True Romance (1993) Love on the Run - Part Two

Jerome: 00:00:02

It is Father's Day.

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: 00:00:02

I have to call my mom.

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Oh, so Ellie gets caught with the COVID.

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Chris: Wait a minute.

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You have to call your mom.

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It is Father's Day.

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You gotta call your mom.

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Jerome: I'm a father!

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Chris: What about your dad?

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Jesus.

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Jerome: Don't you know

today's all about me now?

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It's all about me.

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Chris: Alright, now I know what

What funny intro we're gonna use.

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Jerome: Alright, somehow

that went right over my head.

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Yes, but when we FaceTime, I

don't ever FaceTime with just Mom.

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It's always Mom and Dad.

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Chris: Hey Mom, Happy Father's Day.

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Jerome: Happy Father's Day Mom,

and please wish it back to me.

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Oh, hi Dad!

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Chris: That's classic.

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That's, that's, uh, most dads,

that's what we get, you know?

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Jerome: Yeah, yeah, exactly.

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True Romance!

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Yeah.

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We have been waiting to do this episode.

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Chris: Oh my god, True Romance.

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Jerome: Wait, wait, wait,

it's not your turn yet.

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Chris: I'm just, I love this movie, man.

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This movie is held up.

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I just watched it twice this year

because I hadn't seen it in so long.

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True Romance.

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And uh, and thank you for the gift.

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I, I wanted to acknowledge

you, you sent me this gift.

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It's the, uh, I refresh

my memory, the DVD.

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Jerome: It was the DVD and

a poster that came with it.

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Chris: But it was a special edition DVD

with some director's cut or something.

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Yep,

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Jerome: it was a director's cut,

it had deleted scenes, yours might

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have even had commentary on it.

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Chris: I don't mind it.

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And I haven't had a chance to

watch that yet, but I got my, my

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poster up right behind me here.

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Jerome: Yep, I see it,

I love it, I love it.

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Love it.

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Um, I can tell you, you can

Well, this is going to sound bad.

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Um, first of all, let me

preface anything I say.

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Let me preface by saying I

am a Tarantino fan, okay?

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Um, I do, I do love his films.

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I was going to say you can

skip the Tarantino commentary.

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Only because And, and I don't know if this

is even something he would even argue.

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He would probably agree with me.

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The man does have an healthy ego, a very

healthy ego, and, um, there's just a

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lot of arrogance that comes out when he

speaks, particularly about his own stuff.

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I started watching The True Romance.

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Chris: Do you know when

he was interviewed?

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Was it an old interview about

the movie, or was it a more

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recent interview about the movie?

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Jerome: Oh, I think, I think he

said it was like: 2010

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That they did this because I had

this special edition blu ray.

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Yeah.

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Yeah, that was the anniversary edition

or something like that I don't know but

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it was so it wasn't it wasn't right when

it came out This is after he's already

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went been an Oscar winner and everything

But what's funny is I had to turn it off.

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So I'll tell you how quick into the movie

We, we're probably about ten minutes in,

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and in those ten minutes, he mentions

that he wrote the screenplay five times.

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And I'm like, I'm like, alright

dude, I get it, I'm listening

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to your fucking commentary.

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I know you wrote the fucker, the

whole world knows you wrote it.

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But anyway, at some point I had to turn

it off, I'm like, I don't know, maybe I'll

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get more out of the Tony Scott commentary.

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Chris: That's great.

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Jerome: So, yeah, but I had already

had my notes done for the episode.

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So, I was just watching it for fun

and I couldn't even get past it.

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Chris: I'm glad you got that

thrown in at the beginning of

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this episode then, that's great.

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Jerome: But I do, I do love

it and I love his work, I do.

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Um, So, okay.

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Let me give you the specs here.

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All right.

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1993 directed by Tony Scott written by

the aforementioned Quentin Tarantino.

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It does have an uncredited consulting by

Roger Avery on IMDb, which is interesting,

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Chris: um,

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Jerome: that, cause he was his

writing partner on Pulp Fiction.

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Um, running time of one hour, 59

minutes had a budget of 13 million.

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So another cheap one,

even by today's standards.

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Chris: Yeah, really?

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Jerome: It was released September

th,: 1993

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13 million worldwide, which

breaks even at the box office.

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Uh, but it made a hell of a lot

more than that once it hit video.

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Because once, uh, Pulp Fiction came out.

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Oh yeah.

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And, and Reservoir Dogs started

to become a cult classic.

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Everybody was going back to revisit

Tarantino's scripts and True Romance

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started to take off at that point.

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Um.

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So, it came in 91st at the box

office in: 1993

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Just behind movies like

Jason Goes to Hell.

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But better than Weekend at Bernie's 2.

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Um, just for fun, I know we don't do

this a lot, but just for fun, the top

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5 movies that year in ascending order.

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Number 5, Sleep is in Seattle.

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127 million.

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Number four, the firm 158 million.

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Number three, the number three movie of

the year, the fugitive at 184 million.

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What a year, man.

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Number two, Mrs.

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Doubtfire at 219 million.

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And number one, can you guess it?

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The number one film of 1993,

: 1993

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First run release

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Chris: Jurassic

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Jerome: Jurassic Park.

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Chris: Yeah.

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Yeah.

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Jerome: Huge year, big

year for the box office.

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Chris: I was like, what, 93?

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I'm like, oh yeah, Jurassic Park.

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Jerome: So 978 million in 1993.

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That is roughly today's dollars.

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2.

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1 billion.

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Billion dollars with a B.

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Wow.

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Chris: That's nuts.

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They were just printing money.

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Jerome: Yeah.

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Uh, the, the fugitive, which I said came

in at number three, that was released

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one month prior to true romance.

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So the box office competition was tough.

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Yeah.

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Tarantino Tarantino.

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Wasn't a huge name yet.

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Chris: Tarantino could have released,

you know, a couple of weeks before even.

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Jerome: Yeah, I mean, he wasn't,

he wasn't a big driver yet.

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You know, his name wasn't that huge yet.

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Um, that probably played

into the poor box office.

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It had zero Oscar nominations, but,

but, but it did win Tarantino the ALFS

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award for newcomer of the year by the

London Critics Circle Film Awards.

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I have no fucking idea what that is.

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Chris: I wish I still had my ticket stub.

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I went, I saw it at the theater.

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I think it was opening weekend.

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Jerome: Well, let's, let's get to that.

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We were, I know we've already went in

detail in a prior previous episode.

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Chris: Yeah, we did.

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Jerome: I think the silence of the

lambs episode, we talked about it.

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Um, um, but so anyone that wants

to hear our long drawn out stories,

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you can go back and listen to that.

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But just to recap, um, when

did you first see, you first

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saw it at the theater, right?

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Chris: Yeah, yeah, it was funny.

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So, uh, I don't know if I went into all

the detail, but I ended up going to the

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show by myself and I remember walking

into the theater and asking the teenage

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girl at the counter, one for true romance.

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And she just kind of gave me this sweet

little smile and she's like, here you go.

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You know what I mean?

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But anyways, I remember your story

about you hearing about the movie.

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Whoa.

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It was a, it was a, it was your

buddy asked you if you wanted

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to see it or something, right?

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Jerome: No, I know I asked him so

it was night in: 1993

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could almost guarantee I was at the

movies to see Jurassic Park, right?

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I can almost guarantee that's what

I was there for but I was with some

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friends of mine Particularly one

specific friend and there was a

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banner on the wall And it was like a

horizontal banner, not a vertical one.

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And it was, and it was Kristen Slater and

Patricia Arquette laying like on top of

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each other, like they were making out.

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Right.

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But, but horizontally.

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And it said true romance above

them, above their bodies.

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And that's all you saw.

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And I was like, Oh, I heard about that.

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That's supposed to be good.

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We should go see that.

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And he was like, what?

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You want to go see that with me?

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Like, and then he used a derogatory

term that we don't use today anymore.

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Chris: Yeah, yeah, yeah.

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Jerome: But he called me that because

I wanted to go see True Romance.

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So it's funny how the world changes.

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All right.

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Anyway, True Romance starring Christian

Slater as Clarence Worley, Patricia

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Arquette as Alabama, Alabama Worley.

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Dennis Hopper as Clifford Worley,

Val Kilmer as The Mentor, that's

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his credited name, we all know that

that mentor is Elvis, Gary Oldman as

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Drexel, Christopher Walken as Vincenzo

Coccotti, um, but also, Big Rules?

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Uh, or I should say small roles for

big names that would become big later.

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They were virtually, I don't want to

say virtually no namers, but somewhat no

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namers at the time this movie came out.

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Brad Pitt as Floyd, Samuel L.

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Jackson as Big Don, Michael

Rappaport as Dick Ritchie.

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Tom Sizemore as Cody Nicholson.

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And of course, a very early

James Gandolfini as Virgil.

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Chris: Yeah.

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Jerome: Um, monster cast,

monster cast, right?

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I mean, especially if you watch it today,

like when you watched it back then,

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you didn't know that all those names

were going to be huge names someday.

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Chris: That's why it's

so fun to watch again.

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And again, now it's like,

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Jerome: yeah, yeah.

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You see all these people you're like, and

I remember another thing I do remember is.

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The first time I saw it on video,

first time I'd rented it, and I saw Val

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Kilmer's name in the opening credits,

and I totally forgot about it, right?

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I watched the whole movie, and then as

the closing credits were going, I was

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like, Yeah, where the fuck was Val Kilmer?

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I didn't see him at all!

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And then I, and then I saw it

said mentor, and I'm like, Oh

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my god, he was fucking Elvis!

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Now I gotta go back and watch it again!

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I had to watch the movie again just to

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Chris: You can kind of see a fuzzy profile

of them where it's, Oh yeah, that's yeah.

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Velko.

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Yeah.

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Jerome: You don't fully see him like,

you know, you just sort of see him

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pacing back and forth, but you do

hear is, you know, I would like to

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Clarence always have, always will.

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All right.

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Um, so before we get to the log, we

never even got to the log yet, we're

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sitting here gushing over this movie.

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So.

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One more thing I wanted to mention.

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Talk about the pride.

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The pride I have anyway.

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At least even in how they depict Detroit.

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Right.

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Like the Renaissance Center

is the first thing they show.

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Yeah.

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City, city, skylines,

bums warming their hands.

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Yeah.

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Bums warming their

hands at a garbage camp.

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Fire, fire coming out.

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The sewer or the sewer lines?

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Uh, they got police car into the city.

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Yeah.

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It's a, yep.

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Police car was.

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With sirens blaring, cold,

hard weather, uh, cars that are

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stripped and abandoned, right?

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Like it's not a pretty picture, but when

I watch it, I'm like, I feel pride, right?

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Like that's Detroit, baby.

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That's, that's our hometown.

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That is, uh, you know, and it reminds me

of like intros to like Beverly Hills cop

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Chris: and the cool

thing about that intro.

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Um, and, and any, any,

any movie set in Detroit.

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Especially if it was

filmed in the 80s, 90s.

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To see it now, compared to what

it was when we were growing up.

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Oh yeah.

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It's an amazing comeback story, man.

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I was in Corktown last week.

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I saw Diana Ross.

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She's 80.

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She still freaking got it, man.

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It was so awesome.

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Jack White, there's a big

concert for this new development

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that they're doing down there.

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And it's, it was amazing.

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But to, to watch that now, you know,

it's just core town is hopping, man.

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It's a really cool place to go.

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If you watch that and then you watch

the beginning of True Romance, you're

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like, That can't be the same place.

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Jerome: Right.

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Chris: It's wild.

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Jerome: Thank you casinos.

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Chris: Well, I wouldn't even say that.

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There's just been a whole bunch

of development down there, so.

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Jerome: Right, but the, uh, the thing

nobody ever wants to talk about,

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the underlying thing is that when

the casinos moved in, the organized

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crime wanted to make real money.

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They weeded out all the purse snatchers.

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Like all that shit was gone all of

a sudden, like almost overnight.

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It became safe to walk

downtown by the casinos.

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Chris: I was gonna say organized

crimes better than chaotic crime.

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I guess for some,

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Jerome: the city of Detroit

is living fucking proof.

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Chris: No one likes any way out at crime,

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Jerome: right?

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I would take organized crime

over chaotic crime any day.

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Um, but, but it also reminded

me and there's another movie

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we're going to talk about.

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I'm going to mention a couple

of times other than natural born

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killers is out of sight, which is my

favorite of the Elmore Leonard books.

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Uh, and it, to me, it's

my favorite Clooney movie.

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It's certainly my favorite

Jennifer Lopez movie.

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She doesn't have much to go with though.

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Out of sight is definitely

my favorite of hers.

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Um, but there's a scene in

there where the, the movie

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takes, it starts in Florida.

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Um, but there's a moment where

they traveled to Detroit, like

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halfway through the movie.

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Yeah.

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And

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the intro, I gotta tell

this story real quick.

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So, this is another one

I saw in the theater.

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But this is like, 96, 97.

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I was in Detroit.

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I was watching the movie, and the

scene where, um, Ving Rhames and

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Clooney are in the car, and he

says, Okay, what do we do next?

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And Clooney goes, Let's go to Detroit.

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And then the very next shot is like

another dirty, gritty city street.

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But they got, uh, oh

fuck, what is the song?

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I want to say it's Stevie

Wonder or something.

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So he starts playing like Motown

music, and at the bottom of

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the screen it says Detroit.

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Everybody in the theater, there wasn't

that many people in the theater.

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There was about 30 of us, but

the other 29 got up, threw their

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jackets off and started dancing.

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It was like, I love the

pride of this city, man.

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I love the pride of this city.

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I can't remember what

theater it was, but it was

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Detroit.

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Yeah, it was somewhere.

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Uh, or at least Warren South Warren.

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Wow.

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You know, was it at bel Air?

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That was on eight mile.

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Maybe it was, maybe it

was, I can't remember.

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All I remember was thinking was,

first of all, I'm the only white

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person in this theater right now.

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Um, but that's okay.

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Cause we're all here together

to watch a good movie.

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But when that scene happened,

man, everybody started dancing.

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And I was like, I fucking

love this city, man.

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I love it.

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I love the press.

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Chris: I've told you this, my story about

going to a, see a movie at the Bel Air

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movie theater on eight mile in Detroit.

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Right.

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Jerome: I don't know.

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Which one?

330

: 00:14:49

Which story?

331

: 00:14:50

Chris: Because my ex, she was dragging me

to a movie I really didn't want to see.

332

: 00:14:55

So we were on a date and she wanted

to go see The Prince of Tides.

333

: 00:15:01

Jerome: Awww!

334

: 00:15:02

Chris: With Nick Nolte.

335

: 00:15:03

Jerome: Fairly good Nick Nolte movie.

336

: 00:15:05

Chris: No, I hated the movie.

337

: 00:15:07

I hated every minute of it.

338

: 00:15:08

Jerome: What?

339

: 00:15:08

Just up for best picture.

340

: 00:15:09

Chris: I know, and I couldn't stand it.

341

: 00:15:11

But the best part of the story, it was

Nick Nolte and uh, what's her name?

342

: 00:15:15

Nick Nolte.

343

: 00:15:15

Jerome: Barbara, Babs, I

mean, Babs, Barbra Streisand,

344

: 00:15:19

Chris: Barbra Streisand, but still

I just couldn't stay in the movie.

345

: 00:15:22

So, the best part of

the movie is it ended.

346

: 00:15:27

A massive, like, mob of white

people depart into the hallway

347

: 00:15:34

at the exact moment that

Malcolm X ended across the hall.

348

: 00:15:42

Jerome: Nice!

349

: 00:15:43

Chris: It was the most It was tense.

350

: 00:15:49

Jerome: Awesome.

351

: 00:15:50

Chris: It was unbelievable.

352

: 00:15:52

Jerome: God, I wish I was there.

353

: 00:15:53

Chris: You couldn't have

written that better.

354

: 00:15:56

Like for a comedy or something, man.

355

: 00:15:57

Cause it was like, It was like you

could, I could see Key and Peele

356

: 00:16:02

doing a bit on that or something.

357

: 00:16:03

Oh my God.

358

: 00:16:04

It was great.

359

: 00:16:04

Or Saturday Night Live.

360

: 00:16:06

And it was like, Cause they were both

out at the theater at the same time.

361

: 00:16:11

And we went to eight mile.

362

: 00:16:15

Jerome: It's like did you see the key

and peel episode where there's zombies,

363

: 00:16:19

but they won't mess with the black people

364

: 00:16:22

He's like do you notice this that

they're not coming after us at all

365

: 00:16:28

At one point they walk by a

car there's a zombie in the car

366

: 00:16:31

and the zombie locks the door

367

: 00:16:38

Key and Peele are fucking hilarious.

368

: 00:16:43

We're gonna lose my brother again.

369

: 00:16:45

We almost killed him during Midsommar.

370

: 00:16:48

Or no, it was Silence of the Lambs.

371

: 00:16:49

We almost killed him during

Silence of the Lambs.

372

: 00:16:54

Chris: He died on a swig

of Miller Genuine Draft.

373

: 00:16:57

Jerome: Alright, we're

getting way off topic here.

374

: 00:16:59

Chris: We should have told the new

audience if they didn't listen to the

375

: 00:17:02

last episode that, Our drinks for today.

376

: 00:17:06

I I'm drinking Miller Genuine

Draft because of true romance.

377

: 00:17:09

It's, it's a prominent role in

the movie, different scenes.

378

: 00:17:13

Floyd asked for some beer and he

was drinking Miller Genuine Draft.

379

: 00:17:16

So it's my tip.

380

: 00:17:18

I cheers to them.

381

: 00:17:19

So what, and what are you drinking again?

382

: 00:17:20

Jerome: Uh, I've, I was drinking

margaritas, but I was dying them with food

383

: 00:17:25

coloring to be the same color as, again,

I'm gonna use my Christopher Walken voice.

384

: 00:17:29

Clarence's purple Cadillac

385

: 00:17:32

Chris: Now people that like have

gotten used to this and when they

386

: 00:17:35

see a part one a lot of times They're

probably gonna skip it because they

387

: 00:17:38

know part two is better Because we

388

: 00:17:40

Jerome: I'm cuz we're drunker.

389

: 00:17:41

Chris: I'm three and a half

drinks in right now So well

390

: 00:17:44

three I'm three drinks in

391

: 00:17:45

Jerome: and I'm finishing my second

margarita And I'm gonna start cracking

392

: 00:17:48

open my tall lightsabers after that,

393

: 00:17:50

Chris: but let's not lose track.

394

: 00:17:51

Where are we?

395

: 00:17:52

Jerome: Dude, we are way off tangent

here and we started talking about

396

: 00:17:55

all kinds of crazy other shit,

but okay Uh, it's your turn now.

397

: 00:17:59

Log me.

398

: 00:17:59

Chris: Oh, I had my phone

399

: 00:18:01

Jerome: The log line!

400

: 00:18:01

Chris: I had my phone queued up about

an hour ago when we started this.

401

: 00:18:05

Alright.

402

: 00:18:06

In Detroit, a pop culture nerd steals

cocaine from his new wife's pimp

403

: 00:18:13

and tries to sell it in Hollywood,

prompting the mobsters who own

404

: 00:18:17

the drug to pursue the couple.

405

: 00:18:18

Jerome: Alright, so

406

: 00:18:19

Chris: That's a horrible log line.

407

: 00:18:21

Jerome: Yeah, it's a tough

one because, um, Hmm.

408

: 00:18:24

Chris: A pop culture nerd steals game.

409

: 00:18:26

I love that first sentence though, man.

410

: 00:18:27

It's great.

411

: 00:18:28

It's all one sentence.

412

: 00:18:30

First part of sentence.

413

: 00:18:33

Jerome: Yeah.

414

: 00:18:33

I mean, I, it's not that bad, I

guess it sets up stakes, you know,

415

: 00:18:37

right off the bat that the, you

know, there's people after them.

416

: 00:18:40

So it works.

417

: 00:18:40

It works.

418

: 00:18:41

But you know, again, we get, we get

these log lines off of IMDb, right?

419

: 00:18:44

So we don't even know who

writes these, but yeah.

420

: 00:18:47

All right.

421

: 00:18:49

So side notes, um, As I said already

a couple of times, we probably could

422

: 00:18:53

have picked Natural Born Killers,

uh, another Tarantino script to,

423

: 00:18:57

uh, to pair with Bonnie and Clyde.

424

: 00:18:59

They more closely match, sort of

like, the crime sprees being wanted

425

: 00:19:04

by the authorities, media turning

heroes into, uh, out of villains.

426

: 00:19:09

Right.

427

: 00:19:11

Clarence and Alabama may be on the

run, uh, but it's hardly a crime spree.

428

: 00:19:15

They don't even know that they're wanted.

429

: 00:19:17

They don't even know that

anyone's after them until an hour

430

: 00:19:20

and 14 minutes into the film.

431

: 00:19:23

Chris: Yeah.

432

: 00:19:23

I noted that the last time I watched

it, I'm like, that's, that's pretty

433

: 00:19:26

wild that they don't even know.

434

: 00:19:29

Jerome: Um, but as we've already

explained, we both wanted to

435

: 00:19:34

do true romance so badly, um,

because of our love for this film.

436

: 00:19:38

Um, I've often argued it's in my top

three of Tarantino films, uh, behind,

437

: 00:19:44

uh, Reservoir Dogs and Pulp Fiction.

438

: 00:19:46

And yes, I am one of the rare

people who actually enjoys Reservoir

439

: 00:19:50

Dogs more than Pulp Fiction.

440

: 00:19:51

I know Pulp Fiction is his

441

: 00:19:53

Chris: I haven't seen

Reservoir Dogs in a long time.

442

: 00:19:55

I love

443

: 00:19:55

Jerome: big, uh, crowning achievement.

444

: 00:19:57

And everybody's like, Oh yeah,

it's the movie when the Oscar

445

: 00:20:00

for his first Oscar anyway.

446

: 00:20:01

Um, but I've always been a fan and

here's, and here's why I'm often a

447

: 00:20:05

fan of when it's somebody's first

movie when you don't have any money.

448

: 00:20:10

You have to be creative.

449

: 00:20:12

You have to be even more creative

with your script and even more

450

: 00:20:15

creative with the camera because

you don't have a big budget.

451

: 00:20:19

Um, and I think Reservoir Dogs is

a perfect example of a low budget

452

: 00:20:23

filmmaker who only had scraps to work

with making a great fucking film.

453

: 00:20:28

Yeah.

454

: 00:20:28

Now Pulp Fiction came along, he

didn't have that much more money,

455

: 00:20:31

but he had more budget, right?

456

: 00:20:32

I mean, I think it costs like

seven million to make Pulp

457

: 00:20:35

Fiction, something like that.

458

: 00:20:36

Um, so he had more money

to, to deal with, but.

459

: 00:20:39

Those are my top three though.

460

: 00:20:41

Reservoir Dogs, Pulp Fiction, and

True Romance are my top three favorite

461

: 00:20:44

Tarantino scripts And he didn't even

direct True Romance, you know If I did my

462

: 00:20:49

top three films that he actually directed,

uh, I don't know what the third one would

463

: 00:20:54

be probably Probably Inglorious Bastards.

464

: 00:20:57

I'd probably be at the third one.

465

: 00:20:58

I don't know.

466

: 00:20:59

I'd have to really dig, dig into it I

was never really a fan of the Kill Bills.

467

: 00:21:02

I know I'm gonna get murdered for that

468

: 00:21:06

By our listener but uh But yeah, I

wasn't as big into Kill Bill as I was on

469

: 00:21:11

some of the other films that he'd done.

470

: 00:21:13

But anyway, uh, again, I don't want to

get off too much again on another tangent.

471

: 00:21:17

Um, I think the reason why I

picked those three as far as their

472

: 00:21:22

screenplays, um, I think what's

funny is that they make great films.

473

: 00:21:33

They, they make great films, but

all three of those films that I

474

: 00:21:36

mentioned, they're They have some

really terrible character arcs.

475

: 00:21:41

Like, there's like, they're

mostly flat arcs, right?

476

: 00:21:44

There's not a lot of lessons to learn.

477

: 00:21:46

Now, you could argue Pulp Fiction,

Jules and Butch have the best

478

: 00:21:51

arcs in that movie, right?

479

: 00:21:53

Um, and I could argue that.

480

: 00:21:55

Um, so I guess I shouldn't say

that they're the worst arcs.

481

: 00:21:58

Um, I just, I just mean, most of them

are a lot like Paul Schrader films.

482

: 00:22:02

Remember, we talked about Paul

Schrader's films in the past.

483

: 00:22:04

Uh, Taxi Driver, uh, Mosquito Coast.

484

: 00:22:10

Nope.

485

: 00:22:10

Raging bull, you know, affliction.

486

: 00:22:12

He writes a lot of these where the flat

art, the main character doesn't learn

487

: 00:22:16

a fucking thing and Everybody around

them learns I need to get as far away

488

: 00:22:19

from this fucking guy as I can, right?

489

: 00:22:21

Like that's, that's, everybody

else is learning a lesson.

490

: 00:22:24

That person doesn't learn anything.

491

: 00:22:27

Everybody else learns I gotta get

away, I gotta get away from this guy.

492

: 00:22:30

So, um, So Tarantino, I think has a,

uh, at least his early scripts had,

493

: 00:22:35

had some flat arc appeal like that.

494

: 00:22:37

Um, but okay, we're going to tackle

on, uh, Blake Snyder's Beats here.

495

: 00:22:41

Let's do it.

496

: 00:22:41

We have the Beats.

497

: 00:22:43

I didn't even do my Beats

intro in the last movie.

498

: 00:22:45

All right.

499

: 00:22:46

Opening image.

500

: 00:22:47

The song Graceland is playing as

Clarence sits at a bar looking

501

: 00:22:51

for love and gets denied.

502

: 00:22:53

The lyrics Sexton as he sings,

I've never been to Graceland.

503

: 00:22:59

Uh, this definitely speaks to Clarence's.

504

: 00:23:02

Sort of like homebody mentality, right?

505

: 00:23:04

Doesn't come off as somebody

that travels a lot, right?

506

: 00:23:08

He's likely never been outside

of southeast Michigan before He's

507

: 00:23:11

comfortable in this quiet non adventurous

hidden life Though he obviously It's

508

: 00:23:18

obvious he loves badasses, the idea of

badasses, the idea of being a badass,

509

: 00:23:24

and the idea of badass movies, right?

510

: 00:23:26

Uh, cause he loves Elvis, and

he loves Elvis particularly in

511

: 00:23:29

the movies where he's a badass.

512

: 00:23:32

Um, so he lives sort of vicariously

through these movie heroes of

513

: 00:23:35

his, uh, obviously mostly Elvis.

514

: 00:23:39

Now, as Blake Snyder cited in one of the

save the cat books, um, there's what's

515

: 00:23:43

called the things that need fixing, right?

516

: 00:23:45

Usually start movies, not just what the

character may be doing something that

517

: 00:23:49

the audience can get behind, which is

the definition of save the cat, but

518

: 00:23:52

also it's it sets up Like kind of how

shitty their life might be, right?

519

: 00:23:58

It's the things that need fixing.

520

: 00:24:00

We can tell in the first few

minutes of seeing Clarence

521

: 00:24:02

things that need fixing, right?

522

: 00:24:04

He obviously needs a life.

523

: 00:24:05

Number one, he doesn't

have much of a life.

524

: 00:24:07

He doesn't have any friends.

525

: 00:24:08

He doesn't have a girlfriend.

526

: 00:24:10

He's got no money.

527

: 00:24:11

At one point Alabama even says

to him, So does it pay a lot?

528

: 00:24:15

And he's like, No.

529

: 00:24:17

He goes, But the boss is nice, Lets

you borrow money from time to time.

530

: 00:24:21

So you get the idea,

This guy's broke as fuck.

531

: 00:24:24

Right?

532

: 00:24:24

Living in a shitty apartment, In Detroit.

533

: 00:24:27

Um, So these are the things that

need fixing for Clarence, right?

534

: 00:24:31

Uh, most of all that he's lonely.

535

: 00:24:33

He's gotta be lonely because he has

visions from Elvis that he talks to.

536

: 00:24:39

So, and this is, and this I think

really plays an important thing

537

: 00:24:43

that people don't really realize.

538

: 00:24:46

Understand, the mentor isn't really there.

539

: 00:24:52

Right?

540

: 00:24:53

So he's a figment of

Clarence's imagination.

541

: 00:24:56

So it becomes even more sad, if you think

about it, that he's talking to himself.

542

: 00:25:03

But in his mind, he's justifying

it that I'm talking to Elvis.

543

: 00:25:07

Well, all this great advice that

comes out of Elvis's mouth are

544

: 00:25:11

things that he already was thinking

about and considering doing.

545

: 00:25:19

Chris: It's almost a

sign of schizophrenia.

546

: 00:25:20

Jerome: Yes!

547

: 00:25:21

Chris: Which is freaking wild.

548

: 00:25:23

Jerome: Right!

549

: 00:25:24

It adds a new element to Clarence.

550

: 00:25:27

Um, so anyway, uh, I wrote down here,

it kind of reminds me of Brad Pitt's

551

: 00:25:33

characterization as Tyler Durden.

552

: 00:25:36

Right, Edward Norton, when you realize

that the end or anyone that hasn't seen

553

: 00:25:40

fight club, pause it now and spoiler

alert did come out in 99 for God's sakes.

554

: 00:25:46

But anyway, 25 years ago.

555

: 00:25:49

Um, you know, when you realize

that they're the same person, you

556

: 00:25:53

realize this whole time he wasn't

getting advice from Brad Pitt.

557

: 00:25:58

Those were his thoughts, right?

558

: 00:26:01

Um, but anyway, um,

559

: 00:26:06

Okay, so I wrote down here,

I'm paraphrasing Fight Club.

560

: 00:26:09

In Fight Club, Tyler Durden justifies

and clarifies all this to Edward

561

: 00:26:13

Norton when he says, I look how you

wanna look, I dress how you wanna

562

: 00:26:17

dress, and I fuck how you wanna fuck.

563

: 00:26:19

That's Clarence and the mentor.

564

: 00:26:22

Right?

565

: 00:26:23

That's why he's imagining him in his mind.

566

: 00:26:26

Because he's everything he wishes he was.

567

: 00:26:30

So that to me is the things

that need fixing theme stated.

568

: 00:26:33

Alabama also has things that need fixing.

569

: 00:26:37

We'll learn she's also lonely.

570

: 00:26:39

She's a call girl in a dangerously

abusive situation has very little

571

: 00:26:45

future, also lacks confidence.

572

: 00:26:47

One of her arcs that we'll learn is

that she also gives in too quickly.

573

: 00:26:51

More on that later.

574

: 00:26:54

Uh, she has a voiceover.

575

: 00:26:56

Uh, that book ends the beginning

and the end of the film.

576

: 00:26:58

Uh, the first one, the beginning of

film is how she came to find true love

577

: 00:27:02

in Detroit at the five minute mark.

578

: 00:27:04

She says, and quote, um, she's actually

speaking for Clarence at this point.

579

: 00:27:10

She says, quote, usually that's

the way it goes, but sometimes

580

: 00:27:13

it goes the other way too.

581

: 00:27:15

This is going to serve as sort

of the theme for these two, as

582

: 00:27:18

most of the things that happen to

them are very circumstantial and

583

: 00:27:21

luck, like they just, and usually.

584

: 00:27:24

Luck that happens in films is bad writing,

but when it's bad luck, we accept it.

585

: 00:27:30

You know what I mean?

586

: 00:27:31

It's the age old adage that, uh,

coincidence is bad in screenplays

587

: 00:27:36

when it helps your main character.

588

: 00:27:39

If it hurts your main character,

then it's okay, right?

589

: 00:27:42

Because bad things are allowed

to happen all the time.

590

: 00:27:45

You have to find a way

to fight through them.

591

: 00:27:48

Um, so, um, And that's

just the way life goes.

592

: 00:27:53

So since Tarantino sets this up

early, we can expect the suspension of

593

: 00:27:57

disbelief that when crazy things happen,

that's just the way it goes, right?

594

: 00:28:02

Um, what was one of the examples I

remember telling somebody one time?

595

: 00:28:05

Blues Brothers has a great example that

they start the movie off with like, um,

596

: 00:28:13

just sort of like the ridiculousness

of, I think as soon as, uh, Elwood

597

: 00:28:19

picks up Jake from prison, right?

598

: 00:28:21

They go home.

599

: 00:28:22

And Carrie Fisher's character

wants to kill them, right?

600

: 00:28:24

The whole movie she's been trying to kill.

601

: 00:28:26

Like, uh, Jake Blues.

602

: 00:28:28

I wanna say, this might not be it.

603

: 00:28:31

I'd have to go back and watch it again.

604

: 00:28:32

But there's a moment where

she, like, torpedoes their

605

: 00:28:34

apartment with a rocket launcher.

606

: 00:28:37

And they survive!

607

: 00:28:38

They, like, fall down as

the building's collapsing.

608

: 00:28:42

And they get up out of

the rubble and walk away.

609

: 00:28:45

That's setting up from here on out, just

expect that crazy shit's gonna happen,

610

: 00:28:48

and you're gonna believe all of it, right?

611

: 00:28:51

Um, another point in a car chase, their

car like backs up, flips up, turns

612

: 00:28:57

around, and then literally takes flight.

613

: 00:28:59

Like, like, and, and, but at that point

we've already suspension of disbelief.

614

: 00:29:03

We just know that this is how

this movie is gonna be, right?

615

: 00:29:06

So, Tarantino's kinda doing something like

that here, just to let us know that crazy

616

: 00:29:10

shit's gonna happen, and we have to just

accept that that's That's how things go.

617

: 00:29:14

Uh, but sometimes it goes the

other way too, as Alabama says.

618

: 00:29:17

Alright.

619

: 00:29:18

Um.

620

: 00:29:20

So.

621

: 00:29:22

Also in her voiceover, um,

she begins to tell us that she

622

: 00:29:26

came to Detroit from Florida.

623

: 00:29:28

So we know that about her.

624

: 00:29:30

She's a traveler.

625

: 00:29:31

So that already estimates that she's sort

of like the opposite of Clarence, right?

626

: 00:29:34

Clarence is a homebody.

627

: 00:29:35

He's never been anywhere.

628

: 00:29:36

She's at least a traveler.

629

: 00:29:38

Um, so, and despite that that's one of

the things that needs fixing, she is wild.

630

: 00:29:43

You know, she's a traveler.

631

: 00:29:44

She's an adventurous spirit.

632

: 00:29:46

She's everything that Clarence isn't.

633

: 00:29:48

And that's probably why he's drawn to her.

634

: 00:29:51

All right, inciting incident.

635

: 00:29:52

Four point push starts

early in this one too.

636

: 00:29:55

Alabama meets Clarence six minutes

into the film at the movie theater.

637

: 00:29:59

This actually is the result of something

that already happened off screen.

638

: 00:30:03

We talked about it in,

uh, the Fargo episode.

639

: 00:30:07

The Latin term, in media res,

where you start your movie, And the

640

: 00:30:11

movie already has been going on.

641

: 00:30:12

It's just off screen.

642

: 00:30:13

We haven't seen it.

643

: 00:30:15

We will find out later that she

didn't just happen to be there.

644

: 00:30:18

She was paid to be there by his boss.

645

: 00:30:20

Right?

646

: 00:30:20

So all that we didn't see, we didn't

see him contacting her or calling.

647

: 00:30:25

I mean, think about it this way.

648

: 00:30:26

Lance, his boss would have

had to have called Drexel.

649

: 00:30:29

To arrange for this, right?

650

: 00:30:33

Right.

651

: 00:30:33

So that, that's all stuff

that's off screen that we

652

: 00:30:35

didn't see, uh, in Meteorez.

653

: 00:30:37

That's where you start your story

and the shit's already going on.

654

: 00:30:40

Um, nevertheless, them meeting each other

is the inciting incident because it's the

655

: 00:30:44

first hint to Clarence that his upside or

this world is about to become upside down.

656

: 00:30:48

This first change to his before world.

657

: 00:30:51

Um, so.

658

: 00:30:54

Again, this is all opinion.

659

: 00:30:56

There is no facts.

660

: 00:30:58

I think it's the inciting incident

because if they don't meet,

661

: 00:31:03

we don't have a story, right?

662

: 00:31:05

So, and I've had discussions with

people about inciting incidents

663

: 00:31:08

where I, you know, I go early.

664

: 00:31:12

And say, it's gotta be that.

665

: 00:31:13

And people be like, no,

that's more like the catalyst.

666

: 00:31:15

And I think, no, no, no, no.

667

: 00:31:16

It's gotta be, you know, or I'll

pick something that people are like,

668

: 00:31:19

no, nothing's really happened yet.

669

: 00:31:21

And my argument is, but if this

one thing doesn't happen, the

670

: 00:31:25

story doesn't happen at all.

671

: 00:31:27

I see that.

672

: 00:31:28

So, okay.

673

: 00:31:30

Um, there's a lot of

setup after that, right?

674

: 00:31:33

For the next 12 minutes, we learn a

lot about these two, including where

675

: 00:31:37

they're from, what they're interested in.

676

: 00:31:39

Um, Particularly each other, at the

17 minute mark, Alabama professes her

677

: 00:31:46

love for him outside of his apartment.

678

: 00:31:48

Alright, more on that later

too, I got more on that too.

679

: 00:31:51

He feels the same way,

so they get married.

680

: 00:31:53

That's it.

681

: 00:31:55

By the way, By the way, before

that, they actually have sex, uh,

682

: 00:32:01

using another, uh, by the way, uh,

perfect song choices for this movie.

683

: 00:32:06

The sex scene, they're playing

Charles and Eddie's song Wounded Bird.

684

: 00:32:12

I mean, how perfect is that, right?

685

: 00:32:14

So you could argue that this film actually

has, uh, a five point push instead of

686

: 00:32:19

a four point push because you could

argue that there's two debates here.

687

: 00:32:23

So while I was like Trying to figure

out the ins and outs of my, my four

688

: 00:32:28

point push that I've coined that term.

689

: 00:32:30

Um, there actually is potential

for moves to have a five point push

690

: 00:32:35

where you have inciting incident.

691

: 00:32:37

Like right now, the four point

pushes inciting incident,

692

: 00:32:40

catalyst debate, break into two.

693

: 00:32:43

The

694

: 00:32:44

five point push could be inciting

incident debate, debate one.

695

: 00:32:50

Catalyst debate two and

then break into two.

696

: 00:32:54

Yeah,

697

: 00:32:54

there's sometimes we've talked about

the double bump That would make it

698

: 00:32:57

a six point push, but remember but

remember More points the better right

699

: 00:33:03

the more things that have to happen

to get somebody into act two It keeps

700

: 00:33:06

you engaged and it's more believable.

701

: 00:33:09

Yeah, right that they're now in act two

because they went through all this shit

702

: 00:33:12

to earn it right, um Okay, so Um, okay,

so the post sex billboard scene, okay?

703

: 00:33:24

Um, this could technically be

Clarence's first debate, right?

704

: 00:33:28

Because, the girl he just met,

And had the best time of his life

705

: 00:33:32

with finds out she's a prostitute.

706

: 00:33:34

He could have kicked her

ass out of the apartment.

707

: 00:33:37

He could have been like, man, fucking

what a horrible end to my birthday.

708

: 00:33:41

I thought I met the girl of my dreams.

709

: 00:33:44

Turns out she's a whore.

710

: 00:33:46

He even uses that word on her, by the way.

711

: 00:33:48

Um, she yells at him when he calls

her that, but, but you know, he, so

712

: 00:33:53

he could have kicked her out, right?

713

: 00:33:55

So this is his debate.

714

: 00:33:56

I'll be at a very short one.

715

: 00:33:58

He has to debate.

716

: 00:33:59

Do I have to, can I just say.

717

: 00:34:01

I don't give a shit that

she's a prostitute because

718

: 00:34:05

We really hit it off, right?

719

: 00:34:07

Like we're like a match made in heaven

Uh, and by the way on the billboard, I

720

: 00:34:12

don't know if you ever noticed but it's a

car ad on the billboard in large letters

721

: 00:34:18

above the car on the billboard, it says

Don't wait for the dust to settle I always

722

: 00:34:24

thought that was interesting because it's

pertinent to Clarence's debate, right?

723

: 00:34:28

Yeah You Don't stop and think.

724

: 00:34:30

Don't think about it too much.

725

: 00:34:32

Just go, go baby, go, you know?

726

: 00:34:34

And he goes with his first instinct,

which is to tell her he loves her too.

727

: 00:34:38

Um, Catalyst.

728

: 00:34:41

Minutes 18 to 20.

729

: 00:34:42

The reason why this one is kind of like a

two parter is, uh, it sets up two things.

730

: 00:34:48

First, Clarence and Alabama go to

get tattoos and she tells him about

731

: 00:34:50

Drexel and that he beats women.

732

: 00:34:52

That's the first part of the Catalyst

because up until this point, he

733

: 00:34:56

doesn't know anything about Drexel.

734

: 00:34:58

Right.

735

: 00:34:58

In fact, he doesn't even

know that it's a person.

736

: 00:34:59

I think at one point he

thought it was a city.

737

: 00:35:02

He's like, who, what, or where is Drexel?

738

: 00:35:05

You know what I mean?

739

: 00:35:05

Like he doesn't know anything about it.

740

: 00:35:07

So this is the part where she

tells him who he is and that he's

741

: 00:35:09

the pimp and that he beats women.

742

: 00:35:12

Um, this is going to

drive clearance to his.

743

: 00:35:14

Next, his real debate, which is the

debate that happens before the break

744

: 00:35:18

into two, the will he, won't he, right?

745

: 00:35:20

This is paired with a scene

where we get to meet Drexel and

746

: 00:35:23

the drug dealers that he kills.

747

: 00:35:25

Um, I feel like this is a two part

catalyst because, um, there's a little,

748

: 00:35:30

oh, by the way, aside from that,

there's a little foreshadowing here.

749

: 00:35:33

After he kills one of the drug

dealers, he throws the cigarette

750

: 00:35:37

lighter on top of the dead body.

751

: 00:35:39

And I feel like that's a little

foreshadowing about what's going to happen

752

: 00:35:41

to the driver's license of Clarence.

753

: 00:35:43

But anyway, little thing I caught.

754

: 00:35:46

Um, okay.

755

: 00:35:48

Uh, this, I feel like this is the

second part of the catalyst because,

756

: 00:35:52

um, The Act 2's next world doesn't

happen without this scene either.

757

: 00:35:57

Because that scene is

where they get the drugs.

758

: 00:35:59

In the suitcase, right?

759

: 00:36:00

So you need both of those things

to propel Act 2 to happen.

760

: 00:36:04

Right?

761

: 00:36:05

Um, So it's the first indication,

uh, the suitcase, by the way, that

762

: 00:36:11

the drugs are in represents sin and

that there's murders attached to it.

763

: 00:36:15

This is going to also

play a part later as well.

764

: 00:36:18

Uh, okay.

765

: 00:36:19

Debate 21 minutes in Clarence gets

his inspirational visit from the

766

: 00:36:23

mentor Elvis, who's really just

a figment of his own imagination.

767

: 00:36:26

Oddly enough, another point

of music placement here.

768

: 00:36:29

He's singing heartbreak hotel.

769

: 00:36:31

Uh, And he's singing it right at the

part where Clarence is washing his face.

770

: 00:36:38

You can hear the mentor singing.

771

: 00:36:40

I feel so lonely.

772

: 00:36:41

I could die,

773

: 00:36:44

which is important.

774

: 00:36:45

Remember that again, this is

part of Clarence's imagination.

775

: 00:36:48

These are his thoughts, right?

776

: 00:36:51

He's really talking to himself.

777

: 00:36:53

So the second part of that scene,

uh, after he gets done, you know,

778

: 00:36:58

by the way, the mentor tells

him, that he would kill Drexel.

779

: 00:37:04

Again, if you accept the fact that

there really is no mentor in that

780

: 00:37:07

scene, that he's talking to himself,

these are already thoughts he's having.

781

: 00:37:11

He wants to kill Drexel, right?

782

: 00:37:14

So the second part of that is

where he goes to tell Alabama,

783

: 00:37:16

give me Drexel's address.

784

: 00:37:17

She resists and says, you know,

don't, you don't know him.

785

: 00:37:21

And he says, no, you don't know me.

786

: 00:37:22

Not when it comes to shit like this.

787

: 00:37:24

So he's projecting himself to be that

Elvis style badass that he's not, but

788

: 00:37:29

he's projecting himself that he is.

789

: 00:37:31

Uh, and she gives in, she gives

in, she gives him the address.

790

: 00:37:36

Again, one of the things that

she needs to work on is not

791

: 00:37:39

to give in so fucking easily.

792

: 00:37:40

Um, so, um, Yeah, so I

wrote down your life.

793

: 00:37:46

Life gets hard.

794

: 00:37:47

Become a call girl.

795

: 00:37:48

She meets a guy she likes.

796

: 00:37:49

Let's not take it slow.

797

: 00:37:50

Let's get married the next day.

798

: 00:37:51

Uh, my new guy wants to confront my

ex pimp who I know is a psychopath.

799

: 00:37:56

Ah, well, I'll give

him the address anyway.

800

: 00:37:58

Like she got all of these things.

801

: 00:37:59

She just, she just

reacts without thinking.

802

: 00:38:02

It doesn't, you know, so, okay.

803

: 00:38:04

Um, also I'll mention that this

arc, um, by the time it's over,

804

: 00:38:09

You're gonna get to, um, where

she fights instead of giving in.

805

: 00:38:15

Yeah.

806

: 00:38:15

Right?

807

: 00:38:16

And that's when she meets Virgil later.

808

: 00:38:17

So she has an arc with that.

809

: 00:38:19

Chris: You could, you could argue that

the theme through this entire movie

810

: 00:38:22

for the main characters is dumb luck.

811

: 00:38:26

Not just luck, dumb luck, because

they're really portrayed as people

812

: 00:38:30

who don't think things through.

813

: 00:38:32

They're not deep thinkers.

814

: 00:38:34

Jerome: Well, that's why I said, that's

why I chose the line that she quotes where

815

: 00:38:38

she says that Clarence says, you know,

that's the way things go, but sometimes

816

: 00:38:41

they go the other way too, right?

817

: 00:38:43

I felt like that line

totally nailed all of that.

818

: 00:38:46

Um, okay.

819

: 00:38:48

Break into two.

820

: 00:38:49

The fourth point of the four point

push, or the fifth point if you consider

821

: 00:38:52

that Clarence had two debates, Uh,

is officially at the 26 minute mark.

822

: 00:38:57

Same as Bonnie and Clyde, I might add.

823

: 00:38:58

At the 26 minute mark, when the

showdown with Drexel happens.

824

: 00:39:02

Interestingly enough, the address that

Alabama provides Clarence on her, on

825

: 00:39:07

her, uh, of where her former whorehouse

was, or, Pimp house, whatever, uh,

826

: 00:39:12

complete with prostitutes hanging outside

the door is 447 East Montcalm, which

827

: 00:39:18

actually nowadays is a spot directly

between Ford Field and Comerica Park.

828

: 00:39:23

Chris: I knew that road sounded familiar.

829

: 00:39:27

Jerome: Yeah.

830

: 00:39:28

A rather eventful and safe area of

downtown, but back in 93 when neither

831

: 00:39:33

of those stadiums were built yet.

832

: 00:39:34

I'm talking about man.

833

: 00:39:35

Not so much.

834

: 00:39:36

Yeah.

835

: 00:39:38

Chris: You can talk about the casinos,

but those stadiums coming back to Detroit,

836

: 00:39:41

man, it is transformed the downtown.

837

: 00:39:45

It's just an amazing place to go.

838

: 00:39:47

Jerome: Absolutely.

839

: 00:39:48

Uh, again, more song placement.

840

: 00:39:52

I Want Your Body by Nymphomania

is playing as Clarence enters

841

: 00:39:56

the, the prostitute house.

842

: 00:39:59

Um, Clarence is also wearing

his Elvis sunglasses.

843

: 00:40:03

Uh, interesting side note, the

script and the film differ in some

844

: 00:40:07

points, but the biggest difference

in this scene is, uh, the lampshade.

845

: 00:40:12

You know, where he goes to see

Drexel, and Drexel's pretty.

846

: 00:40:15

Pushing that lampshade

back and forth, right?

847

: 00:40:18

Yeah, that's not in the script.

848

: 00:40:19

That wasn't in Tarantino.

849

: 00:40:20

Didn't write that.

850

: 00:40:21

Chris: I love the tension.

851

: 00:40:22

You can just feel the tension.

852

: 00:40:25

Jerome: Yeah.

853

: 00:40:25

Well, yeah.

854

: 00:40:26

So that was Tony Scott's,

uh, directorial edition.

855

: 00:40:29

And I, like, you know, like

you said, I think it works.

856

: 00:40:31

I think it really adds to that

tension, tension to the scene.

857

: 00:40:36

But also it's it's kind of a

metaphor Drexel is literally showing

858

: 00:40:40

throwing light on a character.

859

: 00:40:42

He doesn't know.

860

: 00:40:43

Yeah, right.

861

: 00:40:43

Yep, literally

862

: 00:40:45

Yeah And he stops it

before it gets to him.

863

: 00:40:49

He doesn't show himself until after

when he says I know I'm pretty yeah.

864

: 00:40:53

Yeah Which by the way Um,

I know I mentioned it.

865

: 00:40:58

I think it's in that trivia book I sent

you, but, um, in that scene, when Gary

866

: 00:41:02

Oldman was reading the screenplay, he

said that he found he, I don't know

867

: 00:41:06

if he went outside, he went to a park

where there was a bunch of, uh, younger,

868

: 00:41:10

like black kids playing basketball.

869

: 00:41:12

And he went to them with the

script and he's like, I need you

870

: 00:41:15

guys to teach me how to talk.

871

: 00:41:17

Black.

872

: 00:41:18

It's like, is this

character thinks he's black.

873

: 00:41:21

So he showed the script

to a bunch of kids.

874

: 00:41:23

Amazing.

875

: 00:41:24

And one of them said to him, a

black man would never say titties.

876

: 00:41:28

Cause I guess in the script he

was supposed to say, I'm not

877

: 00:41:30

as pretty as a couple of, Oh,

he does say I was not pretties.

878

: 00:41:34

But he does say when he first comes in,

he says there's a movie on and there's

879

: 00:41:37

a woman with her titties hanging out.

880

: 00:41:39

That's how it was written.

881

: 00:41:40

But the kid that, the kid at

the park told Gary Oldman,

882

: 00:41:44

Black guy would never say that.

883

: 00:41:45

He would have said breastises.

884

: 00:41:46

So when you watch the movie now,

Gary Oldman Drexel says there's a

885

: 00:41:52

woman on the TV screen and since

you've been in the room, her

886

: 00:41:55

breastises have been hanging out.

887

: 00:41:56

So he actually changed it to breastises.

888

: 00:42:00

So that is funny.

889

: 00:42:01

But that's when then when he shows the

light himself, he says, I know I'm pretty.

890

: 00:42:04

Man, he's one of my favorite actors.

891

: 00:42:08

So many different people he's played.

892

: 00:42:11

Yeah.

893

: 00:42:12

But he does say titties

in that second part.

894

: 00:42:14

When he shines the light on himself,

he says, I know I'm pretty, but I

895

: 00:42:17

ain't as pretty as a couple of titties.

896

: 00:42:19

But

897

: 00:42:19

anyway, okay.

898

: 00:42:20

So Clarence tries unsuccessfully to

talk Alabama out of Drexel's life.

899

: 00:42:25

Uh, and it turns on to a full

on fight between Clarence Drexel

900

: 00:42:28

and his right hand man, Marty.

901

: 00:42:30

Drexel gets the advantage enough

to get Clarence's driver's

902

: 00:42:33

license and get his address.

903

: 00:42:35

In the moment of confusion, Clarence pulls

out his gun and shoots Drexel first in

904

: 00:42:39

the nuts and then point blank in the face.

905

: 00:42:42

Um, this scene is the payoff of the

previous setup, uh, of, you know, Clarence

906

: 00:42:48

leaving his driver's license behind.

907

: 00:42:49

I just thought that was a little sort

of like a nice setup and payoff with

908

: 00:42:52

the lighter from the earlier scene.

909

: 00:42:54

Right, right.

910

: 00:42:55

Uh, but again, it's bad luck, right?

911

: 00:42:57

It's just a bad luck coincidence that

he left his driver's license behind.

912

: 00:43:00

Without it, we don't have

the rest of the movie.

913

: 00:43:02

Dumb luck.

914

: 00:43:03

Dumb luck, right.

915

: 00:43:05

It's okay that dumb luck happens.

916

: 00:43:07

It's not good when coincidence

happens, turns into good luck.

917

: 00:43:10

Right?

918

: 00:43:11

Um, alright.

919

: 00:43:13

Clarence leaves the license,

but he does take the suitcase.

920

: 00:43:16

Uh, again, that suitcase of coke

is now attached to more killings.

921

: 00:43:20

Yeah.

922

: 00:43:20

Again, this, this is a metaphor.

923

: 00:43:22

I'm gonna prove it later that

you're gonna like how it ends up.

924

: 00:43:24

But anyway, alright.

925

: 00:43:26

Um, He thought it had

Alabama's clothes in it.

926

: 00:43:29

It doesn't.

927

: 00:43:29

Fun and Games were now officially in Act

2, the mirror flip of Act 1, and now the

928

: 00:43:33

framing of their relationship has changed.

929

: 00:43:35

In fact, for the better, uh, as she is

kind of turned on by what he did, right?

930

: 00:43:40

Right, right.

931

: 00:43:42

They discover this is a great scene where

she's like, oh, I have clean clothes and

932

: 00:43:46

she opens up the suitcase To all the coke

and she goes these are not my clothes

933

: 00:43:55

So more fun and games as we meet

daddy Clifford Worley Dennis Hopper

934

: 00:43:59

and one of his best scenes coming up

Oh my god this scene Some of the most

935

: 00:44:04

comedic moments of the film regarding

the reaction to Clarence's arrival.

936

: 00:44:08

When he kisses Alabama, he

acknowledges she tastes like a peach.

937

: 00:44:12

More on that connection later, uh,

about traits that Clarence sees in

938

: 00:44:15

Alabama that he likes about his father.

939

: 00:44:18

Yeah.

940

: 00:44:18

Um, B story.

941

: 00:44:21

By the way, we haven't gotten

to Clifford's scene yet.

942

: 00:44:24

So that's why in case you're like,

well, you're stepping over it.

943

: 00:44:27

It hasn't happened yet.

944

: 00:44:28

B story at the 40 minute mark, we

actually meet Dick Ritchie, Michael

945

: 00:44:32

Rapaport's, uh, Clarence's friend.

946

: 00:44:35

He serves as the B story because he

also, he'll eventually get Clarence

947

: 00:44:39

and Alabama to their spiritual goal.

948

: 00:44:41

He will be the reason that

they reached their climax.

949

: 00:44:44

Um, uh, Incidentally, at the time

we meet him, he's taking a shit.

950

: 00:44:52

All right.

951

: 00:44:53

More funny games at the 48 minute mark.

952

: 00:44:55

Clifford meets Vincent Concordia,

uh, Christopher Walken.

953

: 00:45:01

This is a 10 minute scene.

954

: 00:45:04

Chris: Oh my God.

955

: 00:45:05

It's pure gold.

956

: 00:45:06

This whole scene,

957

: 00:45:07

Jerome: although it is pure gold and it

is one of the most memorable in the film.

958

: 00:45:11

If not the most memorable, it's

certainly a classic scene of writing.

959

: 00:45:15

It's also important to note that this is

the equivalent to what amateur writers

960

: 00:45:20

might give, uh, like if they have

trouble with the fun and games section,

961

: 00:45:25

you know, now that they're in act two,

they're rushing, they rush to get to

962

: 00:45:28

that midpoint scene that they might just

throw an, a montage in there, right.

963

: 00:45:33

Of like things that are happening.

964

: 00:45:35

Yeah.

965

: 00:45:35

And that's, that's kind

of an amateur move.

966

: 00:45:37

Tarantino is not an amateur.

967

: 00:45:39

He actually he was pretty much an

amateur when he wrote this script.

968

: 00:45:42

It was his first script So he technically

is an amateur, but he doesn't do the

969

: 00:45:46

montage, but he does write a 10 minute

scene in this segment and it kind of um

970

: 00:45:55

You know, it's a way for writers to kind

of drain through that, that fun and game

971

: 00:45:58

segment without a lot of quality elements.

972

: 00:46:01

But I think the beauty of this is that

even though it's a 10 minute scene that

973

: 00:46:04

really cuts into the time, it's memorable.

974

: 00:46:07

Like this becomes what it's probably one

of the most famous scenes in any Tarantino

975

: 00:46:12

screenplay of anything he's ever done.

976

: 00:46:14

Yeah.

977

: 00:46:15

You know, it's up there.

978

: 00:46:16

And

979

: 00:46:17

Chris: when I saw this scene again, I'm

this White kid, you know, early twenties

980

: 00:46:24

at the theater by himself, Metro Detroit.

981

: 00:46:28

Um, I started laughing now.

982

: 00:46:32

I shouldn't have been laughing

because this was a serious movie

983

: 00:46:36

and I shouldn't have been laughing

for multiple reasons because

984

: 00:46:39

Jerome: you're a white guy and

it's the racist scene of the movie.

985

: 00:46:41

Chris: It's the most

racist scene in the movie.

986

: 00:46:43

Anyone that knows me, I don't know anyone

that would call me a racist, right?

987

: 00:46:47

But.

988

: 00:46:49

And whenever there's a but, you gotta,

you gotta identify that, but what I

989

: 00:46:53

realized what was happening, even if

Dennis Hopper wasn't a racist, he assumed

990

: 00:46:59

some Sicilian mob family, you know, boss,

lawyer, whatever, he assumed they were.

991

: 00:47:06

And so when he unleashes this, this

monologue about the Sicilians and how

992

: 00:47:13

they bred with the Moors and all this

stuff and, and he knew it was going

993

: 00:47:18

to make the Sicilians blood boil.

994

: 00:47:22

Right.

995

: 00:47:23

And I realized what he was doing.

996

: 00:47:24

Like, When he smoked the, when he

asked for the cigarette, I'm like,

997

: 00:47:28

Oh, he knows his life is over.

998

: 00:47:30

Jerome: Yeah, he's gonna die.

999

: 00:47:31

Chris: And he's gonna die,

so he's just gonna lay it on.

: 1000

00:47:34,140 --> 00:47:37,340

And I was laughing, and I

remember laughing my ass off.

: 1001

00:47:38,140 --> 00:47:42,110

Because of what he was saying, Christopher

Walken was in disbelief, right?

: 1002

00:47:43,340 --> 00:47:47,180

And I looked over and there's these black

guys sitting down the aisle from me.

: 1003

00:47:47,180 --> 00:47:49,720

I'm like, I just started muffling it.

: 1004

00:47:49,720 --> 00:47:52,090

I'm like, dude, you got to

understand what's happening.

: 1005

00:47:52,550 --> 00:47:57,230

So I wasn't laughing because I'm

a racist, but realized this man

: 1006

00:47:57,240 --> 00:47:59,200

just realized his life is over.

: 1007

00:47:59,715 --> 00:48:01,185

And he's about to die.

: 1008

00:48:01,805 --> 00:48:06,295

And the only thing he has is his

words to inflict something into

: 1009

00:48:06,305 --> 00:48:08,285

these guys before I kill him.

: 1010

00:48:09,305 --> 00:48:10,997

So, anyway, that's my story.

: 1011

00:48:10,997 --> 00:48:14,385

Jerome: Again, here's my point to that.

: 1012

00:48:17,200 --> 00:48:19,870

An an element in his character.

: 1013

00:48:19,990 --> 00:48:20,080

Mm-Hmm.

: 1014

00:48:20,320 --> 00:48:22,900

that Clarence liked, that

Clarence looked up to.

: 1015

00:48:22,900 --> 00:48:26,950

He sees in Alabama, Alabama

has the same sort of situation.

: 1016

00:48:26,950 --> 00:48:29,830

When she faces Virgil,

she knows she could die.

: 1017

00:48:30,040 --> 00:48:33,390

Like, this is the scene where I'm

going to die, so what am I gonna do?

: 1018

00:48:33,390 --> 00:48:34,560

Am I gonna just gonna roll over?

: 1019

00:48:34,560 --> 00:48:37,140

Am I gonna try to get one

lick in before it's over?

: 1020

00:48:37,140 --> 00:48:38,850

Now she ends up getting the upper hand.

: 1021

00:48:38,940 --> 00:48:39,300

Yeah.

: 1022

00:48:39,845 --> 00:48:41,175

Clifford's kind of in the same boat.

: 1023

00:48:41,215 --> 00:48:44,705

He knows he's going to die, but let me

see if I can get one stinger in there

: 1024

00:48:44,705 --> 00:48:47,155

before I go out and he hits him with this.

: 1025

00:48:47,315 --> 00:48:49,685

It's, it's interesting to know, by the

way, anyone that doesn't know what we're

: 1026

00:48:49,685 --> 00:48:55,435

talking about, Dennis Hopper goes on

this huge 10 minute tirade about how,

: 1027

00:48:55,495 --> 00:49:00,845

um, that the Italians, uh, when, when

the Moors conquered Sicily hundreds

: 1028

00:49:00,845 --> 00:49:04,125

of years ago, that they changed the

bloodline from all the sex they were

: 1029

00:49:04,125 --> 00:49:08,545

having with Italian women who at that

point were like blonde hair and blue eyes.

: 1030

00:49:08,765 --> 00:49:09,645

And now it's.

: 1031

00:49:09,820 --> 00:49:15,190

Italians and Sicilians even to this day

still have dark eyes, dark hair, dark

: 1032

00:49:15,190 --> 00:49:20,000

skin because of all the sex that the

Moors did with all their grandmas and

: 1033

00:49:20,000 --> 00:49:21,360

great grandmas and great great grandmas.

: 1034

00:49:21,360 --> 00:49:22,480

And the way he said it though.

: 1035

00:49:22,520 --> 00:49:23,179

He says it

: 1036

00:49:23,180 --> 00:49:24,110

very offensively.

: 1037

00:49:24,130 --> 00:49:25,450

He says it very offensively.

: 1038

00:49:25,820 --> 00:49:32,124

It's also, it's worthy to note though,

um, that the entire scene is word for

: 1039

00:49:32,124 --> 00:49:37,220

word how Tarantino wrote it with the

exception of one improv at the end.

: 1040

00:49:37,220 --> 00:49:37,584

Mmm.

: 1041

00:49:40,285 --> 00:49:46,225

In Tarantino's screenplay, it

ends, uh, you know, it, uh,

: 1042

00:49:46,495 --> 00:49:47,495

what's the part that he says?

: 1043

00:49:47,885 --> 00:49:53,365

Um, you know, when he says, if

that's the truth, am I lying?

: 1044

00:49:54,550 --> 00:49:56,780

If that's a fact, if

that's a fact, am I lying?

: 1045

00:49:56,900 --> 00:49:58,870

That's how it ended in

the script in the movie.

: 1046

00:49:58,900 --> 00:50:00,510

That's how that point ends.

: 1047

00:50:00,950 --> 00:50:07,030

But then Dennis Hopper ad libs and

says, because you are part eggplant.

: 1048

00:50:07,500 --> 00:50:11,760

And then Christopher walk in who

wasn't expecting that line because

: 1049

00:50:11,760 --> 00:50:15,750

it's not in the script, went with

it and goes, you're a cantaloupe.

: 1050

00:50:17,990 --> 00:50:19,630

So those two lines are not in the script.

: 1051

00:50:19,900 --> 00:50:21,210

Those two were added by the actors.

: 1052

00:50:21,290 --> 00:50:21,760

Wow.

: 1053

00:50:22,035 --> 00:50:22,905

I didn't know that.

: 1054

00:50:23,135 --> 00:50:23,645

That's cool.

: 1055

00:50:23,685 --> 00:50:29,150

Um, um, Okay.

: 1056

00:50:29,150 --> 00:50:32,520

So the very next scene,

another wonderful use of music.

: 1057

00:50:32,860 --> 00:50:38,190

Clarence and Alabama are arriving to

Los Angeles to Aerosmith's other side.

: 1058

00:50:38,560 --> 00:50:40,480

Take me to the other side.

: 1059

00:50:40,720 --> 00:50:45,210

So again, well, all right,

then I'll do this instead.

: 1060

00:50:45,270 --> 00:50:45,790

Are you ready?

: 1061

00:50:46,180 --> 00:50:48,070

Instead of my singing

voice, you're going to hear.

: 1062

00:50:50,130 --> 00:50:50,660

All right.

: 1063

00:50:50,660 --> 00:50:52,419

Before

: 1064

00:50:52,420 --> 00:50:54,430

the end of this, I'm

afraid you will be singing.

: 1065

00:50:54,960 --> 00:50:56,460

Margaritas are done for the day.

: 1066

00:50:56,460 --> 00:50:57,880

We are onto my lightsabers.

: 1067

00:50:57,930 --> 00:50:58,350

Okay.

: 1068

00:50:58,840 --> 00:51:02,035

Um, So again, another great use of music.

: 1069

00:51:03,495 --> 00:51:06,885

As they visit Dick, intro to

Floyd, played by Brad Pitt.

: 1070

00:51:06,895 --> 00:51:06,905

I

: 1071

00:51:06,905 --> 00:51:07,885

love Floyd's character.

: 1072

00:51:08,385 --> 00:51:11,895

And, and then they eventually

check into the Safari Inn.

: 1073

00:51:11,905 --> 00:51:17,515

By the way, that is not far,

the Safari Inn, is not far from

: 1074

00:51:17,515 --> 00:51:18,755

where I used to live in Burbank.

: 1075

00:51:19,125 --> 00:51:21,525

And I used to see it when I

would drive by every time.

: 1076

00:51:21,835 --> 00:51:23,405

Oh, that was a real name,

that was a real name of

: 1077

00:51:23,405 --> 00:51:23,945

the place, huh?

: 1078

00:51:23,955 --> 00:51:25,225

Still there to this day.

: 1079

00:51:25,465 --> 00:51:27,335

And it's exactly how

it looks in the movie.

: 1080

00:51:28,725 --> 00:51:30,155

Um, so yeah.

: 1081

00:51:30,335 --> 00:51:31,245

Um, alright.

: 1082

00:51:31,245 --> 00:51:31,895

Midpoint scene.

: 1083

00:51:31,895 --> 00:51:35,795

At the one hour mark, Dick knows

a guy that can help sell the coke.

: 1084

00:51:35,805 --> 00:51:38,295

This is Clarence and Alabama's

tangible goal, right?

: 1085

00:51:38,305 --> 00:51:39,195

To sell the dope.

: 1086

00:51:40,055 --> 00:51:43,935

It's a false victory, of course,

because ironically, uh, oh, by the way,

: 1087

00:51:43,935 --> 00:51:45,305

ironically, Dick is eating a peach.

: 1088

00:51:46,270 --> 00:51:47,460

So, remember?

: 1089

00:51:48,170 --> 00:51:49,850

Alabama, Alabama peach.

: 1090

00:51:49,860 --> 00:51:50,810

She tastes like a peach.

: 1091

00:51:51,200 --> 00:51:52,670

Dick's eating a peach at this moment.

: 1092

00:51:52,670 --> 00:51:56,200

But anyway, it's a false victory, we

know, because we know that it's only

: 1093

00:51:56,200 --> 00:51:58,160

going to lead to shit after this, right?

: 1094

00:51:58,530 --> 00:52:02,180

So intro to Elliot Blitzer and the

rollercoaster ride, meet and greet.

: 1095

00:52:02,825 --> 00:52:07,235

Bad guys closing in in a perfect

structure form the bad guys immediately

: 1096

00:52:07,235 --> 00:52:11,435

close in as we are introduced to Virgil

the second Clarence drops Alabama

: 1097

00:52:11,455 --> 00:52:16,725

off at the hotel guess who's waiting

inside Virgil with his shotgun one of

: 1098

00:52:16,725 --> 00:52:24,505

the mobsters one of Vincent's uh Um,

Oh, actually I, I, I jumped the spot.

: 1099

00:52:24,725 --> 00:52:26,745

The bad guys closing in is

the introduction of Virgil,

: 1100

00:52:26,745 --> 00:52:27,845

but not in the hotel room.

: 1101

00:52:27,945 --> 00:52:29,465

He first goes to see Floyd.

: 1102

00:52:29,515 --> 00:52:30,535

I'm sorry, my bad.

: 1103

00:52:30,675 --> 00:52:32,405

He goes to see Floyd first.

: 1104

00:52:33,245 --> 00:52:38,195

And it's another funny scene because

Brad Pitt is fucking high as usual

: 1105

00:52:38,905 --> 00:52:42,755

and is, is asking him, you know,

where, where, you know, where is he?

: 1106

00:52:43,155 --> 00:52:48,730

Like, yeah, man, he's at the safari

motor, Uh, Motel Inn or something.

: 1107

00:52:48,730 --> 00:52:51,390

It's like Safari Motel.

: 1108

00:52:51,790 --> 00:52:53,980

And it's just, you know, he's

having this back and forth.

: 1109

00:52:53,980 --> 00:52:57,105

And then when Virgil leaves

All of a sudden, Brad Pitt's

: 1110

00:52:57,195 --> 00:52:59,175

all, Condon, send me, man.

: 1111

00:52:59,175 --> 00:53:00,075

I'll fucking kill you.

: 1112

00:53:00,715 --> 00:53:01,515

Yeah, I love that.

: 1113

00:53:04,735 --> 00:53:06,115

He played a good stoner.

: 1114

00:53:07,025 --> 00:53:07,405

Yeah.

: 1115

00:53:08,135 --> 00:53:11,015

So, to this point, Clarence

and Alabama still have no idea

: 1116

00:53:11,015 --> 00:53:12,255

that anyone's even after them.

: 1117

00:53:12,285 --> 00:53:12,675

Right.

: 1118

00:53:12,755 --> 00:53:14,265

There's no idea that

anyone's looking for them.

: 1119

00:53:14,735 --> 00:53:18,805

At the 1 hour 14 mark, uh, this is

where Alabama returns the hotel room.

: 1120

00:53:18,805 --> 00:53:19,395

So this is the part.

: 1121

00:53:19,395 --> 00:53:20,245

I jumped the one scene.

: 1122

00:53:20,245 --> 00:53:20,915

This is the part.

: 1123

00:53:21,235 --> 00:53:22,195

One hour, 14 minutes.

: 1124

00:53:22,195 --> 00:53:24,745

Now is the first moment they

realize they're being hunted

: 1125

00:53:24,955 --> 00:53:26,935

because Clarence drops Alabama off.

: 1126

00:53:26,935 --> 00:53:29,455

She goes into the hotel

room and waiting inside.

: 1127

00:53:29,485 --> 00:53:31,555

Is Virgil okay?

: 1128

00:53:31,555 --> 00:53:31,855

Played by?

: 1129

00:53:31,855 --> 00:53:33,865

You want James Delini?

: 1130

00:53:33,925 --> 00:53:34,195

Yes.

: 1131

00:53:34,560 --> 00:53:39,175

Uh, uh, people argued this was the

movie that got him, uh, Sopranos.

: 1132

00:53:39,685 --> 00:53:41,755

Um, I think there were more

movies in between though.

: 1133

00:53:42,145 --> 00:53:43,870

Um, I know he, he played a hit.

: 1134

00:53:43,870 --> 00:53:44,100

Was she

: 1135

00:53:44,100 --> 00:53:45,355

a producer on the Sopranos?

: 1136

00:53:46,470 --> 00:53:48,720

Oh, I'm sure he's probably

an executive producer.

: 1137

00:53:48,820 --> 00:53:52,550

I mean, I I'm just curious cause

I heard, I read something that it,

: 1138

00:53:53,350 --> 00:53:57,700

his character in this movie gave

him inspiration maybe just for the

: 1139

00:53:57,700 --> 00:54:02,740

character of who he would play in the

Sopranos, but I read something about it.

: 1140

00:54:03,000 --> 00:54:03,490

Yeah.

: 1141

00:54:03,520 --> 00:54:03,740

So

: 1142

00:54:03,740 --> 00:54:03,990

anyway.

: 1143

00:54:04,800 --> 00:54:06,230

Um, Oh yeah.

: 1144

00:54:06,350 --> 00:54:07,940

I, I know there was other movies too.

: 1145

00:54:07,940 --> 00:54:10,250

Like I think he was in get

shorty before the Sopranos.

: 1146

00:54:10,250 --> 00:54:11,430

He played a hit man in that too.

: 1147

00:54:11,890 --> 00:54:12,570

Um, Thank you.

: 1148

00:54:13,310 --> 00:54:18,840

But okay, so, he wants his coke, Alabama

resorts to an old movie cliche again.

: 1149

00:54:19,875 --> 00:54:23,665

We've seen this in other movies where

the person that's scared tries to scare

: 1150

00:54:23,665 --> 00:54:26,665

off the villain by claiming they have

a boyfriend who's a football player.

: 1151

00:54:26,995 --> 00:54:30,965

We've actually seen that in other movies,

notably Drew Barrymore in the beginning of

: 1152

00:54:31,185 --> 00:54:34,565

Scream in: 1996

: 1153

00:54:34,725 --> 00:54:36,915

My boyfriend's a football player

and he's going to kick your ass.

: 1154

00:54:36,925 --> 00:54:39,715

You know, so it's like that

movie trope is in there.

: 1155

00:54:40,315 --> 00:54:45,115

Um, and ensuing brutal battle can,

uh, begins where Alabama fights.

: 1156

00:54:45,135 --> 00:54:50,195

Uh, this reminded me, uh, again,

as I said, the connection between

: 1157

00:54:50,205 --> 00:54:55,485

Alabama and Clifford, um, how they

both face possible death, right?

: 1158

00:54:56,785 --> 00:55:00,635

Um, there's a confidence, a toughness,

almost a defiance of I'm not gonna go

: 1159

00:55:00,635 --> 00:55:02,125

out the way they want me to go out.

: 1160

00:55:02,805 --> 00:55:08,750

I believe Clarence knew that sort of,

uh, that that might be how his father

: 1161

00:55:08,750 --> 00:55:13,640

is, you know, and maybe that's something

he saw in Alabama, um, that she has that

: 1162

00:55:13,640 --> 00:55:18,390

sort of, you know, defiance in her, uh,

which is odd because everything we've

: 1163

00:55:18,390 --> 00:55:21,840

seen up to her from her up to this

point is that she gives into easily.

: 1164

00:55:22,390 --> 00:55:25,290

Now, all of a sudden she doesn't

just roll over and take the death.

: 1165

00:55:25,300 --> 00:55:26,690

She fights for it, right?

: 1166

00:55:26,700 --> 00:55:30,210

She's fighting now, which could

be part of the arc, right?

: 1167

00:55:30,400 --> 00:55:30,700

That.

: 1168

00:55:31,380 --> 00:55:34,710

From what we knew of her, she was

a give in personality, but now

: 1169

00:55:34,710 --> 00:55:35,970

she's got something to fight for.

: 1170

00:55:36,030 --> 00:55:36,120

Mm-Hmm.

: 1171

00:55:36,360 --> 00:55:36,660

, right?

: 1172

00:55:36,960 --> 00:55:39,000

So now she's not gonna

just roll over and take it.

: 1173

00:55:39,570 --> 00:55:39,780

Okay.

: 1174

00:55:39,780 --> 00:55:42,480

So one of the things that she needed

fixing when we talked about lack

: 1175

00:55:42,480 --> 00:55:48,010

of confidence, she solves that in

this battle, um, just as Clarence

: 1176

00:55:48,010 --> 00:55:49,330

solved his, when he killed Drexel.

: 1177

00:55:49,510 --> 00:55:49,600

Mm-Hmm.

: 1178

00:55:49,840 --> 00:55:49,960

, right?

: 1179

00:55:49,960 --> 00:55:51,370

The, the lacking of confidence.

: 1180

00:55:51,850 --> 00:55:55,360

Um, so Clarence does eventually

arrive and he gets her outta there.

: 1181

00:55:57,050 --> 00:56:04,050

Another aspect I loved about this is that

he didn't have to save her in in a in a

: 1182

00:56:04,470 --> 00:56:11,600

worse movie He would have come in during

the fight Right and and and ended it and

: 1183

00:56:11,600 --> 00:56:16,270

killed Virgil and saved her like a damsel

in distress I like that Tarantino and

: 1184

00:56:16,270 --> 00:56:22,480

Tony Scott's direction didn't have him

come in until it was over right, right She

: 1185

00:56:22,490 --> 00:56:25,415

had to save herself And that's important.

: 1186

00:56:25,425 --> 00:56:28,605

And I love that about that,

that moment that it's after

: 1187

00:56:28,605 --> 00:56:29,835

she kills him with a shotgun.

: 1188

00:56:29,845 --> 00:56:31,255

He comes in right after.

: 1189

00:56:31,715 --> 00:56:33,695

Um, okay.

: 1190

00:56:33,695 --> 00:56:39,630

So, uh, he, and actually, I actually

wrote on here too, that, Um, Tarantino has

: 1191

00:56:39,640 --> 00:56:42,110

uses this method in other films as well.

: 1192

00:56:42,120 --> 00:56:46,130

His leading lady is

usually, uh, strong, right?

: 1193

00:56:46,160 --> 00:56:51,380

You think of, um, the bride in Kill

Bill movies, uh, Mallory Knox in

: 1194

00:56:51,390 --> 00:56:56,500

Natural Born Killers, um, Melanie

Laurent in, in, in Glorious Bastards,

: 1195

00:56:57,060 --> 00:57:01,520

a lot of his female leads have that

sort of inner fire and that strength

: 1196

00:57:01,530 --> 00:57:02,710

that they don't need to be saved.

: 1197

00:57:03,295 --> 00:57:08,505

No matter who is coming across their

path, the men in their life are additions.

: 1198

00:57:08,525 --> 00:57:12,245

They're not, uh, anything

to cling to, right?

: 1199

00:57:12,245 --> 00:57:13,775

They're not, they're not protectors.

: 1200

00:57:13,785 --> 00:57:15,425

They're just, they're like bonuses.

: 1201

00:57:15,895 --> 00:57:16,645

They're just there.

: 1202

00:57:16,705 --> 00:57:17,075

All right.

: 1203

00:57:17,235 --> 00:57:19,115

That they're strong enough

to take care of themselves.

: 1204

00:57:19,795 --> 00:57:20,085

All right.

: 1205

00:57:20,095 --> 00:57:23,465

Bad guys closing in Elliot

gets caught with cocaine.

: 1206

00:57:24,485 --> 00:57:25,755

Wait, let's pause for a moment.

: 1207

00:57:26,025 --> 00:57:27,855

We have to pause and mark this spot.

: 1208

00:57:27,855 --> 00:57:28,845

Mom is calling.

: 1209

00:57:29,115 --> 00:57:29,615

Oh boy.

: 1210

00:57:31,515 --> 00:57:32,195

Hello.

: 1211

00:57:37,405 --> 00:57:38,505

She butt dialed you.

: 1212

00:57:38,505 --> 00:57:41,005

I have her on speaker.

: 1213

00:57:41,225 --> 00:57:42,535

You're on the air.

: 1214

00:57:42,835 --> 00:57:43,525

Hello?

: 1215

00:57:44,220 --> 00:57:45,870

She butt dialed you 100%.

: 1216

00:57:46,300 --> 00:57:47,020

She did butt dial me.

: 1217

00:57:48,420 --> 00:57:49,470

That's not getting cut.

: 1218

00:57:49,520 --> 00:57:50,440

We're leaving that in.

: 1219

00:57:52,700 --> 00:57:55,560

Oh, she texted me, can we FaceTime?

: 1220

00:57:55,610 --> 00:57:58,486

We are recording at the moment.

: 1221

00:57:58,486 --> 00:57:58,910

I'm leaving that in

: 1222

00:57:58,910 --> 00:57:59,730

100%.

: 1223

00:58:00,640 --> 00:58:02,010

We're recording at the moment.

: 1224

00:58:02,020 --> 00:58:03,800

We'll call you back.

: 1225

00:58:04,610 --> 00:58:07,650

Isn't it funny how mom always podcast?

: 1226

00:58:07,680 --> 00:58:07,940

Yeah,

: 1227

00:58:08,150 --> 00:58:08,380

yeah.

: 1228

00:58:09,330 --> 00:58:09,700

Okay.

: 1229

00:58:10,900 --> 00:58:11,250

Okay.

: 1230

00:58:11,735 --> 00:58:14,365

Alright, sorry about

that, audience member.

: 1231

00:58:14,865 --> 00:58:15,115

Okay.

: 1232

00:58:15,115 --> 00:58:16,785

We gotta wrap it up, you

gotta call your mama.

: 1233

00:58:16,935 --> 00:58:17,355

It's getting late in Detroit.

: 1234

00:58:17,355 --> 00:58:18,065

Yeah, I gotta, I

: 1235

00:58:18,065 --> 00:58:20,345

have to call my, it is Father's

Day, I have to call my mom.

: 1236

00:58:20,345 --> 00:58:22,255

Alright, alright, alright, oh, so

Ellie gets caught with the cookbook.

: 1237

00:58:22,265 --> 00:58:24,125

Wait a minute, you have to call your mom.

: 1238

00:58:26,495 --> 00:58:27,685

It is Father's Day.

: 1239

00:58:28,125 --> 00:58:29,255

You gotta call your mom.

: 1240

00:58:29,625 --> 00:58:30,775

I'm a father!

: 1241

00:58:30,815 --> 00:58:31,415

What about your

: 1242

00:58:31,555 --> 00:58:32,035

dad?

: 1243

00:58:34,625 --> 00:58:34,815

Jesus.

: 1244

00:58:34,815 --> 00:58:39,625

Don't you know today's all about me now?

: 1245

00:58:39,665 --> 00:58:40,655

It's all about me.

: 1246

00:58:43,355 --> 00:58:43,695

Alright,

: 1247

00:58:43,695 --> 00:58:47,105

now I know what, what punny

intro we're gonna use.

: 1248

00:58:47,565 --> 00:58:50,175

Alright, somehow that

went right over my head.

: 1249

00:58:50,665 --> 00:58:54,465

Yes, but when we FaceTime, I

don't ever FaceTime with just

: 1250

00:58:54,465 --> 00:58:55,625

Mom, it's always Mom and Dad.

: 1251

00:58:55,625 --> 00:58:57,265

Hey Mom, happy Father's Day.

: 1252

00:58:57,555 --> 00:59:00,445

Happy Father's Day Mom, and

please wish it back to me.

: 1253

00:59:00,945 --> 00:59:01,865

Oh, hi Dad!

: 1254

00:59:05,300 --> 00:59:06,270

That's classic.

: 1255

00:59:06,270 --> 00:59:09,320

That's, that's, uh, most dads,

that's what we get, you know?

: 1256

00:59:09,580 --> 00:59:09,910

Yeah.

: 1257

00:59:10,060 --> 00:59:11,040

Yeah, exactly.

: 1258

00:59:12,070 --> 00:59:15,950

Again, we just talked about strong women

who don't need men to protect them.

: 1259

00:59:15,950 --> 00:59:17,000

They're just add ons.

: 1260

00:59:17,320 --> 00:59:19,200

Dad's the add on to mom.

: 1261

00:59:21,320 --> 00:59:22,260

Oh my god.

: 1262

00:59:24,500 --> 00:59:25,130

I'm kidding.

: 1263

00:59:25,170 --> 00:59:26,080

I'm kidding.

: 1264

00:59:26,090 --> 00:59:28,020

It's getting really hot in

this fucking room right now.

: 1265

00:59:28,020 --> 00:59:28,480

I know.

: 1266

00:59:28,740 --> 00:59:29,960

With no air on and no

: 1267

00:59:30,200 --> 00:59:32,610

90 degrees.

: 1268

00:59:32,610 --> 00:59:34,760

Dad's Alright, all is lost.

: 1269

00:59:34,760 --> 00:59:37,110

One hour, twenty six minutes in.

: 1270

00:59:37,160 --> 00:59:42,020

Cops Nicholson and Dimes, Tom

Sizemore and Chris Penn Uh, by the

: 1271

00:59:42,020 --> 00:59:43,890

way, both are, have passed away.

: 1272

00:59:44,120 --> 00:59:47,620

The late, the late Tom

Sizemore and Chris Penn.

: 1273

00:59:48,270 --> 00:59:50,350

Uh, lay the hammer down on Elliot.

: 1274

00:59:50,370 --> 00:59:54,170

This is interesting beat because in

this, in this film, the all is lost

: 1275

00:59:54,170 --> 00:59:55,710

doesn't fall on the protagonist.

: 1276

00:59:56,190 --> 00:59:58,290

Um, he doesn't even, he's not aware of it.

: 1277

00:59:58,585 --> 00:59:58,875

Right.

: 1278

00:59:58,895 --> 01:00:01,325

He doesn't know where that

the plan is all falling apart.

: 1279

01:00:02,405 --> 01:00:03,975

We have sort of an omniscient view.

: 1280

01:00:03,975 --> 01:00:07,145

Uh, again, the, uh, this happened

with Bonnie and Clyde, right?

: 1281

01:00:07,165 --> 01:00:11,185

We have, uh, the audience has superior

position that shit's about to go down,

: 1282

01:00:11,485 --> 01:00:13,135

but the, the main characters don't.

: 1283

01:00:13,205 --> 01:00:13,535

Right.

: 1284

01:00:13,535 --> 01:00:13,735

Right.

: 1285

01:00:13,795 --> 01:00:20,225

Um, so, uh, Clarence's all his loss is

when he gets Alabama out of the hotel

: 1286

01:00:20,225 --> 01:00:24,215

room and he's speeding off cursing and

yelling, he knows at this point that the

: 1287

01:00:24,215 --> 01:00:26,245

mob is after him and that he's not safe.

: 1288

01:00:26,705 --> 01:00:29,315

Uh, but the argument against that being.

: 1289

01:00:30,170 --> 01:00:32,570

It doesn't change his goals,

motives, or direction.

: 1290

01:00:32,580 --> 01:00:34,910

He's still gonna go forward

with trying to sell the coke.

: 1291

01:00:34,930 --> 01:00:37,960

Even though he knows the mobsters

are after him for the coke.

: 1292

01:00:38,090 --> 01:00:39,850

Fuck it, I'm gonna sell it anyway.

: 1293

01:00:40,000 --> 01:00:43,960

Not just give it back and say, Sorry, we

didn't know anyone was looking for this.

: 1294

01:00:44,400 --> 01:00:45,770

No, he's gonna sell it anyway.

: 1295

01:00:46,210 --> 01:00:51,120

Uh, Elliot, uh, before, uh, Oh, he's,

uh, before he's forced to wear the

: 1296

01:00:51,120 --> 01:00:55,500

wire, He's certainly and ultimately

gonna drive Clarence to his climax.

: 1297

01:00:56,665 --> 01:00:58,005

Okay, Dark Night of the Soul.

: 1298

01:00:59,375 --> 01:01:02,795

Uh, this is where Clarence is, uh,

bandaging up Alabama at the airport.

: 1299

01:01:03,715 --> 01:01:05,695

Uh, this confirms his

plans are still in place.

: 1300

01:01:05,695 --> 01:01:07,295

He just wants to sell

the coke and get out.

: 1301

01:01:07,735 --> 01:01:12,130

Uh, They contemplate how wonderful

their life will be, uh, if they

: 1302

01:01:12,290 --> 01:01:13,590

can finally escape all this.

: 1303

01:01:13,890 --> 01:01:19,730

Uh, interesting change, I think, in

the fight or flight by Clarence, um,

: 1304

01:01:20,110 --> 01:01:24,000

whereas at the beginning, I don't

think he would fathom, like, that

: 1305

01:01:24,000 --> 01:01:26,780

Drexel would be somebody that he

would ever want to fight and kill.

: 1306

01:01:27,410 --> 01:01:28,660

But he does it, right?

: 1307

01:01:29,250 --> 01:01:33,370

But now, when he realizes the mob's

after him, he doesn't want to fight.

: 1308

01:01:33,965 --> 01:01:35,425

He wants to flight, right?

: 1309

01:01:35,435 --> 01:01:36,355

He wants to take off,

: 1310

01:01:36,775 --> 01:01:37,115

like

: 1311

01:01:37,115 --> 01:01:39,795

he wants to sell the coke and get

out of there It's not like, all

: 1312

01:01:39,795 --> 01:01:42,645

of a sudden it's not like killing

a pimp, you know what I mean?

: 1313

01:01:42,645 --> 01:01:45,025

Now he's like, I don't want

nothing to do with the mob, right?

: 1314

01:01:45,035 --> 01:01:46,275

Like, get the fuck out of here.

: 1315

01:01:46,495 --> 01:01:50,195

Let's sell the coke, get the money, and

get the fuck out Breaking the three A and

: 1316

01:01:50,215 --> 01:01:53,815

B stories collide as Dick Ritchie gets the

call that he got the part in the new show

: 1317

01:01:54,155 --> 01:01:59,215

Dick represents the innocence Remember,

the suitcase still represents evil.

: 1318

01:01:59,895 --> 01:02:00,265

Okay?

: 1319

01:02:00,325 --> 01:02:01,745

That's gonna come into

play here in a minute.

: 1320

01:02:01,855 --> 01:02:02,175

Yeah.

: 1321

01:02:03,035 --> 01:02:06,515

Uh, and now, by the way, has another

death attached to it, Virgil's death.

: 1322

01:02:06,735 --> 01:02:09,355

So, everywhere the suitcase

has gone, people have died.

: 1323

01:02:09,445 --> 01:02:09,685

Yep.

: 1324

01:02:09,805 --> 01:02:10,255

Okay?

: 1325

01:02:10,765 --> 01:02:11,305

Alright.

: 1326

01:02:11,805 --> 01:02:16,095

They're off to the hotel, uh, for

the big Uh, drug deal scene and

: 1327

01:02:16,095 --> 01:02:17,425

we're now officially in act three.

: 1328

01:02:17,435 --> 01:02:18,315

Five point finale.

: 1329

01:02:18,315 --> 01:02:18,745

Here we go.

: 1330

01:02:18,745 --> 01:02:19,625

Gathering the team.

: 1331

01:02:19,875 --> 01:02:23,115

While the mob is loading up their

guns and the cops are prepping Elliot,

: 1332

01:02:23,145 --> 01:02:27,285

Clarence is assembling his team, uh,

in the car on the way to the hotel.

: 1333

01:02:27,535 --> 01:02:31,745

Clarence also gives a line of dialogue

that I use as sort of like one of my

: 1334

01:02:31,795 --> 01:02:34,225

Bible oaths that I use in my lifetime.

: 1335

01:02:34,515 --> 01:02:37,154

And he says, quote, there's

a, uh, it's been a while.

: 1336

01:02:37,745 --> 01:02:41,565

Well, he says gun, but I, I'll tell

you, I word it differently in my life.

: 1337

01:02:41,765 --> 01:02:43,065

He's referring to the gun.

: 1338

01:02:43,565 --> 01:02:46,385

It's better to have it and not need

it than to need it and not have it.

: 1339

01:02:46,455 --> 01:02:51,405

That is a line of dialogue that I

use in my life all the time, usually

: 1340

01:02:51,405 --> 01:02:55,255

with my wife and kids, where V

will say, do we need to bring that?

: 1341

01:02:55,285 --> 01:02:58,355

I always say it's better to have

it and not need it than to need it.

: 1342

01:02:58,355 --> 01:02:58,845

Not have it.

: 1343

01:02:58,875 --> 01:03:01,865

And I've gotten that from this movie

and I've been saying it for 30, 40

: 1344

01:03:01,865 --> 01:03:05,995

years, 40 years, however long, 20

years, 20, 30, I don't know, whatever.

: 1345

01:03:06,285 --> 01:03:06,665

All right.

: 1346

01:03:08,020 --> 01:03:09,840

Uh, where we at here?

: 1347

01:03:09,900 --> 01:03:13,890

Um, okay, so we get to the elevator

scene where Clarence threatens Elliot

: 1348

01:03:14,230 --> 01:03:16,030

to ensure that this isn't a shakedown.

: 1349

01:03:16,050 --> 01:03:18,690

Elliot, uh, commendably so, doesn't crack.

: 1350

01:03:19,170 --> 01:03:22,220

He does say, I wish somebody

would just come take me away!

: 1351

01:03:22,640 --> 01:03:26,220

So he is telling the cops through the

radio, please come get me, but he never

: 1352

01:03:26,220 --> 01:03:28,360

cracks, he never says the cops are here.

: 1353

01:03:28,560 --> 01:03:29,590

So, good job Elliot.

: 1354

01:03:33,100 --> 01:03:34,980

Okay, then the mobsters

pay a visit to Floyd.

: 1355

01:03:36,380 --> 01:03:37,540

That's another funny scene.

: 1356

01:03:37,770 --> 01:03:40,680

And again, another great musical tie in.

: 1357

01:03:40,680 --> 01:03:43,430

They come in and Floyd's

listening to Soundgarden.

: 1358

01:03:43,500 --> 01:03:43,840

Right.

: 1359

01:03:44,540 --> 01:03:45,670

I love it so much.

: 1360

01:03:46,600 --> 01:03:50,500

And they come in and he's all,

You guys want to smoke a bowl?

: 1361

01:03:50,500 --> 01:03:53,170

And the one dude racks his

shotgun and he's like, Oh, okay.

: 1362

01:03:58,300 --> 01:03:59,740

Man, it's just another funny scene.

: 1363

01:03:59,740 --> 01:04:01,890

Floyd provides all the

humor in this movie.

: 1364

01:04:02,050 --> 01:04:02,290

Yeah.

: 1365

01:04:02,780 --> 01:04:03,160

Okay.

: 1366

01:04:03,615 --> 01:04:04,655

Execution of the plan.

: 1367

01:04:04,665 --> 01:04:07,005

Blake Snyder also calls

this storming the castle.

: 1368

01:04:07,005 --> 01:04:10,125

Now I can't think of a better example

of storming the castle than when

: 1369

01:04:10,125 --> 01:04:11,845

they go up to the suite at the hotel.

: 1370

01:04:12,375 --> 01:04:15,705

Uh, the, the hotel represents

the castle that they're storming.

: 1371

01:04:16,095 --> 01:04:21,615

Um, here we have, uh, the meet, the in

person meet and greet with Lee Donowitz,

: 1372

01:04:21,654 --> 01:04:23,315

the producer that wants to buy the Coke.

: 1373

01:04:24,105 --> 01:04:25,865

Played greatly by Saul Rubinick.

: 1374

01:04:25,885 --> 01:04:26,415

Love that guy.

: 1375

01:04:26,855 --> 01:04:28,654

Um, everything is going as planned.

: 1376

01:04:28,910 --> 01:04:32,390

Clarence is, uh, convinces Lee that he's

on the level and that the deal is done.

: 1377

01:04:32,410 --> 01:04:34,900

Alabama counts the money as

Clarence goes to the bathroom.

: 1378

01:04:35,000 --> 01:04:36,460

Everything's going fine.

: 1379

01:04:37,230 --> 01:04:38,610

High tower surprise.

: 1380

01:04:38,930 --> 01:04:42,520

The cops crash in and then the

mob crashes in moments after that.

: 1381

01:04:42,520 --> 01:04:43,990

And now we have a standoff.

: 1382

01:04:44,660 --> 01:04:47,100

Dig down deep while there

is confusion in the room.

: 1383

01:04:47,110 --> 01:04:50,840

Somehow Clarence hears none of it

while he's in the bathroom and he's

: 1384

01:04:50,840 --> 01:04:54,590

having a pep talk with his mentor,

of course, Elvis, who really is just

: 1385

01:04:54,610 --> 01:04:56,410

his own imagination and imagination.

: 1386

01:04:58,080 --> 01:05:01,990

Execution of the new plan, gunfire

erupts as the cops, the mob, and Lee's

: 1387

01:05:01,990 --> 01:05:03,840

henchmen are all firing at each other.

: 1388

01:05:04,070 --> 01:05:07,420

Reminiscent of Stanley Kubrick's

: 1956

: 1389

01:05:07,460 --> 01:05:08,630

everyone shoots each other.

: 1390

01:05:08,960 --> 01:05:11,790

Tarantino also uses this method

at the end of Reservoir Dogs,

: 1391

01:05:11,790 --> 01:05:13,029

where everybody shoots each other.

: 1392

01:05:13,570 --> 01:05:17,320

Among the chaos, Clarence emerges

and is grazed by a bullet in the eye.

: 1393

01:05:17,630 --> 01:05:21,070

Alabama runs to his aid, eventually

revives him, and they escape.

: 1394

01:05:21,080 --> 01:05:24,550

But not before Here's where

it all comes into play.

: 1395

01:05:24,750 --> 01:05:29,020

The innocence that's represented by

Dick Ritchie's character, Dick Ritchie

: 1396

01:05:29,020 --> 01:05:34,990

throws the suitcase, the symbol of evil

up into the air and they shoot at it.

: 1397

01:05:34,990 --> 01:05:36,550

And the Coke flies everywhere.

: 1398

01:05:36,779 --> 01:05:40,360

They literally shoot the

symbol of evil in the movie.

: 1399

01:05:41,110 --> 01:05:41,450

Yeah.

: 1400

01:05:42,090 --> 01:05:44,000

Uh, and that's where Dick

Ritchie takes off too.

: 1401

01:05:44,020 --> 01:05:46,420

He gets out of the, he gets out

in the hallway and he takes off.

: 1402

01:05:47,000 --> 01:05:48,360

So he escapes the evil.

: 1403

01:05:48,510 --> 01:05:48,690

Yeah.

: 1404

01:05:49,365 --> 01:05:53,065

Uh, side note, Clarence did tell Elliot

in the elevator that if anything went

: 1405

01:05:53,065 --> 01:05:54,705

wrong, he'd be the first that got shot.

: 1406

01:05:56,095 --> 01:05:59,295

He wasn't the first that got shot,

but he was first hit with hot coffee.

: 1407

01:05:59,305 --> 01:06:01,565

So he was the first person

to get hit with something.

: 1408

01:06:01,955 --> 01:06:03,315

And that's what started the shooting.

: 1409

01:06:03,325 --> 01:06:05,715

Lee Donowitz was actually the

first person that was shot.

: 1410

01:06:06,525 --> 01:06:06,875

All right.

: 1411

01:06:06,875 --> 01:06:10,865

Resolution, Alabama's voiceover, uh,

wraps it up counterpart from her opening

: 1412

01:06:10,865 --> 01:06:14,085

voiceover, where they have worked through

the theme that she stated earlier,

: 1413

01:06:14,315 --> 01:06:18,154

that love sometimes goes one way, but

sometimes it goes another way too.

: 1414

01:06:18,545 --> 01:06:22,810

They realized that as much as they,

uh, As much as they plan, life

: 1415

01:06:22,810 --> 01:06:24,300

and happenstance gets in the way.

: 1416

01:06:24,650 --> 01:06:26,800

They're now living happily

in Mexico with a son.

: 1417

01:06:27,710 --> 01:06:28,810

Side notes on the goals.

: 1418

01:06:29,130 --> 01:06:33,600

Both Clarence and Alabama had, uh, had a

main tangible goal of selling the cocaine.

: 1419

01:06:34,180 --> 01:06:35,710

Uh, and at the midpoint scene.

: 1420

01:06:36,180 --> 01:06:39,020

Uh, they kind of make, you know, they

make the connections to make that happen.

: 1421

01:06:39,450 --> 01:06:44,880

Uh, while they appear to be flat arcs,

you could argue, uh, if you wanted

: 1422

01:06:44,880 --> 01:06:48,760

to dig deep enough on the arc, both

Clarence and Alabama not only fix the

: 1423

01:06:48,760 --> 01:06:53,420

things that need fixing in their lives,

uh, but they also end up with a family.

: 1424

01:06:53,435 --> 01:06:57,355

Uh, the real riches, you know?

: 1425

01:06:57,775 --> 01:07:00,025

Uh, perhaps neither of them expected

in the beginning of the film

: 1426

01:07:00,025 --> 01:07:01,055

that they would ever have that.

: 1427

01:07:01,215 --> 01:07:01,455

Right.

: 1428

01:07:01,475 --> 01:07:03,465

So, there are arcs there.

: 1429

01:07:04,255 --> 01:07:07,345

Um, before I get into the trivia,

anything you want to wrap up with

: 1430

01:07:07,355 --> 01:07:09,565

themes or goals or characters?

: 1431

01:07:09,985 --> 01:07:11,565

Not really, I just loved it all.

: 1432

01:07:12,285 --> 01:07:15,485

It's the type of movie that just keeps

you engaged the whole way through,

: 1433

01:07:15,715 --> 01:07:17,365

the whole ride, you know what I mean?

: 1434

01:07:17,855 --> 01:07:20,165

Yeah, a two hour movie

doesn't feel like two hours.

: 1435

01:07:20,185 --> 01:07:20,465

Right.

: 1436

01:07:20,465 --> 01:07:20,745

You know?

: 1437

01:07:20,745 --> 01:07:21,139

Right.

: 1438

01:07:22,110 --> 01:07:25,890

Uh, trivia, Ed Lauder, who is in

movies like Cujo, where he played the

: 1439

01:07:25,890 --> 01:07:30,690

dad, and Real Genius, uh, he appears

uncredited as the police captain.

: 1440

01:07:31,855 --> 01:07:34,055

Okay, the thing that I said

was all over this movie.

: 1441

01:07:34,235 --> 01:07:36,315

Videotapes are all over this film.

: 1442

01:07:36,325 --> 01:07:40,835

In Drexel's showdown scene, there's

stacks and stacks of VHS tapes.

: 1443

01:07:41,525 --> 01:07:44,965

Um, quite common for the time,

obviously, but Tarantino used to work

: 1444

01:07:44,965 --> 01:07:48,275

Remember, Clarence is kind of the

Tarantino, he's based on himself.

: 1445

01:07:48,635 --> 01:07:52,355

Not all the stealing drugs and the

shootouts and everything, but He Clarence

: 1446

01:07:52,355 --> 01:07:55,635

works in a comic book store, but Tarantino

in real life worked in a video store.

: 1447

01:07:56,825 --> 01:08:00,695

So, the idea of Clarence kind of

comes from Tarantino's almost like

: 1448

01:08:01,095 --> 01:08:04,495

Almost autobiographical how it

starts, you know, how Clarence starts.

: 1449

01:08:04,495 --> 01:08:08,635

He starts a lot like how Tarantino was

in real life, but the videotapes are also

: 1450

01:08:08,635 --> 01:08:10,555

in Dick Ritchie's apartment, his place.

: 1451

01:08:10,585 --> 01:08:12,835

There's stacks of videotapes everywhere.

: 1452

01:08:13,195 --> 01:08:16,135

So it's like a little

homage to Tarantino's start.

: 1453

01:08:16,935 --> 01:08:17,705

Personal touch.

: 1454

01:08:19,115 --> 01:08:23,685

Um, Jack Black appears in a deleted

scene as the theater manager at the

: 1455

01:08:23,685 --> 01:08:28,585

beginning of the movie who kicks everyone

out after the Kung Fu movies are over.

: 1456

01:08:29,984 --> 01:08:31,725

Yeah, you'll have to

watch the deleted scenes.

: 1457

01:08:31,725 --> 01:08:33,265

Jack Black's scene is in there.

: 1458

01:08:34,024 --> 01:08:34,965

Alternate ending.

: 1459

01:08:35,005 --> 01:08:39,245

Tarantino originally wrote that

Clarence dies, that the bullet hits

: 1460

01:08:39,245 --> 01:08:40,815

him in the head and it kills him.

: 1461

01:08:41,385 --> 01:08:44,795

Director Tony Scott talked him out

of it because he said, and quote,

: 1462

01:08:44,920 --> 01:08:46,630

He fell in love with the characters.

: 1463

01:08:48,149 --> 01:08:51,960

Other changes to the script, originally

it's Alabama that kills dimes after

: 1464

01:08:51,960 --> 01:08:54,690

she kills Boris, after he kills Boris.

: 1465

01:08:54,690 --> 01:08:57,569

But ultimately they wanted

Clarence and Alabama to be as

: 1466

01:08:57,569 --> 01:08:59,880

close as the good guys as possible.

: 1467

01:08:59,910 --> 01:09:00,120

Right.

: 1468

01:09:00,125 --> 01:09:00,165

Right.

: 1469

01:09:00,240 --> 01:09:02,069

They didn't, they didn't

want her killing a cop.

: 1470

01:09:02,740 --> 01:09:05,620

Um, it's in the deleted scenes,

you actually see she does shoot

: 1471

01:09:05,620 --> 01:09:06,670

one of the cops and kills him.

: 1472

01:09:06,760 --> 01:09:06,880

Mm-Hmm.

: 1473

01:09:07,859 --> 01:09:08,640

. But they changed it.

: 1474

01:09:09,180 --> 01:09:12,840

Um, she, she's changed it to where one of

the mobsters who was shot kind of wakes

: 1475

01:09:12,840 --> 01:09:14,580

up for one last moment and kills the cop.

: 1476

01:09:15,615 --> 01:09:18,575

The Beverly Ambassador Hotel

that the final scene is shot

: 1477

01:09:18,575 --> 01:09:20,065

in has now been demolished.

: 1478

01:09:20,065 --> 01:09:22,095

It was at: 3400

: 1479

01:09:22,725 --> 01:09:25,404

The original musical score

was done by Hans Zimmer, who

: 1480

01:09:25,404 --> 01:09:27,285

I absolutely love, by the way.

: 1481

01:09:27,285 --> 01:09:28,645

He's had some great films.

: 1482

01:09:29,175 --> 01:09:31,925

Um, he fails to get an Oscar nomination.

: 1483

01:09:32,325 --> 01:09:41,300

Uh, the four nominees Lost best sound

the musical score I don't know why

: 1484

01:09:41,300 --> 01:09:43,890

I'm throwing this in there Just that I

can't believe Hans Zimmer didn't crack

: 1485

01:09:43,890 --> 01:09:47,380

this list But the four nominees that

lost were Richard Robbins for remains

: 1486

01:09:47,380 --> 01:09:51,880

of the day James Newton Howard for the

fugitive Dave Grusin for the firm and

: 1487

01:09:51,899 --> 01:09:53,770

Elmer Bernstein for the age of innocence.

: 1488

01:09:53,830 --> 01:09:58,920

I can't believe Hans Zimmer didn't get

in there somewhere They all lost though

: 1489

01:09:59,355 --> 01:10:01,115

To John Williams for Schindler's List.

: 1490

01:10:02,115 --> 01:10:05,415

So, by the way, that was John

Williams fifth Oscar at the time.

: 1491

01:10:06,885 --> 01:10:07,315

Anyway.

: 1492

01:10:07,545 --> 01:10:07,845

All right.

: 1493

01:10:07,845 --> 01:10:12,395

One criticism that I think I've been

tainted by other aspects of this, but

: 1494

01:10:12,405 --> 01:10:15,495

why didn't the cops string Elliot along?

: 1495

01:10:15,870 --> 01:10:20,400

For more, you know, it, it almost seemed

to, there was too much finality to it.

: 1496

01:10:20,640 --> 01:10:22,160

Oh, we caught you with drugs.

: 1497

01:10:22,390 --> 01:10:23,690

You're putting together a bust.

: 1498

01:10:23,690 --> 01:10:23,950

Okay.

: 1499

01:10:23,950 --> 01:10:24,960

We're going to take your boss down.

: 1500

01:10:25,290 --> 01:10:26,070

Cops in real life.

: 1501

01:10:26,070 --> 01:10:26,670

Don't do that.

: 1502

01:10:26,670 --> 01:10:29,760

What they say is where you're going

to wear a wire for the next month.

: 1503

01:10:30,070 --> 01:10:32,920

We want to know not just

where this Coke came from.

: 1504

01:10:33,180 --> 01:10:37,500

We want to know where your producer

gets all his regular Coke from, right?

: 1505

01:10:37,670 --> 01:10:39,360

This would have became a major sting.

: 1506

01:10:39,360 --> 01:10:42,990

They wouldn't have just knee jerked

reaction on one bus deal, but you

: 1507

01:10:42,990 --> 01:10:44,490

know, it's a movie, but whatever.

: 1508

01:10:45,225 --> 01:10:47,805

That was one of the things I

thought was like, that just

: 1509

01:10:47,805 --> 01:10:49,434

doesn't seem to ring too true.

: 1510

01:10:50,105 --> 01:10:54,035

So, uh, Lee Donowitz in the film is

known for making a famous war movie

: 1511

01:10:54,035 --> 01:10:55,475

called Coming Home in a Body Bag.

: 1512

01:10:55,725 --> 01:10:58,184

I think Tarantino is

basing that on Platoon.

: 1513

01:10:58,875 --> 01:11:00,505

Tarantino wrote the script in: 1988

: 1514

01:11:01,105 --> 01:11:04,915

Platoon had been out for two years already

at that point and had won Best Picture.

: 1515

01:11:05,280 --> 01:11:05,640

Right?

: 1516

01:11:06,190 --> 01:11:10,200

Clarence says in the movie, quote, it's

the first movie with any balls to win a

: 1517

01:11:10,200 --> 01:11:13,520

lot of Oscars since deer hunter end quote.

: 1518

01:11:13,910 --> 01:11:17,460

Platoon literally was the first movie

to win best picture with Clarence

: 1519

01:11:17,460 --> 01:11:19,580

type balls since deer hunter.

: 1520

01:11:20,000 --> 01:11:22,360

So I think that they were

basing that off platoon.

: 1521

01:11:22,400 --> 01:11:27,230

Oddly enough, Oliver stone who did

platoon, uh, did natural born killers

: 1522

01:11:27,230 --> 01:11:28,430

and Tarantino hates him for it.

: 1523

01:11:29,860 --> 01:11:30,059

Yeah.

: 1524

01:11:30,715 --> 01:11:33,325

A lot of animosity towards

those two because of that movie.

: 1525

01:11:33,915 --> 01:11:35,105

Um, okay.

: 1526

01:11:35,145 --> 01:11:38,485

One last bit before we

go on to something else.

: 1527

01:11:39,275 --> 01:11:41,434

Before we go on to Six Degrees, I think.

: 1528

01:11:41,475 --> 01:11:42,515

Let me see what else I have here.

: 1529

01:11:43,640 --> 01:11:44,030

All right.

: 1530

01:11:44,040 --> 01:11:47,960

So the last segment I have is

something that we could talk about a

: 1531

01:11:47,960 --> 01:11:49,460

lot of these movies that I mentioned.

: 1532

01:11:49,540 --> 01:11:53,800

How do Bonnie and Clyde and Clarence

in Alabama, among others, and other

: 1533

01:11:53,800 --> 01:11:56,059

films, how do they fall in love so fast?

: 1534

01:11:56,400 --> 01:11:56,750

Right.

: 1535

01:11:57,000 --> 01:12:01,090

It's the most suspension of

disbelief movies ask us to accept.

: 1536

01:12:01,380 --> 01:12:01,559

Yeah.

: 1537

01:12:01,559 --> 01:12:02,430

In movies like this.

: 1538

01:12:03,040 --> 01:12:06,180

Um, oddly enough, some dialogue from.

: 1539

01:12:07,470 --> 01:12:11,440

Other crime movie that I already mentioned

out of sight sheds a little light.

: 1540

01:12:11,630 --> 01:12:12,850

Well, it doesn't shed light.

: 1541

01:12:12,870 --> 01:12:18,980

It just, it, it, it plays on the,

it sort of like letting the audience

: 1542

01:12:18,980 --> 01:12:21,610

accept that this is just how it is.

: 1543

01:12:21,630 --> 01:12:23,100

That things like this just happen.

: 1544

01:12:23,670 --> 01:12:25,790

Obviously, attraction

is the first get right.

: 1545

01:12:25,790 --> 01:12:28,450

If somebody is not good looking to

you, you're not going to be into it.

: 1546

01:12:28,450 --> 01:12:28,710

Right.

: 1547

01:12:29,520 --> 01:12:33,000

So obviously in every one of these

scenarios, there has to be attraction.

: 1548

01:12:33,460 --> 01:12:34,650

Warren Beatty.

: 1549

01:12:35,305 --> 01:12:41,025

You know, Faye Dunaway, Patricia

Arquette, Christian Slater, and

: 1550

01:12:41,025 --> 01:12:44,165

out of sight, we're talking about

George Clooney and Jennifer Lopez.

: 1551

01:12:44,175 --> 01:12:47,965

Like there's a, there's an element

here already that you can see

: 1552

01:12:48,265 --> 01:12:49,684

none of these are ugly people.

: 1553

01:12:49,695 --> 01:12:50,615

Suspend the disbelief.

: 1554

01:12:51,135 --> 01:12:51,495

Yeah.

: 1555

01:12:52,105 --> 01:12:52,385

All right.

: 1556

01:12:52,395 --> 01:12:55,475

Chris: I think one of the things in

true romance that helps you suspend

: 1557

01:12:55,485 --> 01:13:01,070

disbelief is As you get to know the

characters, you're like, Oh, one's

: 1558

01:13:01,760 --> 01:13:03,970

not stable, maybe mentally ill.

: 1559

01:13:04,420 --> 01:13:08,790

And the other one's not, I mean,

she's not too bright and she's kind

: 1560

01:13:08,790 --> 01:13:13,690

of resorting, you know, she's that

last resorts kind of thing in life.

: 1561

01:13:15,030 --> 01:13:20,309

so it helps with the disbelief because

you, uh, maybe because they brought

: 1562

01:13:20,320 --> 01:13:23,800

the, I don't know if it was IQ level

or circumstance, you know, with,

: 1563

01:13:23,840 --> 01:13:28,380

especially with the mental health

things that, uh, going through.

: 1564

01:13:28,990 --> 01:13:31,930

Jerome: I think what often happens

is they cling to each other.

: 1565

01:13:31,930 --> 01:13:35,760

Like, Bonnie clearly clings to Clyde

because she has a boring life, right?

: 1566

01:13:36,740 --> 01:13:40,740

Clarence I think clings to

Alabama because she's more of

: 1567

01:13:40,740 --> 01:13:42,059

an adventure spirit than he is.

: 1568

01:13:42,070 --> 01:13:46,890

She clings to him because he doesn't

have craziness in his life, and

: 1569

01:13:46,890 --> 01:13:50,170

she likes that because her life

is filled with crazy shit, right?

: 1570

01:13:50,350 --> 01:13:50,809

Chris: And what happens?

: 1571

01:13:51,120 --> 01:13:52,110

He goes crazy.

: 1572

01:13:52,240 --> 01:13:54,660

Jerome: And then he, yeah, and then

it almost like flip flops, right?

: 1573

01:13:54,670 --> 01:13:58,530

She's the mothering mom at the end with

the kid, and he's the one that's off like,

: 1574

01:13:58,840 --> 01:14:00,480

you know, selling drugs and whatever.

: 1575

01:14:00,875 --> 01:14:05,535

Um, but anyway, um, so, so there, I

think there's a lot of that element.

: 1576

01:14:05,535 --> 01:14:10,305

What I liked about get, um, about

out of sight was that the two

: 1577

01:14:10,305 --> 01:14:13,875

leads, Clooney and Lopez, they

don't cling to each other at all.

: 1578

01:14:13,875 --> 01:14:16,465

In fact, They couldn't be more opposite.

: 1579

01:14:16,475 --> 01:14:17,985

She's a federal agent.

: 1580

01:14:17,995 --> 01:14:19,485

He's a bank robber.

: 1581

01:14:20,135 --> 01:14:23,215

She's actually hunting him, right?

: 1582

01:14:23,434 --> 01:14:27,215

So this aren't two that you would imagine

would get together, but there's this, so

: 1583

01:14:27,215 --> 01:14:29,155

there's, so I'm going to set this up now.

: 1584

01:14:29,775 --> 01:14:32,615

There's a thread of dialogue between

George Clooney and Jennifer Lopez and

: 1585

01:14:32,615 --> 01:14:36,275

out of sight that suggests a technique

that writers can use to tell the

: 1586

01:14:36,275 --> 01:14:39,875

audience, look, this stuff just happens.

: 1587

01:14:40,175 --> 01:14:41,725

The less explanation, the better.

: 1588

01:14:41,725 --> 01:14:42,695

So just go with it.

: 1589

01:14:42,725 --> 01:14:43,155

Okay.

: 1590

01:14:43,405 --> 01:14:44,855

So I'm going to set the scene up.

: 1591

01:14:45,125 --> 01:14:47,675

Clooney has just escaped

from the, uh, uh, prison.

: 1592

01:14:48,675 --> 01:14:52,545

She was arriving at the prison

to talk to some other prisoner.

: 1593

01:14:52,885 --> 01:14:55,775

She sees the prison break

happening in the moment.

: 1594

01:14:56,525 --> 01:15:00,195

Ving Rhames has come to help spring

Clooney from prison, so he's there.

: 1595

01:15:00,820 --> 01:15:04,280

They grab Jennifer Lopez, they throw

her in the trunk, Clooney gets in

: 1596

01:15:04,280 --> 01:15:07,850

the trunk with her, Bing Rames gets

behind the wheel, they take off, right?

: 1597

01:15:08,800 --> 01:15:09,900

So they're all in the trunk.

: 1598

01:15:09,950 --> 01:15:11,730

Now this is the dialogue, okay?

: 1599

01:15:12,450 --> 01:15:16,000

Karen, you know this isn't gonna

end well, these things never do.

: 1600

01:15:16,040 --> 01:15:17,430

Fully, that's George Clooney.

: 1601

01:15:18,210 --> 01:15:21,340

Yeah, well if it turns out I get

shot like a dog, it'll be in the

: 1602

01:15:21,340 --> 01:15:23,240

street, not on a goddamn fence.

: 1603

01:15:23,360 --> 01:15:26,890

Karen, you must see yourself

as some kind of Clyde Barrow.

: 1604

01:15:27,570 --> 01:15:29,610

Fully, oh, you mean a Bonnie and Clyde.

: 1605

01:15:31,705 --> 01:15:34,295

And she says, yeah, and then they

talk about some other stuff, but

: 1606

01:15:34,365 --> 01:15:36,215

I skipped over it because some

of the stuff isn't relevant.

: 1607

01:15:36,255 --> 01:15:40,745

But then it gets back to him and

he says, Uh, The part in the movie

: 1608

01:15:40,745 --> 01:15:43,755

where they get shot, Warren Beatty

and I can't think of her name.

: 1609

01:15:43,815 --> 01:15:45,595

Karen, Faye Dunaway, Foley.

: 1610

01:15:45,715 --> 01:15:47,655

Yeah, I liked her in that movie about TV.

: 1611

01:15:47,684 --> 01:15:49,425

Karen, Network, yeah, she was good.

: 1612

01:15:49,665 --> 01:15:50,175

Foley.

: 1613

01:15:50,445 --> 01:15:53,085

And the guy saying he wasn't gonna

take any more shit from anybody.

: 1614

01:15:53,285 --> 01:15:54,985

Karen, Peter Finch, Foley.

: 1615

01:15:55,125 --> 01:15:55,805

Yeah, right.

: 1616

01:15:56,045 --> 01:15:58,845

Anyway, that scene where Warren

Beatty and Faye Dunaway get shot,

: 1617

01:15:59,155 --> 01:16:01,775

I remember thinking at the time,

it wouldn't be a bad way to go.

: 1618

01:16:01,775 --> 01:16:05,925

If you had to, Karen, Karen

bleeding on a country road.

: 1619

01:16:06,434 --> 01:16:08,755

And then they, again, they

start talking about other stuff.

: 1620

01:16:08,755 --> 01:16:09,955

Then they get back to it again.

: 1621

01:16:09,965 --> 01:16:13,075

Foley, you're sure easy to talk to.

: 1622

01:16:13,184 --> 01:16:16,885

I wonder, say if we met under certain

different circumstances, if we got

: 1623

01:16:16,895 --> 01:16:20,995

to talking, say you and I were in

a bar or something and I came up to

: 1624

01:16:20,995 --> 01:16:22,805

you, um, I wonder what would happen.

: 1625

01:16:22,835 --> 01:16:24,625

Karen, nothing fully.

: 1626

01:16:25,015 --> 01:16:29,455

I mean, if, if you didn't know who I

was, Karen, you'd probably tell me fully.

: 1627

01:16:30,025 --> 01:16:33,855

I'm just saying, I think if we met under

circumstances, different circumstances,

: 1628

01:16:33,885 --> 01:16:35,515

Karen, you've got to be kidding.

: 1629

01:16:35,915 --> 01:16:38,925

Foley tries to get back to where

was his speech was working.

: 1630

01:16:39,275 --> 01:16:39,795

Foley.

: 1631

01:16:39,925 --> 01:16:43,455

Another one of Faye Dunaway's I

liked was Three Days of the Condor.

: 1632

01:16:43,525 --> 01:16:43,985

Karen.

: 1633

01:16:44,005 --> 01:16:45,915

Yeah, with Robert Redford

when he was young.

: 1634

01:16:46,255 --> 01:16:46,695

Foley.

: 1635

01:16:46,695 --> 01:16:47,165

Yeah.

: 1636

01:16:47,245 --> 01:16:47,684

Karen.

: 1637

01:16:47,895 --> 01:16:51,045

I never thought it made sense though,

the way they got together so quick.

: 1638

01:16:51,670 --> 01:16:52,240

Fully.

: 1639

01:16:52,290 --> 01:16:52,770

Really?

: 1640

01:16:53,260 --> 01:16:55,320

Karen, I mean romantically fully.

: 1641

01:16:55,500 --> 01:16:55,920

Uh huh.

: 1642

01:16:56,290 --> 01:17:01,520

Well, but if, and then at that moment, the

car stops and the trunk pops open because

: 1643

01:17:01,520 --> 01:17:02,430

they reached to where they're going.

: 1644

01:17:02,430 --> 01:17:07,000

So he was about to say something to make

it believable why they got together so

: 1645

01:17:07,000 --> 01:17:08,590

quick, but the scene got interrupted.

: 1646

01:17:08,820 --> 01:17:13,110

So what I love most about that scene

is Elmore Leonard wrote the novel

: 1647

01:17:13,140 --> 01:17:14,520

and Scott Frank did the screenplay.

: 1648

01:17:14,710 --> 01:17:17,570

It's almost like they're

telling the audience, look.

: 1649

01:17:18,600 --> 01:17:19,800

Shit like this happens, okay?

: 1650

01:17:20,390 --> 01:17:23,970

This is just a scene to tell

how two people, they actually

: 1651

01:17:23,970 --> 01:17:25,290

have similar interests.

: 1652

01:17:25,290 --> 01:17:26,580

They actually know movies.

: 1653

01:17:26,580 --> 01:17:27,960

They like the same movies.

: 1654

01:17:28,290 --> 01:17:29,300

They like the same people.

: 1655

01:17:29,300 --> 01:17:30,800

They're obviously attracted to each other.

: 1656

01:17:30,830 --> 01:17:33,070

It's just a bad circumstance.

: 1657

01:17:33,070 --> 01:17:36,360

He even mentions, what if we met

under different circumstances?

: 1658

01:17:36,660 --> 01:17:38,960

Later in the movie, they

do meet up again at a bar.

: 1659

01:17:38,960 --> 01:17:41,620

This very bar that he is

depicting what would happen.

: 1660

01:17:42,070 --> 01:17:43,000

Anyway, I love them.

: 1661

01:17:43,000 --> 01:17:44,550

It's my favorite Elmore Leonard book.

: 1662

01:17:44,620 --> 01:17:46,210

It's my favorite Clooney movie.

: 1663

01:17:46,210 --> 01:17:48,235

You Out of sight.

: 1664

01:17:48,595 --> 01:17:52,055

Uh, if you're interested in more of

this, two people get together quick

: 1665

01:17:52,095 --> 01:17:56,455

and it's a disastrous, you would

think wouldn't work out, but it does.

: 1666

01:17:56,955 --> 01:18:01,215

Um, so in the first 10 minutes

of true romance, a similar thing

: 1667

01:18:01,215 --> 01:18:05,555

happens where Clarence is showing

Alabama's job and specifically a

: 1668

01:18:05,555 --> 01:18:07,465

comic with a love story, right?

: 1669

01:18:07,475 --> 01:18:08,625

He's showing her the comic book.

: 1670

01:18:09,605 --> 01:18:13,275

Uh, he says, you want to see, uh, this is

a side note, he says to her, you want to

: 1671

01:18:13,285 --> 01:18:14,925

see what Spider Man number one looks like?

: 1672

01:18:15,155 --> 01:18:18,015

And she says yes, but when he

proceeds to show her a comic, it's

: 1673

01:18:18,025 --> 01:18:19,985

not, it's Sleepwalker number eight.

: 1674

01:18:20,184 --> 01:18:25,735

But, the story he's telling, uh, isn't

even from Sleepwalker number eight either.

: 1675

01:18:25,775 --> 01:18:30,745

This, this, the thing, the book that

they show in the movie is Sleepwalker

: 1676

01:18:30,745 --> 01:18:34,285

number eight, but the story he's

telling her is not from that comic.

: 1677

01:18:34,385 --> 01:18:34,934

Oh wow.

: 1678

01:18:35,345 --> 01:18:42,635

But what's interesting is, uh, the

reason Tarantino put that in there is

: 1679

01:18:42,635 --> 01:18:46,235

that it's not, it's not so much what the

comic book is, isn't the important part.

: 1680

01:18:46,245 --> 01:18:50,325

The port part is while he's

telling the story, Alabama's face

: 1681

01:18:50,325 --> 01:18:52,325

is just fixated on him, right?

: 1682

01:18:52,615 --> 01:18:55,215

She's really falling

for him at this point.

: 1683

01:18:55,625 --> 01:18:59,415

So this, I kind of caught that

parallel between like this and a movie

: 1684

01:18:59,415 --> 01:19:01,955

like out of sight where it seems.

: 1685

01:19:02,880 --> 01:19:03,580

Harmless.

: 1686

01:19:04,120 --> 01:19:05,330

It's pop culture, right?

: 1687

01:19:05,330 --> 01:19:07,720

Instead of talking about movies,

they're talking about comics, but

: 1688

01:19:07,720 --> 01:19:08,809

that's not the important part.

: 1689

01:19:08,809 --> 01:19:10,830

The important part is

not what they're saying.

: 1690

01:19:11,070 --> 01:19:16,120

It's that they're sort of like falling in

love with each other's personality, right?

: 1691

01:19:16,430 --> 01:19:19,350

So that's how you get away

with movies like this, how they

: 1692

01:19:19,350 --> 01:19:20,610

fall for each other so fast.

: 1693

01:19:20,610 --> 01:19:25,059

You got to throw a scene in there that

has them more than just attraction.

: 1694

01:19:25,110 --> 01:19:28,770

There needs to be a scene

where they connect on a level.

: 1695

01:19:28,770 --> 01:19:30,260

Chris: You experience

the chemistry, right.

: 1696

01:19:30,630 --> 01:19:31,020

Jerome: Right.

: 1697

01:19:31,390 --> 01:19:33,260

And, and Bonnie and Clyde?

: 1698

01:19:35,240 --> 01:19:41,510

Um There's not a lot there other than

she's infatuated with the idea that he

: 1699

01:19:41,550 --> 01:19:44,220

is her ticket out of that boring life.

: 1700

01:19:45,270 --> 01:19:45,530

Right?

: 1701

01:19:45,720 --> 01:19:47,050

Chris: It was unbelievable to me.

: 1702

01:19:47,050 --> 01:19:50,599

Ha ha ha ha ha ha ha.

: 1703

01:19:50,600 --> 01:19:51,610

Yeah, I don't know.

: 1704

01:19:52,725 --> 01:19:55,985

Jerome: So again, if you go back to that

billboard I was talking about in the

: 1705

01:19:55,995 --> 01:20:00,535

post sex scene where the sign above it

says, don't wait for the dust to settle.

: 1706

01:20:01,075 --> 01:20:05,705

Um, you know, that's another indication

that, you know, relate that life and these

: 1707

01:20:05,705 --> 01:20:07,525

relationships are going to happen fast.

: 1708

01:20:08,325 --> 01:20:10,585

Um, and you just have to

accept it and be ready.

: 1709

01:20:11,965 --> 01:20:17,895

Anything else to add on true romance

and how these lovers get together

: 1710

01:20:17,895 --> 01:20:19,135

so quickly in these kinds of movies?

: 1711

01:20:19,715 --> 01:20:21,575

Chris: No, no, let's go to six degrees.

: 1712

01:20:21,625 --> 01:20:22,825

Jerome: Alright, six degrees.

: 1713

01:20:22,825 --> 01:20:23,595

What did you have for me?

: 1714

01:20:23,595 --> 01:20:25,345

It's been so long I forgot.

: 1715

01:20:29,120 --> 01:20:32,570

So for those of you who are just tuning

in for the first time, my brother

: 1716

01:20:32,570 --> 01:20:36,510

and I like to play Six Degrees, where

we try to see if two actors cannot

: 1717

01:20:36,510 --> 01:20:38,250

be connected within Six Degrees.

: 1718

01:20:38,480 --> 01:20:41,809

It's much like that, uh, Six

Degrees of Kevin Bacon, uh,

: 1719

01:20:41,830 --> 01:20:43,270

but we use any two actors.

: 1720

01:20:43,590 --> 01:20:45,750

We also kind of hinder ourselves.

: 1721

01:20:45,750 --> 01:20:50,230

One, uh, the original game with Kevin

Bacon, they use TV shows and directors.

: 1722

01:20:50,230 --> 01:20:51,090

We don't do none of that.

: 1723

01:20:51,510 --> 01:20:55,440

They have to be actors, actors or

actresses in a feature length film.

: 1724

01:20:56,760 --> 01:20:59,850

And, uh, we can't use the movies

that we talked about today.

: 1725

01:21:00,080 --> 01:21:02,630

So my brother is going to pick

two people, one from Bonnie and

: 1726

01:21:02,630 --> 01:21:04,750

Clyde and one from True Romance.

: 1727

01:21:05,100 --> 01:21:08,930

And I can't use True Romance or

Bonnie and Clyde to connect them.

: 1728

01:21:08,990 --> 01:21:09,570

Chris: Right.

: 1729

01:21:09,880 --> 01:21:12,920

I go for, I try to

usually find someone that.

: 1730

01:21:13,970 --> 01:21:18,580

Maybe it's going to be a harder

challenge just to see if we can

: 1731

01:21:18,730 --> 01:21:20,970

not, you know, not do it in six.

: 1732

01:21:21,040 --> 01:21:28,070

So I, this one I picked Estelle

Parson and Adam, and Adam Boaster.

: 1733

01:21:28,890 --> 01:21:30,460

Jerome: Who's Adam Boaster play again?

: 1734

01:21:32,350 --> 01:21:33,670

Chris: Adam Boaster.

: 1735

01:21:33,760 --> 01:21:34,600

I'm trying to remember.

: 1736

01:21:34,610 --> 01:21:35,180

Here we go.

: 1737

01:21:35,220 --> 01:21:39,080

Yeah, he was uh, it says

he was a mobster uncredited

: 1738

01:21:43,750 --> 01:21:47,695

Jerome: So Estelle Parks is who wins best

supporting actress for playing Blanche

: 1739

01:21:47,695 --> 01:21:58,760

Bates Sparrow and a dude who's credited

as mobster uncredited Great okay, well

: 1740

01:22:00,690 --> 01:22:04,650

It might be interesting for you to know

that there is another movie Adam Boaster

: 1741

01:22:04,680 --> 01:22:10,075

was in In the same year of true romance.

: 1742

01:22:10,075 --> 01:22:15,805

was in dazed and confused in: 1993

with Matthew McConaughey and Matthew

: 1743

01:22:15,805 --> 01:22:21,585

McConaughey in: 1995

later was in boys on the side with

: 1744

01:22:22,125 --> 01:22:25,545

Estelle Blanche Barrow herself, Parsons.

: 1745

01:22:25,545 --> 01:22:27,285

So two connections,

: 1746

01:22:27,645 --> 01:22:30,385

Chris: man, just two in two.

: 1747

01:22:30,395 --> 01:22:31,705

That surprised me actually.

: 1748

01:22:31,715 --> 01:22:32,275

Yeah.

: 1749

01:22:32,925 --> 01:22:33,305

Yes.

: 1750

01:22:33,315 --> 01:22:34,225

That was a quick one.

: 1751

01:22:34,235 --> 01:22:34,415

Yeah.

: 1752

01:22:34,415 --> 01:22:36,245

I thought, uh, with his limited.

: 1753

01:22:37,860 --> 01:22:39,250

You know, how many movies was he in?

: 1754

01:22:39,260 --> 01:22:40,710

He wasn't in that many.

: 1755

01:22:42,850 --> 01:22:44,889

He was in 11.

: 1756

01:22:44,890 --> 01:22:46,490

Jerome: But is that 11 movies?

: 1757

01:22:46,530 --> 01:22:47,150

Or is that 11?

: 1758

01:22:47,200 --> 01:22:49,630

Because if you really look, some

of them might be short films.

: 1759

01:22:49,640 --> 01:22:50,300

Chris: Yeah, that's true.

: 1760

01:22:50,330 --> 01:22:50,730

Let's see.

: 1761

01:22:50,780 --> 01:22:52,300

I put, I narrowed it down.

: 1762

01:22:52,300 --> 01:22:52,710

Let's see.

: 1763

01:22:54,290 --> 01:22:55,541

No, feature length.

: 1764

01:22:55,541 --> 01:22:58,308

These are all feature length films.

: 1765

01:22:58,308 --> 01:22:59,230

Oh, okay.

: 1766

01:22:59,230 --> 01:23:01,534

He was also in Coneheads.

: 1767

01:23:03,215 --> 01:23:03,785

Uncredited.

: 1768

01:23:03,795 --> 01:23:04,375

He was a guard.

: 1769

01:23:05,795 --> 01:23:06,584

Uncredited guard.

: 1770

01:23:06,585 --> 01:23:08,025

He was also in hoffa!

: 1771

01:23:08,934 --> 01:23:10,285

Oh, well, there you go.

: 1772

01:23:10,434 --> 01:23:15,530

Let me guess, uncredited I love it.

: 1773

01:23:15,530 --> 01:23:16,110

You could have got it.

: 1774

01:23:16,110 --> 01:23:18,370

Jerome: Well, cheers to you Adam Boaster.

: 1775

01:23:18,370 --> 01:23:20,940

You actually have been

in some big ass movies.

: 1776

01:23:22,870 --> 01:23:26,100

Chris: So, if he ever googles

his name, he'll see it pop up

: 1777

01:23:26,100 --> 01:23:29,780

on this obscure podcast called

the Silver Screen Happy Hour.

: 1778

01:23:29,790 --> 01:23:31,070

Jerome: What the fuck is this all about?

: 1779

01:23:32,010 --> 01:23:34,250

They connected me with Estelle Parsons.

: 1780

01:23:36,820 --> 01:23:37,670

Chris: That was good, man.

: 1781

01:23:37,670 --> 01:23:39,020

This was one of my favorite movies.

: 1782

01:23:39,030 --> 01:23:41,580

It was fun to break it down.

: 1783

01:23:41,580 --> 01:23:44,059

Thanks Have a few beers

talking about it, man.

: 1784

01:23:44,059 --> 01:23:45,390

Jerome: It was another one for the books.

: 1785

01:23:45,390 --> 01:23:46,840

Another one where you almost died.

: 1786

01:23:46,850 --> 01:23:48,120

We had you choking again.

: 1787

01:23:48,150 --> 01:23:48,530

Chris: Yeah.

: 1788

01:23:48,530 --> 01:23:53,460

So as my brother said, at the beginning

of the first episode, we have a few in

: 1789

01:23:53,460 --> 01:23:56,800

the can now, and over the summer, I'm

going to try to release them when I can.

: 1790

01:23:56,800 --> 01:24:02,230

It's just been really tough with our move

to a new house and new, new studio for me.

: 1791

01:24:02,660 --> 01:24:06,150

And then my brother making a new building,

a new studio from scratch, which is.

: 1792

01:24:06,365 --> 01:24:07,305

Pretty damn sexy.

: 1793

01:24:07,575 --> 01:24:08,645

I got to say, I'm jealous.

: 1794

01:24:08,645 --> 01:24:10,485

He's got a little bar behind his shoulder.

: 1795

01:24:10,495 --> 01:24:14,855

Jerome: I can't, I can't wait till we

start doing video with our podcast.

: 1796

01:24:15,065 --> 01:24:15,815

Chris: I know, man.

: 1797

01:24:16,125 --> 01:24:18,735

You gotta have a producer,

someone that could do that shit.

: 1798

01:24:19,175 --> 01:24:20,525

I mean, it's just too much work.

: 1799

01:24:20,575 --> 01:24:25,575

Jerome: Looking at the frame and

I see the background of me, I am

: 1800

01:24:25,575 --> 01:24:29,504

excited by it and it's, and it's,

and it's behind me and I love it.

: 1801

01:24:30,335 --> 01:24:33,905

Chris: Anyway, more to come, so

stay tuned, keep watching for

: 1802

01:24:33,965 --> 01:24:37,065

our, uh, updates, uh, on social.

: 1803

01:24:37,125 --> 01:24:39,015

I hope to get back to that this summer.

: 1804

01:24:39,455 --> 01:24:41,005

Um, but, keep following.

: 1805

01:24:41,015 --> 01:24:42,175

We'd love to hear from you too.

: 1806

01:24:42,175 --> 01:24:47,295

If you have, uh, episodes that you want

us to do on specific movies, let us know.

: 1807

01:24:48,125 --> 01:24:50,495

And, uh, we'll try to,

try to make it happen.

: 1808

01:24:52,425 --> 01:24:52,934

Jerome: Nice.

: 1809

01:24:53,455 --> 01:24:55,505

I'll throw in another shout out.

: 1810

01:24:55,505 --> 01:24:59,625

I've shot out these guys before, but

I specifically want to mention, uh,

: 1811

01:24:59,645 --> 01:25:03,165

if you're into this podcast, check out

writer's blockbusters podcast as well.

: 1812

01:25:03,505 --> 01:25:05,655

Um, yeah, those guys are awesome.

: 1813

01:25:05,695 --> 01:25:08,255

Um, Jimmy George, uh, Bob Rose.

: 1814

01:25:09,740 --> 01:25:13,120

They, uh, they actually

mentioned one of my emails.

: 1815

01:25:13,150 --> 01:25:17,400

I pitched my four point push to them

and they, they gave it some feedback

: 1816

01:25:17,400 --> 01:25:18,700

and talked about it on their show.

: 1817

01:25:18,700 --> 01:25:22,490

So thank you guys for mentioning

us and our podcast on your show.

: 1818

01:25:22,940 --> 01:25:24,200

Uh, but yeah, it's a great list.

: 1819

01:25:24,200 --> 01:25:25,540

And they actually, they're professionals.

: 1820

01:25:25,540 --> 01:25:27,400

They actually know a lot

more about screenwriting.

: 1821

01:25:27,630 --> 01:25:30,200

They have forgotten more

about screenwriting than my

: 1822

01:25:30,200 --> 01:25:31,350

brother and I will ever know.

: 1823

01:25:31,770 --> 01:25:37,450

Um, uh, That's a high respect, um, so,

love those guys, they have a great show,

: 1824

01:25:37,450 --> 01:25:40,559

I've listened to, I think I've listened

to every episode of those, uh, but

: 1825

01:25:40,559 --> 01:25:44,650

anyway, um, so check them out as well,

I think that's about it for Shoutouts,

: 1826

01:25:44,720 --> 01:25:49,540

Happy Father's Day to all you daddies

out there, yeah, it's, what, seven,

: 1827

01:25:49,550 --> 01:25:55,355

it's eight o'clock now in, in, uh, It's,

it's eight, it's eight o'clock on the

: 1828

01:25:55,355 --> 01:25:59,865

west coast, which means my brother is

closing in on his, uh, his sleeping time.

: 1829

01:25:59,885 --> 01:26:00,275

Yes.

: 1830

01:26:00,815 --> 01:26:01,085

So.

: 1831

01:26:03,145 --> 01:26:05,025

So, uh, keep drinking and keep watching.

: 1832

01:26:05,675 --> 01:26:06,934

Support your local cinema.