"Pulp Fiction" Movie Review | The Main Ingredient With Chris Ellis Podcast - Ep.9

Uncover the magic behind Quentin Tarantino's masterpiece "Pulp Fiction" with the talented Tina Gilton as she joins me, Chris Ellis, on The Main Ingredient. Together, we promise you’ll gain a fresh perspective on how Tarantino revolutionized storytelling in film and empowered female characters to break free from traditional molds. Our engaging conversation highlights how this iconic film has influenced the industry and revitalized actors' careers, crafting a legacy that continues to inspire filmmakers around the world.

Immerse yourself in the intricate dynamics and complex relationships woven throughout "Pulp Fiction." Tina and I explore everything from the enigmatic glow of the mysterious suitcase to the pivotal scene-stealing moments that showcase Tarantino’s genius. We question the motivations behind Butch's character arc and the intriguing chemistry between Vincent and Mia, bringing to light the film’s nuanced portrayal of power dynamics and cultural influences. Our lighthearted discussion even touches on real-life robberies and risk-taking, sparked by the film’s unforgettable opening scene.

Join us as we uncover the artistic brilliance behind Tarantino's work, from memorable scenes to his lasting impact on cinema. This episode shines a spotlight on how "Pulp Fiction" shattered conventional narratives, leading to a creative renaissance in filmmaking. With a perfect score for its execution and originality, we celebrate the film's timeless appeal and eagerly anticipate what Tarantino has in store for us next. Whether you're a die-hard fan or new to Tarantino's world, this episode promises a captivating journey through one of cinema’s most iconic films.

Chapters

• 0:00 Discussion on Tarantino's Pulp Fiction
• 7:29 Leverage and Motivations in Filmmaking
• 19:23 Debate on Pulp Fiction Content
• 25:40 Complex Relationships in Pulp Fiction
• 31:13 Mia Wallace in Pulp Fiction
• 44:10 Exploring Butch's Betrayal and Escape
• 50:18 Butch's Character Development and Motivations
• 58:57 Butch's Recklessness and Marcellus' Power
• 1:05:26 The Submissive Gimp and Butch's Redemption
• 1:18:05 Love and Chaos in Pulp Fiction
• 1:24:15 Discussion on Pulp Fiction Characters
• 1:30:52 Cast Representation in Film Festivals
• 1:38:06 Impact of Pulp Fiction on Actors
• 1:42:30 Exploring Pulp Fiction's Creativity and Impact

Transcript

Chris: 0:00

When this movie came out, everybody thought that was a real restaurant. Ah, interesting, everybody actually thought that was a real restaurant. You?

Tina: 0:07

know they did that at Mel's.

Chris: 0:09

I know, I heard about that. I heard about that. So it's interesting how cinema can make people think things are real. He did such a good job with the setting of that restaurant. People was like that has to be a real place in LA.

Speaker 3: 0:23

Right.

Chris: 0:45

What's up y'all? My name is Chris Ellis and this is the Main Ingredient with Chris Ellis. Today we have special actress, producer, voiceover actress, miss Tina Gilton. Tina, how you doing?

Tina: 1:00

I'm doing great. Thank you for having me here, how you doing today.

Chris: 1:04

I'm doing good. You know, it's been a long time we worked together a long time ago. And that was actually a really successful project. It was Definitely. Maybe financially for both of us it wasn't successful, that's true. But as far as you know, getting it out, getting the project out there, and you guys, you and Shaquille, had a real viral moment, absolutely, I think that that clip had over 150,000 views.

Tina: 1:29

I think it's like close to three yeah, it went crazy.

Chris: 1:32

It went crazy and it just kept going and going and going. I get to slow down and I look again, it's like 30,000 more views up. So even to this day it's just it's still going, and I want to say that was about eight years ago so, yeah, we have, we have a history and it's always good to you know we're, we're ig friends, so it's always good to see that you're still working and and you're, you're in sag yes, I am officially talking about that's always good to hear that.

Chris: 2:03

You know, I always want to see my, my young black women winning and it looks like you're winning and you're going for your goals, you're going for your dreams.

Tina: 2:10

Thank you, I appreciate that I'm trying. Yeah, I see.

Chris: 2:14

I see I'll be fine. I see you doing your thing. So today we're here to talk about the movie Pulp Fiction 1994, quentin Tarantino. It was. It was a one of your choices yes.

Tina: 2:26

So why did you choose it? Oh man, well, you know, um tarantino is one of my favorite filmmakers, probably of all time. Um and uh, going through, you know, looking at the films, I was like all the films I like are, you know, made by tarantino. So I decided Fiction.

Tina: 2:43

It's one of my favorites and I think it's an incredibly powerful thing that Tarantino does with his films, because he a lot of times puts his female characters in a very protagonistic or antagonistic role where there is empowerment there.

Tina: 3:00

He does that in every film. You see that with Uma Thurman, you see that with Vivica Fox, you see that with Lucy Liu, we've seen that in Pulp Fiction, even with his lead, where Uma made another appearance there. She did it in Kill Bill. So I feel like there's kind of this you get to see a woman in a role where she's empowered, she has equal screen time. Where she's empowered, she has equal screen time. There's usually some very deeper context to the story, like what you saw in Kill Bill with Uma and her child and things of that nature. So I feel like, as a woman, it's great to see that there's a male filmmaker out there making content where we're not just an afterthought, we're not a second thought, we're not there to just support the male characters, but we can actually drive the story um, and I think that's what made me love tarantino so much, and pulp fiction happens to be one of my favorites tarantino's not scared to make women leads yeah, at all.

Chris: 3:55

He's not scared at all. He gives them big screen time, you know, whereas a lot of directors are more male driven. Right, you know, they're looking for that strong male figure to kind of lead the whole story.

Speaker 3: 4:05

Yes.

Chris: 4:06

Quinn is like hey, if the women is running, kill Bill the women is running Kill. Bill.

Tina: 4:10

Absolutely. It is what it is.

Chris: 4:11

So I enjoy that about his movies too. It's more free flowing as far as his direction is like there's never there's never one story going on in a Tarantino movie. There's never one story going on in a Tarantino movie. It's always multiple things going on, Multiple. Even though you have a hierarchy of star leading people, it feels like everybody's a star in this movie, yes, in this movie, right, it's true, I mean, that's just how it feels.

Chris: 4:37

It feels like everybody has their screen time to help fulfill the total part of what the story is supposed to be. So that's one thing I like about it. When you mentioned Tarantino, it made me smile because the people can't see it. But right behind you I have the poster of Reservoir.

Speaker 3: 4:54

Dogs.

Chris: 4:56

And that's like my favorite movie of his, only because it introduced a part of filmmaking I had never seen before. You know what I'm saying and honestly it opened my eyes to how creative you can be artistically filmmaking. It doesn't have to be so structured. I went to film school for a while and it's very structured. You do it this way, you write it this way first act, second act, third act, and you don't get out of those boxes. Act, third act, and you don't get out of those boxes. And he's way out of the box. Yeah, even on, even on time on screen it's like his movies are almost three hours sometimes like he doesn't go for the hour and a half movies and that's part of the. You know, when you're in film school they want you to keep in that sweet spot around 90 minutes, anything less than two hours. Quentin has movies that's over three hours easily. Even when he chops them up they're still almost three hours each.

Speaker 3: 5:49

That's very true.

Chris: 5:50

So I really appreciate that about Quentin Tarantino. That's something I learned is just go where the movie takes you. Don't try to follow too much structure. You have to have structure, but not too much structure Flow. Wherever the movie takes, you flow. So that's one thing I really appreciate about Tarantino and his films.

Tina: 6:09

In terms of what you mentioned in regard to structure. Another thing that I noticed about him you could look at Tarantino's film and almost really break them up. They could actually be done in other sequences.

Tina: 6:20

He does that in almost all of his films. You've seen that in Kill Bill, you've seen that with Pulp Fiction, you've seen that with Reservoir Dogs. Like there's always sort of this space where you know there's a chronological order to the film, but if you were to actually essentially split that up, there are ways that you could look at the films in other ways. And then he also crosses things, like he'll mix in anime. You know, with his films there's always sort of like this, this sort of hyper realistic space where it kind of you're in a very non-fictional space in terms of the reality of the things that are happening in the film. But he always has this really like fantastic or whimsical piece of his film. That's kind of just way out there, kind of like when in the you know, even in the Kill Bill Secrets, where they're playing, the musicians are playing in the background, it's like all this fighting going on, it's like 88 on one.

Chris: 7:09

It's like he always has this really like.

Tina: 7:11

You're like well, this couldn't really happen, but it's happening in his in his film, in his film. Pulp Fiction is one of my faves, you know. Seeing Samuel L Jackson and John Travolta together it was like movie magic.

Chris: 7:26

Yeah, yeah, yeah. So let's get into it. Written and directed by Quentin Tarantino, starring John Travolta as Vincent Vega, samuel L Jackson as Jules Winfield, uma Thurman as Mia Wallace, harvey Keitel as Winston Wolfe, bing Rames as Marcellus Wallace, bruce Willis as Butch Coolidge, eric Stoltz as Lance and Ringo and Yolanda as Tim Roth and Amanda Plummer. The budget was eight and a half million and it grossed 213 at the box office. It did numbers.

Tina: 8:00

Major success.

Chris: 8:01

It goes to the fact of in Hollywood, when you bring in those type of numbers, they pretty much open up a checkbook for you, because after that he was flying, he was kind of flying with Reservoir Dogs he was, but after this, oh my God, he took off and they just kind of just gave him a blank check Whatever you want to do, whatever you want to do, quint, you can just do it. Which is for a director that's actually our dream Like for a studio to say do what you want to do. You know, don't worry about going over budget, take all this money yeah Just take the money.

Chris: 8:32

Full creative control. Just take the money. We're not going to give you any notes, just take the checkbook and get with you. That is the dream of any director, because now you have full control over your set, your actors, casting and everything, and. But what I want to say to two new directors is that that's rare air. There's only a handful of directors that have that type of leverage and those guys got 30 years in the game. Like, just to make it clear, no new directors coming on and getting that much leverage on a major studio. It just does not happen. Your name needs to be Spike Lee, quentin Tarantino, john Singleton had that. That absolutely.

Tina: 9:12

Scorsese.

Chris: 9:14

Scorsese even uh, ava, ava.

Speaker 3: 9:17

Ava has that yeah she has that.

Chris: 9:19

So you have certain directors, maybe, uh, antoine Fuqua they have that leeway to kind of go over budget or not even have a budget just to tell a story, Right, you know, and that's kind of that's, that's every director I know. It's my dream Open, open book to make a movie, right? So in the opening scene we have Ringo and Yolanda in a cafe and they're having a normal couple conversation. You tell they love each other, he calling her baby, and you can see the love between the two.

Tina: 9:50

Honey bun.

Chris: 9:50

Honey bun Gets mushy and then it turns into Ringo telling a story about a guy robbing a bank without a gun. I don't know how they got from lovey-dovevey to robbing a bank, but they went there and he comes up with an idea. They come up with an idea to rob the cafe because you catching everybody by surprise Everybody's in there eating, which is kind of true. Nobody's really thinking they're going to get robbed in the cafe. So it really starts off with a robbery. The whole movie starts off with a robbery. It really starts off with a robbery. The whole movie starts off with a robbery. And there's, they have they have a couple of guests in there that we won't talk about now, that come in later. That's in this cafe. That brings it all to a close.

Chris: 10:35

But yeah, it starts off. It starts off with the robbery. And in San Leandro there's a Denny's on 150th that gets robbed a lot, right, routinely gets robbed. A lot, right, routinely gets robbed. If anybody doesn't know San Leandro, california, and I've always wondered how would you rob a place that has 40, 50 people in it? You don't know if one of them is a cop. You don't want them to share Like you don't know. It's kind of dangerous. It's kind of crazy. You know what I'm saying, yeah, so I always wondered, like what?

Tina: 11:05

would make the thought process what's?

Chris: 11:06

the thought process, because you don't know who's around the corner. If one of the chefs is an ex-marine, right like you don't know, it's kind of crazy right. So when I saw that it just made me think about that. That one particular denny's because it's always robbed and for everybody doesn't know across the freeway from the Denny's is the Cher's station.

Tina: 11:25

Hey, I saw that. Yeah, it's an interesting thing, right, think about that. You know what I think motivates that is how it's being responded to. I think if you've seen a location that's been hit however many times and you're not seeing really severe consequences or there's no real urgency there, a lot of times people pick targets like that because they know what the outcome essentially is going to be, and most people case spaces like that too. They're looking at it before it happens. They know when it's downtime, they know when there's less employees in there, they know when it carries more money. Why do I know all this information? Why?

Chris: 12:00

do you know all this?

Tina: 12:01

Forgive me.

Chris: 12:02

You did your research.

Tina: 12:05

But, yeah, you know. So I think that's what motivates that. And then I also think, like, very much like the characters in the movie. They're not, oh, they don't always have. You know, they got a couple of screws loose sometimes, and always people that are thinking about consequences, right, they're a little bit more reckless. You know, maybe there's a crime of opportunity, yeah, crime opportunity. You know, um, maybe it's a crime of opportunity, yeah, crime opportunity. Maybe they come from a desperate situation where you know whatever's happening on the other side is going to be worse than the consequences of that. I don't know, but that's my guess.

Speaker 3: 12:31

That's my guess. It could be worse. Not that I'm out here in these streets committing crime or anything but yeah she's a law-abiding, I'm a law-abiding citizen you guys don't worry about that.

Chris: 12:41

So, uh, vincent and jules, samuel jackson and john travolta, they're driving to pick up a suitcase for marcellus wallace from these three guys. Now the interesting thing is we never find out whether the suitcase was given to the guys or did they steal the suitcase. But they came there to kill them and take the suitcase. So it was kind of unclear. I mean, do you what's your idea like? Do you think they stole it, or was it something that marcellus gave to them?

Tina: 13:15

they were supposed to give back, like, because they never really explained I feel like the way the the film points to the importance of the suitcase, um, and sort of all the things that they're willing to go through to get it, even though we don't know what's in it. We never know what's in it. We never know what's in it, right, but it's a protected suitcase. We know that, yes, and we know that it's an essential part of the movie. Where they go in and it's kind of like the start of the day. This is something that they're coming to collect, yes, and we see what happens to the people in the process of them collecting it. So that tells me, I think, being the kind of man that Marcellus Marcellus Wallace was, is that it more than likely would be something that was owed to him. That's what I'm thinking, rather than it being taken Cause he kind of operates as a man on principle, if you really think about how he is in the entire film.

Tina: 14:06

Right, his principles are pretty. Even though he's this major boss, he operates on principles.

Chris: 14:13

He seems pretty solid. He seems pretty solid. He didn't seem like a loose cannon.

Tina: 14:16

You know. So I'm thinking it was owed to him Something that belongs to him, or something that was owed to him that he sent them.

Chris: 14:22

So maybe they were supposed to bring it back to him by a certain time. They didn't type of situation but he ultimately he made the final call saying kill him Right, because they didn't have to kill him Technically they could have just took it Right. But I think he might have made the call saying, hey, they was playing with me too much and this is kind of like you know, just to show the streets that you can't play with Marcellus like that, because they went up there and got it. They got it done. And what was funny about that scene was that Samuel Jackson he had this long dialogue but he ended up eating the guy a burger.

Chris: 14:55

Yeah, and drinking his soda Like it's so disrespectful the whole time. You know you're getting ready to kill this guy, but you're going to eat his burger Right, his final meal, and drink his final soda.

Tina: 15:08

I mean down to the last slurp at that you can hear it. You can hear it.

Chris: 15:13

He took everything out of there. And Vince is in the background. He's like he don't care about none of this stuff. He was like Vince. Have you ever eaten that big kahuna? No, I don't eat that stuff. He. He was like Vince, have you ever?

Chris: 15:26

eaten that big kahuna. No, I don't eat that stuff. He's just like where's the suitcase right? He just came here for what he came in here for. But it also it. It lets you know from the very beginning that is kind of childish and goofy, is Samuel Jackson's character and Vince's character is how they make jokes and stuff like that. They're about their business. They are you know. They might joke around, but they wasn't playing when they walked in that apartment. They came there to do something and they did it amongst everything else, they even gave the guy Samuel, even gave the guy a sermon before he shot him.

Speaker 3: 15:57

It's my favorite part of the movie. He gave him a long sermon.

Tina: 16:00

I will strike down a pony. That's my favorite scene in the movie.

Chris: 16:06

I was like, oh, I think he about to shoot him. He's talking like he's getting ready to shoot that guy and I think that guy knew it. But I'm wondering, because the guy on the couch, jules, only shot him once and kind of dismissed him, but that guy in the chair, they both shot him a lot. So I'm thinking, was he the target and everybody else was casualties of war? They put a lot of bullets in that guy in the seat and it was like more of a personal. It feels like Marcellus might have been like make sure you make an example of him. You know what I'm saying. It just felt more personal with the guy in the chair I could have the guy on the couch yeah, I could have that takeaway.

Tina: 16:49

I think I think the flock of seagulls right, that's what he calls them. You over there, flock of seagulls? Um, I think the guy on the couch it was more so about where is it? I'm asking you where it is. You're delaying it, you're acting like you don't know and it's like boom, we're gonna use you as a warning to let everybody else in the room because they shoot him first.

Speaker 3: 17:05

Yeah, so we're letting you know he's dead.

Tina: 17:07

Y'all see we're not playing. We're here to get the suitcase, but I think it's the fact that the man sitting in the chair brett brett shoots at samuel.

Chris: 17:16

No, he's no, you're talking about the guy that came out.

Tina: 17:18

He's in the chair but that delayed reaction in him not listening to what they were saying and kind of pushing back on what they came there for, results in somebody coming out from the back and firing all these shots right you're right, though I do think, because he was a main target, they end up taking marvin in the car, remember. So they don't kill marvin intentionally, at least right kind of kind of wondering what's the motivation behind that?

Speaker 3: 17:41

oh yeah, we're gonna get to that we're gonna get to marvin.

Tina: 17:43

That's plausible. Maybe brett was the intended target. Maybe brett is the person responsible for um returning the suitcase or giving whatever was in it, essentially especially because they were talking to him in the room the most. Yeah, trying to get him to focus on him.

Chris: 17:58

That's true, yeah, they focused on him. So I was thinking like maybe he was the actual target and the friend might have just been here on the fluke. Yeah, he might have just been collateral damage it's collateral. That's why your parents always said be careful who you hang. That's true, right, they can get you in a whole lot of trouble. So they end up leaving there. And well, let's get. Let's get to this part.

Chris: 18:23

Marvin was actually, uh, in cahoots with vince he was vince's friend and he's the one who actually set up that whole situation. So marvin wasn't as innocent as he looked in the initial whole plot of that apartment. It's like he was sitting there, scared and shaking. No dude, you set all this up like you set it all up. You don't find that out till later, but it's kind of. It's kind of good that you I'm not good, but it's kind of well, it is kind of good that you see. You see that in the end they didn't just shoot marvin because he's a witness right they could have just, you know, shot him on the scene, just shot him.

Chris: 19:00

We can't leave no witness, even if he's a part of the plan. He gotta go to go. They was like come on, you, come with us. So that was kind of cool, you know. I guess they showed us some love by taking him with them, and he really didn't get no love.

Tina: 19:14

Until they shot him in the face Right.

Chris: 19:17

But in the apartment they open up the suitcase and here we go with this glow. In your opinion, what do you think was in the damn suitcase? I don't know. And why was it shining? Do you think it was gold bars? Because what was this gold glow about?

Tina: 19:34

Yeah, I don't know what the glow was about. I think the glow symbolizes that there was something valuable in it and something that was. When we think of a shine, right, you open up anything, you know you open up a window and there's, you know, the sunshine. If you open up a ring box and you know you've got the lights on the box, right, it's. I think that it's a symbolization of, like, something valuable inside or something worth something looking at inside. I don't know what was in the suitcase. I don't know what was in the suitcase. I don't even know what would fit in the suitcase that would make it that important that all those people would die over it, but I assume whatever it is was something of great value.

Chris: 20:15

It was something of great value, and I don't think they ever talked about what was actually in the suitcase, correct?

Tina: 20:21

He looks at it and it's the look that he gives it. Lets me know, I think it's a tangible, it's something tangible because he doesn it. Lets me know, I think it's a tangible, it's something tangible okay, because he doesn't just open it. It's if it's a piece of paper, you know you're not gonna. Yeah, I don't know you have that kind of reaction to it, right. But he looks at it and it's like, oh, like I've never seen like I've never seen anything like it.

Tina: 20:35

I'm thinking like a piece of jewelry, like some precious diamond.

Chris: 20:39

I was thinking jewelry too yeah, like, but you never know. That's the thing I mean. That's what's great about the.

Chris: 20:45

The screenplay is like they never reveal what's in it. So all these people risking their lives, penitentiary chances, they're killing people, all type of stuff, and we don't know what they're doing it for. Yeah, in the end we have no idea what's in the suitcase, but that's that's. What makes the story interesting is that it's all about this suitcase that we have no idea was in it, you know. So kudos to quentin for keeping us in the dark.

Tina: 21:08

Yeah, yeah, I'm guessing it's a jewel. That's what I'm guessing.

Chris: 21:12

Possibly jewelry, possibly jewelry I hope it was like a precious diamond or something oh, you think it's something that people have never seen before?

Tina: 21:19

never, because when he opens it, up, he's like and I think he says it's like a thing of beauty yeah, so I'm like I'm thinking I don't know about gold bars, because I don't know if you'd open it up and be like, hey, that's that, right there. That's the thing.

Chris: 21:29

I think it's something precious I would go with your theory. If it was a glowing white light or bluish light, I would say diamonds, but that gold shine. Why gold? Yeah, I don't know.

Speaker 3: 21:42

That's what's confusing me.

Chris: 21:44

I can't answer that Because you could be right, but it has a gold shine on it, See you say gold, I feel like it was lighter than gold you think it was lighter than gold, yeah.

Tina: 21:53

I think it was a little bit lighter. I think it had kind of like a split between sort of what you see in the sunlight and a gold kind of. I think it was like an illumination, okay, so you know, I don't know, but that's what I'm thinking A precious jewel, something that they've never seen before, that's probably worth millions of dollars. I'm thinking jewels, that's what I'm thinking. Yeah.

Chris: 22:14

I'm thinking something along those lines too, okay. Okay, so we get to Marcellus and his club and he's talking to butch yep, uh, bruce willis's character and basically he's telling butch at your next fight, you go down in the fifth round because I'm assuming they're gonna fix the fight, marcellus gonna bet, you know, to win some money in the fight, and butch is like, okay, so he makes him repeat it. I go down in the fifth round, my ass goes down to the fifth round. He repeats it and then when he hands him the money, he said you, my nigga. And he said say it. He said you understand that right? He said I guess. So you know what I'm saying.

Chris: 23:02

Now I do want to bring that up because Quentin got into a well, a heated debate with NAACP and Spike Lee over the last well, in the beginning to the middle of his career, over the N-word being used excessively in his movies. Do you think he uses it excessively or does it make sense? Because even in his movies it's said about a hundred times. Do you think that's too much or you know?

Tina: 23:29

I think he uses it, uh, probably the amount of times that people use it behind closed doors.

Tina: 23:35

Okay, if you're asking my honest opinion, I think, um, if you notice the characters in his films that use the word, if you really pay attention to the characters that he uses in the film to use the word, if you really pay attention to the characters that he uses in the film to use the words, there are always those people that are like, kind of like, either, you know, uh, despicable people, really despicable people, or they're the passers, they're the.

Tina: 23:56

There's the ones that they're the ones that you would see every day and would never think that that's how they speak with, you know, when they're alone with their friends or in their own homes, privacy of their homes, and I feel like that's what you see in Pulp Fiction when he uses it in the kitchen. But he's married to Bonnie. I think that's exactly what you see, the type of guy that would go to work, you know, and be in an environment with everybody, and then when he comes home and he's having his cup of coffee in his kitchen with his pals, you know that's probably the language that he uses behind closed doors. So I think that it's realistic in the sense that, no, not everybody runs around using that word, but I think the characters that he's choosing to use that word in his films, those are the kind of people that probably do use that word, and I bet you Quentin's seen it.

Chris: 24:40

Oh yeah, I'm sure these are archetypes for things he's seen. But I also think that they were kind of. They were kind of lightweight picking on Quentin because he's a white guy. I don't think Spike Lee would have got the same for using a word, you know what I'm saying. Like if a black director would have the N-word said a hundred times in the movie, I don't think nobody would have blinked.

Tina: 24:59

We see it all the time. He's using the hard. He's using the hard R too.

Chris: 25:07

That, but he's using the hard. He's using the hard r too. That's the issue. Um, yeah, so he has the characters using the hard r, but, like you said, that one particular character, his wife, was black yeah so is it a hard r, or is I mean?

Tina: 25:19

it was a hard r it was a hard r. It was a hard r.

Tina: 25:21

Yes, it was a hard r but if your wife's black, what's your intention behind hard R? Because clearly you don't hate Black people, right? I mean, partaking in that area and having an affinity does not necessarily mean that racism is not a part of your culture or even a part of the habit. Maybe that you're used to. Maybe you're not an extremely racist person. Maybe you've been brought up in a culture that has perpetuated that, so you don't necessarily believe that about the people you're talking about, but you're used to hearing the term in the language. Maybe that's what he's doing in his film he's just flying out.

Tina: 26:05

You're not even conscious of it, unfiltered.

Chris: 26:07

It's just an unfiltered way of how you speak.

Speaker 3: 26:09

Yeah, lots of ways to look at that. I guess that makes sense.

Chris: 26:14

Vincent goes to visit Lance. Lance is the guy with the wife with the piercings. With the piercings, lance is Eric Stoltz. That Lance is Eric Stoltz. That's the actor who also played in Elephant man, I think that he was known for the Elephant man movie.

Speaker 3: 26:27

Great actor, great actor, great actor.

Chris: 26:29

So Vincent goes to visit Lance to get a bump and this is where we find out that Vincent is a heroin addict. I had no idea until this happened that damn he on that stuff. You know what I'm saying. And so he actually ends up buying some special blend that he said, okay, this is this much, is this much, but this is the special stuff that'll knock you on your ass, or whatever stuff. So vincent buys that and he asked him can he shoot? Shoot it up at his house. He shoots it up at his house.

Chris: 26:59

Essentially, I feel like vincent was getting high because he was given the task to hang out with Mia Wallace, which is Marcellus's wife, and he knows she's a wild girl and if something happens to her, you could, you could lose your life. So it brings a lot of pressure because that's a lot of responsibility you know what I'm saying when you have to do whatever she says, but you can't let her hurt herself or it comes back on you. Let me. Marcellus' club was teasing him about it. Oh, you got to take me out, huh, have you ever met Mia? And then they started laughing at him because clearly he don't know Mia.

Speaker 3: 27:53

Right, it's a wild girl, or trouble is coming with her, right.

Chris: 27:56

Yeah, uma Thurman, wild girl, right. So I think he took that bump at Lance's house to kind of ease ease the stress. I guess because he could have waited till after and took it to relax after the night was over. He took it before that's an interesting take. You know, I'm saying he was like I'm gonna get high now.

Chris: 28:17

So I can kind of get high and get through the process, because I think after the laughing and the jokes they were making at him that he knew she was gonna be a handful. Without even knowing he. He kind of probably knew like okay, they laughing about Mia, she's probably gonna give me a hard time at night, which she really didn't. She likes to have fun, right. She's a fun girl, right. Maybe Marcellus is more subdued, he's not that type of dude, so he's like what, just have one of my goons, take her out and have fun or whatever. Which is kind of weird. You got your boys taking out your wife.

Chris: 28:47

What you think about that. How would you feel if your husband or boyfriend had one of his friends take you out?

Tina: 28:54

I mean that's loaded.

Chris: 28:56

That's a loaded question. That's loaded.

Tina: 28:58

You know, it's interesting how people see Mia, because I think the first time I ever saw that film, I looked at it like, yeah, she's just fun, she likes to go out. You know, maybe she's a little bit lonely because her husband's away and she just likes to have a good time, but she's also being entertained by some of his goons. To a certain extent she is pushing the line. She is.

Tina: 29:19

With, you know, just trying to dance with them, and just she's pushing the line. So I sometimes wonder if that was sort of like a hint to maybe something deeper than that like what?

Tina: 29:28

maybe she was having an affair on not necessarily that she was having an affair, but maybe that she enjoyed kind of like having, you know, being escorted by another man, having that flirtation and having, because we don't really see her. If you look at the entire scope of the film, we don't see the interaction between marcellus wallace and mia until they're by pool, they're at poolside right through the whole film. I think that's slightly intentional and so if a woman is left alone often you know all the time and her husband's working and he's this big, powerful man and she's not really being entertained, maybe she's a little bit more fiery and fun, like we see her character, fiery and fun. I could see how, you know, maybe she'd be pushing the line a little bit, maybe not crossing it, but maybe pushing it.

Chris: 30:12

True, because there was a discussion between Jules and Vincent before they went into the guy's apartment.

Tina: 30:18

About what happened last time About the foot massage.

Chris: 30:20

That's right, and I never thought about a foot massage until I saw that scene. And I'm like Vincent is right If it wasn't that big of a deal, would a man give another man a foot massage? And that is true, I would not give another man a foot massage.

Tina: 30:33

How many wives you know go around letting other men give them foot massages? I'm just saying.

Chris: 30:37

So it was more. It was more. It's not as simple as a massage. I don think so. Yeah, you know, and I guess that's what vince was trying to tell samuel jackson's character like yo, yeah, you could get shot over giving somebody's wife a foot massage. Yeah, oh, I think in this case they said that marcella stood a guy through the window. Yeah, four stories over giving his wife a foot massage, which later on we found out that might not have happened, right, you know.

Tina: 31:02

According to yeah right.

Chris: 31:04

She said do you really think? Yeah, so we, we don't really know if that's actually what the deal is, with the guy getting thrown out the window. So vincent is hired in a kite. Uh, he's higher hired in a kite.

Chris: 31:20

When he goes to pick up mia in this big mansion looks Looks like it might be in a valley somewhere in LA she starts off immediately playing games, watching them on a security camera, not even being at the door waiting for them. She's watching them walk around in the house. Go get a drink, I'll be down in two shakes of a tail feather or something like that. She said she starts off just playing games. I'm like, oh, she said she starts off kind of just like playing games. I'm like, oh, she wanted those. Like she want to see what you're going to do in her house and she, she kind of just want to play around.

Chris: 31:52

I feel like she's a free spirited woman and she's just kind of going to do whatever she wants to do. Cause even when she comes downstairs she's like okay, let's go. Like she kind of orders them Like let's go. Like she kind of orders him like let's go. It seems like marcellus didn't have a id. It feels like marcellus didn't understand the type of wife he had, because had he known that, he'd have known that she was doing too much on the blow. She's doing a lot of blow. She knew a whole lot of blow. She was doing it. When he picked her up she took a bump, then you know what I'm saying.

Speaker 3: 32:25

So she got high.

Chris: 32:26

He's already high off heroin, she's high off coke and they're going out. That's a recipe for disaster Immediately, right, but what do you think about what I was saying about her like kind of playing around with the situation when he came over Instead of just taking it more serious? She kind, like you know, watching them on security camera. What do you think that was about?

Tina: 32:45

I feel like my perspective as a woman. I think that she was calculated a little bit. I think she was kind of looking at him, observing how his behavior would be. She was checking him out. She could have been checking him out for attraction levels. She could have been. I think there's a little bit.

Tina: 33:01

I love me as character I do too, and I think that her character is very clean, very solid, but I feel like there is a hint of like her being a little bit flirtatious and, um, maybe being a little bit lonely, and I think that that, to me, is what you're seeing when she's looking and observing and kind of you know, coming out barefoot and like sort of has a red lipstick on, and it's like there's a. There's kind of like a vibe there. That's like where there's like a little bit of her being meticulous about how she engages him and sort of looking at how he is in her environment. I think that's methodical. I actually think that that kind of leads her into the space where she ends up later after they have the dinner. I think she's pushing the envelope every step of the way, from inside of the home to the point where they're sitting down at the restaurant, and I think there's a reason for that. I think she likes flirting with danger a little bit.

Chris: 34:01

Do you think it's because it was Vincent, or you think she's kind of like that with anybody? Marcellus would have sent there.

Tina: 34:07

I think some of it had to do with the mystique of Vincent, because if you kind of look at Vincent's archetype and you look at Mia, it fits pretty well from you know they have this sort of quirky kind of eclectic. You know vibe, they're a little different. You know hairstyle style is a little different and I think maybe she saw like a little bit of you know herself. And because he's the entire, he's the opposite of what you see with Marcellus Wallace.

Chris: 34:31

Yes.

Tina: 34:31

Even with the seriousness, how playful he is and how aloof he is and like right.

Chris: 34:36

Yeah.

Tina: 34:36

I feel like he's sort of like, you know, has Mia's sort of demeanor you know in a man's, you know form Right sort of demeanor, you know in a man's, you know form Right, and I think that part of her maybe might have been a little bit intrigued, I won't say attracted, I'll say intrigued, by that Intrigued.

Chris: 34:50

Not really intrigued. Okay, I can see that. I can see that being a thing because in the beginning see one thing I want to say about Uma Thurman her eyes man, she got beautiful eyes.

Chris: 35:00

Gorgeous eyes beautiful eyes, gorgeous eyes. My wife has nice eyes, but her eyes when I was looking at this movie I'm like man. She got some nice eyes and the way she was like studying him when she was looking at him. It didn't. It did feel like it could have been an attractiveness, but it felt like also she was studying him right the way she was just staring at him, almost like she was looking through him right and he was so high he really didn't pay attention.

Chris: 35:25

Yeah, he wasn't paying attention to him, but she was looking dead at him locked in on him and I was just like wow, like he doesn't really understand that she's reading him right now, as he's just his mind is all over the place. He really just wants tonight to be over with. Honestly, he really just wants to be over with. He sees it as like he got a bad assignment from the boss.

Chris: 35:49

He's not even looking at it, like he can have a fun time with his lady and just have a fun time with a friend. He's looking at it like man. You stuck me with the kid. You know what I'm saying, so he kind of went into it. Vincent went into it with the wrong way of looking at it he could have. He ended up having some fun from it, but you know, in the end it kind of turned really bad.

Chris: 36:09

Yeah, it did uh, so they they get in a car and uh, they go to a place called jackrabbit slims, which is it looks like a restaurant where they have old hollywood figures marilyn monroe Right. I forgot what the guy's name is the dude who did the talk show, Merv Griffin, or something like that, but 50s, 60s Hollywood people. Now I looked this up. When this movie came out, everybody thought that was a real restaurant. Ah interesting, everybody actually thought that was a real restaurant. You know, they did that at.

Chris: 36:42

Mel's, I know I heard about that. I heard about that. So it's interesting how cinema can make people think things are real. He did such a good job with the setting of that restaurant. People was like that has to be a real place in LA, Right, Like it has to be a real place. But it was interesting the way it was set up because it was a restaurant but you had the huge dance floor in the middle Right but you could sit in a car table.

Tina: 37:09

Right, that was kind of dope. I loved it. I liked that. Yeah, classic cars I loved it.

Chris: 37:13

And you would listen to 50s music if you're into that type of stuff. So I'm like if somebody would have turned that actually into a real place like that and it's still and it really rocked out like that, today it might be a fun place to go to on a date, you know, to kind of break the ice with somebody and stuff. But so they're in a restaurant with the Hollywood characters and everything. She Mia enters them into a twisted contest or whatever stuff like that.

Chris: 37:39

She said I want to win that trophy and once again, her being the boss's wife, you cannot say no, you know, I'm saying, and she even says something to the fact that you have to do what I want to do, like so he couldn't even say he. And he did say I don't want to dance, she's like no, she, she enforced it. Like no, you were gonna dance, going to dance, we're going to do the twist. And they end up eventually winning the trophy, which made her happy. But at one point in time, before their food came, she went to the bathroom. She took another bump.

Speaker 3: 38:15

Right.

Chris: 38:16

This woman was all over the place. Do you think that Marcellus, if he would have known his wife was doing this, this much coke? Do you think this something that would be normal in their household, or is this something he would put a stop to?

Tina: 38:32

I think it's normal in their household I think you know I think he knows who his wife is. He's too methodical not to I think he knows who his wife is. He's so calculated in the entire film. So calm, cool, calculated, um, they don't show him rushing into anything. He's very like. He just strikes me as the type of man that knows who his wife is.

Chris: 38:52

He wouldn't have missed that detail.

Tina: 38:53

I don't think he would have missed that detail that his wife is a super cocaine.

Speaker 3: 38:57

Yeah, I don't think.

Tina: 38:59

She's taking bumps all over the place, cause the women in the in the bathroom all over the place because the women in the in the bathroom they're just working on their makeup.

Chris: 39:06

She's the only one that's stored in coke, right like it's nothing doesn't it comes out everybody yeah, she just right in front of everybody, in front of every. She has no shame, you know. But that's what I like about her character, like she's gonna be whoever she is right. You, you know right it's one of those things where it's like, you know, whoever she is, people would just have to adjust to her.

Speaker 3: 39:23

Right.

Chris: 39:24

You know she's not going to change who she is for you, so I always like people like that too.

Speaker 3: 39:28

Just be who you are.

Chris: 39:29

Yeah, I agree. Stop worrying about what people think of you, because half the time, most of us are worried about what people think of us.

Tina: 39:35

We don't even know.

Chris: 39:36

Yeah, you worried about people you don't even know. You put some up on the internet and Johnny pants 172 says you're ugly and it hurts your feelings.

Tina: 39:44

Right, you don't even know who that dude is. Everybody got opinions, yeah.

Chris: 39:48

It's like stop worrying about what people think and just do you as they say, do you? So yeah, she takes another bump. She takes another bump in there. They have a great night. They win the trophy. Yeah, they go back to Mia and Marcellus's house. He takes her back there and she puts on music. She starts dancing.

Chris: 40:08

She wants to have a good time. She don't want the night to end, which tells you she had fun. Which also tells you that she might, like you said, be more intrigued with Vincent. She wants to see what he really got. Let's see what else he got going on. Meanwhile, vincent is in the bathroom going through it. He's in the mirror like oh man, I'm just gonna have one drink with her right and I'm getting the hell up here.

Chris: 40:32

I do not want this man showing up, and I'm still here partying with his wife. So I I understand Vincent's point of view too.

Tina: 40:38

Like yo, I want her to be happy and I want my boss to be happy, but I want to stay alive.

Chris: 40:43

I don't want him to walk in and we're kissing, doing something we're not supposed to be doing, because we're going to end up in death on my side. So I get his nervousness. But while he's doing that she finds the bag of the good stuff that he got from Lance the killer heroin. It was actually heroin. The killer heroin, it was actually heroin. She sniffs it, which is not what you're supposed to do with heroin and immediately you can tell she messed up. She made like a noise, like oh man, that does not look good. She did a weird noise and you could just tell like, yes, immediately, immediately she should not have done that. And cool, uh, shout out to, uh, to the makeup people. But they had her really looking like she oh yeah, absolutely.

Chris: 41:32

Oh, it's a great scene the way her eyes looked and stuff coming out her mouth and the nose, everything sweat out all of it.

Tina: 41:40

I said yeah whoever did that?

Chris: 41:41

they? They got real in-depth with how a person who OD looks, because I was convinced she was definitely ODing, right right. So when Vince comes out, when Vincent comes out of the bathroom, he immediately knows he's in trouble, not really her.

Chris: 41:57

He's in trouble. You are supposed to protect and show her a good time, show Marcella's wife a good time. You come outside. She's OD on your drugs, not her own. So he immediately panics, big time, big time panics. And he calls Lance, which is the which guy he got. He got the drugs for me. He calls Lance and Lance is watching TV. He's watching TV and it's like four in the morning because I remember his girlfriend saying something about who's doing this at four, some in the morning.

Chris: 42:32

So lance doesn't answer the phone initially when he calls him, he lets it ring. Lance eventually answers the phone. He says don't bring that girl over here. He kept calling her bitch, don't bring that you know drug bitch over here and stuff. Vincent didn't care. Vincent's like we need to. You need to give her an adrenaline shot. Now I'm trying to figure out how would would Vincent know that he had an adrenaline shot there?

Tina: 42:55

I don't specifically remember that part, I think it was like he called. He called him and he was frantic, basically saying you know, you gave me this, these drugs, and now I got, you know, I got one of the most important humans in this moment right now dying on me, essentially, and we need to do something to fix it. I'm assuming because he knew his background, right, he had some background in the medical the wife was, I think, a nurse, trudy, and they had some background in the medical field, right. So I think he essentially in his mind, he's thinking let me take this person to the one place where I can go to get immediate assistance you know what I'm saying, cause where else is he not going to be able to go to hospital and do this? Right, everybody else is going to be aware of it, right. So I think that was kind of like a desperation. It was like let me go here in desperation, and you know, the drug just was on the phone Like no, no, bring her here, don't bring her here, right.

Chris: 43:49

And the wife was saying do not bring her here yeah, they did not want no type of problems with that, uh. But essentially they give her an adrenaline shot in the heart and she wakes right up, right, she snaps right out of it and I kind of heard that's how it works too, like you hit them in the heart with it and they kind of immediately wake up. When it works. Sometimes it doesn't work, the personires. But now we get to a scene, like you were saying, where Tarantino mixes up focus points of movies. So now we get to where we're showing Butch as a kid.

Chris: 44:21

It jumps right into a scene with Butch as a kid watching TV. His mother brings in a military guy who talks to him and says that I'm your father's buddy from the military. He tells him a story, a war story, about the grandfather having a watch, a timepiece watch, whatever and wanting to end the war with I want to say Korea, giving it to Korean soldiers, saying that I know I'm getting ready to die, make sure my son gets it. So Butch is hearing a story about how the grandfather got a watch to his father and then this watch is given to him. The weirdest thing. And if I ever met Quentin Tarantino I would have to ask him Quentin, why would you put in there in the story that?

Chris: 45:08

they put it up their ass for five years, five years and then the other guy did it for two years, so it's been two people's butt for seven years total and you're giving it to a little kid. I mean, that was the weirdest story ever it was. So I got to ask Quentin, if I ever meet him, like, why would you put that in the story? Because he actually could have just left that part out of the story, the butt stuff could have been left out.

Chris: 45:34

But I it was funny when I first, when I first saw it even when I saw it recently watch I was like that's just hilarious that they put in their butt. But I mean, I guess you do what you got to do, but to give that watch to a kid it's almost like how would you, even he, came to his house to tell him this story, give him his watch. But so and Butch wakes up and I'm assuming Butch was in it was dreaming, because he wakes up from that meeting with his father's army friend to wake up with a bell ringing because now he's in the back room of a boxing event and he's getting ready to go fight now. So that was kind of dope. How Quentin did that too, I agree, he took him to the childhood. He woke up in reality getting ready to fight. That was kind of dope. It played an important part because that watch meant a lot to him and we found out later how much it meant to him, how much it actually meant to right.

Chris: 46:29

You know it was all fun and games when he was when, when the military guy was telling the story, but in the end that watch meant a lot to him, like it meant he was willing to risk his life right for that watch absolutely and we all have those little trinkets that our grandmothers you know grandfathers, people in our uh lineage might leave for us and stuff.

Chris: 46:49

So I get it. You know my father's left me a lot of stuff that I would never get rid of, so I kind of get it. And it was actually kind of good that we saw Butch as a kid, because they didn't really give us a lot of information about Butch. We understood that he had this thing going on with Marcellus about throwing the fight, but that's all we really understood until we got to them showing him as a kid and you've seen his mom and the whole watch story and stuff like that. So that was kind of cool.

Chris: 47:16

It was done in the right way because it wasn't over-explained. He didn't spend too much time on it. No, he didn't. A lot of directors will spend a lot of time developing a character, their backstory, and I think the sweet spot is just give people what they need to know. Don't, you know, overdo it. You know what I'm saying. So I think he did it wonderful with Butch's character. The problem is Butch wakes up, he fights, he kills his opponent, does not take the dive, which is what he was paid to do by Marcellus Wallace, which is what he was paid to do by Marcellus Wallace, which automatically puts him his life in jeopardy. You cannot do that when you you pay by quote unquote the mafia to throw a fight. Better throw the damn fight.

Speaker 3: 48:01

Right.

Chris: 48:02

So which lets you know that when Butch was sitting down initially with Marcellus, he knew he wasn't going to throw the fight.

Tina: 48:11

He knew he wasn't.

Chris: 48:11

He was literally lying right there in his face. Even when he repeated it to Marcellus, he was never going to throw the fight. But not only did he not throw, he didn't throw the fight, he killed the opponent. That was crazy, you know. It was crazy that he did that. So he kills his opponent. The next thing you see is a great scene with him throwing his bag out the the, out the window. Look like like three stories up. He throws the bag out the window on top of the taxi. He jumps out the window, he's in the taxi and at this point marcel is pissed yeah, he is pissed, he's heated, he is heated to the point where he say he don't care where in the world he's at, we're gonna find him.

Chris: 48:52

you've seen whoever you gotta find. No, don't care where in the world he's at, we're going to find him. You send whoever you got to find, no matter what part of the earth he's on, find him. So I'm assuming that Marcellus put a lot of money on that fight and lost a lot of money, a lot of money. And we found out later that Butch did the opposite.

Speaker 3: 49:10

He laid some bets around town on himself, right.

Chris: 49:14

And he made that outcome happen to benefit him.

Speaker 3: 49:17

Right.

Chris: 49:19

That just shows you how clever Butch was in this whole thing. He seemed like the quote unquote dumb jock, dumb boxer. He had mapped it all out from the very beginning. Like I'm going to take his money. I'm going to make him give me some money, right, then I'm going to do the opposite of what I need him to do I mean, what I was supposed to do and make more money.

Tina: 49:40

So he actually ended up being a, you know pretty a pretty smart guy right in the whole thing.

Chris: 49:42

Um, so he gets in the cab, he goes, and I want to, I definitely want to ask you about this. He goes to the motel to his girlfriend. They spent a lot of time. They spent a good 11, 12 minutes. I timed it with them in the motel From when he got from the boxing match to when they left the motel. Why do you think Quentin spent so much time? He spent more time in that scene with those two in that motel than any other scene in the movie. What do you think he was trying to tell the viewers in showing that much screen time between those two people in that hotel room?

Tina: 50:18

I think without that scene you're looking at Butch as sort of like boxer slash henchman. If you will working underneath Marcellus in this situation, right, you could tell that although we don't see him doing like criminal activities, he's definitely not a straight-laced boxer like he's. He's come from some great world.

Chris: 50:38

Yeah, he's in the world you could.

Tina: 50:39

He's, he's, you know he's in the scene with, with all the other men. He's not intimidated by it at all you know he's, he's ruffling some feathers while he's there, so it lets you know that there's been some. You know, I think him, he and and Vince had some previous issues things of that nature.

Tina: 50:52

So I think that it kind of like humanizes Butch. I think the moment where he's in the hotel room with her and you know they're talking about you know pancake breakfasts and you know things of that nature, and she's even at one point describing a scenario where she wants to, like, have a baby, you know, I think it humanizes him because it's almost like he's a protector in this space. You see a different side of Butch in this space. He's not the fighter, he's showing her some affection, some attention and essentially everything that he does in this moment. He's bringing her along for that ride also, right. So we see that this is somebody significant in his life, because we would just leave these things behind if they weren't, right. So I think that I think that it allows you to feel for Butch.

Tina: 51:42

Okay, um, I think that's what it gives to the audience. You get to humanize him and see him as being, you know, more um. And it's something that he did, if you really think about it. He did this in the beginning sequence when he was in that restaurant and you could see the dialogue between Honey Bunny and her husband. You could see sort of this banter between them. Before, like kind of that, the wild stuff was revealed, right, I think he does the same thing in the moment. He spends a lot of time with them in the beginning of the restaurant before they get to that space. He spends additional time with butch's character um, when he was with his significant other. So I think that's, I think that's why that that that exists in the film. It gives us a window into another side of butch that we don't otherwise see in the film so more or less like just humanize and make them okay, that makes.

Chris: 52:29

That makes sense, because when I was watching I'm like, damn, that's a lot of screen time for these two.

Tina: 52:34

You know what I'm saying you care about what happens to butch in this movie, though yeah we're invested in butch in this movie, and I think one of the ways that filmmakers make that possible is by giving you something to hold on to, where there's a vested interest, where you want to see them get out, because we don't care about the character. The character doesn't't mean anything to us, we're not invested in them, it's just another movie, right? That's true. I think that's what it is. I think it serves that purpose, at least for me, that was my perspective looking at it. No, no, no.

Chris: 53:00

That actually makes sense, to humanize them and to make you quote unquote fall in love with that character to where now you're invested in finding out whether they make it through fire or not Right, you're right, you're right, you're right and, as a screenwriter, you definitely want to keep the audience engaged in characters as long as possible.

Speaker 3: 53:21

Right.

Chris: 53:22

You know all the way to the end of the movie and see it all the way through. So no, that makes sense. I'm glad you cleared that up. That was initially what went through my head. It made me go back in time and I'm like, damn, that's a lot of screen time with just those two in the hotel room, like just those two. But it made. It made sense. It made sense. It humanized him. It made you feel sorry for him, made you love his girlfriend, his girlfriend, yeah she.

Chris: 53:47

You know you gotta, you know you had a feeling about her, but he's still in trouble now. But Butch, I don't even know if I would have went back to. I would have called the hotel and say, look, we got to meet somewhere else. I would be too scared to go back to the motel. I would probably have called my girlfriend there and said meet me somewhere else because Marcellus wasn't playing. I would just be too scared that. He knows he has too many connections in the streets and you know he would find out where I live. But he pays the taxi driver, which is a lady. He pays her for the ride. He also pays her extra to keep it quiet.

Chris: 54:24

Anybody asks about a guy like me. You don't know nothing about it and then she just drives. She takes his money and drives off. He gets on the phone. And, going back to his bets, he gets on the phone, he talks, I guess his bookie. He asks his bookie did you place the bets?

Speaker 3: 54:38

Right.

Chris: 54:39

And it sounds like it's about seven or eight bets in the book. He was like all of them should come through, shouldn't be no issue. So it's almost like he's wrapping up everything before he leaves, because he definitely is planning to leave town.

Chris: 54:53

He's definitely planning to leave town, yeah, but he needs that cash first so he already got a little bit of cash from Marcellus, but then that extra cash is coming from what he did in the fight and then I guess his plan is just to skirt with his lady and start a family and move on with their life. But what happens is and this is big the next morning he's looking for the watch. The watch isn't there. He goes ballistic on this girl Something that you wouldn't have thought. After they didn't made love, they showed his lovey-dovey and stuff and he just went. He called her an idiot or something like that Retarded.

Chris: 55:30

He called her retarded and stuff like that. He started throwing stuff and had her in the corner balled up like I don't think she's ever saw that side of butch, do you think? I don't think she saw that. She never saw that side of. She knew he was a boxer. Yeah, he had some violence in him, but not towards her right and this is the first time he lost. He totally lost it and once again it's because of how important that watch was. It just wasn't a regular watch and I don't even think she understood how important it was until he blew up like that. You know what I'm saying, because he even said I don't care what you would have done with everything else in this room, that watch, I told you what to do, I told you where to get it and to bring it. So he was really kind of and even when he got in the car to go retrieve the watch, not to forget that watch he was still talking a little bit of mess about his girlfriend like I

Speaker 3: 56:19

guess you'd be that stupid and stuff like that and uh.

Chris: 56:23

So the watch meant a lot to him. It was his father's watch and and, like he said, you know a lot of people had to suffer and die to keep that watch, you know in the family. So it meant, it really meant a lot to him. So he goes back home, which is the dumbest thing you can do when you know the mob is looking for you.

Chris: 56:41

But he wants that watch Right and just like a smart guy Marcellus would have, he had one of the henchmen, vincent, waiting at his house for him. But Vincent which I thought was he was way smarter than this, but apparently he wasn't he leaves the Uzi on the kitchen counter to go use the bathroom. So when Bush comes in, clearly he just grabs the Uzi, vince comes out. That's the end of Vince right there. That was always a weird scene to me because I'm like if you would have just took it in there with you, you'd still be alive. You left it on the counter. If you expect him to come back home, don't leave the gun right there.

Tina: 57:21

If that's what you're expecting you know what I'm saying. Yeah, I mean, the dichotomy between their characters is really deep, though it's really deep between Jules and his character. The differences there are very deep. Yeah, and Quinn does some things with those characters that you can see. It's. It's more than even um John Travolta's character being aloof.

Tina: 57:44

He's aloof through the entire film he is there's points where they point out going to the car. I think they're um, he's putting on his safety, vince isn there's, like there's. There's various different things that you see in the film where it's kind of like you can tell that Vincent is not really fully aware of some of the things that he should be aware of in his line of business aspect of the film that nobody really talks about. What it would be like if Jules' character wasn't there to support Vincent's character, because Jules is always sort of that sounding board that's paying attention to, observing everything, looking at everything in the room, everyone in the room. He's the most talkative person in the room, he's the most methodical in the room. You see that everywhere, even in the restaurant, right, this is the one thing I want to point out about this scene that I noticed a lot of people don't see.

Tina: 58:37

This is the one time you really see Vincent in the movie where Jules isn't there Really think about that where Jules is not there and when he's with Uma and Jules isn't there, he does the same thing A lot of his decisions when, when, when he's not working and he's just on his own and he's making certain choices and certain decisions. They're they're not great decisions. He makes a lot of mistakes, actually, and we see that through the course of almost the entire film, so I'm not surprised that his character leaves this gun, you know, in the kitchen while he's in the bathroom. Would have been like what the hell are you doing?

Tina: 59:13

don't exactly, you gotta go you gotta go take you know pee while we're here to you know it would be a whole conversation it would be a whole conversation.

Tina: 59:21

You know what I'm and that's something jules would never do ever leave his weapon behind, never, right, but that's. I think that that's the clear juxtaposition between their characters. That quentin, sort of like you know he does it, it's sort of it's it's not advert, like you don't notice it and everything. But I see little pieces of you know different scenes of this film where you can see when Vincent's on his own and he's left like to his own devices. He's just very aloof and he's not aware of his surroundings and not aware of certain types of conversations. We can get into that.

Tina: 59:51

But even he even does it with jimmy, if you really think about it. Right, he does it with harvey, right? Yeah, so there's, there's this running theme with vincent that we see in the movie that, like again, a lot of people don't talk about this, but that's something that I definitely noticed between the two characters.

Chris: 1:00:08

Okay yeah, the more I think about that scene with butch killing vincent. I think he killed him over over, whatever, whatever happened in the past, absolutely, and when that bar incident happened they almost got into it. I think it came down to that because remember they looked at each other for a couple seconds, absolutely and it was almost without, without butch saying it. It was almost like remember that shit she was talking at the bar.

Speaker 3: 1:00:32

Yeah.

Tina: 1:00:33

It was like a showdown. Yeah, he didn't have a gun to fire back.

Speaker 3: 1:00:36

He didn't have a gun to fire back.

Chris: 1:00:37

But, the look in his eyes was like I could let you go. But I'm not Remember that shit at the bar. Remember you was talking all that at the bar.

Tina: 1:00:45

Definitely.

Chris: 1:00:46

You're going to have to catch these Because technically he could have tied him up, knocked him out, tied him up. You got the gun. You could have done anything you want to he killed him, he killed him and that was personal. I feel like that was personal. I feel like it was personal too. Whatever they had in the past. It was serious and whatever was supposed to happen at that bar scene, he cleared it up right there.

Tina: 1:01:08

No, I agree with that. He cleared. It was definitely.

Chris: 1:01:10

There was definitely animosity between those two characters for sure, and that pause before he shot him, let you know it was some animosity. I could let you leave or live. We're gonna just get rid of you right now. You are throwing in my side at this point, uh. So he essentially, uh, kills vincent, uh, he gets back in his car. His little, he had a Pinto or something like that, something very small, but now he retrieved his watch, which is important. He did get his watch back. So all this it wasn't for nothing. He got his watch back. He kills Vincent, he gets back in his car and as big as LA is as huge as the city of LA is.

Chris: 1:01:52

He drives down the street and runs into. Marcellus. Walking with donuts or something in his hand crossing the street. I was like only Quentin would draw up this scenario. This would never happen in real life. Put him right at the crossroads, right there, marcellus look and look, butch ain't no joke, he ran him over Right there yeah, marcella's look.

Speaker 3: 1:02:12

Yeah, like.

Chris: 1:02:13

Mm-hmm, and look, butch ain't no joke. He ran him over. He didn't go around, right, he didn't back up. We going to end this problem right here. He ran. I'm laughing, but I'm just like, yeah, if Butch is mine, he, like I, can tie up all loose ends with this run over right here. So he tries, but Marcel is a big dude, big dude, he can take it.

Chris: 1:02:38

Yep, he rolled over the top of the car, fell down and he kind of took it.

Chris: 1:02:43

But I know in Butch's mind he was trying to kill him. He wasn't trying to just get him out of the way, he was trying to kill him because he was, he was trying to get back to the hotel to go get his girlfriend, so he kind of get out of town. So I know that was the end result. But I feel like the real boss would have been like OK, you don't take a dive in the fifth round, but until that happens, your girlfriend is going to be sitting right here with me. Girlfriend is going to be sitting right here with me. Like I feel like it wouldn't have been that easy in real life for Butch to just not do what Marcellus told him and just leave town. I feel like Marcellus would have been smart enough to be like, just in case, your girl's staying with us or we got somebody at the motel watching her until you throw this fight. He gave Butch a lot of freedom to do what he wanted to do around.

Tina: 1:03:35

Yeah, to move around I mean, you know, I think there's sort of like this mystery of marcellus wallace being like this ruthless man that like takes no shit from anybody right, and you know, you, you see that through other. It's not so much him barking in the film, but you see that through everybody's description of who Marcellus Wallace is in the movie. So I think Butch puts his girlfriend in a hotel. You know they're not at his apartment, they're not at his house, because I think he's already securing, like you said, his future plans to move away. And I don't think he's just securing a little bag to move away.

Tina: 1:04:12

And I don't think he's just securing a little bag. I think he's securing a bag where he doesn't have to ever worry about being in this situation ever again, which is why he plays both sides the losing end when it comes to the fight. Even though he's agreeing to it, he doesn't do it and he's also placing bets outside of that. I think he's doubling down and he's like I'm never coming back to this place, right, but he puts his girlfriend up in this hotel, sort of like as a, you know, in a motel, as a like a stowaway, almost. You know, I'm going to come back and grab her when we're almost on our way out of town. So I don't know if it's intentional that marcellus thinks that when he sends his two main goons to go get butch that they're going to come up empty-handed, because we see them in the film and they never come up empty-handed. That's true, right, that's true they're pretty solid.

Tina: 1:04:53

They're pretty solid when it comes yeah, when it comes to you know to, to tracking down whatever it is they're looking for. It just so happens, at this one time we've only got vincent at the location when butch shows up, right. So I I don't know, but that's a to your point. That's a great question. You know, would you allow so much wiggle room? I think you know he's thinking in his mind butch agreed to throw this fight, there's money on this fight. He knows I'm gonna kill him if he doesn't throw this fight. So maybe you know in his mind he's like if he doesn't follow this, we know, we know who to send to find him. But they fail. Interesting enough, which is also something else interesting about both of their characters, because but Butch is a fighter and Marcellus is a fighter.

Chris: 1:05:34

Yes.

Tina: 1:05:34

You know. So it's an interesting sort of space that you see them in. They're unlike any other characters in the film, actually.

Chris: 1:05:40

Yes, that's true. So in the end, when he runs him over and Marcellus gets woken up by the crowd, crowd of people around him and Butch's characters across the street, yeah, Leaking, I mean, he's leaking, I don't know what head he's in.

Speaker 3: 1:05:56

I don't know what happened.

Chris: 1:05:57

He's leaking and even through all the pain and getting flipped over a car Marcella's like. Where are you at Exactly?

Chris: 1:06:05

And willing to get to him, no matter what yeah and the woman was like he's right over there and he's right over there and he instantly pulls out his gun and it starts. But he's kind of wobbly because he just got ran over by a car and Butch is kind of wobbly because he just had a head-on accident running over Marcellus. So it becomes a shootout and they have a small shootout where he's chasing them and Butch runs into. I don't know what to call this place. It's like a racist television fixer shop.

Tina: 1:06:37

It was extremely racist.

Chris: 1:06:39

I don't even know what to call it Racist hell shop, I don't know what it was. But as soon as you open the door it's like a flag, confederate flags and all this other stuff, and so, butch, goes up in there. The guy's like you know what are you doing? Can I help you? Shut up, shut up. Of course Marcellus follows him in there. They're fighting on the floor and I want to say the shop owner calls Marcellus a nigger. I don't Maybe. I think he did. I think he called him. I think he called him a nigger. He did when he was on the phone telling his friend about who he is yeah yeah yeah, he did call me, I got one white

Chris: 1:07:19

boy right behind the nigger, something like that so I'm like, okay, they really he going hard with the, even the hard, hard are right with the hard hard are. And at that moment, at that moment, butch was getting ready to kill marcelle. He was like say goodbye, yep and it was ready to be over, ready to do a man, right there it was going to be over until the racist guy pulled out the shot, yeah, and was like no, not not in my shop.

Chris: 1:07:46

Yeah, it's not happening right here, and I remember when I first saw this, I had no idea with where this was gonna go at that point, nobody did and it was just like where it went, oh my god, that's tarantino, tarantino why did you do? Why did you? Take it there cold, this scene in the whole so yeah, it's a cold scene, so he calls the racist guy. I don't even know what his name was, but one of them was that was that. Which one was it?

Tina: 1:08:19

there was the one that had the motorcycle and, uh, I forget the name of the guy that was on the phone. I forget zed's, the, the the police officer.

Chris: 1:08:27

Okay so the police officer comes over. He, the shop owner, calls over his police officer friend yeah and then they say we, we need the gimp.

Tina: 1:08:38

I think they call him yeah, he's called the gimp, yeah, and the gimp is like a, a man, animal, leather covered thing the gimp in the basement he opened up a basement floor and something came out that resembled a human covered in totally covered in leather covered in leather, weird as it is tied up.

Chris: 1:09:03

Tied up, yeah, the gimp. They treated the gimp almost like a dog because he put him in a chain, yeah, kind of hooked him up, because initially I thought the gimp was going to be the one that was going to be doing the violating. Oh, but he wasn't. He was like no, you, yeah, that's you. Look at how you address that's an interesting take like why would he? But the gimp actually was like just a guard dog. He's like you know, I'm gonna chain you up like a dog and you watch him, which is butch's character. And they said we're gonna take marcellus over here and do we gonna do with him now? Once again, I had no idea they was gonna go where that went and quentin did not hold you didn't see it coming not like the gift the gift was the submissive.

Tina: 1:09:48

You didn't see it I. I didn't see it coming when they were upstairs okay, when I saw.

Tina: 1:09:52

When I saw, when they revealed the gift, I knew I knew something was gonna be off. I didn't know where the film was. Nobody knew I knew something was gonna be off. I didn't know where the film was. Nobody knew where the film was gonna go nobody, I don't think anybody, guessed that. But um, but I knew he. I knew he was a submissive, I knew he was a submissive because he had a chain on his uh. He had the uh.

Tina: 1:10:11

I believe he was tied up at the top he was he had a chain on his neck right and so, although he was in a space where he could move around, he was also chained up. So that left. And he was chained up in a basement on top of that, so that let me know that he was already in a submissive space voluntarily. Voluntarily, really, definitely.

Chris: 1:10:30

That's interesting I never saw it, yeah, I mean that makes sense. That makes sense, man.

Tina: 1:10:39

So you kind of so you knew, after seeing that, what they were going to do with marcellus's character I felt like I didn't know that it was going to turn out the way that it did, but I knew that there was about to be something little kinky involved, because we're looking at a submissive. My only question was could it have been somebody that they took and held there and kept there and kind of made that person into the person that we saw? But I definitely, because he's chained up he's chained up, he's chained up and we see what happens after that.

Tina: 1:11:07

Right, but I know that he's in a submissive position because he's not free to roam as he chooses. That lets me know he's in a submissive position.

Chris: 1:11:14

But you also say it is voluntary I think it's voluntary because he says watch over him and he's in a submissive position. But you also say it is voluntary submissive.

Tina: 1:11:17

I think it's voluntary because he says watch over him and he's like he kind of rides Even though he's chained up. He kind of comes up and it's like you know, I got authority over you, but I don't have authority over them. That makes me feel like he was a submissive.

Chris: 1:11:29

Yeah, it was that type of vibe.

Tina: 1:11:31

Yeah, you're right.

Chris: 1:11:40

So no, you're right so butch's character is is tied up in a chair with the gimp right watching over him. Marcellus's characters with the two, two racist guys the cop and the other guy, and you hearing all this stuff going on and it's just horrible sounds. So let's just say that it's a lot of sounds going on in the other room, to where even butch's character was like oh hell. No, I got to get up out of here because I kind of know what's going on in there.

Chris: 1:12:01

And the Gimp was looking at him kind of like laughing or smiling, like you're next, so you're next. But to his testament Butch is a fighter. Yeah, Butch is like. I'm not going out like that, he's not going out like that, definitely not You're going to have to kill me, but I'm not going to wait for them to come in here and get me. So he fought through it and got loose and knocks out the GIMP.

Speaker 3: 1:12:24

Yeah.

Chris: 1:12:25

Totally knocks him out. Going back to what you were saying about the hotel room scene, you got to humanize him and find out that he was more than just a boxer, because we see that in this final act, where he could have left Marcellus, he was at the front door.

Tina: 1:12:40

he could have just walked out, absolutely lived his life and in the film he thinks about it and he thinks, he thinks about it and he and he pauses and I love the fact that he paused.

Chris: 1:12:51

he was like I'm not, I'm not. I already did the dude there. I took the man money, I did him dirty already. I just ran him over. I'm not going to let him go out like that. It was almost like a man-to-man respect. As a man, I can't let him go out like that. Marcellus is a stand-up dude. He got a wife. He a solid dude, he a real brother. I'm not going to let them continue because they was already violating him, because they was already violating them.

Tina: 1:13:14

They were, but I don't think Butch thought that. You don't think so I don't. I think that Butch heard the grunts and the noise from the room, but if you really think about the sound, it almost sounds like they're beating him or killing him.

Chris: 1:13:29

Oh, you think he thought he was getting beat.

Tina: 1:13:32

I think he's thinking in his mind like if I leave him here, they're going to kill him.

Chris: 1:13:37

Oh, they're definitely going to kill him, but he was there he was going to kill him initially before they

Tina: 1:13:41

intervened, right. So I think in his mind it's like he's the enemy, but they're the greater enemy right, because him and Marsalis got some history together. These are some strangers that essentially would have killed him too in the event that they would have had the opportunity. So when he breaks down in that room, in all honesty I don't think that he knows that that's the violation that's occurring. I think he hears the sound. He's like what the heck's going on in there and he goes to leave and he's like nah, wait a minute. And I think he's busting in to save him. I just don't necessarily think he knows what he's going to be saving them.

Chris: 1:14:13

Maybe that's why he pushed the doors slowly, Slowly yeah. You know, because he didn't know what was going on.

Tina: 1:14:21

That's what I'm thinking. You might be right. That's what I'm thinking.

Chris: 1:14:24

That's why he just gently went in there After he grabs the sword. He grabbed the sword and he went in there and that was a scene I had never expected to see. I was like I never expected to see that, to see marcella's getting violated like that by those two guys, and but it was cold, but it was cold. But, to butch's credit, he just wasn't gonna let him go out like no, no matter what our?

Chris: 1:14:49

past was dude. I'm not letting you, I'm not letting them keep doing you like that because, first of all, they're gonna kill you when they get done. Yeah, they're not gonna let you go. You're a black man from LA. You're going to come back and try to kill them. They're definitely going to end your life right after this act of sexual whatever right. So, and I think in his mind he processed that and was, like you know, outweighing the good and the bad. You know, I have made money with this man.

Chris: 1:15:13

We do have a history, like you said yeah to go ahead and save it, and maybe he'll give me some grace, grace right which he did, which he did, so it turned out to be a good thing.

Speaker 3: 1:15:21

Right.

Chris: 1:15:22

So Butch slices, the first man, the first man is sitting there looking like licking his chops just waiting for his turn, waiting for his turn. Weird like this is weird, it's brutal.

Tina: 1:15:30

It's brutal, it's brutal, it's brutal, it's brutal, it's brutal, it's brutal, it's brutal, it's brutal, it's brutal, it's brutal, it's brutal, it's brutal.

Chris: 1:15:39

It's brutal To me to just watch it. I'm just like, oh my God it was. And he's like go ahead and reach for it. Go ahead and reach for it. The cop is scared to reach for. But while this is going on, marcellus has picked up a shotgun and he said move out the way, butch, I got it from here, and he didn't hesitate to shoot him immediately, immediately, but he did but he didn't shoot to kill him didn't shoot to kill him.

Chris: 1:16:12

That's important. He did not shoot to kill him. That's very important. Like no, no, we gonna, we to do some things with you way worse than what you did to me. Way worse. So he shoots a guy with a shotgun in the region where it's going to hurt Right. So the guy's down there crying now. Now he crying because he hurt, he bleeding out, and Butch says so we good.

Speaker 3: 1:16:37

Yeah.

Chris: 1:16:41

He like yeah, but here's a stipulation yeah, you can't ever talk about this and you have to leave, la, and you can never come back. Which to butch. He was like I was gonna do that anyway, exactly, I was never gonna come back, so it didn't bother butch at all. Butch is all right. So even Marcellus did one of these Like all right, like you know. Nice, knowing you.

Speaker 3: 1:17:02

Thank you for saving me.

Chris: 1:17:04

Thank you, never going to see you again, but we ain't never going to see each other again. But I do appreciate you came back when you didn't have to. Yeah, that was a dope shot too.

Speaker 3: 1:17:20

Like when he pushed open the door.

Chris: 1:17:21

I love that shot and he was like the homie came back, yeah, like it was a great shot, like it's a great shot, you know, he came back for me. Yeah, that was kind of dope that he, it was a quick one second look. But marcellus couldn't believe and he was pleasantly surprised like, oh shit, he came back for me. So great. There's, like I said, great directing, great writing on quentin tarantino's absolutely so marcellus basically says I'm gonna get some guys from the hood and we gonna get medieval on your ass.

Chris: 1:17:46

So who knows what type of torture they're gonna do to that cop that's left. But he said.

Chris: 1:17:52

He said he's gonna live out the rest of his miserable life in intense pain or something like that like he gonna go through it and then we're gonna kill him, like we're gonna put him through hell and then we're gonna get rid of him. So butch leaves. He goes to pick up his girlfriend right on the bike. And this was the only time when he went to go pick up his girlfriend that she kind of knowing me because she kept asking him questions whose bike is it? Where are we going? Right, the whole time butch is like just get on the bike. Yeah, he like baby, get on the bike. He starts yelling at him or she starts crying. He like I'm sorry I'm sorry.

Tina: 1:18:27

She's the reason he went through this whole process. Little does she know, right little does she know?

Chris: 1:18:32

man but she's crying or whimpering. He he's like baby. I'm sorry, just please get on the bike. We have to go, we have to go. She gets on a bike, they go. This is what I want to ask you Do you think, do you think, from what you've seen of their relationship, that that relationship that it lasts a lifetime, is that love that strong between those two, from what you saw?

Tina: 1:18:57

I think it would be for what butch needs, because I think you see butch as an isolated character that doesn't really have a whole lot of people in his life. So you know, having somebody like her that he doesn't see as a threat, you know that, um, that's a lot more soft and you know more meek. I think that he could see himself as a protector in that situation so the opposite of what he is yeah kind of his comfort, right she's the opposite of him.

Chris: 1:19:23

She's soft, yeah, yeah and she loves him.

Tina: 1:19:26

It's clear she loves him. You can see, I thought the, the, you know the dialogue that they had in the in the hotel was hilarious, because when he she says you know I want to have this like baby bump, you know he was he says I, I'd punch you in it, yeah like you know playfully but he didn't say that, right, so I'm just like, yeah, I don't know about the. You know the picket wife hitch and all that you know, but um, but I definitely think that you know.

Chris: 1:19:50

Yeah, I could see them writing off in the sunset to some extent think so yeah, okay, okay, yeah so in quentin tarantino style, it goes back in time to where vincent and jules is, back in the apartment with the guys. Some guy comes running out the damn bathroom with a gun blazing. He misses both of them. I don't know how he did shot like five times. The bullet holes holes everywhere, literally behind Jules' character, which makes Jules pause.

Tina: 1:20:20

Yes.

Chris: 1:20:21

Like this has got to be some God-given type of thing that's going on here, because we should be dead. This dude had us point-blank range and he didn't hit us at all, so he has some type of spiritual awakening over that.

Chris: 1:20:34

And Vincent is laughing about it Like he's not taking it serious and Jude's trying to tell him no man, you got to understand. We're not supposed to be here after what this dude just did. And once again Vincent's making jokes he's not really tripping but then he yells at Marvin's character because he says you didn't feel like telling us that it was a guy in the bathroom. You supposed to be working with us. It's a guy in the bathroom with a gun. So Marvin is like I don't know. So they leave the scene, um, and they take Marvin. They take Marvin with them. You know, samuel Jackson said come on, man, let's go. So while in the car, while in the car with Marvin, they're just having a normal conversation about what's going on and Vincent leans back to ask Marvin something and shoots him in the face. Head exposure everywhere is typical Tarantino style gore.

Chris: 1:21:33

Everything's everywhere in the car. Everything's everywhere, to even the point to where Jules is like dude, what is you doing? You just shot Marvin in the face and it was an accident.

Tina: 1:21:45

You can see from Vince's reaction he didn't mean to do it.

Chris: 1:21:49

But he turned around and pointed the gun right at the man while he was talking to him. But Jules is more worried about now. We got to clean the car. We got to figure the car Right. We got to, we got to figure all this stuff out. It's an inconvenience.

Tina: 1:22:01

It's an inconvenience because we're supposed to be done.

Speaker 3: 1:22:03

Yeah.

Chris: 1:22:04

We're done with the job and you just you know you create another problem. So Jules gets on the phone with Marcellus and this is where the pool scene, where Marcellus is with his wife Mia, and this is the only other scene where they're together.

Speaker 3: 1:22:17

Yeah, where they're together. The only other scene Right.

Chris: 1:22:19

Basically, Marcellus tells him he's going to call Wolf and Wolf is Harvey Keitel and I guess Harvey Keitel, I guess they would call him in the mafia, the cleaner. Yeah, he comes to make sure everything gets cleaned up neat and you do everything in a professional manner, because clearly these two guys are not too professional. They're just popping people in the head and back of cars. The level of non-professionalism that they've shown. Like you, let a guy come out First of all. You didn't check the bathroom, so that's kind of on you.

Tina: 1:22:50

Didn't scope out the place you didn't scope out the place.

Chris: 1:22:53

It's kind of not professional. So Marcellus calls Wolf. Wolf kind of wants to know what's going on. So he's on the phone saying like what type of wife is she? When is she coming home? So they figure out they got about 40 minutes before they come home. And this is where we get introduced to Jimmy, who's Quentin Tarantino.

Tina: 1:23:12

Right, it's the first time we see Quentin and Quentin is always he loves cameos in his movie, loves cameos and we love seeing him in his movie.

Chris: 1:23:18

So it's kind of it was kind of dope. He's more concerned with his wife coming home right and I'm like that's typical marriage. It's like we can take any. We can take bears fighting us. We can fight dogs. We just don't want to get into it our wives, right? He's like man. You guys just got to clean this up.

Tina: 1:23:34

Understand my wife Understandably, understandably yeah.

Chris: 1:23:37

And I got that scene totally because I'm just like I can take on the world. I feel like I'm Superman every day, every day, I walk on this planet. I just don't want to piss my wife off Right. That's where it really comes at, I get it. So I got Jimmy's point of view.

Chris: 1:23:51

Like dude. Yeah, I get it. You guys are in a mess. You brought the mess to my house. But this needs to get done before my wife comes home, because he said something about she's going to divorce me. It's going to be a problem if she comes home and mafia things are going on. So Wolf comes in. He immediately assesses the scene. He wants towels and blankets and stuff like that. But going back to Jimmy, jimmy was saying some hard N words with the ER at the end.

Speaker 3: 1:24:21

Right, he was.

Chris: 1:24:24

He went in hard a few times and he was talking directly to Jules. He was like did I tell you, is this the place where you bring niggers? Yeah, he said about seven times. So I can kind of see where somebody like a spike lee or tyler perry would say, okay, now you're the director, you're in this scene and you're the one saying it now. Like it's a difference when you write it for other characters. You saying it now and I can kind of see where it might have pissed off other people in the entertainment industry. But in the end it's just entertainment. Like people kind of take stuff too serious sometimes.

Chris: 1:25:01

You know what I'm saying but, anyway, jimmy's character basically wanted them to get it cleaned up before the wife comes home. So wolf devises a plan you guys, you go clean this, I'm gonna go do this, I'm gonna set it. He was setting everything, he was lining it all up. So in the end, jules and Vincent were arguing about what had happened to, where Jules said I ain't even the one who shot him.

Chris: 1:25:24

You need to bring your ass back here and clean all these brains and stuff up Right out the car so they switch Right he's like matter of fact, we're switching right now, so they switch and they clean. They clean it up, everything is good. It's to Wolf's approval, right. He comes and checks the car and stuff like that. He take him outside, have him stripped butt naked.

Tina: 1:25:41

Right. Holds him down, holds him down.

Chris: 1:25:43

Like prisoners in jail. And that's how they end up with the dorky clothes, right To where even Jimmy said they look like two dorks, mm-hmm.

Tina: 1:25:58

And Jew's like these.

Speaker 3: 1:25:59

Your clothes, dude, I think that's what you try to say.

Chris: 1:26:00

I want to say that's quentin's college on his, on his shirt. Yeah right, yeah, santa cruz, santa cruz, yeah, you're correct, yeah, they had the santa cruz stuff on, but it just didn't fit their characters see the other shirt yes all right, nobody talks about that nobody yeah nobody talks about the other shirt.

Tina: 1:26:13

Yeah, it was an interesting, kind of interesting.

Chris: 1:26:15

It's interesting and quentin is an interesting person but they put on his clothes and they kind of they do look dorky. They got on short shorts right and in the shirts on. So they go from there to a crash yard compound or something, crush cars and a uh, a young lady comes out I guess she she's running her family's company and they get the car taken care, everything's taken care of.

Chris: 1:26:39

Wolf says can I offer you a ride? When they say where they were going, he's like well, you know what I see? A future of a taxi cab.

Tina: 1:26:47

He's like I'm not going out of my way, right yeah. You're going to Anglewood. I'm not doing all that Right.

Chris: 1:26:53

So I see a future of a tax variety in your future, Right. That was kind of funny. So him and a girl get in the car. They.

Tina: 1:26:59

I think they were going to breakfast or something like that. Yeah, they were, they were going out.

Speaker 3: 1:27:02

They going out.

Tina: 1:27:02

They just chilling.

Chris: 1:27:03

You like I got my girl. I'm like I'm not going to Englewood, so, and that's how they end. And now we're going back to the robbery scene.

Speaker 3: 1:27:20

Mm-hmm.

Chris: 1:27:20

It goes back to the robbery. But now you see the other two characters, mm-hmm. Well, initially you see Jules Mm-hmm. Vincent comes out later but Jules is sitting there having coffee, whatever and stuff. Well, no, yeah, they're both there. And then Vincent goes to the bathroom or something like that. He goes to the bathroom he said I got to take a piss. He goes to the bathroom. Jules is sitting there. They rob the place. Jules is very calm, very calm. He's from the street, he know how the game go, but he's almost like he's not flinching. It doesn't even worry him that these two loose cannons are running around with guns and waving guns and stuff like that. And he's so smooth when he takes his wallet out he almost waves it at him. I'm like here you go. I feel like he was luring him over there, because the way he brought it out was just like he could have just took his wallet out and just left it right here on his hip. He was like come here.

Speaker 3: 1:28:10

You know what I'm saying.

Chris: 1:28:12

And true to fashion, Ringo comes over with the bag and then Ringo comes over with the bag. And then Ringo sees the suit going back to the suitcase. He sees the suitcase. He sees Jewel's character, like put his arm around it, telling you something, yeah.

Tina: 1:28:26

I'm not getting this one.

Chris: 1:28:27

Yeah, but that intrigues him a little bit more and he's like what's in the suitcase?

Chris: 1:28:32

And he's like my boss, it's for my boss, it's his clothes or something like that. It's wash day, I'm washing his clothes, or something like that. So he tells open it up. So they get to this thing where he's like you, don't open it up in three seconds, no, I'm gonna kill you. They do open it up once again. The glow jewels get the upper hand on him, pulls his gun on him. Yolanda comes over. Yolanda is erratic. She's just going haywire, which tells how much she loved ringo. Right, seeing that gun to his head. She just lost lost it completely.

Chris: 1:29:02

Yep like she lost everything that she was trying to do and uh, ringo's telling her calm down, baby, calm down, blah, blah, blah. And because jules is going through the spiritual awakening, he lets him sit down, sit right there, takes fifteen hundred dollars out of his own pocket, gives it to him and says and you can keep the customer stuff too. So he left with everything in the bag and fifteen hundred dollars and Vincent was pissed off about that.

Chris: 1:29:32

This was pissed he was like I'll shoot him myself if you give him fifteen hundred dollars. But he wasn't understanding that. You know, jules, something happened to Jules, spiritually, to where he was like I'll shoot him myself if you give him 1500, but he wasn't understanding that. You know, jewels, something happened to jewels, spiritually, to where he was like I can't do this no more, because the the conversation we're having at the cafe. Before, uh, vincent went to the bathroom. He was like I'm done, I'm gonna tell marcellus that's it, I'm done right I'm gonna, I'm gonna walk the earth right, right like david carotene, right.

Chris: 1:29:55

He said I'm gonna walk the earth Right.

Speaker 3: 1:29:56

Right, like David Carradine Right.

Chris: 1:29:57

I'm a walker like David Carradine in Kung Fu and whatever happens happens. But I'm done because we should have been killed in that scenario and you know, god intervened, the bullets or whatever and stuff and Vince once again just laughing it off, but because of his spiritual awakening he said I'm going to allow you guys to live and leave. I don't want to kill you.

Speaker 3: 1:30:19

Right.

Chris: 1:30:20

So he let them make a choice to leave and that's pretty much where it ends. The guys and Vincent says I think it's time for us to go. We're sitting there with guns. And so they get up, they put their guns in the waist and it ends right there. But it was a great script, I love the movie. Get up, they put their guns in the waist and it ends right there. But it was a great script. I love the movie. Uh, I love the way they tied in the beginning to the end and everything in the middle and fleshed out a lot of the characters that mattered, like butch character yeah the way they fleshed him out.

Chris: 1:30:47

It ended up mattering in the end I definitely think so you know it really did. Now I do have a nitpick. I wish we could have gotten more backstory on Jules and Vince to find out how they hooked up with Marcellus, how long. Because clearly they got a relationship the way he talked to him, Because he said my nigga come over here.

Tina: 1:31:07

So, clearly they got a real good relationship.

Chris: 1:31:09

So I would like to know whether it's been 10 years they've been working for him. Did he get him out of high school working for him? But what's the relationship? How deep is the relationship? And if they had been working for marcellus for that long, to where they had that type of relationship, why hadn't vince ever known nothing about mia? So that's kind of what that's why I said that's my nitpick, like I felt like vince would have already because jules knew about me yeah, but this didn't know yeah, yeah, I feel like that's the afterthought in every part of the film.

Tina: 1:31:41

In this movie, in my opinion, I think there's a deeper relationship between Jules and Marcellus, and I feel like Vince is probably sort of the henchman that's been added to this equation that not everybody likes, not everybody gets along with. You see the dynamic with the bartender. You see the dynamic with the bartender. You see the dynamic with Butch. But I also liked back to the closing scene. I also think they do something which, technically, is the opening scene. I think they do something really powerful with that, which is that when Samuel Jackson's character has this spiritual awakening in the apartment, when he realizes, you know, he's not killed by all these bullets and kind of starts to wrestle with that idea as they're moving through the story, by the time they get to the space where they reveal what's happened to him at the restaurant or go back and look at what was happening at the restaurant, he's saying throughout the movie that he has this verse.

Tina: 1:32:39

He has this verse that he normally says to people before he kills them, right? So that tells you that this is Ezekiel 25, 17, I believe, and he says that he uses this verse and he always says this, and every time he says this, the man at the other end of it dies. He says this right, but in this moment that doesn't happen. I think it sets the course of him leaving, like you said, leaving the game altogether. He's out, he's done. I think that represents not only the fact that he feels that God and faith saved his life in that moment, but I also think he feels, underneath it all, that if he stays, he might die, which nobody ever talks about. And we see that pan out with Vincent who ultimately at the end that is technically the end of the film, you're right, he dies.

Chris: 1:33:25

I think that's a good point. I think it's a major point of the film, he knows that he could end up losing his life playing this game of henchmen too, no, that's a good point. That is a good point. Wow, yeah, I never saw it like that. But no, whatever he saw in that apartment after he didn't get hit by those bullets, it definitely changed everything for him.

Chris: 1:33:45

It definitely changed everything for him and I'm glad they wrote it in that way where it was more of a spiritual awakening as opposed to a laugh all the time where they just laughed something off. I'm glad they made it a serious moment right for at least one of the characters.

Speaker 3: 1:33:59

it was a serious moment. Yeah, we need to pay attention to this right.

Chris: 1:34:02

We should not be here right after this right, the accolades from pulp fiction. It won at cans in france. Yeah, it won, that's major yes, major that's major, like that's right, that's one of my dreams, like when it cans, but but I want to say it's a Weinstein film.

Speaker 3: 1:34:18

Yeah, the.

Tina: 1:34:19

Weinstein is a mirror Mirror, max yes, Weinstein.

Speaker 3: 1:34:22

Right.

Chris: 1:34:22

So I remember seeing video of this showing at cans and all the stuff that was going on. I guess Harvey Weinstein had was balling, like the whole cast was flown to France and I mean everybody, even the two dudes that was violating him in the back, everybody was in can. So I guess when you know that a movie's gonna do numbers like that, I guess that's kind of how the uh, I mean you can you might be able to speak to it. Is that how the pr works to where, if they know it's going to be a big, a big blockbuster, everybody has to come along for the ride in festivals and stuff like that.

Tina: 1:34:59

Technically, yeah, I mean I think for the most part if you're dealing with a film that's got a larger budget or you see the film's going to be a really successful film, it's doing well, it's getting buzzed, it's ordinary actually that most of the cast joins all premiere carpet events Usually the core cast.

Tina: 1:35:16

We typically go to majority of the screenings, premieres, things of that nature just in general.

Tina: 1:35:21

But when you're getting into you know larger film festivals or larger premieres, it's usually the case that you see majority of the cast go there. I mean we do that even at, you know, smaller budgeted films. So when you're in a space where you're space where you're doing something for Miramax, it's definitely going to put you in a space where the cast is going to go there to essentially represent the film and then also, if you also going because it enhances your individual career, because there's so many other people that are going to be in the room that you're going to have a chance to talk to, you know that you know may end up having future projects for you that you can do collaborations with and things of that nature. So it fully supports the project and the filmmakers, but it also gives the performer an opportunity to be in rooms that they otherwise may not have been able to be in, or at least with that amount of people, because this is a you know that's a huge festival.

Tina: 1:36:23

We know that people are traveling to this festival to acquire films, and most of the films, almost all of the films that come out of the festival is going to be, you know, a box office. That's pretty much been proven.

Chris: 1:36:33

You don't even get in cans.

Tina: 1:36:40

Absolutely, unless. It's an incredible film, you know it has that level of prestige, right. So I mean it's going to be to the performer's benefit to attend, no matter what, just because that's an opportunity for you to showcase your talent. But it's also an opportunity to work those spaces as well and meet different people and make relationships and network and things like that. So, no, it's not surprising to me, um, when you see cash show up for those moments. A lot of times we're paid to make appearances like that. Other times, even if they're not, they're still going to do it, just because it typically benefits the film and benefits their career that's my next question.

Chris: 1:37:07

Is it? Is it a paid thing or do you, is it on your own dime to go to cans? Yeah for stuff like that um what'd you?

Tina: 1:37:15

think I don't know what other levels. I have friends that have actually had their films make it into Cannes and most of them have attended. I think in some cases people do find their own way there. They attend the festival because they think it's in their benefit. Do I also think that there could be possible production budgets that might be allotted to assist in those spaces? Yeah, I'm sure those things happen behind the scenes. I don't know that that comes directly from the festival itself, but I'm pretty sure that if the production team wanted to put that as part of a promo budget or a marketing budget, it's possible to do that right, because it's advantageous for you if you have press, that all of your cast is there. They can answer questions about the film You're. It appears to be more supportive. So it's to the filmmakers benefit that that that happens, the same way it is to the performers.

Chris: 1:38:06

Yeah, it also won Best Original Screenplay at the Academy Awards, which is huge, huge. And it got seven nominations at the Oscars. It became what people thought it would become. It became a monster. It revived John Travolta. Nobody was really talking about him until Pulp Fiction came out. He was always not Rocky, but Saturday Night Fever. He was always that guy. But after this particular movie he ended up doing a ton of movies after this, so it kind of shot him through the roof. And even Uma Thurman she ended up doing a lot of projects after this, so it kind of shot him through the roof and even Uma Thurman.

Tina: 1:38:38

She ended up doing a lot of projects after this.

Chris: 1:38:40

And I'm a film guy, but I'm not going to front. I did not know nothing about Uma Thurman until Pulp Fiction.

Speaker 3: 1:38:48

Oh really.

Chris: 1:38:49

Yeah, I did not know. So I'm not going to lie and say, oh yeah, I was always. Nope, I did not know about her until Pulp Fiction. Then after that I paid attention to her. By paying attention to her I also found out that her career kind of went. She did a lot more projects after this. Now, I don't think none of them was as big as her Tarantino movies. Her Tarantino movies is like major, especially the Kill Bill series and stuff like that. But she did go on to do a lot of projects.

Chris: 1:39:15

And we all know samuel jackson, he never stopped working. So you know right, samuel jackson just never stops working. So we, you know pope fishing had nothing to do with samuel's career because he was going to keep working regardless. But to get to john travolta, like he became like a pop icon. Like a lot of people, a lot of my friends who aren't a movie buffs like myself, they never other than Saturday Night Fever. They never knew nothing about John Travolta. But after Pulp Fiction he became such a pop icon that after that they followed everything he did after that.

Tina: 1:39:49

That's an interesting take. I mean, I'm definitely a cinephile, so like I love cinema, like I watch cinema like religiously, like I love cinema, you know I watch cinema religiously, I love cinema.

Chris: 1:39:58

I know.

Tina: 1:39:58

I'm from Greece.

Chris: 1:40:00

You know, I'm from Greece.

Tina: 1:40:01

I think, if you're a fan of cinema, if you're a fan of film, uma does different types of film.

Speaker 3: 1:40:08

And.

Tina: 1:40:08

John Travolta. Definitely before this film he was doing different types of films. But I definitely feel like they were very, very solid film actors. They were very, very solid film actors. I definitely think that the people that have been watching them even beyond Saturday Night.

Chris: 1:40:24

Saturday, what is it?

Tina: 1:40:25

Fever Saturday Night Fever yeah.

Chris: 1:40:26

Great movie.

Tina: 1:40:26

We've seen. It was a great movie, I think even going to Greece, and he's done some phenomenal performances and Uma's given some phenomenal performances in a ton of movies. She's still acting in a ton of movies, currently typically in dramas and things of that nature, and she's an incredible performer. So I think it depends on the kinds of film that you like or the kinds of films that you're used to watching. The type of films that you would see Uma and John Travolta in are going to be a little bit different from some of the films that you'd see Sam working in, and I think that's where the difference is the audience right, but they all have their individual audiences. I think they're all superstars and that's essentially why they're still working today.

Tina: 1:41:05

But I mean, I think Samuel Jackson was a really iconic character in the film, just because Jules is equally menacing and comical and his responses are hilarious and his look is something that's just who could forget it, right? I mean, john travolta has the sideburns. Who's got the bang and the. You know the bob, but his, his, his afro, you know wig and the it, it's a whole. It's an iconic character that you will never forget and I think that's why, like, he stands out in this film, uh, and we remember like that character specifically, like samuel jackson is just sam like, and you know we remember that and, um, I think that was really powerful about this film. Yeah what?

Chris: 1:41:50

okay. So let's get to the rating scale from one to ten seven, seven being good, eight being great, nine being excellent and a ten being perfect no flaws. What would you rate it?

Tina: 1:42:03

I gotta give Pulp Fiction 10 actually okay. Yeah, I think it's. I think it was perfectly executed. Okay, could it have been done in other ways? Yes, but I think it was perfectly executed because it's a film that's sort of one of its kind.

Chris: 1:42:17

Um, and tarantino's great at making films like that yeah, it seems like all those films are one shot. I mean, who else is gonna?

Tina: 1:42:25

make a film like that right, I agree right, I agree that, for me, is what makes it a 10. It's something you watch, pulp fiction. You see things in that film that you're never typically going to see. You see performers being put together in a genre of film that you probably would come on they would never be together, sam and travolta, and ruse willis like yeah, it's yeah where would you see a combination of these actors being rams like?

Tina: 1:42:50

where would you see a combination of these actors in a film only in tarantino, only in a tarantino movie only so. I think he it deserves a 10 because of its creativity. You know it's kind of a space between drama and comedy. It's got great performers in it.

Chris: 1:43:06

Oh yeah.

Tina: 1:43:07

Arquette is you know?

Tina: 1:43:09

I mean it's got everything you could think of, I think, in a film, and so that's why I think it earns a 10 in my book and I've probably watched the film, I want to say 50, 60 times. And here's the thing about it I still spot things in the movie, still to this day. So, for example, there's a scene when they're doing the adrenaline shot and if you pay attention I don't know if you caught this, a lot of people didn't catch this there's the game of life and the game of operations in the back of the scene when they're going across looking for the adrenaline shot.

Chris: 1:43:38

So when he's running around and he's like where's my medical book?

Tina: 1:43:40

Where's my medical bag? In the back of the scene on the table, there's literally the game of life and the game of operations right there in the scene, right that a lot of people don't pay attention to. He does little things like that in his film. He has that in a lot of his films, even with anime incorporating different things, and I feel like he's such a creative filmmaker, yeah, um, and there's so many nuances in his films that you just don't see in other films. So, yeah, he's, he's dope he's dope.

Chris: 1:44:08

I would. I would definitely also give it a 10 because, uh, like I said what it meant to me at the time. You know, at the time I was 22, yeah, 22, 21, 22, and it just opened my eyes to how creative you could be making films. I just never knew it didn't have to be in a box, you can just go outside of that box and create it the way you see it. Yeah, um, he showed me a little splash, that in reservoir dogs, but in pole fishing I really saw like, oh right, you can kind of do what you want to do when you make your own film, you can, you can. It's your world, is your universe, you're creating. So I would definitely give it a 10 also. So the name of the show was the main ingredient.

Speaker 3: 1:44:46

Yeah.

Chris: 1:44:46

So, in your opinion, what is the one main ingredient of the movie that made you give it a 10? And that one thing could be anything about the movie.

Tina: 1:44:55

I would say the storytelling one thing could be anything about the movie.

Chris: 1:44:58

I would say the storytelling. You mean screenplay wise.

Tina: 1:45:00

In a sense of like, not even just the character archetypes because, like you said, we didn't get revelations on all the characters, but I think it's the way that the story is tied together. It's almost like a film with like four different moving parts combined together and it's interesting how the story completely ties together and intersects the characters. But it's not like one universal plot. Like you know, in some films, like there's a theme of the movie, you'll go and you'll read like the synopsis and it's like one theme and you understand what that theme is and everybody's working to serve that theme. In Tarantino's Pulp Fiction, every character has a dilemma. Every character is like faced with its own kind of space, from Marcellus Wallace to Jules to Vincent to Uma. It's just an interesting mirror of like expressing the point of view from in using each of your characters to do that Right, and I don't know that there is a central plot or theme, if you truly think about it. Yeah, they go to get the suitcase and they go to bring it back.

Chris: 1:46:04

Suitcase is supposed to be the central.

Tina: 1:46:06

But what is the? You know what is essentially the central theme plot, right, I don't know that. He just directly puts a finger on that and says what that is, and I love that the storyline ties together with him still doing that. So I, yeah, I think the storyline, the overall storyline, and how artistic it was, is the is what the main ingredient of it was. Okay, what about you?

Chris: 1:46:28

Me, me personally. I love, I love the writing. I think that he does a great job with the writing, even with you know, the little contrary you call it saying the N words and stuff like that. I don't think it's excessive, especially in this movie. I don't think it's excessive. I think it's used by those characters who would, like we said before, who wouldn't actually be saying that. So I don't think he went overboard. I think, as a as a black director, I don't I didn't see no big deal with it, but I think it was very well written. I think he wasted no words on the page. Like everything needed to be said, how it was said by the characters, said by, and the casting was just great. Like he casted it perfectly. Like I don't know what else to say about. I couldn't see any other character, any other actors playing these roles, but the ones he got to play him.

Chris: 1:47:16

So I think he just did incredible job all around with the movie, but I would say the screenplay yeah reading for me. I love the screenplay. I love the screen. The written word is just dope. I just like it. I'm really into that anyway. So I would say that quinn hasn't done a movie in a couple of years right, it's been a while do you think he's hung it up, or do you think he's marinating on something else?

Tina: 1:47:39

It's been a long time. It's been a long time.

Chris: 1:47:42

And there was rumors that he was saying he was retiring. He was literally saying I'm done with this. I've done everything I need to do.

Tina: 1:47:48

I couldn't imagine what would ever make Quentin stop making films. I mean, everything that he's made has its space, you know, once Upon a Time in Hollywood is an incredible ode to filmmakers and actors and performers everywhere. I mean, I love that movie, I like that one too. You know the Hateful Eight Kill Bill. I mean, it's like I couldn't see a rhyme or reason that would make him, you know, stop creating. But I don't know, you know, maybe with the movie industry changing and you know, you know, um, because cinema, you know, isn't, it isn't where it was before, there's a lot of content being made for streaming quentin's.

Chris: 1:48:26

He was totally against that too. He likes real filmmaking, you know it's going to see it at a cinema theater.

Tina: 1:48:33

He's not with the streaming right, he does not like that at all so I'm wondering if that might have I think kind of been the catalyst I think.

Chris: 1:48:41

I think if anything would make him quit, it be that that the technology is, is is taking him out of what he, what he initially, uh, wanted to be a filmmaker for, right, so people go to theaters and see his films, right, take that away. Might not be, you know, as attractive to him to keep making films. So I kind of get it, I get it too, I kind of get it. And he's achieved all the accolades that you would ever want to achieve.

Tina: 1:49:04

But can you ever?

Chris: 1:49:04

get enough accolades. Well, that's a good point too. I don't know what Django got a lot of Django got a lot of accolades.

Tina: 1:49:14

But there's a lot of filmmakers older than him that are still working, still making films. But to your point, cinema has changed.

Chris: 1:49:22

It's changed.

Tina: 1:49:23

And he's not as much of I won't say special effects, but he's definitely more of a raw kind of greener filmmaker. So I could see how that.

Chris: 1:49:31

A lot of blood packs Right, not a lot of CGI, right. So?

Tina: 1:49:35

I could see that maybe changing how he'd feel about filmmaking. Ok, OK.

Chris: 1:49:40

Well, tina G, yes, it was wonderful having you here. You know you always welcome family. Thank you you, family, you're always welcome. Let the people know where they can find you.

Tina: 1:49:50

So you can find me. I'm the creator and producer and host of Breaking Black podcast and a producer and host of Breaking Black Podcast. You can actually find me on YouTube, spotify, apple Podcasts, amazon Music anywhere where you get your podcasts. I'm at Breaking Black Podcast on all social media and then you can also find me on Facebook at Tina Gilton. So definitely, come check me out. We're going live actually on August 20th on Facebook. We're gonna have a live at 1 pm. So come check us out Myself and my actually on August 20th on Facebook. We're going to have a live at 1 PM. So come check us out. Myself and my guest host will be on our podcast and we'll be going live with the audience to talk to the audience. So, yeah, yeah, okay.

Chris: 1:50:27

Okay, Once again, thank you for coming. I appreciate it. We'll do it again. We'll pick another movie. Do it again, It'll probably. It'll probably be a Tarantino movie. If it's with Tina, it's going to be a. Tarantino movie, but we love Tarantino movies here, so not a problem, not a problem at all. Once again, tina G, chris Ellis. This is the main ingredient with Chris Ellis, and we'll see y'all next time, peace.