Quentin Tarantino 2-Hour Exclusive Interview

hello blenders and welcome welcome to episode number 97 of real blend the podcast that brings Quentin Tarantino back to the real blend family this is something really really special that we were working on pretty much from the first time Quinton was on the show and the story behind it is is relatively obscure the full Quentin Tarantino interview if you guys want to stick around and listen to for geeks talk about how they landed one of the biggest interviews of their entire career but I don't want to delay the inevitable I don't wanted to lay what everybody is here for this is the extended director's cut reel blend interview with Quentin Tarantino guys we're here with a friend of the show Quentin Tarantino I feel like I can say that now we were able to have Quentin on the show earlier to talk about his film Once Upon a Time in Hollywood and you said something to us at the end of it which is very very sweet a very industry thing to do we should do this again sometime and you hear that a lot but the fact that you are here right now actually doing it again and being our first recurring guest oh great we want to say thank you very much for that so we're very excited to dive back into your film as going through the the process right now and then several other topics I'm gonna get to and Kevin is going to start us off by the way we're drinking caffeine he goes margaritas again we Cheers on the actual [Laughter] Misha is gonna edit that for us tradition now no but honestly there's been so many scenes in this film that I would love to nerd out with you about but one in particular is Richardson's reset of the shot around Timothy my favorite shot in the whole film is when they're doing Lancer and DiCaprio flubs his lines but the shot comes around Timothy Richardson brings us around and the beauty of this moment is we don't know we're watching a fully edited scene yeah you actually don't see the production we don't see the microphones we don't see the camera person we don't see the director but in the sequence when you reset the shot we reset it mid scene can you talk about the decision of that and that shot being executed cuz it's one of my favorite shots in the whole film what was the decision there well I think the decision was how I was going to do the use the artifice of shooting Lancer on the on the in the film and I think in the script like there was another Lancer scene that it's on the the blu-ray but it's not on not in the movie that we see the two brothers meet each other for the first time Luke Perry's character and Timothy all with Hans character and and so I think in the script the way I did it is the first three quarters of the scene it's just like like well you know what the hell is this Western doing here all right you know so you're just kind of watching this western scene and then in the last last quarter of it we kind of hop on the other side of the camera and so so we're so the characters are in the foreground but then the crew is in the background and so that was how I thought I was going to do it and then I actually just thought no no let's do it that way let's just let's let's let's do it as a cut piece completely scored and everything scored everything and then when you yell cut whatever shot that is or any kind of intrusion that happens from off screen whatever shot that is that's the shot where we break where we're we break the illusion but up until that moment it's all like the finished piece is in those moments mentally you're like I'm gonna see a camera you I'm gonna see a boom or something that's a dead take Charlie reset indicates yeah yes exactly and part of my whole thing was you know I was trying to get as much Lancer in there as possible because that's like the closest thing to my third Western I could sneak it through the back door and kind of get the oh yeah get a whole episode of Lancer in there or no one's looking you know I'm not gonna [ __ ] that and and I actually really had more of that idea that it was like then Leo came up with the idea that maybe he should screw up and so he yeah because I wish it wasn't in the script that he screwed up screws up and so he had this idea that he should screw up and then when he has to do the singing later now he's coming back from something well okay so he comes up with that idea like I knew it was a great idea when he said it but he's [ __ ] up my Lancer saying why don't you just concentrate on playing Kaleb but I knew it was a damn good idea okay so then I kind of played the game okay we'll do it well you don't [ __ ] up and then we'll do when you [ __ ] up and we'll see what happens all right so you say that - just to pleat like to say to him well no I knew it was a good idea alright so there you know and so okay well I'll do it both ways I want to have my phone on Lancer scene and I wanna and I don't want to explore this good idea now the minute he did the take that you see in the movie okay well this is obviously what we're doing right all right that take was just so fantastic but also when the directors saying like I don't know keep going keep going oh yeah yeah yeah no he knows he knows at this point he's gonna mess up and so rather than having a director come flying in on a crane or a director talking from off camera it's Rick who breaks the take with his write a line and then you hear the derailleur the script girl give him the line and and then and then even the idea that when he has his Tincher tantrum the cameras not following him you know he comes out and he steps out of the shot and like whirls around like a like a buzzing bee alright then eventually he has to sit back down into the frame and and and deal with it all so once we had that that was really great and then like oh well now we can okay and we're still not seeing the crew because they're just still an off-camera southern off-camera perspective so then I go well now now what we have to do is now we have to actually read we've actually just seen this big move and then the big move works around Oliphant and lands and then he steps into his position and then [ __ ] up the line alright so now we got a reset alright and so then the whole idea about having seen this move this kind of invisible because you're kind of trapped in the whole moment of the movie now we see how yo we actually put a squeak alright you know on the track so I like you know cuz it's not meant to go that way ahead so I was like okay and now go and so yeah so that that's where all that came from I was very very happy but I was I really like that that that idea of of uh showing the the media that Rick is shooting as as a finished product until something happens alright and almost remind you oh that's right I'm watching a movie man yeah that's shot alright is is what they're doing at that given time I mean one of the things about it is I think that like um you're watching the film and I couldn't been happy about the way this works but believe me if I could have had more Lancer than I would have but uh but as it is when you see Johnny right in the town I think there is this thing for a lot of bodies what the [ __ ] is this [ __ ] you know and then you're sitting there and you're watching it and then even the whole thing when he has to show down with business Bob alright I think that's a really cool scene but I think people like what the [ __ ] is this [ __ ] and then you know and then when Leo comes out as Kayla but you kind of have a sense of it and they all say what they're going further with it or is the way he walks in the saloon and that kind of all starts playing out then they have their kind of scene at the bar then when they go and they sit down at the table now you're kind of acclimated to the scene alright you kind of stop asking what is this [ __ ] you're kind of you kind of caught up with it now and I yeah and one of the things is the directors you can actually kind of notice when the audience is listening when they're not when they're slightly checking out feel that in the script or then watching it in the theater okay watching it with with an audience you can feel the audience when they're connected when they're not when they're listening and yeah I all of a sudden started really feeling once they sat down and he's like so what are you doing around here and Johnny Lancer starts telling his story like oh [ __ ] the audience's they're listening now they have now they're now acclimated to the scene they want to hear what Johnny's answer is rick is Caleb now officially and so it literally is just as they start paying attention to what is being said and the drama of the scene that's when Rick blows that reset shot I could watch that on a loop for three hours on the way back and then we were in the Oberer and the way Patrick sends a genius so we had Richard says my idea Oscar Richardson the third might [ __ ] shock we had Richardson on the show and I laid out that whole setup for him as a question and I also wanted to get his thoughts as to why I went into it and his respite um II which you'll probably totally understand in love he said what does that seem mean to you what does this mean to you that was Quinton's idea not mine something we couldn't talk about before which we can now is the ending and it's specifically the alternate history version of things I'm curious whatever you Dobby you've done it before with with Basterds how far beyond that moment because it's a fun sort of what-if how far beyond that moment do you start questioning well what would have happened to Hollywood if things had worked out that way and I'm wondering specifically in the world of Roman Polanski the ripple effect at that moment would have had on all of their lives had that been the case wow that will it would igano here it would have been intense I mean how I can't even begin to venture how culturally it would have changed because I mean ever since my movie came out everyone was quoting the Joan Didion line you know like like crazy but there was an aspect from everybody I know that you know the there was this a Topanga Canyon entertainment class hippie ethos that really did exist where you the doors were open come on in but you know if you're out drinking and having a good time and you want to get together somewhere oh you know you could go and you could just go to so-and-so's house off of Beachwood and go into their guesthouse and continuum apart and you don't even you need to get their permission and you just could kind of do that alright people could literally exist on you know couches and and couchsurfing and and crash pads and stuff and like you know all that just went away so I can't even begin to venture a guess of how the like I said the you know the the the entertainment class hippie ethos how that if that if that didn't just get blown away by a bad wind what that would do but I can venture that like one romp Lansky would probably have done a day the dolphin that's what he was working on at the time that's why he wasn't even in town he was in London work and working on his scrip stuff for day of the dolphin so I think you've so that would have happened and you know and be a but you would really be interesting to see where where Sharon went with with her career now Warren Beatty told me that Sharon was was legitimately considered for Bonnie and Bonnie and Clyde yeah really yeah he told me that he said that it was like no she was a she was a genuine and she was one of them are the three people that we we absolutely considered oh my god yeah you know and and so the thing is like she she played fairly for flivver neither flivver Liveris is that the worst river yeah you're worth rolls or even when they weren't the movie was frivolous Valley of the dolls but the people who uh but the people around her who were part of her circle alright really liked really had a lot of faith in her like I said Warren Beatty was part of the circle he considered her for Bonnie and Roman would have cast her as rosemary oh if he could have alright he said you know he said that uh I can't imagine anybody but me a Pharaoh playing the role alright but um but he said that you know uh he actually would have loved to have cast Sharon as rosemary but he kept waiting for the Paramount producers to bring it up and when they didn't bring it up he thought it would be an unprofessional of him to bring it up but if they had of he would have gone right down that road well you bring up characters that that could be viewed as frivolous there are none in this film everybody who has even a scene yeah it's important to them and one that people have really attached to is Julia butters yes you know him for right right right Felice oh there's so many great reasons it's it's almost like it's a little oasis for Rick you know in the middle of this this storm but there's a the line that she gives that you used to end one of your trailers yeah that was the best acting I've ever seen you know in my entire life leans over and whispers it to him if you were able to lean over and whisper that to one of your actors at any given point on a set from a film that you've done before there were just in that moment where they so captured you you said that's the best acting I have ever seen in my entire life but would you say that - well gosh look I wouldn't be able to break it down between oh well this one would be number two and this one would be number one or that one would be number three you know what I'm gonna do is I'm just gonna go with the first thing that came to my mind okay when you told that's right so that's not saying this is the best but it's the first one that came to my mind sure when I had a like I kind of had a moment like that and even the qualify that just a little bit because it's like like I'm probably always gonna feel that way when I've written a really good piece of dialogue or a really good monologue or something and then somebody comes and delivers it to a fare-thee-well so I'm probably always feeling that when Sam Jackson does one of my monologues in the right way or Christoph Waltz does one of my model wants in the right way but the moment that I had that kind of feeling was during a take on Django Unchained and it was with Leo and it was during a take on Django Unchained at the dinner-table scene and was it no it wasn't the glass all right even though that was impressive in its own right its he was talking about his father I think it was the speech where he talks about his father and the the slave they used to shave him all the time yeah yeah yeah and and so anyway I had a very weird relationship with the the character he played Calvin Candie because all my villains every single villain that I've ever created I always kind of had sympathy for them I always liked them to some degree or another and you know even Hans Landa I I could see his point of view and I liked the guy all right it was bad but I got it her stuff makes him like and he does make him likable comical you're leaving yeah yeah and and that's even that whole kind of thing in the stories where it's like you don't want Londa to triumph at the end but you kinda want lunda to figure out what the bastards are doing because if he does one that'll that'll build up to how impressive that I've made the character but also it'll be a much more exciting movie if he figures out what's going on and how the [ __ ] are they gonna get her out of this right right all right you know it's we're are watching a movie um but Calvin Candie was different from the rest of him I kind of detest it the character I really really hated him and it was weird to like write a character that I hated and and kind of feel that way about character and so anyway so leah was and because of that I actually thought he was a substandard character I actually and when leah was really into it I thought I was kind of Buffalo in him a little bit I thought this character is not as good as he thinks it is I'm not going to set him straight I'm thinking he ain't all that but do you it was Django's movie to you to you it was Django's no it was just a fact that I B to me to me he was without ambiguity and so that made him a lesser caricature but we did a really good job of filling in everything and and Leo brought ambiguity to the piece and where I had that moment and I actually said it out loud on the in front of the whole crew where it was like it was one of just one of one of the many takes that leo did of talking about his father talking about growing up the plantation and all of a sudden I saw Calvin in a different way than I ever had before Leo was able to bring me inside of his world and to see him see him as a person in a way that I had never really looked at him before I just been able to see the gargoyle and and then when the take was over and I said in front of the whole crew ago Leo man that was [ __ ] amazing you've made me understand Calvin in a way that I have never understood him before you made me ask a question can you blame a Borgia for being a Borgia now actually yeah you can blame a Borgia for being a Borgia but now you can understand abortion as a little bit more and it's not so easy to throw off everything you've ever known and everything you've ever been taught alright people do it and people did it even back then alright but it's not the easiest thing in the world and frankly did this kid ever have a chance that's amazing you know and that was not a perspective that I had going into the project did you go up to Leo and tell him the whole cruise when you did it on Hollywood and Julia says it to DiCaprio did DiCaprio remember that moment from Django I don't think so I think he was I mean he liked that moment in everything but it wasn't a tearful moment he was just happy that I was so happy and that I applauded him in front of the entire class a Leonardo da [ __ ] I always appreciated your films as I grew up with them I had Pulp Fiction Reservoir Dogs posters in my room I think my favorite line ever is mr. white you would shoot me in a dream you better wake up and apologize which is a Muhammad Ali Ref yes it is absolutely which is I always found that you have been a big proponent of the cinematic experience the theater experience and with hateful eight bringing back these 70 millimeter projectors I wouldn't sell hateful eight in the road shows one of the greatest experiences I ever had in a movie theater I saw this twice in 35 once and 70 there's something about film that I don't know that I could ever explain in words why it feels so magical but it does we had Roger Deakins in the show recently who's been actively shooting very digitally for a long time can we pause in your name drop just first and we're talking about digital versus film sicarios Skyfall even now 1970 Mendez's film all shot digitally when I spoke to you at Django we talked about the idea of digital versus film and you said something along the lines of like if you shoot digitally you go to the theater it's like watching TV at home something along those long have to take you out of context um where do you feel the technology has gotten to a point now where you can make it look like film and when you talk to someone like a Roger Deakins who is very adamant about digital being able to look like film have done correctly what are your thoughts on that because for me I'm a film guy I know you're a film guy Richardson shoots on film obviously so what are your thoughts on someone like a Deakins who's one of the greatest Scimitar rivers ever saying that digital can achieve that look and do you think we've gotten to a point where we can hey just want to spend the time lighting it's that [ __ ] simple is that really it yeah of course it is that's it that's that's what it is he doesn't want to spend the time lighting alright what you see is what you get all right he looks at the monitor there's there's no five prossies that he's gonna have to go to all right he's not gonna work through four through a degrading process that what's actually playing at the theaters that that he has to know that oh I gotta get this so four steps down the line when they see it in a movie at a movie theater it's gonna look like the fact all right he looks at it in the monitor on the day that's it what you see is what you get all right and then you know yeah of course he can shoot a night scenes in the choreo yeah it's a choreo or World War one all right and he doesn't have four trucks all right full of lighting equipment just trying to get an image yeah it's just it's easier for him it's easier for him he can you know he can you know and he doesn't you know he doesn't have to do that much on the day all right there's a lot of stuff he can do later that will take care of a lot of the work is after not during yeah I mean you know and you know um you know I like cinematography where it's know what you see is what you get is what you do on the day now you can you can do a bleach printer there's all kinds of little things you can do but if it's if it's not captured if it's not captured on the day then you you didn't capture you didn't do it now there is a whole lot of even shooting on films where people window all kinds of stuff like they do it they do an inter positive and then they can window everything and just to that degree it's like you know before you could watch a movie and think hey that movie has really good cinematography well you have no idea it actually has a good cinematographer or not now I mean the star all right could have just been windowing the entire process and they just got an image so they weren't [ __ ] around on the day of shooting and then planning on doing all these windows when it came okay will suspend the sky out of a little bit more here let's bring the Brack hours I me a little bit more black over there you know that's you let's all a paint box set mmm you know and that's even when it's done on film right all right when it's on digital forget about it you can do literally anything you want them I guess where I'm coming from is in a world where you can do anything nothing means anything that's a great now so what do you autumn Utley feel about digital and film in the sense of I know you still probably feel the same way and I do as well but do you think we're getting to a point where digital can ever achieve that look officially can you look at sorry here's my okay I mean but here's my point of what you were talking about even and I don't think I'm I don't think I'm throwing deacons under the bus I think III would I you know let him say I'm wrong about why he's coming from where he's coming from I think it is that case but one of the but the key to what the way you post a question is oh we can make digital look like film we can do that we can have a thing that looks like film well what film looks like film you know it's um if you were gonna create something that could not be done on film and I'm not talking about just a hard work of it being done on film but if there was this if there was this other format alright that created a look that just is film is incapable of doing well that would be something that would that would be something that would be legit as far as I'm concerned but you know uh but you know trying to add you know take a digital trying to take digital and then add a shutter effect or or or grain or speckling or anything like that what the [ __ ] you're doing man all right just shoot don't do it this tofu tastes just like steak okay it's a veggie burger yeah I've had good veggie burgers you know one of the things I love most about this movie and there are a lot of things trust me as a 31 year old guy you let me feel like what Hollywood felt like in 1969 like I left for two and a half hours I felt like that's what I missed sucks that I missed it but I got to but I got to experience that for two and a half hours if there's a kid out there right now who's gonna be a future filmmaker and in 50 years he wants to make a movie about what Hollywood was like thank you in 2019 what are some aspects of this business today that really are gonna stand out and that he's gonna focus on when he tells the story of Hollywood in 50 years well gosh I that that'll be interesting you know I think it's a situation where it's like you know we have to be aware enough to know that we really don't know what they're gonna be talking about 40 years or 50 years because we're in the middle of it I don't think if you had talked talked to any 10 luminary filmmakers from 1969 they would have the take that I had and once upon a time in Hollywood because they would just be 2 inch well I mean whether it's a I mean I give you an eight but uh only vaguely you know I think one of the closest things that we could have actually seen possibly is apparently Sam Peckinpah really wanted to do the movie adaptation of Joan Didion's play it as a lace Wow and like the studio is like a [ __ ] freak it was this before after Wild Bunch it was after a while a bunch yeah well I think the book came out like within a the next year or something like that and so I think they made their the movie version with Frank Perry like it's somewhere around 73 or 72 and but Peckinpah wanted it you know don't be ridiculous and so like even they didn't even consider him for it but I I there's an aspect to my movie that it's a little bit oh this this is the closest we're ever gonna get to the Peckinpah play the delays but I mean I would I would part of the reason we don't know is we don't know how things are gonna play out I mean one of the things but the only thing that I do know is I know I don't know what things gonna be like seven years from now okay I don't I don't and nobody at this table does I don't think anybody in the nineties about us you just never wouldn't have said I wouldn't said that in the nineties and I would have been a little wrong but I mean but I mean I mean it could really really really be different like we didn't see the record album going away as in art form we didn't see a literary heroes going the way of the dodo bird all right you know dreaming yeah exactly we didn't say yeah we did we didn't see a lot of these things happen until until they happened yeah until they were literally in the river mirror and and so you know we're struggling we're struggling we're fighting were contemplating what movies are gonna be now but I think in seven years we'll know but what I know is we don't know now I'm gonna follow up in seven years I love the fact we always sort of take a step back and look at the big macro picture of the year in film essentially and one of the best years that film I've seen it along it's been really love personally I'm thrilled that you let this movie come out in July yeah me too because right now there's such a glut of really good films that are hitting at the same time and so in a given week we might have to process you know Richard Jewell 1917 little women all these films that are which we did recently yeah I mean it's it and it's almost unfair to the films and so I know you went through that with hateful eight where you entered it into a really crowded marketplace and we're also going for a theatrical you know experience as part of that and fought with that so I'm just curious how much that factored into your decision to let this breathe in July even though people who might think that like oh we want awards chances that always wants to go out later in the year you know but you were like bucket I'm gonna go in July well I think that's I've done that like twice before in this decade or in the case of Django and in the case of the hateful a where we both in both movies we open them up on Christmas and and and Django was really well rewarded for that both box-office wise and then we did and we got and you know I want a screenplay Oscar for it I'm Christoph Waltz won Best Supporting Actor Oscar for that was it ended up being really really good strategy for us hmm but it was a drag that you know it's just poured into the marketplace at the last second the conversations already has has long since begun right right right you know and and and hateful eight even though he neeo won the Oscar for hateful eight I was a little disappointed by how what would happen with us there all right but I at the same time I kind of understood it now the situation though is looking back on both pulp and inglorious basterds there was a big benefit from the film rather than just this rush everything's got to come out in the last month there was a big benefit about the fact that the film's had played and had done well they were actually known as successes and that people see it saw it not in a mad rush a lot of people saw it at the theaters when it came out and the men maybe they've even seen it a couple times you know twice or three times maybe and in the case of those two and and so you know they weren't just waiting for the screener right right most of them had had a theatrical experience and not a crushed one not a not a pressured one and they you know and not only that like the film had come out early enough that it's like they have memory of it there there neighbors saw it there dentist saw it right the their daughter saw it the daughter's boyfriend saw it and so there was their little a literally it had conversations the movie was alive and living and so I don't think the way it's existed like I guess from the the first decade of the 21st century where all the movies are the real Oscar contenders are backlogged right till the last two months of the process I don't think that's the way it is anymore they're always gonna be the ones that they're coming in there but I don't think that's the I don't think that's the best strategy right nowadays I actually think the best strategy is opening your movie soon enough so it's not part of that crunch find yourself don't let the tail wag the dog as far as your Oscar chances are concerned pick the best date for your movie let it do good on its home that people come and go see it and then let it take on that look yeah maybe I wouldn't if I was going for Oscars maybe I wouldn't open in a movie in February or what wouldn't open it in March but you should be able to do that I'm curious how come you wouldn't have never participated in like the Toronto Telluride and or have you had well I did what pulp fiction you know what pop value were both with pulp fiction and with Reservoir Dogs I won the whole film festival circuit okay with that you know the way but the way worked out for all the other ones it just uh I just kind of didn't need to okay we opened a con or we or we just were literally making it in time to make it release date okay I mean literally like that was that was our date was our release date and we had to kill ourselves to get it done in todger because those are other scenarios where it's like and you're seeing so many movies in a short amount of time Jake does have a follow-up to the Oscar question but since you mentioned the release it got me thinking about something the blue rays coming out almost at a perfect time yeah right that is that design to come out in December to bring it back to people's memories not nothing at left but doesn't yeah does that part of the design well it's the right kind of synergy right all right and it's also one of those I mean there you know we we still have in theatrical engagements going on in Hollywood at the easy it's easy enough the new Beverly I own the damn thing is we're not showing to like an audience of 30 people of when we show on the weekends and it [ __ ] does great I mean really do this you know months later but then the the the the blu-ray coming out it's the right time but it's also just but again I think just suggest that we open the movie at the right time so now this is the right time for the for the blu-ray and then the synergy is [ __ ] perfect all right so it's not just a knock it out a screener being that we send to the Academy members you can get the real damn thing all right and with because we got the DVD screener and I went I can't do this Shannon Macintosh you see in this room everybody we're talk about this once when I'm in Hollywood blu-ray it's one of the coolest things and you're Shannon's very involved in making these just an amazing job and you want to mention the mad thing real quick this is really cool yeah well yeah well one of the things is so one of the things in the the blu-ray is we're holding right now I'm touching right now I'm fondling right now issue of Mad Magazine that has a take off on the show bounty law called lousy law but it's our second take off on it because what happened was so I had it that uh then when you saw Rick's house like a lot of the old stars of the day of that day you go to their house it's always a line of crack me up it was Robert Mitchum talking about going going to Kirk Douglas this house have you been in a car Douglas house before you're in a [ __ ] Kurt Douglas Museum so I figured Rick's house would be like a Rick Dalton museums that would be like the one sheets for his movies and then and highlights from his career where it's like you know he's on the bounty law was on the cover of a TV Guide twice you know once him once a a Jack Davis style caricature so both of those TV guides are on the wall and like his like LA Times Sunday calendar TV Guide covers on the wall and then I had that Mad Magazine did a take off on bounty law right and so we got in touch with a Tom Richmond who was like one of the really great illustrators at Mad Magazine and he does the Jack Davis style so that's kind of the thing I wanted I wanted to be as if Jack Davis drew it and so we asked Mad can we do a Mad Magazine cover and put it as a prop in the movie they go yeah sure and so we get Tom and I designed the cover not this one this is a different this is a new ago the one in the movie the one in the movie so I designed the cover okay this is what I want and you know what Alfred E Newman is on the wanted poster and he's got he's picking his nose right after the knuckle and Ric is there and JK Hills looking going and then and the and that and I even came up with the idea that okay and the and the and the parody title instead of bounty law would be lousy law so Tom does it and it's terrific and we have it and I even have the original artwork thing thank for you and then when we put the cover on the on the wall so anyway it looks so [ __ ] cool that we go to Mad Magazine and go look this looks really great and look at it with your logo and everything why don't we do this for the real Mad Magazine now like I can't I got a big surprise ending so I can't like let you guys do Once Upon a Time in Hollywood but I could bring your guys over and we could we shot a lot more for the bounty law episode than we have ever shown in the movie we could show you everything we did and then maybe you could do a take-off on bounty law and then one it would be fun because okay you're making fun of bounty law a little bit that would be great but he also you get a chance to just parody 50s television westerns in general well they ended up loving the idea so they sent a couple guys over to the editing room we showed them everything we had and then they went off and then they wrote a whole lousy law parody would Rick and then they took that cover and they put it on their magazine that was the cover of their magazine that ended up being the last original issue of Mad Magazine was released with the whole you know the one in the movies the last one ever yeah yeah was the last one I mean I think for my they're still figuring out what they're gonna do I think my thing's gonna be a lot of reprints from here on end alright and so the last official where everything was original was that issue so to sum up I design which isn't just cause my last issue of Mad Magazine gosh ever I feel like you've been waiting to say fake that you wish you could have written for Mad Magazine [ __ ] you [ __ ] do what I did all I'm hearing in my head now is lousy law boring flake okay take the Palm D'Or take the Oscars doesn't matter Lake and magazine hold up the Mad Magazine Judd Apatow is getting hemorrhoids right now hearing that sorry never hope to top it on the blu-ray you're gonna get another version of the Mad Magazine I knew a new issue of lousy very cool circling back to to the Oscar buzz we were talking about if you can't tell you were sending a table full of people who champion you and champion your work so much so that your your victories are our victories and your losses are our losses thank you and the reason I say that is because we all believe that you're one of the greatest directors that's ever exist in the history of film so it bugs me to no end that you have yet to win a Best Director Best Picture Oscar if you are sticking to this ten film stretch which you say that means you've got two shots left yeah yeah how bad like does it does it do you want it bad or is it something you just don't really like you got two for riding so it doesn't bother you as much Wow it doesn't bother me I my career has been so amazing that okay yeah yeah my career and my life has been so amazing that to be bothered by not having a trophy or something would be yeah probably more than it bothers you well it'd be nice it would definitely it would definitely be nice and you know we'll see what happens all right I I think I got a good shot at it this year you feel this year's is different going into it uh yeah I do actually I guy I do that different feeling well that's well that's a good question I was actually just contemplating it when I said that all right you know it's like um I wasn't bummed about not winning for pulp fiction because there was part of like it would have been I won the screenplay but one that was kind of the roll back then it was like the cool hit movie won Best Screenplay and then the more Oscar movie that you thought was going to win the Oscar was the one that got director and got Best Picture can I pause you for more huh that is the reason I hate Forrest Gump as much as I hate that movie and and watching that movie triumph that year yeah over to me for legitimately much better shake was that year yeah which show is that year for weddings in a funeral is that year and of course that's why it doesn't matter that the Oscars should be held 10 years after the movie comes out that way you can gauge had the impact that film had because pulp fiction clearly stood the test but that's part of the reason why I'm sorry continue like I get it I think but you know look there is also another reality where it was um it probably wouldn't have been the best thing for me to win Best Director and Best Picture with my second movie at that young of age you know I won Best Screenplay and and I I was I was I was very happy but I mean it was it wasn't difficult but it was a thing to even overcome Pulp Fiction and move on with the career as it was if it even had that attached to it I mean I don't think I would be feeling that now all right now pulp fiction would just be all among the Best Picture winners and that would be what it is but you know but for the six years that happened after that I think it was probably good that I didn't have that kind of albatross you know around my neck or that something to even just make pulp fiction even a harder thing to did to get passed in the case of inglorious basterds it was we had a shot but we all knew Katherine was gonna win for The Hurt Locker so it was just kind of it just kind of was the way it was now in that instance I was totally pissed that I won best they lost original screenplay to Mark Boal alright now I like mark and we were actually and we were doing a lot of [ __ ] talking with each other through the entire in the entire process I just think my script was better alright it was the opening scene along yeah yeah that's what I thought alright you know you know so so that's where I felt I got robbed alright and and and then when he came back around for Django and he was nominated again for zero-dark thirty or I bump into him in the lobby the Kodak gotta go [ __ ] you're not even getting out of your seat this time if you get out of your seat you better be taking a piss cuz you ain't getting at I'm not competing against anybody else here except I'm gonna shut your [ __ ] candy store down tonight how is that not your speech not only that [ __ ] Mark Boal all right even an inglorious basterds even did this whole [ __ ] thing alright well cuz he would go to a zillion if we go to a zillion award shows before bastard but before the Academy yeah so it's like you know so at least six different things so I mean so we're getting we get along he's a great guy alright so and then Catherine is really cool you know so we would end up at the parties of these things and we'd be like having cocktails together and drinking and talking about stuff and so then mark goes okay man you know it's between you and me so I think we need to do you man I think we make a pact we make a pact all right so whoever wins when you go up there you talk about the other one you know when you win you go up there and then I give it to you and then when you win you go up there and also you give it to me cuz it's about us all right and I think that's how that's that's how it's gotta be man I go okay he didn't say jack [ __ ] [ __ ] what'd he want I was like what the [ __ ] about thought you were gonna win different parties seven different parties that's what you said we should do it was your [ __ ] idea I'd have done it for him I would have done it for him I know I'm a man of my word hey why you're sitting right here right now yeah I'm not really mad at that I think he actually just got with you you can say that you want to say a ton of [ __ ] when you actually win an Oscar and you get up there everything goes out of your head so I think that moment like I think we will I've never I'm never gonna experience it what is that what is that moment like when they call your name well it's one of those weird things where it's like look you want to win but at the moment just before they call your name you kind of don't want to win don't want to have to go up talking about that 10 seconds yeah all right just before they call your name you can't like that means I gotta go up who presented yours remember oh yeah I do as a matter of fact it was for pulp fiction it was Anthony Hopkins Wow and for Django Unchained it was Dustin Hoffman and Charlize Toro oh my going off Jake's question now now I come curious once the once they go to commercial break after the win happens when you walked back with Hopkins after pulp fiction you remember what you guys talked about I don't remember saying anything with nothing me and Roger were doing all the talking all right cuz he yeah we both won it together so we were very happy but in the case of Charlize and Dustin it was ray because Charlie says my neighbor all right so we talked about this yeah I think I mentioned it all right and you know she was like I'll quit I'm so happy for you Anna no this also Dustin Hoffman was the one that reminded me he goes no no take the envelope take the envelope all right I would have left the envelope there all right but he couldn't take the envelope and I still have the imbel I don't have the envelope from pulp fiction but I have the envelope for who is the Pope I'm the janitor now I have an idea for your tenth movie you should do it because since you do the idea of rewriting like the ending with Shannon chair and Tate and obviously very riding on the ending of Hitler and bastards you should rewrite the ending of the Oscars of 94 he goes back pulp wins and we cut to Zemeckis rolling down Tom Hanks his cheek I will tell you what I would rewrite all right if I could 494 and uh and I think it would have made the Oscar ceremony it would made the whole campaign really more exciting I wasn't involved with this I didn't even know that I should have been involved with this and I should have been it was ridiculous that pulp fiction was put in the drama section of the Golden Globes it obviously should have been put in the comedy as a matter of fact I thought it was it wasn't until a couple of days before the actual ceremony that I realized we were in the drama section it's like we're a comedy now the only reason it wasn't it was because everyone was talking about how violent it was but what made it special was that it was as violent as it was and it was really funny and it's the more been getting shot in the face it's a comedy every video store in America put it in the comedy section when it came out and the fact that we were in the drama so the thing about it is I was shocked about that but if we had been in comedy then Forrest Gump would have won Best Drama we would have won best comedy and it would have been catch-as-catch-can for the entire season at Hollywood's in comedy well no come it does it deserves to be in common okay yeah it straddles both lines though there is drama well they there absolutely is drama there but you know uh the Golden Globes have tried to get me to put my movies in comedy every single year maybe not hatefully alright but all the other ones they try to get me to put it in comedy good Quentin I'm telling you it is the funniest movie of the year if you put it in comedy you will win and I was like it's like most of them are foreign like guys I can't put Django Unchained in comedy very funny yeah but America's that's just funny I'm gonna sidebar for one thing because I just thought about it when I bought up the Marvin shooting sequence in Pulp Fiction when I sat down with Samuel Jackson recently for spider-man far from home I was asking him about that sequence and he told me a story that he feels that John Travolta actually shoots Marvin on purpose because he's mad that that guide that Marvin didn't alert him about the guy in the bathroom and in the movie it comes across it could come across as an accident but Sam Jackson believes it was actually done on purpose that Vincent does it on purpose where do you fall on that as the writer of that scene like are we supposed to think it's an accident or do you want us to think it's on purpose and thinking about the Marvin situation well look in my home movies are like if I want you to know I tell you right and if I leave it open I'm leaving it open for you so I could tell you what I think but if I tell you what I think that is the way it is and um I've got no problem with Sam's version of it and I have no problem with anybody else who has that version of it but I don't want to tell you what to think I actually like I like the fact that both both I love it I love any scenario where both ways almost equally work yeah I don't know see yeah that's the thing I don't want you to tell me it was on / because I liked it better in my head if it was an accident that it really was a little like I feel like it changes that whole not in a worse way but it would change this for me I don't want to shut the door I didn't no one who's invested in the other thing because the other thing works yeah you must love how much fun people are having with Brad Pitt's backstory oh I love that his wife right do you know I just asked you tell us that do you actually know in your mind what happens in that story oh yeah yeah so does Brad I don't actually one of the ways that I ended up getting Brad in the film all right was I wrote a whole book chapter about him on the boat with his wife all right and gave it to him all right yeah it's called misadventure yeah and I so he knows the whole thing okay all right and that was like one of the things that pushed him over to actually wanting to do this show more of it did you ever show no no we didn't want some more of it all right we kept it the way it is you know but you know to mean what I like about it especially it like how it exists in the movie is okay so it's one of two things it's either this guy is in the situation he has a horrible moment of weakness and pulls that trigger and he gets away with it you know he gets away with it but on one hand he's not spending the rest of his life in jail but in another hand he doesn't get away with it and it's this heavy thing constantly hanging over him it's a it's it's affect his ability to get work it's affect the way the people look about him the way the way people think about him and talk about and it probably affects him in a huge way and then he has this moment of you know conceivably Redemption at the end of the movie all right you know that ends up happening so that's one movie that's that's that's a movie that's a that's a really good movie that's a good strong movie so that's that movie there's another movie and this other movie is he didn't do it yes I was literally an accident it's an accident that happened it and it might be even more tragic than just an accident he might have been thinking about it and then the gun went off by accident so he doesn't even know did did a little finger the was er a finger pull in there that I because I was thinking about it and you know and so he can still torture himself about that but he didn't he didn't do it it was an accident now he gets away with it he doesn't go to jail for the rest of his life but nobody believes it's an accident and he's tarnished by this crime that he actually didn't commit and he's defined by this crime that he didn't commit for the do the next 20 years and then that guy gets a chance at redemption those are two totally different movies completely different movies different characters but they're both valid right is it also a Natalie Wood thing it has nothing to do an alleyway it has nothing to do with them the core name is Natalie yeah and that was literally and like I had no problem with it but that was a Rebecca Gay Harden who played the character all right you know she just came up with that she just came up with my sister named Natalie as an improv she just threw that ad yeah Rebecca Gayheart give me if you consider that similar to how you feel about the briefcase and the band-aid are those similar things they're all come from the same place okay company yeah this is a little different though because the briefcase I want you to kind of put it together yourself and whatever you come up with is what you come up with here are two very specific scenarios all right that are brought up by the whole wife situation and you know and like that's why I can describe them in this dramatic kind of way but they're both but they're but they're both very different yeah okay now I'm gonna transition to something I think is interesting we talked to a lot of filmmakers and Sean's the only father of our podcast we do not have children I know you're about to be a father yes which gradually thank you for you do you envision at all the idea of how fatherhood will change you as a filmmaker I know you can't look at it now because it hasn't really particularly happened yet but do you wonder how you will change as a director and how as a storyteller and do you think it could create more creativity on your part in regards to keep going and keep making more movies have you thought about how father it's gonna change you as a director um no I guess I haven't because I mean I guess when I not having lived it I guess when I look at it I see limitations I don't see oh my god these that this door is going to open up and this new level of creativity is gonna come pouring out you know you know I I see that my whole thing about directing is going off and climbing Mount Everest or whatever mountain I'm climbing Fuji or Kilimanjaro or whatever the deal is I keep coming up with mountain climbing analogies for what I'm trying to do and and the idea that you know now I have a child and I want to be around when the child is mmm going to school and go to their little stupid plays and all that kind of stuff you know maybe I'm not as free to go and climb Mount Kilimanjaro all right and then take the whole family and and you know put them in Africa you know for nine months or for six months now actually my wife would be down would be down with that all right but you know there is an aspect I remember talking to to Warren Beatty when he had when he had his kids and how happy he was and it was like no no the you know the days of me making Reds are oh wow Wow you know and you know but then like not everybody I mean no one's done it the way Coppola did it within Gloria with a Apocalypse Now and he took the whole family to the Philippines and and bet their whole your their house and everything on it and that's just the way it was and actually the fact that he did it with this family was actually part of the you know the grandiosity over the whole thing and they backed him a hundred percent on it you know anyone that you know and that was exciting so so one does not mean necessarily the loss of the other but I guess you know so I have it you know look I'm I'm aware enough to know what I don't know and so I don't know how it's going to change me and I frankly can't wait to find out would you have a movie that you're waiting to be able to show your kids like for the first viewing of I can't wait til I can show you this mine was was McTiernan first I heart oh really yes cuz that's just one of my favorite movies of all time yeah to me cuz I've actually watched this happen amongst uh fathers and sons and everything and III watch this happen between fathers and sons and I've watched actually parents and their daughters have different movies too so it's actually kind of interesting you know I can't say what what child's gonna be however on the day that I do have a son I know that the father-son movie I'm really looking forward to have with them is the good the bad the ugly oh I have actually it's like that was a very special movie when I I saw it with my mom and my stepdad and it was and I've actually I've actually it was funny because I even like when the kids have been older I've actually because I have a really gorgeous print of the film on 35-millimeter and I've actually had a like a couple of different fathers ago you know what my son has never seen that movie I would love to watch that movie with my son like a well come over to my house Quinton my son's never seen let me follow up on that with an a really cool story one of the best reviews I've ever heard for good enough and the ugly was one of the movies I show pretty much like with every movie we have movie nights and we show different films and the two constants that we usually show is we show a sorcerer William freakin sorcerer and we showed the good and bad the ugly and and I've actually seen like the you know the the crew members bring their sons over to sit in your house well I do have a projectionists and he could rent a house but like in the when we do a movie we were doing a set there Shannon usually develops a screening room for us to show movies at even it's like literally building the screening of a building in the projection booth and everything like we did in Colorado you know for hey too late yeah the Sergio Corbucci cinema theater is what we call that so uh and so yes all of us is like markula know the sound man yeah I his son saw a good the bad and the ugly one was just gaga for it alright so we're doing inglorious basterds in Germany and we're having these screenings and Brad Pitt takes his son Maddox to see good in the band the ugly Maddox is nine at the time so he walks in with Maddox and they said in the back and they sit there and watch the movie and and and Maddox really loved it and he was really proud of him alright give all eyes a nine year old kid and you've three hours [ __ ] was right there alright and he really got a kick out of the movie so then they come home and the mom Angie is waiting for them and so she you know and so they come walking through the door and and she goes so Maddox did you like the movie yeah mom it was really great it was terrific I loved it wow that's fantastic well what was the movie about well it's about this good guy and it's about this bad guy and it's about this ugly guy yeah yeah well what should you like the best I'm Alex thinks about Inge I like the ugly guy that's a great review for the movie one more follow-up on fatherhood have you thought about how you're gonna introduce your own filmography in chronological order and just naturally or are you gonna introduce it at all make good question yeah oh no no I'm definitely gonna introduce it I mean go they're gonna have to deal with it my best friend's birthday yeah whatever whatever exists from that which still has true romance dialog yes I like it I will I but I don't know I'm gonna play that I'm gonna play that by ear I think I'm whatever I'll introduce to them will probably be it's gonna probably be a lot younger than that most people would imagine all right it's gonna be whatever I think would like you know float their boat the most at you know at seven or eight all right we're gonna get to Mr Al Pachino the legend who is having an incredible year hell yeah we're all blown away by his performance in the Irishman his performance is Hoffa and it reminds us that you got to start with you talk to me just about casting Pacino directing Pacino you know being able to work with him obviously you have De Niro also to back in Jackie Brown - these are icons these are legends these are people who we would just you know love to spend any time with and you're getting to cast on his characters of yours what was like working with Pacino on this well it was it was fantastic it was really really cool because I've always been a huge fan of Al Pacino's but in particularly he was an actor that I really wanted to hear him say my dialogue yes yes yeah that was like he was one of the main actors out there that has not said my dialogue that I wanted to hear like the words come out of his mouth and and so even before like the script was done about a year earlier I started reaching out to him and so we started having dinners and we started getting together and I saw a hit that trunk of the play that David Mamet wrote where he kind of placed Trump on Broadway when saw that right right well hung out with him afterwards and then he was like he was like really friendly and like wow okay and then and his de facto stepdaughter cami alright was in my my friend Eli Roth's movie the death wish film yeah and so it's like you know so I had all these neat excuses to meet Al and so then we started actually going out to dinner and then he got to know my my fiancee and so we went out to dinner like quite a few different times like about like you know six yeah six or seven times over the course of the last like year and a half before I'd even showed him the material and we were really kind of getting to know each other in fact it was even kind of we had we had this one moment where I was like getting into his head we had this really one moment where it was like I'm talking him about older actors I wanted to know his take on them I asked him about the actor Aldo ray hmm and and he goes oh I'll do ray was great he was fantastic he wanted by God there was this moment of such a moment where it was like singer Lynette was meeting with him for the Charles Durning role in Dog Day Afternoon and so he came in to audition and I was just I was just almost embarrassed that he's auditioning for me Wow but we're you know we're doing the scene together and it's it's just fantastic and it's amazing you know the student decided to go a different way but just to be able to do the scene with him it was just so great and then go you're not talking about I think you mean Ralph's maker yes yes I do [Laughter] Pacino there's a scene in this film I'm gonna skip ahead briefly because I think it's the one most powerful scenes in the movie that I thought a lot about after I saw it our producer Gabe over there who was with us when we saw it when we walked out of the film we were all in love with the film but it's a very different experience from you as a filmmaker in the sense of I felt that it was it was you're relaxing in these moments we're hanging out with these characters it's a different type of tone and pacing for you the at least from a perspective of someone who's a fan of yours there's a moment in the movie where Pacino tells DiCaprio that your audience is gonna have a psychological effect about you always playing the heavy and they're always gonna think of you as the heavy if you keep playing the heavy and I was wondering is that coming from a place of someone like you as a filmmaker who has a very you have a very distinct tone and storytelling that you do every movie you do is different but there's elements of your voice in all your movies and I feel it here more because I feel like this is more of a personal film for you as a love letter to Los Angeles are you saying anything about how people are gonna experience Hollywood in that moment and the idea and this is something Gabe and I discussed least psychologically expect a certain type of film from you and then this one was very different in my opinion are you saying something about that am i reading into that or where did that dialogue come from oh I mean like yeah it came from it came from the reality you know of of the given scene of the fact that you know Rick Dalton was a heroic leading man and that's you know and Jake Cahill owns his own bones as being a Western icon from that time however if he's showing up with Ronnie lying getting his ass kicked by Tarzan and this in this episode and getting his ass kicked by alias Smith and Jones in that episode and getting his ass kicked by the Six Million Dollar Man in another episode and getting his ass kicked by Robert Urich and SWAT in another episode then little by little by little the heroic stature that he had both as a leading man is gonna get chipped away because well apparently any swinging dick on a network show can beat the [ __ ] out of him oh yeah and then also Jay Cahill himself well little by little get tarnished in you know in in people's minds when they you know when they watch it on a you know when they watch it on reruns I go wow yeah yeah okay yeah that was back when he was Jake hill now I'm watching Michael Douglas kick his [ __ ] ass on the streets of San Francisco all right okay having said that I yeah so so that's where I was coming from as far as all that was concerned but a couple of critics brought up what you're talking about I wasn't thinking about it as any inner monologue coming out but you know I have not I have not had a problem defining myself as both a genre filmmaker and an enthusiasm Raphel making now my whole thing is I wanted to transcend genre on one ooh on one hand on one hand I want to transcend the genre on another hand I still want to deliver the goods that the genre has to offer I don't want to do an art film meditation on John I want to deliver and so if I'm doing a kung fu movie I want it to be as good as five fingers of death not this weird Artie hybrid of that alright um okay I want it to mean a little bit more than five fingers or death but yeah but that is the thing that I'm you know that's what that's what I'm dealing with but over the course of time and that kind of happened a lot with especially with the thing pieces but the people who who don't like me or don't like the movie some of those tropes that they have about me have kind of have been dyed-in-the-wool a little bit and so they come out and so I'm now you know as define you know so if you like me well those can be good things if you don't like me those are a checklist of what you don't like about me but frankly to tell you the truth though if you go through a film history it really is a badge of honor all right because that means that your work is strong your work is vital and yeah if your work means something then you're gonna have real enthusiasts but consequently you're gonna have people who really really don't like you and Hitchcock had that and he had a and he had those thing piece reviews that were against him in the last ten years of his career Peckinpah had that he had those reviews Ken Russell had that all right Oliver Stone had that you know these guys were all provocateurs and that's just you know they're not gonna be a provocateur you don't have to deal with it but if you are provocative to where that's that's the you're signing up for it Amen piggybacking on Kevin's idea of expectations leading up to the film's release there was one name one word that people were seem to just overly attached to which was Manson yeah people coming into this this is Tarantino's Manson movie and then we see the movie and we realize he's really not in it that much yeah which I loved because he was such an egomaniac I feel like it would drive him nuts that he wasn't really the focus of this movie I'm curious was that on purpose because talking about expectations I don't know if you ever read the Wikipedia page for your films there was a whole fake plot on the Wikipedia about that about this explosive ending with Manson yeah which was this was a complete opposite of that which I'm so glad was the opposite of daya because screw him yeah well the thing is it's actually interesting is like I had a little bit more with him and I actually put that in the supplementary section of the DVD the other scenes that I had with Charlie I put that in there one because Damien was so fantastic all right you see him in mind hunter yeah yeah he's amazing in that and I'm the hugest fan of his from he's one of my favorite character actors that there is and you feel his presence the whole movie even though yes absolutely love she says I like Charlie would really do you like yeah he's a that spawn ranch scene he's in every moment for me he's asked how I feel that's how I feel and and I didn't want to put that ultimately the way it worked out it and want to put that in the movie but I didn't mind putting it in here because now that you've seen the movie you can look at you one you can appreciate what Damien did Damon did you can appreciate what Damon did and then also you can see oh okay well this is a little bit more that he had we were dealing with that culture and I was also I was pretty happy with wood Manson's dialogue in it too I I had that I had to find the right cadence for his for his his speech patterns and I think I did a pretty good job but one of the things I was gonna say earlier on when you asked the question about how things would change and I got lost I got I lost one of the trains of thought that I wanted to go go to and you brought it back now by bringing it up one of the biggest changes that would have happened if Cielo Drive didn't happen is that if Cielo drive didn't happen LaBianca murders would never have happened mmm so there would be no Manson ethos there would be no Charles Manson as a cult figure there would be no Charles Manson as this like sinister pop-culture ephemeral hero slash villain all right that has existed for the last 40 years you would never know his name you would never know who he is he would just continue going on the way he was the kids would eventually split up all right they would get rousted out of Spahn Ranch one time too many and then they would and it all would have dissipated and this and where that would you know that would change true crime history irrevocably but he would also even change the history of Los Angeles it's like Charlie and his quote unquote family are a part of the fabric of the history of Los Angeles from that time and then from all that time afterwards I mean to even such a degree and I get it uh young actors come out to Hollywood and they make a pilgrimage up to Cielo Drive at midnight Margo did it Margo said she on the night of the murders one night her and a buddy walked up Cielo Drive and head in the bushes and read helter skelter by flashlight oh wow you know and and it's you know it's it's it's but you know all the girls playing the family members and the movie we're really enraptured with they're not enraptured with Charlie and the killings that happen but they were enraptured by the by the mythos right right unless and especially when you're young that mythos is enrapturing yeah sure you know and and so like that they did tons of research that I didn't have to ask them to do they did it they came they showed up on the set of Spahn Ranch with all their little relationships and the associate you know the little massage II kind of things that the characters do all that stuff like we're like a leaning is kind of just always touching Margaret and Margaret's always kind of touching Lina as they kind of that I didn't direct any of that they just did it they just they watched I gave them all the stuff to watch and then they then they had a lot of time together so they figured all that that you uh stuff out even just their physical camaraderie when they first cross breath car yeah yeah amazing mrs. Robinson Beach Rock they have such a chemistry to them that they just look like a family as a guest no I literally shooting them was like shooting a documentary when they're good a dumpster-diving I set them up and they just do it and then I can just film and I can throw anything at them okay you fund the hot dog buns you do this you do that but other than that it's just someone it's amazing um Quentin you famously got your start in a video store yeah and I'm an old also so I remember spending hours just perusing colors forever but this next generation you know you were able to sort of surround yourself with that passion yeah those stores don't exist anymore or they're few and far between where does that next generation of film maker coming up you know find that video store inspiration because streaming doesn't seem to be the answer to me well oh he was funny cuz actually I never had Netflix here but I ended up getting Netflix in Tel Aviv because this for my wife is and so I ended up getting Netflix in Tel Aviv and and then when I got it there I was like oh hey this is kind of fun I kind of see what people like this this is really cool and then when I came back to Los Angeles I wanted to meet with Ted Serrano's and just tell them let him cuz he's been always very very complimentary to me and everything when I want to let him know hey I got the system now and I like it and I appreciate it but I said to him I go if I've got can I tell you a couple problems that I have and he's like yeah sure I want to hear I go look my big problem is when I looked up 70 cinema I was surprised by how paltry it was right I go I mean I looked up Burt Reynolds to see what you had playing and I know that they they change every month I'm just here analysis that playing you had four movies and two of them were long the longest short [Laughter] so we have four Burt Reynolds movies and two of them with a longus your winch in front of me you told me when we spoke for Django that whenever you work to the video store that a lot of times people kids would come up to you and say you look like I don't know I don't know what I'm looking forward I'm looking for something that's X Y & Z something that does this for me what would a kid have to come up and say to you now for you to go over take an old dusty copy of once upon time in Hollywood dust it off put it on the counter and say this is what you're looking for boy well here's the truth it was rarely kids who did that it was mostly housewives okay interesting it was mostly how is that well no because they they're you know they're those young the kid the kids have a good idea what they want to see and what they don't want to see that they're gonna watch with their friends you know the housewife is like she's choosing like like almost like they did in the old days it was like it was the wives that chose the movie that the whole fan like in the 40s 30s and the 40s and 50s that the whole family would see is they're the ones ring film fan and modern screen and I'd kind of keep up with a little bit like what's hip and what's not and so like they're the ones that chose the movie and then the whole family went and saw what they annoucement I saw Dean Murphy then he goes and sees that stuff but you know trying to say oh yeah yeah and no best years of her life you're gonna like it it's really good he's really good in the movie want to support him you know and so so the housewives were the ones like picking the three videos right yeah and and and I actually I I prided myself I'm not just shoving the stuff that I liked down their throats I I did myself on trying to kick into what who they were and what they liked and tried to put something in their hands that they would like you know I mean you know people like well I want something funny well give me a couple of examples of comedies that you like and then all right I have an idea all right so if they said Tootsie and they said this or they said that we'll then I had a good if they said Caddyshack then I had another I had a better idea you know and so you know sorry I would always get you well a good romantic movie oh okay well but that's a really wide open subject I can definitely point you to some movies that I think a romantic but what do you think give me a couple romantic movies that you think of romantic you know and so and they would tell me and I would put movies in their hands that I didn't particularly care for but I thought they would like you know so that all kind of thing happened I mean you know where um this is not exactly answering you this is more answering your question than answering New York no she's fascinated by no I'm yeah I'm all for it pinballing aback is when I scorekeeping yeah um frankly I think if you don't have video stores to go to where you get to see the whole you know like I mean I never knew that the video boxes in the horror section would become so iconic in my memory to me they were just the video boxes of the horror section remember the Dead Alive box yeah yeah yeah yeah yeah that was awesome brain dead or whatever it was or the dead and buried box or any of the darkness yeah or or any of the slasher films that you never even saw theatrically but they're ever they were always in the lives which was a baby cradle I wanna switch it's alive I think yeah alright so that's a lie and then lives again is the to baby cradle under brothers green clamshell but bigger ones right yeah the green the green color right yeah all right and so the thing is I never realized that for the entire generation of kids growing up in the 80s during that time when you know they were 14 or 15 coming into the video so that I was working in you know those that that horror section that whole video shelves would like become this iconic thing the way movie posters are to me I think the answer to the question is where they're gonna find that frankly is is in podcast or amoeba music if you can go there yeah and that's well but that's still DVDs for sale and that's a little different you know and it's whatever's available now even though they do a pretty good job of all that yeah I will admit that not looking for like a pat on the back but like for the press tour for one spent time in Hollywood you did more podcasts than like sit down TV interviews why is that because we always used to get you TV for Django and Basterds and everything but yeah this film was different why is that well this was well frankly I didn't really feel I didn't feel that that the five to six minutes to seven-minute entertainment journalist aspect was the way to we did our best to sell this movie yeah yeah I didn't think I didn't think that was the you know you know were three of the questions will be the same and every one of them and whatever I actually thought that you would get a better sense of me if I went on movie oriented podcast alright that I had actually listened to that I had a cent I had it I said I knew what I was walking into I wasn't walking into a [ __ ] propeller alright I knew what I was getting into I had a sense of the the personalities I had a sense of your voices I had a sense of the of the give-and-take and I had a sense of what y'all liked and you don't always have to like me but um but you get you get it I get the show I liked it yeah all right and so thus I could go on and then then I I could be me and it was movie oriented yeah it was all movie orange and you guys were all movie fans and we can be talking about my movie and we could shift into another movie and we could shift into this a we could shift into that and I thought that was a better use of my time because I actually thought you got more of me in that situation and also I just find those things more interesting I do really like the you know the fun for the most part movie oriented podcast and the thing about it is when you guys like you know uh you know you're always dealing with the movies that come out but you're also but you're constantly relating them to movies from the past you know and so so it's like a Mike Flanagan episode could be just as much about the history of horror cinema in general as Mike Flanagan right yeah of course I'm gonna you mentioned liking our show and I'm gonna be a fan just for a second here because when I was in college and Kill Bill came out I you know I went and saw it you know multiple times opening weekend I and this was very special to me because when I was watching that film for the first time I had read online that the house of blue leaves scene was in full color and the Japanese release and I ordered the 120 dollar like really cool box set that my wife still has the Okinawa shirt what she just disagree with you about for all those years and she's the first person to ever where I bring that up because when I got that DVD seeing that scene in full color was always amazing to me and I ended up taking Japanese in college because of that movie it influenced me more than anything and I'm but I'm gonna show you a new tattoo in a second but that's another thing I have a Kill Bill one but I want to bring this up because I found what was found this interesting with with the house of blue leaves sequence going to black and white I've always wanted to ask you this specific idea of how you decided where you were gonna start the black and white and end it because originally I believe you planned on that being in full color and the MPA did not like the spring of the blood and all that blood you talk about that conversation you had with them specifically what that change was like for you to have to actually alter your your film based on a rating system and kind of how you came to the conclusion of getting it the way you did cool um can we pause for a second I were in the restroom yeah oh my god do you believe they're doing a Top Gun sequel well you know it's funny I I know Tom a little bit and I asked him about that yeah I was like um I guess you're doing the top Conseco yeah yeah we're doing it I go how can you do that without Tony and he was like he goes like I know because like I agree with that I understand that's how we always thought about it but then I think it was a guy who did oblivion actually came up with the story goes just go since Kaczynski right yeah it goes he just you know he came up with a really great story he came up with a great story that really worked that I really enjoy taking the character further in that way and it was like you know the script he goes the answer the answer to your question is the script okay they came up with a really good idea well back to the blue leaves well yeah and I guess before you answer the question I'm gonna show you this holy [ __ ] and and it it's actually healing I got last week and that says Kill Bill oh man she did a really good job that's kind of amazing the shading on the hitori of oh I know no it's absolutely right there man yeah the Ocado bear god will be cut oh yeah yeah yeah the Okinawa bear right there yeah okay now Alliance give me an ow ah yeah I gotta ask real fast Quentin do you have do you have tattoos Snyder no it just weird you out there's a lot of movie related tattoos for movies that are very passionate like he's very passionate about it if you were to get one what's a movie that you would want to have on your body forever well the reason I don't have any tattoos is because there's nothing on one of my body oh it doesn't bother dellwo I I'm I'm I'm very tickled all right you know would you show me that I've other people show be Inc that they've done that's like I'm wow I'm be that to be is the ultimate that is the ultimate atta boy I told you the kill no story going back to that is because like we grow week we all grew up on movies and your filmography just happened to be during the time period that I grew up yeah so you are the big reason why I've seen Rio Bravo you're the big reason why I've gone back and watched a film just even wise but even looking at your arm looking at the put your arm over the way the sleep normally sounds alright just the fact that it like the you know the end of the blade is always kind of sticking out Buddha's tattoo in from dusk till dawn oh yeah still time for that the MPA question yeah okay so okay so to answer your question no it's not exactly the way I think you think it is the way where you presented is why after me yeah I had a wonderful relationship with the MPA and especially with Joan graves that you know it nobody was in anybody's pocket we were she had a job to do and I had a job to do but she actually did like my movies and she appreciated what I was trying to do and and I was willing to work with her and she was willing to work with me and it lasted for my entire career I mean she just retired just recently but there was even a point in the case in the case of a pulp fiction where she was just you know she wasn't the head of the NPA Richard Hefner was ahead of the NPA then and and she was just like assigned am i moving and so we were dealing with an aspect of the film and I knew because Richard Hefner had this whole thing of he was going to stop this violence in movies in his last year if there was one thing he did and he had really ran herd over to romance in a really bad way and so the head never gets into it unless it comes into arbitration so I'm never gonna go to arbitration because I don't want Richard Hefner sticking his big nose in this thing so I'm gonna make it work with the board that they give me and Joan was the head of that board and finally came down to we're working together everything's going fine and I I make a cut and she comes back and she says you need to take a few more frames out I know what I said and I mean when I said it's just it's just a little too long it's a little too lingering if you take a few frames out you'll get your art I promise you Quentin you'll have an are just just bear with me take a few more frames out and I promise you we'll be happy we can give it an R and feel okay about the art and your movie will absolutely survive not a problem just I I'm asking you to go a little deeper but just bear with me I go okay Joan okay I'll do it I'll do it and then I did it now Richard Hefner hears about it and he's like okay so what's going on with this Tarantino movie cuz I'm already unknown entity from Reservoir Dogs and sure romance alright so what's with this tension well is it's okay Richard you know just Joan was it's okay dick everything's fine and we were get well I want to see it no need I mean he hasn't called her arbitration everything I want to see it though she shows some the sequence he's not the whole movie but the sequence in full color yeah yeah in full color then we're talking man we're not to my Kill Bill we're talking about we're talking about Pulp Fiction at the time yeah this is pulp fiction okay yeah and a what scene in Pulp Fiction you're referring to well I'm being ambiguous okay purpose I guess and any and he looks at it and goes well that's not enough he has to take more out and she goes no Richard I told him no if he did this I would give him an arm like a well I'm sorry it's just not enough and she goes well then Richard then I have to resign her because I mean I made a deal with him and if my my word means nothing that I'm I can't work for this organization any longer you know Annie okay fine is fine let it go let it go and then you know and then she became the head of the MPAA you know and so you know and and we had a good relationship built on negotiation and trust and understanding she's got a job to do and I got a job to do and and and we're and no one's trying to monkey with the other one at the same time it's my job to be strategic because I want to get done what I want to get done so in the case of Kill Bill I realized early on that like obviously people are gonna talk about the violence in the movie well it's a kung fu movie and I'm even jumping off from them you know some of the seventies samurai gonzo kind of movies like maybe card from hell and stuff like that you know so that's a jump and that's an aesthetic jumping-off point and so I'm thinking about that and I go okay how do I win the battle and the war and the violence is a given I have no problem with the violence it's gonna be the red blood that gets me though Americans can't look at it the right way Europeans can't the white people can't look at it the right way in Asia they get it they get it in Asia they get it in Italy oddly enough but they don't they're not gonna get it in England and they're not gonna get it in America if it's just awash in blood that will be a Surgeon General warning in every single review you'll drowned in blood you'll drowned in blood the blood the blood the blood the blood the blood the blood the blood when they say drowned in blood what are they really saying the sang drowned in red hmm oh wow it's about the red of the blood it's not about the blood it's not about the it's not about the intellectual idea of blood it's about a visceral reaction to flowing liquid red shirts almost like Scorsese and taxi-driver I think he's almost more orange yeah yeah yeah yeah and so I'm giving them this 40-minute non-stop cut limbs and people have guard they have garden hoses four veins you know yeah arm gets lopped off and it's like the Bellagio you know and I got that from Shogun assassin and you know and baby card at the river Styx and all those are like really groovy Japanese movies so I had a whole scheme where it's like okay look we're not gonna get our the first girl round I mean we're definitely not gonna get it the first go-around but we're not even gonna get it the second go-around we're not gonna get it the third go-around we're gonna get the fourth go-around okay we but we get it's a process we're gonna have to go through it and we gotta get them there and we will get them there by the force screening and so then the the whole plan was gay will show them something horrendous at the beginning they say that and then I cut it down a little bit and then show it to them a second time and then okay well it's a little better the second time and then they give me some notes and then I work on those notes and then and they were also really good because like they give you notes and maybe you can't do that note but you can do something else that then affects the overall so that notes not addressed but now the overall is a little different because you do what you did and the whole idea was to get through three rounds of notes from them on the 4th go and wait oh okay and then when I go to black and white they go okay well fine well now great everything's fine Wow okay now you got your are so that was the whole plan now the wrinkle in the plan was we did better in the first three passes than I ever expected us to do oh wow so much so that I could have gone out with it in color if I had like a couple of minut minut things for that for screening we would have gotten an R with it in color Wow what you didn't think and so I had to think okay do I want it in color in America for the Western world yeah do I want it in color for the Western world or was I right all along was I right all along that the the onslaught of red will have a negative effect on the audience and the prognosticators of the audience when they talk about the movie if we kept it all in color for the entire sequence then it's just a bloody movie and that is all people will talk about I don't mind it in Asia because they get it right but these Americans just don't get it they just don't get it that's all they will talk about so you know and I actually think it's kind of cool when it turns to black you know so I mean it literally is a situation where I get to very rarely does it happen when you get to have your cake and eat it too sure and to me I kind of you get to have your cake and eat it too and there always was the Japanese version so that was always out there so if you wanted to see it that way you could so you know um so that was that was the huge decision when I could have gotten everything I wanted but then know there was a reason for the George Bush pronunciation of the strategic put into place at the beginning and like no no keep going on that idea yeah that's that's the way to go and you see my point of order I'm coming from about the idea of being about just the blood just being a bridge that that could never be crossed I figured after De Palma's Kerry we're okay with anything yeah the later scene I mean it's it's oh you're right brutal I guess it's abstract it's a little image it's not something that's happening and there's a cause and effect of it I could chop somebody's arm off there's a cause and effect for whether bloods happen thank you for telling this story I've actually always wanted to ask that they have as a filmmaker to like when you've come into the industry you don't even think about battles with the MPAA you know you just weird way I did for the simple fact that I grew up watching reading Fangoria magazine okay with every filmmaker all these [ __ ] are Nazis oh my god for your first battle with them no I realize that these guys are wrong all right the Palma's approach with the MPA was wrong Wes Craven's approach with the MPA was all these [ __ ] Nazis how dare they [ __ ] do this to me all right it was like well of course you're not gonna get along with them if that's the way you're [ __ ] talking about them in the press if you're treating them that way all right like I got to make friends with these guys they have a power over me that no studio is ever going to have yeah sure and then then oddly enough the reverse ended up happening I had a fantastic relationship with them and see the studios are used to using the MPA as the bad guys all right they don't have to be the bad guys cuz the MPAA is gonna be the bad guy so they get to sit on the sidelines guys it's not our [ __ ] phone yeah right you're contracted for an hour so as long as years old you deal with them right and get your are and then you talk to us right I got arse on like horrendous [ __ ] [ __ ] now the studio actually had to like okay no like we want you to cut it now all right this is too much they actually had to like like step on the line of fire and let those guys be the bad guys oh I love to watch the MPA watching the Tim Roth scene in the car and Reservoir Dogs everybody flipping out over how red the blood was gonna let that guy do this to me the guy in the mask that was before I was actually dealing with him personally we had somebody alive that was handling that but then when we we've made our little choices and made our little cuts and then like the MPAA guy told the guy alive he goes hey look you told the director as far as we're concerned that he made some tough choices but I think he made the right choices for his movie and he and his movie works intellectually and artistically he made no compromises we're actually proud of how he took our notes which is interesting cuz that Kill Bill scene is more comical it's more of like a fun moment yeah well you know thinking about fandom we were talking obviously with Kevin here we were talking about like ultra fandom you were very kind to Kevin and myself a few weeks ago when we saw you at the restaurant the four seasons and you I mean you were trying to eat you were in the corner I think you were but you were maybe tied no idea that I was there during the Irish mayor says he was across the hall literally and we literally joked when you walk into a restaurant notice that it's a bf CA event people were asking for photos people were like all over you and you took a couple of minutes out of your time and you're very kind of myself in Kevin and I'm curious to like fam protocol someone in your position you know I would imagine people are coming up to you all the time asking for photos asking for your time asking for this what is from your perspective what's proper fan protocol if someone sees you on the street what's the best way to have a positive situation for you that works with both you and them oh that's easy don't ask for a photo oh really yeah yeah don't ask for a photo I'm not gonna give you a photo all right and and not only am I not gonna give you a photo it's going to vaguely tarnish the encounter if you ask and ask for a photo but just coming up and saying I like your movies and like wanting to shake my hand and you know then I'll get your name and everything and if you don't ask for a photo I mean depending on what the situation is I might even engage you like a little bit longer us for photo a glass wall comes up and I yeah and I try to say no in a nice way and everything but I ain't giving you photo yeah yeah I mean it's like but I mean it it rubs me the wrong way cuz it means like I don't think you even really want to meet me you just want this a piece of me a piece of me yeah there's a lot of that out there unfortunately yeah I'm gonna bring it back to Hollywood because I'm just curious I do stunt casting all the time I like to have fun with what if this happened where that happened what if I really in your process Brad and Leo came to you and said Quentin we've been talking about it amongst ourselves we think we're a better fit if we switch roles would you have ever listened to them not in this case okay I mean like I can imagine a city I can imagine in the situation you're doing true west or something like oh hey let me play this guy and let me play that guy right I think there was a discussion like that with William Hurt and rod rajulio with a kiss of the Spider Woman or something by maybe should we switch roles no I actually think they're cast really well and for like you know is a Rick being leo being the actor and cliff being the stunt guy now there could be a couple of different there could be a couple different alliterations of the casting or something like that could work but I don't think I'd I uh but that would be more stunting in this case I actually think Leo is perfect for the character he's playing in Brad's perfect for the character he's playing gotcha my wife and I were in Japan recently as I mentioned we went to gum Pachi which was yeah yeah awesome and in there you have a sea walk in my wife surprised me she actually didn't tell me where we were going she's like we're gonna go this place I want you to walk in and I want you to look at and tell me what you notice I walk in and I immediately go Kill Bill the way it was designed and I was you know I saw your photo in there and I believe this is a story I'm coming from wrong that you went there to eat and then kind of inspired the way that that scene ended up looking at it it gave us you know I had my own design for the restaurant and the fact the own design for the restaurant kind of found its own way I was kind of lost until I've kind of figured out what the restaurant would look like the only thing about that place was was was the concept of the stairwell yes all right surround surrounding it all right so that really locked us in that that was so that that's what we in particular took from that place so the question for me that for you then is what are other places you've been to that have inspired a scene in any of your movies like a restaurant you ate at wherever you went that we can now look back at Pulp Fiction Reservoir Dogs or ambassadors or Django and go Quentin went to this place and inspired the look of that moment well God you know I don't know if there's that many of them I mean you know um there was a I mean I guess Jackrabbit slims was pretty much inspired by a crazy Planet Hollywood version of there was a series of 50s cafes in the 80s and 90s called cafe 50s and I think there's I think there's only one left actually I think a little bit there I think there's there's one in Venice on Venice Boulevard that was the first one but there's still one by the new art all right on Santa Monica Boulevard that's still that that one's still going but there was a few of them oh and the other was Edna Bewick's that was kind of this crazy Farrell's kind of place all right but cafe 50s so so the idea though but like I said a Planet Hollywood version of cafe 50s I in fact it was funny because Harvey Weinstein kept wanting me to do a real Jackrabbit slims which I want you did the way they had like a Planet Hollywood we'll get a couple of stars and they'll back it up and we'll open a bunch of Jackrabbit slims across the nation will be fantastic and I'm like Harvey I'm kind of making fun of these places like a page and a half describing describing Jackrabbit slims to MU to the nth degree and then after I get through describing everything about it I go this is either the best or the worst of this place is awesome I want to get to go back to casting for a little bit because I get really excited when a director pulls same actor back repeatedly and you have people who are part of your in Samba the Tim Roth's Michael Madsen and I'm always excited like oh how is it gonna use them this time Sam especially right you always use Sam in many different ways but there are other examples of actors that you've only worked with one time like I mentioned McTiernan die hard Bruce Willis to me was really important so when Bruce Willis showed up in Pulp Fiction I was like oh this could be great Quinn's gonna work with him a lot yeah but then you know and I'm just curious what's the difference between the people that you bring back you know versus an actor who you had one particular role for do you ever try to get another role for a Bruce Willis or a Travolta or someone like that well look in the case of like you know uh yeah I think you know uh Bruce especially I think really wanted to be in a few more movies and everything and around the time of Pulp Fiction I thought that was going to be the case you know in every single situation it's not a situation of oh well this is an actor that I've worked with once and I've had my time with them and now that time is over but these are the guys that I like more and I want to bring them in it doesn't break down like that it's it's about the characters it's about the characters I'm writing and especially at a certain point once I got out of the 90s once I was out of the 90s I was less inclined to fall in love with an actor and what I could do for an actor and what I could do with their persona and then take them into my world and fit it around them so they would shine which i think was kind of where I was coming from a lot in the 90s Robert Forster yeah starting from the tooth well but Robert Forester actually is just such a perfect fit from max Cherry all right but so I think he would have won that role regardless but from the 2000s on I mean I guess with the exception of uma Thurman because I completely built Kill Bill around Ouma Thurman but with the exception of Huma I think it was a situation where from that point on I started taking my characters more seriously Oh interesting and so so some of the decisions I made in the 90s I might not have made in the 2000s all right because it was more about the character and finding the best actor for that character and not so much caring about the that actress persona and everything they'd done up until that and how I would make it work and and the cause and effect that this could have in their career it was more about know it's about my character I got to get my character right and I have to bring my character to fruition with via this actor I got one chance at it here it is and so in that instance I have yet to write I I think John Travolta is a fantastic actor I think Bruce Willis is a fantastic actor Harvey Keitel is an amazing actor I I've yet to write a character from the 2000s on that I thought that they were the perfect person do it I mean frankly the closest would have been Bruce because I wrote bill for Warren Beatty and it ended up not working out and then I cast David Carradine and then then kind of rewrote it for David Carradine Bruce would have been my third choice Wow yeah and well yeah it would anyway it would have been when I read the original version of Kill Bill it's that kind of cracks me up now because it's the Warren Beatty version okay you know and you look and look the point of it is is when you watch it I want you to not think that I can't imagine anybody but David carry on playing the role I want you to thank that but when I look at that original version you know Bill was a little bit more of an evil James Bond type rather than the Bondi and villain yeah he was more a bond an evil bond all right you know and he kind of had this he had a Warren Beatty kind of quality about him and frankly to tell you the truth I probably wouldn't have to have rewritten at that much if I had cast Bruce in it Bruce could have actually played that evil James Bond kind of character and I would have just leaned into his personality maybe just a little bit more a little more a little less little little less crystal a little bit more cores all right a little less champagne a little more beer yeah all right who says I think is part of Bruce's charm yeah sure all right but that would've been a very uh a slight lean in there would've been a slight lean in I felt stunty though well I wonder if it would have felt style think so no I can I can only man I can imagine Bruce and uma yeah doing that at the end yeah I can imagine him being Carradine delivering that storm and I can't imagine anyone else doing that is playing Blofeld now is that is that hilarious that Christoph is playing Blofeld than the Bond franchise now I I didn't really care for Skyfall but I dug Spectre yeah yeah and I really likes me I thought Skyfall was like this whole [ __ ] movies ending at a shootout at a [ __ ] cabin this is a I wanna be [ __ ] straw dogs [ __ ] [ __ ] farmer is helping him out James [ __ ] ball yeah though Spencer was like a laboratory in a desert from the opening action sequence inspector on it was like we now this is a James Bond so Kevin and I both interviewed a John Travolta separately earlier this summer and he expressed to both of us his desire his continued desire to do something we talked about last time we all spoke which is thangka brother he 100% do it if you wanted and I made a joke last time we spoke about cuz we had heard about the D aging and Irishmen and everything any kind of my and I'm not gonna do that you've seen the Irishman now once peer assisted a loaded question your thoughts on how that I that D aging process finally worked out and would you ever reconsider using it for vagabrothers I wouldn't consider using them for vagabrothers all right brother just not happening yeah it will be a graphic novel if it was going to be anything [Laughter] that first read this issue but the first bad magazine I thought was so funny I wanted to film it all right I would've dramatized that I know I don't think I don't think I'd do that as my last movie but uh but I could see it as like I said I could see it as a graphic novel or something like that so what did you think of the d aging process of Irishman well it was interesting I I hadn't I didn't really have a problem with that I saw at the theaters should number one movie the year right yeah I don't I don't count my movies joining the best of the decade or the best of the year all right if I did both in that County and the funny part about it he's right but it's interesting though because I stopped at movie theaters and I got used to it pretty quickly and that I kind of really didn't think about it however I watched it on television I watched the first 20 minutes on television the other day and I have to say that the aging process made more of an aesthetic more reduced to a smaller screen okay as opposed to watching it on the big screen you know by the time that the Stuckey's scene was over I wasn't thinking about it anymore here I was kind of noticing it more but that was only the first young pair she still looks good in it yeah I think so too I think when they move like there's a scene where like I love the movie but when De Niro goes out that window and kicks that guy it looks like a 80 year old person kicking somebody I'm not quite putting I look I'm not trying to see yeah I'm not putting that under that kind of microscope I'm looking I'm not trying to see how the trick is done yeah I'm just looking at it in general to be swept away with it rather than to put it under the microscope yeah that cast is so incredible that when Keitel shows up you're like oh my god I tell is in this to know in bed like I actually think in a movie jam-packed with hysterical lines yeah I think Harvey has the funniest one oh do you know who runs the happy day yeah the happy day cleaning service no I don't I do oh no Kevin got tattooed with Quinton stuff so you get the last question something that I find interesting so over the years Thank You Sean um true romance is my favorite script you ever wrote not to say I think it's the best I just think of my favorite script you ever wrote everything you've ever written and all your movies are some of my favorite movies of all time so there's it's really kind of like picking your favorite child to be honest but I still thing in my mind my favorite monologue you've ever written is walking hopper sequence in true romance I mean that scene the Chesterfield sound effect I have a Chesterfield poster in my house because of that because of that sequence Gandolfini behind them I mean it's just that the whole scene is just it's just a masterpiece and the way they deliver that dialogue is incredible when I spoke to you at Django and I actually at grindhouse you said that you were writing a scene that you thought was gonna top that moment and that scene ended up being the opening of inglorious basterds when I met you at Django you said that day that you still think that the opening monologue of Basterds is your best monologue you've ever written why you talk to me about why you think that one is that still the case and what are your thoughts on someone like me thinking that the true romance moment is just a particular favorite and why is Basterds your favorite opening Romano it's it's it's oh I have no problem that you like the inglorious of the true Oliver yeah everybody abide no problem that you like you put the true romance one at the top of the list I mean to me it's like you know when it comes to you know standalone scenes alright that work but primarily work because of the dialogue and inside of them make us frankly to tell you the truth I actually think the spawn ranch scene is just as good as either one of those two scenes but it's not about the dialogue even though the dialogue is good in it yeah and that's butBut that's that's more that's also more directed all right that's it directed at an acted CI it's good in the it's good in the script when you read it but it's not the standalone that that the true romance one and the inglourious basterds one is because it's not it's not built around dialogue you know you can do a you know kids in an acting class will be able to do the scene from inglorious bastards and the scene from true romance for compared to Eternity you can't really quite pull off the spawn ran scene as an acting class in that same way yeah so but you know so but you know but there also is this aspect when it comes to those two scenes the true romance and the inglourious basterds is that they're standalone you don't need the rest of the movie around it they kind of work almost like little one plays unto themselves and so look you know so that the standalone quality the fact that it completely exists on a white piece of paper perfectly then it also exists within the movie version with you know the actors that played those roles to a fairly well alright in both the hopper and and walkin and Denny mache and Christoph and and and little you know the also the standalone quality that that like you know they work even independently of the movie surrounding them you know the I think they're you know if you're breaking my scenes down into hit records I think they would be my two biggest why do you prefer white why do you personally love the Basterds one the most and I'll end on that yeah well I guess because well okay I think that well I think there's probably a couple reasons actually it's longer so I pulled it off more I mean I doubled I double the time and and and and to a I think a greater effect rather than a lesser effect I think there is tension absolute tension in the true romancing but I think there's more tension I think there's more tension than the bastards so it's actually it's actually becomes a suspense sequence in a way that the Truman's one doesn't all right it's still there but this is late but it is it's full-on suspense at a certain point I think there's a really a neat trick to a dramatic reveal about the idea that it is just dialogue until we review the Jews underneath the floorboards which happens midway through which that's kicks the scene into a whole different area I'm gonna wrap around shots comes around and yeah absolutely and the fact that like a quarter of of it's quarter of it is in a different language that's true you know so I mean you know so I mean you know so I guess and that also true romance already existed so I had to top it and I knew I had never topped it alright so that was a goal to reach right all right you know uh you know a sports analogy you have a magnificent game with a magnificent scoring you're always trying to you know have another game where you reach that score with that type of team all right and that's what I and that's what I did so there was a you know so it existed in a world with the true amounts already existed and so to finally be able to get a leg up on it for the reasons I said that's what I absolutely thought about mr. Tarantino is how you have that hunger still every single time I'd like to beat yourself there's so many of the directors have just coast on their laurels like I had that success that's it I'm gonna live off of the fat of fill-in-the-blank that's why I'm that's why I'm kinda you know getting out while the getting's good dropping the mic while they're like it's still about you know um pushing therefore yeah Marty just did yeah just did you could do that well yeah but you're making tattoos for that alone to business a lot might change my mind to see where they end up this has been such an incredible experience it's an understatement to say how happy we were to have you back on the show it's my pleasure and I do it proper and an extended version extended version the director's cut we're gonna call this volume 1 and volume 2 so thank you bloody affair eventually in my lifetime I'm gonna watch that in 35 in full we show it every couple years at the New Beverly never seen it we've shown it everybody's back-to-back on purpose I quickly put them in and watch i watch is one movie all right well thank you again my pleasure oh then the whole bloody affair has the all coloured Japanese section we're gonna get a blu-ray and we dropped the mic naturally we had to thank our amazing friends at Sony who were able to bring Quentin back around he's obviously doing press for Once Upon a Time in Hollywood which is doing very very well on V but not so much press no no no he isn't at all and and I love that in the course of our conversation he mentions that podcasts are a good format for him because it allows him to sit back be comfortable but you double-edged sword for me because as a podcaster I go oh cool but as someone who also still does TV junkets I think that's why we have this yeah there's a story of how this came together is really one for the ages and I'm trying to decide where to even begin I think we just have to flash-forward - we got to tell you guys that this interview happened in New York City on a Saturday and it was confirmed Thursday evening and we had to then get ourselves to New York City to make it happen which is great we were always prepared to jump with the minute he was ready to go we were thinking it was going to be Monday and that we'd have a little bit more time and then when we found out it was going to be Saturday we just literally dropped everything that we were doing and started moving mountains however you can only do so much and when we all landed in New York with plenty of time very cat we planned to get there early in the morning we were going to prep our questions we all wrote up our own questions but we love to have we've talked about geek out dinners before this was going to be a geek out breakfast lunch kind of thing where we would at least take the 40 to 50 questions we sort of scratched out and put him into an order that made sense however when we landed we received a text message from Gabe that said there's a delay it's not good and he was not exaggerating because game had all of our recording equipment he got it in st. Louis and was gonna be bringing it to New York City with him and was due to land at like 11:30 it would there was no weather no issues like that it was a mechanical problem he was really good at making himself an expendable yes exactly and that led the three of us in New York to go into panic mode of we have to try to find equipment and but I also want to throw this to Kevin really fastly because Kevin is a wizard when it comes to booking a flight because he actually managed to get Gabe onto an earlier flight on a United Airlines plane that had one seat kevin sprung into action yeah and secured that seat it was it was something that I stood in in Newark Airport watching Kevin worked the phones and I was uh I was dumbfounded to how good you are at this well that was well thank you that and that was the crazy part is as Sean mentioned we all flew ourselves to New York so Sean and I land in Newark together and we are at my gate and I'm holding Sean goes to get me a coffee which I didn't drink I threw away I'll tell that story in a second so that's the first thing you said when I saw you New York was no Kevin threw away the coffee there's a lot still ago yeah it's like I get I get I'll and my phone's been off the 45 minutes flight from DC to Newark and I land to a ton of text that Gabe's not gonna make it we have no audio equipment I mean this is a huge problem because if we're getting ready to do a 90-minute interview with Quentin Tarantino and we have nothing to record on but our phones unless Gabe gets there and so it's not even just gave having the audio coming I just want gave in the room with us when we record because that's the show it doesn't feel right when Gabe's not with us so my thought was Gabe doesn't have status on the airline and so we have to figure out a way to get him on a flight so I essentially call United with my status and I get Gabe on the phone at a three-way call and Gabe is all ready to go this credit card information all ready to go and we book gave a flight to land at 1:30 Gabe's flight new flight is gonna land at 1:30 p.m. keep in mind our interview with Quentin Tarantino is scheduled for 3:00 p.m. we then later find out the interviews being moved to 2 p.m. which doesn't give Gabe any time at all to get from new work to the hotel set up as equipment and get the interview rolling so essentially we're in this position now where we are hoping that Gabe will land and get there in time but we don't have audio equipment to do a 2 o'clock interview we just don't so Gabe starts calling around Jake we're all we're all kind of panicking but remember at the same time as Sean mentioned we all had to work on our questions we we had them we had them email we had lists we were ready to go but Jake and I and John we all like to have an order of what we're doing we want to know who were asking but we did not have the luxury of doing that this time we just kind of threw questions out and email and then we quickly before the interview started ordered them after we got our equipment here's the craziest thing we essentially call around Sean and I are in an uber I'm calling places in Jersey Brooklyn and this is the day of nobody has equipment nobody has recording equipment and then I randomly call Guitar Center cuz Gabe mentioned Guitar Center guy picks up the phone his name is Bruce and I and I used Quentin Tarantino's name to say we have an interview of Quentin Tarantino today and we need help we don't have any equipment the guide receives to telling everyone in New York knew that we had an interview with Quentin Tarantino once I have every audio shop knew that and Gabe I want you to time in here too because we this guy picks up the phone I tell him were in everyone quit and Tarantino when he goes that's really weird because I actually produced a song on the Pulp Fiction soundtrack and he goes on to tell this story about going to the Viper Room years ago and his band was playing there and Quentin was there and I don't remember the exact details of it but it was a crazy story so anyways we go to this horror Center and all three of us are in guitars that are going through microphones equipment and eventually they give us this this gear and we have to learn it we have to learn how to operate it with four mic channels on GarageBand stuff we have no idea what we're doing which obviously gives us a deeper appreciation for what Gabe does in the show but there is a visual I'll never get out of my mind of Jake Sean and myself behind a Guitar Center cash register counter testing microphones and people pretending to be Tarantino to test the audio remember the one about one of Bruce's co-workers Aaron yeah he was Tarantino for us and we're all like and Gabe is in the air we don't know what's going on we just hope he'll land and the idea would be that he would just sneak into the room and then possibly sit down with our equipment that we have set up at this point Gabe has no idea that the interview is gonna take place any minutes at hey you're in the air so what I want to pause my story here and go to you because you've taken off and we're tracking your flight to land at 1:30 for a clock interview and what's going through your mind at this point uh on the fly while I'm flying Oh while I'm flying it's bliss I'm like oh I'm I'm on a flight we're good to go you don't know the enemy's been moved to two o'clock no no no yes it was hello to give context hi I'm filling in for Shaun because Shaun had a phone call he had to take so now I'm here but uh but ya know I didn't know I didn't know anything about it I mean we I was in the the flight was enough stress I thought we were all good in landing and bein realising that it was supposed to be in 30 minutes was kind of the worst thing that could have happened after all that we went through that morning of just trying to get there so so ya know yeah as far as the flight was concerned I was just ready to get there I was I was already bummed that I didn't get there early enough for us all to kind of because we all usually work on the questions we talk about order we talk about right we kind of sync up just in general about what what we want to get from these interviews and and how we want to and we can get very specific sometimes about how we want to do stuff but we're just that's the way we are we're just very particular yeah so it was for us not only was it a last-minute book but it was a last-minute like everything about it got condensed because of because of travel oh yeah which is which is never fun Jake what tell the audience what happens we we lead guitar Center my my perception of Guitar Center was cuz I know nothing about the technical side of thing which only builds upon my respect for what Gabe does for this show so so Kevin I don't know if you remember this but I pieced out pretty early into the technical talk and found myself by the cowbells and I was playing with all the different Kalba so I would like to look over and you and Bruce would be having this deep technical talk Bruce's guitars on the phone and Bruce is getting mad because he's trying to tell Kevin what to do and Kevin's not listening and so I thought oh look cowbells so that's what I did for about an hour was playing that I kept coming over every every I don't know if you remember every five minutes I come over and like show you a different weird musical instrument I feel like look maracas walk away and then I'd come back and I'd be like look a triangle right I kept coming back with different and you did not find it at nearly we were all freaking out we get back to the hotel and we just start telling at that point we're settling in and we're getting ready and it's a technical thing and the big question becomes whether or not Gabe's gonna make it right and Jake but Jake's anxiety comes from not having the order of our question because like we all knew that we had great questions but there's a difference between having three people with a bunch of good questions and having them flow right and we had no point did we have a chance to sit down because we also like to each take turns asking questions we don't want to you know we don't want to shortchange anyone we don't want anyone to walk out of there thinking well I didn't get to ask anything right um so we try to make it so that at best we each take turns asking questions but they're not we're not jumping all over the place and asking a bunch of random stuff that one kind of flows into the other and and that's easy to do once we can kind of sit down and and you know take 20-30 minutes and discuss what it is that we all come up with but it does take that process it does take that moment where I go well I want to ask this oh you're asking that that's cool my question reference is something you're asking yeah so why don't you ask that first and then I'll follow it up with my question yeah it's a simple conversation but it's a conversation that needs to be had and I was getting nervous because the the minutes were ticking by and we and you want to seem professional we were supposed to be in a lunch going over this like that that we were supposed to be landed no stress and the entire like 36 hours leading up to this interview what did I say all I want is our freaking lunch yeah to sit down and go over our questions and the joke was the only thing that was good our big joke with Kevin doing the whole if it if it happened right we were saying well even if the interview doesn't happen at least we'll have our lunch that's what didn't happen the longer lunch and so to end to Jake's point we did get to sit down very quickly um so I set up all the audio equipment I got everything rolling while we went through the questions and like a great example of what Jake's referring to a great example of what Jake's talking about is the fatherhood question because if you look at the arc of that question I asked it and then Jake follows up with his and then Shawn follows up with his if we didn't have the discussion of where those questions were gonna go that fatherhood moment would not have flow the way it did so Jake's very important point of that preparation that's how that stuff works so then we get a text from Sony that says oh now it's gonna be 2:30 so then we're then we start having very detailed discussions about what we're gonna do if Gabe can get here before Tarantino walks through that door so then there's arguments of do we let Gabe set his equipment up take down our equipment what if he wants and when Tarantino walks in then what do we do and the consensus was we want to I would rather have Gabe run this on his equipment with his own stuff and while there but we didn't know that was gonna be the case so we had this rig like that on it so then Gabe's texting us he's landed the clock is ticking down it's like 220 and Gabe texts the group and then I like Gabe take it from here but he was five blocks away sitting in a horrible New York traffic yeah well ever since I landed I was trying to it's kind of we all kind of work together on a lot of things but that's usually my role is you guys can focus on what you're focusing on and I can kind of solve our technical problems whether it's that whether it's travel rights whatever and so I'm sitting here trying to give you guys a list of you know okay if I get here at this time this is what we'll do if I get here at this time this is what we'll do if I'm not there at all and I die in a car crash peace have fun enjoy it but yeah so I'm in an uber going okay it says it's gonna take this long and it's a Saturday traffic in New York and we're just trying to figure that out until I get about like three blocks away and I can see on the map how far away it is and I can see how much traffic is and I'm like all right this is this is a movie moment and I'm just going to embrace it and I'm gonna go with it and I say I'll just get out here and I grab like I don't know it maybe like 35 40 pounds worth it yeah 35 pounds worth of gear that I have and I'm like sprinting through to get to this hotel I'm out of breath I'm in the lobby and I'm like I'm supposed to be yeah I just say that and she's like oh you're the audio person like yeah and my name is Gabe yeah I didn't care it that she could have called me whatever but it worked out like it's like Blaine walks in two minutes before Tarantino a minute - I'm still plugging in audio cables as he's like hey guys I heard you guys are like shaking hands and stuff I'm like check check check check one two no I'm trying to make sure everything works so that when we hit start it's not a [ __ ] essentially a Tarantino appreciated it too because like he was a he was aware of what gave had just done like the running thing and the beauty of what ended up happening that moment it was we we bought cast amigos margaritas again like we did in our first interview so the time it took Tarantino to go over to the area and make himself a cast amigos margarita was the perfect timing for Gabe to get everything checked out so basically all that Guitar Center equipment just got shoved aside after all that work we did and gave you get this stuff in and then we roll and write it was yeah and I do want to give we talked a lot about the one we're talking about our behind the scenes stuff but we are a big part of the show is talking about behind the scenes of like I don't wanna say Hollywood but how that system works in PR in general and I don't want people to think that like it was do or die like if we weren't ready to go they were just gonna leave us but we're all very one we like to be prepared we like that we like to give them nothing to worry about on our ends so that we can just go with the flow and that's what we're operating from Tarantino when he got there and his people and everybody they were he would have been fine waiting five minutes if they were Taylor like they were like yeah they even said like go just take your time like no worries he was just laughing at the story I didn't wanna waste this time absolutely absolutely so he they would they were I don't want people to think that they were like you know sitting there tap-in their watches waiting for they were they were super accommodating as far as needing a little bit extra time to just make sure everything was right because little did we know not only where we're gonna be sitting there for 90 minutes but he was gonna want to keep going yeah and it ended up being you know over two hours and it's and it takes some it takes time to make sure everything's working so that something doesn't break over the corset and to gate into Jake's point in to Gabe's point Gabe is there as a producer he's also there to limit our concerns about the equipment we're using right so yeah the meds tracking time and all that kind of them you guys can just be in the moment right the mentality of Gabe's sitting there and running his own equipment took my mind because if he wasn't there yeah I would have been looking over at this computer that I operated through the Guitar Center equipment the whole time and I wouldn't have been present in the conversation and like Tarantino I want to say thank you to him if he ever listens to this because not only did he give us 90 minutes but at the 90 minute mark he said he wanted to keep going and we just and and and and respectfully each one of us said you don't have to we don't want to take advantage of your time but you're more than welcome to stay and whatever audio you're gonna hear from this interview there was so much more at the end of it that was so special to us that I think we'll eventually talk about at some point but once the interview ended we actually sat in that room I don't wanna exaggerate maybe for another 20 minutes or so talking to Tarantino about non Tarantino things specifically his top ten of the decade which which I we won't reveal his will let him reveal that but it's he gave us his first five and they're really cool it's kind of my kind of my glowing yes wait his top five of the 2000s I'm so sorry of the decade are going to blow your minds like they're very very you an interesting fact that he told us something and we can go like you know we're gonna keep that like we're so you know something yeah about Quentin Tarantino yeah they won't let him tell you is pretty crazy but I find it I do find it interesting though how easily he gave us that information and and it was interesting cuz we're just standing there and Gabe's packing up and you know thank you to Shannon who is amazing producer sat through the interview with us was actually responsible for the amazing blu-ray you're seeing for Hollywood and I think that it's just such a cool thing to were off record and we're just hanging out and just talking movies and we got into the wildest discussions randomly were on William Shatner for like 10 minutes and we were like going through these like loopholes of conversations but we just wanted to share the behind-the-scenes experience this because it it was it meant a lot to us we're not trying to sit here and say you know we're the greatest or you know we're not trying to pat ourselves on the back we're just giving you what it was like for us on that day because I feel like it will add an interesting context to the what you just heard and that's why we wanted to explain it okay I'm back I'm joining the conversation the the Tarantino love fest and I'm gonna give you just my quick perspective on this because it's so bizarre that I need to get it on record so that it exists someplace yeah but I texted this to the guys after the fact and naturally the text chain that we live in essentially was filled Kevin made a joke where he essentially said that I just pay for Wi-Fi on my flight home so I could just keep talking about this interview no I actually did I paid 899 for 25 minutes of Wi-Fi just so we can keep talking after I scarfed down amazing Wendy's Burger they're not now not an appetizer on the show by the way the next day they should be they should the next day as I tried to process this I got hit by something by a feeling that is my honest reaction to this of just I honestly think Quentin is friends with us like I think he's friends with us and and to the point where if if we were to bump into him at the Critics Choice Awards of we have to collectively go over there to them together well and but I also think that like okay so we've had these conversations with certain filmmakers where the three of us have said like can we approach him do you think we can get a picture how is gonna work out I I don't have that anymore with Quentin right I honestly feel like if we saw him someplace we would be going up to him to catch up with them as if as a friend like I legitimately fit and I could be completely deluded he might not think this her I said the next thing I said like and this is gonna sound strange but we're fortunate enough all of us to have multiple pictures with Quentin and after the comment that he that he made in the podcast I I'm done asking Quentin Tarantino for pictures like yeah like if we were to go up to him talked in a couple of weeks to the yeah like yeah I think we would all go say hello hey good to see you congratulations have great night and I think we would all just walk away I and and again maybe I'm putting myself on a pedestal where I don't belong but he was so unbelievably cool and I'm sure you guys probably touched on this the fact that he scheduled us last because he knew that we would be a hang you know and then did one I've actually don't mention that I don't think that he told us he's is cool he did some other press of that day obviously he was in New York he did a couple other podcasts or at another podcast I know he's doing a few other interviews but he told us that he specifically scheduled us last in his day and that he had nothing else to do for the evening and he said he did that specifically because he knew that he would want to spend more time with us and I had said that to the guys at one point maybe I said the game I forget who I said it to us like I kind of get the impression that if it's going really well he's gonna want to stick around you know cuz I do think the first time we interviewed him when it ended he didn't necessarily want to leave I think he was enjoying himself I think he really liked the questions that we asked and I don't know if you guys mentioned this earlier but at the 90 minute mark when he got up to take a bathroom break and at that point you know I had seen that this the time that we were at and I essentially said Jen was like whinger you're kind of done you know like that we're at 90 minutes and and Quinten actually even said to us oh I saw your producer counting us down I actually liked them behind the scenes remember he said he I was watching game or your producer I was I was watching him with his ten minute sign he was fully aware we were done and to show Gabe didn't wrap Quentin I will say that the gate Gabe did not give Quinton the ref sign which was very kind of him but Quentin said no no man this is great I'm having a total blast and you know do you want to go like 20 or 30 more minutes like we can do it like 20 or 30 more and the funny part is and I'm not sure if you guys mentioned this at the hour mark Gabe tapped my leg and pointed at the clock and was like you know we've done an hour so far and I looked at the sheet we had I had three sheets of paper in front of me filled with questions of the order that we were potentially going to go in we had done about seven of them there was about 30 more to go yeah we were an hour into our humanity questions written in by the way I'll tease this now I kept the paper of our order I did so once and I actually kept Jake's too because Jake left his on the table so I grabbed Jake's and I grabbed mine so we can cab them forever and I'm I think after the interview is released we should tweet out the question list so people can see what we got to like we didn't get to because it was 38 questions every one of them was listed the order we went in and for people who may wanna listen to the interview again or are super fans of our show it could be a fun way to listen to it again if you want to go through our questions and see our sheet and because at one point during the interview before the interview started Quinton actually said do you mind asking me about something so I actually wrote yeah I wrote mad the Mad Magazine on my sheet of paper like in the middle of all these questions we had written and it was just literally just right there as mad just to make sure we got to it but it's it's great it's crazy how little we got to do with much how much time we had because that was a conversation we just we're not pat ourselves on the back we're just saying that we were it didn't feel like an interview for us we were talking and I want to say this I think I speak for all three of us when I mentioned that we had a little trepidation with this one in that the first interview went so well yeah and I think Kevin said this once he's like I just don't want this one to not go as well as that like I want my experience with him to be so good right and then this one like just floor it floor it it and so you know the takeaway people always say like don't meet your heroes right like it's you you're setting yourself up for potential disappointment but both of these experiences of Quentin as a result of this show and you guys listening to us and you guys encouraging us to go after filmmakers have been two of the most amazing interview experiences I've ever had at the first one and someone else too pointed this out too for the first one we showed up in our suits and we look like Reservoir Dogs and it was a it was an interview you know we were very prepared we had everything we wanted to get through with Quentin it was structured he gave great answers this one was a hang and we were all dressed casually it was just and Quinten I think Quentin approached it knowing that he's like this isn't an interview it's a conversation and I hope it comes across I hope it came across that way as you guys listen to it I feel that it was really a conversation and he approached it that way too and for that reason I think that it has the vibe that it Shawn did you like volume one or volume two better of our interviews well my one is much better energy I like that we dabbled in that a little bit at the end and he still is like don't you cut in half don't get in half so I hope you guys enjoyed the behind the scenes story of what is got to be I mean if this has to be the best interview real buns ever done is that right the greatest moment for me in my career to be a part of this and this is the last thing I will say because this means the world to me I know Jake does this and I'm sure Shawn did this I'm sure Gabe did this I probably stopped close to 10 or 11 times during the interview and I stared at Quinton's face and I said I am sitting across from my hero my eye it's hard to do that in an interview especially when you have four minutes but to sit there and actually look at him and actually have the and had that moment Rigo he's right there talking to me about movies yeah what is happening right now right that's all I had about ten of those moments during the interview and I'm sure Jake did I'm sure you Shawn did you got a I did that my wedding day by the way it's the only other time I ever did that I think I remember my wedding was at your wedding to know where my wedding day I stopped and I said to Lauren we're getting married right now this is really cool that's how this moment is like near my wedding day that's that's how big of a deal this was for me personal of it let us know what you guys thought at the interview please go to social media share your insights with Quentin and all the things that he that he shared with us send us emails real blended cinema blend calm we just want to hear your feedback naturally we're not gonna get two plus hours with all of our cinematic icon but you know we're hoping that this is a springboard to get some other amazing filmmakers on the real blown podcast because you guys have been so supportive and we are so appreciative of the fact that you guys listen to the show and and allow us to do this so thank you guys so much for listening to our extended interview with Quentin Tarantino we were so excited to bring it to you guys but hope you guys liked it be back next week with a traditional episode of the Roblin podcast as we build up to the live one that recording in Washington DC for episode number 100 so until then dunkirk dunkirk da dun Kirk

Channel: CinemaBlend

Views: 201,722

Rating: 4.891614 out of 5

Keywords: quentin tarantino, once upon a time in hollywood, leonardo dicaprio, new quentin tarantino movie, margot robbie, kill bill, brad pitt, inglourious basterds, once upon a time, quentin tarantino interview, quentin tarantino movies, once in hollywood, quentin tarantino pulp fiction, quentin tarantino oscar, once upon a time in hollywood scene, once upon a time in hollywood ending, quentin tarantino interview 2019

Id: DMOxxYpBbeE

Length: 153min 20sec (9200 seconds)

Published: Thu Dec 19 2019

Reddit Comments

[u/JRTD753]

Thank you for sharing! I'll listen at work tomorrow.

[u/betterversionn]

I need to listen to this. When other films came out, I could always find a lot of LONG interviews with Tarantino (which is something I used to always look forward to along with his movies), but I didn’t see any this time around. Maybe I just didn’t look as hard? Did anyone else find this to be true???