The first one you direct is Reservoir Dogs in 1992 and you announce your arrival on the scene with this particular moment. Well good luck to me. I got to be somebody I just scared off all of my chair and worried how good those things close to me. Jokers to the right here. I can tell you that. Mr. Blond torturing a cop. Yes. You kind of just before I got good or I would have closed this studio down. How did you come up with this idea of highly stylized violence? Hmm. You know, there's all kinds of scenes that I respond to in movies that respond to music sequences. I respond to big comedy sequences. It was like they galvanized the entire theater. Everybody woke up, everybody got connected. And, you know, and I would go see a film that had a sequence like that. I would see it two or three times at the theaters just to see that sequence. And then just to have that experience up with an audience so, you know, again, we're talking about, you know, you know, you're calling it violence. You know, it it is violence. It's also action. I think it's also kind of what movies do in a way that that's particular to them as opposed to theater or literature is, you know, the domain of kinetic violence that that, you know, that can usually usually they can have different reasons for the impact, but it can oftentimes give a cathartic release for an audience. Two years later, you make Pulp Fiction, and there we see something else that makes you unique, which is dialog you won't find anyplace else. Yeah. What does Marsellus Wallace look like? What? What country are you from? For what? Ain't no country. I have heard up there speak English. And what? What English do you speak it? And you know what I'm saying? Describe what Marsellus Wallace looks like. Try what again. Say what again. I dare you. I double dare you, Mother. Say what? One more goddamn time. You won the Oscar for Best Original Screenplay. What is the secret to Tarantino dialog? I just get the characters talking to each other. So it's like me. The writer is writing it. And, yeah, I'm kind of controlling it for a while, but the idea is the conversation catches fire among the characters, and then they take it and run with it. And then I'm almost like a court reporter jotting it all down. And and then then usually whatever comes out is what comes out. Now, inside of that, there is a there is a rhythm to it, there is a musicality to it. There is a bit of rhyme that happens between some of the words and some of the phrases. And so, you know, it's not poetry, but it's not completely divorced from poetry. It's not rap, but it's not completely divorced. From it. It's not a up comedy act, but it's not completely divorced from that either. I want to show one other scene for no other reason than it's just so cool from Pulp Fiction. John Travolta. Oh, here they are. They had a high bar phono board, and they let it bland 700 little records, all rock the rhythm and jazz but when the sun went down, the rapid tempo of the music fell to allow these videos to go to show you never again to have that come about. Everyone knows that I've kind of was bringing John Travolta back from I think, look, he's talking three when he did the movie, and it set him up for a whole second act of his career and a really loved third act of his career. For a really lovely way. But at the time, the audiences would go see the film. They didn't quite know everything yet. So they're feeling, Oh, John Travolta isn't so I haven't seen him in a while. So he's in the movie and he's playing a gangster and it's all going along and it's funny. And it says then they go to Jack Rabbit Slims and everything's interesting and the funny dialog back and forth. This is all interesting. And they go, Okay, and now it's time for this twist. Contest, and Uma Thurman goes, Okay, right here. And then they go up there and then he takes off his shoes. And then all of a sudden, all throughout the audience of a packed theater. And this happened for a few weeks when the movie was first opened, you had this little realization like, Oh my God, he's going to dance. He's actually going to dance. And then John Travolta with the biggest dance stars of the last 30 years and a movie you did not expect that to happen, goes out there and cuts the rug and brings the house down. So let's jump ahead. 2009 Your War World War Two Movie Inglourious Basterds. And here's a scene where Aldo Raine, who's the head of the American commando unit, The Bastards, has a surprisingly civil conversation with SS officer Hans Landa, yells Tell you're Aldo the Apache, you're the Jew hunter. I'm a detective a damn good detective. Finding people is my specialty. So naturally, I worked for the Nazis, finding people. And yes, some of them were Jews, but Jew Hunter just a name that stuck. Well, you do have to admit it is catchy. So often in your movies, instead of realism, you go for the way we wish life would be. Don't you know it? Well, sometimes. Sometimes, yeah. Huh? And, well, I mean. Well, starting with that one particularly. All right. Where I kind of consider bastards the the first part of my rewriting history trilogy with that Django. And then so once upon a time. Once upon a time in Hollywood, but, you know, the way that ended up coming about is I didn't start the movie with the idea. Oh, and this will be the movie that I kill Hitler. That will be the whole thing. And I'll re-engineer everything. So that happens. I never really I never have a super clue about. Exactly. I have a clue taking it back. I have a clue, but I never know 100% how the movie's going to end when I start writing it. So the thing about it is I'm writing the script and now all of a sudden the the bastards are in the theater. And the whole idea is to blow up the theater and kill kill Hitler. I go, Hey, this is actually kind of working out. And it's like four in the morning or three in the morning or something like that. I go, What? I'm going to do, what I'm going to do. And then I just had the idea. And so I just took a piece of paper and I wrote Just F and kill him. And then me put that piece, I don't know if that's a good idea or a bad idea. Let me just put the piece of paper on my bedside table and go to bed. When I wake up the next morning, I'll look at it and I'll know more if that's a good idea or a bad idea. And when I woke up the next morning, I thought it was a good idea. It's your movie. Yeah.
