Death Proof (2007)

Matt (00:00:21):

Hello and welcome to Load Bearing Beams.

Laci (00:00:24):

You’re going to come out of the fucking gate with it, alright?

Matt (00:00:27):

With what? This is how I talk now in Michael

Laci (00:00:30):

With your John Wayne via Kurt Russell.

Matt (00:00:33):

Yeah.

Laci (00:00:35):

Sex is going to be weird from now on. You’re not using that bud,

Matt (00:00:38):

Or it’s finally going to be the right way. This is Load-Bearing Beams, a movie podcast. I’m Matt Stokes.

Laci (00:00:45):

And I’m Laci Ross. Married. We’re talking sex because we’re married.

Matt (00:00:48):

Yeah, we don’t approve of any sex. If you’re not married, no, don’t even talk

Laci (00:00:52):

About it. This is a Catholic podcast.

Matt (00:00:53):

We are Catholic.

Laci (00:00:54):

We often like to sit.

Matt (00:00:55):

We are in mourning until the catechism. There’s

Laci (00:00:57):

No prophecy.

Matt (00:00:58):

The conclave, which can’t come soon enough, but we’ll get into that another time. Joined on the line by cinema. Chris. Hello Chris. Welcome to the program. Hello everybody. You brought to us Quentin Tarantino’s Death proof. Why’d you do that? Why’d you do that?

Cinema Chris (00:01:15):

This is when Laci explained what a Load Bearing Beam was to me a long time ago. This was the first movie that came to mind and ever since then, if there was ever a movie that I came on to talk to you guys about, I knew this was the movie and the only movie I cared to do. Well, why is that?

Laci (00:01:30):

Well, tell Matt how many times you’ve, you’ve seen it in the last week.

Cinema Chris (00:01:34):

I’ve watched it six times since last Tuesday. Oh my god.

Laci (00:01:40):

It’s his Whoopee.

Matt (00:01:41):

Okay. It’s a movie. Gotcha. Tell us about your history with it. Well wait, first of all, tell everybody who is Cinema

Laci (00:01:48):

Prince, who you are, what can find you, what’s your

Matt (00:01:50):

Deal, man?

Laci (00:01:51):

How old are you? Why do you live near Canada?

Cinema Chris (00:01:55):

I do TikTok. That’s how I found Laci and Matt, and it was an awesome, awesome experience finding them. I’m so happy to have them as friends in my life. I have had a bit of a hiatus from TikTok, but hopefully that is being remedied soon. So if you guys want to find me on TikTok, it is Cinema Chris or Cinema Vault. My history with this movie is, it’s a long one. I watched it a long time ago with my mom when I was probably 10 or 11 years old and got hooked on it. I had vomiting

Laci (00:02:27):

At the idea of seeing this movie with his mom.

Matt (00:02:29):

No, not that just, I mean, I saw it in theaters. I was 19 when I

Laci (00:02:32):

Saw it. Saw Pulp Fiction at 10. If I can handle anal rape, can I say those

Matt (00:02:36):

Words? Okay.

Laci (00:02:38):

Is YouTube like that?

Matt (00:02:39):

I meant a anal

Laci (00:02:40):

Sch mate.

Cinema Chris (00:02:40):

Okay,

Matt (00:02:41):

Shut

Laci (00:02:41):

Up.

Cinema Chris (00:02:42):

I think part of what hooked me on the movie was that this movie spawned my first dream job, which was being a stunt car driver for the movies, which unfortunately has pretty much become a job of the past due to CGI and all that other boring stuff that has ruined fun practical effects in movies. But I think that’s a really big reason why it’s such a core movie to me, is the first time I ever had a dream job was because of this movie.

Laci (00:03:09):

Wait, but did you do the job?

Cinema Chris (00:03:11):

Unfortunately not.

Laci (00:03:13):

Oh, okay. I was like, wait, wait, wait. Very

Cinema Chris (00:03:14):

Movie. I have done really stupid shit in cars because of this movie,

Laci (00:03:19):

But

Cinema Chris (00:03:19):

Never gotten paid for it.

Laci (00:03:21):

Pirates and Papers or whatever they call, wait,

Cinema Chris (00:03:23):

The

Matt (00:03:23):

Masthead, what do they call it? It’s Pirates and Ships Mask. Ships Mask. Have you done ships mast?

Laci (00:03:28):

Yes. You have?

Matt (00:03:30):

Couple times. Wow. Have

Laci (00:03:32):

You also done in multiple

Matt (00:03:33):

Different vehicles?

Cinema Chris (00:03:34):

Ghost Ride That Whip

Laci (00:03:36):

Have you? Teen Wolfed.

Cinema Chris (00:03:38):

Teen Wolf? No, I’ve not done that.

Laci (00:03:40):

Okay, well don’t watch the movie then. You’ll do it. So would you call yourself a gearhead?

Cinema Chris (00:03:45):

Oh, most definitely.

Laci (00:03:47):

Oh,

Matt (00:03:47):

Okay. Oh, okay. I’m

Laci (00:03:48):

Super in cars. But

Matt (00:03:50):

Tarantino in general. What’s your relationship with The Man? By which I mean his

Cinema Chris (00:03:56):

Movies. He’s my director Second. What’s number one? He’s only second to Jen and Sylvia. Oscar directors of American Mary and Cino Evil part two. And I don’t know why they overtake him because realistically he has far better of a

Laci (00:04:13):

Filmography. They’re your live bearing theme directors.

Cinema Chris (00:04:16):

Exactly. They just,

Laci (00:04:18):

You can’t shake them.

Cinema Chris (00:04:19):

Yeah, they’re just fun. They’re entertaining. But every Tarantino movie is a five out five for me. I love all of

Laci (00:04:25):

Those movies. I agree. Even as lesser ones are still fives for me.

Matt (00:04:29):

Exactly. Never heard anybody give that answer. That’s an interesting answer for a favorite filmmaker. So you didn’t see this in theaters as part of

Cinema Chris (00:04:38):

No, I was seven years old when this came out.

Matt (00:04:41):

Oh my God. Okay.

Laci (00:04:43):

Yeah, we need to stop.

Matt (00:04:46):

Where were you on nine 11?

Laci (00:04:48):

Where were you on J?

Matt (00:04:51):

I wasn’t old enough for pre-K yet. Okay. Sorry, Laci, did you see this? Did you see Grindhouse?

Laci (00:04:59):

Yes. Well, you’re supposed to see it in the theater, so I did and I was already very much a Tarantino bro.

Matt (00:05:05):

A

Laci (00:05:05):

Tarantine bro.

Matt (00:05:07):

Do you remember, what do you remember about it?

Laci (00:05:09):

I remember really not liking fucking Planet of the Apes, whatever it’s called.

Matt (00:05:12):

Death Planet. Yeah, planet of the Apes. Yeah,

Laci (00:05:14):

Planet Safe. Planet Day.

Matt (00:05:16):

Planet Terror.

Laci (00:05:17):

That one, except for I like Bruce Willis. Isn’t he in it?

Matt (00:05:20):

Yeah.

Laci (00:05:20):

See, that’s why I like it,

Matt (00:05:21):

The cameo.

Laci (00:05:21):

I also remember liking a machine gun leg, which is why I was looking for the machine gun leg when this movie was so much about legs and it also has Rose McGowan in it. I was very confused the other day watching it for the first time in years. Where’s her leg? So I remember really liking Tarantinos and being kind of, I dunno, grossed out and bored of it was fine, but you put ’em together, you put anyone next to Tarantino and I’m going to be kind of blah about the other thing, and I think I remember the same thing about four rooms. I want to say. Say he directed one part of four and that’s the only good fucking part. Just don’t do a collab with Tarantino man. Don’t do it.

Matt (00:06:02):

Yeah, he did one segment. Robert Rodriguez did the other, did another. And then I don’t remember the other two who

Laci (00:06:07):

I think, I don’t mind Robert Rodriguez alone and by himself, but when Tarantino’s like in his ear like, Hey, I don’t know. I don’t feel like anytime I’ve seen them partnered, maybe I’m not good at remembering who does things though.

Matt (00:06:20):

I remember thinking it was such a cool idea to do Grindhouse especially, and if you don’t know, death Proof was originally part of a special event programming thing where they showed Robert Rodriguez is Planet Terror. They built the whole thing as Grindhouse first you saw fake trailers for fake movies, including Machete and Thanksgiving trailers that became actual movies in the future. And then they showed Rodriguez’s movie and then you got more trailers and then you got Tarantino’s movie.

Laci (00:06:51):

Was there also a cartoon break?

Matt (00:06:53):

There was just No, just the cartoon. That’s an intro. It’s in the death proof file that we watch. And I remember thinking it was an awesome idea and I loved movie history and so I loved pretending like cosplaying that I was back in time. But I do remember thinking, nobody’s going to get this though.

Laci (00:07:09):

Yes. It felt like a really cool, really artsy idea. Wasted on a very lame town and no drive-in or anything. I feel like that would’ve made it better. Or Smoking is allowed for this movie and this

Speaker 4 (00:07:20):

That would

Laci (00:07:21):

Great in this theater. All the sheets have to go straight down to the floor too. No stadium seating for this one.

Matt (00:07:27):

Yeah, if they had to change the entire theater,

Laci (00:07:29):

Yeah, think of

Matt (00:07:30):

That. That’d be awesome. Let’s

Laci (00:07:31):

Rocky Horror this shit. That’s all I’m saying,

Matt (00:07:33):

But I remember having a great time with both of them and going back and forth about which movie I liked more.

Laci (00:07:39):

Fucking Idiot.

Matt (00:07:41):

Now I’ve watched, but I had not seen either of them since 2007. To

Laci (00:07:46):

Be fair, I haven’t seen Planet of the Apes in, what is it now?

Matt (00:07:50):

Planet Terror.

Laci (00:07:50):

I haven’t seen that one since theater.

Matt (00:07:52):

Now both of them, if you watch them now, are available. The extended versions of both are the standard version in theaters. I think they were both 90 minutes a piece. And I’ll say this about Planet Terror, even 90 Minutes is too long for that movie. An hour and 45 minutes is a slog. I really do not care for that movie this time.

Laci (00:08:14):

Okay, so I never get it right. I got it right except for all the times I get it right. How do you feel about Planetary, Chris?

Cinema Chris (00:08:22):

It’s nothing in comparison to death proof, but I still have fun with it. I still think it’s a fun double feature and you save the best for Last with death proof. That’s right.

Matt (00:08:31):

Yeah. It doesn’t feel like a thing unto its own. It feels like kind of a joke. And therefore should probably have not gone maybe any longer than 70 minutes. Especially the most beautiful thing about a great horror movie, especially an old horror movie, is that it’ll be like 85 minutes long and then it’s over. That movie just has no business being that long. But Rodriguez seemed way more into the fake grain and the missing reels.

Laci (00:08:59):

See, and this is why Tarantino is so special, he knows how to celebrate and even lean a little camp, lean a little cheeky into a genre that he has no business in, but he’s so immersed in it, he knows how to still do it good and celebrate it in the sense that it makes you have an appreciation for that older kind of thing where it seems like Rodriguez is like, no, no, I get it, man. I get it. I get what we’re going to do. And then just doesn’t have the light touch, doesn’t know where to cut it off, where to, I mean, I’m just speaking out of my ass. I haven’t just seen it, but the way you describe it seems like he was in on the joke, but not totally aware of how to do the punchline. I’m right.

Matt (00:09:37):

Yeah, sure. Watching Death Proof Now. And I certainly like it and if I did my Tarantino rankings, I don’t know where it would be near the bottom, but I like all of his movies. But I feel like it’s an interesting hodgepodge of ideas that I feel like he didn’t necessarily want to commit to any of them, but watching it now, having watched it three times, we had to delay this episode a week, watching it three times in a week,

Laci (00:10:06):

It morphs.

Matt (00:10:07):

Well, you could start to see, okay, my overarching theory is this is a movie about fetishized Quentin Tarantino female characters becoming self-aware and busting out of the movie screen in order to kill Quentin Tarantino. I think watching it like that makes it a lot more fun. I don’t know. We will get into it. We go

Laci (00:10:26):

Through, you’re going to lay out your theory. I’m going to lay out mine, which is that this is a movie for giving Quentin Tarantino for being a slightly problematic director that might date his makeup artist person. And then fuck Hannah Daryl, who a standin on that person’s birthday. I mean, obviously he is the director they’re talking about because of course he’d make somebody a mixtape and then look at all these other guys. I’m not so bad. I’m fun, but it’s a feminist movie too. I think it is about female empowerment. But when this movie fucking started and I watched it for the first time in 20 years, I text to Matt and who had not seen it yet, this is Quentin Tarantino coming into a sock. That is what they felt like. It felt like the first half of this movie feels like such a gooning session. I’m like, oh my God. Just come already

Matt (00:11:16):

Tarantino so many gratuitous shots of butt and feet

Laci (00:11:20):

So much. But then I start, I watched it again and I’m glad our episode got delayed because I have a completely different understanding of it now.

Matt (00:11:28):

Well, so he gets to have his cake and eat it too. Get all the,

Laci (00:11:32):

I hope he eats

Matt (00:11:32):

It all of the glorious feet and all of the glorious

Laci (00:11:35):

Books. Yeah.

Matt (00:11:36):

And then in the end he could be like, but Min or pigs,

Laci (00:11:39):

I don’t even think it happens in the end. It’s all throughout the movie. And that’s what I caught this time. Go on. I’m done with my theory. We can just go through the movie.

Matt (00:11:47):

Well then let’s go ahead and get into the history of the movie. But first I wanted tell everybody about load-bearing beams, Patreon, patreon.com/ load-bearing beams.

Laci (00:11:57):

Spend your money there.

Matt (00:11:59):

Please do. Laci has been killing it, bringing home the bacon, making all this money for us, and as a consequence has not been able to be on all the Patreon episodes and we miss her dearly. But I’ve had some good substitutes in our most recent episode. We talked about M Night Cha Melons, the happening with Patrick Perot, and I believe coming soon we’ll have our spoiler filled review of Thunderbolts Asterisk.

Laci (00:12:25):

That does sound like a fun one.

Matt (00:12:26):

Yeah, so the only

Laci (00:12:28):

Place can get that. We’re going to do a showgirls commentary episode soon too, which I’m excited

Matt (00:12:32):

About. Commentary of Paul ver herman’s showgirl showgirl. So paton.com/load. Bearing beans

Laci (00:13:06):

Of Jesus fucking Christ. With that picture, Matt, just straight to the tootsies, I, I’m a person who likes Feet. Tarantino is making me realize I don’t fetish them, but I find them sexy. I don’t know how I feel about this.

Matt (00:13:21):

So why don’t you describe what we’re looking at?

Laci (00:13:22):

Oh, right. This is an audio podcast. Okay. So it is Rosario Dawson’s feet hanging out. I hope she has a foot double hanging out of the car window. And Quinn Tarantino with the biggest microscope camera lens. I don’t know what it is, just zoomed into one of the toes while Kurt Russell points to the one. I don’t dunno if he’s filming right now. Right here?

Matt (00:13:47):

Yeah, he’s filming because he has his own DP in this movie. He shot the movie himself.

Laci (00:13:52):

Okay. This is him getting that up close shot of Kurt Russell petting a toe and then licking one kind of, does he lick it or lick his finger and then put the lick on his, it doesn’t matter. It’s just a big old foot shot right now with two men and then two lady feet. I nailed this.

Matt (00:14:11):

You did? Okay. Alright. Grind house. What is that? Well, if you go back to our Mad Max two episode from a year ago, we have a history, a pretty good history of exploitation cinema, I think, and then how it went into the OS exploitation movement in Australia. We won’t go deeply into it here, but if you don’t know back in the day, back in the day, you might say you would go to the cinema and you wouldn’t just watch one movie. You had a whole package of programming to watch your feature presentation. They call it the feature presentation, a picture. It’s like the big movie that you’re there to see. That’s the one you’ll watch first. And then the B movie is the lesser movie. The movie you’d pay less, which comes at the end. And then of course you also got trailers, which were so called because they trailed the movie. They came after the movie.

Laci (00:14:59):

Oh, this like eating order in France.

Matt (00:15:02):

It is kind of like that. Start with

Laci (00:15:04):

A dessert.

Matt (00:15:05):

And you also got a cartoon in a news reel. So this term grind, Laci and I were trying to figure this out. They came up with the term grind because there was a practice that shitty movie theaters would have called the Grind Policy, where you just ran movies all day, just shitty movies, and you gradually raise the price all day. Now I don’t know why that would be called Grind.

Laci (00:15:26):

And what I said is because they’re on their grind, you’re just pumping shit out. What else is a grind except for something you do for a long

Matt (00:15:33):

Time to produce? I feel like that’s a very modern word.

Laci (00:15:36):

What is grind except for something you do for a long time to produce something insignificant, which is what I was trying to say was like a mortar or ground pepper grinding something is tea. Grinding corn is something women will do all day just to make three tortillas. It’s the grind for a reason. Plus it’s sexy when Jodeci does it. I’m grinding right now

Matt (00:15:59):

People. So these grind house cinemas would generally cater to a more working class audience. They were seen as lower. This is sort of in contrast, like second run theaters, a K dollar theaters, those were also popular, but that’s not what these were first run movies, but they’re shittier movies or they’re lower budget or they’re just not from Hollywood. They’re foreign or they’re independent or they might be straight up pornos. And these thrive up into the seventies, but then Cable and VHS took over and they basically went extinct. But Quentin Tarantino had so much affection and nostalgia for them. And when he and Robert Rodriguez became friends in the early nineties when they were both showing their movies, reservoir Dogs and El Mariachi and became superstar movie directors for Miramax, they became great friends. And Tarantino would host these movie nights at his house where he’d have a double feature and he’d have obscure trailers and he’d have cartoons and stuff that he would play and hear from.

(00:16:59):

I have this quote from Robert Rodriguez about Quentin Tarantino. He said Tarantino has always wanted to go back in time and make his first real film in a way before the eyes were on him. I think that he felt like he was robbed of that experience because Reservoir Dogs was successful right away. He never got to cut his teeth away that some filmmakers got to. He was thrown right into the ring. And I’ve always wanted to go and do those kinds of films that inspired me to become a filmmaker to begin with. I never thought of that. You might think he instantly became a success but didn’t get the chance to work your way up. Not that

Laci (00:17:35):

Well, and that’s not what he’s saying. I mean, he’s not saying that, but he’s saying that he was so under a microscope at an unfair time because it was a fluke. I mean, I dunno, the fact the Reservoir Dogs was good, mean anything else would be, and he’d have to do all that very publicly that that’s how you have a quick fall from Grace is just getting it right the first time.

Matt (00:17:57):

Don’t do that. When we talked about Wes Craven, west Craven had to work in pornography, he had to work in all these different, worked at a TV station. He was kind of like, I don’t know, whatever they need me to do, I’ll do and did industrial films and stuff until, and literally this was like a blue collar career for him until he got to,

Laci (00:18:15):

He did it my

Matt (00:18:15):

Way to start making movies.

Laci (00:18:17):

I start as a file clerk and then as a secretary and then all these things in the legal industry. And now look at me doing websites for law firms. Wow.

Matt (00:18:25):

The American Dream. Yeah, I know. This whole idea of turning these movie nights into a thing that they could actually put into theaters, they would call it each make their own little movie. It really seemed like a Rodriguez idea more than a Tarantino idea. And you hear it and you’re like, oh yeah, Quentin Tarantino would be all over that. But reading the quotes at the time, Rodriguez seemed way more enthusiastic about it. He seemed like the driver of the idea.

Laci (00:18:50):

That’s got to be because Quin Tarantino had a peek at Rodriguez’s project to tie your name so tightly to something and vouch for something else, especially when that person is your friend. How do you tell them no? And how do you fucking let them know that their product isn’t really living up to expectations or to Tarantino’s name without not being their friend anymore? This sounds like a fucking nightmare.

Matt (00:19:12):

You’re saying he thought he’d make a good movie, but then when he saw his friend’s movie, he said, I won’t try that hard.

Laci (00:19:17):

No, I think he tried, tried enough and maybe he kind of underplayed it to not Fuck Over Rodriguez too much. He can’t give it full Tarantino and then show that other movie. I think it was like a mercy downplay and I think maybe he wasn’t as, I don’t know. I’m just saying if my best friend asked me to do something that I’m better at, but we’re going to type both of our names to both of our products. I’m going to be a little skittish.

Matt (00:19:46):

I think that Tarantino, even though his movies, you can criticize him and say all he does is do tributes to older movies and older styles of movies. It all ends up being a Quentin Tarantino feeling movie. And I don’t think he necessarily could make cover versions of older genres of movies the way Robert Rodriguez could. I don’t think Tarantino could make a movie like the faculty, something kind of just straightforward in a genre. It all has to be a movie that feels like a Quentin Tarantino movie. Do you know what I’m saying?

Laci (00:20:18):

I do, but I don’t know why that’s a response to what I said. I’m losing you.

Matt (00:20:22):

So if Rodriguez says, we’re going to make our tribute and we’re going to make it look and feel like those old movies,

Laci (00:20:29):

I

Matt (00:20:29):

Think Tarantino might think, yes, I can do that. But I don’t know that he actually can do

Laci (00:20:33):

That. He, he’s got too many influences going in plus his oversized ego feeling like, no, I think this could be tweaked. Not realizing all the tweaks you’re making are making this too modern feeling. Is that right?

Matt (00:20:45):

Yeah. And he said,

Laci (00:20:47):

So he missed the mark.

Matt (00:20:49):

I’ll mix it like a Car Chase movie and a slasher movie. And I don’t know, Chris, do you know, I don’t feel like I’ve heard much about Tarantino’s love for horror movies and specifically slasher movies. Have you?

Cinema Chris (00:21:03):

So I watched an interview before we were doing this podcast and it was of Tarantino talking to a Tonight Show host, and he was saying how he was getting through all of the iconic slasher movies of the eighties and nineties and seventies, and he was in the middle of that when they came up with the idea for Grindhouse. And that’s where the whole slasher movie, but with a twist idea came from. So if he wasn’t in the middle of that watch through of the slasher movies, I don’t think that death proof would be what death proof is.

Matt (00:21:34):

That’s interesting. So yeah, of all the things I’ve heard of him loving, I just don’t really associate that with him

Speaker 5 (00:21:41):

When

Matt (00:21:41):

That’s such a big thing for so many other filmmakers. And I think that it gets a few slasher elements, the creeping being haunted by a mysterious figure in the distance,

Laci (00:21:52):

The changing the music at that time and that only one of the female characters is spotting it along the way. And she almost can talk herself into thinking she’s being overly seeing stuff or making a big deal out of nothing, but he gets that creep feeling. So right in both women that are like the one who notice they’re creeped out and they say so. But they show you that too. I know. It’s just very relatable. It’s like, should I be, I’m my body’s saying yes.

Matt (00:22:26):

So he had this idea for doing a slasher movie, but he said, I realized I couldn’t do a straight slasher film because with the exception of women in prison films, there is no other genre quite as rigid. And if you break that up, you’re not really doing it anymore. It’s inorganic. So I realized, let me take the structure of a slasher film and just do what I do. My version is going to be fucked up and disjointed, but it seemingly uses the structure of a slasher film, hopefully against you. And then he was talking about the other big idea of being fascinated with stunt men and the idea that they could literally death proof their cars, which is a delightful idea to think about, but he was talking about the state of car crashes in the movies. As Chris alluded to earlier, we don’t get, I mean outside of the Mission Impossible movies and maybe the Fast and Furious movies, at least in major blockbusters, you don’t get that classic practical stunt car chase anymore.

Laci (00:23:20):

Well, and cars aren’t made like this anymore. And I don’t mean that in the American. People always complain about how easy it is to rip a bumper off your car now or something just barely touches it and it caves in and it’s like, yeah, it’s supposed to. That softness of cars now saves lives on both what’s getting hit and what’s inside the car. So yeah, when you think about classic cars, they are fetishized. We don’t want them to go, they should have never been made, I’m sorry Chris, but they are truly death machines. The fatalities that happen in those versus what we have now are we have to reckon with that. And you got these gear heads who fucking want to play rough and then they’re riding a tank at 125. I’m just saying it’s scary.

Matt (00:24:09):

Parts are

Laci (00:24:10):

Scary. I didn’t drive till I was 17. Okay,

Matt (00:24:16):

There’s an element to this movie, and I also by totally by mistake, I watched what ended up being a companion to this David Cronenberg’s crash. Have you seen the Cronenberg crash?

Laci (00:24:25):

Chris got that old Chris, that movie? I have not,

Matt (00:24:28):

No. From 1996 with Holly Hunter and James Spader. I’ve seen it where they get turned. It’s actually turned on by car crashes. And it’s this whole idea of we don’t think enough about, we give our lives and spend our time handing our lives over to these vast machines of death and we’re just driving around with such kinetic energy and at any moment our lives could be totally destroyed, our bodies could be totally altered

Laci (00:24:55):

Even more. This movie feels about what it could do to people who are not in on your good time. It seems to be very much highlighting. I’m always nervous in a movie that’s showing me something going really fast down the road. Now what kind of road it is makes it more and more stressful. If it’s a neighborhood, I’m not even going to be fucking looking, but both parts of this movie have this, fuck it. And at any moment they become the death machine, even though they’re just trying to have a good time.

Matt (00:25:26):

And the idea of the slasher is we have these rules in society. Don’t go killing people. Don’t go stabbing people. And what the slasher says is, no, I’m not going to listen to that. I’m going

Laci (00:25:35):

To, and yet we drive.

Matt (00:25:37):

Well, this is like we have these rules about cars be safe in them, but somebody could just decide at any moment, no, I’m not going to be safe. I’m going to intentionally.

Laci (00:25:46):

This kitchen knife is for chopping or stabby. Stabby, right? This car is made to use the seatbelt and stop at red lights or slam on the fucking gas tie my girlfriend to the front.

Matt (00:25:59):

So he said about the state of car chases in movies. I don’t think there have been any good car chases since I started making films in 92. To me, the last terrific car chase was in Terminator two and Final Destination two had a magnificent car action piece. In between that, not a lot. Every time a stunt happens, there’s 12 cameras and they use every angle for avid editing, but I don’t feel it in my stomach. It’s just action end. So huge influences on this movie are a movie called Dirty Me Crazy, Larry, which is mentioned in the movie and especially the movie Vanishing Point, 1971 Car Chase movie with the white Dodge Challenger.

Laci (00:26:33):

How was it Matt?

Matt (00:26:34):

It was excellent. Really? I had to buy the DVD. It’s not streaming, but it is a pretty great movie. Have you seen Vanishing Point, Chris?

Cinema Chris (00:26:44):

I have, but it’s been a very, very long time.

Matt (00:26:47):

Yeah, it’s so interesting to watch them back to back because especially the second half of this movie so deliberately is trying to look like Vanishing Point, but it’s a great action movie. But there’s also just tons of interesting stuff going on in that movie about people’s attitudes toward the police. It’s a 1971 movie, and I’ve said this before in the seventies, you watch seventies movies, people’s attitude toward police and cops was very dismissive. And that would basically change around the 1980s is now the cops are always something we need to respect, but in that movie it’s just accepted. The cops are bad and they’re bad and they’re trying to ruin this guy’s time who just wants to drive his car real fast,

Laci (00:27:31):

You

Speaker 4 (00:27:31):

Guys.

Matt (00:27:32):

And the whole plot of that movie is this guy wants to drive his car real fast across America and people keep getting in his way.

Laci (00:27:37):

I could see how he could be the hero. And all I’m picturing is villain

Matt (00:27:42):

Bad

Laci (00:27:43):

Car Man.

Matt (00:27:44):

Just one more thing, we’ll get to the movie Kurt Russell Tarantino. We’ve talked about how he loves his reclamation projects. He wanted to bring John Travolta back if you felt like John Travolta didn’t have the great career that he deserved. And he also thought that about Kurt Russell and he told Entertainment Weekly in 2007. For people of my generation, he’s a true hero, but now there’s a whole audience out there that doesn’t know what Kurt Russell can do. When I open the newspaper and see an ad that says Kurt Russell in Dreamer or Kurt Russell in Miracle, I’m not disparaging these movies, but I’m thinking, when is Kurt Russell going to be a badass again? And I remember thinking when this movie came out like, oh yeah, Kurt Russell, he’s back. This is a big time comeback for Kurt Russell and it didn’t really happen.

Laci (00:28:26):

Did it happen in TV? At least?

Matt (00:28:29):

I mean, he’s in the fast and furious movies. He’s in Guardians of the Galaxy.

Laci (00:28:33):

Oh, that’s true.

Matt (00:28:34):

He’s in the Hateful eight. He’s one of the main characters of the Hateful eight.

Laci (00:28:36):

Oh yeah,

Matt (00:28:37):

He’s

Laci (00:28:38):

A delight.

Matt (00:28:39):

I mean he’s like one of these guys who you think of as an icon and a movie star, but he was kind of a never actually a movie star.

Laci (00:28:46):

It’s almost like it’s a handicap of when he came up. You’ve got Mel Gibson, you’ve got Bruce Willis, you’ve got so many rugged guys that are Harrison Ford. There’s so many white guys that can do whatever he would’ve been hired for. Not to say it’s better, but there’s a lot of competition

Matt (00:29:07):

And his thing is always like he can do it with a little bit of humor and a little bit of

Laci (00:29:12):

Silk. And Bruce

Matt (00:29:13):

Not taking himself as seriously as it seems like he should be. That’s why the guy who understood him best was John Carpenter. You could have him as your lead of the movie and know what kind of movie you were watching. Okay. These movies, Grindhouse not a hit at the box office. It was a pretty big disappointment, but it was an experiment

Laci (00:29:32):

Gone wrong.

Matt (00:29:34):

Every Quentin Tarantino movie since I’ve been a kid has been a giant event. And it was kind of weird that it was just like, Hey, the Quentin Tarantino movie’s coming out.

Laci (00:29:42):

Yeah, the marketing was interesting, but it didn’t seem like, well, I guess I would’ve been too young to really be noticing, but I remember this feeling like it was quick. It quickly followed something I didn’t expect to hear from Tarantino so quickly. What had he done right before

Matt (00:29:57):

Kill Bill? And then

Laci (00:29:58):

See how this

Matt (00:29:59):

Is between Kill Bill and in Glorious Bastards

Laci (00:30:01):

And I feel like he takes four years to do a movie at least.

Matt (00:30:05):

So it was 2004 Kill Bill two and then 2009 and Glorious Bastards. This was directly in between.

Laci (00:30:11):

So I mean it still have been some time, but yeah, I guess because it was a joint project and maybe this is when he started announcing maybe retiring, so it felt like a half step or something. Like, oh, is he going to just partner with people now? Bullshit. I think I was into it, but not curious enough to read and figure it out. I don’t read. So there you go.

Matt (00:30:30):

Even now, he was developing this movie about a movie critic and now he canceled that. I don’t even know if he has a thing in development and it’s been six years since his last movie. I feel like one day he’s just going to drop a movie on us

Cinema Chris (00:30:42):

And nobody’s going to see it coming. Yeah, I’ll take it. It’ll be like this.

Laci (00:30:46):

It’ll just be on our tv. How did this happen?

Matt (00:31:25):

Alright, I feel like I’ve been talking a lot.

Laci (00:31:27):

You have?

Matt (00:31:28):

Okay, well why don’t you take this opening?

Laci (00:31:30):

No, there’s feet. Okay. Just open Straight, open with Feet. And I think that started me because that’s the joke about him, but it’s also serious. I think that immediately kind of took me to a place in the movie that wasn’t the best start for me because I’m like, okay, this is Teenage Dream turned. This isn’t going to be serious.

Matt (00:31:53):

I know that people knew the Tarantino feet thing, but maybe social media wasn’t so dominant right now that he probably felt I could still get away with this, whereas he could not. Well, but Once Upon a time in Hollywood has tons of feet in it.

Laci (00:32:05):

And okay, here’s another thing. This is going to make me sound so weird, but my mom always rode in the front seat with whatever dad I had at the time driving and she would have her nails painted and put her feet up on the dash like this. And she has very nice feet. It runs in the family. I do too. They’re gorgeous. I’m just saying

Matt (00:32:23):

They’re fine.

Laci (00:32:23):

My feet fucking rock. Alright, what

Matt (00:32:27):

Do you think of Feet, Chris?

Cinema Chris (00:32:28):

I’m not a feet guy.

Laci (00:32:30):

You’re not.

Cinema Chris (00:32:31):

Then how? That is the one thing that I don’t understand with Tarantino. However, in this movie it makes a good drinking game. A shot for every foot shot. Oh yeah. Drunk pretty

Laci (00:32:40):

Quick. Well, and they’re wearing flip flops. That’s a lot of feet shots. I

Matt (00:32:44):

Mean, is this his most foot forward movie?

Laci (00:32:48):

I think it might be. Yeah. Oh, has to be. Its Foot’s on the Pedal

Matt (00:32:52):

And as Shortest movie or maybe Reservoir Dogs is shorter, but

Laci (00:32:56):

Well, the thinking of it as an exploitation film, then what’s the most thing he’d want to exploit? He’s not going to get the women naked. He’s going to get those iggies out and he picks some good fucking feet. I don’t even know that those are lady’s feet. They’re too perfect. Anyway, I have this affection for feet up on a dashboard crisscross like that.

Speaker 6 (00:33:18):

Yeah. Because of your mother,

Laci (00:33:19):

Which is strange, but that meant she was in a good mood. So I do understand why I’m connecting it to a nice road trip. No, you don’t get in a horrible domestic dispute and then prop your feet on the dashboard. That’s what I’m saying.

Matt (00:33:32):

Gotcha.

Laci (00:33:32):

It’s the same reason why I love the smell of Windex. It means that bitch is happy enough to be clean. You know what I’m saying? Alright, so I’m already in a good mood, but because I know the thing about Feet, I’m like, geez, already. It’s like starting with a tip of a dick. It’s like, whatcha doing? Quentin, where are you going from here? Anyway, this is all I know about this shot.

Matt (00:33:53):

Alright, so Planet Terror has all the fake, it’s not fake grain. They actually did drop the film onto the ground and stomp on it and stuff.

Laci (00:34:01):

Oh wow.

Matt (00:34:02):

But to give it the appearance of a grimy movie from the seventies and this movie, the first half of it has it not as much as Planet Terror, but in my memory it did not have it. So I was surprised to now get it. And then they do the joke with, you see the old title of the movie for a second before it gets replaced with a new title card that says Death Proof. It was a thing that would happen. It’s like a movie would open in a city. It would get bad reviews. So when it would go to the next city, they’d be like, no, this is a different movie

Laci (00:34:28):

And there’s even some force. But if you’re watching it on streaming, you’re not sure if you’re seeing an intentional blip. There’s a shot. I think it’s whenever in the second half of them. No, it’s when the Pretty Girl with the Big Teeth is explaining how, yeah, there’s a blip where she says something twice. But when it happened the second time, I was like, oh, okay. It was intentional.

Matt (00:34:51):

Yeah. There’s so much more of that in Planetary. And Planetary literally has the film Burn up and Meltdown while you’re watching it. Yeah,

Laci (00:34:58):

I remember that. Well, I mean great shots. We’re getting to know these ladies. We see a long legged hot chick who’s definitely cool putting on her shirt.

Matt (00:35:08):

You’re talking about Jungle Julia. I’m

Laci (00:35:09):

Talking about Jungle Julia

Matt (00:35:10):

Played by Sidney Poitier, daughter of Sidney Poitier. But she spells it differently. That’s good. Not confusing, but she is maybe the most idealized of all Quentin Tarantino like sexy ladies. Why? Because okay, she’s a cool and sexiest shit black woman who likes cool rock and roll from the sixties and seventies.

Laci (00:35:29):

Wait, you’re saying character or person? This is a character who likes these things.

Matt (00:35:35):

I’m saying of all of the female characters that Quinn Tarantino has created to be like, this is my dream girl.

Laci (00:35:42):

Oh, I thought you meant the culture celebrates her of all the ladies, all of his. Okay, we’ll talk better.

Matt (00:35:51):

Listen better, but also morphed with the Bridgette Fonda in Jackie Brown, like stoner slacker

Laci (00:35:58):

Girl. Well, and it’s always a fucking big red flag for me that a man wrote this stuff. When you see someone that’s just a bitch, when you see a woman walking around in panties and a short shirt, we don’t do that. That’s not practical. We cover our ass, you know? Know why.

Matt (00:36:15):

I’m sure someone does

Laci (00:36:16):

Are going to. I’m sure someone does, but I’m just saying it’s a guy thing to do this. So the writing does start to usually tarantino’s working with groups of either men, a man and a woman or groups of men. That’s the typical formation in his movies. So it is jarring to watch him write lots of dialogue for groups of one-on-one lady conversations and groups of women. He did not consult with a female, but any of this can just be like, well, he was going for that. He’s going for that.

Matt (00:36:47):

Yeah. I mean,

Laci (00:36:48):

This is a man’s ideal of women,

Matt (00:36:49):

Right? Yeah. It’s the male gaze and you’re trying to harken back to exploitation movies where yeah, you would just get tons of butt shots and boob shots for no reason.

Laci (00:36:58):

I don’t care about that. That shit’s hot as fuck. I like all those things. I’m saying literally the words that are coming out of their mouth are not normal. He gets wardrobe besides the panties and shirt combo. He gets wardrobe perfect. However,

Matt (00:37:12):

Okay, well hold on. We’ll get to their conversation. But so we got Sidney potty as Julia, Vanessa Ferlito as Arlene and Jordan Lattice. Shanna. And this is all taking place in Austin, Texas. Let’s see where on Robert Rodriguez’s

Laci (00:37:28):

Term is Cheryl Lad

Matt (00:37:30):

Check, let’s say Yes. And so they have this annoying conversation about who’s going to get the pot and the conversation. It’s a lot like the pulp fiction jewels and Vincent, where there’s a lot of circling back and forth about what the definition of words are.

Laci (00:37:46):

And I

Matt (00:37:47):

Was not cursing at you, I was saying curses at you, that kind of thing. But your contention, Laci, is this is inauthentically female.

Laci (00:37:56):

Well, you’re hitting on two. You’re right. It’s twofold. And that’s why it was so obvious that he writes these overly sexual dialogues to, in a way that in my experience, two women don’t talk like that. That’s not the perspective of I just made out with a guy. Let me describe to you in great detail what he did. What we did. It’s not that it’s like I accidentally farted or his tongue was a little jittery. It’s from the perspective of a human body experiencing another human’s body. Now let me lay it out for you. We were so on top of each other with straddled and China.

Matt (00:38:33):

Wait a minute. I have heard women talk like this. You’re speaking about yourself.

Laci (00:38:37):

I fucking clearly said that in my experience, what women have you heard? And if you were watching my guy, they were talking about it for you. I’m talking about private conversations just with women in the room. That’s just not, what are we doing that for? Unless we’re trying to turn each other on. In that case, fine, let’s do this. But that’s just not how you discuss a hookup. It’s more like Duty was so hot, we did this, this, and this. That’s more matter of fact. And then you get to the human part of I had to pee so bad, that kind of thing. That’s how a woman wrote it because it’s just more realistic to say the non-sexy parts as

Matt (00:39:16):

Well. Okay.

Laci (00:39:17):

Jesus.

Matt (00:39:18):

I’m sure if hit men watch Pulp Fiction and be like, we don’t talk like this. None of this is supposed to be real.

Laci (00:39:23):

So every time I make a point and then you ask me to dig in, you’re going to just tell me I wasn’t supposed to worry about that.

Matt (00:39:30):

No, I’m not saying we don’t need to worry about that. Ask about Chris,

Cinema Chris (00:39:32):

What do you think about this? So did you do the thing the guys like the thing? Well, they like it better than no thing.

Laci (00:39:41):

It’s like great. Okay. Yeah. That’s what we do. It’s a

Cinema Chris (00:39:44):

Painting dialogue. I mean, I can understand both where Laci’s coming from of because my wife don’t talk like that. No.

Laci (00:39:51):

And not Prudes just because,

Cinema Chris (00:39:54):

Yeah, my wife’s a very graphically worded person, so she’s going to talk about it. It’s going to be a lot more graphic than the way they

Laci (00:40:03):

A medical,

Cinema Chris (00:40:04):

Medical.

Laci (00:40:05):

She’s a nurse. It’s right. Right. It’s nuanced. This isn’t,

Matt (00:40:12):

It’s new, but I actually don’t disagree with you yet. Something about this does ring more false to me than Vincent and Jules talking. But I do need to remind myself, he has no idea what hit men are like and he has no idea. These are all just totally imaginary people.

Laci (00:40:27):

Well, for Vincent and Jules, he’s humanizing ’em by giving them this mundane conversation. He’s showing you that no matter what it is you do for a living, it is just something you’re doing to make ends meet. Doesn’t make you an evil person. That’s what he’s doing. This is just girlfriends trying to hang out. These are just girlfriends. Haven’t seen some of them, haven’t seen each other in a while. She’s butterflies just in town for a few days and all the women are ever fucking talking about are there hookups? Are there relationships that aren’t working? It’s the first thing anyone asks anyone about. It’s all they’re ever talking about. When you walk in on the conversation, that is not realistic. And I guess it’s meant to be a very sexually charged movie. I get that, but when he writes for men, it more rounds out a man. It makes them feel more human, more relatable. When he is writing for a woman, they feel so one note and he’s making them lesser than, he’s not building them out. He doesn’t build out their world. They’re not talking about France and fucking Madonna. They’re talking about kissing guys. Straight relationships. Not even any queer shit in here.

Matt (00:41:35):

Who’s the lesbians?

Laci (00:41:37):

Who’s a lesbian?

Matt (00:41:38):

The ladies who come into the bar to meet them with the pot later.

Laci (00:41:41):

God, the fucking biker babe. Lesbian fucking truck.

Matt (00:41:45):

Okay. But they do talk about music and stuff. They don’t only talk about men, but it is, yes, he’s writing. He’s writing these women characters who we define them first as sexual creatures. And second is people who are obsessed with the things that Quentin Tarantino is also obsessed with, which is fast cars and rock and roll from the sixties and seventies that most people have not heard.

Laci (00:42:05):

Yeah. Yeah. This whole thing feels like, oh hey, new girlfriend. Here’s a mix tape. This whole movie is, here’s mix tape. That’s what it is.

Matt (00:42:13):

The thing that rang most falls to me about the whole movie is the women, when they find out that Rosario Dawson got a mixtape, they’re all like,

Laci (00:42:20):

Ah, no, not true. When you gave me a mixtape, I cream my fucking jeans.

Matt (00:42:25):

Nobody in real life wants I mixed tape. No

Laci (00:42:27):

Whatcha talking. It’s the way guys say things. They can’t say you’re good at communicating. Not every guy is so they communicate through songs or else the girl pretends it’s what they’re doing. Mix tapes are fucking sexy as hell.

Matt (00:42:41):

Okay, maybe I’m wrong here.

Laci (00:42:42):

God, you’re bad at this episode. Me curse is weird. What if me and just do this,

Matt (00:42:47):

Please.

Laci (00:42:50):

I’m dressed like the husband from Beetlejuice. That’s always what I think when I wear this shirt. You’re welcome. Audio podcast. Okay.

Matt (00:43:01):

They get to the Mexican restaurant and Arlene, AKA butterfly notices. There’s some sort of death proof car outside. Something’s amiss. Keep my eye on that death proof car. I mean, it’s almost like shot for shot like Halloween.

Laci (00:43:16):

Yeah. Where she’s noticing it’s out the window. It’s always when she takes a moment alone, he never seems to creep when they’re in a group, which it also happens in the second half. Don’t you feel like the title card could basically happen after the first half? The whole thing’s just a setup for you to really enjoy. It’s just like and now the movie. Yeah.

Matt (00:43:35):

And yeah, in your memory you could be like, yeah, that’s one of those Title card doesn’t come until 70 minutes into the movie

Laci (00:43:42):

Movies.

Matt (00:43:43):

Yes. You’re so right. They explain that whole thing with the lap dance. If you come up to butterfly and you’re like, are you butterfly? Well, Robert Frost once said that I was walking in a tree forest and I came upon a path and I didn’t know which way to go and I took the loft path. If you do all of that, she’ll give you a lap dance. Okay.

Laci (00:44:04):

All that. A Amanda does all that and you get to fuck the most 90 things ever. The most nineties thing you could have ever asked for. Lap dances were all the rage.

Matt (00:44:15):

They were.

Laci (00:44:16):

Oh my God. Yeah. Well, it was, I don’t know.

Matt (00:44:20):

I’m not that old. I don’t know

Laci (00:44:22):

The American pie of it all. It’s just, yeah, that’s what you, I’m not going to fuck this guy, but I know I’m supposed to dance like this. Someone his dick. Yeah. Lap dances were like, if you didn’t do that, you were the lamest girl.

Matt (00:44:35):

What? Who did these? What? This is the thing. So you had to know how to do that. Well, luckily, I just know.

Cinema Chris (00:44:45):

Oh, okay. I

Matt (00:44:45):

Was

Laci (00:44:45):

Born this morning.

Cinema Chris (00:44:46):

Did you make people read you a poem to give you the lap dance? At

Laci (00:44:49):

Least I didn’t know that was an option. Okay. I did them for far less.

Matt (00:44:55):

What would you do

Laci (00:44:57):

For someone asking me to,

Matt (00:44:58):

Oh, okay.

Laci (00:44:58):

Yeah, I made out with girls for someone asking me to, this was very much a thing. Especially if you’re not like all that good looking. I do whatever I’m supposed to do.

Matt (00:45:11):

Oh, you’re good looking.

Laci (00:45:12):

I am now

Matt (00:45:14):

Shut up. You are there. I was not that. I’ve seen pictures of you also. We’ve been together so fucking long. When are you talking about?

Laci (00:45:22):

I’m talking about it as a

Matt (00:45:23):

Teenager when you were 13.

Laci (00:45:24):

No, we’ve

Matt (00:45:25):

Been together since you were 14.

Laci (00:45:26):

Really hostile on this episode. No, I’m talking about age 14 through age 25.

Matt (00:45:32):

Ew. I’m going to make Laci do a timeline of her life. These numbers are all over the place. Well,

Laci (00:45:40):

That’s to be expected.

Matt (00:45:42):

Yeah. You’ll get a lap dance. If you read me a Robert Frost poem, she’s like, I don’t want to do that. And he’s like, well, you’re going to have to, or else we’ll call you chicken shit like your Marty McFly. Her one weakness is she can’t be called chicken shit and she knows that, so she’s mad about it. But anyway, they leave this taco bar and Kurt Russell watches them from across the street and he has an individual photo of each of them.

Laci (00:46:02):

That is the only mystery. Does anyone, does it need to be explained? I’m okay with it not, but why these girls, how do you know Butterfly was going to, I mean, I know he listens to Jungle Julia, so I guess that’s why.

Matt (00:46:15):

Well, he stalks them and he presumably he’s been stalking them before this.

Laci (00:46:19):

Well, butterfly just got there

Matt (00:46:21):

Yesterday.

Laci (00:46:22):

That man knows how to develop a photo quickly. He takes them and then he

Matt (00:46:28):

Hangs out at the airport and he waits and waits for groups of girls. I think there’s a thing where he is.

Laci (00:46:33):

He listens to jungle. Julia, I just answered my own question. Do you think Chris, he just is very infatuated with Julia specifically and the rest of the stuff was just there with Julia and the Butterfly gave him an intro, right? The lap dance thing.

Cinema Chris (00:46:50):

I mean that worked out for the intro for sure, but I think he gained his information on Julia after he had already picked this group of girls for his next target.

Laci (00:47:00):

And

Cinema Chris (00:47:00):

I only say that because of the second group of girls. They are being photographed at the airport.

Laci (00:47:06):

You’re right. Oh, is that the airport where Abby,

Cinema Chris (00:47:08):

Gabby, they’re picking up Zoe from the airport. Yeah.

Matt (00:47:10):

Yeah.

Laci (00:47:10):

Zoe where? Abby. Gabby.

Matt (00:47:15):

But I think that he is I he chooses his targets based on a very toxic masculine, a

Laci (00:47:25):

Promiscuity

Matt (00:47:27):

Performative Feminity seems to really grind his gears.

Laci (00:47:31):

I just buttoned my button while you were saying that I self-conscious.

Matt (00:47:35):

So these women are being loud and they’re like uhoh and stuff at the bar. He’s like, I don’t like the looks of them in my book.

Laci (00:47:43):

They wouldn’t suck my old cock doggy. What does he always say? It’s not partner.

Matt (00:47:50):

Partner.

Laci (00:47:50):

Is it partner? Okay,

Matt (00:47:51):

Sure. They head over to the Texas Chili parlor and they’re just hanging out with some guys, including

Laci (00:48:01):

Just

Matt (00:48:01):

Hanging Eli Roth playing one of them.

Laci (00:48:04):

Oh,

Matt (00:48:04):

Your cousin?

Laci (00:48:06):

My cousin. Which one was he?

Matt (00:48:09):

He’s the one who looks like Eli Roth. I know. He’s the one who’s like, okay, we’re just going to give him some more shots. That

Laci (00:48:15):

With the asshole, no

Matt (00:48:16):

Boys Becomes Boys.

Laci (00:48:17):

Okay, I got it. The asshole.

Matt (00:48:19):

I love to see this beautiful old school texting of Julia texting Chris or whoever,

Laci (00:48:24):

Nokia. Let’s

Matt (00:48:25):

Sit Chris. She’s texting him. When are you coming? We get to see how long a text message takes and the little noise that you hear and how satisfying that was. We got to go back people. We have to go back. Things were better than, I assure you. They were way better in 2007.

Laci (00:48:38):

So much less wars.

Matt (00:48:40):

Just

Laci (00:48:41):

Kidding.

Matt (00:48:41):

Just as many wars. Technology was better. But Quentin Tarantino plays the owner of the bar and he comes over and he’s like, everybody’s going to do shots.

Laci (00:48:49):

It’s the worst fucking cameo he’s ever done. It’s so egregious. He’s such an idiot. He’s like Eddie from fucking Christmas vacation. The vacation movies.

Matt (00:48:59):

Well, as in a delightful scene, stealer

Laci (00:49:02):

As in a temu version. He’s just the grease and none of the charm.

Matt (00:49:07):

Let’s see. Arlene goes outside to smoke and it’s raining, and then she notices the death car is in the parking lot and she’s like, oh no. That death car. I don’t like the looks of that.

Laci (00:49:16):

Well, and has the disgusting chat amongst Eli Roth and his guy happen yet?

Matt (00:49:23):

Not yet.

Laci (00:49:23):

Okay.

Matt (00:49:24):

No. That happens at the same time as we’re getting the the sensual eating of Kurt Russell. Just,

Laci (00:49:29):

It’s not sensual. He’s meant to look like a pig. Look, he’s got someone in his cheek. He’s meant to look scary.

Matt (00:49:34):

I think Tarantino can’t help but making it look a little sensual. Like the fingers go. Those fingers going in my mouth.

Laci (00:49:40):

Tiebreaker Chris. He’s meant to look sexual, but gross

Cinema Chris (00:49:45):

Every time it grosses me out, yet at the same time, makes me crave nachos. I

Laci (00:49:49):

Was going to say, makes me horny as I was like, where are we going? It’s like me with my mom’s feet. Okay.

Matt (00:49:55):

Alright. So I need to make a video of Laci’s mom’s feet and a cut of this. Don’t do that. But it’s funny, I remembered this as being like, this is one of the things I remember from the movie theater being like, oh, those nachos look so fucking good.

Laci (00:50:07):

I mean, they do. The cheese is dripping. I

Matt (00:50:09):

Watch it and I hate watching people eat. I really think it’s disgusting. Okay, and this is like Laci seeing a beehive or something. This upset me on a visceral, I felt it in my

Laci (00:50:20):

Stomach, in my caveman. In my caveman. I’m screaming.

Matt (00:50:23):

Hit me in the caveman. Well, so yeah, Eli Roth is talking to this other dipshit and he’s like, we can get the girls horny if we give them more shots.

Laci (00:50:33):

And that’s when I realized this movie is just American Psycho. This is all of these men are toxic in these women’s lives. The guy that’s on the phone saying he really misses Julia never fucking shows up. The guys who are buying them fucking shots, just to call them bitches and to get their bananas sucked. And then the fucking cop at the end who’s figured it out. You can tell it’s a death proof car. All you care about is that those ladies were too pretty to die. Meanwhile, you’re treating this doctor who’s your daughter, like a piece of shit. That is the most hostile thing in this movie is the way he talks to his physician daughter, and he has the smarts and intelligence to know that this is what is happening. Again, if these were ugly girls, he would not care, but he’s like a daddy, so he ain’t going to do it in Texas. Like, oh, thank you. Thank you. That’s so helpful. Evil men,

Matt (00:51:34):

I think those are the only characters from Planet Terror. The sheriff and the doctor. The woman doctor are in Planet Terror.

Laci (00:51:41):

Well, Anne,

Matt (00:51:43):

No, I’m saying those are literally characters from Planet Terror. Rose McGowan is an actor who’s

Cinema Chris (00:51:48):

Also in

Matt (00:51:49):

Planet Terror

Cinema Chris (00:51:51):

Jungle. Julia is technically referenced in Planet Terror. She is a memorial on the radio. They’re saying, and in memory of our radio host Jungle, Julia Luka. There you go, because there’s two twins. There’s Rose McGowan. Wait, huh?

Laci (00:52:07):

Oh, nevermind. I was about to ask a very stupid question.

Cinema Chris (00:52:09):

There’s twins in the bar in Death Proof who are the babysitters of the doctor in Planet Terror, and they’re the same character.

Matt (00:52:19):

Death proof takes place before Planet Terror, or at least the first half of death proof takes place

Laci (00:52:23):

Before

Matt (00:52:23):

Planet Terror.

Laci (00:52:24):

Right? That’s true because that part’s grainy,

Matt (00:52:26):

Which begs the question in the second half of death proof has a zombie apocalypse already taken place

Laci (00:52:30):

And everything’s fine now, and

Matt (00:52:31):

No one’s mentioning it.

Laci (00:52:33):

They’re just on a movie set where that hasn’t happened yet.

Matt (00:52:36):

Movie that was all the way in Texas and we’re in Tennessee.

Laci (00:52:39):

Well, the accents are a little rough for me that you can’t have an empowered woman who talks the way that Shauna talks.

Matt (00:52:48):

Shanna, the only thing a Shanna hates worse than what I

Laci (00:52:51):

Did it, Greg Craig, I’m always going to fucking step in it,

Matt (00:52:54):

But yeah, gross nachos and men being pigs. No, Laci, you’re absolutely right. These guys are not literally slasher killers, but these women are their prey in a way if you think about it.

Laci (00:53:10):

And they’re going to kill a little piece of them with the way that they are, the way that they, I mean, look at the director who they’re talking about who fucked. All he did was fuck some girl on her birthday, but that stayed with her. It’s what she’s talking about the way they are.

Matt (00:53:25):

But Eli Roth and his friend, then look over at Kurt Russell and they’re like, when did this guy get out of his time machine? What a loser.

Laci (00:53:32):

He looks fine. I don’t even think it looks funny for the time. It is just the nineties shot. He does look like he’s in the spacesuit.

Matt (00:53:42):

Rose McGowan now is Pam. For some reason, all the cool girls at the bar think she sucks and they make fun of her from across the room. But Rose McGowan starts talking to Kurt Russell. We finally get some good old Kurt Russell and I got to say I was not digging this movie that much. Each time I watched it up until now, I’ve been like, I get it. This is not, I don’t know, this feels like Quentin Tarantino BSides, but Kurt Russell, one of my favorites of all time, and he starts talking. I’m like, oh good, I’m in good hands,

Laci (00:54:18):

And

Matt (00:54:18):

He just starts explaining that I like to hang out in a bar and not drink and just drink a virgin pina colada and eat my nachos and talk to people and explains. He’s a stuntman. He stuntman Mike and he’s an actual stuntman from movies and television.

Laci (00:54:34):

I do want to point out that Rose McGowan’s character does all the things she’s supposed to do to be safe in a bar. She is asking him the right question. She wants the bartender who she trusts to vouch for him. She checks to see if he’s drinking and if he’s going to be drunk when he drops her off.

Speaker 6 (00:54:52):

Oh, that’s a good point.

Laci (00:54:53):

She’s not wearing anything provocative. She was there, taken there by a date and then left there in the rain by that asshole. She asks about the car someone, it’s like if a guy wants to make you his prey, he probably just will, because every time she asks a question to just figure out who this guy is, he does something very charismatic to kind of, she’s like, Hey, so you vouch for this guy? And he’s like, well, in so far as I’ve seen, he said, he’s in this movie and he’s not really answering the question. The bartender. And then Kurt Russell takes over and tells a really long thing about all the work he’s done, which has nothing to do with, can you vouch for this guy? But it distracts and charms.

Matt (00:55:38):

Yeah. And he says, I didn’t offer to give. You asked me for a ride.

Laci (00:55:42):

See, that’s not true. You slid your keys over here and said your chariot awaits. How is that her asking?

Matt (00:55:48):

But he is, when she’s talking to him, he’s looking at her. He’s listening very intently. He’s laughing along with her. He’s charming as hell.

Laci (00:55:55):

He’s buried those eyes, those blue eyes.

Matt (00:55:57):

But a lot of this just feels like, this is like him being obsessed with stunt men. This,

Laci (00:56:03):

I like that he celebrates these other, I’m a sucker for any stuntman movie that just talk. I mean, because they destroy their bodies to get no fucking praise.

Matt (00:56:14):

He starts asking her questions about Jungle Julia, what’s her deal? And she’s like, well, I went to school with her and she sucks. He’s like,

Laci (00:56:21):

This is very well observed. You said that those ladies over there seem to hate that blonde woman for no reason. It’s Austin, right? That they’re in.

Matt (00:56:30):

Yeah, a huge city.

Laci (00:56:30):

A huge city. But they seem to be on the way that Mettie is small. If you want to pick a bar, right, Mettie, you would still say you’re from New Orleans, but you’re not driving New Orleans to go to a bar. You’re going to go a bar in. That’s how I take this area. And they went to school with each other and they’re both hot and you’re going to end up at the same bar. The guy gives away free shots. It’s going to be a popular place to go. And yeah, you’re going to sit at the bar while the other, you’re not going to go over and be like, hi, we’re Frank, because you’re not fake, but you do know each other enough to be like, let me check in with you. Is it weird that I’m going with this guy? I think it’s really well observed. The casual attachment to someone who you didn’t mean to run into and you don’t necessarily like that much. I dunno. It’s nicely, lightly handled, I think.

Matt (00:57:24):

And Kurt Russell asked, well, what did she ever do to you? She used to beat you up and take your chocolate milk. And she’s like, that pituitary case might’ve kicked my ass a couple of times, but I died before I gave her my chocolate milk.

Laci (00:57:36):

That’s a pretty good Rose McGowan.

Matt (00:57:38):

He starts explaining all the credits he’s had. Well, I did a lot of episodes of the Virginian and then I did The Man of Shiloh and damn near the whole third season of Vegas. Any of these shows or people I I’m talking about and they’re all like, no, sorry, I looked these up. It’s unclear if these are actual TV shows. I don’t think

Laci (00:58:00):

They’re, it seems like jibber. Yeah,

Matt (00:58:02):

But I don’t know if the point is he’s making them

Laci (00:58:05):

Up. Yes. That’s what I thought. Chris

Matt (00:58:08):

Or Tarantino is trying to invent a history,

Laci (00:58:12):

But then why give us real movies in this movie as well, Chris? See, he’s shaking his head. Yes, I’m right.

Cinema Chris (00:58:18):

It’s on the fence because there’s a theory about stuntman Mike being another character from another Tarantino movie.

Speaker 6 (00:58:25):

Which one? I

Cinema Chris (00:58:26):

Don’t know if I believe it, but there’s a theory that stuntman Mike is Cliff Booth from Once Upon a Time in Hollywood. Oh, that sucks.

Laci (00:58:33):

Oh, okay. Well, I was going to say he also brings back stuntmen for that movie, Clint.

Matt (00:58:39):

I certainly hope that’s not true. I know that’s not true. No Tino’s like

Laci (00:58:45):

He’s not really like that.

Matt (00:58:45):

No, he’s not like that Cliff Booth could turn into somebody like this. He may have harpooned his wife. We don’t know. Or they could have worked together. Yeah. Yeah. I did wonder, wait a minute. Is Kurt Russell playing the same character in Once Upon a Time in Hollywood when he plays Cliff Booth’s boss? Did you hear guys that Cliff Booth is coming back, allegedly meaning probably not, but David Fincher will be directing a Cliff booth.

Laci (00:59:11):

No, of course. I didn’t hear

Matt (00:59:12):

That Stuntman movie.

Laci (00:59:15):

I’ll be watching that.

Matt (00:59:16):

Yeah, if it happens, David Fincher gets announced to do a lot

Laci (00:59:19):

Of stuff. No, I’m going to watch it if it doesn’t happen. Matt, thanks for the fucking clarification.

Matt (00:59:22):

You’re welcome.

Laci (00:59:23):

How’d your help?

Matt (00:59:28):

All the TV shows in Once Upon a Time in Hollywood are real, like Bounty Law is a real show. So that’s why I assumed these were real shows. He was mentioning here because Tarantino would want to shout out real shows.

Laci (00:59:40):

Sure. But I think, like I said, this is at a very opportune moment that he does this. He steps in while and makes it to where the bartender gets distracted moves on. Because right here, he could ruin the whole thing by saying, look, I don’t really know him that well. He is only been in this bar a couple times. But instead he jumps in and just starts making all these girls feel stupid. They don’t know all the things he’s saying. And it would make sense if some of them are real and some of them are completely made up just so he can vamp, take some time, distract, make them feel a little dumb and make it to where Rose McGowan’s character kind of wants to prove she’s cool again after showing she’s not cool to him,

(01:00:22):

He’s attractive, he’s older, he’s charismatic. Even if you’re not going to fuck him, you want him to want to fuck you. I’ve been in this situation a million times. You still, you want someone to look at you and go, you’re an old soul. No, not just that, just like, oh, well you’re pretty cool or you’re not. Like other girls that pick me is always there of, let me show you. I know Otis Redding. I know how to pick a fucking thing off the thing with the shit I know about a show. I’m timeless. So she gets a little nagged here and distracted.

Matt (01:00:54):

Okay. Sorry. Let’s back up then. Do we think stunt Mike ever worked as a stuntman then?

Laci (01:00:57):

Yes.

Matt (01:00:58):

Yes. Because now I’m thinking, wait a minute, Tarantino probably loves stuntman so much. Why would he make a stuntman a killer? Stuntman are good folk.

Laci (01:01:06):

They don’t have to be good to like him. Matt, why is everybody have to be an angel? He’s got that kickass scar.

Matt (01:01:14):

How’d you get into the stunt business? My brother got me into it. Who’s your brother? Man,

Laci (01:01:18):

Bob. Some Bob. That’s how you get into wrestling. You find it totally believable. It’s how you get into stunting. It’s one of those things that doesn’t feel like a career. It feels like something people do instead of having a job. But you talk to someone who actually does it realize it’s a big deal and there’s a lot of skill involved and okay, I’ll try it. I can see,

Matt (01:01:39):

So stuntman Mike goes out and he recites the Robert Frost midnight on the midnight dreary. I came across a rose and she’s like, how did you, now that bam, how did you know? I forgot how she taught. She’s damnit. I forgot. I forgot. I had an impression of her, but I forgot it.

Laci (01:01:57):

Darn.

Matt (01:01:58):

I know of Arlene slash Butterfly, but she’s trying to figure out how to get out of this situation and finally just ask, I know you’ve been following me, why? And he says, well, I ain’t stalking, but I didn’t say I wasn’t a wolf

Laci (01:02:16):

Panties wet.

Matt (01:02:16):

He accurately says, you look a little wounded because you thought guys would be reciting poetry at you all night. And it hasn’t happened yet. And there are as few things as fetching as a bruised ego and a beautiful angel. So how about that lap dance

Laci (01:02:31):

Angel?

Matt (01:02:32):

And she’s like, well, I’m going to have to give you a rain check. And he’s like, that’s okay. You’re still a nice girl and I still like you, but I must warn you. You know how people say you’re okay. In my book and in the John Wayne voice, and he keeps doing the John Wayne voice and explains, he actually has a book like Richard Nixon.

Laci (01:02:49):

Wait, okay. But I’m not the only one. And maybe Chris, you don’t have enough distance from this, but just like when he has the weirdest, longest, prolonged sneeze, but then doesn’t sneeze, and then you pan back to Julia and she’s like, what the fuck? When he’s up close, you cannot see any of their reactions. And he’s doing full on John Wayne for way too long. You expect them to flip the camera back and all of them be like, what the fuck? But then they flip it back and she’s like, I don’t want to be a chicken shit. It’s like, wait, that worked. It’s just very interesting. These things he puts in along the way to let you know this guy is not right or is he, I dunno. I love that because that’s what you want. That’s what you want in life is for a creepy guy to be okay. And for you to think you’re in danger and be like, oh, I’m not. That’s what you want. And this movie plays with it very well. This like, nah, I’m safe.

Matt (01:03:50):

Do you remember what they said, Laci, about the real Frank Abna, what everybody said about him? No, that he smelled bad. That he stunk and that weirdly was part of his appeal for some reason. It’s like he stinks, but he’s okay. He’s not trying to con me.

Laci (01:04:09):

No one that stinky would

Matt (01:04:10):

Con me.

Laci (01:04:11):

Yeah, they got to be making nice over here,

Matt (01:04:15):

But the chicken shit thing works on her. Marty McFly. So she does this elaborate lab dance that

Laci (01:04:20):

It is the most elaborate.

Matt (01:04:22):

I feel like everybody in the bar would resign from being uncomfortable. And instead they’re like, yeah, cow. They’re all

Laci (01:04:27):

Smiling and fucking nodding and approval. I would be so uncomfortable. Also, she does half of it where you can’t see it behind him. Who are you doing this for? Fuck. And she’s good at it. She’s a good dancer, but really

Matt (01:04:45):

The actress did. Yeah. Oh, that’s good. Yeah. That’s

Laci (01:04:47):

Really impressive. I can’t figure out where I know her from. She’s very familiar. She’s very distinctive. Oh, okay.

Cinema Chris (01:04:54):

Who is she in? Spider-Man too. She’s Mary Jane’s best friend.

Laci (01:04:59):

God,

Matt (01:05:00):

I

Cinema Chris (01:05:01):

Looked her, I don’t even know that. We watched it the other day and I was like, what the hell?

Matt (01:05:04):

Yeah. I looked at her credit. I don’t know her from anything. She’s just in TV or she’s in lots of tv. She’s a successful actress. I just don’t

Laci (01:05:12):

Know. I feel like I know her as a kid actor. This is a mature role for her. That is where my brain goes.

Matt (01:05:20):

I was thinking non goth, far a bulk

Laci (01:05:23):

Ish. That’s

Matt (01:05:24):

What I was thinking.

Laci (01:05:24):

Yeah.

Matt (01:05:25):

Now it’s the death drive time for the death drive. Time for everybody to go home Rose McGowan’s like, okay, I’m going to get in your car stuntman Mike. And he’s like, well, look, here’s my car. It’s death proof. You can’t die in it. And there’s this acrylic partition between the driver and passenger sides. But everything that seems creepy is like, no, there’s a reason for that. That’s where the camera has to go. And it seems weird that there’s no seat. No, here’s a seat. I just pulled it out. Now you sit on this stool. Okay,

Laci (01:05:53):

Well, and now I can’t get fresh with you. See, this whole thing is very incel coated. Right. He keeps getting fucking dismissed and disrespected and he reacts to none of it. He’s right there when those two stupid fucking guys are making fun of him, he can hear it, but he knows he’s going to kill a lot of ladies later. The ones wants, those guys want to fuck. He’s going to fuck him with his car. So it’s all part of, it’s like he’s gooning this. Yeah, keep going. Keep telling me I ain’t shit. And so when Rose McGowan goes by that group and she says those two things, he’s old enough to be my dad, I’m not going to fuck him. Then he’s like, oh, I can’t wait to kill you with my car.

Matt (01:06:36):

Well, that’s real confidence. We should all try to be like stuntman Mike without the murdering part. Got it figured out. It doesn’t matter what people some fucking idiots at the bar say about you, you’re cool as

Laci (01:06:48):

Hell. Absolutely. That would be nice. That would be nice. I don’t know that that can be, but yeah,

Matt (01:06:55):

It can be. Just remind

Laci (01:06:56):

Yourself. Just take it like stuntman Bob, who probably didn’t kill anyone

Matt (01:07:00):

Or take it, Pam, who’s like that case, but not my chocolate milk. Got to have that confidence. So yeah, the death happens. It is pretty cool. Anybody have any thoughts about that?

Laci (01:07:12):

Wait, the murder of all of them, the

Matt (01:07:13):

Murder of Pam, of Rose McGowan, it happens very fast. He’s like, she’s going left or right, and she’s like, right. And he’s like, oh, well, in that case, I’m just going to go ahead and tell you that

Laci (01:07:22):

A very, that’s a well observed, nice little taunting speech. That was very horror movie. The way he delivers that bad news. I’m always very impressed with actors who get that timing of when would it click for me? And it washes over her just right. And the smart, what is it I’m trying to do? Bargaining. This is a joke. You’re a funny joke guy.

Matt (01:07:49):

No, I know. It’s a joke. I It’s so realistic. You’re just joking. Yeah. So just let me out and it’ll just be a good joke

Laci (01:07:55):

That Rose McGowan, she’s good in a horror movie.

Matt (01:07:57):

Buddy kills her and then he is like, now I got to catch me, my other girlfriends as he looks at the other ladies in the pictures.

Laci (01:08:03):

Chris, you’re really into horror. Do you have a favorite kill

Cinema Chris (01:08:07):

In this movie?

Laci (01:08:08):

Yeah. Or moment.

Cinema Chris (01:08:10):

Oh, probably Jungle Julia. The fucking leg. So terrifyingly realistic because Emily likes to put her leg out the window like that.

Laci (01:08:23):

And

Cinema Chris (01:08:23):

Ever since I would’ve showed her this movie, she’s never done it since.

Matt (01:08:27):

Good.

Laci (01:08:27):

Show her hereditary so she doesn’t put her head out the window as

Matt (01:08:29):

Well. That’s the kid riding the school bus. Hearing about once there was a kid who stuck their arm out the window on the bus and then it got broken off by a tree or something by a bear.

Laci (01:08:41):

That

Matt (01:08:41):

Happens. I’m sure it happens. Yes. But yeah, you get to see it four different times. You get to see each of the individual kills. My favorite is

Speaker 6 (01:08:49):

The head

Matt (01:08:49):

Arlene getting run over in midair. Awesome. And yeah, now we meet the sheriff.

Laci (01:08:57):

Probably really fucked up his rims.

Matt (01:08:59):

Probably really did, when you think about it. So, well, we’ve already talked about this, but yeah, these bumpkin sheriffs are like, no, we can’t. The law says we can’t do anything to keep this guy.

Laci (01:09:08):

I’m just noticing that fucking police officer with fucking five dead people didn’t even bother to put on a shirt. He’s in an undershirt and they’re related. That’s right. Am I wrong? That is his dad. And then the doctor is his daughter. Okay.

Cinema Chris (01:09:23):

Yeah. That’s his son. Yeah.

Laci (01:09:25):

Okay. And who is getting all the respect in the world? Who is getting told all the information and then the fucking doctor comes over and she just gets nothing. Condescend, no respect.

Matt (01:09:38):

Coning.

Cinema Chris (01:09:38):

Dr. Block.

Laci (01:09:39):

Doctor. Is it Block? I keep hearing Dr. Bob,

Matt (01:09:44):

But this sheriff, he has accurately figured out who Kurt Russell is and the psychology of why he does this. This is the end of Psycho where the psychiatrist has to explain to people in 1960, here’s why he’s dressing up like his mother. That five minute monologue that goes on way too long where they explain it’s in this movie, but it’s just in the middle of the movie, which is interesting,

Laci (01:10:07):

But that’s why it’s so poisonous. That’s what he’s illustrating, is that there are men who know what other men are like, but it would just be too much of a bother to stop them. But they can show up at a shot with a shotgun at their front door. If a boy comes over like, no, I’ll protect my girls. I’ll protect something like in this area. And if they’re pretty, but eh, I’d rather watch the NASCAR circuit than make sure that man never kills again.

Matt (01:10:33):

And he is literally a Texas Ranger. The idea of where this is Texas, this is the frontier. We just protect our own. I’m just here to protect Mahomes.

Laci (01:10:41):

Texas Horror movies are definitely, they’re in Texas. I feel like we’ve said that before. There’s no Texas Horror movie where that’s not part of the point.

Matt (01:10:53):

The only thing that takes place in, well, Rushmore.

Laci (01:11:00):

Oh, that does not feel

Matt (01:11:01):

Like Wes Anderson movies, at least his early movies take place in Houston. You’re like, oh, I don’t think of them as Houston movies

Laci (01:11:07):

Or Texas movies. Wait, is that because he’s like fucking Kubrick and so he just pretends London is everywhere else?

Matt (01:11:11):

No, no. Rushmore Academy is in Houston. Plus Anderson is from

Laci (01:11:15):

Houston. Okay.

Matt (01:11:17):

But yeah, I’ve been to Houston. Houston is just an anonymous big city with no character.

Laci (01:11:22):

I like, it’s like when Louisiana stuff is, we’re in a Louisiana movie and it’s not the point. Sometimes we can just talk and not eat crawfish while we’re doing it. Fuckers.

Matt (01:11:34):

God dammit, man. So now it’s 14 months later, we’re in Lebanon, Tennessee, and it’s in black and white. But the grain is gone. The fake grain is gone. The camera work is less frenetic. It’s now moving slowly, more deliberately. Almost like a Quentin Tarantino movie. And Kurt Ru. Yes, Laci.

Laci (01:11:52):

Do you think that when he did the auditions for who was going to play this movie, he just asked for feet? Because I feel like he starts with the feet goes up.

Matt (01:12:00):

I think, yeah. I think that’s the first

Laci (01:12:01):

Part. Because Rosario Dawson’s already a big deal when this happens. And she’s hot as shit. And that leg moves. I can’t stop picturing her leg move with the pow at the end anyway, but the feet are good. But

Matt (01:12:13):

The first thing he says is like, but it’s not weird. It’s not weird. But Feet please. But not weird. Not in a weird way.

Laci (01:12:19):

Just need their headshot

Matt (01:12:20):

For cinema. Yeah. Kurt Russell pulls up to this convenience store parking lot and sees some sexy babes in a nearby cart. And they’re having these normal conversations that Sexy Babes have of, I was making out with him, and then I made ’em stop. And it’s very similar to the conversation from earlier, but these women, they’re not exactly the same. For one thing. They listen to iPods and not LP Records. We got Rosario Dawson.

Laci (01:12:44):

They also have a job and are all, well, that’s their thing. They’re a little bit older probably. And I don’t know, I think he’s showing a set of girls are just a little more capable.

Matt (01:12:56):

Oh yeah, absolutely. Absolutely. Mary Elizabeth Winstead is Lee, Tracy Thomas is Kim. They all work together on a movie that is shooting here. And Kurt rehearsal goes and kind of tickles Rosario Dawson’s feet and she doesn’t react. So he, as Laci said, gives it, puts the lick on it. Puts the lick on it. And then she’s like, oh. And then he like, oh damn, Curtis, where the hell are my keys here? Oh, there we go. Rosario Dawson gets out of the car, watches stuntman Mike peel away, but then notices him down the street. And that’s when it shifts to color understanding. Now she’s a little

Laci (01:13:32):

More aware.

Matt (01:13:32):

Yes. So now it’s in color. And at this point it is just a straight Quentin Tarantino movie filmed like a Quentin Tarantino movie Paste. Like a Quentin Tarantino movie. They pick up their friend Zoe from the airport who is playing herself. Zoe Bell, a real stunt woman. Uma Thurman’s stunt Double for Kill Bill. She’s the stunt coordinator for Tarantino’s movies. She started off working on Zelda as Lucy Lawless’ stunt Double. She’s a fellow Kiwi like Lucy Lawless. And we see Kurt Russell taking pictures of them coming out of the airport. So they explain, they’re like, we’re working for Director Cecil. He is just the coolest. And then I was like, oh, that’s why Lady said that this Cecil is Quintin Tarantino.

Laci (01:14:14):

Andy forgives himself for cheating because he did the mix tape. He’s propping up that there could be a guy that it’s okay to forgive for guy bad behavior, especially if you’re not putting out, as long as he’s also really thoughtful and interesting as a mansion.

Matt (01:14:31):

So what’s more like wish fulfillment for qt? Is it this, is it women saying how amazing and sexy it is for a man to make you a mixtape?

Laci (01:14:39):

Yes. Around a table at a diner? Fuck yes.

Matt (01:14:42):

Or is it Kill Bill when Uma Thurman’s laying on the ground and just staring lovingly up at David Carradine as he blows his stupid little flute and tells the most boring story ever. Damnit. I dunno it. And then I went to meet the Master and then

Laci (01:14:56):

Fart shit. Piss I,

Matt (01:14:58):

And you’re like, this is all Tarantino has ever wanted as a woman to lay on the ground and listen to his boring stories.

Laci (01:15:04):

Oh, I don’t know which one.

Matt (01:15:06):

They have their conversation here. That’s a lot like the Pulp Fiction conversation. And then they have the Reservoir Dogs conversation at the diner in this crazy elaborate one shot, like no cuts. It goes on for I don’t know how long. So just imagine how much they had to fucking eat and rehearse and probably fuck up and have to start all over from the very beginning. What do we think of this scene? Do we like this scene?

Laci (01:15:31):

It, it flows. It’s more realistic than the others. And I think maybe it’s the one shot that makes it feel so real. It feels like the shot of fucking Roseanne, the opening of that show where they’re all sitting around, it’s a one shot of them having dinner. It’s like, ha,

Matt (01:15:51):

This harkens back to Roseanne to the opening of Roseanne.

Laci (01:15:54):

Chris, are you with

Cinema Chris (01:15:55):

Me? I like this scene. Cause they start talking about cars. Oh God.

Matt (01:16:00):

So Zoe, who loves cars, she explained she’s in town and she found out in the paper as of yesterday in this town there’s a 1970 Dodge Challenger with a white pin job for sale. And she looks over at, let’s see, Kim, Tracy. Tracy Toms. And they’re like Kowalski from Vanishing Point, they’re the gearheads. These two, they fucking love cars. And the other two, these women, they like Gossip Girl and American Idol and girly stuff. Am I right? But they explained like Vanishing Point kicks ass, it’s this great car Chase movie and I want to go pretend like I’m going to buy the car, but instead I just want test drive it and go with me, please. So that’s what they’re going to do. And they go talk to the guy who’s selling the car, played by Jonathan Lof Grum, who is Adam Sandler’s assistant. You might remember him from every Adam Sandler movie.

Laci (01:16:50):

Yes.

Matt (01:16:51):

Zoe Bell tells Kim she wants to do the ship’s mast and Kim freaks out because she promised never to do it again. And I love that Zoe says I meant it, but not in America.

Laci (01:17:02):

I will point out that the only woman that’s not there to get herself out of a pickle is the one dressed as a cheerleader and the one that has probably the job that is the least down to earth. She’s the actress.

Matt (01:17:14):

She’s the actress. Yes. But I mean, yeah, yeah. I dunno.

Laci (01:17:19):

She’s in a fucking magazine. She’s not meant to be taken seriously.

Matt (01:17:23):

So she’s not like an Uma Thurman actress a bitch.

Laci (01:17:27):

And I would guess it’s because Uma does a lot of her own fighting, right? Uma’s down to train.

Matt (01:17:33):

Yeah, Uma gets in there.

Laci (01:17:35):

This seems to be an actress that’s like wear’s her fucking costume off the set. You’re off for three days. Why are you wearing that wardrobe? You’re causing them a fucking headache

Matt (01:17:47):

Asshole. And they leave her with the creepy car guy so that they

Laci (01:17:51):

Can go, she deserves to be raped,

Matt (01:17:52):

Do their joy ride. They go out. And I love how, and Rosario Dawson wants to come and I love how mean they suddenly are to her. Like you don’t understand what we’re trying to do. But then I love Rosario Dawson getting into it. Now she’s a little skeptical, but then she is like, oh, I get it. This kicks ass.

Laci (01:18:09):

Okay. Okay. Wait. I like that she stands up for herself because this kind of dynamic happens a lot in friend groups and it’s like, look, you guys think that you have so much in common, but maybe that’s because when you go do the stuff that you were later going to say, I don’t like, it’s because you went and did it without me. So maybe quit deciding what kind of woman I am and let me decide if I don’t like something by experiencing it. It’s like as soon as you have a kid, you get put in this like, oh, you don’t do stuff group and because you do makeup. Well, you must be a girly girl. No. How about maybe I’m an artist. I do makeup, but I also do special effects makeup That doesn’t make me, don’t put me in a box, Kim. That’s what I’m saying. Sorry.

Matt (01:18:48):

No, they need to

Laci (01:18:50):

Hear it. They need to know how

Matt (01:18:52):

I feel. So what they’re going to do, what Masta is, is she rides on the hood of the car real fast.

Laci (01:18:58):

Yeah, it’s a little less.

Matt (01:19:00):

Well, it’s just one of those things that’s like, because doing it for real, but I’ve seen movies and I’ve seen fucking Vin Diesel fly his car into space that a woman just being on the hood of a car going really fast. I know it’s real and it is thrilling, but maybe there’s a part of you that’s like, that’s all there is.

Laci (01:19:17):

Well, it is, but I didn’t realize this. I knew this woman must be like a real person because at wild she doesn’t totally fit the, even though she’s beautiful, she’s not what they are. That adds a lot to it. And I think that’s really cool. This is something Quentin Todos really well celebrates the uncelebrated for her to get to do this shot and get the credit as her

Matt (01:19:40):

And

Laci (01:19:40):

Not just the sexy body of someone else who’s going to get all the face credit.

Matt (01:19:45):

That’s a good

Laci (01:19:45):

Point. It’s really fucking cool.

Matt (01:19:47):

Yeah, because she had never acted before and he’s like, well, yeah, but you’re not playing a character. We’re literally, and in the credits it’s Zoe Bell as

Speaker 6 (01:19:55):

Herself

Matt (01:19:56):

To make it let you know this is important that it’s her.

Cinema Chris (01:20:00):

And if it makes it cooler, these scenes were filmed at 90 miles an hour. She was on the car at 90 miles an hour.

Matt (01:20:07):

Absolutely. And my whole thing with this movie is perfect. I’ve enjoyed this movie so far, basically for the last 25 minutes, I’m like, this is pure, ecstatic joy. This is what movies are about. This is why they’re special. There’s nothing, this is beautiful. It is so thrilling. Again, I love Rosario Dawson when suddenly she understands why this is so cool and they’re so happy. And then you see Kurt Russell eyeing them with binoculars and decides he’s going to go start ramming them.

Laci (01:20:40):

This isn’t even when he was probably going to do his thing. He does his shit at night,

Matt (01:20:44):

But

Laci (01:20:44):

He sees them in a provocative outfit. And I just mean that as a metaphor. She put herself on top of a car, she put herself in a precarious situation. I cannot not exploit this. When a female is doing something that a man thinks is oh, they want it, then they go try to get it. And I love that it’s turned on its head. He doesn’t see it for what it is, which is this is a bad ass who is also a stunt person. You maybe shouldn’t go fuck with your equal, who you perceive as that. This is actually the stupidest thing you could be doing because you seem to want to go for people who are really intoxicated, very dainty, not expecting it and complete out of control. They’re in a box in your fucking death machine to switch to this is a little off. It’s not his thing. So he got so aroused by someone so like him.

Matt (01:21:39):

Here’s a bad analogy.

Laci (01:21:39):

He bit off more than he could chew.

Matt (01:21:41):

Here’s a bad analogy. I remember somebody pointing out when Alec Baldwin was acquitted of the charges of a voluntary manslaughter or whatever it was for the thing on rust, somebody pointed out like the prosecutor in that case. This goes to show you prosecutors don’t understand how to go up against people with actual defenses. They’re used to fighting poor people. They’re used to prosecuting poor people who can’t afford lawyers, who can put up a proper expensive defense

Laci (01:22:10):

With the experts. And they

Matt (01:22:11):

Totally don’t, actually don’t actually have the skills to do it.

Laci (01:22:15):

And

Matt (01:22:15):

Kurt Russell’s like, yeah, I go after drunk women late at night, but here I’m going against these extremely capable and aware and motivated women.

Laci (01:22:23):

He probably and

Matt (01:22:23):

His, as he gets owned,

Laci (01:22:25):

Gets the same charge out of it. Like, okay, this is going to be hard. It is going to be career defining. It’ll have been worth the challenge. And he’s having a great fucking time. But he’s also someone that you can tell, although he’s a stunt man and he gets hurt all the time, he doesn’t seem to be someone who gets wounded by someone else. He is crying like a little bitch very fast. And probably because it’s his driving arm and he still has a lot of driving to do probably that. But you can tell someone who isn’t used to the flip,

Matt (01:22:57):

But they’re putting up a good fight in innovating him. And eventually they make him spill over and he gets out and he’s almost like he’s going to congratulate them like the compatriots. And he’s actually now going to leave. And he’s like, ladies, that was fun. Now adios. And then they shoot him which fucking rules? Oh, we forgot to mention the thing about Kim is always packing a gun. And then Rosario Dawson is a good liberal who points out guns. You’re more likely to shoot yourself than shoot like some maniac. But here, no, guns are good. They’re good in

Laci (01:23:27):

Movies. They’re good in the wild west and they’re in the west right now.

Matt (01:23:30):

Yes. And he, like you said, becomes a little bitch and gets terrified and jumps into his car and drives away like a little piss boy.

Laci (01:23:36):

Well, and so there’s a lot of wish fulfillment here too, right? Oh, this would be the end of the slasher. Even if you did shoot him. It’s still the end for fucking

Matt (01:23:46):

Michael Myers.

Laci (01:23:47):

No love

Matt (01:23:48):

Jason Forge.

Laci (01:23:49):

Allow me Sydney and scream. But you were snapping at me. Jesus says Christ Sydney and scream. Right? She shoots, but then it’s still over because the cops come. But that’s not what this is because often the law doesn’t come. The first half of the movie, the law did fucking nothing. This guy was going to get away with it. We need to kill him. He must be stopped. We can’t prove what he’s doing. It’s too fucking crazy. Plus I was on the hood of a car. I was in a provocative outfit. I was asking for it. We’re no angels. We have to fucking kill him because he will keep getting away with it.

Matt (01:24:21):

I think it’s more element

Laci (01:24:23):

Than that. No,

Matt (01:24:24):

I think it is literally just like, fuck that guy and they want to just go get him.

Laci (01:24:27):

Okay, fine. I built a beautiful theory, but I guess we could just do your

Matt (01:24:30):

Thing. Those thoughts will come later. Drives away like a little piss boy.

Laci (01:24:34):

You just want to say piss boy.

Matt (01:24:35):

Yes, I do. The three women, Zoe gets up, she’s like, I’m okay. She got thrown like 150 feet.

Laci (01:24:42):

She’s a cat.

Matt (01:24:43):

Yes. And she’s so happy. And she’s like, that was a Klaus one. Where’s the maniac? And Kim’s like, I shot him and his punk ass sped off. You want to go get him? And she’s like, oh hell yeah.

Laci (01:24:56):

Does it not make you wonder what the fuck happened in New Zealand where she cried and said, never let me do the mast head again. She jumped up from this laughing, this was a laughing event. What the fuck happened before? All right.

Matt (01:25:12):

I would need the young Zoe Chronicles. We’ll just call it Bell.

Laci (01:25:17):

We’ll call it. Gday.

Matt (01:25:19):

Good day. Wait

Laci (01:25:20):

Shit. Do they say that New Zealand?

Matt (01:25:22):

Sure.

Laci (01:25:23):

Of course they do. You don’t fucking know.

Matt (01:25:25):

Of course Chris.

Laci (01:25:26):

Why would he know?

Matt (01:25:28):

They say gday in old New Zealand in Auckland.

Cinema Chris (01:25:32):

I’m going to go with Yes. I think they’re slang is similar between the two.

Matt (01:25:36):

See

Cinema Chris (01:25:37):

Chris, you’re a pissed point. The only difference is one’s a kiwi and one’s an Aussie.

Matt (01:25:40):

That’s the only difference.

Cinema Chris (01:25:41):

Okay.

Matt (01:25:42):

They tell Rosario Dawson like, Hey, you might want to get out of the car. And she’s like, fuck that. Let’s kill this bastard. And it fucking, oh my God. So it’s so fun. And like I said, this is Quentin Tarantino female characters gaining self-awareness and turning against their creator. But it’s also, I mean it is like the tables on the slasher movie.

Laci (01:26:04):

He gives women power in a lot of his movies or in all of his movies. I think you’re onto something, but I think it’s him giving the exploited the power.

Matt (01:26:14):

Yeah. Somebody like the bride has agency. This is somebody like Bridget Fondas. So

Laci (01:26:19):

Is money

Matt (01:26:21):

Like Bridgette Fonda’s character who gets just killed by Robert De Niro in a parking lot. She keeps mouthing off to him. This is like if she suddenly became aware like, hey, a guy wrote you and directed you so that he could ale your feet. Right.

Laci (01:26:33):

Right.

Matt (01:26:35):

She’d be like, oh, that doesn’t sound good.

Laci (01:26:37):

You’re going to be exploited in this movie, but don’t worry, I’m in defeat.

Matt (01:26:42):

Yeah. Turning the tables on the slasher. And what do we always say about Slashers Laci? What

Laci (01:26:47):

Is it that it’s a euphemism for? Fucking

Matt (01:26:49):

Yes.

Laci (01:26:50):

Penetration. Matt loves to talk

Matt (01:26:53):

About. Well, I mean that’s like slasher 1 0 1. The knife represents the penis.

Laci (01:26:57):

I know. God Damnit just hit play. Just hit play on the fucking recording of you saying that before

Matt (01:27:02):

Zoe Bell picks up a giant pole. Yes. And then they get in the car, they’re going to go literally ram the other car. And what does Kim is she drives the car. Say she’s talking

Laci (01:27:12):

About Yeah, motherfucker. Yeah. Take

Matt (01:27:14):

That Kurt Russell’s car. She says, you’re suggests his car is an ass. You’re going to wiggle it at me. Oh, you don’t like it up the ass, do you? I’m going to bust a nut up in this bitch right now. I’m the horniest motherfucker on the road. I can’t let you go without tapping that ass. One more time. They are going to fuck him literally to death. Yes,

Laci (01:27:34):

Matt.

Matt (01:27:34):

It’s all about

Laci (01:27:35):

Sex. It wasn’t lost on me.

Matt (01:27:36):

Okay, good. This was all filmed in California. Just like finishing point. It looks like finishing point. I like that he thinks he’s lost them, but they get right back up to him and he just like, I was just kidding. I didn’t mean it. I love, I didn’t mean it. They finally make him flip. They drag him out of the car and he’s wailing like a dying pig and they just beat him to death.

Laci (01:27:59):

I love it. I love that. That’s the way he dies, just by their hands and that they’re capable. It hurts, but they keep going. And I’ll say, this is maybe the only time I’ve ever enjoyed a freeze frame. It’s such a good one. And that it unfreeze in time for the fucking drop kick of your life.

Matt (01:28:16):

I love that. We don’t need anything else. We don’t need to go. But what about Mary Elizabeth Winstead back with the guy who caress. Yeah.

Laci (01:28:23):

She was a cheerleader. She had it coming.

Matt (01:28:26):

Is there going to be a police investigation? Don’t worry about that. There’s just over. It’s just over. But it’s like sometimes in a Friday the 13th or Halloween sequel, there will be a Jason Hunter or a Michael Hunter who will show up. And it’s like the reason that these slasher hunters never succeed is because they want to do it to stop the killer and protect the innocent. But it’s like the only way to stop a killer is you got to also not care. You got to also reject the rules of society. And it’s like for him, he never expected someone would just come right around and do exactly what he was doing back to him. And that’s why it is so easy for them to catch him.

Laci (01:29:07):

So he sees the ultimate prey instead of seeing the ultimate adversary. He’s fucking, he’s shortsighted and patriarchal. I love men. Men rule. I don’t mean to be that voice constantly. You love men. I’m sorry. I just feel like I don’t mean to be eating the low hanging fruit here. I’m trying to say things that are thoughtful.

Matt (01:29:36):

Okay.

Laci (01:29:36):

And not obvious

Matt (01:29:39):

It. That’s the movie. That’s death proof.

Laci (01:29:40):

We got to the end.

Matt (01:29:58):

Let’s go around the room and give our final thoughts and star ratings. Letterbox rules apply out of five to death proof starting with our great guest cinema. Chris,

Cinema Chris (01:30:06):

Every time I watch it’s always a five out of five. No questions asked.

Matt (01:30:11):

Okay.

Cinema Chris (01:30:11):

Always will be.

Matt (01:30:13):

And what’s your top Tarantino movie?

Cinema Chris (01:30:16):

Death Proof.

Matt (01:30:17):

Death Proof. Wow.

Cinema Chris (01:30:18):

But that’s because for enjoyment level. Yeah. Second,

Laci (01:30:21):

My second, second

Cinema Chris (01:30:22):

Level is Kill Bill.

Laci (01:30:24):

Kill Bill, bill. One or two.

Cinema Chris (01:30:26):

Volume two.

Laci (01:30:27):

Me too. Volume two is mine as well.

Matt (01:30:29):

Pulse

Laci (01:30:30):

Fiction is my number one. And then volume two,

Matt (01:30:32):

I prefer volume one.

Laci (01:30:34):

I know. No, no, you’re not wrong either. You’re not wrong. I watched you side by side and I’m like, but volume two, I like the stories in that one more.

Matt (01:30:43):

We’ll probably do a Kill Bill episode one day, but I don’t think I’ve said this on the podcast before. My problem with Kill Bill is Bill. I know. I think Bill sucks.

Laci (01:30:51):

He’s supposed to suck, but he sucks in a way that it’s not the way you think.

Matt (01:30:55):

And when I say that, people are like, yeah, he’s a bad guy. I’m like, no, he’s boring. No, no, no. I hate watching him. There’s no charisma. Who

Laci (01:31:02):

Should I be with him? I disagree.

Matt (01:31:04):

And even that, it’s like, yeah. Isn’t that the point that this has all been leading to this dip shit?

Laci (01:31:08):

No. No. You’re supposed to definitely buy that. He’s the kind of guy that could be a Charles Manson. He’s got groupies, he brings in killers. You’re supposed to buy that. And for you, you’re not buying that. And I think that’s an interesting take. I don’t know that you’re definitely not alone in it, but I think he’s doing a good job as what he’s supposed to be doing here.

Matt (01:31:29):

What other car movies do you

Cinema Chris (01:31:31):

Give us? Some good car movies. I love Fast and The Furious movies. I do love Herbie. Fully Loaded. Oh,

Laci (01:31:38):

Herbie is Herbie, not

Cinema Chris (01:31:39):

Kirby. He knew. He knew. I knew what you meant. No. Yeah. I’m not as big into car movies so much as real cars.

Laci (01:31:49):

Yeah. There’s difference like a car show I find very, I love watching what people do. They are art. I will never disagree that that is something so beautiful about a classic car that a new car could, it could never. I know that

Cinema Chris (01:32:04):

I have such a thing with cars that I could tell you what every single car in Death Roof is including what Shanna drives, which is a boring ass Honda Civic, a 1997. But I know what each year and make and model of each car is between stuntman Mike and the other girls and everything.

Matt (01:32:22):

And is this something you can just tell or you have to look it up?

Cinema Chris (01:32:25):

No, I can just tell.

Laci (01:32:25):

That’s what he’s saying, right? Yeah. Car goes by on the street and you’re like, this, this, this. Yeah. Exactly. The way you are with Oscar

Matt (01:32:34):

Winners, I guess.

Laci (01:32:36):

Well, and the way you are with fucking sports jerseys,

Matt (01:32:39):

It seems more impressive. You

Laci (01:32:40):

Just know.

Matt (01:32:40):

I do remember numbers, Jersey numbers. Yes.

Laci (01:32:43):

Yes. Of spanning four sports though.

Matt (01:32:47):

That’s

Laci (01:32:47):

Very impressive.

Matt (01:32:48):

And certain positions will wear a number and I’ll be like, oh, that’s not right.

Laci (01:32:51):

Right. You’re out of your numbers. Scope.

Matt (01:32:53):

Yeah. When wide receivers wear number 14, I’m always like, that’s no,

Laci (01:32:57):

You’re kind of in the quarterback number

Matt (01:33:00):

Anyway. Favorite Fast and Furious movie? Honestly, just the first one. The first one. I like the first one a lot too. I feel like it doesn’t get as much love.

Laci (01:33:09):

I feel like that’s the best one.

Matt (01:33:10):

Yeah, I think

Laci (01:33:11):

It had all of the,

Matt (01:33:13):

Yeah. I think for fans, the later ones are when it becomes the globe trotting like spy movie

Laci (01:33:19):

Adventures. Yeah. But okay, you can appreciate an evolution. But still I think I am more prefer interested in where it started.

Matt (01:33:29):

Yeah. Laci Star rating for death proof.

Laci (01:33:33):

You’re not going to believe it. I forgot to think about this. Yeah, I don’t know. Quentin Tarantino is always a fire for me because there’s just this movie that I didn’t, wasn’t blown away, but it’s still better than, it’s a more thoughtful and layered than almost anything that comes out on streaming. So I have to give it a five just out of principle.

Matt (01:33:59):

I think I’m going to go with three and a half

Laci (01:34:01):

You fucking loser.

Matt (01:34:03):

But again, 20 minutes of just pure joy at the end and it’s all worth it and everything leading up to then is good. But I think that the thing that makes the movie special is the final Car Chase sequence. And Kurt Russell, just in general, just a fascinating performance from one of my all time favorite actors cinema. Chris, thank you so much for being on the show with us. Can you tell everybody where they can find you online?

Cinema Chris (01:34:29):

TikTok and Instagram and letterbox are all at Cinema Vault. And also there is a new project that is going to be coming out soon, but I don’t have enough information to tell you more than that yet. But look out for it soon.

Laci (01:34:44):

Okay. Well we’ll say what it is once it’s out on the podcast.

Matt (01:34:47):

Yeah, because all you just said was there’s a thing.

Laci (01:34:49):

Right. But they’re not going to know what to look for.

Matt (01:34:51):

I know. That’s what it is. I know what it’s called. I’m trying to be mysterious

Cinema Chris (01:34:55):

Done.

Matt (01:34:58):

We’re asking questions, we’re hypothesizing like did he make a video game?

Cinema Chris (01:35:03):

I’m thinking it’s a podcast.

Laci (01:35:04):

I’m thinking it’s podcast. What I can

Cinema Chris (01:35:05):

Tell you is it’s a podcast. It’s between me and somebody else and it’s about movies.

Laci (01:35:12):

Oh, it’s got to be Coda, but I

Matt (01:35:14):

Don’t like sound

Cinema Chris (01:35:15):

Of

Laci (01:35:15):

This. He the, he’s the, it’s got to be Kota. He’s the one that’s been dying to have a podcast. I don’t know.

Matt (01:35:18):

It’s not Kota.

Laci (01:35:19):

Alright, don’t shake your head No, because I’ll keep going. We’ll get to the bottom of this.

Matt (01:35:25):

Links to Cinema Chris on TikTok, litter Box and everything else. Available description. The next episode we have coming out, final Destination, episode one 50. I don’t remember the episode number, but it coincides with the new final destination movie.

Speaker 4 (01:35:43):

We’re

Matt (01:35:43):

Doing it. The movie that is so clearly an X-Files episode that they decided we could turn this into a movie. Let’s do that instead. But yeah, I love that movie. We’ll talk about that next week. We have a YouTube channel Load-Bearing Beam Pod. We have a Patreon patreon.com/ load-bearing beam. I am on letterbox at Matt Stokes nine. Laci is letterbox. Nope. Is Load-Bearing Laci. And you can check out my band Rural Route Nine. Wherever you get your music, we do the music for load bearing beams. Thank you so much everybody.

Laci (01:36:14):

Okay. I love you. Goodbye.