El Mariachi Review | The $7,000 Movie That Changed Action Forever

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[SPEAKER_01]: Hello, movie lovers.

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[SPEAKER_01]: I'm open to shows that they are going to be reviewing El Mariachi.

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[SPEAKER_01]: This is my Jason's first time watching the El Mariachi.

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[SPEAKER_01]: So let's go ahead.

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[SPEAKER_01]: Let's dive into.

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[SPEAKER_00]: And hey, man, welcome back.

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[SPEAKER_00]: Oh, it's so good to be back.

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[SPEAKER_00]: Like I loved our discussion on Desparado.

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[SPEAKER_00]: And I know, you know, we have once upon a time in Mexico kind of sitting down the pipe.

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[SPEAKER_00]: I was thinking about this, right?

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[SPEAKER_00]: We're going full George Lucas on this trilogy.

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[SPEAKER_00]: Think about it, right?

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[SPEAKER_00]: We started in the middle.

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[SPEAKER_00]: And now we've got the prequel.

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[SPEAKER_00]: And then eventually we're going to screw it up by race.

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[SPEAKER_00]: And she's a skywalker.

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[SPEAKER_00]: So I mean, I mean, we're going to talk about once upon a time.

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[SPEAKER_00]: Mexico later.

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[SPEAKER_00]: But yeah, we're George Lucas in our way through the Elamariachi trilogy.

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[SPEAKER_00]: And I'm kind of here for it.

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[SPEAKER_01]: Me too, I'm actually excited about this because this is our first time watching it and discussing this movie because we thought I've actually watched it from the second movie and then going to the third movie once upon a time in Mexico.

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[SPEAKER_01]: So this is going to be something new for me because I usually don't try to start at the second movie because then I'm lost, but for some other somehow or another, I always find finding things in the second one that you don't really need to go back for the first one or the beginning.

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[SPEAKER_00]: Yeah, the cool thing though.

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[SPEAKER_00]: I mean, as you mentioned in the beginning, this is my first time actually watching this film and I enjoyed it.

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[SPEAKER_00]: I did.

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[SPEAKER_00]: I love the fact that this is a $7,000 film, but when I found far more fascinating, and I don't know if you did this because I have this on DVD.

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[SPEAKER_00]: And one of the special features on the DVD is like a 15 minute breakdown of some of the scenes that Robert Rodriguez shot and he showed the raw footage of then how he edited around it because of the the sharp budget he didn't want to just, you know, do endless takes because that just burns through film I was.

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[SPEAKER_00]: fascinated and riveted by watching this, mainly because by profession, I'm a video editor.

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[SPEAKER_00]: So this peat, my interest, like note, or maybe the second coolest special feature I've ever seen on a DVD with the first one,

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[SPEAKER_00]: I believe it was the first men in black film that have on DVD, where one of the special features was you can actually edit one of the scenes as a special feature.

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[SPEAKER_01]: Wow.

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[SPEAKER_01]: That's actually pretty cool.

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[SPEAKER_01]: I didn't know that they had that.

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[SPEAKER_00]: Yeah.

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[SPEAKER_00]: Like I remember going through it and it's like, oh, you can show this shot at this line of dialogue or you can show this shot of this this time dialogue.

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[SPEAKER_00]: It was the coolest freaking thing.

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[SPEAKER_00]: And probably the closest I'm ever going to get to edit

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[SPEAKER_01]: But you know, that's that's one thing I miss about special features on a DVD, right?

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[SPEAKER_01]: It is the different special things that they give you like editing or just the whole entire deal of watching like behind the scenes feature it's.

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[SPEAKER_01]: I mean, in fact, I actually own all three of the Al-Mariachi,

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[SPEAKER_01]: movies on Blu-ray.

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[SPEAKER_01]: I just bought the whole entire box set because I knew what was going to be on reading them sooner or later.

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[SPEAKER_01]: So I'm like, you know what, I'm just going to go on ahead and buy the box set of it.

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[SPEAKER_00]: Yeah.

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[SPEAKER_00]: I did the same thing with the, uh, don't laugh with the police academy box set and had all seven movies and to that I said seven, um, but, but I bought them, but the thing too, you know, and from a podcast or perspective, the DVDs and the blue rays are really kind of interesting because when you think about it, if you watch the movie with the director's commentary, it's basically like you're getting a director's podcast,

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[SPEAKER_00]: With a movie attached to it, this is exactly right.

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[SPEAKER_01]: I can definitely see that how that's actually attached to each other and it's combobulated in any kind of way either.

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[SPEAKER_01]: So yeah, I can definitely see that right watch a longs before watch a longs happened right you know what I always wanted to do probably recording like a watch a long like.

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[SPEAKER_01]: Like doing reaction videos for movies that some people haven't seen for the first time and doing it that way and down and then re-edited that so it's kind of like hanging into the whole entire thing with the almaria with your take on the men of black DVD.

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[SPEAKER_00]: Okay.

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[SPEAKER_00]: I was in London, UK earlier this year, and one of the things I got to watch on, well, I was there and just flipping through channels, mindlessly at night, was this show called gogglebox.

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[SPEAKER_00]: I don't know if you've actually heard of it or not.

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[SPEAKER_01]: No, I haven't heard of it.

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[SPEAKER_00]: So the whole idea of gogglebox is that all these different people who will partake in the show, they have cameras in their homes and they filmed themselves watching TV through the week.

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[SPEAKER_00]: And then the people of gogglebox will take those reactions and put them together in a show because everyone's watching the same show.

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[SPEAKER_00]: It was the most fascinating.

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[SPEAKER_00]: thing I watched on the BBC and I cannot get enough of it and I need more goggle box in my life.

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[SPEAKER_01]: Check that out now.

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[SPEAKER_01]: I'm going to write that down and make sure I put that into my view and programs because that's actually pretty interesting, especially kind of inspiring for me to be able to check something out like that.

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[SPEAKER_00]: Right, they at one point they had a celebrity edition of goggle box and one of the the people taking part were David and Georgia

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[SPEAKER_00]: Okay, that's pretty cool.

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[SPEAKER_00]: Right, Doctor, who himself?

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[SPEAKER_00]: And also purple man from Jessica Jones.

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[SPEAKER_00]: Right, which was one of the best Marvel live action villains of all time.

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[SPEAKER_00]: Amen.

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[SPEAKER_00]: David Tennant can play for a kid anything.

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[SPEAKER_01]: Most definitely.

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[SPEAKER_01]: So my thing is this, okay.

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[SPEAKER_01]: What was the standout scene for you that you really enjoyed about Amariach?

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[SPEAKER_00]: There were a couple of things, one or two things, especially when they were basically doing the whole, like grab the little mini maze kind of thing off the wall and basically using it as a trolley to head down the wire and I'm like,

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[SPEAKER_00]: It feels like a ceiling we probably saw on Desperado.

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[SPEAKER_00]: You could see some of those early inspirations that would end up in action scenes for Desperado.

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[SPEAKER_00]: But the other thing too is just it was so, so hard to take a zoole so seriously as a total badass.

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[SPEAKER_00]: Is this sitting there arguing in the most passive voice?

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[SPEAKER_00]: No, I kill six.

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[SPEAKER_00]: And these are doing it like like someone just got a wrong number.

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[SPEAKER_00]: It's like, no, no, you're Bob.

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[SPEAKER_00]: No, I'm not Bob.

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[SPEAKER_00]: I'm Dave.

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[SPEAKER_01]: I don't it's also like the me counter where okay next number.

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[SPEAKER_01]: I'm number seven.

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[SPEAKER_01]: No, you're number six at the down.

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[SPEAKER_00]: I have a piece of paper.

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[SPEAKER_00]: You covered it in the six and made it in eight.

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[SPEAKER_00]: No, it doesn't work that way.

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[SPEAKER_01]: But I do like the innocence of, although in this movie and you're right, though, this actually is the stepping stone of Desperado.

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[SPEAKER_01]: You can see there were certain layers to what Rodriguez was trying to do without mariachi.

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[SPEAKER_01]: and how low budget it was, but I love the look of where it's basically looks like a spaghetti kind of western type of thing because it is filmed on some millimetre and I also like the look of the indie aspect of it as well.

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[SPEAKER_00]: But I mean, if you were to take this film and I'm just going to put this out there, right?

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[SPEAKER_00]: Given the storyline, the whole mistake and identity thing, you changed the sound

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[SPEAKER_01]: You're right, the girl that L falls in love with is trying to cut off his balls and cast rate him because because of the fact that she thinks that he's the murder and you will okay, if you're the if you're really in Mariachi, I'm going to cut off your balls.

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[SPEAKER_01]: You need to sing something.

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[SPEAKER_00]: And sing fast, fast.

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[SPEAKER_00]: And if you read the lyrics in the subtitles, no, that that is not the song you sing to the girl in order to save your testicles.

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[SPEAKER_01]: And then I also like how he's like, you really inspired me.

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[SPEAKER_01]: I'm like, why?

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[SPEAKER_00]: I'm telling you, it could be a comedy.

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[SPEAKER_00]: It's like a guy who's gonna be a comedy.

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[SPEAKER_00]: Just put some freaking goofy, happy, fun, Henry Mann, CD Pink Panther kind of music behind it.

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[SPEAKER_00]: And it's a freaking comedy.

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[SPEAKER_01]: Exactly.

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[SPEAKER_01]: Let's talk about this.

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[SPEAKER_01]: I know that we're not going to do like a nostalgia rating because basically ours is like an any on both sides of this and all I seen at the time, which is posters that are mariachi and that's it.

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[SPEAKER_01]: So I had no context all I did was go into the second film loving it and they went into the third film loving that one didn't go back to the prequel because just like our leader's way it also has a prequel that I never watched.

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[SPEAKER_00]: But that's like, you know, watching Blade Runner and then watching Soldier thinking that it's an actual sequel.

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[SPEAKER_01]: Exactly, which is not, and it's not as good as what the other that Blade Runner actually is.

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[SPEAKER_00]: Hey, Soldier is actually a really good film, and you could make an argument that it's a spiritual sequel, but.

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[SPEAKER_01]: I got you.

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[SPEAKER_01]: Tonight, I'm moving to the night.

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[SPEAKER_01]: We're talking about the movie that basically screen, who needs Hollywood budget when you get creativity and guitar case and absolute chaos.

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[SPEAKER_01]: That's right, remember viewing Al Mariachi, a film made for solo money that even in Robert Rodriguez lost 20 bucks during filming.

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[SPEAKER_01]: The production almost got shut down.

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[SPEAKER_01]: This guy carrying guitars, another guy carrying guns, and somehow everybody in town gets some confused.

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[SPEAKER_01]: Imagine going to a guitar center and actually starting a cartel war.

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[SPEAKER_01]: And honestly, the action in this movie moves faster than my internet connection when I try to uploading it review for the last second.

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[SPEAKER_01]: Tonight, we're breaking down the insane creativity behind the movie.

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[SPEAKER_01]: How Robert Rodriguez turned it in a limitation's in to style.

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[SPEAKER_01]: Why this movie still hits decades later and how this film basically told Hollywood.

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[SPEAKER_01]: Fine, I'll do it myself after breaking out of jail in the small Mexican town and really criminal named Azal.

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[SPEAKER_01]: vintress off with the guitar case full of weapons and vows revenge on the local drug lord moko who had had him arrested in the first place meanwhile a young musician arrives in town carrying his own guitar case which contains his signature guitar he hopes to find work in the town in order to pursue his dream of becoming a mariachi like his father

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[SPEAKER_01]: So I like how get introduced to a Zell and we're thinking that maybe this might be the Mariachi that we might be getting because we're so used to don't even dearest.

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[SPEAKER_01]: But he's not the the outcomes and about him and his later as his little innocent person who is just trying to look for work.

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[SPEAKER_01]: And meanwhile, you have a zeal who's been arrested, who's actually a target for Mako and Mako wants him dead.

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[SPEAKER_01]: So I do like the breakout scene and then the back and forth between Mako and a zeal is like, well, I'm going to come over there.

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[SPEAKER_01]: I'm going to send some guys over there.

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[SPEAKER_01]: I'm going to kill you.

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[SPEAKER_01]: And then you also have the guards who's actually on the same table as Mako as well.

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[SPEAKER_01]: So it's this whole entire action sequence of him.

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[SPEAKER_01]: Again, the guitar case trying to get

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[SPEAKER_01]: out of prison and trying to escape.

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[SPEAKER_01]: And I love this escape scene.

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[SPEAKER_01]: I think it was perfectly well executed also too.

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[SPEAKER_01]: I can't help but to look back at Antonio Manderis in his brother.

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[SPEAKER_01]: Boocho, and I'm thinking, is this Boocho, but he's calling us a Mako at first?

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[SPEAKER_01]: Because it feels so much like Boocho.

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[SPEAKER_01]: It this could actually be a short film, even though it's on a short film, the way it was shot and then just make just brought out one huge production budget later.

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[SPEAKER_01]: But it just little nods here and there to why Rodriguez was about what is going for.

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[SPEAKER_00]: Yeah.

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[SPEAKER_00]: I mean, Robert Rodriguez has come out and said that, you know, he made this to try some things out to see what he could do, right?

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[SPEAKER_00]: And it does feel very much like El Mariachi was almost like a proof of concept shoot.

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[SPEAKER_00]: You know, they do this a lot on, you know, larger productions where the, you know, the stunt people will design the scenes and they'll kind of shoot it handy cam style and they'll put the little really bad cheesy effects in there.

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[SPEAKER_00]: It's just that you get the idea.

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[SPEAKER_00]: If you've ever watched, I don't know if your game of thrones fan at all.

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[SPEAKER_00]: Yes.

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[SPEAKER_00]: Okay.

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[SPEAKER_00]: Have you watched the last watch, the documentary with the making of the final season.

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[SPEAKER_01]: No, I didn't get around to that.

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[SPEAKER_00]: Okay, there's a scene in there where the stunt people are being shown filming a quick rehearsal of what the fight scene could look like so they can kind of storyboard it out and it's in that to the directors.

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[SPEAKER_00]: This kind of feels like that that initial that initial concept that would end up being desperately so it's almost odd to call air El Mariachi a prequel to this, but can we talk about.

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[SPEAKER_00]: that that whole prison scene right because first of all you have as well with the largest freaking side purse pouch cell phone that you could possibly imagine they remember just how bad and clunky and huge people lost.

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[SPEAKER_00]: height because of the weight of some of these cell phones that we're carrying around like a purse.

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[SPEAKER_00]: But aside from that, you have this elaborate kind of setup where he's got like his cell phone and his briefcase and he's basically running this business.

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[SPEAKER_00]: by himself in this prison, which is the last place people would actually look for, which I like that idea.

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[SPEAKER_00]: So the fact that MoCo is actually sending hip men to get him, meanwhile, everyone in the prison is already on a zoo's payroll rule number one, make sure everyone is paid better than anyone else can pay them.

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[SPEAKER_00]: So you have this little lady in the front who's taking money left right in center, she's cashing the F out.

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[SPEAKER_00]: So she's the smartest

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[SPEAKER_00]: Moko sends, you know, these guys to spring a trap onto a zoo, meanwhile the zoo is three steps ahead of everybody and basically has his own trap because you have to think he knows that Moko's going to be looking for him because Moko owns him money a lot of money, you know, so clearly,

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[SPEAKER_00]: anyone who's in this line of work that as well as in is going to be thinking that at some point in time someone's going to be looking for him and he's going to have people ready to go.

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[SPEAKER_00]: So I like that this is a trap sprung upon to the trap that sprung onto him.

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[SPEAKER_00]: It shows the tap at that between as well and moko in the whole thing.

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[SPEAKER_00]: Meanwhile, Moko just hanging out with some random bikini girl at his home and, you know, reading things off a cute car, because apparently he wasn't fully, fully versed in the language with Peter Marquard.

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[SPEAKER_00]: But it shows the almost equal level between Moko and his rule right off the bat and that these two, know each other so well that it becomes almost like a chess game between the two.

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[SPEAKER_01]: Right, because they're both in organized.

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[SPEAKER_01]: He's an organized crime.

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[SPEAKER_01]: He has people on the inside of the prison that he's paid them pretty good money and case anything happens to him and they're backing him up and I like this thing of like.

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[SPEAKER_01]: Both casual, both people are basically going to war with each other.

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[SPEAKER_01]: And nobody knows even who Mako is or anything.

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[SPEAKER_01]: It's just that they have his back because of the fact that he's paid him so well and respected amongst his people to the point where it's like, okay, I'm going to back to sky up because of the fact that he is paying me money.

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[SPEAKER_01]: And but like I said, the older woman is like, you know what, guys, I'm out of here.

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[SPEAKER_01]: Dooses.

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[SPEAKER_01]: I'm done.

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[SPEAKER_01]: It's been fun working here.

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[SPEAKER_01]: I'm not doing this no more.

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[SPEAKER_01]: But then you had Mako's people that rolls up and it's all guns blaze at this point.

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[SPEAKER_01]: Yeah, I love the action sequences with this.

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[SPEAKER_01]: It's not shaky cam.

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[SPEAKER_01]: It's you get to see all the action sequences and this film, and that's something that I really do appreciate that Rodriguez does is the fact that showing us everything versus it being like shaky cam or something so small and scale, he gives us a wide angle shots up everything that's going on around.

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[SPEAKER_00]: Yeah, and the other thing too is that I think part of this is dealing with the budget right you can't afford on a $7,000 budget you can't afford that much film to run through and get all these different angles and whatnot so it's you know you shoot it smartly pre plan out everything block everything but even at a $7,000 budget.

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[SPEAKER_00]: You see, just the eye, the camera eye that Rodriguez has in putting this together, the low angle shot of the guy's walking into the prison, just the panning shots going back and forth.

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[SPEAKER_00]: Clearly, he went in with a plan.

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[SPEAKER_00]: He blocked everything.

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[SPEAKER_00]: So whenever when people knew when it was time to properly shoot, everyone knew exactly what they're going to do exactly when the camera

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[SPEAKER_01]: Right, you know, and that's one thing that I thought that was very smart, right, because it's like, okay, I'm going to go and shoot this movie for 7,000 cut it whenever I say cut no extra film laying around and then let the final cut be the final cut when we wrap up.

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[SPEAKER_01]: So I think it's actually a smart way to actually keep the budget at 7,000 to be able to pay everybody and then also to make the film.

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[SPEAKER_00]: One of the other things to that I had to keep in check.

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[SPEAKER_00]: because I am an editor and I am that extra is that I was and I do this all the time.

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[SPEAKER_00]: I constantly look for continuity errors, but one of the things that Robert Rodriguez was really good at was having a number of cutaways so that if something came up that he had to,

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[SPEAKER_00]: stop and do another take and all that, you know, he had to cut away.

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[SPEAKER_00]: And he would also, if someone messed up a line, he wouldn't do the whole scene all over again.

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[SPEAKER_00]: He'd just like back it up a couple of lines, you know, bring the camera in closer.

18:59.870 --> 19:01.211
[SPEAKER_00]: So you have what's called a punch in.

19:01.951 --> 19:04.152
[SPEAKER_00]: And it's basically like an extra camera angle.

19:04.512 --> 19:06.433
[SPEAKER_00]: You can do those kind of things.

19:06.934 --> 19:13.998
[SPEAKER_00]: But because obviously this is, you know, before non-linear editing becomes a thing and a computer is digital zoom in the whole works.

19:15.198 --> 19:22.662
[SPEAKER_00]: At least it's not as out there as possible, you're still either film splacing or your lucky taped tape editing.

19:23.562 --> 19:33.487
[SPEAKER_00]: It's one of those things where you have to be prepared and know your script make marks all that kind of stuff and find ways to edit around things and a punch in can really help that.

19:34.375 --> 19:34.815
[SPEAKER_01]: I agree.

19:34.975 --> 19:36.256
[SPEAKER_01]: I'd definitely agree with you on that.

19:36.556 --> 19:44.401
[SPEAKER_01]: And you know, I wanted to talk about Al Doutu is a like the innocence of L. He's just a nice dude.

19:44.441 --> 19:46.042
[SPEAKER_01]: That's just trying to look for work.

19:46.702 --> 19:48.903
[SPEAKER_01]: And it doesn't seem like anywhere he goes.

19:49.263 --> 19:50.704
[SPEAKER_01]: Nobody wants to hire this guy.

19:51.244 --> 19:51.545
[SPEAKER_01]: He has

19:54.669 --> 19:55.969
[SPEAKER_01]: He's like, no, I already got a Mariachi.

19:55.989 --> 19:57.990
[SPEAKER_01]: He's like, he's like, he's like, he's like, he's like, no, I already got a Mariachi.

19:58.010 --> 20:12.134
[SPEAKER_00]: He's like, he's like, he's like, he's like, he's like, he's like, he's like, he's like, he's like, he's like, he's like, he's like, he's like, he's like, he's like, he's like, he's like, he's like, he's like, he's like, he's like, he's like, he's like, he's like, he's like, he's like, he's like, he's like, he's like, he's like, he's like, he's like, he's like, he's like, he's like, he's like, he's like, he's like, he's like, he's like, he's like, he's like, he's like, he's like, he

20:12.495 --> 20:14.476
[SPEAKER_00]: Yeah, bars are still doing this to bands all the time.

20:14.676 --> 20:16.336
[SPEAKER_00]: Oh, no, no, we got a DJ over here.

20:16.416 --> 20:17.136
[SPEAKER_00]: It's all good.

20:17.196 --> 20:18.697
[SPEAKER_00]: It's going to spin his laptop.

20:18.877 --> 20:20.337
[SPEAKER_00]: That's basically what this is.

20:20.817 --> 20:22.297
[SPEAKER_00]: Right now that everybody's digitalized.

20:22.377 --> 20:23.698
[SPEAKER_01]: Yeah, that's what it is.

20:24.178 --> 20:27.459
[SPEAKER_00]: This is the initial version of bands looking to get paid from bars.

20:27.999 --> 20:30.079
[SPEAKER_00]: And I was like, no, no, no, we got a DJ tonight.

20:30.119 --> 20:31.120
[SPEAKER_00]: The people are going to dance.

20:33.485 --> 20:43.230
[SPEAKER_01]: And then once you hear what the DJ has or the piano keyboard player has, it's just a cheap knock off of an Almarayachi player with no heart, no soul.

20:43.610 --> 20:49.473
[SPEAKER_01]: It's kind of like AI, but in some, but instead you actually have a person that's running the whole entire show.

20:51.013 --> 20:54.435
[SPEAKER_00]: The drum beat on that keyboard was so painfully funny.

20:55.476 --> 20:57.097
[SPEAKER_01]: It was it kind of reminds me of the keyboard.

20:57.137 --> 21:10.122
[SPEAKER_01]: We used to have as kids, you know, where we could actually do different sound effects on our keyboards and have the drums have the snare and do all that stuff, that's what you might think of that you used the song will be button didn't you.

21:10.503 --> 21:11.063
[SPEAKER_01]: Yes, I did.

21:12.736 --> 21:16.657
[SPEAKER_01]: And that's how I knew this was actually that much cringey watching this.

21:19.959 --> 21:21.139
[SPEAKER_00]: Yeah, that's pretty much it.

21:21.519 --> 21:24.920
[SPEAKER_01]: And a lot of the fast moving edits that Rodriguez did with this.

21:25.201 --> 21:28.022
[SPEAKER_01]: It's like, okay, it puts it back up and then goes back to sleep.

21:28.662 --> 21:28.862
[SPEAKER_00]: Yeah.

21:29.709 --> 21:30.470
[SPEAKER_00]: But that's the thing.

21:30.811 --> 21:33.274
[SPEAKER_00]: So that's a slow crank, right?

21:33.314 --> 21:41.145
[SPEAKER_00]: As opposed to trying to do that in post-production, because if you have a regular crank speed, you're gonna be cranking in regular time.

21:41.385 --> 21:46.252
[SPEAKER_00]: But if you slow crank it, then everything becomes sped up when it gets played back at normal speed.

21:46.552 --> 21:48.153
[SPEAKER_01]: And I like how they how we does it.

21:48.194 --> 22:01.425
[SPEAKER_01]: I think it's I think it's not I think that it's very authentic on the way he did it and with the editing process and trying to get it polished away he needed to with that scene because I know that had them in hard for him to do.

22:02.325 --> 22:04.307
[SPEAKER_01]: Oh, how's it.

22:05.448 --> 22:07.350
[SPEAKER_01]: But you know, and then he goes into another bar.

22:08.897 --> 22:15.248
[SPEAKER_01]: And I think it's a, I think it's like Domino is there and he goes, yeah, I'm a Mariachi player.

22:15.268 --> 22:17.211
[SPEAKER_01]: I'm, and

22:18.343 --> 22:20.484
[SPEAKER_01]: I'm looking for a word because we're not hiring.

22:21.464 --> 22:22.245
[SPEAKER_01]: Oh.

22:22.525 --> 22:22.845
[SPEAKER_01]: No.

22:25.886 --> 22:29.228
[SPEAKER_00]: I mean, first of all, Do's already looked at with this town.

22:29.268 --> 22:30.528
[SPEAKER_00]: He thinks this is the town.

22:30.548 --> 22:37.552
[SPEAKER_00]: This is where it's fortunate to change because he rolls up on this coconut guy and gets a coconut and then walks off.

22:37.972 --> 22:42.174
[SPEAKER_00]: So apparently, as I was doing some research after watching the film, apparently,

22:43.154 --> 22:51.099
[SPEAKER_00]: They threw in this whole voice-over monologue kind of thing about, uh, uh, free coconut.

22:51.119 --> 22:52.679
[SPEAKER_00]: This is going to change my fortunes around.

22:53.100 --> 22:58.023
[SPEAKER_00]: It's only because they forgot to shoot Omarachi pain for the coconut.

22:58.103 --> 23:03.946
[SPEAKER_00]: So they basically wrote this thing around to justify how he was able to just walk away and get a free coconut out of things.

23:04.536 --> 23:29.528
[SPEAKER_01]: I do like that though because it's kind of like Alice like going into Hollywood thinking that he's going to get his big break as a mariachi player, but instead of some Mexico, then you also have like something that like something significant happens and he's thinking that this is good luck charm now, which is actually the coconut anything because he got this free coconut, he's going to make it big because of and being in this town.

23:30.352 --> 23:32.153
[SPEAKER_01]: This town has nothing going for itself.

23:32.613 --> 23:36.414
[SPEAKER_01]: We have maybe two bars in there in this whole town.

23:36.474 --> 23:45.898
[SPEAKER_01]: The also two, if you look at the other bar, he went to one that with the keyboard player, that's the same bar that was in Desperado.

23:46.366 --> 23:47.628
[SPEAKER_00]: Again, proof of concept, right?

23:47.868 --> 23:59.361
[SPEAKER_00]: But even the fact that shows up in this town and meets Domino, who's running for business, which was kind of gifted to her from Moko, it's kind of the same thing as in Desparado.

23:59.401 --> 24:05.909
[SPEAKER_00]: Some of my high X got that book store, that beautiful frickin' bookstore, that when I saw that, I'm like, yeah.

24:06.389 --> 24:23.600
[SPEAKER_00]: Like I know, you know, people see in the clips, they look at the bunch of books here behind me, I appreciated that bookstore in Desperado, but it's one of those things where even though the stories are parallel, you can kind of overlook it because the personalities are fairly different.

24:24.140 --> 24:26.022
[SPEAKER_00]: Domino isn't as

24:27.450 --> 24:36.434
[SPEAKER_00]: I don't want to say, like, thankful for or subservient to Mako because, you know, she did, he did gift her the bar, but there are similarities.

24:36.674 --> 24:46.218
[SPEAKER_00]: You're absolutely going to draw them, but you could see, uh, there's a strength of character that can Swaila Gomez gave to Domino that probably inspired what some of a high acted.

24:47.400 --> 25:16.960
[SPEAKER_01]: Yeah, because there's different characters, right, that we mentioned, and you know, the thing that I think that works for the her is they have she's thankful for the fact that Marco was able to give her the bar, even though he's tied to a bunch of other ugly things behind the scenes as well, just as some a hiac is also tied to boochow who gave her the bookstore and it's two different personality is like, do you want to go with the hot in sexy some a hiac.

25:18.413 --> 25:21.397
[SPEAKER_01]: And, you know, she has this way about her.

25:21.738 --> 25:23.801
[SPEAKER_01]: Where she just draws you in.

25:24.522 --> 25:25.123
[SPEAKER_01]: Where's her?

25:25.343 --> 25:31.493
[SPEAKER_01]: As this girl is, she's a little bit as innocent as Mariachi though.

25:32.692 --> 25:40.377
[SPEAKER_00]: I mean, I don't think she's, and it's, is El Mariachi, but it's one of those things where she's, for longer, it terms kind of string and moko along.

25:40.417 --> 25:44.880
[SPEAKER_00]: Like we discovered later on that moko gave her this motorcycle.

25:45.240 --> 25:50.143
[SPEAKER_00]: So when she was ready to give herself to moko that she just, she should ride that motorcycle.

25:50.183 --> 25:56.467
[SPEAKER_00]: The fact that those keys are staying under that vase, it's, it's a power play at that point, right?

25:56.947 --> 25:57.287
[SPEAKER_00]: Right.

25:57.687 --> 26:02.990
[SPEAKER_00]: She knows that Mako wants her and is willing to give her anything.

26:03.771 --> 26:09.113
[SPEAKER_00]: She's not going to go down that road, but she's clearly not going to stop him from giving her things.

26:09.433 --> 26:09.654
[SPEAKER_01]: Right.

26:09.674 --> 26:15.697
[SPEAKER_01]: It's like, okay, this guy is a drug lord or and it's like, he can give me money and he also can give me a bar.

26:16.797 --> 26:18.358
[SPEAKER_01]: And it's like, okay, you're rich.

26:18.478 --> 26:22.280
[SPEAKER_01]: So let me go and get as much stuff as I can from you, even though I'm going to not

26:26.827 --> 26:32.114
[SPEAKER_01]: where some a high-tech now looking back on on and stuff.

26:32.535 --> 26:33.356
[SPEAKER_01]: I just want to say this.

26:34.297 --> 26:40.345
[SPEAKER_01]: It's like she was into Buccio, but she's also likes the bookstore as well.

26:41.627 --> 26:43.430
[SPEAKER_01]: Like you can tell that she has a thing for him.

26:43.945 --> 26:47.646
[SPEAKER_00]: Yeah, Bucho feels a little bit like it means to an end.

26:47.826 --> 26:51.147
[SPEAKER_00]: Like the bookstore is the passion and he's the means to get the passion.

26:52.468 --> 26:58.289
[SPEAKER_00]: Here Domino feels very much like a stronger character really.

26:58.409 --> 27:03.491
[SPEAKER_00]: Like she's not going to give herself to Marco, even though Marco desires her.

27:04.751 --> 27:10.053
[SPEAKER_00]: She's not going to go against Marco per se, but she's not going to go to Marco.

27:10.779 --> 27:13.500
[SPEAKER_01]: Right, because remember what she says, no one goes to Mako.

27:13.640 --> 27:14.640
[SPEAKER_01]: Mako comes to you.

27:15.080 --> 27:16.800
[SPEAKER_01]: Yeah.

27:16.820 --> 27:21.261
[SPEAKER_01]: And she, she even doesn't go over to where he's at or anything either.

27:21.561 --> 27:24.102
[SPEAKER_01]: So it's like, I'm not going to go there.

27:24.422 --> 27:26.282
[SPEAKER_01]: If I'm not going to go there, you're not going to go there.

27:27.203 --> 27:29.223
[SPEAKER_01]: And yes, I'm thankful for this bar.

27:29.263 --> 27:32.444
[SPEAKER_01]: He gave me, but I'm not into him like he thinks I'm into him.

27:33.084 --> 27:35.004
[SPEAKER_01]: Even Steven says it to him too.

27:35.724 --> 27:38.145
[SPEAKER_01]: Yeah, Mako gave me his bike, but

27:39.002 --> 27:41.023
[SPEAKER_01]: He thinks I'm going to write off into the sunset with them.

27:41.223 --> 27:42.124
[SPEAKER_01]: That's not going to happen.

27:42.264 --> 27:45.366
[SPEAKER_01]: But I haven't locked up in case he ever does want to come over here and get it.

27:45.866 --> 27:46.146
[SPEAKER_00]: Yeah.

27:47.907 --> 27:51.350
[SPEAKER_01]: So it's kind of a different arrangement, which I think you're right.

27:51.410 --> 27:56.753
[SPEAKER_01]: It's more realistic than some of high X characters as well.

27:57.291 --> 28:02.395
[SPEAKER_01]: to where you can basically have a conversation with Domino, and she's a lot more approachable.

28:03.896 --> 28:05.337
[SPEAKER_00]: It also makes a little bit more sense.

28:06.778 --> 28:07.859
[SPEAKER_00]: You take a look at the town, right?

28:07.879 --> 28:11.261
[SPEAKER_00]: In the fact that it's kind of mentioned that no one has money in the town.

28:11.281 --> 28:18.507
[SPEAKER_00]: This is another one of those towns that the big crime lord has a thumb down on everything and everybody.

28:19.227 --> 28:23.851
[SPEAKER_00]: having a bar kind of makes sense because people are still going to come and drink and eat and whatnot.

28:24.271 --> 28:27.273
[SPEAKER_00]: The bookstore in the town in Desperado.

28:27.293 --> 28:29.735
[SPEAKER_00]: No one's coming for books.

28:29.975 --> 28:33.377
[SPEAKER_00]: That's based on who he's for her and her alone.

28:35.038 --> 28:37.440
[SPEAKER_01]: And that's only for her pleasure, her own entertainment.

28:37.620 --> 28:37.920
[SPEAKER_01]: Yeah.

28:38.021 --> 28:39.021
[SPEAKER_01]: Like, and that's it.

28:39.121 --> 28:41.643
[SPEAKER_01]: There's no rhyme or reason for her to even have a bookstore.

28:41.883 --> 28:46.927
[SPEAKER_01]: Even those tourists that came over to that bar are not going to go over to the bookstore.

28:47.365 --> 28:47.525
[SPEAKER_00]: Nope.

28:48.126 --> 28:49.426
[SPEAKER_00]: Ain't no one reading in that town.

28:50.007 --> 28:53.209
[SPEAKER_01]: And even Boots are told there, he goes, you know, you have a good dream.

28:54.350 --> 28:58.653
[SPEAKER_01]: But you're never going to have any one over here that's going to have a bookstore.

28:58.673 --> 28:59.373
[SPEAKER_01]: Yeah.

28:59.393 --> 29:00.534
[SPEAKER_01]: That's going to come to get bookstore.

29:01.215 --> 29:04.137
[SPEAKER_00]: It's almost like she made the bookstore, so she had books to read for herself.

29:05.138 --> 29:08.120
[SPEAKER_00]: Hey, I'll be okay with just owning a store to break for myself.

29:08.261 --> 29:09.862
[SPEAKER_00]: I am not hating this idea.

29:09.942 --> 29:15.126
[SPEAKER_00]: So I'm a high character may be the smartest person out there because that sounds like something I would do.

29:15.386 --> 29:16.948
[SPEAKER_00]: Make a bookstore that no one goes to.

29:17.548 --> 29:21.912
[SPEAKER_00]: So I can read all the books and then it becomes my job to read all the books.

29:21.952 --> 29:24.654
[SPEAKER_00]: And I'm not going to make money out of it, but yeah, get reading time.

29:25.478 --> 29:35.911
[SPEAKER_01]: And but how do you pay the rent, do you just so you know what though you don't even have to worry about paying the rent if the lights get caught off just basically have a lamp.

29:36.872 --> 29:43.721
[SPEAKER_00]: Yeah, lamp and you know just read like the old like 1920s get a candlestick and imagine you're good to go.

29:44.308 --> 29:44.849
[SPEAKER_01]: Exactly.

29:45.590 --> 29:57.870
[SPEAKER_01]: So seen to from the confines of his heavily guarded villa on the else course of town Mako sends a large group of hitman to kill a zeal they are told to look for me and who is wearing black.

29:58.220 --> 30:00.322
[SPEAKER_01]: and carrying a guitar case.

30:00.762 --> 30:07.167
[SPEAKER_01]: But because the Mariachi also measures this description, the hitman mistaken for Azel and began to pursue him.

30:07.567 --> 30:12.411
[SPEAKER_01]: Only Mako, however, knows that Azel's actual face, which I find very fascinating.

30:12.951 --> 30:18.155
[SPEAKER_01]: The Mariachi is then forced to kill four of the attackers in self defense.

30:18.595 --> 30:23.699
[SPEAKER_01]: After being a chase through the streets as the Mariachi seeks refuge in a bar,

30:26.741 --> 30:36.730
[SPEAKER_01]: He quickly falls in love with her, and unfortunately, Mako is not only financing the bar, but also has his own romantic interest in domino, which we talked about.

30:38.151 --> 30:51.682
[SPEAKER_01]: But I do like the miss taken out of identity, where you have these hitmen that are very bad at their job, even though they tell that he's dressed all on black, he's also got a white shirt on.

30:51.702 --> 30:53.384
[SPEAKER_01]: Elle does.

30:54.015 --> 31:10.544
[SPEAKER_00]: Yeah, I mean, yeah, the initial mistaken identity thing, I completely understand right because if the only direction the Marco actually gives to his goons is he's going to wear black he's going to have a guitar case.

31:11.625 --> 31:16.286
[SPEAKER_00]: First of all, Marco, your goons aren't that smart to begin with.

31:16.866 --> 31:17.087
[SPEAKER_00]: No.

31:17.127 --> 31:19.647
[SPEAKER_00]: You might want to, you know, paint a picture.

31:20.007 --> 31:20.928
[SPEAKER_00]: Well, you, right?

31:20.968 --> 31:24.348
[SPEAKER_00]: Like, you know, character sketch, something, you know, anything.

31:24.529 --> 31:28.290
[SPEAKER_00]: Have you not watched any police procedural shows in Mexico?

31:28.310 --> 31:30.210
[SPEAKER_00]: I'm sure there were some in 1992.

31:30.250 --> 31:36.572
[SPEAKER_00]: Like, say, he has a mustache, you know, or something along those lines.

31:36.892 --> 31:40.573
[SPEAKER_00]: Like, you have to think about you're sending these people out

31:41.353 --> 31:51.738
[SPEAKER_00]: with the only definition of wearing black and have a guitar case, which sounds like every single musician in the history of ever.

31:52.698 --> 31:59.582
[SPEAKER_00]: I wear black and I carry guitar case when I go to my gigs, I'm not afraid of being jump by Mako's bed.

32:00.655 --> 32:22.345
[SPEAKER_01]: Right because there's so any audit and one layered, but it's makes it, like you said, it's dark comedy if you think about it, because inbox Mako's men, and of course, you know, I also like the another fast cut of heat where L winds up paying the hotel clerk for the room, and then he how he's up gets upstairs.

32:22.365 --> 32:27.128
[SPEAKER_01]: They say, you know what the hotel manager winds up calling Mako Mako calls his hitman,

32:30.703 --> 32:33.524
[SPEAKER_01]: them to kill out, which is supposed to be a zel.

32:34.544 --> 32:40.366
[SPEAKER_01]: And the thing that I thought that was really funny about this is he goes upstairs.

32:40.406 --> 32:44.747
[SPEAKER_01]: He sees that thing hanging up and I'm like, OK, is it?

32:44.827 --> 32:46.628
[SPEAKER_01]: Is he going to be slinging that in somebody's face?

32:46.688 --> 32:48.769
[SPEAKER_01]: Is this going to go on someone's crotch?

32:49.209 --> 32:50.189
[SPEAKER_01]: What's going to happen?

32:51.489 --> 32:53.590
[SPEAKER_01]: You know, because I was thinking he was going to use that as a weapon.

32:53.610 --> 32:58.912
[SPEAKER_01]: But instead, he uses it a way to get out of there, which I thought was really fascinating instead of something

33:00.732 --> 33:04.734
[SPEAKER_00]: So I like the thought process that L has like I got to get the hell on out of here.

33:05.374 --> 33:05.834
[SPEAKER_01]: So yeah.

33:06.795 --> 33:18.620
[SPEAKER_01]: And I also like how quickly this moves in this scene, because it's like a cat and mouse game like Tom and Jerry or Scooby-Doo because you have this thing where, okay, Michael go.

33:27.113 --> 33:29.397
[SPEAKER_01]: Mako's people goes and goes back.

33:29.718 --> 33:35.067
[SPEAKER_01]: The whole tell me, there's like, he's in here and then they have to go back to the hotel, a circle back.

33:35.588 --> 33:37.771
[SPEAKER_01]: So I would like this little cat and mouse game to do.

33:39.405 --> 33:53.649
[SPEAKER_00]: I want to give the bus driver all the credit in the world because I'm sorry if someone falls from the sky and lands on the hood of my bus, my first reaction is going to slam on the brakes, not keep driving.

33:53.949 --> 34:02.492
[SPEAKER_00]: And if I hear gunshots, then I'm going to gun the bus from the completely stopped holy crap someone landed on my hood kind of state of not moving.

34:03.432 --> 34:05.573
[SPEAKER_00]: And I want to ask you if I could end up getting run over.

34:05.853 --> 34:07.734
[SPEAKER_00]: So it's probably a good thing that we didn't have this.

34:08.074 --> 34:09.875
[SPEAKER_00]: Otherwise, we have a much shorter film.

34:10.575 --> 34:17.099
[SPEAKER_00]: But as we mentioned, like this does feel like one of those could we do kind of comedies, where it's like, all right, he gets away.

34:17.159 --> 34:19.480
[SPEAKER_00]: Then he goes back, get something, and then goes away again.

34:19.880 --> 34:24.543
[SPEAKER_00]: Yeah, and meanwhile, the guy is still calling the guys all the time.

34:25.643 --> 34:26.063
[SPEAKER_00]: Do they,

34:35.311 --> 34:36.114
[SPEAKER_01]: That's what I was wondering.

34:36.134 --> 34:37.399
[SPEAKER_01]: Like, is this a culture thing?

34:37.861 --> 34:40.691
[SPEAKER_01]: Because even Domino has it in her room too.

34:41.352 --> 35:08.071
[SPEAKER_00]: Yeah, do they have a little store in this town called Macy's R Us, but also I understand that they they use the proper little You know, handles with the wheel on a kind of thing to do this slide down the cable because if we actually use the Mace sure the one hand should be fine so on the hand up with the other hand means it's going to be holding Very close holding the chain to the ball with the spikes going to be digging into his hand

35:09.338 --> 35:10.799
[SPEAKER_00]: Because that's how a mace works.

35:11.600 --> 35:11.901
[UNKNOWN]: Right.

35:12.321 --> 35:13.242
[SPEAKER_00]: I'm just saying.

35:14.463 --> 35:16.365
[SPEAKER_01]: Because I was thinking of the same thing.

35:16.445 --> 35:18.287
[SPEAKER_01]: It's a smart way of actually getting out of there.

35:18.307 --> 35:19.968
[SPEAKER_01]: But at the same time, how are you doing?

35:20.229 --> 35:21.029
[SPEAKER_01]: Messing up your hand.

35:21.790 --> 35:22.111
[SPEAKER_00]: Right.

35:22.311 --> 35:23.212
[SPEAKER_00]: Mr. guitarist.

35:23.232 --> 35:25.073
[SPEAKER_00]: I've played a little familiar guitar.

35:25.093 --> 35:26.255
[SPEAKER_00]: You know, you're going to need your hand.

35:26.881 --> 35:31.165
[SPEAKER_01]: And you know what, if you think about like this, Marco, I'm going to make sure you never play again.

35:31.865 --> 35:35.328
[SPEAKER_01]: And it just means at the end of the film, we're going to talk about that later on.

35:35.689 --> 35:40.253
[SPEAKER_01]: But like, he's already screwed up his hand before even, uh, Marco, we ran out of chance.

35:40.873 --> 35:41.154
[SPEAKER_00]: Yeah.

35:41.974 --> 35:47.499
[SPEAKER_00]: This is what happens when you use a maze as an escape tool, right?

35:47.859 --> 35:53.845
[SPEAKER_01]: And then getting onto the bus, which would put him but the MVP is the bus driver if you wouldn't.

35:54.806 --> 35:57.549
[SPEAKER_01]: for this for the driving one day if there's a school for that.

35:59.030 --> 36:03.274
[SPEAKER_00]: But again, it is hard to shoot these kind of action sequences on $7,000.

36:03.294 --> 36:10.881
[SPEAKER_00]: This is the very first scene that was in the breakdown of the the ten minute film school kind of thing.

36:11.621 --> 36:28.654
[SPEAKER_00]: on the DVD was that whole scene where he is running upstairs, he has to throw his guitar up onto the balcony and then jump up onto the balcony and he shows all the raw footage from that shooting the way that that isn't, you know, the one or two takes that the guitar didn't make it all the way up there.

36:28.714 --> 36:32.397
[SPEAKER_00]: So it's really well done shoot and editing.

36:33.498 --> 36:43.847
[SPEAKER_00]: It's fascinating to watch something like that because if you watch, you know, one of the like the, you know, think a big budget action movies like the Avengers and how they kind of break down those fight scenes.

36:44.168 --> 36:49.693
[SPEAKER_00]: You have 14 different takes of Black Widow doing a hurricane run on someone, right?

36:50.093 --> 36:50.674
[SPEAKER_00]: Right.

36:50.694 --> 36:55.298
[SPEAKER_00]: And here you are basically doing in camera edits.

36:56.199 --> 36:58.360
[SPEAKER_00]: through necessity, right?

36:58.701 --> 37:11.728
[SPEAKER_00]: This is where, you know, I highly, highly, highly recommend that anyone who is everything can have getting into making small films or even if you're in like high school, right?

37:11.748 --> 37:18.252
[SPEAKER_00]: And you got, you got a camera or you got your phone, that's the thing now everyone's got a freaking camera because they have a phone, right?

37:18.772 --> 37:21.854
[SPEAKER_00]: Get your phone, get your friends and write a script

37:25.876 --> 37:38.279
[SPEAKER_00]: the special features on a film like this because you're going to get ideas of how to block those shots and block your scene so you can shoot it in a way that works well and then add it afterwards.

37:39.339 --> 37:44.901
[SPEAKER_00]: What I was learning how to do television production, it was one of those things where

37:45.761 --> 37:48.423
[SPEAKER_00]: It was around the time that this film came out.

37:48.443 --> 37:52.365
[SPEAKER_00]: Like I've been doing this since the very early 90s.

37:52.586 --> 37:55.928
[SPEAKER_00]: So, you know, I appreciate something like this.

37:56.008 --> 37:59.470
[SPEAKER_00]: And the fact that this is the first time I ever actually watched it, I'm like, well, where the hell was this?

37:59.490 --> 38:01.471
[SPEAKER_00]: What if, you know, when it first came out?

38:02.032 --> 38:04.493
[SPEAKER_00]: But it's one of those things where

38:05.537 --> 38:24.930
[SPEAKER_01]: The technology now is literally everyone's back pocket right and it's not as complex as what Rodriguez had to do because he was actually filling on some a millimeter film right easily block something with your digital camera and cut into a way to where it's more believable if you're trying to throw a guitar case.

38:25.890 --> 38:30.533
[SPEAKER_01]: on to another building or do certain action sequences to make it look believable.

38:30.953 --> 38:39.857
[SPEAKER_01]: Or if you're not trying to do something like that, even a drama or a comedy or anything like that, you can still block out certain scenes and cut it to where it's now digital.

38:39.897 --> 38:41.038
[SPEAKER_01]: It's a good idea to process.

38:41.058 --> 38:45.460
[SPEAKER_01]: You don't have to worry about trying to do several different edits or anything like that.

38:45.780 --> 38:47.901
[SPEAKER_01]: You can just go in and try to

38:48.925 --> 38:52.470
[SPEAKER_01]: maneuver it digitally versus a millimeter route.

38:52.890 --> 38:54.452
[SPEAKER_00]: But think about it right today.

38:54.773 --> 39:01.542
[SPEAKER_00]: You got your phone right and you got a microphone that you can record whether something like that and that you can run into the phone.

39:02.122 --> 39:02.964
[SPEAKER_00]: It's okay, right?

39:03.624 --> 39:06.188
[SPEAKER_00]: But even the the editing software.

39:06.488 --> 39:14.154
[SPEAKER_00]: Like you can edit this thing, you can get a program for free on the internet today and edit this at your home.

39:14.594 --> 39:24.722
[SPEAKER_00]: When you consider that, apparently, they spent like $200,000 on the post-production budget on this, in order to be able to make it actually happen and get it properly released.

39:25.983 --> 39:40.628
[SPEAKER_00]: You can do all of this now and all you need is a plan going into the shoot, a script, and basically the determination to make something.

39:41.128 --> 39:41.228
[SPEAKER_00]: And

39:42.869 --> 39:49.699
[SPEAKER_00]: I wish this technology was so easy when I was learning this kind of stuff because it wasn't when I was learning this kind of stuff.

39:49.959 --> 39:56.267
[SPEAKER_00]: And you know, to watch a special feature like this or to watch a film that in 1992 in 34 years ago,

39:59.872 --> 40:07.275
[SPEAKER_00]: took a small handful of cash and made something that became an iconic proof of concept.

40:07.295 --> 40:13.677
[SPEAKER_00]: We're telling the became an iconic moment in action with films, like independent action films.

40:13.917 --> 40:21.100
[SPEAKER_01]: Right, because I even remember, even in the high school when we had a career discovery, when we can learn how to edit and do film editing,

40:21.752 --> 40:45.017
[SPEAKER_01]: And then do that kind of thing and I remember how complex even the little models that they gave us to try and do and now the complexity is now simple as simplified and it's not as condense is not having to use several different things to use the edit anything anymore, you can use one editing software to do everything you wanted to do like you mentioned.

40:45.717 --> 40:47.037
[SPEAKER_01]: And you can even.

40:47.708 --> 40:49.689
[SPEAKER_01]: a colorize it the way you want to colorize it.

40:49.709 --> 40:57.891
[SPEAKER_01]: You can do different things compared to what you did back in the 90s because the turn that time adding to several hours to do.

40:58.251 --> 41:05.713
[SPEAKER_00]: Don't don't even don't even on on hold tape to tape kind of things and I'm sure that Rodriguez probably did film splicing for this, but I mean.

41:07.174 --> 41:12.478
[SPEAKER_00]: The biggest thing that I'm going to say, but this woman, it's not even the takeaway of the film, per se.

41:12.639 --> 41:19.345
[SPEAKER_00]: And I really hope that if there's anyone actually listening to this, there's a moment of inspiration, okay?

41:20.914 --> 41:25.857
[SPEAKER_00]: watch this film and then watch the special features and then go do that thing.

41:26.157 --> 41:45.207
[SPEAKER_00]: Go write that script, go shoot that thing, go edit that thing and whether it looks like crap at the end of the day or not it does not matter why because you are going to have the most fun filming it, you're going to have a couple of laughs while you're editing it and then you're going to get your

41:50.950 --> 41:55.054
[SPEAKER_00]: It's going to look like art because you actually went out and did it.

41:55.935 --> 41:56.175
[SPEAKER_01]: Right.

41:56.275 --> 42:03.022
[SPEAKER_01]: And you can then you can say that you made something and you tried something versus not trying to do anything at all.

42:03.462 --> 42:03.662
[SPEAKER_00]: Yeah.

42:03.783 --> 42:04.703
[SPEAKER_00]: Absolutely.

42:04.743 --> 42:06.785
[SPEAKER_00]: Go go out and do something.

42:08.767 --> 42:11.430
[SPEAKER_01]: And I just want to mention this though, too.

42:11.970 --> 42:14.213
[SPEAKER_01]: Like I know that we talked about

42:15.435 --> 42:22.360
[SPEAKER_01]: In fact, that, you know, Al goes back into the hotel and he grabs his jacket.

42:22.380 --> 42:24.442
[SPEAKER_01]: I'm like, dude, you're just pretty much good.

42:24.462 --> 42:28.005
[SPEAKER_01]: No, go back in there to get your jacket.

42:30.131 --> 42:31.492
[SPEAKER_00]: I don't understand that one, though.

42:31.632 --> 42:43.705
[SPEAKER_00]: And I say that because when he rolls into this town, the only thing he has that's his is his guitar and the code on his back, right?

42:44.385 --> 42:45.847
[SPEAKER_00]: That's his Mariachi look.

42:46.327 --> 42:58.110
[SPEAKER_00]: Right to look like a proper Mariachi to stand in front of people with the Mariachi the jacket over the white shirt because the white t-shirt ain't really not much special This isn't like a proper button up t-shirt.

42:58.150 --> 43:09.452
[SPEAKER_00]: This is hey, I got this at the freaking Kmart there You know like you look like a proper Mariachi when you have the the pants and the jacket and the shoes and the guitar and the look like

43:10.750 --> 43:27.913
[SPEAKER_00]: If being a mariachi is so much of his identity, which has him going from town to town to town on the good graces of free roadside coconuts that everything that he is is in that look, that perception and that,

43:28.994 --> 43:31.295
[SPEAKER_00]: that being of a mariachi.

43:31.795 --> 43:36.398
[SPEAKER_00]: So I kind of understand him going back for his coat a little bit.

43:36.718 --> 43:44.081
[SPEAKER_00]: It's maybe not the smartest character move, but at least it's understandable if it's the only thing that he has to his name.

43:44.922 --> 43:47.283
[SPEAKER_01]: Right, something like you said, it's his

43:48.308 --> 44:04.556
[SPEAKER_01]: job, he's looking for him to become the best mariachi in him dressing up to the nine and then I like the boot study has I could get a prop it would probably be his boots because I just love how he's gets over to the sidewalk with the boots and hold and then he winds up.

44:06.608 --> 44:11.910
[SPEAKER_01]: You know, he wants to catch a pole, you know, me, he wants to grab him onto the pole when he slides.

44:12.110 --> 44:16.931
[SPEAKER_01]: I love that scene, but also like how now he has to defend himself.

44:17.251 --> 44:19.132
[SPEAKER_01]: And he winds up shooting all four of them.

44:20.072 --> 44:29.075
[SPEAKER_01]: These hitmen with this with the you see and he's just like, I just like how he shoots everybody and then he just politely just lays the gun down and then walks away.

44:29.576 --> 44:32.877
[SPEAKER_01]: Then you have the other guy that's been shooting on a toothpick the whole entire time.

44:33.777 --> 44:33.957
[SPEAKER_01]: And.

44:35.012 --> 44:39.487
[SPEAKER_01]: he winds up looking at the men is like, okay, we're missing with someone that's actually a bad ass now.

44:40.806 --> 44:43.207
[SPEAKER_01]: Yeah, I didn't know they was capable of doing something like this.

44:43.707 --> 44:54.290
[SPEAKER_00]: That's the one thing that this film doesn't actually do is that if this guy, all he ever wants to be is a Mariachi, but yet he's also deadly freaking accurate with a gun.

44:55.091 --> 44:57.251
[SPEAKER_00]: Like where did that come from?

44:57.271 --> 45:04.313
[SPEAKER_00]: There's a back story to a Mariachi that's not being told here and I don't know if I actually want it told because it's one of those things where

45:06.294 --> 45:07.235
[SPEAKER_00]: don't over explain it.

45:07.895 --> 45:16.198
[SPEAKER_00]: Let the mystery kind of tell the story because there is clearly something in El Mariachi's backstory that we're not getting.

45:16.678 --> 45:19.399
[SPEAKER_00]: We don't need to be told it, but we just need to respect it.

45:20.100 --> 45:25.442
[SPEAKER_01]: Well, don't forget, we also get those dream, those crazy dream sequences that he has from his past.

45:26.522 --> 45:29.644
[SPEAKER_00]: Which, okay, okay, you brought it up.

45:33.817 --> 45:48.469
[SPEAKER_00]: I understand the abstractness of this door that is connected to nothing that he goes through in every single dream sequence and what, what is he dreaming?

45:49.910 --> 45:56.315
[SPEAKER_01]: He may be took a bellotone and before he went to sleep and he's just trying, this is what happens when you buy a bellotone, I don't know.

45:57.098 --> 46:00.280
[SPEAKER_00]: Apparently this is what happens when you don't have the beer in the bottle.

46:00.500 --> 46:02.922
[SPEAKER_00]: If you drink it out of the glass, this is what you're going to be feeling.

46:03.382 --> 46:10.006
[SPEAKER_00]: But I, I, I, I, I, I, I'm not the biggest fan of Dream Sequences.

46:10.046 --> 46:12.267
[SPEAKER_00]: And especially repeated Dream Sequences.

46:12.687 --> 46:22.413
[SPEAKER_00]: You know, when we discussed hackers, one of the recurring things in that film was that everyone had a freaking weird sex

46:27.255 --> 46:36.757
[SPEAKER_00]: But here, you have this repeated dream that shows some kind of past trauma, but it never resolves.

46:36.797 --> 46:54.041
[SPEAKER_00]: Like, if you were having flashbacks of some walking through this host full of dead bodies and whatnot, and it's only like in the second or third time that we see it that he looks down and there's a gun in his hand.

46:54.681 --> 47:12.232
[SPEAKER_00]: Then maybe we get the idea that there's some past crime, violence, gun trauma in him that would explain that he was a badass deadly shot, you know, can kill anybody at will, but we don't get that we just get these weird abstract things where

47:17.315 --> 47:20.440
[SPEAKER_01]: Right, I just didn't get that either I didn't understand that dream sequence.

47:20.520 --> 47:23.746
[SPEAKER_01]: I thought the dream sequences for me doesn't add up.

47:23.986 --> 47:30.878
[SPEAKER_01]: Here's the everybody complaints about dream sequences and the sopranos and I love the dream sequences and the sopranos because at least I can analyze it.

47:31.423 --> 47:34.224
[SPEAKER_01]: and it makes sense and it ties into something like you mentioned with hackers.

47:34.744 --> 47:47.328
[SPEAKER_01]: Yeah, at least with the trim sequences, you miss what the anxiety of the hackers may be getting caught, or you have the sex scene with the Angelina Jolie because they'd had a crush on Angelina Jolie, just as Angelina Jolie also

47:48.382 --> 47:55.127
[SPEAKER_01]: Uh, one of the mess with Dave and him put him in women's clothing for some odd name reason, but which is how we're roused her right why.

47:55.448 --> 47:56.709
[SPEAKER_00]: Yeah, exactly right.

47:57.369 --> 47:58.550
[SPEAKER_01]: So it's the same concept.

47:58.910 --> 48:10.699
[SPEAKER_01]: This one is miss I don't know what Rodriguez was going for with this, but it's like, okay, maybe he was thinking, well, we just need to have a scene here to show some type of emotion with.

48:12.187 --> 48:13.628
[SPEAKER_01]: for us to care about even more.

48:13.668 --> 48:17.591
[SPEAKER_01]: But to be honest with you, you can get rid of the dream sequence and we get still care about it.

48:17.911 --> 48:19.612
[SPEAKER_00]: Yeah, it doesn't mean anything at all.

48:20.013 --> 48:24.115
[SPEAKER_00]: Like they're there for abstractness and art, I feel.

48:24.796 --> 48:27.178
[SPEAKER_00]: And I understand the one to put a dream sequence.

48:27.218 --> 48:35.964
[SPEAKER_00]: I understand the one to create some kind of complexity in the character of El Mariachi to show us that there's something that we don't know about him.

48:36.584 --> 48:47.055
[SPEAKER_00]: But by doing these dream sequences over and over again, it just tells us that there is something we don't know about them and we're not going to be told exactly what that was and we're not ever going to get it explained to us.

48:47.696 --> 48:48.216
[SPEAKER_01]: Exactly.

48:48.417 --> 48:52.181
[SPEAKER_01]: And then you have the other after that.

48:52.381 --> 48:56.625
[SPEAKER_01]: For once we have all the dream sequences, it goes back in your right though.

48:56.785 --> 48:58.127
[SPEAKER_01]: I want to go on and say this.

48:59.021 --> 49:00.822
[SPEAKER_00]: We're going to right there.

49:00.862 --> 49:01.542
[SPEAKER_00]: You said I'm right.

49:01.562 --> 49:01.922
[SPEAKER_00]: We're good.

49:02.523 --> 49:03.883
[SPEAKER_01]: Yeah.

49:05.444 --> 49:16.289
[SPEAKER_01]: But another thing I want to bring up is the fact that he's dead on center with killing killing these guys, no gun training, no anything is a good out Mariachi singer.

49:17.389 --> 49:21.571
[SPEAKER_01]: He's single and he just doesn't have a job.

49:22.131 --> 49:26.733
[SPEAKER_00]: Yeah, and then he goes back to the bar and I just kill four

49:28.215 --> 49:31.316
[SPEAKER_00]: Like, is this a pickup line for you?

49:31.636 --> 49:50.643
[SPEAKER_00]: Like, is this something you casually tell people and I understand that maybe killing four people, maybe there's a state of shock there, maybe there's like, you know, like, I don't, the only words out of my mouth are the things that I just did, you know, and I could understand that from a trauma point of view, but or a state of shock,

49:51.303 --> 50:12.332
[SPEAKER_00]: But the fact that he's trying to convince this bartender who just said that she wasn't going to hire him because she had no work, but pretty girl, okay, I'm just going to go back to the bar, I get it, maybe it's the only, I'm sorry, the only safe space this guy should be going back to is the free coconut guy down on the street outside of the town orders.

50:12.552 --> 50:13.273
[SPEAKER_01]: That was right.

50:13.293 --> 50:15.133
[SPEAKER_01]: He should just be a Mariachi for the coconut guy.

50:16.554 --> 50:18.656
[SPEAKER_01]: That beat, that would be the safest option.

50:18.936 --> 50:20.837
[SPEAKER_01]: You get paid in coconuts, at least you can eat.

50:21.478 --> 50:22.238
[SPEAKER_01]: Right, exactly.

50:22.378 --> 50:25.220
[SPEAKER_01]: But in it's also safer, you don't have to worry about bullets flying at you.

50:25.500 --> 50:27.942
[SPEAKER_01]: That's the only right.

50:27.962 --> 50:39.010
[SPEAKER_01]: But with him, it's like the total shock of him killing these four people, and then him going back to her, even though she rejected him, because she didn't want to hire him.

50:39.565 --> 50:52.796
[SPEAKER_01]: She doesn't know him at all and but yeah, you're going to trust in her and who's to say that she doesn't have a connection with Marco at that time we don't find that out until and even at small towns, they're always connected in some way or fashion.

50:53.136 --> 50:58.520
[SPEAKER_01]: Yeah, why, and why are you going to go ahead and say yourself up for that because then she wants up wanting to call.

50:59.221 --> 51:00.862
[SPEAKER_01]: Well, let me see, I'm going to call the cops.

51:01.683 --> 51:08.849
[SPEAKER_01]: That was her first instinct, which I thought Marco was also tied to the cops as well because maybe he has this horrible entire thing organizes.

51:09.348 --> 51:10.429
[SPEAKER_01]: with the cops.

51:11.089 --> 51:11.690
[SPEAKER_00]: But there's the thing.

51:11.710 --> 51:14.291
[SPEAKER_00]: I don't think she really says, you know, who she's going to call.

51:14.311 --> 51:15.612
[SPEAKER_00]: She just goes and grabs the phone.

51:15.632 --> 51:17.734
[SPEAKER_00]: So she was probably going to call Mako in this, right?

51:18.254 --> 51:24.939
[SPEAKER_00]: But it's one of those things where at some point she looks at him and believes him.

51:25.599 --> 51:31.823
[SPEAKER_00]: And it's never really delved into, but I mean, even for him, right?

51:32.564 --> 51:34.405
[SPEAKER_00]: You're in a town that no one knows you.

51:34.885 --> 51:52.804
[SPEAKER_00]: You know, you've met one person really two if you want to count the guy runs the hotel Didn't work out well that there either, but you go back to this bar and you tell this girl who I mean, didn't turn you down with basically didn't give you the work and you tell her what's going on

51:53.885 --> 51:58.690
[SPEAKER_00]: I'm sorry, if I'm her, I'm reaching for the phone and I'm dialing somebody really quick.

51:58.730 --> 52:02.533
[SPEAKER_00]: And I don't care what this guy says to me, because I ain't believe in a damn word he says.

52:02.573 --> 52:04.775
[SPEAKER_00]: So he's either easy.

52:04.795 --> 52:10.961
[SPEAKER_00]: The cuckoo for cocoa puffs and just trying to impresser or he really did kill for people.

52:11.542 --> 52:13.343
[SPEAKER_00]: And I don't want none of that, right?

52:13.544 --> 52:14.464
[SPEAKER_00]: Because the other thing too is,

52:15.225 --> 52:17.086
[SPEAKER_00]: Obviously, he's not going to know about Marco.

52:17.126 --> 52:20.347
[SPEAKER_00]: He's not going to know about the power dynamic in this town.

52:20.828 --> 52:26.790
[SPEAKER_00]: He's just going to someone who he feels is a safe space because at this point, he's still the stranger in town.

52:27.250 --> 52:30.412
[SPEAKER_00]: So why would she bring him in?

52:30.532 --> 52:33.213
[SPEAKER_00]: Why would she try to protect him?

52:33.253 --> 52:39.836
[SPEAKER_00]: I don't I that's still you know, not understood the only reason I could think is she thinks he's cute too.

52:40.576 --> 52:42.437
[SPEAKER_01]: Right, because you can see her smiling a

52:45.243 --> 52:48.986
[SPEAKER_01]: If for work and she doesn't like you said, she doesn't exactly shoot him down.

52:49.047 --> 52:51.589
[SPEAKER_01]: It's just that she doesn't want to hire him for work.

52:52.390 --> 52:55.933
[SPEAKER_01]: I'm thinking that maybe she was into him by.

52:55.953 --> 52:57.894
[SPEAKER_01]: Yeah, and that was it.

52:58.295 --> 53:04.480
[SPEAKER_01]: And then it's like, okay, I had a crush on this one do that came into my workplace and now he's gone.

53:04.701 --> 53:06.142
[SPEAKER_01]: And now I'm going to continue my work.

53:06.522 --> 53:07.803
[SPEAKER_01]: Then all of a sudden it goes back again.

53:07.823 --> 53:07.883
[SPEAKER_01]: So.

53:11.370 --> 53:16.174
[SPEAKER_01]: Uh, then he, she was up hiding him after the fact that it was, he goes, it's in self defense.

53:17.074 --> 53:18.335
[SPEAKER_00]: Like, I'm sorry.

53:18.355 --> 53:25.881
[SPEAKER_00]: If the town is really run by Marco, I guarantee you every, every death of that town is in some point, some kind of self defense.

53:27.182 --> 53:29.163
[SPEAKER_01]: Right, everybody's in self defense in that moment.

53:29.224 --> 53:29.544
[SPEAKER_01]: Yeah.

53:29.984 --> 53:34.928
[SPEAKER_01]: The hotel manager that wants to kill L that, you know, everybody's in self defense.

53:35.383 --> 53:42.705
[SPEAKER_00]: Yeah, there's the they're defending themselves from getting beat down by Mako if they don't actually call in and tell them things.

53:43.866 --> 53:44.126
[SPEAKER_01]: Right.

53:45.026 --> 53:47.167
[SPEAKER_01]: And so then we have.

53:47.187 --> 53:50.608
[SPEAKER_01]: Then finally he she tells him, okay, go upstairs.

53:50.868 --> 53:54.069
[SPEAKER_01]: Well, I'll hide you just don't touch any of my stuff.

53:55.289 --> 53:56.949
[SPEAKER_01]: So she's going to pit bull up there.

53:57.230 --> 53:58.670
[SPEAKER_01]: She says be nice to my pit bull.

53:59.388 --> 54:00.489
[SPEAKER_00]: the best is boy.

54:00.689 --> 54:02.130
[SPEAKER_01]: I love the dog though.

54:02.290 --> 54:13.558
[SPEAKER_01]: The pit bull is, you know, it's probably one of my favorite things that she has in this room, a size from that that bag or that she has, but it's just like, okay, this dog don't even know him, but yet he trusts his him.

54:14.038 --> 54:15.119
[SPEAKER_00]: So the dog didn't.

54:16.240 --> 54:26.590
[SPEAKER_00]: There's a subtle thing there, and I think this actually is maybe it's not, maybe it's a subconscious thing, right?

54:27.191 --> 54:30.895
[SPEAKER_00]: But dogs sense evil on people.

54:30.935 --> 54:35.460
[SPEAKER_00]: So the fact of this dog, you know, best is a little stupid boy, you know,

54:36.060 --> 54:49.793
[SPEAKER_00]: sees El Mariachi come in and it's just like now you're cool and just let's and be like there's something to be said about the instincts of a dog that tells you everything you need to know about a character.

54:50.373 --> 54:57.480
[SPEAKER_01]: That's true because even though that's his first I'm meeting him you know dogs I have the best judgment on people

54:58.462 --> 55:20.602
[SPEAKER_01]: So yeah, I think he just sees him as like an innocent person who just upstairs in the bedroom and that's it and also like how else over there looking around sees the bathtub and then he was I'm making himself comfortable in the bathtub then as that's happening, she calls Mako Mako tells her hey look this guy's dangerous he killed seven or my men nine of my men.

55:21.496 --> 55:22.316
[SPEAKER_01]: Well, he told me four.

55:22.737 --> 55:34.963
[SPEAKER_01]: Well, he killed not have them, which I think Michael's just overexaggerating because of the fact that he doesn't know how many hitmen that he even sent down in the first place, even his own headmen is probably.

55:35.783 --> 55:39.765
[SPEAKER_01]: Henshin are already probably miscommodeling the whole thing as well.

55:40.872 --> 55:45.255
[SPEAKER_01]: So, you know, she's, well, he told me for, well, well, it's nice.

55:45.635 --> 55:54.801
[SPEAKER_01]: Then she goes upstairs and he's in the side of the bathtub and he also tells her that he's also carrying a guitar case, filled with weapons.

55:55.822 --> 55:58.243
[SPEAKER_01]: And so she wants up going upstairs.

55:58.663 --> 56:01.085
[SPEAKER_01]: She goes, what's some shampoo he goes, yeah.

56:01.625 --> 56:07.209
[SPEAKER_01]: So she then while that happens, she ends up taking the dagger to his throat at that point.

56:07.689 --> 56:10.671
[SPEAKER_01]: And then after that, she gets the guitar case and she goes, play something.

56:11.102 --> 56:14.525
[SPEAKER_01]: and then while then she goes around and wants to cut off his balls.

56:15.505 --> 56:23.872
[SPEAKER_00]: Yeah, no, it's one of those things where I get the, you know, typically guitar case, sure, okay, there's a guitar in there, okay, fine, play it.

56:24.552 --> 56:31.498
[SPEAKER_00]: Because if he can't play it, if he's supposed to be some Mariachi, rolls up into town, looking for work, he should be able to play a song.

56:32.318 --> 56:33.579
[SPEAKER_00]: immediately.

56:33.940 --> 56:36.222
[SPEAKER_00]: Like, everyone has that song they pull out right away.

56:36.242 --> 56:36.942
[SPEAKER_00]: They play something.

56:36.962 --> 56:37.183
[SPEAKER_00]: All right.

56:37.223 --> 56:37.883
[SPEAKER_00]: I'm going to play this.

56:38.224 --> 56:39.465
[SPEAKER_00]: Guys, I don't have to think about it, right?

56:40.045 --> 56:41.426
[SPEAKER_01]: For me, it's horrible.

56:41.526 --> 56:42.868
[SPEAKER_01]: So, welcome on the water.

56:43.008 --> 56:44.589
[SPEAKER_01]: Does it most easiest thing to play?

56:45.150 --> 56:45.370
[SPEAKER_00]: Right.

56:45.450 --> 56:47.892
[SPEAKER_00]: How yet?

56:48.112 --> 56:48.553
[SPEAKER_00]: It's funny.

56:48.613 --> 56:49.714
[SPEAKER_00]: That's not my go-to.

56:50.214 --> 56:54.878
[SPEAKER_00]: Smoke on the water is the can I help you refer to the guitar store right up there with Simon.

56:54.959 --> 56:56.740
[SPEAKER_00]: I'm not saying about it, but the stairway to

56:58.902 --> 57:02.165
[SPEAKER_01]: But if my balls was being endangered, that would be the first thing that that would be played.

57:02.826 --> 57:03.046
[SPEAKER_00]: Right.

57:03.526 --> 57:06.649
[SPEAKER_00]: Also, this scene hurt me a little bit.

57:06.970 --> 57:11.274
[SPEAKER_00]: And I'm not talking about the the the the the letter opener to the balls of it all.

57:12.835 --> 57:14.857
[SPEAKER_00]: That guitar is sitting in path water.

57:16.519 --> 57:17.740
[SPEAKER_00]: And I'm looking at this.

57:17.760 --> 57:18.160
[SPEAKER_00]: I'm like, you

57:20.509 --> 57:21.329
[SPEAKER_00]: Bad Mariochy.

57:21.590 --> 57:24.691
[SPEAKER_00]: You do not put your guitar in the water.

57:24.992 --> 57:30.215
[SPEAKER_00]: If you want to make some money and you want to play the songs, you do not put your guitar in the water.

57:30.255 --> 57:31.355
[SPEAKER_00]: Come on.

57:32.156 --> 57:33.917
[SPEAKER_01]: Even I thought that was a bad idea though, too.

57:34.057 --> 57:36.619
[SPEAKER_01]: Like, okay, well, congratulations.

57:36.639 --> 57:38.660
[SPEAKER_01]: You can play a song, but guess what?

57:38.780 --> 57:42.202
[SPEAKER_01]: You can also be a bad Mariochy and get it wet.

57:42.242 --> 57:43.683
[SPEAKER_01]: So you could also be a fake.

57:44.463 --> 57:45.044
[SPEAKER_01]: because of that.

57:45.324 --> 57:46.925
[SPEAKER_00]: Yeah, well, I'm sorry.

57:47.185 --> 57:49.607
[SPEAKER_00]: If you put your guitar in the water, you're not playing in my bar.

57:49.827 --> 57:50.987
[SPEAKER_00]: That's not happening.

57:52.148 --> 57:53.409
[SPEAKER_00]: You don't treat that guitar well.

57:53.429 --> 57:55.811
[SPEAKER_00]: You treat that guitar like it's your child.

57:57.091 --> 57:57.652
[SPEAKER_00]: Exactly.

57:58.252 --> 58:01.614
[SPEAKER_01]: But I also like how she now hires him for the bar.

58:01.654 --> 58:06.337
[SPEAKER_01]: But it feels like it's been a couple of days since this thing happens.

58:06.397 --> 58:09.319
[SPEAKER_01]: They don't really tell us how many days has passed.

58:10.240 --> 58:11.441
[SPEAKER_01]: Is he singing in the bar?

58:11.561 --> 58:12.902
[SPEAKER_01]: He's wrote a song for her.

58:13.719 --> 58:17.340
[SPEAKER_01]: He found inspiration with her.

58:17.960 --> 58:27.662
[SPEAKER_01]: And then you have finally, when Azel visits the bar for a beer and information about Mako, he actually leaves the Mariachi's guitar case.

58:27.702 --> 58:35.463
[SPEAKER_01]: Mako stugs, capture Azel on the street, but let him go when they learned that the case is carrying contains only a guitar.

58:35.683 --> 58:41.385
[SPEAKER_01]: A short time later, the Mariachi is captured and taken a Mako who identifies him as the wrong man

58:43.442 --> 58:48.344
[SPEAKER_00]: Yeah, and you know, it's how Domino Zilin wouldn't actually give the Zool the beer in the bottle.

58:48.824 --> 58:50.204
[SPEAKER_00]: Doesn't have to ask for it that way.

58:51.064 --> 59:00.748
[SPEAKER_00]: But it's one of those things where, um, you know, that whole scene that Mariachi performance scene, you have to have that scene.

59:00.768 --> 59:07.490
[SPEAKER_00]: You have to have that performance quiz that justifies the fact that he is actually Mariachi, you know, and

59:08.310 --> 59:14.134
[SPEAKER_00]: You know, yes, they they they linger on close ups as he's looking at her and then looking down as guitar.

59:14.354 --> 59:23.399
[SPEAKER_00]: He's not really paying attention to the audience per se except for apparently one per one old girl who he Winks that kind of thing because that's okay, you're playing to the crowd.

59:24.079 --> 59:33.885
[SPEAKER_00]: But I mean, it's it's a it's a nice moment, but it's also the only moment where we have People actually going to the bar and buying things and spending money.

59:35.026 --> 59:36.327
[SPEAKER_01]: Well, he was a Wednesday.

59:40.260 --> 59:41.860
[SPEAKER_00]: Well, it goes to Mariachi Monday.

59:41.880 --> 59:43.761
[SPEAKER_00]: Stu for one beers and we got this guy in the corner.

59:43.781 --> 59:44.841
[SPEAKER_00]: Sing a bring it on in.

59:45.961 --> 59:48.262
[SPEAKER_01]: And they act like he's the most popular in Mariachi.

59:48.282 --> 59:49.122
[SPEAKER_01]: This is his first time.

59:49.142 --> 59:53.343
[SPEAKER_01]: I mean, was there flyers going around that that he was going to be singing?

59:53.783 --> 59:54.664
[SPEAKER_01]: What's going on here?

59:54.784 --> 59:59.385
[SPEAKER_00]: Because he's going to like that dude with the Casio keyboard is fucked now.

59:59.565 --> 01:00:00.245
[SPEAKER_00]: Yes.

01:00:00.485 --> 01:00:00.705
[SPEAKER_00]: Yeah.

01:00:01.265 --> 01:00:05.726
[SPEAKER_01]: It'll be funny, though, is like, you know, the Casio keyboard would be funny.

01:00:05.746 --> 01:00:07.267
[SPEAKER_01]: If he started looking for a job and he

01:00:09.529 --> 01:00:12.190
[SPEAKER_01]: playing, and he's like, hey man, can I get on this?

01:00:12.290 --> 01:00:15.311
[SPEAKER_01]: No, no, you're good, get your Casio, you're a good man.

01:00:15.691 --> 01:00:16.271
[SPEAKER_01]: You got another one.

01:00:16.291 --> 01:00:18.392
[SPEAKER_00]: You got another one, instrument.

01:00:18.532 --> 01:00:21.953
[SPEAKER_00]: Calling the Casio Keyboard, a freaking real instrument, come on.

01:00:22.633 --> 01:00:25.774
[SPEAKER_01]: But that's just like having dubstep as an instrument.

01:00:26.474 --> 01:00:26.634
[UNKNOWN]: T.J.

01:00:26.654 --> 01:00:26.974
[UNKNOWN]: Laptop.

01:00:26.994 --> 01:00:27.315
[UNKNOWN]: But yeah.

01:00:27.535 --> 01:00:35.237
[SPEAKER_00]: My, my, my, my, my, my, my, my, my, my, my, my, my, my, my, my, my, my, my, my, my, my, my, my, my, my, my, my, my, my, my, my, my, my, my, my, my, my, my, my, my, my, my, my, my, my, my, my, my, my, my, my, my, my, my, my, my, my, my, my,

01:00:38.457 --> 01:00:53.800
[SPEAKER_01]: You know, um, but I do like this, this other thing that happens down as L goes into the bar and then you have this thing is like, okay, good me, but I also thought that for sure as L was going to shoot the bartender and maybe something was going to happen to domino.

01:01:05.780 --> 01:01:06.040
[SPEAKER_00]: Yeah.

01:01:06.240 --> 01:01:07.581
[SPEAKER_00]: That's it.

01:01:08.421 --> 01:01:13.444
[SPEAKER_00]: It's one of those things where he knows that everyone is indebted to Marco.

01:01:13.824 --> 01:01:22.408
[SPEAKER_00]: So clearly, as it will get to the vibe that that domino and the bartender aren't really, they don't necessarily work for Marco.

01:01:22.428 --> 01:01:24.849
[SPEAKER_00]: They're not, you know, part of this whole underworld thing.

01:01:24.869 --> 01:01:29.371
[SPEAKER_00]: They're their victims, like everyone else, who's under Marco's thumb.

01:01:29.391 --> 01:01:31.512
[SPEAKER_00]: So I think that's why as we'll kind of let's them be.

01:01:34.533 --> 01:01:54.015
[SPEAKER_00]: You know, this moment, like I understand that El Mariachi, when he goes out, leaves his guitar at the bar, because this is one of the, because clearly they're looking for some guy with a guitar who has killed Mako's men, so he leaves the guitar at the bar, but I'm sorry.

01:01:56.107 --> 01:02:09.755
[SPEAKER_00]: I shouldn't expect much from a guy who puts his guitar in the bath water, but he just leaves the guitar by the actual bar by the foot at the bar because that's where people are going to kick it.

01:02:10.796 --> 01:02:11.336
[SPEAKER_00]: He's right.

01:02:11.716 --> 01:02:16.099
[SPEAKER_00]: He's such a dick to his guitar, but also also.

01:02:17.319 --> 01:02:31.327
[SPEAKER_00]: Like, at least put it away, but for a zoole, I'm sorry, did you, did you not, I don't know, look down, where you put you guitar down, did you not see the second guitar, it's not like we're talking like a small little

01:02:42.073 --> 01:02:56.623
[SPEAKER_00]: You know, it's one of those things where like this is a guitar case, and the fact that Elmariochi knew right away when he got back to the bar and lifted the guitar case and realized the weights different, right?

01:02:57.163 --> 01:02:59.085
[SPEAKER_01]: Yeah, that's the thing I want to know myself.

01:02:59.465 --> 01:03:03.408
[SPEAKER_00]: If Azul is as bad as a killer as he is supposed

01:03:07.122 --> 01:03:22.853
[SPEAKER_00]: that a guitar case full of loaded weapons loaded metal weapons is going to be a lot heavier than a classical acoustic nylon string mariachi style guitar.

01:03:23.614 --> 01:03:35.522
[SPEAKER_01]: Those things are light because they're acoustic, you know, it's not like you're not just thing of the same thing dude like I was like how do you how do you how do you not know the difference between your guitar case and his the

01:03:37.257 --> 01:03:48.041
[SPEAKER_01]: There's no, yes, you can probably might have identical guitar case, but the weight is going to be different, and you're going to know right off the bat that, you know, you have the wrong guitar case.

01:03:48.181 --> 01:03:54.523
[SPEAKER_01]: Let's just so much in the zone to the point where you don't, you didn't get the information you needed, it's like, okay, that's it.

01:03:55.464 --> 01:04:04.427
[SPEAKER_01]: And you walk off, but there's no way that you won't know that your own guitar case weighs differently than what an actual guitar in the case is.

01:04:05.799 --> 01:04:17.595
[SPEAKER_01]: But he goes up the door and then, you know, I like how else, like, okay, they're looking for a guy with a black coat and also a good heart case, then he sees a zeal getting questioned by the henchmen and

01:04:19.617 --> 01:04:23.858
[SPEAKER_01]: They're like, oh, okay, he's he's he's he's the mariachi guy.

01:04:23.958 --> 01:04:26.679
[SPEAKER_00]: He's he's going to get part there's a guitar in the case.

01:04:26.699 --> 01:04:27.499
[SPEAKER_00]: They open the case.

01:04:27.839 --> 01:04:29.300
[SPEAKER_00]: Yo, it's this tense moment.

01:04:29.340 --> 01:04:29.620
[SPEAKER_00]: Okay.

01:04:29.760 --> 01:04:30.020
[SPEAKER_00]: Okay.

01:04:30.040 --> 01:04:30.780
[SPEAKER_00]: There's a guitar in there.

01:04:31.040 --> 01:04:36.902
[SPEAKER_00]: And then, of course, he's like the turns around and looked at at least we get a realistic look where.

01:04:39.383 --> 01:05:02.235
[SPEAKER_00]: The mob guys look back and the guys check in the as well as checking the guitar and they're like, oh, it's him right it wasn't this one of those like he got away with it's got free kind of thing very much like a Scooby-Doo Saturday morning cartoon kind of thing again at least there was that moment of reality and then of course El Martyr actually comes around the corner with the actual guitar kids like no, it's him and it's like

01:05:03.195 --> 01:05:10.237
[SPEAKER_00]: There's a group of you, you guys go follow that guy, and you guys go follow that split up, do something.

01:05:10.557 --> 01:05:15.399
[SPEAKER_01]: Right, but another thing though, too, is Domino was actually smarter about this whole entire thing.

01:05:15.479 --> 01:05:18.699
[SPEAKER_01]: Okay, if you're really up Mariochi player, play something.

01:05:19.580 --> 01:05:19.840
[SPEAKER_01]: Yes.

01:05:20.805 --> 01:05:22.145
[SPEAKER_01]: But they're not really okay.

01:05:22.666 --> 01:05:23.066
[SPEAKER_01]: He's good.

01:05:23.126 --> 01:05:25.887
[SPEAKER_01]: He's got clearance because he's a good he has a guitar.

01:05:27.667 --> 01:05:30.448
[SPEAKER_00]: This goes back to Marco not giving them the proper information.

01:05:30.648 --> 01:05:34.209
[SPEAKER_00]: All he said is that he's carrying a guitar case for the weapons.

01:05:34.630 --> 01:05:35.110
[SPEAKER_00]: That's it.

01:05:35.430 --> 01:05:36.510
[SPEAKER_00]: That's all they have to work with.

01:05:37.030 --> 01:05:37.471
[SPEAKER_00]: I'm sorry.

01:05:37.551 --> 01:05:39.351
[SPEAKER_00]: We don't do bag check before we kill people.

01:05:39.951 --> 01:05:40.171
[SPEAKER_01]: Right.

01:05:52.078 --> 01:05:59.767
[SPEAKER_01]: Instead, they knock out L and takes them over to Mako's place and I like how Mako's like, look, I'm only looking for a zel.

01:06:00.047 --> 01:06:01.089
[SPEAKER_01]: I don't care about this guy.

01:06:01.349 --> 01:06:03.932
[SPEAKER_01]: He tosses them back on the road, and that's it.

01:06:04.012 --> 01:06:08.477
[SPEAKER_01]: He doesn't, any other gangster would have actually killed L. They're not him.

01:06:08.718 --> 01:06:09.919
[SPEAKER_01]: He's only after one person.

01:06:11.682 --> 01:06:12.163
[SPEAKER_00]: Exactly.

01:06:12.543 --> 01:06:15.486
[SPEAKER_00]: Do not leave loose ends.

01:06:15.906 --> 01:06:22.433
[SPEAKER_00]: That is, it's one of the most plot convenient things in this whole thing.

01:06:22.693 --> 01:06:22.933
[SPEAKER_00]: Right.

01:06:23.794 --> 01:06:27.338
[SPEAKER_00]: If Marco is so ruthless and supposed to be so ruthless.

01:06:27.358 --> 01:06:29.060
[SPEAKER_00]: Yeah, kill him in the truck.

01:06:30.114 --> 01:06:32.775
[SPEAKER_00]: Kill them in the trunk and dump the body where you left it.

01:06:32.855 --> 01:06:36.757
[SPEAKER_00]: Don't bring him back because, okay, they knocked him out.

01:06:36.957 --> 01:06:37.758
[SPEAKER_00]: He's still unconscious.

01:06:38.098 --> 01:06:40.259
[SPEAKER_00]: He must have been unconscious for a while.

01:06:42.420 --> 01:06:45.682
[SPEAKER_00]: Don't the guys saw you, right?

01:06:45.742 --> 01:06:50.824
[SPEAKER_00]: Like, don't don't leave any possibility of any kind of retribution coming back at you.

01:06:50.844 --> 01:06:52.145
[SPEAKER_00]: Why would you dump him back?

01:06:52.665 --> 01:06:52.845
[SPEAKER_01]: Right.

01:06:52.865 --> 01:06:53.406
[SPEAKER_01]: Finish him.

01:06:54.238 --> 01:06:59.700
[SPEAKER_01]: Exactly, because it doesn't make any sense if you're at this big time gangster with ties and stuff like in things like that.

01:07:00.200 --> 01:07:02.181
[SPEAKER_01]: Why are you going to go in and let this guy live?

01:07:02.621 --> 01:07:11.205
[SPEAKER_00]: Yeah, whoever the guy is, the head of the search party together is who will you kill him first and then you say to everyone else clean up his mess and then boom, done.

01:07:12.538 --> 01:07:41.435
[SPEAKER_01]: Right, but no, instead he let some go and then still looks for Zell, and then then then after that as old as who has no direction to Mako's home takes domino with him in orders here to take him to Mako to Mako's or Mako will kill Mariachi domino agrees in order to see the Mariachi's life when they arrive at Mako's graded gated compound, which looks like I'm sorry that gated compound that they're saying this gated looks like a storage shelter.

01:07:42.721 --> 01:07:43.801
[SPEAKER_01]: that they were not going on the door.

01:07:44.242 --> 01:07:54.286
[SPEAKER_00]: Pretty much, this is one of the other things that kind of, it didn't bother me per se, but it's a weak point of note in the script in that.

01:07:54.306 --> 01:07:58.988
[SPEAKER_00]: Asule and Mako were like brothers, right?

01:07:59.008 --> 01:08:00.469
[SPEAKER_00]: They worked this job together.

01:08:01.309 --> 01:08:05.171
[SPEAKER_00]: Mako sent a zool of the river kind of thing to take the rap for it.

01:08:05.931 --> 01:08:09.533
[SPEAKER_00]: So if a zool knows Mako so well,

01:08:10.693 --> 01:08:13.816
[SPEAKER_00]: Why wouldn't Azul know where Marco is?

01:08:14.917 --> 01:08:15.177
[SPEAKER_01]: Right.

01:08:15.297 --> 01:08:16.478
[SPEAKER_01]: It makes him look like that.

01:08:16.518 --> 01:08:20.582
[SPEAKER_01]: He's actually a hired hitman for Marco versus it being the other way.

01:08:20.942 --> 01:08:21.242
[SPEAKER_00]: Yeah.

01:08:22.463 --> 01:08:29.229
[SPEAKER_01]: If you think about it because it doesn't make any sense that Marco knows is so close to him like brothers.

01:08:29.569 --> 01:08:31.511
[SPEAKER_01]: Why would he know where he lives?

01:08:32.252 --> 01:08:32.972
[SPEAKER_01]: That's a little bit.

01:08:33.453 --> 01:08:37.956
[SPEAKER_01]: I feel like that's where Rodriguez misses and this little, I think for this ending.

01:08:38.853 --> 01:08:53.498
[SPEAKER_01]: Because it doesn't make sense, but we have to have a way to kidn it to get Domino away from the bar to where they can play hero to get L out of there, even though L is not there.

01:08:53.598 --> 01:08:56.819
[SPEAKER_01]: We as an audience knows he's not there, but they don't know that he's there.

01:08:57.519 --> 01:09:00.060
[SPEAKER_00]: Yeah, yeah, no, it's.

01:09:02.083 --> 01:09:08.106
[SPEAKER_00]: a little plot convenient I get, but you know, we we sit here and they pick in the whole thing, but they spend seven grain on it.

01:09:08.126 --> 01:09:20.372
[SPEAKER_01]: So, you know, I can't really go wrong, but then after that Mako soon realizes that Dom, that Domino has fallen for the more actually in rage shoots her both in a cell.

01:09:20.712 --> 01:09:23.634
[SPEAKER_01]: Suddenly the mariachi arrives to find the woman he loves.

01:09:24.034 --> 01:09:24.515
[SPEAKER_01]: gun down.

01:09:24.635 --> 01:09:30.701
[SPEAKER_01]: Mako then shoots the Mariachi's left hand rendering him useless as a guitar player.

01:09:30.761 --> 01:09:35.886
[SPEAKER_01]: However, overcome with grief and rage, the Mariachi picks up a Zell's gun and kills Mako.

01:09:36.367 --> 01:09:38.049
[SPEAKER_01]: Taking revenge for Domino's death.

01:09:38.149 --> 01:09:40.331
[SPEAKER_01]: Mako's survives hint for us around in Hinchman.

01:09:40.831 --> 01:09:44.175
[SPEAKER_01]: Seeing their leader dead, walk off, and leave Mako body.

01:09:44.868 --> 01:09:47.651
[SPEAKER_01]: Makas body and the wounded mary actually behind.

01:09:48.192 --> 01:09:53.058
[SPEAKER_01]: This is where Desparado comes into play with the scene.

01:09:54.139 --> 01:09:56.982
[SPEAKER_00]: I think this is one of those interesting things, right?

01:09:57.003 --> 01:10:02.569
[SPEAKER_00]: Cause I'm hit a miss about this, hear me out, right?

01:10:03.570 --> 01:10:14.159
[SPEAKER_00]: On one hand, I can understand why, once El Mariachi kills Mako, this henchman just don't do anything.

01:10:14.840 --> 01:10:22.166
[SPEAKER_00]: They just go back into the house and probably go on and live a happy life and have their own little power struggle to figure out who's going to take the lead.

01:10:22.667 --> 01:10:23.368
[SPEAKER_00]: And I think,

01:10:24.208 --> 01:10:28.229
[SPEAKER_00]: That moment is supposed to tell us all we needed to know about Marco right.

01:10:28.650 --> 01:10:38.773
[SPEAKER_00]: Yeah, it's not like Marco was a good boss, but to the same token he didn't at no point was he ever violent towards any of his henchmen right I think.

01:10:40.076 --> 01:10:55.966
[SPEAKER_00]: You needed to have a scene where Marco did kill one of his own men to show that, you know, they were working kind of out of fear as opposed to out of being well taken care of, which because otherwise it's like

01:10:56.927 --> 01:11:01.172
[SPEAKER_00]: Okay, you just killed our frickin money bank.

01:11:01.192 --> 01:11:05.396
[SPEAKER_00]: You just killed our, you know, our, our, for like a way to turn more sugar daddy.

01:11:05.736 --> 01:11:06.057
[SPEAKER_00]: Right.

01:11:06.097 --> 01:11:15.967
[SPEAKER_00]: Like the guy who was basically making sure that we were all fed and taken care of and it's not like we were running a big town kind of thing, but we kind of had the run of the place, you know, why wouldn't they.

01:11:16.728 --> 01:11:39.977
[SPEAKER_00]: turn around and shoot Elbariachi, but it's one of those things where I think probably part in part because you didn't want to have a big shoot out to kill your budget, but to the same token on a subconscious level, it tells you more about Marco, that anything else that Marco was

01:11:42.730 --> 01:11:48.674
[SPEAKER_01]: I agree, and I also think this though, too, like, but Marco, well, let me go with Boogeo for a minute.

01:11:48.694 --> 01:11:51.975
[SPEAKER_01]: At least with Boogeo, he shows on type of dominance over his own men.

01:11:52.356 --> 01:11:52.536
[SPEAKER_00]: Yes.

01:11:52.576 --> 01:12:01.281
[SPEAKER_01]: Oh, Marco did was take a match, take a match to someone's face and just let a match and let a cigarette.

01:12:01.701 --> 01:12:01.961
[SPEAKER_00]: Yeah.

01:12:02.242 --> 01:12:02.862
[SPEAKER_01]: That's all he did.

01:12:03.642 --> 01:12:09.566
[SPEAKER_01]: And there was no really any type of, this like the most friendly is gangster that you can think of.

01:12:11.105 --> 01:12:13.807
[SPEAKER_01]: If you think about it, okay, let's see here.

01:12:14.227 --> 01:12:16.288
[SPEAKER_01]: He lets Elgo because he's innocent.

01:12:16.848 --> 01:12:19.950
[SPEAKER_01]: He's a just an innocent by a standard of got mystic and identity.

01:12:20.790 --> 01:12:25.633
[SPEAKER_01]: Then also to, he gives Domino her own bar.

01:12:27.174 --> 01:12:29.175
[SPEAKER_01]: He also is very nice to his henchmen.

01:12:29.865 --> 01:12:41.210
[SPEAKER_00]: Yeah, when Elwapo from three amigos is more menacing is a bad guy that Mako is, we have to up the bad boy level a little bit.

01:12:42.371 --> 01:12:42.671
[SPEAKER_01]: Right.

01:12:43.792 --> 01:12:48.214
[SPEAKER_01]: That is pretty bad, especially when you look at three amigos and the villain for three amigos.

01:12:49.354 --> 01:12:54.297
[SPEAKER_01]: And this guy, this guy should begin like the employee of the month or for best supervisor.

01:12:54.737 --> 01:12:56.478
[SPEAKER_00]: Would you say he has a plethora of

01:13:01.023 --> 01:13:13.647
[SPEAKER_01]: But even the guy with the mustache, you know, after after L ones of shooting Marco, I was thinking, OK, so this is going to be Bush, but show, or is this going to be the villain from the third movie?

01:13:14.768 --> 01:13:22.250
[SPEAKER_01]: But because it's supposed to be a prequel, but at the same time, though, you kill Marco who's actually the boss.

01:13:23.251 --> 01:13:26.692
[SPEAKER_01]: It's kind of weird on how he's thinking back for the bench for

01:13:31.216 --> 01:13:34.698
[SPEAKER_01]: Yeah, and it's kind of weird on on that kind of scale.

01:13:34.798 --> 01:13:42.221
[SPEAKER_01]: I'm thinking to myself, okay, maybe the guy with the matches actually Bucho and I know because I'm like, you know what?

01:13:42.281 --> 01:13:43.222
[SPEAKER_01]: I'm thinking too much.

01:13:43.302 --> 01:13:44.422
[SPEAKER_01]: It's a Rodriguez film.

01:13:44.603 --> 01:13:57.129
[SPEAKER_01]: I don't need to be thinking because he reuses actors all the time and because I'll be because chief ones up dying in disparado, he reused him again and was upon a time of Mexico.

01:13:57.549 --> 01:13:59.470
[SPEAKER_01]: So then I'm like, you know what, I'm just going to figure it

01:13:59.960 --> 01:14:09.186
[SPEAKER_00]: Yeah, just this is spend all disbelief, you know, actors come, actors go and don't worry about continuity at that point, right.

01:14:09.987 --> 01:14:17.952
[SPEAKER_01]: Then we have tomorrow actually leaves the town on Domino's motorbike taking her pit bull and her letter opener by which to remember her.

01:14:18.572 --> 01:14:25.637
[SPEAKER_01]: His dreams to become a mariachi had been shattered and his only protection for the future are ourselves,

01:14:27.457 --> 01:14:29.918
[SPEAKER_01]: which he takes along in the guitar case.

01:14:30.678 --> 01:14:30.998
[SPEAKER_00]: Okay.

01:14:32.099 --> 01:14:37.100
[SPEAKER_00]: So, clearly he's leaving town and I'm fine with him leaving town, right?

01:14:37.660 --> 01:14:42.822
[SPEAKER_00]: I'm even fine with him breaking the dog, but we had to put the dog on the back of the motorcycle.

01:14:43.462 --> 01:14:51.145
[SPEAKER_01]: Like, yeah, I'm with you because I understand dogs like running in cars.

01:14:51.765 --> 01:14:52.045
[SPEAKER_01]: Yeah?

01:14:52.725 --> 01:14:54.686
[SPEAKER_01]: I'm sorry, but dogs are gonna be shitless.

01:14:57.998 --> 01:15:00.159
[SPEAKER_01]: Well, that's the way the dog wasn't in Desperado.

01:15:04.282 --> 01:15:07.483
[SPEAKER_00]: Like, literally, one squirrel in that dog is roadkill.

01:15:08.244 --> 01:15:10.725
[SPEAKER_01]: Hell, one cat in the dog is gone.

01:15:11.286 --> 01:15:11.686
[SPEAKER_01]: Right?

01:15:13.387 --> 01:15:15.468
[SPEAKER_00]: I mean, best best is boy, I can't.

01:15:15.508 --> 01:15:19.110
[SPEAKER_00]: But, and I understand that one, why not?

01:15:19.830 --> 01:15:22.872
[SPEAKER_00]: Because clearly, these guys aren't coming for you.

01:15:22.912 --> 01:15:24.313
[SPEAKER_00]: They seem what you can do.

01:15:25.527 --> 01:15:30.189
[SPEAKER_00]: take over the damn bar and then you have a place to play.

01:15:30.689 --> 01:15:31.009
[SPEAKER_00]: Right.

01:15:31.170 --> 01:15:42.375
[SPEAKER_01]: But no, he just, it's, it's, I feel like, and I said this in this variety, it almost feels like kung fu, where it's like, okay, one, Mariachi, on an adventure.

01:15:43.095 --> 01:15:44.976
[SPEAKER_01]: You go through town to play it a bar.

01:15:46.336 --> 01:15:48.717
[SPEAKER_01]: One city at a time, killing people.

01:15:51.412 --> 01:15:55.079
[SPEAKER_00]: But why would you just freaking play the end music from the incredible Hulk TV show?

01:15:55.159 --> 01:15:57.243
[SPEAKER_00]: Walking off down the road.

01:16:01.502 --> 01:16:05.963
[SPEAKER_00]: There goes David Banner, not Bruce Banner because the TV show didn't want to call him Bruce Banner.

01:16:06.784 --> 01:16:06.944
[SPEAKER_01]: No.

01:16:07.524 --> 01:16:07.724
[SPEAKER_00]: No.

01:16:08.544 --> 01:16:09.725
[SPEAKER_01]: But, okay.

01:16:09.925 --> 01:16:13.306
[SPEAKER_01]: So now that we talked about the scene by scene, what do you give it?

01:16:13.766 --> 01:16:15.226
[SPEAKER_00]: I'm still giving you this, Evan.

01:16:15.566 --> 01:16:27.130
[SPEAKER_00]: Despite everything that we were kind of having a good talk about this, this film is inspirational and a wave that goes beyond the script, it goes beyond the, um,

01:16:28.227 --> 01:16:29.448
[SPEAKER_00]: any of it's flaws.

01:16:29.528 --> 01:16:34.612
[SPEAKER_00]: This film is greater than all of its flaws put together because this is this film is a dream.

01:16:35.072 --> 01:16:45.860
[SPEAKER_00]: This film is a a labor of love and proof that the big Hollywood budgets aren't needed in order to be able to tell a really good story.

01:16:55.166 --> 01:17:09.416
[SPEAKER_00]: for all of its flaws, for all of the things that you could sit there, like a proper film critic, you know, not like an idiot like me in a basement with a microphone, but a proper film critic could sit there and pick the this apart little by little, but

01:17:10.417 --> 01:17:30.076
[SPEAKER_00]: If you're just someone who loves filming in the idea of making a film, watch this and then you grab a pen and a paper and then you go do this or you're very own version of something like this or something of your own vision, this film is a lunch point for personal creativity if you will allow it to be.

01:17:30.376 --> 01:17:32.458
[SPEAKER_00]: And for that, yeah it's a seven.

01:17:33.007 --> 01:17:39.693
[SPEAKER_01]: Okay, for me it's a 6.5 by 10 like I liked it, but I need it and I'm not nitpicking.

01:17:39.733 --> 01:17:40.954
[SPEAKER_01]: I just think it's a great time.

01:17:41.014 --> 01:17:48.501
[SPEAKER_01]: Just stuff in popcorn in your in your face, but I just think Desperado is the better fill versus helps.

01:17:48.521 --> 01:17:48.761
[SPEAKER_00]: Yeah.

01:17:49.201 --> 01:17:49.421
[SPEAKER_01]: Yeah.

01:17:49.802 --> 01:17:52.784
[SPEAKER_01]: So it's just the fact that I'm comparing from apples or oranges.

01:17:53.365 --> 01:17:58.109
[SPEAKER_01]: Now, I would have seen this whenever it got first release and seen Desperado afterwards.

01:17:58.169 --> 01:17:59.350
[SPEAKER_01]: I might actually rank it a little bit.

01:17:59.877 --> 01:18:09.567
[SPEAKER_01]: lower maybe, but for this barato, but I have to go with a 6.5, just because of the fact that it's good, but not quite as good as this barato.

01:18:09.968 --> 01:18:13.550
[SPEAKER_00]: Yeah, I went seven because the budget was seven thousand dollars, but that's what's going on.

01:18:13.570 --> 01:18:24.497
[SPEAKER_00]: Watch Desperado first and then you watch this recognizing that this is basically a proof of concept shoot, then it, there's a charm to it.

01:18:25.238 --> 01:18:34.324
[SPEAKER_00]: There's an absolute charm to this, because it is very much a by hooker by crook gorilla filmmaker rules kind of production that

01:18:35.018 --> 01:18:38.721
[SPEAKER_00]: you don't get to see in theaters on DVD.

01:18:39.121 --> 01:18:48.288
[SPEAKER_00]: Like there were there was a stretch of films like in a ram like the, you know, the early 2000s kind of thing, you know, but movies like the Blair Witch Project.

01:18:48.949 --> 01:19:08.042
[SPEAKER_00]: You know, and American movie and Fubar, a great Canadian production, they're, they're not big shiny glossy productions, you know, they are avant-garde gorilla by any means necessary filmmakers.

01:19:08.502 --> 01:19:12.745
[SPEAKER_00]: put in together a story and the story takes over.

01:19:13.386 --> 01:19:13.586
[SPEAKER_00]: Right?

01:19:13.646 --> 01:19:17.929
[SPEAKER_00]: It's not shiny glossy music soundtrack and all that.

01:19:17.969 --> 01:19:20.230
[SPEAKER_00]: Like the whole works with the big name stars.

01:19:20.951 --> 01:19:30.237
[SPEAKER_00]: This is raw filmmaking and something that, you know, you don't get now in theaters.

01:19:30.277 --> 01:19:32.759
[SPEAKER_00]: Everything has to be run through, you know, the

01:19:37.642 --> 01:19:42.763
[SPEAKER_01]: By the time they're done with it, you don't even have a film, you don't even have the creation that you made in the first place.

01:19:43.244 --> 01:19:48.185
[SPEAKER_01]: Then Rodriguez was at was smart at the time to film this for $7,000.

01:19:49.065 --> 01:19:57.207
[SPEAKER_01]: And, you know, not only that, I don't know if you knew about this, but this movie was originally meant to be a directed video Spanish language release in Mexico.

01:20:06.405 --> 01:20:11.829
[SPEAKER_00]: So, absolutely, this is like, this is the beautiful part about making these kind of films, right?

01:20:12.189 --> 01:20:17.492
[SPEAKER_00]: Is that you don't need the big dollies and the cranes and all that kind of stuff.

01:20:17.512 --> 01:20:19.074
[SPEAKER_00]: You don't need the big explosions.

01:20:19.114 --> 01:20:22.956
[SPEAKER_00]: You don't need the big budget in order to be able to make a film.

01:20:23.456 --> 01:20:29.821
[SPEAKER_00]: You can hop in some hospital wheelchair and have your buddy pull you back where so you have a makeshift dolly, right?

01:20:29.841 --> 01:20:32.923
[SPEAKER_00]: If you're not comfortable with doing handle, especially if it's a hand-crained camera.

01:20:33.483 --> 01:20:50.106
[SPEAKER_00]: Again, this is why I say today's technology, there should be more films being released that are low budget, no name actors, but raw storytelling.

01:20:50.766 --> 01:20:58.328
[SPEAKER_00]: A lot of these films these days, especially the ones that are that go to Netflix for the most part, there are some good ones, but for the most part,

01:20:59.287 --> 01:21:11.711
[SPEAKER_00]: There are movies that are scripted because they know that the people aren't necessarily just seeing there and watching the film there, they're watching the film, they're looking at their phone, they're watching the film, they're looking at their phone, they're on the phone talking about the fact that they're watching the film, they can't believe they're watching this film.

01:21:12.051 --> 01:21:14.452
[SPEAKER_00]: Like the film is grabbing you.

01:21:15.352 --> 01:21:15.632
[SPEAKER_00]: Right.

01:21:16.033 --> 01:21:17.073
[SPEAKER_01]: And it's grabbing your attention.

01:21:17.113 --> 01:21:20.554
[SPEAKER_01]: You don't even have to focus on the how many minutes this movie is.

01:21:20.574 --> 01:21:23.075
[SPEAKER_01]: I think this movie doesn't even feel like a

01:21:29.469 --> 01:21:44.236
[SPEAKER_01]: Just feeling entertained and feeling inspired with the cuts that Rodriguez made the camera angles to do with yourself stuff and then like you mentioned and I'm going to actually watch the special features to because there's a lot of special features that I need to check out.

01:21:44.276 --> 01:21:48.058
[SPEAKER_01]: Yeah, because I was intended to do it, but I just didn't have a time to do it, but.

01:21:48.518 --> 01:21:52.260
[SPEAKER_01]: I love watching this special feature in the feature ads and behind the scenes stuff too.

01:21:52.820 --> 01:22:00.824
[SPEAKER_01]: So I like, I like everything about this movie and it's inspirational to people that want to be able to be creative and be filmmakers.

01:22:01.224 --> 01:22:10.729
[SPEAKER_01]: So guys, what I have to say is this, go out, make a movie, stop sitting on your ass, criticizing other movies, make your movie first, and then you have a reason to criticize other films.

01:22:11.169 --> 01:22:13.370
[SPEAKER_01]: Other than that, you don't have Jack.

01:22:15.285 --> 01:22:16.025
[SPEAKER_00]: Exactly.

01:22:16.946 --> 01:22:27.171
[SPEAKER_01]: Because here's the thing, I actually wrote a couple of screenplays, and then then I have, but I never really fully developed, but at least I have a chance to actually sharpen my edges before I want to go out and do it.

01:22:27.211 --> 01:22:40.557
[SPEAKER_01]: So at least I'm doing something while also analyzing film, so that way I cannot, so that before whenever I judge something, I know that I'm actually judging you correctly, and I'm not giving any type of misinformation on this

01:22:41.317 --> 01:22:43.598
[SPEAKER_01]: to the way I review new or critique movies.

01:22:44.138 --> 01:22:50.760
[SPEAKER_00]: Oh, I mean, I constantly talk about how the writing sometimes doesn't do an actor justice, what I'm on and it's not that bad.

01:22:51.160 --> 01:22:56.421
[SPEAKER_00]: But I mean, I say that knowing that I have a manuscript upstairs that has been turned down by a few publishing companies.

01:22:56.501 --> 01:23:02.523
[SPEAKER_00]: So, yeah, I fully get that I'm also that writer that can't, you know, make it, it's me on that one.

01:23:02.883 --> 01:23:07.964
[SPEAKER_00]: But it's true, it doesn't matter that no publishing company ever published that book.

01:23:10.405 --> 01:23:16.187
[SPEAKER_00]: I did something and it's sitting right now on a binder upstairs with a whole lot of red ink on everywhere.

01:23:16.227 --> 01:23:17.708
[SPEAKER_00]: Like, oh, so that's where I screwed up.

01:23:18.068 --> 01:23:19.348
[SPEAKER_00]: But you know what?

01:23:20.509 --> 01:23:23.170
[SPEAKER_00]: I had so much fun writing it.

01:23:23.970 --> 01:23:28.932
[SPEAKER_00]: And maybe somewhere down the road, I'll actually maybe just sell publish it and put it out there and say, what the hell go for it, right?

01:23:30.973 --> 01:23:33.154
[SPEAKER_00]: But it made something exactly.

01:23:33.654 --> 01:23:37.896
[SPEAKER_00]: And that at the end of the day is fulfillment in

01:23:39.755 --> 01:23:40.235
[SPEAKER_01]: Exactly.

01:23:40.595 --> 01:23:43.756
[SPEAKER_01]: And guys, I hope you found this episode very inspiring to you.

01:23:43.776 --> 01:23:45.356
[SPEAKER_01]: I hope that you guys liked this episode.

01:23:45.796 --> 01:23:46.377
[SPEAKER_01]: Do me a favor.

01:23:46.637 --> 01:23:49.697
[SPEAKER_01]: Smash that like button, subscribe button, and also to give me a five-star review of you.

01:23:49.737 --> 01:23:52.258
[SPEAKER_01]: If you've seen them all, go ahead and visit Jason at it.

01:23:52.278 --> 01:23:53.478
[SPEAKER_01]: It's not that bad podcast.

01:23:53.538 --> 01:23:54.518
[SPEAKER_01]: It's a great podcast.

01:23:54.598 --> 01:23:59.120
[SPEAKER_01]: I just listen to one of his episodes this morning about the fannings.

01:23:59.140 --> 01:24:00.000
[SPEAKER_01]: So check that out.

01:24:00.680 --> 01:24:02.780
[SPEAKER_01]: And that's going to be it as far as this goes.

01:24:03.120 --> 01:24:05.121
[SPEAKER_01]: Jason, thank you so much for coming on here.

01:24:05.141 --> 01:24:08.242
[SPEAKER_01]: It's always a blast talking movies with you, review movies with you.

01:24:08.782 --> 01:24:09.322
[SPEAKER_01]: Thank you again.

01:24:09.860 --> 01:24:17.652
[SPEAKER_00]: I'll do you know any time and I'm really looking forward to when we finally talk about once upon a time in Mexico because that's going to be a blast.

01:24:17.892 --> 01:24:23.581
[SPEAKER_01]: Yes it is and we're actually going to do a ranking of all three of these movies on where we rank a match.

01:24:25.049 --> 01:24:28.173
[SPEAKER_00]: It's my budget because I'm guarantee you this below is one on budget.

01:24:29.495 --> 01:24:32.718
[SPEAKER_01]: It's will be turned for now when I'm ready to go on budget.

01:24:32.979 --> 01:24:33.820
[SPEAKER_00]: So okay.

01:24:34.060 --> 01:24:34.400
[SPEAKER_01]: Okay.

01:24:35.001 --> 01:24:36.843
[SPEAKER_01]: But anyways, guys, that's going to be it for tonight.

01:24:36.883 --> 01:24:38.345
[SPEAKER_01]: I hope that everybody has a great day.

01:24:38.545 --> 01:24:39.827
[SPEAKER_01]: And we'll catch you guys on the next one.

01:24:40.087 --> 01:24:40.448
[SPEAKER_01]: Bye, guys.