Reservoir Dogs: Tarantino’s Bloody Debut

WEBVTT

00:00.311 --> 00:10.078
[SPEAKER_01]: Hello movie lover so today I have a very special guest with me I have the very funny and the very talented this man is a legend in the comedy Comedy circuit and say that comedian.

00:10.699 --> 00:18.485
[SPEAKER_01]: I have none other than my good friend Josh Frame with me so everyone let's welcome back Josh to the show and hey Josh welcome to show

00:19.339 --> 00:22.820
[SPEAKER_00]: Thank you, babe, and me back as always with pleasure is I'm always happy to be here.

00:22.840 --> 00:27.360
[SPEAKER_00]: I'm always happy to be invited, you know what I'm trying to get popular, I'm trying to do it better.

00:27.381 --> 00:30.721
[SPEAKER_00]: So my legs can be on the show and I can have like a podcast to call home.

00:31.681 --> 00:34.302
[SPEAKER_01]: You know what, you actually do have a podcast called home.

00:34.482 --> 00:35.302
[SPEAKER_00]: It's this one right here.

00:35.422 --> 00:36.722
[SPEAKER_00]: You get, hey, I love it.

00:38.082 --> 00:41.803
[SPEAKER_01]: What happens when you take a bunch of criminals, give everybody a color instead of a real name.

00:41.903 --> 00:44.944
[SPEAKER_01]: Throw them into a warehouse and tell them, hey, one of you is a rat.

00:45.264 --> 00:46.064
[SPEAKER_03]: Who cares for your name is?

00:46.910 --> 00:47.930
[SPEAKER_03]: Yeah, that's easy for you to say.

00:47.950 --> 00:49.791
[SPEAKER_03]: You're Mr. White, you have a cool sounding name.

00:49.811 --> 00:51.752
[SPEAKER_03]: All right, look, if it's not big deal, it'll be Mr.

00:51.792 --> 00:52.552
[SPEAKER_03]: Pink, you want to trade?

00:53.433 --> 00:54.533
[SPEAKER_01]: You get reservoir dogs.

00:54.593 --> 00:56.674
[SPEAKER_01]: I'm moving that taught us three very important things.

00:57.094 --> 00:59.675
[SPEAKER_01]: Never trust anything but nanny, but I named after a color.

00:59.775 --> 01:03.717
[SPEAKER_01]: Apparently, tipping can turn into a full blown debate.

01:03.817 --> 01:04.637
[SPEAKER_02]: You know what this is?

01:05.738 --> 01:08.239
[SPEAKER_02]: It's the world's smallest violin playing just for the waitresses.

01:09.339 --> 01:11.200
[SPEAKER_02]: You don't have any idea what you're talking about.

01:12.283 --> 01:23.792
[SPEAKER_01]: and if stuck in the middle with you starts playing while you're tied to a chair, you better start praying.

01:24.312 --> 01:34.080
[SPEAKER_01]: Because today we're breaking down 1992's, when Tarantino's reservoir dogs, the dialogue the characters are fair scenes, a surprising connection to true romance and of course,

01:34.520 --> 01:53.194
[SPEAKER_01]: That scene, you know the one, the scene that made an entire generation, look at, look at an air in this dealers wheel song, completely different and helping me figure out whether this Tarotino's classics still holds up and whether it's most controversial scene is actually still shocking more than 30 years later, I've got my man Josh, pray joining me.

01:53.634 --> 01:55.736
[SPEAKER_01]: Are you ready to get stuck in the middle with me?

01:55.956 --> 02:03.282
[SPEAKER_01]: So let's talk about this man like I wanted to know where were you when you first heard about this movie and.

02:04.302 --> 02:06.542
[SPEAKER_01]: Give me your nostalgia story, score it best out of 10.

02:07.383 --> 02:10.623
[SPEAKER_00]: OK, so when it came out, I was eight years old.

02:10.663 --> 02:13.464
[SPEAKER_00]: I was still stuck on teenage minutes to take a secret of the use.

02:13.964 --> 02:17.785
[SPEAKER_00]: I was definitely not allowed to watch the reservoir dogs like 1,000%.

02:18.485 --> 02:28.887
[SPEAKER_00]: And when from eight years old, sadly, the movie that I watched was minutes of society boys in the peninsula, it was in the reservoir dog.

02:28.907 --> 02:31.628
[SPEAKER_00]: So I was in the dog, and I had a good friend

02:33.428 --> 02:36.873
[SPEAKER_00]: time and he told me about him and you should check this movie out.

02:36.893 --> 02:45.325
[SPEAKER_00]: So as a young adult, I watched the movie, record my dolls, didn't understand the dynamics and the importance of the movie and the filming of it.

02:45.966 --> 02:49.811
[SPEAKER_00]: A bunch of years later, 15, 20 years later, I just rewatched it.

02:50.677 --> 02:52.018
[SPEAKER_00]: And the movie is phenomenal.

02:52.098 --> 03:00.866
[SPEAKER_00]: It's, um, the status quo definitely got to be a 10 out of 10 five stars, um, it's unbeatable when you really think about reservoir dollars and break it down.

03:01.707 --> 03:08.153
[SPEAKER_00]: You start to look at movies that take place in one scene like saw, for example, that took place in one building.

03:08.833 --> 03:12.877
[SPEAKER_00]: Those writers, directors, um, they had to look at that film.

03:13.804 --> 03:16.907
[SPEAKER_00]: and take some type of inspiration from it.

03:17.567 --> 03:23.012
[SPEAKER_00]: I also think, in the movie, was a phenomenal writer and maybe we can get into it a little bit later.

03:23.693 --> 03:35.283
[SPEAKER_00]: With some nuances inside the movie, it's just a perfect blend of action, suspense, slight comedy if you're into,

03:36.797 --> 03:38.499
[SPEAKER_00]: Great acting and great dialogue.

03:38.539 --> 03:42.583
[SPEAKER_00]: You're gonna give them a few times, because like, oh my gosh, how did you see that coming?

03:43.024 --> 03:46.948
[SPEAKER_00]: But I don't know, it's just a movie that holds up.

03:47.008 --> 03:53.395
[SPEAKER_00]: And if I was into film making, it's definitely one of the films that would be in my role of decks of inspiration.

03:54.316 --> 03:57.579
[SPEAKER_01]: See, same here as well, like I was into other things in 1992.

03:57.959 --> 03:59.280
[SPEAKER_01]: You and I are close to the same age.

03:59.620 --> 04:05.184
[SPEAKER_01]: So I was like into like Looney Tunes, Tiny Tunes, Nickel Looney, and I was not on my radar.

04:05.204 --> 04:07.266
[SPEAKER_01]: You know what I said this on my Paul fiction review.

04:07.366 --> 04:15.192
[SPEAKER_01]: I remember as a kid, I came in like in the middle of it and then you get lost because you're not sure where the scene is supposed to end up at or anything.

04:15.232 --> 04:21.097
[SPEAKER_01]: So therefore, I felt like Tarotino had a little bit ADHD at that time because I only seen one certain part of the film.

04:24.019 --> 04:32.364
[SPEAKER_01]: Where I didn't understand what was happening in the film and then fast forward to years later, I wind it up watching this for the very first time.

04:32.784 --> 04:34.725
[SPEAKER_01]: I wanted to have seen this back when I was in college.

04:35.858 --> 04:51.222
[SPEAKER_01]: And I just fell in love with it, I fell in love with the writing, the dark humor of it, the dialogue, and also too, this actually feels like normal conversation to someone would have like when they're in, we're going to like get the very beginning of it with the around the dinner table around the cafe.

04:51.242 --> 04:54.583
[SPEAKER_01]: Yeah, this is like every day conversation that people have.

04:54.923 --> 05:00.564
[SPEAKER_01]: Yeah, that feels more relatable and they give them more growth for the characters for us to explore with the characters.

05:00.944 --> 05:03.725
[SPEAKER_01]: Yeah, that's what I like about this film is it actually.

05:04.242 --> 05:11.309
[SPEAKER_01]: is to me is one of those films that can be relatable towards the characters in the way they're talking within the dialogue.

05:11.710 --> 05:19.958
[SPEAKER_01]: But I couldn't get lost within the venture that they're on because of the stuff that happens in this movie and also too like whenever the

05:20.355 --> 05:25.881
[SPEAKER_01]: You see someone inside the car, just all the sudden, guess, shot, you don't know why you got shot or anything.

05:25.941 --> 05:30.665
[SPEAKER_01]: You're lost, but then you can find out later on how they kept you up with it.

05:30.765 --> 05:32.507
[SPEAKER_01]: I think it's actually a good movie.

05:32.567 --> 05:35.871
[SPEAKER_01]: I gave it a least a 9.9 out of 10.

05:36.411 --> 05:37.933
[SPEAKER_01]: What's that you can give it in a 10?

05:38.952 --> 05:41.593
[SPEAKER_01]: Because at this time, I was only in 1992.

05:41.933 --> 05:46.174
[SPEAKER_01]: So that's why, as like a young me, I don't understand a single thing about this.

05:46.234 --> 05:48.675
[SPEAKER_01]: I know someone died, it's gonna die probably.

05:49.095 --> 05:50.975
[SPEAKER_01]: I know he's bloodied up inside the back of a car.

05:51.515 --> 05:56.277
[SPEAKER_01]: I know, I know that there's some strong dialogue, but I don't know what's going on.

05:56.857 --> 05:59.858
[SPEAKER_01]: So in 1992, me, I don't understand this movie.

06:00.658 --> 06:07.980
[SPEAKER_01]: But that's why I gave it like a 9.9 because of the fact that I also, when it seems as a college, someone in college though, too.

06:08.809 --> 06:29.667
[SPEAKER_01]: Like the balance between young young John and then a doubt John so that's that's how I ended up doing that Okay, I mean the pin can't be a nap when that is definitely a ten, but I'm ready to get right into it We start off with them inside the diet diner scene Here's the Madonna conversation right mr.

06:29.707 --> 06:35.893
[SPEAKER_01]: Pink's tipping argument and now Tarotano introduces the characters through the dialogue before the crime story actually begins

06:36.670 --> 06:51.275
[SPEAKER_01]: Yeah, so that to me I was laughing my ass off at this was like because it goes into days time where oh, you have to tip your waitress before you actually get your food and you don't know how that experience is going to be until after you eat your food.

06:52.276 --> 06:53.437
[SPEAKER_01]: So I like how Mr.

06:53.497 --> 07:07.408
[SPEAKER_01]: Pink's logic is into why he doesn't tip at the very start of it because it actually does make sense is like why am I going to tip someone that I don't know their experience I'm going to be getting I understand that I'm going to be.

07:08.605 --> 07:28.580
[SPEAKER_01]: Again, food from this place, I know that she's going to be my waitress, but how is that server going to be and then everybody's also breaking his balls about that and he's like, well, my supposed to tip someone and McDonald's because I don't want to tip anyone and McDonald's and this is all the government conspiracy and I did I did I was having a blast with that by this real dialogue right.

07:29.503 --> 07:44.169
[SPEAKER_00]: And it also lets you know the traits of the character, and it lets you know they're back around and they're filling towards things like, like if you scale back and you hear them talking about tipping and it was like, I just don't believe in tipping.

07:44.670 --> 07:48.712
[SPEAKER_00]: I just think, I think your job is your job.

07:49.612 --> 07:56.135
[SPEAKER_00]: That immediately gave away, he might not be who he says he is because he's very,

07:57.515 --> 08:00.337
[SPEAKER_00]: Why am I going to do, he was very black and white?

08:01.157 --> 08:05.000
[SPEAKER_00]: Why am I going to pay for something that's going to be done regardless?

08:05.560 --> 08:08.082
[SPEAKER_00]: Why am I going to pay extra for something?

08:08.162 --> 08:13.686
[SPEAKER_00]: If go back to you really think about that conversation in that moment, he lets you know who I am.

08:13.806 --> 08:14.807
[SPEAKER_00]: I'm very black and white.

08:14.847 --> 08:16.348
[SPEAKER_00]: I'm not shady at all.

08:16.748 --> 08:19.089
[SPEAKER_00]: And what's the saying go, how does that go?

08:19.350 --> 08:21.771
[SPEAKER_00]: There's no other among these, like criminals and criminals.

08:22.452 --> 08:24.753
[SPEAKER_00]: He was telling you, I know criminals.

08:28.107 --> 08:29.008
[SPEAKER_00]: This is who I am.

08:29.048 --> 08:29.888
[SPEAKER_00]: This is how I am.

08:29.908 --> 08:33.610
[SPEAKER_00]: This is how I'm going to be and nobody will attempt to do it.

08:34.231 --> 08:35.692
[SPEAKER_01]: That's exactly how I feel though, too.

08:35.752 --> 08:37.913
[SPEAKER_01]: It's like he under we understand who he is.

08:38.353 --> 08:40.475
[SPEAKER_01]: We know that he's not going to backstab anybody.

08:40.895 --> 08:41.315
[SPEAKER_01]: No.

08:41.335 --> 08:44.657
[SPEAKER_01]: First introduction to into these eight gangsters, the setting at this table.

08:45.778 --> 08:52.422
[SPEAKER_01]: And, you know, all we know them is is like, okay, you have a nice guy, Eddie, habit.

08:52.622 --> 08:54.423
[SPEAKER_01]: You also have Mr. Brown, Mr. White,

08:57.719 --> 09:00.021
[SPEAKER_01]: So all of them are having conversations with any other.

09:00.341 --> 09:02.342
[SPEAKER_01]: And it's like they all know each other.

09:02.402 --> 09:05.224
[SPEAKER_01]: All except this one outsider, Mr. Litter.

09:05.965 --> 09:06.185
[SPEAKER_01]: Yep.

09:06.285 --> 09:18.433
[SPEAKER_01]: So you can tell the chemistry between all them and the difference in dialogue when it comes down to Mr. Orange trying to figure out the way to actually chime in with his conversation of how he's gonna pick this up.

09:18.794 --> 09:20.395
[SPEAKER_00]: Trying to be a part of the conversation.

09:20.895 --> 09:21.155
[SPEAKER_01]: Right.

09:21.395 --> 09:27.761
[SPEAKER_01]: It's like the popular, all these popular kids at school are having their own conversation and then you're trying to figure out how can I get in there too.

09:28.162 --> 09:30.864
[SPEAKER_01]: So that's what I kind of think Mr. Orange is trying to do.

09:31.084 --> 09:40.773
[SPEAKER_01]: But yeah, I just think that that dialogue itself just sets up so much stuff within this movie that really, I, it's just so good.

09:41.654 --> 09:43.576
[SPEAKER_00]: It's tremendous writing.

09:43.736 --> 09:44.556
[SPEAKER_00]: It's great writing.

09:44.616 --> 09:45.758
[SPEAKER_00]: It wasn't rushed writing.

09:47.890 --> 09:52.112
[SPEAKER_00]: And when we do these, when we had these conversations and do these reviews, I've tried to pick some apart.

09:52.133 --> 09:53.753
[SPEAKER_00]: Like I could have been done better with that.

09:54.414 --> 10:11.684
[SPEAKER_00]: I think that may be the holy grail of dialogue when it comes to a point and to it's top two because in Django, the scene with when they're when they're arguing over the white hood.

10:12.900 --> 10:17.605
[SPEAKER_00]: When it was on the horses, that might be the second best dialogue I've ever seen in the thick-quitting movie.

10:18.005 --> 10:20.888
[SPEAKER_00]: But this might be the best dialogue he's ever written.

10:21.469 --> 10:31.520
[SPEAKER_00]: Just that one scene itself, because it was so kind of the conversation was contained, the dynamite was contained, the selfishness was contained, it was just written so well.

10:32.316 --> 10:32.796
[SPEAKER_01]: I agree.

10:32.836 --> 10:39.640
[SPEAKER_01]: The only problem I have with the dialogue is, and I know that you and I talked about this before was the use of the inward.

10:40.601 --> 10:51.267
[SPEAKER_01]: And also, because here's the thing, it flows right in this with this dialogue, even though we're paying so close attention to web Mr.

10:51.307 --> 10:58.932
[SPEAKER_01]: Pink has to say, and we're still in that mindset of what he's saying, if you actually don't pay attention to what the other person is actually saying.

10:59.612 --> 11:04.313
[SPEAKER_01]: Why had to rewind it and there was actually a part where it was the inward was actually used.

11:04.713 --> 11:04.993
[SPEAKER_01]: Yeah.

11:05.033 --> 11:15.055
[SPEAKER_01]: So, so I didn't pick it up because you're so fascinated by the dialogue and how you know, relatable it is to the point where once somebody else starts talking, you're just fixated on Mr.

11:15.095 --> 11:15.375
[SPEAKER_01]: Pink.

11:15.836 --> 11:17.976
[SPEAKER_01]: You got it once you get it, but here's the thing.

11:18.416 --> 11:26.618
[SPEAKER_01]: With the inward being used in a 1992 film, I don't think Tarotino should use the the inward at all, especially coming from a white director.

11:26.678 --> 11:27.518
[SPEAKER_01]: That's just my personal

11:28.438 --> 11:32.159
[SPEAKER_01]: opinion, but also too, it goes with the time period, right?

11:32.580 --> 11:36.861
[SPEAKER_01]: So I think with Jingo and Shane if it's in with the narrative of that story because for that time period.

11:36.941 --> 11:45.224
[SPEAKER_00]: In Jango definitely, the racial epithet had to be used in Jango as far as this movie.

11:47.764 --> 11:54.769
[SPEAKER_00]: I'm with you unless there was a person of color in the writer's room saying, hey, this needs to be used.

11:54.829 --> 12:02.074
[SPEAKER_00]: The only reason I'm going to disagree with you and say, so to be clear, I don't like the word being used, right?

12:02.114 --> 12:04.876
[SPEAKER_00]: I'm one of those people, I'm just not with it.

12:04.916 --> 12:05.356
[SPEAKER_00]: And it's okay.

12:05.376 --> 12:06.337
[SPEAKER_00]: That's the different conversation.

12:06.477 --> 12:08.699
[SPEAKER_00]: But I don't want to be called that.

12:08.999 --> 12:11.401
[SPEAKER_00]: I don't think it's just a word, whatever.

12:17.518 --> 12:24.081
[SPEAKER_00]: and to the conversations of certain Caucasian groups.

12:25.061 --> 12:34.105
[SPEAKER_00]: So these are the things, and this is the verb it's used amongst certain groups at certain times, and I like that he doesn't shy away from it.

12:34.565 --> 12:44.730
[SPEAKER_00]: Just like if Quentin or Spike Lee, let's use a black narrator, Spike Lee or whomever, and they wrote a film that was a majority

12:46.168 --> 12:47.269
[SPEAKER_00]: black American cast.

12:48.991 --> 12:56.800
[SPEAKER_00]: It's, and let's say that conversation was happening in Miami, Florida, or Tampa, Florida, Jacksonville, Florida.

12:57.460 --> 12:58.902
[SPEAKER_00]: That's where I'm from, from Florida.

13:00.464 --> 13:05.089
[SPEAKER_00]: A racial epithet to describe a Caucasian male may be used.

13:06.343 --> 13:17.248
[SPEAKER_00]: And to write that out like black men from certain areas don't use a certain word, it's isn't accurate.

13:17.969 --> 13:19.209
[SPEAKER_00]: It's not true.

13:19.289 --> 13:19.969
[SPEAKER_00]: It's not real.

13:20.210 --> 13:20.630
[SPEAKER_00]: I think.

13:21.743 --> 13:25.346
[SPEAKER_00]: using that word added of this authenticity to the film.

13:26.067 --> 13:32.913
[SPEAKER_00]: It definitely took, it definitely took him by surprise as an adult coming like, wait, it ain't even a needle around.

13:32.953 --> 13:36.176
[SPEAKER_00]: What are we doing, like, like, what did we do?

13:37.698 --> 13:46.245
[SPEAKER_00]: But then, as the film goes on, the most educated and insightful person

13:47.347 --> 14:09.759
[SPEAKER_00]: in a where person in the film happens to be a black man with which is the book the cop the boss right now I do think I noticed that but I do think along with that scene I do think quitting and I don't know if this was his idea I do think the wardrobe for the black guy was definitely like um

14:14.429 --> 14:19.975
[SPEAKER_00]: They would be like, like, even in the night, this black man were not dressing like that.

14:20.736 --> 14:21.697
[SPEAKER_01]: No, definitely not.

14:22.057 --> 14:27.503
[SPEAKER_00]: Yes, so his entire was also everything quitting dead in a chief to me.

14:28.104 --> 14:36.613
[SPEAKER_00]: It got just washed away when he had the brother dressing like he fell down and a TJ Maxx and got up and just walked that with whatever landed on him.

14:37.999 --> 14:46.583
[SPEAKER_01]: You see, I actually understand that perspective now because if you're right, though, it's the ignorance of some other person that's actually talking that actually thinks like this.

14:47.003 --> 14:47.684
[SPEAKER_01]: How does it end?

14:48.364 --> 14:53.226
[SPEAKER_01]: And so yeah, it makes it more relatable because we actually come across these people all the time and real life.

14:53.306 --> 14:55.027
[SPEAKER_01]: So yeah, yeah, I understand that part.

14:55.387 --> 15:02.631
[SPEAKER_01]: So yeah, I get it and then even whenever we're using the effort and stuff like that to describe somebody else that's, you know, that's homosexual and everything too.

15:02.691 --> 15:06.012
[SPEAKER_01]: That's also another thing where someone else would have

15:08.044 --> 15:09.164
[SPEAKER_01]: So I totally get it.

15:09.184 --> 15:13.246
[SPEAKER_01]: It actually does cover his name from someone that he might know, someone that he knew.

15:13.966 --> 15:15.567
[SPEAKER_01]: So yeah, I can understand that.

15:15.587 --> 15:17.348
[SPEAKER_01]: It's perspective on what you just brought up.

15:17.568 --> 15:18.668
[SPEAKER_01]: So I respect that.

15:18.688 --> 15:20.569
[SPEAKER_01]: I think that's actually a pretty good analogy.

15:21.689 --> 15:23.870
[SPEAKER_01]: So the gangster's carry out a diamond ice.

15:23.970 --> 15:30.233
[SPEAKER_01]: White, please, with orange, who was shot during the escape and is bleeding severely in the back of white's car.

15:30.373 --> 15:32.894
[SPEAKER_01]: At one of Joe's warehouses, white and orange,

15:37.069 --> 15:38.410
[SPEAKER_01]: and that the police was waiting for them.

15:38.590 --> 15:44.933
[SPEAKER_01]: White informs him that Brown is dead, blue and blonde are missing, and blonde murdered several civilians during the highest.

15:45.493 --> 15:46.834
[SPEAKER_01]: But I want to get out of this.

15:47.114 --> 15:56.519
[SPEAKER_01]: I'd like the fact that all the sudden goes from them at the dinner table in this cafe, having laps, joking around, messing you up with the calls, right?

15:56.559 --> 16:04.303
[SPEAKER_01]: And then all of a sudden, now, burn the car with these characters that we only established for five minutes and something happened.

16:05.133 --> 16:18.840
[SPEAKER_01]: And as that Pulp fiction vibe that he was actually, you can definitely tell that this was actually the blueprint for Pulp fiction because the way that the camera work actually is in this car and we feel like that we're actually in this car with them.

16:35.260 --> 16:37.341
[SPEAKER_01]: He's bleeding out on the seat.

16:37.641 --> 16:49.726
[SPEAKER_01]: He's still finding ways to bust his kids' balls, this guy orange and also too, you know, with Joe, you know, I think that this chemistry really works between the two of them, with orange and pink.

16:50.107 --> 16:59.331
[SPEAKER_01]: It definitely works and you can build the chemistry when you have that old higher set up and them looking outside of the jewelry shop and them talking to each other.

16:59.791 --> 17:02.572
[SPEAKER_01]: So it actually establishes friendship between the two of them.

17:03.555 --> 17:07.698
[SPEAKER_00]: And I'm glad you just used, I was waiting, you just used the word friendship.

17:10.161 --> 17:27.995
[SPEAKER_00]: The way reservoir dog establishes friendship to me was unique because the entire plot is, you don't know, you don't want to know too much about the people you are with, because then that messes up everything.

17:30.371 --> 17:33.612
[SPEAKER_00]: Yeah, well, you're breaking out inside that I'm just coming to the district right now.

17:34.473 --> 17:40.215
[SPEAKER_00]: If that relationship wasn't established, you would have known he was a cop.

17:41.275 --> 17:52.199
[SPEAKER_00]: Like, but because you became his friend and you cared about him more than just the job, it blinded you to the fact that he was patient.

17:52.319 --> 17:57.521
[SPEAKER_00]: Like, while dying, he knew somebody's coming to get me.

17:59.655 --> 18:03.458
[SPEAKER_00]: And if that is, if seeing him shot.

18:04.659 --> 18:09.023
[SPEAKER_00]: So what should have happened is the money he got shot and started leading out, he shouldn't have pushed out the car.

18:10.044 --> 18:10.964
[SPEAKER_00]: Hey, he's dying.

18:10.984 --> 18:11.725
[SPEAKER_00]: We got to push him out.

18:11.745 --> 18:12.826
[SPEAKER_00]: We got to get rid of this guy.

18:13.206 --> 18:14.347
[SPEAKER_00]: We got to go to the spot.

18:14.387 --> 18:15.368
[SPEAKER_00]: We got to wait for the others.

18:15.388 --> 18:16.329
[SPEAKER_00]: We got to do what we got to do.

18:16.729 --> 18:21.273
[SPEAKER_00]: The fact that they had a connection, which they shouldn't have had a connection, they shouldn't have had a bug.

18:21.432 --> 18:22.653
[SPEAKER_01]: Because nobody knows each other.

18:22.673 --> 18:23.953
[SPEAKER_01]: Everybody knows each other.

18:23.973 --> 18:24.933
[SPEAKER_01]: I'll accept this guy.

18:25.054 --> 18:25.634
[SPEAKER_01]: And this is it.

18:25.674 --> 18:32.397
[SPEAKER_01]: This is like if the movie, you know the movie, heat, where they actually had this one guy who was a loose cannon who happens to be a serial killer.

18:32.657 --> 18:32.777
[SPEAKER_01]: Yeah.

18:32.797 --> 18:35.638
[SPEAKER_01]: It will be like having him bleeding out in the back of the car.

18:35.898 --> 18:37.999
[SPEAKER_01]: It's like, it's okay, dude, it's all right.

18:38.019 --> 18:40.840
[SPEAKER_01]: We're going to go and have a go to this hideout and we're going to patch you up.

18:41.320 --> 18:43.341
[SPEAKER_01]: No, you can process that out of the car.

18:43.942 --> 18:44.702
[SPEAKER_01]: And I'm sorry.

18:44.882 --> 18:47.263
[SPEAKER_01]: Duce is by your cut is now gone.

18:47.878 --> 18:50.661
[SPEAKER_00]: But Quentin did a great, again, you just said, it's the friendship.

18:50.701 --> 18:56.967
[SPEAKER_00]: Quentin did a great job of establishing a relationship where there was supposed to be a relationship.

18:57.087 --> 19:04.454
[SPEAKER_00]: And that, that one relationship turned the entire movie because it was, how did you know he ain't a cop?

19:04.494 --> 19:05.655
[SPEAKER_00]: How do you know this wasn't a setup?

19:06.156 --> 19:08.718
[SPEAKER_00]: I know this guy, but wait, you're not supposed to know this guy.

19:08.738 --> 19:12.402
[SPEAKER_00]: You're not supposed to know anything of have any emotional connection to this guy.

19:13.378 --> 19:15.679
[SPEAKER_01]: All right, you're supposed to be only doing a job.

19:15.979 --> 19:20.240
[SPEAKER_01]: You're putting your wall shutting your walls down for this guy that you barely even know.

19:20.540 --> 19:23.982
[SPEAKER_01]: You're probably new and for about four or five hours before this even happened.

19:24.082 --> 19:25.642
[SPEAKER_01]: Maybe, yep, and then.

19:25.782 --> 19:26.422
[SPEAKER_00]: And then.

19:27.003 --> 19:31.984
[SPEAKER_01]: Right, and that one conversation, you'll think of him as your son, or you think of him as your friend.

19:32.824 --> 19:34.205
[SPEAKER_01]: There's no one in this world.

19:35.155 --> 19:36.395
[SPEAKER_01]: There's nobody that's a friend.

19:36.815 --> 19:40.996
[SPEAKER_01]: You're there to do a job that didn't get out and that's it.

19:41.056 --> 19:50.718
[SPEAKER_00]: Which also show the care and concern he had for maybe more than him because he didn't want him to die.

19:52.178 --> 19:53.478
[SPEAKER_00]: Like, that's why you're going to make it.

19:53.498 --> 19:54.379
[SPEAKER_00]: You're going to be all right.

19:54.479 --> 19:54.939
[SPEAKER_00]: Shut up.

19:55.039 --> 19:56.099
[SPEAKER_00]: Like, what are you talking about?

19:56.339 --> 19:57.199
[SPEAKER_00]: You're going to make it.

19:57.279 --> 20:00.440
[SPEAKER_00]: He cared and you can't care.

20:00.460 --> 20:01.620
[SPEAKER_01]: No, you can't.

20:01.640 --> 20:02.200
[SPEAKER_01]: You can't.

20:03.177 --> 20:15.292
[SPEAKER_01]: And also to I'd like how it makes us as the audience that here's about this guy orange, even though this is our first introduction to him and also to this is also their first introduction as well, so we're feeding off the energy.

20:17.656 --> 20:17.936
[SPEAKER_01]: right.

20:18.356 --> 20:21.037
[SPEAKER_00]: So we're hoping for exactly.

20:21.077 --> 20:27.240
[SPEAKER_01]: So we're hoping for the best outcome for this guy and we're hoping that he actually keeps his most shot and say, hey, look, you're not going to die.

20:27.480 --> 20:30.961
[SPEAKER_01]: We're going to go ahead and bring you back to the hideout, whoever's supposed to be at.

20:31.602 --> 20:33.583
[SPEAKER_01]: So that's what we're hoping for is the best outcome.

20:33.623 --> 20:40.065
[SPEAKER_01]: So I definitely like how we're feeding up the vibe of these characters and hoping that Mr Orange makes it.

20:40.725 --> 20:40.986
[SPEAKER_00]: Yes.

20:42.446 --> 20:44.467
[SPEAKER_01]: So, and then we also have the fact that

20:45.355 --> 20:47.856
[SPEAKER_01]: Juan murdered several civilians during the heist.

20:48.116 --> 21:05.605
[SPEAKER_01]: Why does Furious that would that Joe, his old friend would employ blonde when he described as a psychopath, pink has hidden the diamonds nearby, he argues with white over with her to get medical attention for and the pair pair drug guns at each other.

21:06.026 --> 21:10.368
[SPEAKER_01]: They stand down when blonde arrives with the kidnapped police man Marvin Nash.

21:14.868 --> 21:22.549
[SPEAKER_01]: Now you have that, it seems like this scene just changes as soon as you have that one character that comes in to this building.

21:23.650 --> 21:33.431
[SPEAKER_01]: You said you said my, yeah, you have to get once he brings in the hostage once we see, because remember we don't see the hostage right away.

21:34.051 --> 21:34.571
[SPEAKER_01]: Nope, right?

21:35.372 --> 21:42.793
[SPEAKER_01]: All we do is get that glimpse of them looking into a trunk and it's like as it's like looking at us as the audience is like we're in the trunk with this guy.

21:43.293 --> 21:43.573
[SPEAKER_00]: Yep.

21:43.968 --> 21:45.529
[SPEAKER_01]: And we're wondering what are they doing?

21:45.789 --> 21:46.950
[SPEAKER_01]: Why are they looking at us?

21:47.370 --> 21:58.456
[SPEAKER_01]: But also, too, when you see that one character come in and looking at them, squaring off at each other, that whole entire tension just gets even more intensified.

21:58.997 --> 21:59.297
[SPEAKER_00]: Yes.

22:00.337 --> 22:05.662
[SPEAKER_00]: Because you don't, again, camera angles stillness, you don't know what's going to happen.

22:05.682 --> 22:06.743
[SPEAKER_00]: You don't know who to trust.

22:06.823 --> 22:14.269
[SPEAKER_00]: You know the guy bleeding out, something's off about him because he's wanting them to in themselves, but he don't want them to in it because he wants everybody to rest.

22:14.309 --> 22:17.572
[SPEAKER_00]: He just knows something's off about the guy dying.

22:19.214 --> 22:23.037
[SPEAKER_00]: And then you don't know where it's really gonna go because up until this point,

22:24.587 --> 22:28.508
[SPEAKER_00]: We can assume these guys are bad guys, but we don't know that they're a bad guy.

22:28.528 --> 22:29.588
[SPEAKER_00]: They could just be petty thieves.

22:29.608 --> 22:30.228
[SPEAKER_00]: They could be dumb.

22:30.248 --> 22:30.948
[SPEAKER_00]: They could be ignorant.

22:31.308 --> 22:39.230
[SPEAKER_00]: But now I'm wearing a situation where, I've got the word, I've got the word, it's called a, something standoff.

22:40.910 --> 22:44.211
[SPEAKER_00]: I've got the word, it's got, it's what Kyle boys do.

22:44.631 --> 22:47.352
[SPEAKER_01]: It's a, I know what you're talking about.

22:47.512 --> 22:48.352
[SPEAKER_01]: It's like a shootout.

22:48.632 --> 22:50.552
[SPEAKER_00]: Not a shootout, it's about a standoff.

22:50.592 --> 22:52.153
[SPEAKER_00]: It's a shootout, but it's a word for it.

22:54.010 --> 22:55.331
[SPEAKER_01]: strong, not like a truck.

22:55.491 --> 22:56.152
[SPEAKER_01]: Like a truck.

22:56.572 --> 22:57.813
[SPEAKER_00]: It's not, but it's not that.

22:57.993 --> 23:00.935
[SPEAKER_00]: But the audience, the people watching are going to know what we're talking about.

23:01.436 --> 23:03.718
[SPEAKER_00]: But what's that gets introduced now?

23:03.778 --> 23:05.299
[SPEAKER_00]: You know, it's I for a night.

23:05.339 --> 23:07.701
[SPEAKER_00]: That's the first time you see criminals.

23:08.381 --> 23:11.083
[SPEAKER_00]: You see there is no animal seeds.

23:11.284 --> 23:12.905
[SPEAKER_00]: Is it, is you or it's me?

23:14.066 --> 23:16.548
[SPEAKER_00]: And what's going to happen?

23:17.308 --> 23:18.950
[SPEAKER_00]: So I love, I love the

23:24.034 --> 23:25.955
[SPEAKER_00]: That tension in the room.

23:27.836 --> 23:38.102
[SPEAKER_00]: But I was definitely, and this is a couple months ago, or a month ago, two months ago, whenever I called you and told you I want to watch this movie, I just needed to get to the point like what's gonna happen to the hostage they bring in?

23:38.802 --> 23:41.483
[SPEAKER_00]: Like, how is he gonna be used as a tool?

23:42.004 --> 23:44.565
[SPEAKER_00]: Because the cop didn't want him to die, right?

23:44.585 --> 23:47.747
[SPEAKER_00]: Like, like, leave now, he can't die.

23:49.493 --> 24:00.002
[SPEAKER_00]: Um, and that was probably the first time I seen it, which was 15, 20 years ago, I don't know if you remember there was a movie with what this is named.

24:00.022 --> 24:02.404
[SPEAKER_00]: He passed away in a car crash, passing the fears.

24:03.045 --> 24:03.605
[SPEAKER_00]: Oh, Paul Walker.

24:04.086 --> 24:08.750
[SPEAKER_00]: Okay, there's a movie in Paul, we Paul Walker, and it where they laid the guy down on the ice.

24:09.730 --> 24:11.392
[SPEAKER_00]: And they slapped the hockey puck.

24:12.373 --> 24:14.155
[SPEAKER_00]: You know what I'm talking about?

24:14.395 --> 24:15.055
[SPEAKER_01]: I can't think of that.

24:15.095 --> 24:17.317
[SPEAKER_00]: Why Walker, he plays a roll cop.

24:17.337 --> 24:20.160
[SPEAKER_00]: They play, they're guy, face down on the hockey arena.

24:20.740 --> 24:26.325
[SPEAKER_00]: And in the previews, you just see his face from the ground and the hockey put going past going towards his face and the camera cuts.

24:26.425 --> 24:27.446
[SPEAKER_00]: It's called, you run scared.

24:28.247 --> 24:28.967
[SPEAKER_00]: Running scared.

24:29.788 --> 24:32.310
[SPEAKER_00]: And the hockey put, he had a red in the face.

24:32.330 --> 24:35.513
[SPEAKER_00]: And it's just one of those, like, they're not going to film this.

24:35.553 --> 24:36.514
[SPEAKER_00]: They're not going to show this.

24:36.534 --> 24:37.595
[SPEAKER_00]: And, wow, you see it.

24:38.709 --> 24:42.271
[SPEAKER_00]: That's what it was and reservoired out when they thought when he thought torturing him.

24:43.651 --> 24:46.953
[SPEAKER_01]: Yeah, whenever Mr. White goes on hand and starts torturing this the cop.

24:47.653 --> 24:52.576
[SPEAKER_00]: Yes, as you're watching, as you're watching the movie, you're like, there's no way they're going to show.

24:53.096 --> 24:54.476
[SPEAKER_00]: They're not going to insinuate.

24:54.516 --> 24:56.357
[SPEAKER_00]: There's no, oh my gosh, they did it.

24:56.758 --> 24:57.398
[SPEAKER_00]: They did it.

24:57.798 --> 25:00.539
[SPEAKER_01]: And when they do though, like you don't expect this, okay?

25:00.559 --> 25:03.761
[SPEAKER_01]: So he's over there dancing to the music and reviving with him.

25:03.781 --> 25:07.282
[SPEAKER_01]: It's kind of like the best thing I can think of is

25:09.064 --> 25:16.089
[SPEAKER_01]: Yeah, we have Patrick Bacon over there over there dancing and getting ready to kill his friend.

25:16.289 --> 25:18.130
[SPEAKER_01]: And you're saying, yeah, this is also the same thing.

25:18.550 --> 25:21.632
[SPEAKER_01]: He's over there dancing and the next thing, you know, we're laughing, we're cutting up.

25:21.672 --> 25:24.774
[SPEAKER_01]: And then we're forgetting the fact that these guys are violent and unhinged.

25:25.255 --> 25:32.620
[SPEAKER_01]: Yeah, we kind of, and we also humanize these people because we're related to, because we're, like I said, related ability, right?

25:33.100 --> 25:50.173
[SPEAKER_01]: So we're humanizing these guys, and then once we realize, oh, these guys are violent, these guys are not good people, and then you see him go over there, he cuts off the guys here, then he wants to put throw gasoline on the guy, on that.

25:50.653 --> 25:57.899
[SPEAKER_00]: But this shows how easily the audience can be manipulated because if you really think about it.

25:58.879 --> 26:13.650
[SPEAKER_00]: From the time of not wanting to tip in honest worker, from the time of using racial epithets, from the time of flashing to the call where they got shot, where you know they're in a shootout, we still humanize these characters that get it deserve our sympathy.

26:13.850 --> 26:17.553
[SPEAKER_00]: Even the guy even Mr. Blie, oh, it's Blie now.

26:20.803 --> 26:24.466
[SPEAKER_00]: He does, we don't, we didn't know he was a cop at the beginning of the movie.

26:24.866 --> 26:25.367
[SPEAKER_01]: No, we didn't.

26:25.947 --> 26:30.811
[SPEAKER_00]: So he just, but him bleeding out, we still was like, we don't want him to die.

26:31.432 --> 26:38.198
[SPEAKER_00]: But he was on his way to rob something, to take something that wasn't him.

26:38.478 --> 26:39.099
[SPEAKER_00]: It's right.

26:39.219 --> 26:41.440
[SPEAKER_00]: And we, and we stopped caring for these guys.

26:41.541 --> 26:48.627
[SPEAKER_00]: It took for, it took for this guy to get things cut off his body, and dials with gasoline for us to say, you know what?

26:49.584 --> 27:13.158
[SPEAKER_01]: Maybe they're not human right because it kind of reminds you of the soprano's where everybody was glorifying the sopranos and what you're getting that third season with the stripper and rich and you don't realize that these are evil people yeah route well don't cares the thing with the director David Chase had say about that was okay I have to make these people hate these people we have to make the fans hate

27:13.706 --> 27:16.068
[SPEAKER_01]: This, um, 80s gang members.

27:16.168 --> 27:16.989
[SPEAKER_01]: So let's go ahead.

27:17.009 --> 27:17.889
[SPEAKER_01]: Let's see what we can do.

27:18.270 --> 27:20.211
[SPEAKER_01]: So they'd go ahead and third season.

27:20.231 --> 27:24.275
[SPEAKER_01]: They make, they make Ralphie to a despicable thing to the stripper.

27:25.856 --> 27:33.542
[SPEAKER_01]: And that's how you get people to basically hate the gangsters that, you know, hate the sopranos.

27:33.582 --> 27:40.028
[SPEAKER_00]: And that's a very difficult to do with what fans fall in love with a character, kind of like the penguin.

27:40.963 --> 27:53.518
[SPEAKER_00]: Um, we were cheering for us, most of the scene for the people with and then you started to realize, like when he was going to let his mom get mangled and cut up, you started to realize that way.

27:53.598 --> 27:55.180
[SPEAKER_00]: Maybe he ain't a good person.

27:55.300 --> 27:57.843
[SPEAKER_01]: Maybe he's just, there's no good underneath him.

27:58.364 --> 27:59.185
[SPEAKER_00]: No, there's not.

27:59.305 --> 28:01.087
[SPEAKER_00]: And that's what happened in the,

28:02.143 --> 28:07.925
[SPEAKER_00]: The rest of our dogs where maybe they are good people, but then when he's far torturing the guy, you know, okay, this is a little much.

28:07.945 --> 28:10.106
[SPEAKER_00]: This ain't pistol whipping, this ain't slapin' him.

28:10.466 --> 28:14.947
[SPEAKER_00]: This is, this is honey, you got some issues that we don't know about.

28:15.007 --> 28:17.708
[SPEAKER_00]: You need to go hug a sponge bomb there or something.

28:18.288 --> 28:20.029
[SPEAKER_01]: So I agree, because Mr.

28:20.049 --> 28:21.229
[SPEAKER_01]: Blond, don't forget, Mr.

28:21.249 --> 28:22.369
[SPEAKER_01]: Blond just got out of jail.

28:22.749 --> 28:23.970
[SPEAKER_01]: He's looking to go legit.

28:24.510 --> 28:25.390
[SPEAKER_01]: Yeah.

28:25.510 --> 28:30.592
[SPEAKER_01]: He's not looking to legit, he wants work, but he can't get work because he's out on P.O.

28:31.922 --> 28:36.846
[SPEAKER_00]: So he didn't want to be pulled back into the world, but he needed to be mine.

28:37.367 --> 28:37.727
[SPEAKER_00]: Yeah.

28:38.387 --> 28:47.195
[SPEAKER_01]: So they go and head to get the sun to come in to that office and say, hey, look, what we can do is we can forget the whole entire paperwork.

28:47.555 --> 28:49.056
[SPEAKER_01]: Someone will clock you in and out of work.

28:49.236 --> 28:51.378
[SPEAKER_01]: We can go ahead and give you a nine to five job.

28:51.778 --> 28:54.200
[SPEAKER_01]: And you can still work with the for us.

28:54.901 --> 29:01.066
[SPEAKER_01]: And we also have it all the way for you, too, which is in case a PO officer decides that they want to go ahead and pop in a drug screen.

29:01.939 --> 29:04.200
[SPEAKER_03]: because you're on the road, you're delivering step for us.

29:04.440 --> 29:04.940
[SPEAKER_01]: You're good.

29:05.220 --> 29:06.440
[SPEAKER_01]: So you can work for us.

29:08.040 --> 29:20.203
[SPEAKER_01]: So I'd like that set up of like where establishing the fact that Mr. White is needing by, you know, on time out, yeah, Mr. White is actually needing the money because he just got a deal.

29:20.643 --> 29:23.984
[SPEAKER_01]: So we're establishing the need to want to get to this job.

29:24.524 --> 29:29.986
[SPEAKER_01]: First is everybody else where there might be struggling but we don't know their need or their hunger.

29:32.168 --> 29:32.928
[SPEAKER_01]: right exactly.

29:33.669 --> 29:34.149
[SPEAKER_00]: Yeah, not now.

29:34.169 --> 29:35.230
[SPEAKER_00]: We don't know that more debate.

29:36.050 --> 29:38.951
[SPEAKER_00]: And how how long was the film of our 20?

29:39.111 --> 29:44.234
[SPEAKER_01]: And the buzz, I'm collapsing about probably an hour and forty something minutes I think.

29:45.995 --> 29:56.840
[SPEAKER_00]: Just to be able to establish, just to be able to establish, just to be able to establish the care and in the, um, the need for somebody to survive to the audience at such a short amount of time,

30:01.474 --> 30:05.816
[SPEAKER_00]: Yeah, when I was 39 minutes, quit as a, quit as a phenomenal.

30:05.936 --> 30:08.938
[SPEAKER_00]: And that's probably, that's probably credit's included and things like that.

30:08.958 --> 30:13.561
[SPEAKER_00]: So probably like 132, but that's just phenomenal right in.

30:14.321 --> 30:21.285
[SPEAKER_00]: It's phenomenal outside of his need to say the in word if everything he writes, quitting is like perfect.

30:23.406 --> 30:23.926
[SPEAKER_01]: I agree.

30:24.106 --> 30:26.668
[SPEAKER_01]: And then you also have to think of like this though, too.

30:28.329 --> 30:30.950
[SPEAKER_03]: Even when ever we have that other thing that happens and

30:31.528 --> 30:57.270
[SPEAKER_01]: where it goes within the present white and pink be Nash for the information, any of arrives and orders them to retrieve the diamonds and ditch the getaway vehicles, leave him blonde in charge of Nash and Orange, Nash denies knowledge by blonding Norse him and resumes the torture, kind of off-natches the air that we talked about, a straight razor, he prefers it to set up, sit him on fire, but ours shoots him in the head, ours reveals to Nash that he is a mock-out-ever officer.

30:57.786 --> 30:59.087
[SPEAKER_00]: and that the police will not see.

30:59.507 --> 31:02.529
[SPEAKER_00]: The best acting ever, ever, ever.

31:02.989 --> 31:04.410
[SPEAKER_01]: He's just laying on that floor, right?

31:04.450 --> 31:07.452
[SPEAKER_01]: Bleeding out in his shoots.

31:11.714 --> 31:14.756
[SPEAKER_00]: Best acting ever in history.

31:15.316 --> 31:18.638
[SPEAKER_00]: And still, when he and me that he was a cop, I want to him to die.

31:19.278 --> 31:21.700
[SPEAKER_00]: This show's up to like messed up with me in society.

31:21.760 --> 31:25.362
[SPEAKER_00]: Like the moment him, because a lot of people die because of him.

31:26.297 --> 31:45.322
[SPEAKER_01]: I think that the reason why we feel like that we want the one to this person to be dead, which is the accomplishes orange, is because of the fact that we feel like that we are in the black and white suits with these other guys, with these other criminals, with these people, and we want orange to die.

31:45.342 --> 31:47.483
[SPEAKER_01]: This is much as they do.

31:48.283 --> 31:50.604
[SPEAKER_01]: And I think that that's why

31:51.280 --> 32:00.546
[SPEAKER_01]: We need to go ahead and probably kill orange at this moment because everything was because they had, if it wasn't for orange, we would have had all those characters still alive again.

32:01.207 --> 32:03.968
[SPEAKER_01]: I think that he shouldn't have tipped him off and I'll tell you why.

32:04.489 --> 32:10.633
[SPEAKER_01]: Number one, you don't do a deal with anybody and try to do a tip off.

32:10.873 --> 32:13.835
[SPEAKER_01]: You let them think that they got away with something, even though they didn't get away with some.

32:14.745 --> 32:16.247
[SPEAKER_00]: I mean, yeah.

32:16.267 --> 32:21.812
[SPEAKER_01]: So, you know, once the trade off starts happening with the money and the diamonds, then make your move.

32:22.233 --> 32:24.015
[SPEAKER_01]: Yeah, you stole the diamonds, but guess what?

32:24.055 --> 32:27.959
[SPEAKER_01]: You still have to get to the destination to switch out the vehicles.

32:29.220 --> 32:34.025
[SPEAKER_00]: Here's the thing though, the reason you have to do that is because I'm going back.

32:35.646 --> 32:39.630
[SPEAKER_00]: 20 minutes, there shouldn't be any amount of thieves.

32:39.650 --> 32:41.571
[SPEAKER_00]: You're working with criminals and bad guys.

32:41.631 --> 32:49.478
[SPEAKER_00]: So once the deal is done, who's to say that Mr. Blun was going to off everybody?

32:50.539 --> 32:51.640
[SPEAKER_00]: Like everybody's gone.

32:51.660 --> 32:52.701
[SPEAKER_00]: Like I got my money.

32:52.761 --> 32:53.862
[SPEAKER_00]: It's kind of like that scene.

32:54.403 --> 32:56.885
[SPEAKER_00]: And the dark night with the Joker.

32:57.205 --> 32:59.567
[SPEAKER_00]: How everybody went, this is David Dunn.

32:59.687 --> 33:00.668
[SPEAKER_00]: You killed such and such.

33:03.285 --> 33:04.606
[SPEAKER_01]: He told me to take out this guy.

33:04.686 --> 33:05.227
[SPEAKER_01]: He told me.

33:05.407 --> 33:05.947
[SPEAKER_01]: Oh, really?

33:06.007 --> 33:07.289
[SPEAKER_01]: Well, he told me to take it away.

33:07.329 --> 33:08.129
[SPEAKER_00]: Yeah, boom.

33:08.450 --> 33:11.312
[SPEAKER_00]: So you have to alert who may be going to alert.

33:11.372 --> 33:12.533
[SPEAKER_00]: Just in case that they go wrong.

33:12.593 --> 33:14.695
[SPEAKER_00]: And in this case, I've been went horribly wrong.

33:15.676 --> 33:15.876
[SPEAKER_00]: Right.

33:16.236 --> 33:17.898
[SPEAKER_01]: So I got to understand that perspective too.

33:18.238 --> 33:18.779
[SPEAKER_01]: Like, OK.

33:18.959 --> 33:24.284
[SPEAKER_01]: But I just, I just think that for me, I think if you're going to try and be under cover.

33:25.184 --> 33:27.947
[SPEAKER_01]: And you're already gained a trust of these guys and these suits.

33:28.550 --> 33:31.992
[SPEAKER_01]: You don't need to go on ahead and tip off anybody yet.

33:32.213 --> 33:36.155
[SPEAKER_01]: You need to let them think that they got away with something and then make your move.

33:36.896 --> 33:37.677
[SPEAKER_01]: But that's just me.

33:38.357 --> 33:47.103
[SPEAKER_01]: But here's the thing, I think the reason why we want this guy to be dead is because of the fact we also feel like we're apart that black and white suits.

33:47.964 --> 33:49.865
[SPEAKER_01]: Yeah, yeah, my team.

33:50.466 --> 33:56.170
[SPEAKER_00]: And this movie, if anything, if anything, you may not agree.

33:59.240 --> 34:04.085
[SPEAKER_00]: behind them points out that we all got some bad in us.

34:04.626 --> 34:07.949
[SPEAKER_00]: We all got some criminals and bad guy like we want the villain to win.

34:08.370 --> 34:18.500
[SPEAKER_00]: As good as we think we are, you wake up, you take care of your family, your kids, your wife, you go to work, you go to school, you cut the grass, whatever you're doing your life, you want to be a good person.

34:18.961 --> 34:21.604
[SPEAKER_00]: But deep down the side of a movie like this,

34:22.708 --> 34:29.791
[SPEAKER_00]: If you want the bad guy to win, if you want the top to die, if you feel bad, that's her and characters got shot in the head.

34:31.612 --> 34:36.254
[SPEAKER_00]: Deep down the sides subconsciously, you may not be as a good of a person as you think you are.

34:38.182 --> 34:49.127
[SPEAKER_00]: And it's those subconscious thoughts and those subconscious feelings that kind of lets you know like, hey, maybe maybe something's going on up here, maybe I need to go to therapy, maybe I need to get that pet cat.

34:49.548 --> 34:50.948
[SPEAKER_00]: So I could be a better person.

34:51.068 --> 34:56.311
[SPEAKER_00]: I don't know, but like, like, I don't know.

34:56.971 --> 35:02.394
[SPEAKER_01]: But you know, another thing too is we also have where, you know, when Eddie and Pink and White

35:06.729 --> 35:11.252
[SPEAKER_01]: and steal the diamonds for himself, Eddie impulsively kills Nash and accuses Orange of line.

35:11.652 --> 35:16.475
[SPEAKER_01]: Since Blon was a loyal to his father, Joe arrives with news that the police have killed blue.

35:16.875 --> 35:21.378
[SPEAKER_01]: He is about the execute Orange, whom the suspect is the trainer behind the setup.

35:21.698 --> 35:28.842
[SPEAKER_01]: But white interferes and holds Joe at gunpoint insulting that they aren't that Orange is not an undercover cop.

35:28.982 --> 35:32.044
[SPEAKER_01]: Any of you aims at white creating a Mexican standoff.

35:32.244 --> 35:33.645
[SPEAKER_00]: All three of you have to get standoff.

35:33.845 --> 35:34.526
[SPEAKER_00]: That's what it's called.

35:36.862 --> 35:39.424
[SPEAKER_01]: have us are killed and white and orange are hit.

35:40.044 --> 35:41.766
[SPEAKER_01]: So here's the thing.

35:41.886 --> 35:46.069
[SPEAKER_01]: I like how now you have the sun coming back in there into this picture.

35:46.089 --> 35:47.650
[SPEAKER_01]: Everything's going to full circle at this moment.

35:48.171 --> 35:49.331
[SPEAKER_01]: The father comes in there.

35:49.892 --> 35:50.793
[SPEAKER_01]: Everybody's there.

35:51.753 --> 35:54.936
[SPEAKER_01]: And he's like, I'm telling you orange is a cop.

35:55.956 --> 35:59.319
[SPEAKER_01]: And I just love how he says, no, he's not a cop.

35:59.419 --> 36:00.500
[SPEAKER_01]: There's no way he could be a cop.

36:02.208 --> 36:03.649
[SPEAKER_01]: been like he is a cop.

36:03.989 --> 36:07.870
[SPEAKER_00]: I am telling you, why, why could he believe or is with a cop?

36:08.471 --> 36:13.092
[SPEAKER_01]: Because number one, he let his walls down, during that time when them's taking out the robbery.

36:13.453 --> 36:14.733
[SPEAKER_01]: They became right there.

36:15.473 --> 36:19.255
[SPEAKER_01]: Now closeness was what that, that's what cops do when they're in the cover.

36:19.275 --> 36:21.016
[SPEAKER_01]: They try to build a relationship with somebody.

36:21.576 --> 36:23.517
[SPEAKER_01]: And that's exactly what happened with this character.

36:24.458 --> 36:37.026
[SPEAKER_01]: Everything was because of the fact that he was blindsided by the fact that he's thinks that Orgis is rent and then you also have the other thing too, where's like oh an Orgis is like bleeding out in the thorgas he was going to kill the cop.

36:38.127 --> 36:46.933
[SPEAKER_01]: I'm like you just gave yourself a way because you're a police officer yourself and you don't like the fact that these guys we're going to kill another police officer.

36:47.669 --> 36:59.988
[SPEAKER_01]: And you gave yourself a way just as he was just as whenever he was getting close to the other character we mentioned and getting close with him that's also the same thing at the other at the end of the day that's what killed him.

37:01.664 --> 37:04.666
[SPEAKER_00]: and that's what you call phenomenal writing.

37:05.187 --> 37:09.170
[SPEAKER_00]: There was no way that dialogue in the reservoir of dogs.

37:09.190 --> 37:14.895
[SPEAKER_00]: And there's one of the few films where there was no filler scenes, no filler dialogue, no filler moments.

37:15.155 --> 37:16.436
[SPEAKER_00]: Everything had a purpose.

37:16.536 --> 37:18.478
[SPEAKER_00]: If you blink too fast, you miss something important.

37:18.998 --> 37:23.742
[SPEAKER_00]: Again, we keep coming back to the conversation and having the car when they was sticking out and it was bonding.

37:23.862 --> 37:26.545
[SPEAKER_00]: If you're not attentive to that scene, then

37:29.680 --> 37:37.964
[SPEAKER_00]: him being hesitant to kill Mr. Orange at the end when makes sense to you, but it was established do not learn anything about each other.

37:37.984 --> 37:39.464
[SPEAKER_00]: You're just here to do a job.

37:40.325 --> 37:47.468
[SPEAKER_00]: And because that one bond was broken or that one was ours, that one rules broken, we ended up in the Mexican standoff.

37:47.488 --> 37:50.729
[SPEAKER_00]: You ended up, you're selling dying.

37:51.049 --> 37:57.372
[SPEAKER_00]: You ended up you're selling torturing and cutting off the air of a cop, which he was going to go to prison forever for that anyway.

37:59.934 --> 38:07.097
[SPEAKER_01]: Right, I definitely see that though because he already already wanted up a salty a cop he killed a cop and that was it.

38:07.218 --> 38:17.162
[SPEAKER_01]: It's game over your mind while just sign yourself up to the electric chair and just let him let him down and beat him and also like how everybody shot each other at this point.

38:17.242 --> 38:27.107
[SPEAKER_01]: Everybody's laying in the floor pink on the other hand was as smart as one to go underneath the staircase of this place and then come out and then carry the diamonds and

38:30.245 --> 38:33.828
[SPEAKER_00]: And if you look at the group, he was the most aloof one.

38:34.489 --> 38:36.210
[SPEAKER_00]: He seemed, he was the most aloof.

38:36.670 --> 38:43.095
[SPEAKER_01]: Because he was the most, because of the fact, too, he didn't throw any walls down.

38:43.875 --> 38:46.357
[SPEAKER_01]: We knew who he was, like you said, black and white.

38:46.637 --> 38:47.858
[SPEAKER_01]: He's like, this is who I am.

38:48.679 --> 38:51.821
[SPEAKER_01]: And at the end of the day, he was actually the smart one.

38:51.941 --> 38:54.823
[SPEAKER_01]: I have this whole entire gang of criminals.

38:55.844 --> 38:57.065
[SPEAKER_00]: And the most racist one.

38:57.542 --> 39:00.623
[SPEAKER_01]: Yeah, the most racist one, but there's actually a fan theory.

39:00.943 --> 39:02.503
[SPEAKER_01]: I don't know if you know about this, but Mr.

39:02.543 --> 39:04.003
[SPEAKER_01]: Pink is also an undercover cop.

39:04.023 --> 39:11.584
[SPEAKER_01]: He just covers his bases bare the Mr. Orange, but I don't mind buying into that, but of the four colors who get significant screen time, Mr.

39:11.625 --> 39:14.625
[SPEAKER_01]: Pink is the only one who's name we don't find out.

39:14.985 --> 39:19.006
[SPEAKER_01]: He sticks very, very hard to need for a professional and their modity.

39:19.626 --> 39:22.947
[SPEAKER_01]: And then off the two harder than anyone else is also on the crew.

39:22.967 --> 39:25.587
[SPEAKER_01]: He doesn't do it because Joe Gabbett told him to do it.

39:26.179 --> 39:31.400
[SPEAKER_01]: He's doing it because it provides a great screen of possibility, liability for an undercover cop.

39:31.760 --> 39:36.802
[SPEAKER_01]: It goes so far as to refuse to let white say his own real name.

39:37.182 --> 39:44.103
[SPEAKER_01]: Because then it would familiarize the relationship to a point where pink would be expected to let his real identity slip.

39:44.984 --> 39:46.064
[SPEAKER_00]: I didn't even think of that theory.

39:46.724 --> 39:47.984
[SPEAKER_00]: But it's a very good theory.

39:49.285 --> 39:54.106
[SPEAKER_01]: There's also theory number two, speaking of professionalism, he goes on about it.

39:55.930 --> 39:58.431
[SPEAKER_01]: Yeah, this is actually some of the things I found out.

39:58.951 --> 40:00.392
[SPEAKER_01]: So I just thought it would be interesting for me.

40:00.432 --> 40:01.433
[SPEAKER_00]: I didn't even think about that.

40:02.313 --> 40:02.773
[SPEAKER_00]: Anything.

40:03.513 --> 40:04.514
[SPEAKER_00]: Anything.

40:04.594 --> 40:05.374
[SPEAKER_00]: Anything.

40:05.514 --> 40:07.375
[SPEAKER_00]: It makes it made them seem off-standist.

40:07.435 --> 40:08.396
[SPEAKER_00]: I don't want to be your friend.

40:09.736 --> 40:10.577
[SPEAKER_00]: Leave me alone.

40:11.277 --> 40:11.537
[SPEAKER_01]: Right.

40:11.657 --> 40:13.558
[SPEAKER_01]: I just want to do this job and shut the hell up.

40:13.658 --> 40:15.019
[SPEAKER_01]: And I'm going to move on with my day.

40:15.319 --> 40:16.799
[SPEAKER_01]: I'm going to get paid and that's the end of it.

40:17.920 --> 40:22.062
[SPEAKER_01]: But yeah, I just think that this movie is just great and entertaining.

40:22.939 --> 40:26.398
[SPEAKER_00]: It was extremely entertaining, it was extremely um.

40:27.867 --> 40:35.451
[SPEAKER_00]: Vogue, it definitely has some tight in your stomach, cover your eyes, moments, well, you had to watch through your fingers.

40:36.051 --> 40:37.972
[SPEAKER_00]: That's the cop torturing thing.

40:39.273 --> 40:43.135
[SPEAKER_00]: I know I keep saying it, but the dialogue in the scene was just seconds to none.

40:43.175 --> 40:43.955
[SPEAKER_00]: It was unmatched.

40:44.036 --> 40:52.740
[SPEAKER_00]: People don't write and create projects like that anymore and if they do, they're independent films and they're not getting on the airtime that they properly deserve.

40:55.001 --> 40:56.142
[SPEAKER_00]: I do not think.

40:57.425 --> 41:02.014
[SPEAKER_00]: Regardless of anybody says, the ratio undertones added to the film.

41:02.495 --> 41:07.685
[SPEAKER_00]: It definitely didn't take away at all, but it didn't add to the film at all.

41:09.228 --> 41:09.349
[SPEAKER_00]: And

41:11.457 --> 41:18.580
[SPEAKER_00]: when he definitely directs his racial dialogue or it's black people.

41:19.100 --> 41:23.002
[SPEAKER_00]: So all know if he lost his girlfriend to a black dude in high school alone, or the hero has it.

41:23.462 --> 41:27.044
[SPEAKER_01]: Well, he, because even with pink, he also mentions that too.

41:27.444 --> 41:31.726
[SPEAKER_01]: Where they're talking about being with a black woman and all that stuff too in the car.

41:32.386 --> 41:36.248
[SPEAKER_00]: Yeah, he also, like, like, somewhere along the line.

41:37.243 --> 41:51.448
[SPEAKER_00]: Somebody black it in Wesley Snikes took Quentin Tarotino's girlfriend and he said I'm going to get you back by being rich and a phenomenal writer and a great director and I'm going to let you know how I feel you bag of and everything will move me.

41:51.488 --> 41:52.108
[SPEAKER_00]: I can see that.

41:52.188 --> 41:53.108
[SPEAKER_00]: Baggers out of here.

41:55.349 --> 41:59.991
[SPEAKER_01]: Well, yeah, does my other question is this so does this movie still hold up?

42:00.511 --> 42:01.751
[SPEAKER_00]: Yeah, 100%.

42:02.171 --> 42:04.612
[SPEAKER_00]: If this movie came out today because of.

42:08.435 --> 42:15.079
[SPEAKER_00]: What we're seeing with weapons, what we're seeing with obsession, what we're seeing with backgrounds, less is more.

42:15.660 --> 42:22.444
[SPEAKER_00]: And this movie was definitely less and gay so much more than we could have ever asked for.

42:22.864 --> 42:28.988
[SPEAKER_00]: So I definitely think a film like this coming out in today's society and today's landscape would do extremely well.

42:29.543 --> 42:34.425
[SPEAKER_01]: I think so too, because there's a thing, people want a originality now, they want on tits, authenticity.

42:34.745 --> 42:36.986
[SPEAKER_01]: They don't want sequels, reboots or anything like that.

42:37.387 --> 42:40.108
[SPEAKER_01]: And we're seeing that with, like you said, with obsession, we're seeing that with weapons.

42:40.168 --> 42:41.429
[SPEAKER_01]: We're seeing that with all these movies.

42:41.449 --> 42:46.551
[SPEAKER_01]: And I think this movie would be one of those movies that people would clamor to because of the fact of,

42:46.931 --> 42:54.395
[SPEAKER_01]: related ability with the characters, all of the related ability with the characters, but also to the whole entire deal of what the mystery element of it.

42:54.755 --> 42:57.297
[SPEAKER_01]: Why is this person bleeding out in the back seat?

42:57.397 --> 42:58.017
[SPEAKER_01]: Is he a cop?

42:58.137 --> 42:59.018
[SPEAKER_01]: Is he not a cop?

42:59.418 --> 43:00.018
[SPEAKER_01]: And that's good.

43:00.038 --> 43:00.839
[SPEAKER_01]: It's a man.

43:01.299 --> 43:01.579
[SPEAKER_00]: Yeah.

43:01.959 --> 43:02.480
[SPEAKER_00]: Yeah.

43:02.500 --> 43:07.182
[SPEAKER_00]: Not letting us make it as wait to 70% of the movie to figure some things out.

43:07.682 --> 43:09.143
[SPEAKER_00]: I do miss that.

43:09.163 --> 43:11.485
[SPEAKER_00]: You brought up you brought up authenticity and originality.

43:12.205 --> 43:13.346
[SPEAKER_00]: Is obsession really in

43:17.261 --> 43:27.870
[SPEAKER_00]: original thought or was it just or didn't go where no movies have went like I feel like it's okay big the movie big with Tom Hanks meets horror.

43:29.611 --> 43:32.494
[SPEAKER_01]: Kid meets a kid makes a wish which comes true.

43:32.874 --> 43:38.959
[SPEAKER_01]: Tom Hanks is big kid breaks bar to make a wish to get a girl to fall in love with him.

43:38.979 --> 43:39.960
[SPEAKER_01]: She comes obsessed with him.

43:40.541 --> 43:40.661
[SPEAKER_01]: It's

43:41.386 --> 43:43.987
[SPEAKER_01]: It's more of a docker tone movie, but it's nothing but that.

43:44.087 --> 43:46.788
[SPEAKER_00]: But now I've seen with obsessed it was forced.

43:47.048 --> 43:54.371
[SPEAKER_00]: It was forced and yeah, I just think obsession was such a hit because it went to where we didn't think it would go.

43:54.571 --> 44:01.153
[SPEAKER_00]: Again, it's that putt scene and running scared with Paul Walker, blessing so it's, are they really going to show this?

44:01.353 --> 44:02.894
[SPEAKER_00]: It's when he wants to go in the work.

44:02.954 --> 44:09.376
[SPEAKER_00]: If she just stands there smile, usually in a horror movie, she has sent that smile, the camera zoom in and then a go.

44:10.997 --> 44:15.799
[SPEAKER_00]: They came a stand there, stared at her, paned out, and actually was urinating on herself.

44:16.299 --> 44:19.020
[SPEAKER_00]: That's something we didn't expect to see.

44:19.040 --> 44:23.781
[SPEAKER_00]: So I don't know if it was in a, I don't know if Obsession was in a original thought.

44:23.821 --> 44:26.962
[SPEAKER_00]: I just think people are in trends.

44:27.523 --> 44:30.764
[SPEAKER_00]: Are they going to show the thing that we think they are going to show?

44:31.084 --> 44:32.524
[SPEAKER_00]: Wait, they showed it.

44:32.584 --> 44:34.845
[SPEAKER_00]: We got to stick around to see if they're going to really go this far.

44:35.385 --> 44:38.526
[SPEAKER_00]: Whereas of our dogs, I think it was the exact same thing.

44:38.666 --> 44:39.787
[SPEAKER_00]: So that's why I think the movie is so

44:40.970 --> 45:02.336
[SPEAKER_00]: And there's a difference between a time is called classic something like, and I know this is completely off, but something like three ninjas three ninjas the first movie was a horrible movie it was terrible for black people and I'm saying that very confidently media man called classic and black homes horrible horrible movie.

45:04.434 --> 45:06.878
[SPEAKER_00]: Reservoir Dogs wasn't a horrible movie.

45:06.978 --> 45:12.085
[SPEAKER_00]: It was a phenomenal movie and it's a cult classic and it's timeless so definitely holds up.

45:13.442 --> 45:13.862
[SPEAKER_01]: I agree.

45:14.222 --> 45:15.463
[SPEAKER_01]: I think this movie still holds up.

45:15.503 --> 45:21.165
[SPEAKER_01]: I think there's a lot of shock factors with this because you're not expecting them to actually show the cops ear again taken off.

45:21.185 --> 45:26.047
[SPEAKER_01]: You're not expecting to see the bullets going into the guys into the cops chest.

45:26.067 --> 45:27.088
[SPEAKER_01]: You're not expecting.

45:27.368 --> 45:29.549
[SPEAKER_00]: Not in 1990. Who you're not for.

45:29.689 --> 45:40.273
[SPEAKER_01]: And I just want to point this out though, too, because I actually had this in my notes and I wanted to talk to you about this is just the calmness of that character whenever he's dancing around it around him.

45:40.912 --> 45:46.895
[SPEAKER_01]: It's just a cool ear thing of like this erroneous of something that's going to happen.

45:47.875 --> 45:48.455
[SPEAKER_01]: You know what I mean?

45:48.856 --> 45:50.596
[SPEAKER_00]: But you don't think it's going to happen.

45:50.716 --> 45:51.097
[SPEAKER_00]: No.

45:51.357 --> 45:52.357
[SPEAKER_00]: And when it decides to happen.

45:54.898 --> 45:58.441
[SPEAKER_00]: You're almost offended like, why would you make me watch this?

45:58.461 --> 45:59.302
[SPEAKER_00]: Why would you do that?

45:59.462 --> 46:01.404
[SPEAKER_00]: Wait, there's more, I need more.

46:01.424 --> 46:02.605
[SPEAKER_00]: This got to happen again.

46:03.065 --> 46:09.771
[SPEAKER_00]: And that's that need for us as an audience to be villainous to bring that up out of us.

46:09.811 --> 46:11.313
[SPEAKER_00]: And only certain movies can do it.

46:11.333 --> 46:15.577
[SPEAKER_00]: And this is one of the movies where you want it, one of the bad guys to win.

46:16.618 --> 46:19.420
[SPEAKER_01]: Right, because you want them to be able to get the diamonds.

46:19.440 --> 46:21.622
[SPEAKER_01]: You want them to be able to get away with something.

46:22.039 --> 46:28.181
[SPEAKER_01]: If that's what that movie's trying to set up, it's establishing getting away with something or they're not going to get away with something.

46:28.201 --> 46:29.282
[SPEAKER_00]: And they got away with it.

46:29.442 --> 46:31.422
[SPEAKER_00]: Like, when he came from downstairs, grabbed it.

46:31.882 --> 46:33.343
[SPEAKER_00]: You're at the time of walking away.

46:33.883 --> 46:35.084
[SPEAKER_00]: Somebody got away with it.

46:35.784 --> 46:39.405
[SPEAKER_00]: But I love the theory that he might be a super undercover cop.

46:39.525 --> 46:40.445
[SPEAKER_00]: I love that theory though.

46:40.806 --> 46:41.246
[SPEAKER_01]: I do too.

46:41.546 --> 46:43.767
[SPEAKER_01]: I like playing around with that idea as well.

46:52.563 --> 46:53.564
[SPEAKER_00]: on what scale.

46:54.185 --> 46:54.585
[SPEAKER_01]: I'm 10.

46:54.605 --> 46:55.466
[SPEAKER_00]: 10.

46:56.127 --> 46:56.748
[SPEAKER_00]: 10 easily.

46:57.028 --> 46:57.649
[SPEAKER_00]: You said 9.9.

46:57.689 --> 47:09.102
[SPEAKER_00]: The, the, the, the, the, the, the entire, the dialogue, the, the cinematography, the, the sequences that one scene when the guy got his ear chopped off.

47:10.281 --> 47:11.442
[SPEAKER_00]: Oh, give me goosebumps now.

47:11.982 --> 47:13.282
[SPEAKER_00]: It was phenomenal.

47:13.742 --> 47:30.888
[SPEAKER_00]: Without reservoir adults, and I've never read his biography, I've never read his influences, but with Anderson, I felt like West Anderson could have directed the reservoir dolls from the way it was shot, the color grading, the things like that.

47:30.948 --> 47:34.330
[SPEAKER_00]: So I think that feel definitely spawned a lot of directors.

47:35.150 --> 47:35.370
[SPEAKER_01]: Okay.

47:36.076 --> 47:37.377
[SPEAKER_01]: And for me, I'm gonna give this a 10.

47:37.397 --> 47:43.023
[SPEAKER_01]: I know I win 9.9, but for me, you tell me, you see, that's what I'm talking about.

47:43.043 --> 47:45.846
[SPEAKER_01]: Like, adulthood changes your perspective.

47:46.106 --> 47:48.789
[SPEAKER_01]: You forgive me, I appreciate that.

47:49.149 --> 47:49.710
[SPEAKER_00]: You forgive me.

47:50.760 --> 48:10.993
[SPEAKER_01]: And the reason why I'm giving this a 10 out of 10 is because, like you said, that element of are they going to push the envelope is it's going to move the needle the way that we hope that they moved the needle for it did it did it did it did it did it did give us something to talk about after we see this movie it's like there you see that scene where the cop gets shot and his ear gets taken off.

48:11.353 --> 48:13.554
[SPEAKER_01]: Oh my gosh, that was just totally horrifying.

48:13.674 --> 48:14.735
[SPEAKER_01]: I was not expecting it.

48:15.155 --> 48:17.817
[SPEAKER_01]: That is something that I feel like is missing today.

48:17.837 --> 48:19.878
[SPEAKER_01]: This is the shock factor of something happening.

48:20.188 --> 48:21.349
[SPEAKER_01]: and not having the pay off.

48:21.969 --> 48:23.530
[SPEAKER_01]: And we mentioned obsession.

48:23.630 --> 48:36.097
[SPEAKER_01]: And obsession, we get the pay off of something happening to this girl who's been coming this overly-exceptive person with this person made the wish being forcefully being able to be obsessed with somebody.

48:36.717 --> 48:41.259
[SPEAKER_01]: And this is also the same type of shock factor of, you know, I need to get the diamonds.

48:41.359 --> 48:44.201
[SPEAKER_01]: I need to go ahead and I'm on parole.

48:44.601 --> 48:46.122
[SPEAKER_01]: I have a need to want something.

48:47.295 --> 48:50.337
[SPEAKER_01]: And everything works perfectly well executed.

48:50.357 --> 48:52.839
[SPEAKER_01]: I love that I like this movie a lot.

48:54.080 --> 48:55.321
[SPEAKER_01]: I enjoyed Paul fiction.

48:55.702 --> 48:59.284
[SPEAKER_01]: Well, I'm actually becoming more of a Tarotino band as I'm going through this.

48:59.324 --> 49:02.667
[SPEAKER_01]: And also, too, remember this one scene where they mentioned Alabama?

49:04.468 --> 49:05.209
[SPEAKER_00]: I got it refreshingly.

49:05.929 --> 49:10.413
[SPEAKER_01]: OK, whenever we see Mr. Black, he's talking about Alabama to another character.

49:11.150 --> 49:11.370
[SPEAKER_00]: No.

49:11.550 --> 49:12.090
[SPEAKER_01]: And the office.

49:12.650 --> 49:20.772
[SPEAKER_01]: Okay, Alabama is a character from another quintet was written by Quintier Tino and he sold that to make reservoir dogs.

49:21.372 --> 49:30.514
[SPEAKER_01]: So what he did was he went where that would be his and everything is one of my other fair movies, even though it's on a Tino film is true romance.

49:30.974 --> 49:32.154
[SPEAKER_01]: That's actually the character.

49:32.234 --> 49:36.395
[SPEAKER_01]: Alabama is actually the female character that was in true romance.

49:38.001 --> 49:38.842
[SPEAKER_00]: He made a reference.

49:38.942 --> 49:40.683
[SPEAKER_00]: Okay, and then that's the reference.

49:41.124 --> 49:42.425
[SPEAKER_00]: And that's how he shares the universe.

49:42.965 --> 49:44.227
[SPEAKER_00]: Yeah, make this.

49:44.247 --> 49:45.047
[SPEAKER_00]: Don't write it.

49:45.608 --> 49:46.469
[SPEAKER_01]: Yeah, I like that.

49:46.489 --> 49:48.570
[SPEAKER_01]: It's like, okay, well, I couldn't direct this myself.

49:48.610 --> 49:55.657
[SPEAKER_01]: So I had to sell the script to in order to in order to make this movie, but I'm still going to incorporate this character in some way.

49:56.557 --> 50:02.162
[SPEAKER_00]: That's that's that's that's that's that's no writing that I must let's not want to hate on that man.

50:02.743 --> 50:04.184
[SPEAKER_00]: That man is a genius man.

50:04.925 --> 50:05.145
[SPEAKER_00]: Yeah.

50:06.109 --> 50:09.430
[SPEAKER_01]: I like, if you haven't seen true romance, I definitely recommend that you check it out.

50:09.650 --> 50:11.210
[SPEAKER_00]: It's one of my favorites.

50:11.410 --> 50:13.031
[SPEAKER_00]: I was confused true man who true lies.

50:13.351 --> 50:13.691
[SPEAKER_00]: Always.

50:14.791 --> 50:15.791
[SPEAKER_00]: Always collecting why.

50:16.532 --> 50:16.752
[SPEAKER_01]: OK.

50:17.092 --> 50:20.673
[SPEAKER_01]: But this is, I mean, Christian slators in this movie.

50:20.693 --> 50:22.633
[SPEAKER_01]: He has like a split personality thing.

50:23.613 --> 50:26.854
[SPEAKER_01]: He falls in love with a prostitute named Alabama.

50:27.414 --> 50:28.135
[SPEAKER_00]: I want to watch it.

50:28.235 --> 50:29.515
[SPEAKER_00]: That was a death hour I needed to know.

50:30.115 --> 50:31.675
[SPEAKER_00]: No man, problem love with a hooker.

50:31.715 --> 50:32.156
[SPEAKER_00]: I love it.

50:32.516 --> 50:34.016
[SPEAKER_00]: Pretty warm is one of my favorite movies.

50:35.405 --> 50:38.306
[SPEAKER_01]: And this is, let's say he tries to get her out of prostitution.

50:38.727 --> 50:42.048
[SPEAKER_00]: So now let that woman be free.

50:42.068 --> 50:43.189
[SPEAKER_00]: Let that woman make some money.

50:43.209 --> 50:44.229
[SPEAKER_00]: He has a free home.

50:44.249 --> 50:44.929
[SPEAKER_00]: We have to put it.

50:45.170 --> 50:47.070
[SPEAKER_01]: You have James gone to feeding in this movie.

50:47.090 --> 50:48.691
[SPEAKER_01]: You have Brad Pitt in this movie.

50:49.231 --> 50:51.712
[SPEAKER_01]: You have Dalky from perfect strangers in this movie.

50:51.933 --> 50:56.315
[SPEAKER_00]: Balky is the fact that you call him Balky is crazy.

50:56.875 --> 50:59.176
[SPEAKER_01]: That's all I, that's, that's by the style to do.

50:59.236 --> 51:01.617
[SPEAKER_01]: That's by the style that I just called the alcohol Balky.

51:02.090 --> 51:10.455
[SPEAKER_00]: The Fed, if you call him balky, that's crazy, but yeah, one of my firm movies check it out.

51:10.936 --> 51:11.456
[SPEAKER_01]: All right, guys.

51:11.936 --> 51:14.258
[SPEAKER_01]: So that's going to be it as far as this review goes.

51:14.378 --> 51:16.619
[SPEAKER_01]: Josh, thank you so much for joining me for this.

51:16.799 --> 51:18.400
[SPEAKER_01]: I enjoy this as always, my friend.

51:19.001 --> 51:19.301
[SPEAKER_00]: Always.

51:19.461 --> 51:25.405
[SPEAKER_01]: And you're going to have to come back when we do our best and worst movies of 2020, six because I do want us to talk about that.

51:25.955 --> 51:28.016
[SPEAKER_00]: We, where we got to stop waiting too much man.

51:28.036 --> 51:29.336
[SPEAKER_00]: Yeah, we need more.

51:29.456 --> 51:31.236
[SPEAKER_01]: I need more of you to come in here.

51:31.256 --> 51:33.057
[SPEAKER_01]: Just think of some more ideas we can probably do.

51:33.577 --> 51:34.677
[SPEAKER_00]: Yeah, we got to stop waiting too much.

51:34.717 --> 51:35.497
[SPEAKER_00]: No, it's not a problem.

51:35.517 --> 51:36.358
[SPEAKER_00]: Thank you for having me.

51:36.398 --> 51:37.258
[SPEAKER_00]: It's always a blast.

51:37.298 --> 51:44.620
[SPEAKER_00]: It's always fun to hear you break down films and ways that I can't think about me being goofy and I allowed and try to be funny all the time.

51:45.060 --> 51:48.441
[SPEAKER_00]: It's always dope when I can show people that I got some

51:50.167 --> 51:54.609
[SPEAKER_00]: I got some cinematic taste and quality.

51:54.829 --> 51:59.250
[SPEAKER_00]: We definitely got to talk about in your wife, maybe more into this one.

52:00.010 --> 52:04.532
[SPEAKER_00]: Colleen Hoover wrote a book called Verity and Verity is coming out and it has Anne Hathaway Josh Hernandez.

52:04.592 --> 52:05.092
[SPEAKER_01]: I saw that.

52:05.492 --> 52:06.533
[SPEAKER_00]: The code is not the limit.

52:07.093 --> 52:15.296
[SPEAKER_00]: So we definitely got to review Verity and if we review Verity, your podcast following will

52:19.952 --> 52:21.393
[SPEAKER_01]: I want to check that out to be honest with you.

52:21.413 --> 52:24.795
[SPEAKER_01]: I've seen the poster for it, then I've watched the trailer, so I'm actually intrigued with it.

52:25.256 --> 52:26.016
[SPEAKER_00]: Yeah.

52:26.216 --> 52:27.597
[SPEAKER_01]: So I'm definitely going to check it out.

52:28.217 --> 52:35.842
[SPEAKER_00]: Yes, my own, my, actually, if you guys are watching this, my variety brand is probably at a million views now on Instagram.

52:35.943 --> 52:41.426
[SPEAKER_00]: So various, various, definitely a movie that has been, we got to be more involved in.

52:42.147 --> 52:42.547
[SPEAKER_01]: I agree.

52:43.212 --> 52:43.653
[SPEAKER_00]: Of course.

52:43.813 --> 52:44.273
[SPEAKER_00]: I got you.

52:44.414 --> 52:45.695
[SPEAKER_00]: Anytime, let me know.

52:46.016 --> 52:46.937
[SPEAKER_00]: I can't wait to come back.

52:46.957 --> 52:48.759
[SPEAKER_00]: I always enjoy blue reviews with you.

52:49.300 --> 52:50.701
[SPEAKER_00]: They may have been like that.

52:51.743 --> 52:52.464
[SPEAKER_01]: I sure will.

52:52.564 --> 52:53.105
[SPEAKER_01]: I sure will.

52:53.865 --> 52:54.326
[SPEAKER_01]: All right, guys.

52:54.386 --> 52:57.650
[SPEAKER_01]: Well, don't forget to hit the like button, subscribe, and we'll catch you guys on the next episode.