

me in a way of of in in

49:04

in reservoir dogs when you go on about, like, a

49:06

virgin? Yeah. Yeah. Yeah. Yeah. It's the same Yeah. It's it's in the

49:08

same it's in the same thing. the same end, and it

49:10

feels like, you know, as, like, a standup, you go, like,

49:12

oh, this feels like a Yeah. -- a

49:14

good bit, a good way. Yeah. It's a good way. No. That would that

49:16

would definitely be part of my five minutes. Yeah.

49:20

Building up that good five minutes, you

49:22

crush with that. You crush. I

49:25

know this is probably I mean, I don't know if this

49:27

is

49:28

tired topic to you, but, you know,

49:30

like, it it

49:31

there's so much made about, like,

49:34

race when you when you every

49:36

time I get if I go pitch now -- Mhmm. --

49:38

do you know they're, like, who's

49:40

his character? And you're, like, that's the friend.

49:43

They're, like, is are they Indian or

49:45

something? And you're like, I I mean, I don't know.

49:47

Sure. Should they be? Mhmm. And they're like, it would

49:49

be better. And you're like,

49:51

okay. And it it feels like it's so

49:54

forced -- Yeah. Yeah. -- in in the into

49:57

these conversations. Well,

49:59

that's but that's not even new. I mean, there is

50:01

the thing about equity watch what was it.

50:04

think you got mail. Think if you got mail.

50:06

Alright. So That's the Tom Hanks.

50:08

Yeah. Tom Hanks and Meg Ryan movie. And

50:10

he's, like, sort of, like, the the

50:14

vice president of, like, Barnes and

50:16

Noble -- Uh-huh. -- or something like that. But

50:19

his best friend is Dave Chapelle. Yeah.

50:21

Yeah. Good. Where's the world? Where

50:24

the vice president of Barnes and Noble's

50:26

best friend is Dave Chappell. Yeah. Yeah.

50:29

It's it's it's and that's what makes But it's

50:31

almost, like, back to that studio guy

50:33

being, like, well, I feel better. Yeah. No. It is.

50:36

It's exactly what that is. Yeah. Okay. For different

50:38

reasons. Right. But this this yeah. But

50:40

it still is a thing today where even when you like

50:42

I said, every time I've gone into pitch something

50:44

-- Mhmm. -- they're like, what? Like,

50:47

So this this person's Latin, and this

50:49

is Asian, and they're like, they're great. Now

50:51

we're good to go, and you're like, no. Yeah. Like, that's Well, I

50:53

have to play that bullshit. No. You don't have to do that

50:56

shit. you feel

50:58

like any of I mean,

51:00

I have a, you know, I'm

51:02

actually quite known for writing my black characters.

51:04

Alright? But I'm not gonna you know, but it's like, well, no,

51:06

if wanted him to be black, I would have made him black.

51:08

If I wanted him to be Mexican, I would have made the character

51:11

Mexico. Did you get pushed back back then, though,

51:13

about no. No. No. And and

51:16

was was a were studio was it reset you

51:18

already obviously a huge success with Django,

51:20

but was that were they, like, this too much? just

51:22

too crazy. No. The studios were lined up. They

51:24

all wanted to Oh, they were fighting. They were fighting for

51:26

it. Fighting for it. It wasn't it wasn't too No.

51:29

No. They were they were fighting. They were fighting to

51:31

get it. Wow. That's pretty rad.

51:34

One thing I wanted to ask you too is that so

51:36

I'm my favorite genre of

51:39

films to watch. Like, if you

51:41

if, like, if we walk to a this the

51:43

theater and, like, just ten movies

51:46

out, I'm always drawn towards thrillers.

51:47

Yeah. Yeah. Yeah. That's just what I enjoy the most.

51:50

It's like my my wife

51:52

too. Yeah. She doesn't like horror movies. She

51:54

loves thrillers. Love thrillers. what

51:57

is, like, a Quentin recommended,

51:59

you know, couple

52:01

thrillers out of because I'm imagining

52:03

I have definitely not seen everything you've seen.

52:06

that you would Oh, if you're gonna try and have me pick

52:08

something that's, like, that's completely off

52:11

the beaten track. Sure. Okay.

52:15

I got one. Okay. Alright. I

52:18

mean, when you say that to me a thriller,

52:21

you like, the first thing is to come to my mind or send,

52:23

like, dressed to kill or fatal attraction. and or

52:25

something like that. But

52:27

a cool one that's off the that you might not

52:29

have seen, that's a that's really good. And

52:31

it actually starts an actor. I I don't like at

52:33

all, but he's pretty good in this movie. Uh-uh.

52:36

Yes. Is AAA

52:39

film directed by Curtis Hanson who later did

52:42

LA confidential. Uh-huh. called bedroom

52:45

window. The bedroom window. Yeah. I was,

52:47

like, in the late eighties, it was done. It

52:49

was done for deal Dino De la Renta is

52:51

a company, DEG, the the same company that

52:53

did blue

52:55

velvet and raw deal and things like that.

52:58

And it's a kind of a pitch cocky and

53:00

rear window kind of redo.

53:03

and it's with Steve

53:05

Gootenberg and Elizabeth McGuburn

53:07

who's fantastic in the movie. She steals the movie, but

53:09

also Isabel Hubert, who's who's wonderful in

53:11

it too. Walee Shawn has a magnificent

53:14

cameo in it that just brings the house down.

53:16

It's a really, really fun thriller.

53:18

Okay. He had done it's very hitchcock

53:21

It's it's meant to be like a hitchcock

53:23

comp. Were you a big hitchcock guy? I'm not a hitchcock

53:25

fan. Really? Yeah. Yeah. Tell tell me because

53:27

I would imagine I I think you you talk

53:29

to most people who go, like, cinema is everything

53:32

that he's like, you know, he's one of the I'm one

53:34

of the greatest directors who ever lived. I'm

53:36

not I think he was

53:38

held back by the times that he

53:40

worked. III think his movies I

53:44

normally don't like the third acts. appears movies.

53:46

Now some of them I do. Well, teenagers on

53:48

a train has a magnificent third act. The fact

53:50

of thrillers is the like, well, alpha,

53:53

but, like, especially thrillers. Yeah. But I

53:55

do think that they are they all have they all

53:57

oftentimes oftentimes, this is just my opinion. They

53:59

oftentimes, they they they peter out,

54:01

and he's not quite able to end them,

54:03

like, you know, the way I think he would

54:05

of if if he was coming if he was if

54:07

he was the age he was in the fifties,

54:10

in the seventies, I think his his

54:12

I would I would appreciate his films more.

54:16

I think the you know, he's held back by the hays code.

54:18

I think he was really truly

54:20

held back by the Hayesco.

54:22

Now at the same time, he

54:24

was a clever little bugger. Alright? So

54:26

because he he could use

54:28

the hays code against their own selves

54:30

from time to time. One

54:33

of my actually favorite Hitchcock endings

54:36

seems to be a

54:38

compromise

54:40

forced on him, but then he

54:42

subverts the compromise. There's AAA

54:45

an expression in Hebrew called Fook la Fook,

54:47

which means like a reverse on a reverse. And he kinda

54:49

does a Fook la Fook at the end of the movie's

54:51

suspicion. if you've ever seen suspicion as

54:53

with Carrie Grant and Joan Fontaine, and the

54:55

whole idea is Joan Fontaine is thinking

54:58

she's married this CAD played by

55:00

by Kerry Grant. And little by little, she starts thinking

55:02

that maybe he's trying to kill her. Mhmm. And

55:06

little by little, we're thinking, oh, He's

55:08

trying to fucking kill her. Uh-huh. And

55:11

so it's going on, it's going on, it's going

55:13

on, it's going on, and Well,

55:15

naturally, in the original script. Yes. Of course,

55:17

he was trying to fucking kill her. But then the

55:19

Hayes goes, no. No. We can't do that. You

55:21

can't have Kerry

55:24

Grant actually

55:27

be a killer. Uh-huh. So at the

55:29

end, it has to be explained

55:31

that she was wrong. That

55:34

that no. No. He wasn't

55:36

trying to do it. It just it it looks suspicious,

55:39

but no. It's just She's wrong. She's

55:41

wrong. He he he wasn't trying to kill her at all.

55:43

So that plays out.

55:45

That plays out and, like, it looks like, you know,

55:47

he's taking her to the these the cliffs

55:49

of Dover to throw her off. And

55:51

then she confronts him. You're trying to call me?

55:53

Here we go. Yeah. What are you talking

55:56

about on much one kill you. Yeah. Yeah.

55:58

But you did this? Bam, well,

55:59

here's the reason why I did this, you know. But

56:02

And it's plausible. Yeah. It wasn't. More

56:04

I don't buy it. Yeah. I

56:06

it seems like dick sucking as far as I'm concerned.

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57:48

You know, they're trying to talk themselves out

57:50

of the corner that they painted themselves in. I find

57:52

it completely unconvincing. Mhmm. Alright?

57:55

But she doesn't. And

57:58

the bogey seems to wrap up. and

58:00

then they get in the car and they drive

58:02

home so apparently everything's fine. And

58:04

Hitchcock ends it with this

58:06

shot like, they're driving a roadster, some convertible

58:09

roadster. Hitchcock ends it with this shot

58:11

behind them. And he's driving, and she's

58:13

in the passenger seat, and, like, everything

58:15

seems okay. And

58:16

in this really creepy

58:19

way, Carrie

58:20

Grant puts his arm around, like,

58:22

oh, shit. He's

58:24

gonna kill her. Yeah. He's just talked

58:26

he's just talked his way out of it. Oh, no. Alright. He's

58:28

just talking to me. Once he gets her home, he's gonna

58:30

fucking kill her. No.

58:33

They don't. say that. Right. Right. But

58:35

it's kind of implied by the creepiness

58:38

of the last shot. I'm gonna watch this tonight.

58:40

Oh, yeah. It's it's a good movie. It's really good. Inspicion.

58:42

Inspicion. man. I'd

58:45

love to do that to And he's fantastic.

58:47

And Kerry Grant made a great villain. He

58:49

should have played villains more. He's he's

58:51

a magnificent villain. Yeah.

58:53

He that many did so many films

58:55

together. Yeah. Look, he did like a Yeah. He did a lot

58:57

of them. Yeah. So a

58:59

lot of them made about I know

59:02

you're gonna you're gonna continue writing. Right? You

59:04

like you enjoy writing. Yeah. But you're still

59:06

always enjoying We always enjoy writing, but I'm saying

59:08

you're gonna write more But you're

59:10

still you already did one more film? Yeah. I got one more.

59:12

Yeah. Written yet or No. No. haven't

59:14

even thought about it yet. Really? Yeah. Yeah. Man,

59:16

I just finished the book. I know. I

59:19

know. But that's so exciting that you're

59:21

gonna do one more. Yeah. I think it's yeah. It'd

59:23

be fun. No. Okay. Mhmm.

59:27

So you'll just take your gem,

59:29

like, the the the sorry, the the the the

59:31

little idea,

59:34

seed, and

59:35

just sit down with your pad,

59:37

get to it. How long does a movie take

59:39

to pour out of you normally? No. I don't know.

59:41

Well, I just have to come up one I have to be

59:43

ready to make another movie. Yeah. You know?

59:45

And then I have to have a neat idea. And

59:47

then, you know, and and

59:49

I'm not in any hurry to make my last movie. I'm

59:52

gonna check-in Sure. Sure. So,

59:55

you know, so whenever that idea

59:57

comes up, you know, I'll probably

1:00:00

start running it. Like I said, I'm in no hurry

1:00:02

on in in that regard, especially right

1:00:04

now because I don't even know what I'd be writing it

1:00:06

for. I didn't even, you know, do

1:00:09

movies the way I have always known them.

1:00:11

Do they even exist right now? I think that

1:00:13

remains to be seen. Sure. And so

1:00:15

I I kinda would like to know what

1:00:18

I'm writing it for. What's going

1:00:20

on? What what is the deal? There's this

1:00:22

theme that has happened occurred in

1:00:24

a a few of your last few films

1:00:26

-- Mhmm. -- which is kind of

1:00:28

a fantasy revenge

1:00:31

endings Uh-huh. -- right? Because in glorious

1:00:33

bachelors has it. Uh-huh. Jango has

1:00:35

this, like, revisionist. Provisionist is his versionist.

1:00:37

Sure. Sure. And then once upon a time Yeah. Three

1:00:40

of them have it. Yeah. Yeah. That's a sort of my

1:00:42

that's sort of my Your revenge trilogy?

1:00:44

Oh, no. My revenge trilogy. My my revision is history

1:00:46

trilogy. Okay. Okay. But, like,

1:00:48

do you do you feel like that's something

1:00:51

that you would be drawn to still or Well, since

1:00:53

I don't know what I'm gonna do with you, the next one, I

1:00:55

don't I don't have an answer for that, but I don't think

1:00:57

I would do that for the last 1II think like I

1:00:59

said, I think I had I had no problem

1:01:01

doing it with of the Manson one because

1:01:04

I was just like, well, that's my

1:01:06

that's my revisionist history trilogy. Yeah.

1:01:08

So I think, you know, that's that's that's that. And

1:01:11

then you picked is ten for you, like, a special

1:01:13

like, you know, people some people have these

1:01:15

numbers that they like, you this would be your tenth

1:01:17

film. Yeah. Is it ten for or just you just

1:01:19

feel like one more is all you wanna do.

1:01:22

Well, I think ten is a good number. Okay. So it

1:01:24

is I think ten yeah. Also,

1:01:26

I'm at that point where I think, okay, it's

1:01:28

ready to bow

1:01:33

bow off the stage. Leave him wanting more.

1:01:35

Mhmm. Alright? don't

1:01:37

make any left handed movies. Don't make any movies for

1:01:39

the wrong reason. Don't don't muddy up

1:01:42

muddy up my thermography with a bunch of

1:01:45

out of touch old man movies. Is that hard to do

1:01:47

though? What? Is that hard to do to

1:01:49

to to say that, like, you know what I mean? To go,

1:01:51

like, I mean, I imagine

1:01:54

as a filmmaker, lot of them you go, I'm just

1:01:56

gonna keep making movies forever, you know, like Well, I think

1:01:58

that's what most of them wanna do. Yeah. But

1:02:00

is it hard? What to

1:02:02

make movies forever? To no. To say

1:02:04

to have the perspective of, like,

1:02:07

one more and then it's a great catalog.

1:02:10

and I walk away, is it hard to

1:02:12

leave it? No. I I well, I

1:02:14

don't think so. I mean, because I've

1:02:18

I've

1:02:18

done everything I wanted to do. Okay?

1:02:20

I've done everything I wanted to do. I mean,

1:02:23

I've had just an

1:02:26

amazing career. I've had

1:02:29

amazing amount of luck, amazing good fortune.

1:02:33

And

1:02:34

I had no idea that the audience would

1:02:37

in fact, if I had to guess, I would guess that the audience

1:02:39

wouldn't have accepted my movies, really.

1:02:42

And then ended up not being the case. and

1:02:45

and I've been able to work at

1:02:47

in this business at the highest

1:02:49

level

1:02:51

at the highest level a a director can

1:02:54

can can work. And

1:02:57

I

1:02:57

wanna leave

1:02:59

at that high level. Mhmm.

1:03:01

And, you know, I want I wanna leave

1:03:03

where a new Quentin Tarantino

1:03:05

movie coming out is an event.

1:03:07

Mhmm.

1:03:07

and

1:03:08

the people who like my stuff and who follow

1:03:10

my stuff and even that, like, no. They

1:03:12

wanna see it. They wanna see it opening night. Right.

1:03:15

And I don't wanna just be that oh,

1:03:17

yeah. I remember I remember when I

1:03:19

was so into him. Yeah. I remember when I

1:03:21

was so passionate. I remember when I had that shit on my

1:03:23

wall. Yeah. You know, I remember all that many five

1:03:25

years ago. Yeah. Exactly. You know?

1:03:27

And I mean, you know, not I mean, look,

1:03:29

he's fun and everything. You know, but he's an old

1:03:31

man and he's not the same thing. Yeah.

1:03:34

The And he's out of touch and and

1:03:37

he has no idea who the new filmmakers are. He has no

1:03:39

idea the new movies are at. Now he's just doing

1:03:41

his own thing. Would you continue to produce himself

1:03:43

though? Or I don't like producing.

1:03:45

I'm not AII if I'm if I'm not

1:03:47

making a movie, I don't wanna fucking make a movie. Okay.

1:03:50

Alright. No. Yeah. I wanna, like yeah. I'm

1:03:54

making movies are hard work. If I'm not making it

1:03:56

for me, I'm not interested. So it would

1:03:58

really be back to, like, right Well,

1:04:00

look, I could do TV show or something like that. Oh,

1:04:02

okay. Yeah. I could do a TV show. That that

1:04:04

that would be different. You know, I

1:04:06

could do that. Get ready to

1:04:08

back up a Brink's truck for Quentin. I

1:04:12

mean, these checks are big. These fucking

1:04:14

days, dude. Holy shit.

1:04:16

You just put the failure agents are jerking off

1:04:18

right now in the other room. They were

1:04:20

like, he does. Yeah. Well,

1:04:23

I'll say one thing. Okay. I'll I'll I'll let something out

1:04:25

of the bag right now. I won't

1:04:27

say anything about what it is or whatever,

1:04:29

but I have written a TV

1:04:31

show. I've written eight episodes. Alright.

1:04:34

I've a limited series. I've written all eight

1:04:36

episodes. I direct all eight episodes. I

1:04:38

need to do a polish on it. But, you

1:04:40

know, that might be what I, like, start

1:04:43

setting up next year.

1:04:44

Dude, can

1:04:46

I just can I read, please? Can I just get

1:04:48

a can I read for you? Oh, yeah. Sure. Okay.

1:04:50

Hey, he's It's on camera. Yeah. Yeah. Sure. Sure. Sure.

1:04:52

And you signed a you don't realize what you signed me.

1:04:54

Yeah. Dude,

1:04:58

you have a fucking eight episode limited series.

1:05:00

Yeah. Yeah. That's so exciting. and

1:05:02

it has not you have not sent it. No. No. No.

1:05:04

No. No. I'd like my agents my my agents

1:05:07

read it and, like, a a couple of people

1:05:09

be working online as produced. They're the only ones I've read

1:05:11

This is breaking news. Yeah. It is breaking news.

1:05:13

Holy shit. Guys, put this shit

1:05:15

out right now. Fuck

1:05:18

man. Did it do

1:05:20

you ever like, I know this is, like, a thing that

1:05:22

when people get so successful that

1:05:25

you must be asked. But do you ever stop and

1:05:27

go, like, holy shit like,

1:05:30

your, you know, your name is a reference.

1:05:32

Yeah. You know, if, like, somebody picks

1:05:34

up a camera and goes, I'm gonna go this one.

1:05:36

Okay, Tarantino. Yeah. Yeah. Like,

1:05:39

you're a reference. Yeah. Is it a while

1:05:41

to you? It's awesome. It's it's it's amazing.

1:05:43

Look, I look, It's what I always

1:05:45

wanted. I mean, not that I and

1:05:49

I always thought I would get it.

1:05:51

If if I was able to get work at all --

1:05:53

Mhmm. That was the question. Right.

1:05:58

And that was a question I didn't know the answer

1:05:59

to. But if things were to work out,

1:06:02

I thought I would have

1:06:05

some level of

1:06:06

this success, but to actually have

1:06:08

the level of success I had and be able

1:06:10

to hold onto it. Yeah. For

1:06:14

thirty years where, you know, I came up with a lot of

1:06:16

different people, but they all kind of have

1:06:18

not all of them, but a lot of them

1:06:20

have

1:06:21

kind of fallen by the wayside,

1:06:24

not all of them. Rick Rick Linklater

1:06:26

is still out there working doing good, but

1:06:28

a lot of other people have you

1:06:31

know, I I thought we would all be

1:06:33

working together, you know, into

1:06:35

our old age, but that's just not really

1:06:38

how it works. No.

1:06:40

In in in town. Well, that's the thing that

1:06:42

think the longer that you do anything in

1:06:44

entertainment -- Mhmm. -- the more you

1:06:46

you appreciate more than anything is

1:06:49

the longevity of somebody's

1:06:51

like, when you go, you've been doing this for thirty years.

1:06:53

It's crazy. Yeah. Yeah. Exactly. you know,

1:06:55

at a high level. And to be yeah.

1:06:57

Well and and that's the and that's the key just

1:06:59

as far as I'm concerned, you just said the key right there

1:07:02

is to be able to work at this level.

1:07:04

Yeah. I'm not working at a lower level.

1:07:06

I'm not working at a, you know, if I wanna do

1:07:09

a four million dollar movie, that's my choice.

1:07:12

Right. I'm not reduced. doing four

1:07:14

million dollar movie. Yeah. Yeah. Yeah.

1:07:17

Yeah. By the way, you fucking I I thought about

1:07:19

you. You inspired me to do something. You

1:07:21

were a big part of the inspiration, which was I've

1:07:23

heard you say, you know, just

1:07:25

go out and go out

1:07:27

and based on and yeah.

1:07:30

So me and my friend Rami

1:07:32

Hashash, we got together -- Mhmm. --

1:07:34

and spent my own money. We shot

1:07:36

a proof of concept for a show. Oh, wow. Good

1:07:38

deal. You know? for you. So, like but, like, it I

1:07:42

would hear I I remember you saying this

1:07:44

stuff. Uh-huh. Because, like, you can just do that.

1:07:46

Yeah. You can just do that now. Let's go for it. Yeah. And

1:07:48

now you can do it. You know, before you had to

1:07:50

Okay. We gotta get a cinematographer. We gotta We're

1:07:52

gonna do a camera. We gotta cost me more way more money

1:07:54

than I ever thought I was spending my life. Yeah. Yeah.

1:07:57

But but we still did it. Yeah. Exactly. Yeah. because

1:07:59

they lied to me. Yeah. How much it would

1:08:01

cost. Yeah. Now but then now you're committed.

1:08:03

Yeah. Now you're there. You're committed. Okay. Yeah. But the

1:08:05

fuck. Yeah. It's like building a house. Well,

1:08:08

I could've bought them. Yeah. Yeah. Yeah. It's like

1:08:10

building house. Okay. It's gonna cost more and it's gonna

1:08:12

take way fucking longer than they

1:08:14

ever say. Yeah. Fuck it.

1:08:16

Like the money bit. Yeah. It's exactly

1:08:18

what it is. And then now you get calls about well, now

1:08:20

we gotta get more for this. And I was like, I thought that

1:08:22

was the budget, bro. Yeah. But the budget was

1:08:24

the budget. They're like, nah. Yeah.

1:08:27

Right. Not a second. But thank you

1:08:29

for helping me spend all that time. Yeah. You're welcome. Yeah.

1:08:31

I love you

1:08:33

so much in that. I

1:08:37

think we'll give you give you a hold in your backyard

1:08:39

to throw money into it. Oh, dude. It's

1:08:42

so much fun. Like, people I

1:08:44

mean, It's amazing now with technology

1:08:47

that you really can go shoot something

1:08:49

-- Yeah. -- for not a lot of money. Mhmm.

1:08:51

But if you wanna spend the money, you can. Yeah. Yeah.

1:08:53

Like, if you if you

1:08:56

look in the right places, you can spend the money.

1:08:58

I remember We

1:09:01

were working with a

1:09:02

a car guy. If we had a car,

1:09:04

we wanted to change

1:09:06

something in it -- Yeah. -- that would you

1:09:09

know, and to

1:09:12

make it operate different. I think I think we we

1:09:14

were trying to, like, take a can

1:09:17

we take this car and for the our

1:09:19

purposes in the movie, can we can we take

1:09:21

the it's a stick shift?

1:09:23

Can we make it automatic? And,

1:09:25

you know, is that is that possible? And

1:09:28

then the car guy goes, yeah, we can do

1:09:30

that. We can do that. How

1:09:32

would you do that exactly? Well, you open

1:09:34

up the hood, and then you take a

1:09:36

bunch of money and stuff

1:09:38

inside. Okay. And

1:09:43

then it works. And then it works. And now you got your

1:09:45

automatic. Yeah. That's fucking

1:09:47

cool, man. Thanks. How much? All

1:09:49

the money. That's fantastic. I think lot A

1:09:52

lot of money. All the money is

1:09:54

what it takes. Are

1:09:56

you a fan at all? Because I don't know, but

1:09:58

it's like on set with you. But

1:10:00

do you give people or

1:10:03

do you ever do improv takes with

1:10:05

with your actors? Or is it like What time to

1:10:07

time? Yeah. because I I heard and I don't I I've

1:10:09

not heard the story first hand. Heard the second

1:10:11

hand that Leo losing

1:10:14

his shit from his speech. Yeah. What what happened

1:10:16

there was I I knew I wanted

1:10:18

to have that scene, but

1:10:20

I didn't wanna didn't wanna write it out. I didn't

1:10:22

want it to have to be dialogue he remembered.

1:10:26

So I got Leo and I was like saying,

1:10:28

so look, here's what I wanna do. I want to

1:10:32

I want I want I want you to come

1:10:34

in, have thing fucked

1:10:36

up on set, not knowing

1:10:38

your lines, and I want you to come in the trailer

1:10:40

and have a whole mad

1:10:43

anger at yourself, the the test

1:10:45

fast, a a

1:10:47

complete tender tantrum against yourself. Mhmm.

1:10:50

and AAA hope

1:10:52

to test fest on you and just,

1:10:55

you know, just gigantic pity party where you

1:10:57

just lose your shit. Yeah. But

1:10:59

against yourself, nobody else, just you. And

1:11:01

nobody else sees it, just you.

1:11:03

And I want you to and

1:11:06

I wanted to have the randomness of an impromptu.

1:11:08

It just it just comes out of you.

1:11:11

Now, what I did do though

1:11:13

is I gave him different subjects.

1:11:16

He could rant about -- Mhmm. -- different

1:11:18

things. So, okay, well, here's a subject.

1:11:20

Here's a subject. Here's something you could

1:11:23

say. Here's something else you could say. Here's

1:11:25

something you could say. And so

1:11:27

I gave them some subjects. I gave them some bullet

1:11:30

points. and even a couple of

1:11:32

couple of pieces of lines, alright, that

1:11:34

he could go on. And and

1:11:36

he goes, great. Okay. And he was little he was

1:11:38

nervous. He was even he was, like, you know, kept but

1:11:41

it was actually very cute that he was really he

1:11:44

was nervous that day. Uh-huh. because it's not him.

1:11:46

Then he knows that. And so

1:11:48

we're shooting in this scene and I'm, like, right by the

1:11:50

camera as we're shooting. And

1:11:53

so he's doing it and we just do a few different takes and

1:11:55

it's it was great. And then from time to time,

1:11:58

if I thought he ran out of something, I could throw

1:12:00

-- Yeah. -- something his way. Okay?

1:12:02

talking

1:12:04

about that little girl. Yeah. That fucking little

1:12:06

girl looking at me. Like, dad,

1:12:08

she's judging me. Who the fuck is she to

1:12:10

judge me, man? fuck that little girl,

1:12:13

you know. And then Jim said, yeah, fuck that

1:12:15

fucking Jim Stacy just sitting

1:12:17

there looking at me, laughing

1:12:20

at me, fuck that

1:12:22

dude. That's

1:12:24

fun. It's fun to get the the

1:12:26

to be able to riff with the with

1:12:29

suggestions. Yeah. Exactly. Yeah. So were able to

1:12:31

give two sessions. Do you feel like by the way that

1:12:33

there's I don't know. Wait.

1:12:35

There's less movie start, like, about,

1:12:38

like, name sales tickets now.

1:12:40

No. Well, that's definitely the case. So because there's,

1:12:42

like, five -- Yeah. -- real movie stars.

1:12:44

Yeah. That's yeah. That's definitely the case. You put,

1:12:46

like, three of the You know, all in your movies.

1:12:48

Yeah. Exactly. Yeah. No. That's

1:12:52

no. I mean, that that is one of the and

1:12:54

I'm not even putting them down, frankly, to tell you the

1:12:56

truth, but that is one of the the

1:12:59

legacy of the Marvelization

1:13:03

of Hollywood movies -- Yeah. -- where

1:13:05

it's you love these movies,

1:13:07

these Marvel movies. I don't love them.

1:13:09

No. I don't I don't I don't hate them. Alright?

1:13:11

But I don't love them. Alright. I

1:13:13

mean, look, I used to collect Marvel comics

1:13:16

like crazy when I was

1:13:18

a a kid. And so there's an

1:13:20

aspect that if these movies were coming out when I was

1:13:22

in my twenties, I would totally be fucking

1:13:24

happy. Yeah. And totally love them. I mean, they

1:13:26

wouldn't be the only movies being made. They

1:13:28

would be those movies amongst other movies.

1:13:32

But, you know Yeah. No. I'm

1:13:34

almost sixty. So yeah. No. I'm not quite

1:13:36

as excited about them as Yeah. I tell you

1:13:38

the thing. I mean, for me, I don't have your

1:13:41

level of of knowledge of cinema.

1:13:43

But as a film go or somebody who

1:13:45

likes movies, I mean,

1:13:48

What's exciting about a movie -- Mhmm.

1:13:50

-- is usually some element of

1:13:53

surprise. Right? Uh-huh. And what you

1:13:55

see, what I've seen in a lot these films

1:13:57

is that it

1:13:59

is just a

1:13:59

carbon copy essentially of

1:14:01

the previous release. Like, you

1:14:04

you're never

1:14:05

taken somewhere you don't expect. Well,

1:14:07

in the film. Yeah. Well, look, I'm

1:14:09

not here to wrap up my nose. Yeah. You know,

1:14:12

so it's like, you know, I I don't have it.

1:14:14

My only act grind against

1:14:16

them is they're the only things that seem to

1:14:18

be made. Making. Yeah. And they're the only things

1:14:20

that seem to generate any kind of excitement.

1:14:23

Right. Amongst a fan base or just or

1:14:25

even, like, for the studio making them.

1:14:27

Mhmm. Alright. That's that's what they're excited about.

1:14:29

True. And, you know, so

1:14:31

it's just the fact that

1:14:34

the that

1:14:35

they are the they

1:14:37

are the entire representation. of

1:14:39

this era of movies right now. Right. And

1:14:41

there's not really much room for for anything

1:14:43

else. Yeah. That's my problem. And they do, like, billion

1:14:46

dollar box offices. I mean yeah. But

1:14:48

that is that is literally my problem.

1:14:50

It's a problem of representation. Okay?

1:14:54

But, you know, but but but

1:14:56

go back to your initial question. part

1:14:58

of the mobilization of Hollywood is yeah.

1:15:00

No. It it's the you

1:15:03

have all these actors who have become famous. playing

1:15:07

these characters. But they're

1:15:09

not movie stars. Right. Captain

1:15:11

America is the star.

1:15:13

Right. Thor. is

1:15:17

the star. I mean, I'm not

1:15:19

the first person to say that. I think that's been said a zillion

1:15:21

times, you know, but but it's like, you know, it's the

1:15:23

these these franchise characters that become

1:15:26

come a star. Personally, I mean, this is

1:15:28

my own thing. It's just that I I've gone

1:15:30

to these movies and you just go, like,

1:15:32

Yeah. It's a it's another it's

1:15:36

it's not that different from the previous film.

1:15:38

There's just new there's some new effects. Well,

1:15:40

before, though okay. You know, okay. Here's a better

1:15:42

way say it. It's like, you know, before, you

1:15:45

know,

1:15:45

even two thousand five, two thousand

1:15:48

nine or something like that. if

1:15:49

an actor stars in a

1:15:51

movie that does as good as the

1:15:54

the Marvel movies do.

1:15:56

Well, that that guy's a new star. Sure.

1:15:59

they're

1:15:59

an absolute star.

1:15:59

And that means that people dig

1:16:02

him or her. Yeah. And they like them and they

1:16:04

want to see them and stuff. And then they, you know,

1:16:07

Sandra Bullock is

1:16:08

in speed.

1:16:10

Right? Alright. And everyone, like, thought she

1:16:12

was amazing in it. Alright? She was charming as hell.

1:16:14

Everyone fell in love with her. And so, you know,

1:16:16

even she does a couple of mediocre movies

1:16:18

after that, the Nets and something else.

1:16:20

Okay. Well, people want to see it because they they they

1:16:23

were I see it in my center book. They wanna see her in something

1:16:25

else. she's good in those movies. Yeah. You

1:16:27

know, but that's not the case now. Yeah.

1:16:29

Yeah. It's not the case. No. No. We wanna see that

1:16:31

guy playing whoever?

1:16:34

Well, Marine or whatever. Yeah. Fuck

1:16:36

another one. Was

1:16:38

there anything in the last few

1:16:41

years, movie wise? that

1:16:43

you're like, I've really enjoyed this film. I've

1:16:45

seen a few things, but I didn't really wanna talk about new stuff.

1:16:47

Okay. Alright. Well, just because we're doing this

1:16:49

book. No. Because I just don't like to talk about new

1:16:51

stuff, really? Yeah. Why why the Well,

1:16:54

because I don't wanna say anything bad about it, any badies,

1:16:56

movie because that's me, like, attacking them almost like

1:16:58

an ambush, and I'm not here to cheerly for anybody

1:17:00

else's shit either. I you. have

1:17:06

no idea. Okay. Fuck

1:17:08

your movies. Alright.

1:17:11

We'll do. Quit movies only. Yeah.

1:17:16

Fuck them. You know, but that's one of the thing, though,

1:17:18

is like, you know yeah. Well, yeah. You just

1:17:20

can't talk about bad about anybody else's stuff.

1:17:22

It's unfair. And so everything is about cheerleading.

1:17:24

I'm fucking tired at cheerleading. No. Hey, man.

1:17:26

I there was There were Even

1:17:28

on my podcast. Okay.

1:17:30

We don't we're we're not choosing move

1:17:32

me and Roger on the video archive's podcast.

1:17:35

We're not choosing

1:17:37

movies that we love. We're choosing

1:17:39

often that we I'm trying to put movies some most

1:17:42

of we watch three movies, and

1:17:44

I try to have it least one of them, one movie

1:17:46

I haven't seen. So can watch a movie and

1:17:48

we'll see how I feel about it. And you'll see you'll give an

1:17:50

honest take on those. Oh, wow. Absolutely. but

1:17:52

we're not watching new shit. We're watching stuff on

1:17:54

DHS. Right. So most of those

1:17:56

guys are -- Yeah. -- not working. Yeah.

1:17:58

Who cares? Yeah. Okay.

1:17:59

It's like you know,

1:18:01

that's like this. Alright? You know? It's like, you

1:18:03

know, these movies are all over forty years

1:18:05

old. Alright. You know, I can say whatever the fuck I wanted

1:18:07

for sure. Directors are big boys. Now

1:18:10

there's reminded me of so George

1:18:12

Carlin -- Mhmm. -- he would he would bring

1:18:14

this

1:18:16

ray ah, man, this regular or whatever.

1:18:18

He's been dead a while. he would bring

1:18:20

this regular opener and

1:18:22

people were like, they

1:18:23

didn't they were like, that guy's not that great. And he

1:18:25

was like, yeah, it's not his fucking show. Yeah.

1:18:28

I don't care what you think I am.

1:18:31

I thought that was great. I mean, most guys

1:18:33

are like, oh, you know, I brought this guy. I want you

1:18:35

to and he was I don't that guy's

1:18:37

just filling time. Yeah. Right. You're here to

1:18:40

see me. Yeah. Right. Oh,

1:18:42

that's funny. Oh, yeah. So he would he's not

1:18:44

actually going out in hand picking, you

1:18:46

know, the best dude, alright, from the club

1:18:49

that he saw in Cleveland. No. No. No. No. No. No. No. No. No. No.

1:18:51

No. No. No. No. No. No. No. he'll

1:18:53

be up there. Go ahead and get a drink

1:18:55

when he's done the real show start.

1:18:58

Yeah. Okay. So he's not he wasn't advocating

1:19:01

for some -- Yeah. -- oh, you need to check this guy out.

1:19:03

He's so funny. He was like, fuck. Well, I remember the

1:19:05

the the president would talk about that. is

1:19:07

where he'd watch he could go see

1:19:11

Don Rickels. Because with Don Rickels,

1:19:13

would would do his show he would

1:19:15

never have a comedian open

1:19:17

his show. He would always have, like, some singer that

1:19:19

you've never heard of. Some woman usually

1:19:22

go out and sing a bunch of songs. And then

1:19:24

he come out and ragged on her. Right. You know, about

1:19:26

me, you expect on Rickles to rack

1:19:28

on you. Alright. You could Okay. And if she came

1:19:30

out there, apparently, she thought she was doing a live

1:19:32

album. Rickles

1:19:36

Rickles would, you know, he would he would

1:19:38

lay into everybody. Yeah. Yeah. And so

1:19:40

you get me some of No. You laid into me a couple

1:19:42

times. Oh, did it? Yeah. Yeah. Yeah. good ones?

1:19:44

Oh, they're hysterical. Yeah. He was so

1:19:46

fucking funny. Yeah. And he was he was

1:19:49

with the the Dodgers one time and

1:19:51

it's fucking Dominican

1:19:53

baseball player. He comes up. He's like, how's it

1:19:56

going? How's the language treating you? Your

1:19:58

wife's still cleaning hotel rooms? Yeah. And he,

1:19:59

like, sends her on it. We'll send him on his way.

1:20:02

but I had I know somebody who

1:20:05

went

1:20:06

to

1:20:07

see him live Uh-huh. -- and they were

1:20:09

so excited and they wanted to get

1:20:11

-- Yeah. -- lit up. Right. Yeah. So

1:20:13

they put on, like, goofy glass Oh,

1:20:15

yeah. So he was pointing it in the eye and they and,

1:20:17

like, you know, buttoned up all the way.

1:20:20

Mhmm. And they kinda looked like,

1:20:22

you know, almost like special knees.

1:20:24

Yeah. Yeah. And they were like, ah, and he

1:20:26

came by and put his hand

1:20:29

on them -- Uh-huh. -- and said it's gonna be alright.

1:20:31

They get They went too far. I don't know if if

1:20:33

they went too far. So he's hired

1:20:35

hired, like, the Bill Burr. Alright. Miss Vegas,

1:20:37

I think a little bit about, like, hey. He wins Don

1:20:39

Recalls and he's, like, excited. And, like, I he kinda

1:20:42

wants to get a little bit Don't it?

1:20:45

Yeah. I know my name. I

1:20:48

was like, yes. I got one.

1:20:51

It would be so amazing. amazing to get. I mean, you

1:20:53

got it. You got lit up by him -- Yeah. -- in person?

1:20:56

Yeah. Uh-huh. At a show or no? No. No.

1:20:58

No. No. No. I just had a party. It's at an Oscar

1:21:00

thing. and it was during this

1:21:02

during the time where I

1:21:04

was having a bit of a I was doing

1:21:07

more acting and everything. and

1:21:09

that he was like, seg

1:21:13

he goes, yeah, this take comes out of the director

1:21:15

now. He's like, oh, no. No. I don't do that or

1:21:17

no. No. No. No. I'm gonna

1:21:19

start movies. Oh. But

1:21:22

not only that, the best one, though, was,

1:21:28

Talk about embarrassing. Literally,

1:21:30

one to hide under the carpet. I

1:21:33

wasn't speaking of acting, I

1:21:35

was, like, in Vegas.

1:21:37

I was acting in a movie in Vegas, and it

1:21:39

just turned out that during

1:21:41

that time Scorsese

1:21:43

was doing casino.

1:21:46

in Vegas at the time. And I think Paul Verhoven

1:21:49

was doing showgirls in Vegas that

1:21:51

they're both simultaneously taking

1:21:54

over Vegas during these movies. And so I had

1:21:56

a day off, and I'd never really met Martin's

1:21:58

Chris Eazy before. And so I got

1:21:59

an invite to

1:22:01

go visit the set -- Mhmm. --

1:22:03

of casino. So I'm gonna meet Scorsese.

1:22:05

I've I've met Daenero before, but I've never met Scorsese.

1:22:08

And now I'm gonna actually go on Scorsese sat

1:22:10

and and he knows I'm coming So

1:22:12

the whole idea is I'm gonna come for like

1:22:14

an hour before lunch or maybe

1:22:17

two hours before lunch and just kinda watch

1:22:19

him shoot and all that, and then we would have

1:22:21

lunch together. That's super excited. That's just fucking

1:22:23

good. Me. That's great. And

1:22:25

so so they're shooting at some

1:22:28

show girl area. A bunch of

1:22:30

show girls in Daenerys. And

1:22:32

so,

1:22:34

Don Rickles is in that movie, and

1:22:36

he was on set.

1:22:38

that day.

1:22:39

So

1:22:40

I'm walking okay. And I'm like,

1:22:42

I've just done pulp fiction. I've only done

1:22:45

two movies. I've meeting one of

1:22:47

my heroes for the very first

1:22:49

time I'm walking on ski season. I'm gonna have lunch

1:22:51

with them later. This is yeah.

1:22:53

This is my yeah. This is like right

1:22:56

up there with, you know, the gates of Oz --

1:22:58

Yeah. -- opening up and I'm gonna meet the wizard.

1:23:01

Yeah. So I'm walking to meet the wizard.

1:23:03

I'm walking on the set They

1:23:05

kinda see me.

1:23:07

And then Don Rickles goes,

1:23:09

Quentin,

1:23:11

thank god you're here. this

1:23:14

guy doesn't know what he's doing at all.

1:23:16

Thank god, a real director,

1:23:18

has finally showed up this cat

1:23:21

is out of it. Please say

1:23:23

this is a disaster. It's

1:23:25

a disaster. Please

1:23:27

save us from this wreckage. You

1:23:30

are a talented man. We

1:23:32

need your talent. Oh my god.

1:23:34

Okay. Now, Marty's laughing The

1:23:37

crew is laughing. Didiero's

1:23:39

laughing. I wanna hide under

1:23:42

the carpet. Yeah. Of course. It's so

1:23:44

funny. cold

1:23:47

sweat. It's so funny, though,

1:23:49

dude. That is so he fucking

1:23:51

I've told this before. So when I had I worked

1:23:53

with Norm McDonald.

1:23:57

And I'll ask him about the Rickles scene

1:23:59

in dirty work. Uh-huh. And he's

1:24:01

like, we couldn't even get We really had them for, like,

1:24:03

a few hours. Yeah. And they couldn't get

1:24:06

through the scene

1:24:08

because Rickles was

1:24:10

just making them laugh. And they're supposed

1:24:12

to stay straight. Yeah. Yeah. He's just like Uh-huh.

1:24:15

He's just busting him. firing him.

1:24:17

And, like, we got the end of the window that we have

1:24:19

them. We still don't have it. Yeah. Literally, people

1:24:21

keep doubling over. And they finally get it

1:24:24

and then they It's like two weeks later

1:24:26

he's coming back for another piece of

1:24:28

shooting. And it's it's

1:24:30

the week that Sonatra is

1:24:33

dying in the hospital. Okay. Uh-huh. So

1:24:37

Norm's like, you know, it's in

1:24:39

the news. So he's like, hey, I

1:24:41

just wanna say, like, I'm sorry about

1:24:44

Frank. Yeah. And he's Don

1:24:46

he said that Don goes, oh, yeah. Yeah.

1:24:48

I was with him yesterday in the hospital, you know,

1:24:50

and he was all But

1:24:53

he was like, oh god. So

1:24:56

even then, he's still ripping

1:24:58

on his dying breath, you know. It's

1:25:01

just you know, that great

1:25:04

that great Pat Henry joke

1:25:07

about Franklin

1:25:09

Notre. He goes, yeah, Frank's not to

1:25:11

save my life once.

1:25:14

These two mafia goons were beating the

1:25:16

fuck out of me in an alley. and the son

1:25:18

actually goes, okay, okay, boys. She's had enough.

1:25:22

So that's good too. Did

1:25:26

you III didn't get asked you

1:25:28

mentioned him. Was

1:25:30

it a I'm assuming a

1:25:32

dream to book or

1:25:35

to get De Niro for Jackie Brown?

1:25:37

No. It was wonderful. Yeah. No. It was a big

1:25:39

deal. That was also kind of a funny

1:25:41

story too as far as it

1:25:44

kinda matches almost the Bruce Willis story,

1:25:46

where I i'm

1:25:53

I

1:25:53

wrote

1:25:54

Jackie Brown and I

1:25:56

decided at some point in writing the

1:25:58

script that

1:25:59

Robert

1:25:59

Forrester would be terrific

1:26:02

as Matt Cherry. Don't forget I have Robert Forrester

1:26:04

story. Okay. Good. And

1:26:07

so So

1:26:07

while I'm still writing the the script,

1:26:09

I bumping the rubber reinforcement. We we went

1:26:12

to a same we went to coffee shop. That

1:26:13

was similar, that we went to a bunch.

1:26:16

the silver Yeah. Silver Springs. Yeah. Yeah. That's

1:26:18

right. That's where my story takes place. And so

1:26:22

so I decided

1:26:22

I'm gonna give them the part. because

1:26:25

I figure Look,

1:26:26

if I don't give This is being a big big deal

1:26:29

part. So if I don't give him the

1:26:31

part, then once I'm

1:26:33

done with it and and it gets out in the town,

1:26:36

then it's gonna be like Gene Hackman's

1:26:38

and Paul Newman's and and people like that.

1:26:40

They're will be pretty hard to say no to.

1:26:42

Right. But if I just give them

1:26:44

the part right now, I've got the

1:26:46

juice to get it through and now I can't take it back

1:26:48

because I will, you know,

1:26:50

not wouldn't be a man of my work. Yeah. So

1:26:54

so to lock myself into that decision,

1:26:56

I give it to him before I finish. writing it.

1:26:59

And so then now comes time to

1:27:01

do it.

1:27:02

And so

1:27:05

Robert

1:27:05

DeNiro reads it.

1:27:07

and he wants to and he wants

1:27:09

to be in it, but he wants to play Max. Mhmm.

1:27:12

And And

1:27:15

they go, well, you know, I've lucky

1:27:18

would be a fantastic max, but I wanna I've

1:27:20

already given that to Robert Forster, and I'm

1:27:23

man of my word, I I can't take it back. Now,

1:27:25

Daniro is very much a man of his words. So He understands

1:27:28

that. Mhmm.

1:27:28

He gets that. And

1:27:30

he's just like,

1:27:33

Yeah. Yeah. That's just

1:27:35

I'm just it's

1:27:37

just disappointing. It's

1:27:40

regretful. I

1:27:42

go, what? Well,

1:27:42

just because, you

1:27:45

know, what you were thinking about him

1:27:46

So you wrote it for him,

1:27:48

but if we had had more dinners and

1:27:51

hung hung out a little bit more than you had been

1:27:53

thinking about me, and you would have written it

1:27:55

for me. And I understand what happened, but

1:27:57

that could have been that could have been changed if

1:28:00

we had spent more time. with each other

1:28:02

before this.

1:28:04

and

1:28:06

though And so

1:28:08

he kinda kissed me the same brisewell

1:28:11

as thing. Well, think about it. Yeah.

1:28:13

Just think

1:28:14

about it for couple of days. Alright?

1:28:16

And then, you know,

1:28:18

kind of a going going gone situation. Think about

1:28:20

it for a couple of days and then let's talk again.

1:28:24

Like, you know, maybe maybe

1:28:27

Bob could play Lewis.

1:28:30

the other guy. Mhmm. And

1:28:32

so then I actually have Bob Reed Lewis,

1:28:36

alright, with me, and then Reed Max.

1:28:39

And

1:28:39

if that could work,

1:28:41

maybe that could work. But

1:28:44

it wasn't. No. Everything that made

1:28:46

him perfect for Max made him wrong.

1:28:48

for

1:28:48

Lewis. And so

1:28:52

I get on the phone with De Niro. Well,

1:28:54

I love this in person actually with De Niro.

1:28:56

and I go, yeah, you know,

1:28:58

I try III we we I explored

1:29:01

that, but, no, everything about him

1:29:03

that makes him perfect for Max makes him wrong

1:29:05

to play this

1:29:06

X combat guy. And he goes,

1:29:08

yeah, yeah, I get that. I get that. I

1:29:10

get that. Okay.

1:29:13

So tell me about this Lewis character. I

1:29:16

go, you

1:29:18

you

1:29:18

would consider playing Lewis? Yeah. It's a

1:29:20

good character. It's a good movie. I wanna be part

1:29:23

of it. It's a it's a good character. I wanted the other character.

1:29:25

But, yeah, yeah, this is a good character. I'd be happy to play

1:29:27

it. go. Well, didn't

1:29:28

let me know that before. Well, I didn't

1:29:30

wanna let you off the hook. I just wanted

1:29:32

Lewis. I wanted you you were on the hook. I

1:29:34

wanted you on the hook. Yeah. But

1:29:36

now if that ship has sailed, then let's talk

1:29:38

about Lewis. Well, and then it and then that

1:29:40

worked out. Yeah. That deal. I

1:29:43

I recognized Robert Forrester, and

1:29:45

it was a cool thing to recognize him

1:29:47

because it made me feel like I was recognizing

1:29:50

somebody kind of under the radar. Yeah.

1:29:52

Do you know what I mean? Like, it's one thing when you're in LA

1:29:55

where you see fucking Matt Damon

1:29:57

or something. You're like, what do you guys, Matt? No. It's like it's

1:29:59

Robert Forestry he don't strap. You own that

1:30:02

guy. So I'm going to that diner

1:30:04

and I see him there and I,

1:30:06

you know, he was he was always there.

1:30:09

Every time I was there every every day. Yeah.

1:30:11

If he wasn't on location, he was there. I would

1:30:13

see him reading a paper -- Yeah. Yeah. -- and I usually ask

1:30:15

Robert Forrester. And then one day,

1:30:17

I'm driving by

1:30:19

there, and he's stalled --

1:30:21

Uh-huh. -- in the street. Oh, holy shit. And it's

1:30:23

Super Bowl Sunday. Uh-huh. And

1:30:26

so I record I

1:30:28

I start to go by and I go, do you

1:30:30

need a jump? And he's like, yes. Mhmm.

1:30:32

And so I get out and he's very

1:30:35

nice and very thankful. Yeah. And I

1:30:37

as I'm he's like, so what do you do? You young man,

1:30:39

you know? And I go, I'm a comedian. Yeah.

1:30:41

Or if the company Yeah. I'm a man. No. I'm a comic.

1:30:43

And he's like, Are

1:30:45

you on HBO when I go? No.

1:30:47

Mm-mm.

1:30:47

I'm fucking twenty two, man. Yeah.

1:30:50

He was like Someday. Yeah. Hope someday.

1:30:53

Right? He's like, where can I see,

1:30:55

like, your stuff? And I was like, I mean,

1:30:57

I'm up there and at the at the club.

1:31:00

Potluck Thursday. I have

1:31:02

breaker shows where you I could pay

1:31:04

somebody for you to let let they'll let

1:31:06

me do stand up if I pay them. Yeah. Yeah. And

1:31:08

he's like, oh, okay. He's like, So and then he brought

1:31:10

up HBO a second. I was like, so not HBO.

1:31:13

No, man. Not fucking HBO. And

1:31:16

then I had jumped his car and that was it. No.

1:31:18

That

1:31:19

was it. No.

1:31:20

I know you gotta run, but it's

1:31:23

a real treat. Thank you for -- Oh, my pleasure. --

1:31:25

for coming, and congrats on the book. Well,

1:31:27

thank you. You said you've been ready to get for a little

1:31:29

bit. Alright. Where where are you up to now?

1:31:32

I don't know. You are talking about

1:31:34

going to you've Oh, there's a chapter.

1:31:36

Yeah. I didn't read it. I told you that.

1:31:39

I know. Boy, you were still listening. I was listening to

1:31:41

David. So you've listened to the open

1:31:44

half of the opening shifter. III

1:31:47

got it. And where where where in the

1:31:50

opening chapter, did you did

1:31:52

you arrive at did you When

1:31:55

you listen to it today for the first

1:31:57

time -- As you grow from your house --

1:31:59

No. -- to the to the studio today --

1:32:02

Not today. -- when you pulled up two days. I swear

1:32:04

to god I swear to god not today. And I'll tell

1:32:06

you where I am. You're at the movies. Okay. That's where you're

1:32:08

at in this one. You're somewhere at the movies. narrows

1:32:10

it down. Well, somewhere.

1:32:14

Oh, when I'm watching the Jim Brown movie? Yeah.

1:32:17

Sorry. Yeah. Yeah.

1:32:19

That's it. The Jim Brown movie.

1:32:21

Yeah. think it's about an idea. That's the ticket.

1:32:23

That's the seventy, something like that.

1:32:25

You're literally describing the first three pages.

1:32:30

Look man, I only go by audio. don't know

1:32:32

what pages mean. You are literally

1:32:34

describing the first three fucking pages. doesn't

1:32:37

take away from the fact that I'm a genuine fan.

1:32:39

Okay. No. No. It doesn't. And

1:32:42

I I asked good questions.

1:32:44

Yes, you did. Yes, you did. We did. Yes. You did.

1:32:47

Doesn't mean that I'm not going to fucking

1:32:49

read this. Could've

1:32:51

been a little bit more in-depth on the manuscript

1:32:53

that I'm here to talk about. But nevertheless, never less.

1:33:02

and roasted by Quinn at the end of this

1:33:04

thing. Alright.

1:33:08

I will read I

1:33:10

know I know in a film. I wrote a book too this year.

1:33:13

Can I give you copy of it? Yes, you may. Will

1:33:15

you pretend to read it? Will pretend to be.

1:33:19

as far as you know. There

1:33:22

you go. There you go.

1:33:24

Thank you, Mark. Six weeks New

1:33:26

York Times bestseller list, Let's hope this

1:33:28

makes it go back on. Okay.

1:33:32

Also, lastly,

1:33:36

a lot has been made. memes,

1:33:39

comments, you've leaned into it, you've

1:33:41

leaned out. I don't know. A lot of people have talked

1:33:43

about it. I have no idea what you're gonna

1:33:45

say. Oh, I'm gonna tell you. A lot

1:33:47

has been made of in

1:33:49

films,

1:33:51

the representation

1:33:53

of beautiful women's

1:33:55

feet action. And

1:33:56

hold on. I wanna say something. Mhmm.

1:33:59

Thank you. Okay. I

1:34:02

don't know if anyone's ever said it, but I'll say it.

1:34:05

Thank

1:34:05

you. You're welcome.

1:34:08

Tom. Tom.

1:34:11

One goes out to smile the other. Where's the

1:34:14

shirt? Tom tells stories and

1:34:16

birds sound machine. There's not

1:34:18

a chance inhaled the day. keep it clean.

1:34:20

Here's what we call. So There's

1:34:22

no cane.

1:34:25

No scripts have been a booze, amateur, pathology,

1:34:28

dirty jokes, Rochke, but no apologies.

1:34:31

here's what the call. Two bears

1:34:34

one cave.