The Video Archives Awards: Season One Finale

Summary

The Video Archives Podcast: Season One Finale Summary

Episode Title: The Video Archives Awards: Season One Finale
Release Date: June 13, 2023
Hosts: Quentin Tarantino & Roger Avary
Announcer: Gala Avery

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Introduction to the Awards Show

The season one finale of The Video Archives Podcast transformed the episode into an exciting awards ceremony, celebrating the best films, performances, and technical achievements discussed throughout the season. Gala Avery set the stage, introducing the various award categories, while Quentin Tarantino and Roger Avary shared their reflections on the first season.

Notable Quote:

• Quentin Tarantino [00:10]: "I have all the video cassettes from Video Archives, and we're sitting in a room that looks almost like an obsessive shrine to video Archives. But it's just a really groovy storeroom."

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Award Categories and Winners

1. Best Special Effects

The trio delved into the artistry behind memorable special effects, highlighting both practical and innovative techniques that brought their favorite films to life.

• Quentin's Picks:
  1. Rodan – A nod to Ken Horn’s work, praised for its stunning visual effects.
  2. Dark Star – Led by Ron Cobb, recognized for its handmade charm.
  3. Demonoid – Awarded to Robert A. Burns, Chubby Cordero, and Ken Horn for their collaborative efforts.

Notable Quote:

• Quentin Tarantino [03:02]: "What's special about this transfer is you can tell it's taken from an IB Technicolor print."

2. Best Editing

Celebrating the meticulous craft of film editing, the hosts emphasized how editing shapes narrative flow and emotional impact.

• Roger's Top Pick: Piranha – Honored Bill Kimberlin and Mark Goldblatt for their seamless editing that enhanced tension and storytelling.
• Josh's Top Pick: Piranha – Uplifted Joe Dante and Mark Goldblatt for their "editorial tour de force."

Notable Quote:

• Roger Avary [27:28]: "He really only had two days to work with because the thing was only two days long."

3. Best Production Design

The visual worlds crafted by production designers transported listeners into diverse cinematic landscapes.

• Josh's Top Pick: Rollerball – Applauded John Bucks for creating extraordinary sets that elevated the film.
• Quentin's Top Pick: Private Life of Sherlock Holmes – Celebrated for its intricate and immersive design.

Notable Quote:

• Josh Richard [30:31]: "The village in The Keep lives in my mind. I could actually even be fine giving it to him for the keep."

4. Best Cinematography

Highlighting the visual storytelling prowess, this category recognized films with exceptional camera work and visual aesthetics.

• Josh's Top Pick: Amphibian Man – Lauded Eduard Rosovsky for its breathtaking imagery.
• Roger's Top Pick: Dressed to Kill – Voted Ralph Debaude for his masterful cinematography.

Notable Quote:

• Josh Richard [35:02]: "It looked so good in the version that we saw. No argument."

5. Best Screenplay

Celebrating the art of writing, the hosts honored scripts that delivered compelling narratives and memorable dialogues.

• Josh's Top Pick: Drastic Hill – Praised Terry Southern and Christopher Isherwood for their brilliant adaptation.
• Quentin's Top Pick: The Loved One – Awarded to Terry Southern and Christopher Isherwood for their captivating screenplay.

Notable Quote:

• Josh Richard [38:14]: "It's the only time that we thought, ah, maybe we could just skip watching this one."

6. Best Supporting Actor

Acknowledging performers who added depth and charisma to their roles, often stealing the spotlight from leads.

• Roger's Top Pick: Piranha – Honored Paul Bartel as Mr. Dumont for his standout performance.
• Quentin's Top Pick: Rage – Celebrated Rod Steiger for his intense portrayal.

Notable Quote:

• Roger Avary [45:07]: "It's a great moment, and that's why he wins my number one spot."

7. Best Supporting Actress

Recognizing actresses who brought power and nuance to their supporting roles, leaving lasting impressions.

• Josh's Top Pick: Great Waldo Pepper – Applauded Susan Sarandon for her heartfelt performance as Mary Beth.
• Quentin's Top Pick: Little Darlings – Celebrated Christy McNichol as Angel for her ferocious performance.

Notable Quote:

• Josh Richard [49:37]: "Susan Sarandon for Mary Beth in the Great Waldo Pepper... I cry every time I see it."

8. Best Actor

Honoring leading males who delivered powerhouse performances that drove their films' narratives.

• Josh's Top Pick: Hennessy – Voted Rod Steiger for his commanding performance.
• Quentin's Top Pick: Rage – Recognized George C. Scott for his unparalleled intensity.

Notable Quote:

• Quentin Tarantino [58:59]: "Best actor has to go to George C. Scott. He was like a volcano about to explode in that movie."

9. Best Director

Acknowledging visionary directors who brought their unique perspectives and craftsmanship to their films.

• Roger's Top Pick: Piranha – Honored Joe Dante for his masterful direction.
• Quentin's Top Pick: Dressed to Kill – Celebrated Brian De Palma for his true New Hollywood classic.

Notable Quote:

• Roger Avary [66:58]: "Joe got my vote. And number one goes to Brian De Palma for Dressed to Kill."

10. Best Soundtrack

Recognizing composers and musical scores that elevated the cinematic experience through memorable and emotive music.

• Quentin's Top Pick: Dressed to Kill – Awarded Pinot d'Angio for a soundtrack that encapsulated the film’s tension and style.
• Roger's Top Pick: Cry For Me Billy – Honored the film's songs, particularly "Little Sparrow."

Notable Quote:

• Josh Richard [147:01]: "Henry Mancini for the Great Waldo Pepper... the kind of music that goes through my head all day long."

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Overall Season Awards

After tallying votes across 26 categories, the overall winners emerged:

• Top Films:
  • 8 Awards Each: Dark Star, Sunny and Jed, Demonoid, and Moonraker.
  • Second Place: The Loved One with 5-6 awards above.
  • Overall Winner: Dressed to Kill secured the top spot with the highest number of awards.

Notable Quote:

• Voice of God [165:40]: "But just above that is in second place, the Loved One. And then just above that, well, not just above that, five or six awards above that is Dressed to Kill. Taking the top spot."

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Special Recognitions

• Favorite Quote:

  • Roger’s Favorite: "Bum who likes it hot" from The Illustrated Man.
  • Josh’s Favorite: "You’ve been skating for your life" from Hennessy.

• Season’s Most Valuable Player (MVP):

  • Roger's MVP: Rod Steiger for his outstanding performances.
  • Josh's MVP: Samantha Egger from Demonoid, celebrated for her memorable role.

Notable Quote:

• Roger Avary [165:00]: "Rod Steiger is the man after my own heart."

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Closing Remarks and Acknowledgments

The hosts expressed immense gratitude towards their listeners, guests, and contributors who made the first season a resounding success. They reflected on the journey of watching, discussing, and celebrating a diverse range of films, emphasizing the community's role in the podcast's achievements.

Notable Quote:

• Josh Richard [167:31]: "What has really made it gratifying is the fact that this is actually going out there and so many people are enjoying it and it's been touching so many people."

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Conclusion

The season one finale of The Video Archives Podcast was a fitting tribute to the myriad of films explored over the past months. With passionate discussions, heartfelt recognitions, and a celebration of cinematic artistry, Quentin Tarantino, Roger Avary, and Josh Richard concluded their inaugural season on a high note, setting the stage for even more engaging content in the seasons to come.

Final Quote:

• Gala Avery [170:09]: "You are who make this show possible. So thanks everyone. This is Gala Avery signing out."

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For those who haven't listened to the episode, this summary encapsulates the essence of the first season's finale, highlighting key discussions, award winners, and memorable moments that defined the podcast's inaugural run.

Transcript

[Gala Avery]

On this season of the Video Archives podcast, Quentin Tarantino and Roger Avery opened up the doors to Video Archives and handed each of us our very own membership card.

[Quentin Tarantino]

I have all the video cassettes from Video Archives, and we're sitting in a room that looks almost like an obsessive shrine to video Archives. But it's just a really groovy storeroom. All right.

[Gala Avery]

Had fun checking out movies from the shelves.

[Quentin Tarantino]

On Jupiter's moon. I'm the only law.

[Roger Avary]

Well, I love it.

[Quentin Tarantino]

Don't fuck this up, Mitchell.

[Josh Richard]

Don't fuck this up, Mitchell. People crying everywhere. Children half eaten everywhere.

[Quentin Tarantino]

The film is sick as fuck.

[Josh Richard]

Don't you want to go to the Sun Dome? You're going to get into that sun. You're going to look at that beautiful sun.

[Quentin Tarantino]

His minions.

[Josh Richard]

Minions. I'm with him. And he is going to blow up Fucking England.

[Gala Avery]

Basically disagreed on a few titles.

[Quentin Tarantino]

Does she go downstairs to the front desk? No, she goes home to tell Michael Douglas all about the whole thing.

[Roger Avary]

I mean, if you had like 20 or 30 dead bodies buried.

[Quentin Tarantino]

It's not 20 or 30. It's like nine.

[Roger Avary]

I'm going to go home and I'm going to count the bodies.

[Gala Avery]

Got personal.

[Quentin Tarantino]

We're watching this movie together. Go. Oh, my God, am I Nikki?

[Josh Richard]

Yeah. Oh, my God, am I Mikey? The things that happen are so irreversible to Waldo. I cry every time I watch this movie.

[Quentin Tarantino]

There was a collective sigh in the cinema, and we realized that she is no more.

[Gala Avery]

Read old film reviews.

[Josh Richard]

This Westworld ripoff succeeds while also blazing its own trail across the rocky range of mountains known as science fiction. But it's the unexpected roughneck performance by the usually flaccid Keir Dulea that surprises above all.

[Gala Avery]

Sang songs.

[Quentin Tarantino]

Hey, hey, hey. Bim all the way. Eyes, like a prisoner captured by your.

[Gala Avery]

Eyes, invited guest customers to the store.

[Roger Avary]

I am so excited to be here.

[Josh Richard]

Very honored, too, to be a guest or customer. It's the most Night of the Hunter movie that isn't Night of the Hunter.

[Quentin Tarantino]

Actually. Eyes of Laura Mars was released under.

[Josh Richard]

A different title in Boston.

[Quentin Tarantino]

It was Eyes of Laura.

[Gala Avery]

Maz brought back an old employee.

[Quentin Tarantino]

Unruly Julie McLean in the house. We're gonna have some fire today, y'all. I'm bringing it a redhead. Feisty. Let's go.

[Gala Avery]

Checked out Old Faithfuls.

[Quentin Tarantino]

Straw dogs. Made in 1971. Such a powder keg. Are even afraid to talk about it in 2020.

[Josh Richard]

Part of what I love about Darkstar is one that it's not per introduce.

[Gala Avery]

Us to some New favorite titles.

[Quentin Tarantino]

It's a science fiction masterpiece.

[Roger Avary]

I watched Coma, and I liked it so much, I actually think this is now one of my favorite movies of all time.

[Josh Richard]

Showing me this film in the year 2022 is akin to throwing gasoline on fire.

[Gala Avery]

Enjoy the magic of vhs.

[Quentin Tarantino]

Magnetic Video. Magnetic Video.

[Josh Richard]

Magnetic.

[Quentin Tarantino]

What's special about this transfer is you can tell it's taken from an IB Technicolor print.

[Josh Richard]

Ye.

[Roger Avary]

And we killed that Bakalov.

[Quentin Tarantino]

Okay. Kill the Bakalov. Kill the Bakalov. Cut the Bakalov.

[Josh Richard]

Cut the Henry Mancini.

[Quentin Tarantino]

Kill the Bakalov. Kill the Bakalov. And for the last time this season, cut the Bakalov.

[Gala Avery]

And now we bring you the season one finale. I'm your reporter on the beat with her black and gold envelope at the ready Gala. Avery bringing you the what's what about our awards show before Quentin and Roger hand out the awards in all sorts of categories ranging from best video transfer, a favorite quote. I'm here on the red carpet to get you the scoop from the guys on how they feel this season went and where season two may lead us.

[Roger Avary]

So it's our very last episode of our season, and of course, what we have to end it with is what.

[Gala Avery]

We end every episode with.

[Roger Avary]

The awards. But before we get into our awards, I'm sitting here right now with Quentin and Roger, and I want to ask you guys, what did you guys love about this season that we just did? Because it's our very first season of the podcast?

[Josh Richard]

Well, this has been so incredibly special for me because Quentin and I, after not seeing each other for many, many, many years, really coming back together and spending so much time and watching movies together and laughing and just hanging out and sitting on the couch and eating Chinese food or Thai food.

[Quentin Tarantino]

No, we actually get. We conspired a way to, like, okay, how can I hang out with my best friend and watch movies with them and find a way to get paid for it?

[Josh Richard]

Yeah. And so not only have we found a way to get paid for it, which is like, you know, I mean, I didn't want to lead on with that, but I mean, the fact that we're getting paid to basically hang out and do what one of my favorite things to do in life is, and then, frankly, also to be able to do this with my daughter and for us to all just, like, hang out and then to make, like, new what I hope to be lifelong acquaintances, like with producer Josh.

[Roger Avary]

Yeah, Josh. Voice of God.

[Quentin Tarantino]

The voice of God. The voice of God who you never.

[Josh Richard]

Hear, who has Been just, like, fabulous. Like a thread holding us together. And so this has been, like, just. This has been super special for me.

[Gala Avery]

And we've had so many great experiences.

[Roger Avary]

I mean, we've had so many great guests. We had Jacqueline on.

[Josh Richard]

We had Hila and my hero, Joe Dante.

[Gala Avery]

And Joe Dante.

[Roger Avary]

We had Joe Dante, which was just a special experience. Now, as we hopefully move into season.

[Gala Avery]

Two, what do you guys see the show evolving into? Do you guys see a lot of.

[Roger Avary]

Changes happening, or do you guys think it's just gonna kind of stay the same? Because what I love about this show is that I feel like we've entered into a time warp. Like, I, from 2023, have gone back in time to, like, 86, 87. And I'm actually getting to, like, watch these movies through your eyes. And it's so exciting for me as a film lover to get to hear you guys to talk about it afterwards. And I love that. So I don't want that to change.

[Quentin Tarantino]

Well, that won't change. I mean, you know, we pretty quickly, within two episodes, figured out more or less the format of. Of this show. And I like it. I love it. I love the excuse of having to watch four movies to find three. Four or five movies to find three.

[Josh Richard]

And then the bonus movie at the end after we've recorded where we go down and watch a movie just for the hell of it.

[Quentin Tarantino]

Yes, exactly. Yeah. That usually is connected to one of the ones that we liked. Further, our Susan George love. Further, our Fernando de Leo, Sergio Corbucci love. I think that is our base. That's our base show or base episodes. And I can see that four years from now, me and Roger are doing some really significant episodes. Those films will exist in a canon talked about by myself and Roger, and years from now, people will talk about this movie or that movie, and they go, oh, well, you know what they said on video archives? Blah, blah, blah.

[Roger Avary]

You know, Quentin, that's actually already happening. I've actually gotten emails from film teachers, and they're saying, hey, I'm about to go teach my students this episode. I'm about to go. I have an email from a teacher.

[Gala Avery]

That said, I'm gonna go teach them Slithis.

[Roger Avary]

And I thought, what a wonderful thing to go teach your students. Slith.

[Quentin Tarantino]

Yes, absolutely.

[Roger Avary]

Spawn of the slippers.

[Josh Richard]

Well, what's great about that? What's great about that is that for so long, you know, you go to film school or something like that, and they're just showing you the movies that are kind of the expected movies that you're supposed to see.

[Quentin Tarantino]

Yeah, yeah.

[Josh Richard]

Out of the, you know, the.

[Quentin Tarantino]

The canon.

[Josh Richard]

The top of the canon. And. And there's very little dipping down and. And exposure to things like Slithers. Well, because who would do that? Except there's a lot to be learned from watching a movie like Slithers, which was made for a meager budget, but it's.

[Quentin Tarantino]

Even aside from Slithers, I mean, I think there is a situation where it. Like, after our episode, I did. And I make it a point not to pay that much attention to the reaction of the show. I think it's better to just imagine that we're just doing it for us and we're in the vacuum and nobody ever hears this.

[Josh Richard]

And there was actually one point where we were like, where I think you even said, well, I would kind of like to just do the show and just not release it. Just have it just be for us.

[Roger Avary]

And I'm so glad that we released it because people everywhere now are getting to hear it.

[Quentin Tarantino]

But one of the things that was really kind of cool, that actually pierced my consciousness, was how many people had never heard of Richard Fleischer's the Last Run and then went out and saw it and they go, wow, What a fantastic 70s crime movie. What a fantastic George C. Scott movie.

[Josh Richard]

Hennessy as well.

[Quentin Tarantino]

Yeah, and Hennessy, too. And you know, the people's response to that and, like, people saying, like, well, this is like a 70s classic. How come it's not talked about that way?

[Roger Avary]

That's one thing is that on this podcast, people have said we pick a lot of obscure movies, movies that people have never heard of or, like, have never even imagined could be out there? Do you guys have any plans next.

[Gala Avery]

Season on continuing with the obscure movies.

[Roger Avary]

Or do you think you're gonna bring in some more heavy hitters that are, like, really popular, that people probably want to hear a little bit of you guys talking about them?

[Quentin Tarantino]

Well, to me, it's really easy when it comes to what I eventually curate, to more or less go on the air, because it's the same criteria I have when I wrote my book, Cinema Speculation. Well, why don't you talk about Sorcerer? Why don't you talk about Apocalypse Now? Why didn't you talk, you know, the obvious ones. Yeah. You know, Jaws, a bunch of Jaws. Why don't you talk about Jaws? I have something to say about Jaws.

[Josh Richard]

You love Jaws. Jaws is like, one of your favorite movies, if not your favorite movie.

[Quentin Tarantino]

Yeah. And the thing about it was, it wasn't the idea of cheerleading a bunch of movies that I liked. I only like so much writing or talking about movies that I just absolutely love and adore because I just think that's all just gush at a certain point, unless you have a perspective, unless you have an interesting perspective, unless you have an interesting argument or the story of the making of the movie is so interesting. What interested me was, okay, here's this time period that I'm going to deal with as far as the book was concerned, 68 to 81. And so what movies did I have something to say about? What movies did I have an argument about? You know, so, yeah, I would have loved to have written about Sorcerer. I would have loved to have written about Cruising, but nothing. I didn't have anything I needed to get off my chest, at least not on the page. So consequently, there's a lot of movies we could pick and choose. Again, we haven't done Sorcerer and that seems like it would be right up me and Roger's alley. It's one of our favorite movies, if not our favorite movie.

[Josh Richard]

Easily one of my top three films.

[Quentin Tarantino]

Yes, absolutely. But I'm more interested in something one again, that I haven't seen. I'm interested like in a red letter title that either I haven't seen or there's something that's worth talking about.

[Josh Richard]

You know, our Super Tent Pole episodes, I guess we can call them. Star 80, Moonraker, Straw Dogs, the ones that were like one film, that were the big movies. 1. One might even say those were the kind of more obvious.

[Quentin Tarantino]

Yeah, yeah, of course they were. Yes.

[Josh Richard]

The movies that we had seen, those were great, amazing conversations.

[Quentin Tarantino]

And Sorcerer would be a fantastic one. And Sorcerer for the single episode would.

[Josh Richard]

Be a great one. Yeah, but. And I've always looked at movies as being kind of the campfire that you gather around to trade your myths and traditions together. And that a lot of it is about community and friendship and coming together and dreaming through some collectively, through somebody else eyes, through the director's eyes. And so first of all, friendship was the number one takeaway I had from this. And more than friendship with you guys, it's family. It's family. Family and friends, like number one. To me, that's what cinema represents. But then after that, it's this kind of discovery. And what really blew me away about this season was how many movies that we saw that were so good that I had never seen before.

[Gala Avery]

And we're going to get into that during the awards show because there is.

[Roger Avary]

A category for that, for sure.

[Josh Richard]

I'm not going to make any spoilers Yet. But.

[Quentin Tarantino]

But even just looking at. Okay, because we happen to have stacks of the videos in front of us from our different episodes, like, broken down into, like, stacks of the three videos.

[Roger Avary]

And you'll be able to see this in our CounterTalk newsletter or on our website because we have taken photos of them.

[Quentin Tarantino]

And the thing about it is, I mean, so just looking at them all in front of us and yeah, we could have picked more famous titles than George C. Scott in Rage, George C. Scott in the Last Run, Elliot Gould and Robert Blake in Busting, or the one Armed Executioner or Private Life of Sherlock Holmes. But I'm just looking at these titles staring up at me. These are video Archives titles. This lipstick box, that's a Video archives title.

[Josh Richard]

Yeah.

[Quentin Tarantino]

You know, and they're demanding to be reckoned with as video archives titles. Something that I'd like to do more next season that I think would be really kind of cool is we kind of got into a certain vibe as far as, like, the films that we. We chose. And the same thing happened at. When I did my QT Fest in Austin, Texas. A certain kind of vibe of the movie started kind of playing out. And like in this vibe, I guess, is, you know, a lot of 70s, 80s, couple of 90s, a couple of early 60s stuff pop in there. But basically it's kind of of a certain thing. And part of that was trying to actually pick movies from the drama and comedy section, which would be where those films would exist, because they are the current movies of the time anyway.

[Josh Richard]

During the late 80s.

[Quentin Tarantino]

Yes, exactly. Yeah, during the late 80s. So my point is, I would like to have more classic films.

[Josh Richard]

Yes, a black and white film, some animation.

[Roger Avary]

Yeah. Also, like, we didn't do an animation this season. I'm crying tears right now for my.

[Quentin Tarantino]

We did one documentary.

[Gala Avery]

We did one.

[Roger Avary]

We did do a documentary.

[Quentin Tarantino]

And when I say classic films, I'm more talking old movies. I'm not talking about. It doesn't have to be all these famous Criterion film classics. You know, there's as many cool old.

[Josh Richard]

Movies from the 40s, 50s.

[Quentin Tarantino]

Well, most of my favorite directors and most of my favorite actors are from that era.

[Josh Richard]

Yeah, exactly. All the movies that we have here on the table right now that we watched this season could easily be replaced by movies from that time period. And we would have just as interesting and eclectic a gathering.

[Quentin Tarantino]

But the other thing I would like to add, and this will be more controversial, it might not be as good, but I want us to give it a try two or three times just to test it out to see if it works. Our whole thing is we were like, hey, video Archives. Video Archives, podcast. Our thing is we're listening. We're watching the tapes from the Video Archives collection. Well, that doesn't necessarily have to mean motion picture movie. It can mean that plays from 90 minutes to two hours. It means it was a video store and they had all kinds of videotapes. And any one of the three videotapes that we watch could be of anything.

[Gala Avery]

Like a television show.

[Quentin Tarantino]

Yeah, it could be concert videos. It could absolutely be a television show. We had a great music section. You know, it could be Donna Summer Live in concert. It could be Laura Brannigan Live in concert.

[Josh Richard]

It could be Bones Brigade.

[Quentin Tarantino]

Yeah, it could be Bones Brigade. It could be totally committed.

[Josh Richard]

We could do a totally committed movie.

[Quentin Tarantino]

Totally committed.

[Josh Richard]

Yeah.

[Quentin Tarantino]

Everything except our porno section. All right. We would. Should be open to including the erotic section.

[Josh Richard]

Agreed.

[Quentin Tarantino]

But we've been already into the erotic section. But the video cassette itself, it's like we're showing three videos. Not necessarily three movies, three videos.

[Gala Avery]

Now VHS is having its revival.

[Roger Avary]

Thank you.

[Quentin Tarantino]

You're welcome. You're welcome.

[Gala Avery]

A lot of new movies are coming.

[Roger Avary]

Out on tape right now. Would you guys ever consider doing a new movie on the podcast?

[Josh Richard]

It's not really our thing.

[Quentin Tarantino]

Yeah, it's not our thing. One, it's about the collection and the stuff that we can get. And two, it's like, it's not fair for me to review a movie the way I review these movies here, to a new movie, because if I don't like it, then it's like I'm attacking the guy. The guy whoever. If I don't like it, it's like I'm attacking the film. Literally, I jumped out of the bushes and hit him on the head with a hammer.

[Josh Richard]

And yeah, even of the filmmakers who are alive today, live and working today, you know, it was a little close to the bone.

[Quentin Tarantino]

And also, if they're like a. If I like the movie, you know, I'm not here to be your cheerleader. If your movie's good, you don't need me.

[Roger Avary]

Some viewers have asked you guys, would you guys ever talk about your own.

[Gala Avery]

Movies on this podcast? At least the ones that came out on vhs.

[Quentin Tarantino]

I thought about doing A True Romance. I thought that would be kind of. I thought about. I thought it would be kind of funny if one of the episodes we did Killing Zoe and True Romance.

[Josh Richard]

Yeah, it's on. They're there. Well, we got. We had Reservoir Dogs also, didn't we?

[Quentin Tarantino]

Yeah, of course.

[Josh Richard]

So we could.

[Quentin Tarantino]

Do I have Rules of Attraction?

[Josh Richard]

Yeah, yeah, that's.

[Roger Avary]

I have.

[Josh Richard]

You have Rules of Attraction on. They had it on.

[Quentin Tarantino]

They had. They had it in Eddie Brands.

[Josh Richard]

Oh, great.

[Roger Avary]

And I have Lucky Day on vhs, actually.

[Quentin Tarantino]

Oh, wow.

[Roger Avary]

I know.

[Gala Avery]

My friend made me a bootleg of it.

[Josh Richard]

It's a bootleg, but it's a very nice. He made a realistic box and everything. It was like. I'm very grateful for that.

[Roger Avary]

He used an orange Rugrats tape. One thing that fans really like about this show, that I've noticed, is that.

[Gala Avery]

We don't just get on and say.

[Roger Avary]

How much we like a movie. We always are not afraid to point out its faults. We're about to get into our awards show and like, basically, the creme de la creme. The top of the top. But I have to ask out of.

[Gala Avery]

Curiosity, is there a movie on this.

[Roger Avary]

Table that, looking back at our season.

[Gala Avery]

You just don't like?

[Josh Richard]

Well, I'll throw one out. And it's not that I just don't like it. It's just that there were two films that I think kind of fell a little below par. And I'm not sure that this one movie that I'm about to mention necessarily should have been included. I still enjoyed it because I love Samantha Egger. It's as simple as that. Which was welcome to Blood City, and it also has Jack Palance, who I also love. And so it was fun for me to watch. But I'm not sure that that's, like, this great film.

[Quentin Tarantino]

Well, I used to think about what Come to Blood City is like. What you're not remembering is you loved it in the first half. You thought it was the most cleverest premise for something.

[Josh Richard]

The first half is amazing.

[Quentin Tarantino]

You thought it was better than Westworld.

[Josh Richard]

It is better than Westworld in the first half.

[Quentin Tarantino]

And then you're just so disappointed by where it ends up going by the end that you do tend to have amnesia about how excited you were about the whole first half of the premise.

[Josh Richard]

Yeah, you're absolutely right. But a movie like Slithers, there's going to be a lot of people who are going to watch that movie and not see what I saw in that film or how much I love that movie and why I love it. Some people are going to watch it and say, that is the wonkiest car with wobbly wheels going down the freeway.

[Quentin Tarantino]

One of the things I was actually. One of the things I was very taken with by seeing some of the response, especially when it comes to that third movie. The people who really dig us, they. You know, we set it up for them. We explain. We explain the parameters in which we appreciated it. We explained the parameters in which we are enthusiastic about it, and they see it inside of those parameters, and then they respond in kind. People see Cry For Me Billy in the way it's supposed to be seen. They see Rene Carduna Jr. In the way he's supposed to be seen.

[Josh Richard]

Yeah.

[Roger Avary]

Now, when Quentin puts together the three movies, he always tries to stay away from a theme. We only had, technically, two. One themed episode this season, which was Our American Giallo with Eli Roth going.

[Josh Richard]

Forward, one sanctioned theme episode.

[Roger Avary]

One sanctioned theme. Yeah, themes pop up all the time.

[Josh Richard]

But, yeah, there was some unsanctioned work going on.

[Quentin Tarantino]

Yeah, that was the case.

[Roger Avary]

Going into season two, do you have any plans on including themed episodes?

[Josh Richard]

I would like to see a Ken Russell tribute.

[Quentin Tarantino]

Yeah, I would like to see that, too.

[Josh Richard]

And that can happen in any way possible. But I think you and I have discussed it, and we know a movie that would be our kind of.

[Quentin Tarantino]

We need to have Mahler in there. We need to have Valcino in there, probably.

[Josh Richard]

So. Yeah.

[Roger Avary]

Now, our last question before we get to awards. Quentin, Roger, I want you guys to name me one movie that you would love to watch next season.

[Josh Richard]

Well, I can name one.

[Quentin Tarantino]

Okay.

[Josh Richard]

I'd like to watch Gillian Armstrong's Starstruck.

[Quentin Tarantino]

Oh, okay, cool. Actually, you know, all the Pantheon ones that you were pushing for got aired this. Except for that one.

[Josh Richard]

There's a few more.

[Quentin Tarantino]

Oh, no, there's a few more.

[Josh Richard]

There's a few more.

[Quentin Tarantino]

But the ones that I would think of as Pantheon that I could write on a wall, I had one Pantheon movie in the entire schedule. You had three, if not four.

[Roger Avary]

So, Quentin, what movie would you like to watch next season?

[Quentin Tarantino]

One I want to watch because one, I'd like to watch it with you guys. I'd like to hear what you have to say. And I also have something to say about it, and I think it'd be an interesting way to have a convers conversation is I'm a James Bridges fan. The writer, Director James Bridges, and he did a movie called September 30, 1955 with Richard Thomas that I'd like to watch on one of the upcoming episodes.

[Gala Avery]

Thank you both for chatting with me. I'll see you inside the store for our awards show. Now for a brief word from our sponsors that make these awards possible. Aloha. Come on down to Big Kahuna Burger.

[Roger Avary]

To try our Slithis special. A quarter Pounder patty with jalapenos, our.

[Gala Avery]

Signature cheese sauce and grilled onions enjoyed on an Irish potato bun.

[Roger Avary]

Have a little darling with you. Try our kids version, Spawn the Slithas, complete with a toy.

[Gala Avery]

No meat, no problem. So about any burger for our house made veggie patty.

[Roger Avary]

No extra charge. We're open late.

[Gala Avery]

Drive thru till midnight.

[Josh Richard]

Mmm.

[Roger Avary]

That's one tasty burger. Big Kahuna burger.

[Gala Avery]

And we're back. Thank you to all of our wonderful sponsors for making this awards show possible. Tonight, Quentin, Roger and I will be handing out awards for 26 categories. And the listeners spoke and decided their very own listener's choice for movie and discussion. Quentin asked us to rank our top three of each category anonymously. And now we'll share them with each other. Our voice of God, Josh is tallying up the awards as we announce them to see which movie reigns supreme overall. Stick around until the end to find out. Every movie covered on season one is eligible for awards besides those covered in Expo du jour segments. And now for the awards. Do, do, do. The category is best special effects. What makes an effect special? Is it when you forget that you aren't really in space? When a gorgeous miniature brings a tear to your eye? Or perhaps when you jump off the couch and yell out in glee when a demonic hand appears on the screen? No matter what the case, special effects are what make movies, well, special. Listen now, as the group picks their specialist of special effects, my number three.

[Roger Avary]

Pick is going to go to Robert A. Burns for Demonoid.

[Quentin Tarantino]

Oh, okay.

[Roger Avary]

But I am also giving it to Chubby Cordero, who did the visual effects, and Ken Horn, who did the special makeup. I think those three really came together to give us the demonoid messenger of Death. My number two pick goes to the special effects team for Moonraker. Hi.

[Gala Avery]

Can't help it.

[Quentin Tarantino]

Both are the one that had the biggest bug budget. For sure.

[Josh Richard]

Yeah, yeah, for sure.

[Roger Avary]

I looked up and it was a really big team. I couldn't like, pick out one name because they were just in alphabetical order. That's how big it was. I love the fight in the end, I think it's a great special effects moment. And then my number one goes to the special effects team for Dark Star, which was led by Ron Cobb.

[Quentin Tarantino]

Good choices.

[Josh Richard]

All I. My number three. I have to say I had an honorable mention.

[Quentin Tarantino]

Okay, that's okay.

[Josh Richard]

Gullah mentioned it. It was Demonoid. Robert Burns and Al Alfredo Zacharias for Demonoid. It's truly spectacular work. There's like but no question. But my number three Is actually I'm giving it to Roger Evans for the Jet Benny show because that's mat work done on Super 8 that's freaking difficult to do. Yeah, I know how difficult it is to do. And so props to Roger Evans. My number two is Kaima Fujitsuburaya and Ishiro Honda for Rodan. Which is even now just such a beautiful effects driven movie.

[Quentin Tarantino]

Absolutely.

[Josh Richard]

It's just.

[Quentin Tarantino]

It's a great monster movie.

[Josh Richard]

And my last one I'm in a complete accord with gala is Dan O'Bannon and Ron Cobb for Dark Star.

[Quentin Tarantino]

Yes.

[Josh Richard]

Another handmade film. So I think for me handmade effects won. Right?

[Quentin Tarantino]

Absolutely. Did get three two in one spot.

[Josh Richard]

Yes.

[Quentin Tarantino]

My three two in one spot would be number three, Demonoid.

[Josh Richard]

Yes.

[Quentin Tarantino]

Oh, by if I was going to have an honorable mention, my honorable mention would be split between the Jet Benny show and Piranha.

[Roger Avary]

Yeah.

[Josh Richard]

Yeah.

[Quentin Tarantino]

All right. But my number three officially is demonoid. My number two is Dan O'Bannon and John Carpenter and Rob Cobbs effects work on Dark Star.

[Josh Richard]

Bless you, Quentin.

[Quentin Tarantino]

And my number one is Nicero Honda's work on Rodin.

[Josh Richard]

Yes. Okay, so we're all pretty close there.

[Roger Avary]

We're all kind of in the same.

[Josh Richard]

Pot, but that's good. I'm feeling good about it. Like I like. I'm loving all of it.

[Gala Avery]

The category is best editing. A movie is made in editing unique to cinema. The editor plays the role of the hands of the director. Riding the moviola, they come to a cranking halt and pick exactly which frame to cut. On putting their entire body and soul into it, they finish the product, bringing all of the components together. Through them, the director's vision is achieved. Tonight, the video archive's employees honor these editors. Quentin begins with his picks.

[Quentin Tarantino]

Number three. I have the Fast Kill.

[Josh Richard]

Excellent, excellent.

[Roger Avary]

The high sequence.

[Josh Richard]

Yeah.

[Quentin Tarantino]

Number two. The whole damn movie. But especially the high sequence. Number two. Hennessy movie dependent on its editing. If any movie here is dependent on its editing, it's Hennessy. And number one, Absolutely. The one that takes his inspiration from both Russ Meyer and Eisenstein. Joe Dante's magnificent work on Piranha.

[Roger Avary]

Go Joe. My number three goes to Bill Kimberlin for American Nitro. I always think that a documentary is built in editing and so I think Bill did a really good job.

[Josh Richard]

Oh, that's true. Very good. That's a good.

[Quentin Tarantino]

Oh, very well. Yeah, exactly.

[Josh Richard]

Good choice.

[Quentin Tarantino]

And he really only had two days to work with because the thing was only two days long.

[Roger Avary]

Did a really great job. My number two goes To Jerry Greenberg for Dress to Kill. I think the editing builds great tension and. Yeah. And then my number one, Hal Ashby for the Loved One. I love it. The editing. When I watched it at the New Beverly, Quentin, I actually saw even more real change splits because I was actually able to see it. And he is just masterful.

[Josh Richard]

Best editing. Number three, Eric Boyd Perkins for Hennessy. And you're absolutely right, Quentin. The tension that is built and the pacing that keeps that movie driving forward. It's spectacular.

[Quentin Tarantino]

It is. It really is.

[Josh Richard]

So Eric Boyd Perkins, number three.

[Quentin Tarantino]

Part of the reason the movie is rewatchable is because they're the editor.

[Josh Richard]

Yeah, absolutely. Number two would be Hal Ashby and Brian Smedley Astin for the Loved One. Again, for the. You've heard me talk enough about Avery house saver. You've heard me talk a lot about the real changes in that film. And Gala just mentioned it, and I've learned a lot about editing from that movie.

[Quentin Tarantino]

The real changes are eel and then also the real change, R E A.

[Roger Avary]

L. It's the changes that we feel along the way.

[Josh Richard]

And then my number one is Joe Dante and Mark Goldblatt for Piranha, which.

[Quentin Tarantino]

The editorial tour de force. It is tour de force.

[Josh Richard]

It truly. It truly is. It's. You mentioned Eisenstein. Yeah, he's absolutely using Eisenstein. And he's also leaning into Pudovkin.

[Quentin Tarantino]

I consider Dress to Kill, and if it had been a Paul Hirsch movie, it might have. Very well. It would have had to be.

[Josh Richard]

Yeah.

[Quentin Tarantino]

The best setting. But since it wasn't a.

[Josh Richard]

It would have forced your hand since.

[Quentin Tarantino]

It wasn't a Paul Hirsch one. All right. I was able to steer away from the show.

[Gala Avery]

The category is best production Design. Production design is what transports you from here to there. It is what allows you to travel to the future or to the past. From the newspapers that a character reads all the way to the sets they stand upon, the production designer brings a vision to life without them. We would not believe the magic on the screen. Roger starts us off.

[Josh Richard]

Number three, Vasovolod Otko and Tamara Vasilkovleskaya for Amphibian Man.

[Roger Avary]

Ooh, good choice.

[Josh Richard]

Which has, I think, some of the most beautiful Pixar like imagery. And for a live action film. It's just a gorgeous, gorgeous movie. I consider that my second choice. My number two choice is Alexandra Trouter for the Private Life of Sherlock Holmes. My number one is to the indomitable John Bucks for Rollerball and the Keep Together.

[Quentin Tarantino]

We don't really do together ones, but.

[Josh Richard]

I was giving it to him for Rollerball, but I also am seriously impressed by that village in the keep. That village lives in my mind. I could actually even. I could be fine giving it to him for the keep. I just think rollerball is extraordinary in every level. As far as design goes.

[Quentin Tarantino]

No, But Jay Cohen, Camper Victor, Jake Kemper, we have to make a choice.

[Josh Richard]

That's true. So this is a John Bucks Award for me.

[Quentin Tarantino]

Okay?

[Roger Avary]

So for best production design, my number three goes to Manhunter. I loved the sets in it, but there was no production designer mentioned. So I'm gonna give it to the art director, George B. Chan. My number two, piranha. Of course, no production designer mentioned either. So I'm going to give it to the art directors, Bill and Carrie Milan, because I love that Joe Dante was just taking newspaper articles about people getting eaten and bitten by rattlesnakes and putting them in the background.

[Josh Richard]

Boy eaten alive by wild dogs.

[Roger Avary]

Like things like man bit by rattlesnakes. And those were not made by them. They were just real and on the sand. And I love that.

[Josh Richard]

That's the very best kind of production design.

[Roger Avary]

And my number one for production design goes to. Dan the man O'Bannon for Darkstar did it himself.

[Josh Richard]

You know what? You're right. I should have remembered Dan.

[Quentin Tarantino]

Okay, I had one written down here. I had it crossed out because I was sure you were going to say it, so I was like, oh, okay, well, it'll get mentioned and it'll be fine. And it's not really my kind of pick anyway, so then I wrote one next to it. So the one that I wrote next to was Straw Dogs, which I was going to give for third for production design, but initially I had Moonraker down because Ken Adams. I go, well, of course Roger's going to choose that. All right? And when you didn't choose Ken Adams.

[Josh Richard]

You were shocked, and it's like I forced your hand.

[Quentin Tarantino]

It's like.

[Josh Richard]

You're absolutely right. You're absolutely right. I should have remembered my primary deity.

[Roger Avary]

You guys, we just heard a video archive's first Quentyn giving Moonraker an award.

[Josh Richard]

I know I am. Well, but he gave it the right award. Yeah, he did give it the right award. And probably the only award that will come from Quentin to Moonraker.

[Quentin Tarantino]

I never argued this point. Okay, so, okay, so no Straw Dogs. Yes. Ken Adams, Moonraker.

[Josh Richard]

That's a wise choice.

[Quentin Tarantino]

Number three. Number two, Sonny and Jed.

[Josh Richard]

Yeah.

[Quentin Tarantino]

And number one, actually, along with Moonraker, of the movie that we Talked the most about the production design when we did the episode is Alice, Sweet Alice.

[Josh Richard]

Yeah, it has good production design.

[Quentin Tarantino]

It was the production design that sold it that turns it into this weird period piece that they do in Long Island.

[Josh Richard]

Yeah.

[Roger Avary]

Great picks, Quentin.

[Quentin Tarantino]

Thank you.

[Josh Richard]

Really good picks. Especially that Moonraker one.

[Gala Avery]

The category is best cinematography. Ending the day with a sunburn on the back of their neck, the cinematographer is the man behind the camera. An audience feels each cinematographer's unique style even when they do not know it. They bring their doorway dollies, their paintbrushes to the shadows, and their cinematic language to the screen. With just a frame, we can tell a story. Whether it's Technicolor Eastman or black and white. We honor these cinematographers that bring their magic to the screen screen.

[Roger Avary]

Best cinematography. My number three goes to Earl Rath for Busting. Didn't really like the movie that much, but man, that dory dolly sequence, it's.

[Josh Richard]

Some energetic movement that is amazing.

[Roger Avary]

My number two, Haskell Wexler for the Loved One Painting on the Shadows on the Ground. And my number one goes to Ralph Debaude for Dressed to Kill.

[Quentin Tarantino]

Oh, wow.

[Roger Avary]

Split screen. Split diopter. I love it.

[Quentin Tarantino]

Jessica Hill is getting more love from Gala at the year end episode than she on the actual episode.

[Roger Avary]

When I wrote my thing, I was like, quentin's gonna be like no eyes of Laura Ma.

[Quentin Tarantino]

Yeah, right. Okay, so best cinematography, number three. I agree with Gala, Earl Roth busting, and in absentia, Peter Himes as well. Number two, Sven Nevskist for the last run.

[Josh Richard]

That's excellent work.

[Quentin Tarantino]

And number three would be Luis Corrado for Sunny and Jed for your number one spot.

[Josh Richard]

Yeah, he almost got my number three, but then I remembered I'm just going to jump right in. Best cinematography. My number three is Jean Robier for Dirty Hands.

[Quentin Tarantino]

Okay. It was a good one.

[Josh Richard]

This movie looked ahead of its time in slickness.

[Quentin Tarantino]

I have a nice look version of Dirty Hands award of mine, Deeper down Down. But it's all about the look.

[Josh Richard]

Yeah, yeah, yeah, I believe it. My number two is Eduard Rosovsky for Amphibian Man. Again, like. And maybe it's too much for Amphibian man to give it both production design and cinematography, but I felt it deserved it, the movie.

[Quentin Tarantino]

Are you only basing it off of the sinister cinema video we watch, or have you watched it now?

[Josh Richard]

No, actually, I'm trusting I haven't watched it in color. I'm trusting that it looks better. But it looked so good in the version that we saw. No argument. I Think that says something about how much you can degrade that movie and how beautiful it can still be. Well, but I have heard that it is even more beautiful than it is really beautiful.

[Quentin Tarantino]

Well, I mean, oddly enough, you know, we talked about Insur Honda in the last episode. But one of the things that's really interesting about his work is on one hand, yes, when you see an IB Technicolor print of Mothra or Rodin, it's like your eyes just explode. The color is so great. One of the things that's also really interesting is if you look at black and white reduxes of the same movies, they look kind of amazing in black and white. They look like Rodin, the inky black and white of the TV dupe of Rodin. It looks like a newspaper. It looks like a tabloid. The whole damn thing looks like a tabloid. And that's its own. That almost replaces the color.

[Josh Richard]

Well, you know what's interesting about IB Technicolor is its three black and white strips. And so it might be easy, er too, to strike a black and white.

[Quentin Tarantino]

Yeah, well, it doesn't. Yeah, it doesn't. No, it doesn't just look gray. It looks like the National Enquire come to life.

[Josh Richard]

My number one gala. I'm super proud of you. Haskell Wexler for the Loved One.

[Quentin Tarantino]

All right.

[Josh Richard]

His black and white cinematography in that film and what I learned from listening to him talk about his work on that movie and what he was able to do with Shadow, for example, by painting shadows on. On lawns.

[Quentin Tarantino]

An Olivon Sternbergian trick.

[Josh Richard]

Yeah. An old trick for sure.

[Quentin Tarantino]

Yeah. But a good trick.

[Josh Richard]

But a good trick.

[Quentin Tarantino]

A great trick.

[Josh Richard]

An effective trick. Yeah.

[Gala Avery]

The category is best Screenplay. What would a movie be without a script? A reality TV show.

[Roger Avary]

That's what.

[Gala Avery]

Perhaps the hardest working people, as evident by them having some of the shortest lifespans of crew members. The writer puts pen to paper and weaves a wild story. They pull magic from the ether. Their ideas are what we yearn for. There is plot and there is story. And a great screenplay is full of story. It is what brings us back time after time, again and again. Roger lets us know his decision.

[Josh Richard]

Best screenplay. This was actually a really insanely difficult one for me. And I went around and around and around and around and I thought about all aspects of. Of what makes a screenplay.

[Quentin Tarantino]

I have five that could easily have made my top three.

[Josh Richard]

My number three is Elaine May for Mikey and Nikki.

[Quentin Tarantino]

Oh, wow. Good deal.

[Josh Richard]

You know, I went and I looked at the screenplay and then I thought about how the synergy going on between writer, director and actors in that film is super unique and is almost unfair to pit it against anything else. But it's spectacular. It's spectacular writing and she's writing from life. And I think it makes for. For just this terrific character driven film between these two excellent guys. Number two, I had to give it. I had to. I was forced to. To give it to Paddy Chayefsky for the Hospital. A Kraken. Kraken screenplay. And my number one, I'm giving to Brian De Palma for Drustic Hill for lines like, you know, I'll leave you to play with your Peter and this computer carries. And a kind of brilliant thematic writing going on from a guy who clearly sees the movie he wants to make burning inside of his head.

[Quentin Tarantino]

Oh, that's well said.

[Josh Richard]

I just was blown away by that.

[Quentin Tarantino]

Aside from the writing, aside from Schrader, aside from Schrader and Mulius, it's the best script written by a movie brat who doesn't identify himself as a writer. So screenplay number three would be Billy Wilder and I.A.L. diamonds for their screenplay of the Private life of Sherlock Holmes.

[Josh Richard]

Yeah, it's a fine choice.

[Quentin Tarantino]

Number two would be Scotsman Alan Sharp.

[Josh Richard]

Yes.

[Quentin Tarantino]

For the last run.

[Josh Richard]

Yeah.

[Quentin Tarantino]

And number one, with my interpretation as a given Patachayevsky, the hospital.

[Roger Avary]

So I like that. We're all giving it to Patty Chayefsky for the hospital, but in different places, giving me a number one. Roger gave it number two and I'm giving it to my third spot. So number three for me is Patty Chayefsky, the Hospital. With Quentin's interpretation. My number two is going to go to Lee Chapman for Steel.

[Quentin Tarantino]

Oh, okay.

[Josh Richard]

It's a really good script. Right on.

[Roger Avary]

It's a really good script.

[Quentin Tarantino]

I've actually done some research on Lee Chapman since Roger. I can't believe all the stuff you talked about. You didn't mention Dirty Mary Crazy Larry. I've had a Dirty Mary Crazy Larry poster in the office.

[Josh Richard]

I thought we did talk about it. Maybe we talked about that downstairs and.

[Quentin Tarantino]

We talked about it downstairs.

[Josh Richard]

Yeah, that must have been it. I. Sorry about that.

[Quentin Tarantino]

But there's one in the. But there's a Dirty Mary Crazy Larry insert in the bathroom of our office in there. I've been seeing it for nine years.

[Roger Avary]

Yeah, I love it.

[Quentin Tarantino]

I see her name. Lee Chapman.

[Roger Avary]

Yeah, I love that script. And then my number one spot is going to Terry Southern and Christopher Isherwood for the Loved One.

[Josh Richard]

Wow. All right.

[Roger Avary]

I think it's a fantastic adaptation. And also one of the things that when we did the episode, we talked about John Gielgud and all of his amazing dialogue and lines. And so Sir Gilgud.

[Quentin Tarantino]

Well, definitely the most literary name dropping of the winners is sure. Wood and southern golden, the flashing limbs.

[Josh Richard]

Of golden lads and lasses all gone now as chimney sweeps must come to dust.

[Roger Avary]

See, that's how good the script is that Roger's now quoting it.

[Quentin Tarantino]

Yes, that's true.

[Gala Avery]

And the category is best supporting Actor. They may not be in the lead, but these men brought power to the screen. Robust, interesting characters. They stood out from the crowd, sometimes even more so than the actors that they supported. In this category, we honor the actors that captivated us despite being second build.

[Quentin Tarantino]

Okay, so now for best support actor, my honorable mention would be Tom Selleck, Coma. Either the Roger interpretation or the non Roger interpretation. All right, that's.

[Josh Richard]

If your interpretation of the hospital is correct, then my interpretation of Tom Selleck is correct.

[Quentin Tarantino]

Not necessarily. They were not built on the same foundation, but okay, number three, best supporting actor, Robert Weber in the choir voice.

[Josh Richard]

I got you, boys.

[Quentin Tarantino]

I'm balls and I'm squeezing. Because I got you by the balls and I'm squeezing.

[Josh Richard]

Robert Webber is awesome. I actually, you know what? I'm confessing right now, I forgot about Robert Webber, how great he was. I didn't think.

[Quentin Tarantino]

If you want to add it at the last film, don't let me see.

[Josh Richard]

I'm locked in on mine. I'm going to give him my honorable. I'm going. Go ahead, Quinn.

[Quentin Tarantino]

Number two, Yul Brenner, Light at the Edge of the World. And I will say if I was going to rub anything in. All right. To my co host is on that episode, even with Jacqueline here, even though she seemed to like it a little bit more, I was pretty much like. It seemed like I was the only guy that like, appreciated that movie. And it was kind of surprised to see some of the different things that people like. Really like Light at the Edge of the World.

[Josh Richard]

I like Light at the Edge of the World.

[Roger Avary]

I did not like Light at the Edge of the World.

[Quentin Tarantino]

Actively disliked.

[Roger Avary]

And I still do.

[Josh Richard]

Sorry, I've got you going through my head every time I think about that movie. I hear you, like, lamenting about the death of Yul Brynner. You're like, yo, Brynner, they killed his shine. I hear you saying that in my head.

[Quentin Tarantino]

It's bizarre. So Yul Brenner, number two and number one. There was things that came close, but nothing that Dethroned this one. And it was right from the very beginning. It's how we started the show off. Number one has gotta be Jack Palance. Cocaine cowboys. That was the first performance that we raved about. That was the first one that we saw where we hadn't seen the movie. We watched it. Oh, my God, he's amazing in this. He becomes the very first video archive superstar because of his performance in that movie.

[Roger Avary]

The MVPs.

[Quentin Tarantino]

Yeah. So, okay. Yeah. So good choice. Robert Webber, baby. Yeah. You got it, baby.

[Roger Avary]

My number three spot goes to Keith Gordon as Peter Miller in Dressed to Kill.

[Josh Richard]

Oh, that's a great choice.

[Roger Avary]

Yes.

[Josh Richard]

Yes. I love Keith Gordon. Both as a director.

[Quentin Tarantino]

This has gotten to be suspicious. Dressed to Kill is winning the year end from Gala.

[Roger Avary]

It's so weird. I had seen Dressed to Kill before we did the episode, and I hadn't seen Eyes of Laura Mars. So, like, when you first see something, you're like, wow, it's really great. And then you give it a little bit of time.

[Josh Richard]

God, I like. I'm so tempted to change my.

[Roger Avary]

No, you're locked in.

[Josh Richard]

I know I'm locked in. I'm locked in, but I'm so tempted because you're right. Keith Gordon. Keith Gordon.

[Gala Avery]

Oh, I can't believe you didn't.

[Josh Richard]

Keith Gordon's like my childhood, like, hero in that movie.

[Roger Avary]

My number two, Rod Steiger as Mister. As Mr. Joy Boy in the Loved One.

[Quentin Tarantino]

Okay.

[Roger Avary]

And my number one goes to Paul Bartel as Mr. Dumont in Piranha.

[Josh Richard]

Yes. You know what? He does have this amazing thing that he does in that movie where he is kind of goofy Paul Bartel, and you're laughing and having fun with him, and then suddenly he gives that one look when he's kneeling at that chewed.

[Roger Avary]

Up child with her chubby little fingers.

[Josh Richard]

And her chubby little toes and his, like. It's so. The loss that he's feeling is so deep and terrible for him. It's.

[Roger Avary]

It's a great moment, and that's why he wins my number one spot.

[Josh Richard]

Very well done, Gala.

[Gala Avery]

Thank you.

[Roger Avary]

Thank you. See, this is the real award is getting well done for my dad.

[Josh Richard]

Well done, my number three. And I think this is just because. Maybe it's just because I just recently saw this film, but I've been thinking about him, and he's so funny in the movie, and he's so great. It's James Olsen in Manhunter. I have no problem.

[Quentin Tarantino]

James Olsen is. Is. I. I considered him. I considered him. All right. I consider that. Is it too new? Is it Too new.

[Josh Richard]

Playing. Playing the. The second fiddle character who is just frustrated and just. He is so funny. He elevates that entire movie. He is great. James Olsen was a discovery for me.

[Quentin Tarantino]

Absolutely.

[Josh Richard]

My number two is Dennis Franz in Dress to Kill.

[Quentin Tarantino]

Okay. Yeah.

[Josh Richard]

It's not Keith Gordon, it's Dennis Franz.

[Roger Avary]

Gonna go uptown.

[Josh Richard]

Yeah. You tell Jim from out of town to get downtown.

[Quentin Tarantino]

You tell Jim from out of town he better get in town and downtown and swear out a statement as to.

[Josh Richard]

What he saw his sleazy New York cop popping Wrigley's gum into his mouth.

[Quentin Tarantino]

And shitty brown leather jacket that he's.

[Josh Richard]

About to go out in clubbing or something. And he's like kind of like looking Nancy Allen up and down. I mean, yeah.

[Quentin Tarantino]

Ms. Blake, am I too crude for you?

[Josh Richard]

I'm sorry, Have I offended you? I love him so much. So Dennis Franz. Okay, my number one, it has to go to Rod Steiger is Dr. Joy Boy. And the loved one.

[Quentin Tarantino]

Okay.

[Josh Richard]

I don't think there's any surprise there from anybody.

[Roger Avary]

Oh, yeah, I guess it's Dr. Joy Boy, not Mr. Joy Boy.

[Josh Richard]

Well, he was Mr. Before he became a doctor.

[Gala Avery]

The category is Best Supporting Actress. These women, these girls brought light to the screen. Thanks to their support, our main actresses were able to shine. Sometimes these ladies even outshone them. Like diamonds and rare gemstones. We covet these characters, brave performances and some iconic roles. We honor the ladies that stood apart from the rest.

[Roger Avary]

Okay, Best supporting Actress. This. This one was a really tough category for me, but not because of the plethora of the supporting actors.

[Quentin Tarantino]

There's not a lot of. It took me a while to come up with three, and then I started coming up with more.

[Roger Avary]

That's what happened to me. But my number three spot goes to Shannon Collins as Susie Grogan in Piranha.

[Quentin Tarantino]

Oh, okay. Okay.

[Josh Richard]

Yeah.

[Quentin Tarantino]

Oh, the little girl.

[Roger Avary]

The little girl. His daughter. My number two goes to Christa Erickson as Cinder in Little Darlings.

[Josh Richard]

Yeah.

[Quentin Tarantino]

Which one was she?

[Josh Richard]

Is that the little girl?

[Roger Avary]

The little bitch? Little bitchy one.

[Quentin Tarantino]

Oh, the bitchy one. The Rosanna Arquette look alike.

[Roger Avary]

She did such a great job as like the foil. And then my number one spot goes to Mariel Hemingway as Kathy McCormick in Lipstick. Yes, I did give it to all three child actors, but that's just how the cookie crumble.

[Josh Richard]

Yeah, that's how it is. They're supporting. Okay. My number three is to Alexa Kenan as Dana in Little Darlings. She was the tough friend, like the agent who's like worry and smoking Cigarette.

[Quentin Tarantino]

She's like her star of her own.

[Josh Richard]

Sitcom is such a wonderful bright light in that movie. And she's so good and she's so funny. And she's supporting the other actresses in the film.

[Quentin Tarantino]

Absolutely.

[Josh Richard]

My number two goes to Angie Dickinson in Drastic Hill.

[Quentin Tarantino]

Right on.

[Josh Richard]

It was brave of her to do that. It's absolutely brave.

[Quentin Tarantino]

And definitely the most iconic role, I think, of the supporting actresses.

[Josh Richard]

Absolutely. And I hope this counts, and I think it does. My number one is to Susan Sarandon as Mary Beth.

[Quentin Tarantino]

Is going to be your number one.

[Josh Richard]

As Mary Beth in the Great Waldo Pepper. Her performance is, I think, delightful, goofy, fun, and then so tragic that I cry every time I see it. And so thank you. Susan Sarandon for Mary Beth in the Great Waldo Pepper.

[Quentin Tarantino]

Absolutely. My favorite character in that script.

[Josh Richard]

Okay, so everyone's favorite character. In fact, she's so good that when she dies, you lose all interest. The movie fails, you lose interest. Not to me, but at the box office.

[Quentin Tarantino]

So best supporting actress. Okay. My honorable mention would go to Susan Sarandon. All right. And my sub honorable mention would go to Pam. American Night Show. Pam. Pam was on my list for a while. All right. She absolutely gets a shout out.

[Josh Richard]

She should.

[Quentin Tarantino]

As well. She should. My number three is Mariel Hemingway in lipstick. My number two, that is a brave, brave performance, is Angie Dickinson in Dress to Kill. The most iconic performance. Performance. But when it came down to me choosing my number one, I decided to go with the most ferocious performance that I saw by a supporting actress. And that would be Mildred Clinton, who was the killer in Alice. Sweet Alice.

[Josh Richard]

Right.

[Roger Avary]

Yeah. You know what?

[Josh Richard]

Good.

[Roger Avary]

And we just revealed who the killer was. Finally.

[Quentin Tarantino]

But it took us this long.

[Josh Richard]

By now you should have seen it.

[Quentin Tarantino]

Yeah.

[Gala Avery]

Now for a brief word from our sponsors that make these awards possible.

[Josh Richard]

I arrive at dawn even when the girls are asleep, wax my board and step into liquid. The sun rises and it's a glassy morning an inshore swell it's totally tubular. And when I'm done my tan body covered in the salt of the great Pacific Pacific. I'll grab breakfast, the spot that made Dogtown famous. You know I'm talking about teriyaki donut. A full 2 WAVO breakfast kamikaze style Never tasted so fun than at the donut Bottomless coffees for a half dime Try Chan's egg Donut to go. If you've got to make waves it's next set time so come on down.

[Gala Avery]

To Teriyaki Donut on the corner of Brooks and Pacific.

[Josh Richard]

Breakfast never tasted so Decent time.

[Gala Avery]

Red Apple cigarettes aren't just for cowboys. Now, with a slimmer roll and a cleaner filter, ladies, too, can enjoy themselves. A Red Apple cigarette. With a stylish new box design that fits conveniently in your purse. They're perfect for the modern woman on the go. For a limited time, buy a pack of Red Apple cigarettes and be entered to win a limited edition lighter. Better drag, more flavor, less throat burn. That's the Red Apple way. So go ahead, try my brand of cigarettes. You just might like it. The category is Best Actress. These women gave it their all. They left everything out on the screen. These leading ladies touched our hearts with their powerful performances. From comedy to horror. They left an impression on us that has lasted the entire season. Listen in as we pick our favorite female performances of season one.

[Roger Avary]

My number three best actress. Best actress has to go to Lois Childs as Dr. Holly Goodhead in Moonraker. AKA the woman that I want to be. All of these women I want to be.

[Josh Richard]

You're just waiting for your James to show up.

[Roger Avary]

I'm just waiting for my taking around the world one more time, James. That's all I'm waiting for. My number two goes to Nancy Allen as Liz Blake in Dressed to Kill.

[Josh Richard]

Yes.

[Roger Avary]

Because I, too, want to be as cool as Nancy Allen is in Dress to Kill. I want to be as cool as Nancy Allen is in general.

[Josh Richard]

Yeah.

[Roger Avary]

And then my number one should come as no surprise. Christy McNichol as Angel in Little Darlings. Great choice. My favorite. Probably my favorite performance. I'm actually gonna start crying right now just thinking about it when she's like, you saw right through me, and I saw that movie at, like, a really good time to see that movie. Man, she's so good. So that's. That's why Kristen McNichol wins Best Actress for me.

[Quentin Tarantino]

Roger.

[Josh Richard]

Okay, I just want to say, first of all, I did not put Nancy Ellen down, but, boy, I love Nancy Ellen, and I'm so glad you chose Nancy Allen. I'm just. I'm happy that you did that. However you chose Kristen McNichol.

[Quentin Tarantino]

Dress seems strangely overrepresented by Gala, criminally.

[Josh Richard]

Underrepresented by you, and Moonraker is overrepresented by you. What's going on here? Christy McNichol as Angel in Little Darlings. She's my number three choice. You don't have to be Gala's age or a female to really be touched by Kristen McNichol in this film. She's amazing in this film.

[Roger Avary]

That's why she's that Good.

[Josh Richard]

And it was a revelation to me because I had always kind of thought, you know, I don't know, I never really thought of her as the big actress in Little Darlings. I always thought, well, it must be Tatum O'Neill, because she's an illustrious actress. I'm not that Chrissy McNichol isn't. But when I saw Little Darlings again, I realized, wow, she's the force behind this movie. Her transformation is incredible. In the film, my number two is Samantha Egger as Jennifer Banes in Demonoid. Yeah, she running around in this movie in her high heels, terrified by hands, jumping out at her and pulling it all off with a straight face is just. She's a class act.

[Quentin Tarantino]

You are right. You are right.

[Josh Richard]

Samantha Egger is a class act.

[Quentin Tarantino]

I didn't include her in this. I include her in something else that's in that same vein. But you make me ashamed that I didn't include her in there.

[Josh Richard]

My number one, It's Susan George, man. It's Susan George for her. One, two, punch.

[Quentin Tarantino]

Okay, but which one, though? You gotta choose.

[Josh Richard]

I'm giving it to her for Sunny and Jed. But, but coming off of Straw Dogs and doing Sunny and Jed. Right on is like, I, I, I think in some way Sunny and Jed had to have been informed or it's growing out of the other one. And so I just think she's in such a great place in these two films and that it really comes together and make Sunny and Jed like her little bits. Playing like a dirty child, basically, in Sunny and Jed is amazing.

[Quentin Tarantino]

No, my best actress could have been number three. Susan George, Sonny and Jed. Number two. Susan George.

[Josh Richard]

Could have done it.

[Quentin Tarantino]

I could have, like, with a good conscience, done it. So my best actress and now I'm feeling that this is, like, too low. I almost switch it out with number two, maybe, I don't know. Number three is Nancy Allen, Dressed to Kill. And that's even me acknowledging. And actually, that's me acknowledging she's one of the most iconic roles in cinema. You know, of this whole list.

[Josh Richard]

Yeah.

[Quentin Tarantino]

Number two, Susan George, Straw Docks.

[Josh Richard]

Yes.

[Quentin Tarantino]

And number one, Chris McNichol. Little Darlings.

[Josh Richard]

All right.

[Roger Avary]

Yeah.

[Gala Avery]

Christy.

[Josh Richard]

Right on. Christy McNichol.

[Gala Avery]

The category is Best Actor, A category jam packed with powerful punches and endless choices. How are we to decide the best actor of this season? Through these roughly 70 movies, we've seen everything from powder kegs with explosive performances to hilarious characters with memorable lines. Sometimes we've even seen the same actor play vastly different roles. How are we to choose the Best actor will be the one who fights his way to the top, knocking out the competition. Let's figure out who won the battle.

[Quentin Tarantino]

So now for best actor, here we go. For me, number three is Peter Falk. Mikey and Nikki. If you remember, in the episode, I actually chose John Cassavetes. But now, after a whole year of thinking about it, to me, number three, Peter Falk.

[Josh Richard]

The difficulties that he's balancing and between the dynamic of those two characters, where one is naturally kind of a larger, more showboaty role, I absolutely am down with that.

[Quentin Tarantino]

Yeah, he's great. Number two would be Rod Steiger, the illustrated man.

[Josh Richard]

Yes.

[Quentin Tarantino]

I don't even care that much about the stories inside of it, but just him as the illustrated man. Just. Boom.

[Josh Richard]

He likes it hot.

[Quentin Tarantino]

Yeah, he likes it hot.

[Roger Avary]

He's just like me.

[Josh Richard]

He's a bum who likes it.

[Quentin Tarantino]

He's a bum who likes it hot. And then number one. There was no other performance that knocked me and Roger out in quite the way that George C. Scott did in the hospital. It was like one of the. Like, wow, is this one of the best performances I've ever seen in my life? Obviously, he has the material to do it, but he's got the material. He's got the director, and he's got the showcase, and he's got the power to do it.

[Josh Richard]

He's great. He's. He's full on. George C. Scott. 100%. He makes the hospital what it is. I mean, the hospital is like a stage play, and he's the star of the stage play.

[Quentin Tarantino]

No, no. The Hospital without George Scott. What the. Would that.

[Josh Richard]

Yeah, I'm not even sure.

[Quentin Tarantino]

Yeah.

[Josh Richard]

My number three is George C. Scott for Rage.

[Quentin Tarantino]

Ah, right on. I.

[Josh Richard]

He.

[Quentin Tarantino]

He was.

[Josh Richard]

He's directing. He's acting as good and as good as he is, and he's like. He became one of our. Yeah, yeah. Like one of our guys.

[Quentin Tarantino]

Like, there was a time that it was for me, Scott stagger.

[Josh Richard]

Yeah.

[Quentin Tarantino]

With Rage being the third.

[Josh Richard]

And I was juggling between Last Run and Rage. But then I thought, you know, he's directing.

[Quentin Tarantino]

Yeah, yeah.

[Josh Richard]

At the same time, in Rage, he's so. George C. Scott. He's so. Like a volcano about to explode in that movie. Yeah.

[Roger Avary]

Look at the COVID of the tape, you guys. That's what Quentin's holding up and shaking right now.

[Josh Richard]

My number two, Eric Roberts for Paul Snyder in Star 80.

[Quentin Tarantino]

Okay. Well done. Well done.

[Josh Richard]

Cannot be denied. That is one of the greatest performances of that decade. And Eric Roberts is. He challenged himself in a way by by taking that part and then take. And going with it, and he makes an absolutely sympathetic character out of somebody who really shouldn't be sympathetic. So that. And that's. Believe me, that's a juggling act.

[Quentin Tarantino]

And number one. Number one. Number one.

[Josh Richard]

Rod Schiger for Hennessy. Rod Steiger for Hennessy. There were plenty of Rod Steiger performances to choose from throughout this, you know, and. And I thought about Illustrated man long and hard, but then I just thought about how he carried Hennessy from beginning to end and how he took us all the way through it. It's another rage filled, you know, another rage filled character.

[Quentin Tarantino]

No, I mean, literally the best double feature that we didn't do would be. Is Rage in Hen. I mean, as if, like, they should have, like, a citywide run. All right.

[Roger Avary]

As a double feature together.

[Josh Richard]

Maybe at the New Beverly. Maybe at the New Beverly.

[Roger Avary]

Okay? So for me, my number three pick.

[Quentin Tarantino]

I'm gonna keep it up with the. Keeping at least one George. She's got one Rod Steiger on the list. We'll see. Naturally, Naturally, naturally.

[Roger Avary]

But of course, I do have Rod Steiger as Hennessy in Hennessy as my number three spot.

[Quentin Tarantino]

Okay.

[Roger Avary]

Because I think that it's was a tight performance, and I love how he goes in makeup and everything. My number two goes to Eric Roberts as Paul Snider and Star 80, a.

[Gala Avery]

Greasy performance that has stuck with me.

[Roger Avary]

And my number one spot goes to Nino Manfredi as Michelle Abanago in Cafe Express.

[Josh Richard]

Good choice.

[Quentin Tarantino]

Cafe Express.

[Josh Richard]

Very, very good choice.

[Roger Avary]

Unlike you guys, I. If I remember correctly, you guys watched the dub version.

[Quentin Tarantino]

Yes, we did.

[Roger Avary]

And I watched the version with subtitles, so I got his full acting, and I loved it. And weirdly enough, that's like one of the performances that just stuck with me. This entire season was really early in our season.

[Josh Richard]

But it's funny. The screenplay is what stuck me, and it was very, very close to getting, like, onto my screenplay list. I thought about that script a lot.

[Quentin Tarantino]

Oh, that's interesting.

[Josh Richard]

And. And I thought about the kind of artful maneuver that, you know, that is going on.

[Quentin Tarantino]

I was surprised that Waldo Pepper didn't get on your screenplay playlist.

[Josh Richard]

I thought about it. I thought about it. But then I kind of thought about how the writer himself was sort of trashing his own work, and I'm not going to give it to him.

[Gala Avery]

The category is Best Director. For this category, Quentin lets us know the criteria.

[Quentin Tarantino]

So the next two awards that will take us out of our individual achievement area is Best Director, Best Film. I threw Down a gauntlet to make us choose different movies that any film on the list of the three for best director cannot be for best film.

[Josh Richard]

And this is like a normal thing at film festivals, right?

[Quentin Tarantino]

Yeah, that'll happen a lot. It'll happen a lot at film festivals where they, you know, sometimes depending on the film festival, best director is sort of like the second best prize, you know, but it's not like a film festival, because on a film festival, no, the best prize is the one you win the golden. Yeah, whatever. You know, this is almost the opposite of that. Look, if it is the filmmaking itself that you're responding to, that's the one you give to best director. Now, where me and Roger are coming from is we're directors, so naturally we think the best film is going to be the best directed film. The one that cinematically works the most. That's the best film.

[Josh Richard]

In fact, I had forgotten your caveat. Even though you told me like 20 times as I was making my list, I got really into it and I suddenly realized, well, my best director and my best films are. It's all kind of blended together.

[Quentin Tarantino]

Yeah, well, that's the idea.

[Josh Richard]

And then you broke it up. You broke it up.

[Quentin Tarantino]

Now, where I was coming from, his best film, and this wasn't a massive gnosis. I was kind of letting you guys decide. It's like, yeah, okay, if you're going to go by the criterion list or something, well, then Mikey and Nikki would be on here or whatever the deal is. I was like, no, no, no, we're video archives. We have. We're creating our own classics. We like everything that we like, but we're doing our own thing. We're creating our own classics. And so I decided that best film for me would be the best video archives movie. And like, okay, well, what is that? And I was like, okay, so that's a movie that I enjoyed watching with your father. So. So we watched it, and we enjoyed watching it together. We had a great time watching it. Then we went and talked about it, and we had a great time talking about it. We had a really, really great discussion. And then not only that, I enjoyed listening to it back when it was on the show. I was like, oh, wow, that was really cool, you know, so that's what I decided to be for my best film compared to the best director. Is that clear? Everybody.

[Roger Avary]

Everybody at home is saying yes.

[Josh Richard]

Makes perfect sense to me.

[Quentin Tarantino]

Okay, cool. So that was the criteria going on. So I'll start Best director. Okay, so number three when it comes to best Director. I think I have. Even though I could have. Peter Himes could have made this list. Actually, Lindsay Shauntoff could have made this list, but Richard Fleischer could have made this list. But starting off, number three, Sam Peckinpah and Straw Dogs. That's my third spot. My second spot is Sergio Corbucci for Sunny and Jed. And my first number one spot is Brian De Palma for the only bonafide true classic that we showed during the whole festival. True new Hollywood movie Brat directed classic. It's her the entire entire season. Dress to kill.

[Josh Richard]

You want to go next? Yeah.

[Quentin Tarantino]

Go gala.

[Roger Avary]

So my number three, Coco gala. In accordance with Quentin, I am going for Sam Peckinpah with Straw Dogs.

[Josh Richard]

Good choice.

[Roger Avary]

My number two spot does not go to isa. Laura Mars.

[Quentin Tarantino]

Pulls it out. He pulls it.

[Josh Richard]

No, actually, what Irving Kershner did by cat capturing fashion, and that movie was.

[Roger Avary]

Really good, but it's not going to happen.

[Josh Richard]

No, I know, but I'm just saying, like, nothing. No slag on Irving Kershner.

[Roger Avary]

No, I'm slagging on myself because in that episode, I voted for Irv Kirchner. But right now, I'm voting for Brian De palma.

[Quentin Tarantino]

Okay, number two for number two. Number two.

[Roger Avary]

And number one goes to Mr. Joe Dante for Piranha.

[Quentin Tarantino]

Oh, nice.

[Roger Avary]

Joe got my vote.

[Josh Richard]

And he, like. He, like, gerrymandered that thing hard. He was like.

[Roger Avary]

He told.

[Josh Richard]

He was lobbying.

[Roger Avary]

When I did the Q and A with him at the. When I did the Q and A with him at the New Beverly, he told me a story that when they filled up the pool and did all the underwater shots, they actually created, like, a new kind of bacteria, and it was eating away at the pool, and they had to get, like, disease control to come in and, like, destroy the bacteria. And I just love it.

[Josh Richard]

It causes dantis.

[Quentin Tarantino]

Okay, Roger, I am literally sitting here on the edge of my seat waiting for your.

[Josh Richard]

You're going to be really happy. I think. My number three is to Sergio Corbucci for Sonny and Jed. The great Sergio Corbucci. This is my favorite film of his. Thank you, Quentin, for introducing me to Sonny and Jed. What an experience watching the movie. What an experience to watch it with you and for me to see a new Corbucci film and to have it be a Corbucci comic comedy and for me to love it so much that I actually like it more than the Great Silence. Okay, that's a pretty big order to fill. And you filled. Thank you. My number two is Sam Peckinpah for Straw Dogs. You know, he could easily have been number one, he could easily have been number three, but he's number two. And my number one goes to Brian De Palma for Dressed to Kill. Yeah.

[Roger Avary]

Feels really sweeping right now.

[Josh Richard]

Well, I mean, when you think about what a director does, he's doing what a director does. He is. He is bringing his vision. We are looking through De Palma's eyes. He might have one eye he borrowed from another director, but we're still looking through the eyes.

[Quentin Tarantino]

We're still looking through his process of it.

[Roger Avary]

Through the eyes.

[Josh Richard]

And another thing I want to say is that watching that movie again, again, you know, with you and Eli, we all thought it was going to just be like, hey, we, we know, we love this movie. Are. Should we even watch it now? Should we spend the time.

[Quentin Tarantino]

It's the only time that we thought, ah, maybe we could just skip watching this one. You know, we know it so well.

[Josh Richard]

And then we did it. And not only was I making discoveries I had never seen before in the film, but we had a blast. Freaking blast. It was one of the best viewings I've ever had of the movie.

[Quentin Tarantino]

It was so entertaining. Entertaining, yeah.

[Roger Avary]

And now for the moment that you've.

[Gala Avery]

All been waiting for.

[Roger Avary]

Out of each and every movie this.

[Gala Avery]

Season, which one was the best? The category is best film.

[Josh Richard]

Best film was. Was difficult for me. And I'm not sure that I went by the same criteria as you.

[Roger Avary]

What criteria did you go by when.

[Gala Avery]

You were deciding your best film?

[Josh Richard]

Well, I started thinking about what is the most important film for people to see today. What is one of my favorite films by one of my favorite directors, et cetera, et cetera. Like, these were all the things that.

[Quentin Tarantino]

Were going through my head. Sounds like we're pretty heavy with it.

[Josh Richard]

Well, and as we say at video archives, only the best is bestest enough.

[Quentin Tarantino]

Yes, exactly right. That was a Roger Moore Vision of Monte Carlo, AKA Persuaders episode. Only the best is bestest.

[Josh Richard]

He's playing a German. A German art dealer or something. Something. And as my father used to say, orn Zebest is bestest enough. And so I'm gonna give my number three to darkstar.

[Quentin Tarantino]

Okay.

[Josh Richard]

Part of it is. And this really was watching it with you because I'm not sure you cared that much about Dark Star. I think you knew of it and you thought it was this thing and you. And you were giving it to me as you were throwing me like a. You were. You're doing me a solid by early on showing Dark Star.

[Gala Avery]

In fact, like on our first Episode, very first movie.

[Josh Richard]

And then watching it and then hearing you talk about it and how. How much you loved it, how much you appreciated Dan O'Bannon and the great discussion that we had about the movie Dark Star. To me, it was one of the best viewings I had. It set the tone of what we were doing. It made me realize, wow, we're going to be able to do this and. And talk about stuff.

[Quentin Tarantino]

And so I really, really blast watching that movie.

[Josh Richard]

Enjoyed my Dark Star experience. And also, I just think that, you know, you know, everyone knows by now how much I love handmade.

[Quentin Tarantino]

Yeah, yeah, yeah.

[Josh Richard]

Almost flawed work. You know, I prefer it to be a little rough at the edges and not perfect.

[Quentin Tarantino]

Right.

[Josh Richard]

And Darkstar is absolutely that. Okay. My number two. And this was chosen mostly because of me and because of when I think about this film and I think about it and I've taught. And as I've talked about it with my wife and as we talked about it together, you know, I would start describing the moment of tragedy in this film and how it affected me and how irreversible it is. And the death of his friend and what Waldo goes through affects me so deeply. And I have such a deep connection to this film that I had to include it on my best film list. It's the Great Waldo Pepper by the great George Roy Hill, who easily could have gone on my best director list.

[Quentin Tarantino]

Because I. I was halfway expecting him to.

[Josh Richard]

He was originally on there. And I had to make a choice, and I chose that I would place it under best film because to me, it's an unsung masterpiece.

[Quentin Tarantino]

Yes.

[Josh Richard]

And I actually like this movie more than I like his other films. Partly because I love the flying in the film. Partly because I love the melancholic feeling of the movie. I love that the movie throws away its audience in the middle.

[Quentin Tarantino]

Yeah.

[Josh Richard]

It's brave enough to go there, there, and to. And to show Waldo's tragedy.

[Quentin Tarantino]

As opposed to Susan Sarandon sitting in a pond, waving, shaking her fist at the man.

[Josh Richard]

Exactly. Exactly. This movie, I have a very deep connection with this film because I have a very deep connection to the tragedies that I've experienced within my life that make you who you are and take you away from who you want to be and that you are not. You are not defined by the good or bad that happens to you in life. I feel like what this movie says is that you're defined by how you react to the good and the bad that happens in life. And so. And so this movie is an important film for me, and I wanted to include it on best film.

[Quentin Tarantino]

You also read the screenplay, didn't you?

[Josh Richard]

I did. I read the screenplay in book form.

[Quentin Tarantino]

Yeah. Yeah.

[Josh Richard]

And it's great. It's. I've never read. Like, I didn't realize that the novelization of the screenplay was written the way it was, which you said.

[Quentin Tarantino]

It has a weird format.

[Josh Richard]

It's a screenplay format, but it's also like he novelized the screenplay. It's almost like a good blend between the two. I just love the movie all around, and I would love to see this movie get even more attention. My last film, because I feel like I'm living inside of this world today, is Norman Jewison's Rollerball, for me, is my number one, my favorite film of the bunch that we've watched here. I think Rollerball has the key within it of everything that's wrong in the world today and how we're meant, at least according to Norman Jewison and according to the Hero's Journey, how we're meant to resist and go against all that's wrong in the world. And for that reason, I've chosen Rollerball.

[Gala Avery]

Okay.

[Roger Avary]

So for my best films, I thought about it, like, what movie stuck with me and what conversations that I really enjoy having and listening to. But my number three, for all the reasons that Roger just mentioned, goes to Rollerball. Oh, because when I'm sitting and I'm talking to people of my age and younger than me, and they're talking about like, oh, hey, I'm just going to use AI Art. Or, hey, I'm just going to use Chat GPT to write my essay. Hey, I'm just going to rely on the Internet. And that's. Everything that exists today is on the Internet. No, no, no. Go watch Rollerball and figure out why you shouldn't do that. My number two movie goes to the loved one. Because the first time I ever saw it, I didn't understand it.

[Josh Richard]

Yeah, you could not understand what they were saying. It's like, oh, yeah, we're all bad. Like, their English accents were beyond comprehension level.

[Roger Avary]

It's actually true. And through doing this podcast, I've gained a new appreciation and a new understanding, actually with. Actually with Rollerball as well, of my dad. So with Rollerball and the loved one, I've understood my father better.

[Josh Richard]

You were not a big Rollerball fan.

[Roger Avary]

I was not a big rollerball fan.

[Josh Richard]

Until I started talking about it like crazy.

[Roger Avary]

Yeah, actually, I. To be honest, before doing the podcast, I didn't really like Rollerball. That much. And I didn't really like the loved one that much. And by doing. Doing this podcast, I have a new appreciation for both of these movies and understand my dad way better through them. So thank you.

[Quentin Tarantino]

And that is why, for number one, it's Moonraker, which would actually be a.

[Roger Avary]

Movie that I would have pushed on him. But no, it's not Moonraker.

[Quentin Tarantino]

It's not Moonraker.

[Roger Avary]

It's not Moonraker.

[Quentin Tarantino]

Now you're going off script.

[Josh Richard]

It's an honorable mention.

[Roger Avary]

Quentin is shocked right now.

[Gala Avery]

And it's not Little Darlings either.

[Roger Avary]

Okay, I'm giving it to Cafe Express.

[Josh Richard]

Oh, wow.

[Quentin Tarantino]

Because late in the game.

[Roger Avary]

This is a movie.

[Quentin Tarantino]

Dark Horse.

[Josh Richard]

Yeah.

[Roger Avary]

This is the movie that I can't stop thinking about. The moment when he's being interrogated by the police officer after everything, and he has his wooden hand and he's smashing it against the table. It's such an explosive performance that when I look at all my VHS tapes on the shelf, that's the tape I always pull out and I look at it and I think, huh, that was really something. And that is a movie I would have never have seen if it weren't for this podcast and if it weren't for Quentin. So thank you, Quentin. But anyway, that's my three. Cafe Express, the Loved One, and Rollerball.

[Quentin Tarantino]

Cool. Okay, my three. And I gave my criteria of what counts as a Video Archives class classic. Number three, after jockeying around and whatever. Number three. I have Demonoid.

[Josh Richard]

Yay.

[Roger Avary]

That was on my, like, short list.

[Josh Richard]

Yeah, yeah, yeah. Demonoid was on my list.

[Quentin Tarantino]

Yeah. Demonoids number three. Togarius number two. And again, I just think, you know, it's a Video Archives classic. I think number two is Hennessy.

[Josh Richard]

Yeah, yeah, yeah. And we had such a great time.

[Quentin Tarantino]

Yeah, we had such a great time with such a great discussion. You know, Rod Steiger, he got a lot of love from you guys. The best actor. And number one, when I look at these boxes, the one that I actually think that's not set up from beforehand, that just kind of dominated and became, I think, a Video Archives classic that I didn't. I wasn't pushing that going in is Rage.

[Josh Richard]

Right on.

[Quentin Tarantino]

Rage is number. I think that's. That's. To me, that was the Video Archives movie of the. That people probably weren't aware of.

[Josh Richard]

Directed by George C. Scott.

[Quentin Tarantino]

Directed by George C. Scott.

[Josh Richard]

Starring George C. Scott. And a movie that really like. I'm so happy.

[Quentin Tarantino]

Second best performance of the show.

[Josh Richard]

And you know how. I mean, obviously, you know, that's one of the reasons you've chosen, like, how excited I was by watching it like that. This is a movie that speaks to every paranoid cell of my body.

[Quentin Tarantino]

Yeah. You were like, hey, is this a Ro movie going? It's either the best Roger movie or the worst Roger movie. I'll let you know when it's all over.

[Gala Avery]

Before we get into our last commercial break of the season, I asked our listeners on Twitter and Instagram to vote for their favorite film of season one. To present the category of viewer's choice favorite film, here's Roger.

[Josh Richard]

And the award for listener's choice favorite film with 16.6% of the vote by a very narrow margin is. Dress to kill. Oh, my God. Dress to kill. That's great.

[Gala Avery]

And now a word from our lovely sponsors.

[Quentin Tarantino]

You are the one.

[Josh Richard]

You make it happen.

[Quentin Tarantino]

The things you do are total.

[Josh Richard]

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[Quentin Tarantino]

Make a stand.

[Josh Richard]

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[Gala Avery]

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[Josh Richard]

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[Quentin Tarantino]

Now you're in control.

[Josh Richard]

In control.

[Voice of God]

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[Gala Avery]

And we're back. Before we get into the rest of the awards from Quentin and Roger, I've asked our listeners on Twitter and Instagram to vote for their favorite discussion of season one. To present the category of viewers choice favorite discussion, here's Roger.

[Josh Richard]

And the award for listeners choice favorite discussion with 16.9% of the vote goes to star 80.

[Gala Avery]

And now for the remainder awards, the category is discovery of the season. Out of all of the movies we saw this year, many of them were first watches. Some of these movies were classics that we had missed during their initial run. Others were foreign genre titles that surpassed expectations. And a select few were total WTFs that were picked based on Title and box art alone. Listen in as we discuss our favorite discovery of season one.

[Roger Avary]

I had a lot of discoveries this season because I had not seen most of these movies, and these were a lot of first time watches for me. But my number three spot, Coma. I saw Coma maybe three or four times this past.

[Josh Richard]

Yeah, you really vibed on Coma.

[Roger Avary]

I really. And you know what?

[Quentin Tarantino]

Did you watch the miniseries?

[Roger Avary]

No, I did not, actually, but I've just seen the movie four times.

[Josh Richard]

She saw the movie as if it were a miniseries. She took the movie and drew it out to the length of a miniseries.

[Roger Avary]

And even though I think that the host is probably the better of the procedural doctor mystery murders that we have watched on this show, I like Coma better. Okay. My number two spot goes to Steel. I liked it so much that I made Quentin actually put it on the show. I lobbied hard for that movie.

[Josh Richard]

Yeah, that was kind of one of our. After we've recorded shows that we go down and we watch.

[Roger Avary]

Yeah, we actually. We watched.

[Quentin Tarantino]

No, I just. I just. I just gotten a brand new print of it.

[Roger Avary]

Yeah, we watched it on 35 millimeter on Quentin's print, and I loved it so much that I was like, we should talk about this. We should talk about it. And Quinn's like, well, it's not in the archives. And so I loved it so much that I went out and I sourced two tapes to commit one to the archives.

[Quentin Tarantino]

Yes.

[Roger Avary]

So that we could.

[Quentin Tarantino]

It's now part of.

[Roger Avary]

It's now part of the archives. So.

[Quentin Tarantino]

And we could do it.

[Roger Avary]

And then, of course, my number one best discovery this season is Little Darlings.

[Quentin Tarantino]

Mm.

[Roger Avary]

Because.

[Josh Richard]

Yeah. That movie touched you really?

[Roger Avary]

It touched me really deeply in a spot that I like. A tender, vulnerable spot that I did not know even existed inside of myself. Anyway, those are my discoveries.

[Quentin Tarantino]

You had the opposite feeling with the choir boys.

[Roger Avary]

You know what? I have a repulsion from that movie. Yeah. That and the light at the edge of the world.

[Quentin Tarantino]

Sorry.

[Josh Richard]

Hey, you know what? Jump. Do it. Jump.

[Quentin Tarantino]

Okay. Got your big audience going on here. Got everybody. Stop it with it.

[Josh Richard]

Do it.

[Quentin Tarantino]

Oh, look at me. Look at me.

[Josh Richard]

Why don't you just go and do it and jump. Stop wasting my time.

[Quentin Tarantino]

I think this lady has some things to think about. Let's just let her just have a good long thing.

[Josh Richard]

Jump. I got some other things to do.

[Quentin Tarantino]

So for me, yeah, Best Discovery is a film that I haven't seen, and I'd seen a lot of the films that we played here, but I went out of my way to watch stuff that I hadn't seen. And I think the three best examples of that and I could put a few things down. But number three, the Jet Benny Show.

[Josh Richard]

Yes.

[Quentin Tarantino]

Number two, one Arm Executioner. Yes. Bobby A. Suarez's one Arm Executioner. And number one, Lindsay Shontoff's the Fast Kill.

[Josh Richard]

Wow, great choices. And there's a Venn diagram where ours kind of touch. Because my number three best discovery this year was Roger Evans, the director of the Jet Benny Show. And it's really the Jet Benny Show. But it turns out that years ago, I saw this online. Somebody had taken the opening credit sequence for Jonny Quest and transformed it into like stop motion animation.

[Quentin Tarantino]

Oh, yeah.

[Josh Richard]

Into like 3D animation. And I saw it and I was like, wow, that is fantastic. I think I loved it. Okay. And then time goes by and we watch the Jet Benny show. And I had my reaction to the Jet Benny show and then discovered that Roger Evans was out there. And the next thing I know, I just discovered this last week. He was the guy who did that. And so this is a guy who's after my own heart.

[Quentin Tarantino]

Absolutely.

[Josh Richard]

Not only that, he's there in Texas to this day, and he's got a little company, company that I think they make and distribute film scanners. 35 millimeter, 16 millimeter, 8 millimeter film scanners. So I'm like, okay, this guy's my hero.

[Quentin Tarantino]

He's fighting the good fight.

[Josh Richard]

He's fighting the good fight. He's. He's a man after my own heart. And so to Roger Evans, who is out there, you're my best discovery of this. Your third best season. My third best discovery of this just kind of. Yeah, he just. Kind of a compliment.

[Roger Avary]

What, you can't say best unless it's number one.

[Josh Richard]

Well, he's my third best. He's my bronze level discovery. I'm like making it worse as I go. I'm just going to stop. I love you, Roger Evans.

[Roger Avary]

I love him too.

[Josh Richard]

Okay, my second discovery this year. I have Joe Dante to thank for. And that's Servando Gonzalez and the Fool Killer. And this, this director, Servando Gonzalez, I hadn't personally heard of him before. And so to be exposed to, you know, to somebody who's this great genius and to have Joe Dante be the one to expose me to it, to expose us to it. Wow, that was. That was exciting for me. That was great. That's a director whose work I'm going to keep.

[Quentin Tarantino]

Did you see one of his Spanish language movies, El Escapulario, which was.

[Roger Avary]

Which was One of my discoveries for the Pearson podcast.

[Josh Richard]

Not only did I see it, I'm ripping it off actively. Okay. My number one. My number one. My true love is my wife, but my number one discovery is Samantha Egger, the actress of demonoid, and demonoid in general, which is just like the. Just the greatest thing to have. I think when we were watching that, I was hooting and laughing and squeezing, feeling like just a pig in. I was so happy watching that film.

[Quentin Tarantino]

Yeah, it's. It was one of the best.

[Josh Richard]

And then watching her kind of trying, you know, Samantha Egger, who is, you know, she's. She's British and she's beautiful, and she's in, like, a pencil skirt or something and running around in heels and immaculate, you know, kind of clothing and blouses and hats and stuff like this. And just, you know, watching her, like, as, like, Disappointed embodied hands and stuff.

[Quentin Tarantino]

Come at her gives it all a legitimacy.

[Josh Richard]

She is so great in this that every time a movie came on that Samantha Egger was in, I was like, woohoo. Yes, let's go.

[Quentin Tarantino]

No, our. Our love for Samantha Egger, born out of that demonoid screening and discussion is one of my favorite personality aspects about this whole season is. Is our appreciation of Samantha in.

[Gala Avery]

And the category is favorite scene as defined by Noah Webster. A scene is the whole series of actions and events connected and exhibited or the whole assemblage of objects displayed in one view. These assemblages stood out from the rest and thus became our favorite best scene.

[Quentin Tarantino]

Okay, let's see here. Okay, my honorable mention. I just kind of wrote this down just right. I just added it at the last minute. It's only. Our honorable mention is the Robert Walden scene in Rage. That was one of the creepiest scenes. And he just is so terrific in it. It made me reappreciate Robert Walden all over again. He was so good in that scene.

[Josh Richard]

It's fantastic.

[Quentin Tarantino]

Okay, but now, officially, getting onto the real deal. Number three, I would say Hennessy and the Queen. Number two, when it comes to. Okay, now here is a classic scene is the museum scene in Dress the Kill.

[Josh Richard]

Yes. One of the greatest nonverbal scenes.

[Quentin Tarantino]

And on the other end of the nonverbal scene is number one, George C. Scott's impetus monologue.

[Josh Richard]

Oh, yeah.

[Quentin Tarantino]

In the hospital.

[Josh Richard]

The hospital, right on.

[Roger Avary]

My number three best scene is training for the heist in Blind Rage.

[Quentin Tarantino]

Oh, that's a good one.

[Roger Avary]

I liked. I liked every minute of that. Okay. My number two scene, I've been, like, going back and forth because this movie had so many good moments. The movie is demonoid, and I was gonna go for the moment that the demon hand protected itself from burning from the fire, but by digging itself underground.

[Quentin Tarantino]

Yeah.

[Roger Avary]

But I'm gonna go for the scene where the hand is at the doctor's office and it's possessed the guy and it's going to chop itself off.

[Quentin Tarantino]

Yeah. And the black cop.

[Roger Avary]

The black cop, yeah.

[Quentin Tarantino]

Yeah.

[Roger Avary]

And she's handcuffed and watching and freaking out.

[Josh Richard]

Yeah. I love how she is.

[Quentin Tarantino]

Cut it off. What do you do? Don't care.

[Josh Richard]

Just cut.

[Roger Avary]

Just cut.

[Josh Richard]

Just cut.

[Roger Avary]

And my number one scene really should have gone to Kristy McNichol and that whole thing, but it's going to the other moment in the archive this season that really made me cry. And I was sitting in the New Beverly as we watched it. And I also watched this movie, like, four times this year, but it's the great Waldo Pepper. Ernst Kessler and Waldo on the Bridge.

[Josh Richard]

Okay.

[Roger Avary]

And the moment between them where they basically just, like. They tell the lie and then they tell the truth, actually.

[Josh Richard]

And actually, you pointed something out to me which I had never noticed about the movie, which is Ernst Kessler realizes that Waldo just wants to believe the. And so then there's a moment where. And you see it when he realizes that with Waldo and he just gives him what he needs and gives him what he wants.

[Roger Avary]

And then. And then he tells him the truth, which. And then I wept.

[Josh Richard]

And then I wept.

[Roger Avary]

And it's such a great moment where in the theater, I actually was crying.

[Josh Richard]

And it truly is the key to the entire movie.

[Roger Avary]

Yeah. And it was. It's such a good moment. So I have to give my best scene to that.

[Quentin Tarantino]

It is the key to the entire film. This is the George or Hill Ologist.

[Josh Richard]

I am a George Rail.

[Quentin Tarantino]

Apologist.

[Voice of God]

Apologist.

[Quentin Tarantino]

I didn't say.

[Josh Richard]

I thought he said apologist. I was like.

[Quentin Tarantino]

He said ologist.

[Roger Avary]

He's both.

[Quentin Tarantino]

He's both.

[Josh Richard]

I am when needed. He very rarely needs an apologist, but when he does, he can call on me.

[Quentin Tarantino]

That's true.

[Josh Richard]

So my best scenes, actually. First, I'm gonna give an honorable mention to the Paul Thomas Anderson scene in Slithers where the guy is dressed, driving the girl home, and he's like, oh, I guess that makes me the dirty old man. Like, that scene is so fucking good.

[Quentin Tarantino]

Like, I'd forgotten about that.

[Josh Richard]

I'm almost talking myself into bumping one of these other ones. But I'm just going to leave that as an honorable mention because it's.

[Quentin Tarantino]

Oh, that's a good scene, man.

[Josh Richard]

It's a truly great scene. And my number three. And in fact, maybe I will pick it because my number three actually was Blind Rage, the rehearsing of the bank robbery.

[Roger Avary]

No, no, keep blind. Blind Rage deserves it.

[Quentin Tarantino]

Let Blind Rage get too.

[Josh Richard]

The truth of the matter is it deserves it. It deserves it because that was. Not only is it a great idea that they set up this little set of the bank and the guys are blind, so it doesn't matter and they just have to go through the motions. And you're looking at like a wire frame version of the bank.

[Roger Avary]

Yeah.

[Josh Richard]

And that cool girl is training them and they have that amazing long shot.

[Quentin Tarantino]

Yeah.

[Josh Richard]

Where they just kind of travel through the bank as everything's happening. It's. That's a great scene. That's the reason to make that movie was that scene.

[Roger Avary]

It's inspired.

[Josh Richard]

Yeah.

[Quentin Tarantino]

And then when you actually see the robbery, you're just like, holy shit. I mean, like, you're surprised how invested you are.

[Josh Richard]

My number two scene is the existential negotiation with a bomb in Dark Star.

[Quentin Tarantino]

That's a good one. That's a good, good scene.

[Josh Richard]

It's one of the most important scenes that I've ever seen in my life, I think. And it's funny, it's memorable. You know, Dark Star is such a great film. That is such a great moment. The bomb itself and how the bomb talks to radio, you know, like his. I love everything about that. I love everything about it. My number one scene, and this should probably come as no surprise, but it's the loved one, Mr. Joy Boy, introducing his mother through the real change that.

[Quentin Tarantino]

I love so much.

[Josh Richard]

To me, I. I have to place that on a. I almost picked.

[Roger Avary]

I almost picked that.

[Josh Richard]

You knew I was going to pick it, so you let me. You let me have it. Thank you. Thank you, daughter.

[Gala Avery]

The category is best action sequence.

[Roger Avary]

Punches, car crashes, demonic possessions, fights, jumps.

[Gala Avery]

From buildings, violent moments, choreographed chase scenes.

[Roger Avary]

There was so much good action this.

[Gala Avery]

Season, that action deserved a category of its own. Roger begins with his picks.

[Josh Richard]

Best action sequence. Okay. We had so much good action and, you know, this season and, you know, as I was making this list, it was like, wow, this is a. This is a tough one. And there's so many also great action directors. Yeah. This was really like a difficult one to choose, but I went with Peter Hyams busting in the Los Angeles market at night Shootout number three. That's my number three.

[Quentin Tarantino]

Okay.

[Josh Richard]

That sequence is a high watermark that people have been imitating since it's a great question.

[Quentin Tarantino]

It's low ranking. You don't need to convince me. That's rather lowly ranked three.

[Josh Richard]

Number three.

[Quentin Tarantino]

What's one and two? I pertain.

[Josh Richard]

Well, number two, I'm giving to rollerball, the opening sequence where they basically explain to the audience how do you play. Play rollerball?

[Quentin Tarantino]

Yeah, whatever.

[Josh Richard]

And it's.

[Quentin Tarantino]

Yeah, okay, that, that, that, that's legit.

[Josh Richard]

It's a legit tough ass scene.

[Quentin Tarantino]

It's legit choice.

[Josh Richard]

It's a moment.

[Quentin Tarantino]

So you choose. So you choose the opening game as opposed to the Japanese game.

[Josh Richard]

I choose the opening game.

[Quentin Tarantino]

Okay.

[Josh Richard]

Actually, and partly because it's instructional and it's required so that the audience understands the mechanics of the sport.

[Quentin Tarantino]

Yeah.

[Josh Richard]

Throughout the rest of the movie.

[Quentin Tarantino]

Well, yeah. And also there is the aspect that you're never more of a specific spectator at a rollerball game than you are at the beginning of the film. From that point on, you can't help but be a little bit more involved dramatically what's going on. But they go out of their way to make James Caan just look like just a roller.

[Josh Richard]

Any other rollerballer.

[Quentin Tarantino]

Yeah, any other rollerballer.

[Josh Richard]

They also make it. It's shot in a kind of naturalistic style and you really feel the reality of that world based on how Norman Jewson handles it. And it's just impressive.

[Quentin Tarantino]

Okay. Okay.

[Josh Richard]

My number one best action sequence is the attack on the summer camp children in piranha.

[Quentin Tarantino]

Oh, wow, that's a good one.

[Roger Avary]

They're chubby little fingers. And their chubby little toes.

[Josh Richard]

Rarely have I squealed and had as much fun watching a movie with Quentin as watching all these children screaming and trying to get out of the water, as these little fish are just nipping away at them and just taking little bites.

[Quentin Tarantino]

That's a great look. That's a great choice.

[Josh Richard]

And really culminating to that moment with Paul Bartel. Paul Bartel helps to sell the devastating reality of that moment. He stops it being fun and he kind of reminds you, hey, man, this is bad enough that the comic relief of the movie is weeping.

[Quentin Tarantino]

This is bad enough that the man would know depth has depth.

[Josh Richard]

Yeah, exactly. So well done, Joe Dante.

[Quentin Tarantino]

Okay, look, those are all undeniable, okay? Like, I could have had the one arm executioner training sequence.

[Josh Richard]

I did great.

[Quentin Tarantino]

I could have had the blind rage robbery. I could have had the blind rage robbery training sequence. But instead, what I made it official is number three, the robbery and the slash getaway from the fast kill.

[Josh Richard]

Yeah, there's a lot of fast kill love coming from you.

[Quentin Tarantino]

I.

[Josh Richard]

Fast Kill is a great movie.

[Quentin Tarantino]

A lot of Fast Kill love coming from me. I really.

[Josh Richard]

And that was a. And it's.

[Quentin Tarantino]

And stayed in there. It's really stayed. It's. It's. It's. It's had staying power. That's why it's, like, doing so well.

[Josh Richard]

Well, it's such a deft choice to. To make that exterior commitment in that moment. And though it's based on budget, he turns it into kind of a stylistic thing. And then that crazy car chase. Car drive.

[Quentin Tarantino]

Well, see, the thing that gets me. The thing that. It's part of my appreciation for Fast Kill is there is. That's something we could have done.

[Josh Richard]

Yeah.

[Quentin Tarantino]

For like, if we had had $200,000 or $250,000. I don't think we were mature enough to be able to pull that off, what he was able to pull off. But if that would have been in our reach, we could have come close to something like that if we hadn't. If we didn't fuck it up. And we might have very well fucked it up.

[Josh Richard]

Yeah. The economy of the filmmaking and just how smart they are about capturing Paris when they really clearly don't have the money to capture Paris, but they still do it. And like you said, it really looks like a movie I ripped off that I didn't rip off.

[Quentin Tarantino]

Yeah. Right. Okay, so my number two action scene is the supermarket shootout in Busting.

[Josh Richard]

Yes. Right on.

[Quentin Tarantino]

Like one of the great.

[Josh Richard]

Peter Hyams.

[Quentin Tarantino]

One of the great action scenes of the 70s by one of the greatest action directors. Yes, exactly. Where he really became who he is.

[Josh Richard]

Yeah.

[Quentin Tarantino]

All right.

[Josh Richard]

That fantastic, like, doorway dolly or wheelchair or whatever they're using to do all that.

[Quentin Tarantino]

I think a wheelchair by that.

[Josh Richard]

That amazing movements.

[Quentin Tarantino]

And then my number one is the corn barn scene from Sunny and Jet.

[Josh Richard]

Yeah, yeah.

[Roger Avary]

Oh, yeah, yeah. Oh, yeah.

[Josh Richard]

That crazy. Like, how did they do that? How did they do that scene?

[Quentin Tarantino]

They blinded Telly Savala Gala.

[Roger Avary]

Okay. My number three best action sequence spot goes to the one armed executioner. The scene where they kill his wife and remove his arm. I think it's a great action sequence and it has so much emotion behind it. My number two spot is the ending action in Straw Dogs. It finally just all explodes.

[Josh Richard]

That is like one of the greatest of. Of all time. That is a worthy choice.

[Roger Avary]

And my number one is the doorway dolly sequence and busting. All right, so I've got number three and number two and number one busting. Not my favorite movie, for sure. I have to preface it with that. But that sequence was really amazing. Action. I got the camera work in that movie is really good.

[Josh Richard]

Peter Hyams is acknowledged like that, like.

[Roger Avary]

I was just saying, has nothing to do with action. But that birthday cake sequence in Bus.

[Gala Avery]

So good. The category is best credit sequence. Don't get to a movie late and be sure not to leave before the lights go up. Sit back in your chair and let the credits roll. How else are you going to know who the best boy was, where the movie was shot, or if it's Eastman or Technicolor? For us lucky ones, we've gotten to see credits of all kinds. This season. For this award, we honored the films with the most memorable and creative opening and closing credits sequences.

[Roger Avary]

This one was really hard for me, but then the more I thought about it, the more memorable credit sequences I could remember. Number three spot goes to. If Roger doesn't have this as number one, I'm shocked. The Private Life of Sherlock Holmes. The opening credit sequence where they're going through the. He's giving me the look. And I know he has it as his number one based on that look, but they're going through all the memorabilia. But the reason why that scene is so good is because you only realize how good it is after you finish the movie.

[Quentin Tarantino]

Yeah, that is true.

[Josh Richard]

All the clues of the movie are there.

[Roger Avary]

My number two spot goes to the Great Waldo Pepper. I don't really know if it's a credit sequence, but basically the opening where the little kid is like taking the.

[Quentin Tarantino]

No, that actually is a credit sequence.

[Josh Richard]

Are playing there.

[Roger Avary]

Okay, great. So that goes to that scene.

[Josh Richard]

Waldo's great lie.

[Roger Avary]

Because it sells the great lie. And then it sells like that. This kid is really just working for it. And the number one credit sequence of all time, Moonraker.

[Josh Richard]

Well, it's a Bond film and so.

[Roger Avary]

It'S a Bond film. It's iconic. I really like the song. And also I'm. I don't like the new Bond openings that they do nowadays. They don't have the bullet thing, I don't think.

[Gala Avery]

No Time to Die.

[Roger Avary]

Like, I don't think they had it.

[Quentin Tarantino]

And they had the bullet thing.

[Roger Avary]

Did they have the bullet thing? I don't know, but they just.

[Josh Richard]

It's not a Bond film if they have the bullet thing.

[Roger Avary]

I don't know. We can check if they have the bullet thing, but I don't think they had a bullet thing. But. Moonraker's intro. I love the old style Bond themes where it's all optical. I just. I love it so Moonraker.

[Josh Richard]

The naked.

[Quentin Tarantino]

The naked gymnast.

[Josh Richard]

Women floating around and. Yeah.

[Roger Avary]

Like, man, it gets me happy to watch a Bond movie.

[Josh Richard]

Yeah.

[Roger Avary]

Okay. Dad, what about you? I know what your number one is, but.

[Josh Richard]

Okay, My number three is treachery and greed in Planet of the Apes.

[Roger Avary]

Oh, yeah, That's a great one.

[Quentin Tarantino]

That was a good one.

[Josh Richard]

Okay, I know that it's technically. But it's a. It's on tape. It was one of our viewings. It was vhs. It lay under the recent definitions provided by Quentin. It's allowed. And, boy, is that a great sequence. It's like Saul Bass all the way. It's not Saul Bass, but it looks like Saul Bass. I actually tried to find out who did the credit sequence. It's probably just some studio guy, animator or something. Some title sequence, like, title house guy or something.

[Quentin Tarantino]

He did a great job, man.

[Josh Richard]

That iconic image of that gorilla in silhouette, in, like, lithographic silhouette, holding up his rifle on a horseback with that.

[Quentin Tarantino]

Giant sun behind him talking into it. That was a good one.

[Roger Avary]

I wonder if that's the. Because I watched the tv.

[Quentin Tarantino]

No, no, it's the.

[Roger Avary]

It's the exact same.

[Quentin Tarantino]

It is, but they, you know. But they reworked it enough to add, you know, to make it look like an opening credit sequence for a movie.

[Roger Avary]

Honestly. Honestly, in the TV version, that might.

[Gala Avery]

Be the best part about the TV show.

[Quentin Tarantino]

Yeah. Yeah.

[Roger Avary]

Is that great.

[Josh Richard]

Opening sets you up. It makes you. And with the music, like, all that kind of crazy.

[Quentin Tarantino]

The emphasis of the gorillas. The gorillas. The soldiers.

[Josh Richard]

Yeah.

[Quentin Tarantino]

The rifles.

[Josh Richard]

It got me in the mood. Let's just. Let's just put it like that. Okay. My number two is actually the private life of Sherlock Holmes. It's my number two. And you actually even said it while we were watching. You're like, oh, this is like a Roger sequence. Like, it. It was everything that I love in movies. The cinematography is beautiful. The. The way that they're opening it, and it's almost like. Like an archaeological discovery into the movie you're about to see. And I just love it. It's. It's just classic. It's Billy Wilder. What are you going to do? Okay. My number one best credit scene sequence is cocaine cowboys.

[Quentin Tarantino]

Really?

[Josh Richard]

The outdoor billboards and having the credits on the Times Square Magnatron or whatever that is. Megatron, the giant board. I thought that was so clever. Even though he ripped it off from his own previous film. Which cheapens it a little. It might cheapen it a little.

[Quentin Tarantino]

Look at it the same way again once I saw that.

[Josh Richard]

But the reason he ripped it off is because he improved upon it and he made it perfect and he finally did it. And, like, look, even. You know, many filmmakers repeat their own ideas again and again and again. And, you know, because the only good idea he had. Well, it's a good idea, and it's my. And it was absolutely my favorite credit sequence. And actually, it was because it was one of the first movies we watched.

[Quentin Tarantino]

Yeah.

[Josh Richard]

I remember when that came on, it was like, wow, I've never seen that in a movie. And you remember, I was like, oh, my God.

[Quentin Tarantino]

No, no. I know. That's what sold me on him the first time. Yeah.

[Josh Richard]

And it may be why I was as inviting to that movie for the rest of the movie.

[Quentin Tarantino]

Yeah.

[Josh Richard]

Other than Jack Plant's. Yeah. Was that opening credit sequence?

[Quentin Tarantino]

Yeah. Choir Boys? Not. Best opening credit, actually. That's the one part you liked, right?

[Roger Avary]

That's the one part I like. But you know what? No, actually, the second part I liked were the ending credits, because it was over.

[Quentin Tarantino]

No, but you especially. Really? You didn't like them all laughing at the end.

[Roger Avary]

No, but I like that it was over. I like that it was over.

[Josh Richard]

What's funny is my. One of.

[Roger Avary]

My God, I hated the laughing.

[Josh Richard]

One of my first films, a little Super 8 movie I did, the Worm Turns. I end it the same way. I mean, I'd never seen the Choir Boys, but I end it with someone laughing because it was like, oh, no. And in my. Roger, as a angry teenager filmmaker, was like, oh, no. This is me laughing at the audience. And then I'm watching it and I'm like, I know what it feels like to be the audience and being laughed at by the filmmaker.

[Quentin Tarantino]

That's all good. Okay, so for number three, I'm gonna go with Private Life of Sherlock Holmes.

[Josh Richard]

A good choice.

[Quentin Tarantino]

For number two, I'm gonna go with Dress to Kill, the classic. And that kind of goes into the bathroom scene. I actually think. I think that would count.

[Josh Richard]

I think it counts. I think it counts up until the moment where she comes out of her dream and she's being, like, hammered by her husband.

[Quentin Tarantino]

Yeah. Wham, bam, specials. And I'm mad at him. All right, so Dress to Kill is number two, and I'm happy with that. And number one, I can't believe that Roger didn't choose it. The keep the Best scene in the fucking movie.

[Josh Richard]

Actually, no, it's not that I didn't choose it. It was that I chose these three over it. It was actually inconsiderate because. And I think I Even mentioned it earlier when I was talking about John Box. That opening sequence.

[Quentin Tarantino]

Yeah.

[Josh Richard]

And the arrival into the village.

[Quentin Tarantino]

It looks like it's the one part that is like, completely works unambiguously.

[Josh Richard]

It's shot by Alex Thompson and who's one of my favorite dps. And he makes it look like the opening of Sorcerer when those trucks roll in. And then you know how great it's.

[Quentin Tarantino]

Like we said it was like, part of the reason we like to keep back then is just because, well, it's so obviously ripping off Sorcerer. And just the fact that the movie knows has a good taste to rip off Sorcerer. Has good taste at least.

[Josh Richard]

And then you enter into that beautiful village. And so, yeah, that credits sequence is great. Although I think technically, if I'm remembering correctly, the keep. It's just like the keep. And that's it. That's the opening credit.

[Quentin Tarantino]

Yeah. I can't remember if there's more credits there, but I think.

[Roger Avary]

But there is a credit.

[Quentin Tarantino]

There is a crap.

[Gala Avery]

The category is Best beginning. They say that you have 20 minutes to really grab an audience. These beginnings grabbed us right out of our seats and pulled us straight to the screen. In this category, we honor these openings that prepared us for the journey ahead.

[Quentin Tarantino]

So, okay, best beginnings of the film, which I consider to be anything from the first scene to the first 20 minutes. Almost. Number three for best beginnings. Jungle Raiders.

[Josh Richard]

Yes.

[Quentin Tarantino]

Number two, best beginnings. The Illustrated man.

[Josh Richard]

Yeah.

[Roger Avary]

Oh, yeah, yeah.

[Quentin Tarantino]

The best of the beginnings. Sunny and Jed opening. 10 minutes of sunny and J.

[Josh Richard]

For sure.

[Quentin Tarantino]

Gala.

[Roger Avary]

Okay, well, my number three is the setup from the Jet Benny show. The opening where they're like, back in time.

[Quentin Tarantino]

Yeah, yeah.

[Josh Richard]

When it's showing the actual curtain and of the curtain.

[Roger Avary]

My number two is the setting up scene in Jungle Raiders.

[Quentin Tarantino]

Jungle Raiders.

[Roger Avary]

It's so good that we can't talk about it. That's how good it is.

[Quentin Tarantino]

Yeah.

[Roger Avary]

And then my number one. Does anyone even have to ask? The Bond opening of Moonraker where they jump out of the plane and Bond and Jaws are in the air fighting each other.

[Quentin Tarantino]

Bond and the Asian guy playing Jaw.

[Roger Avary]

Okay, but movie magic, Quentin. Movie magic.

[Josh Richard]

And also suspension of disbelief. But that is. I think.

[Roger Avary]

I think it's arguably one of the.

[Josh Richard]

Best openings of any Bond movie ever. Actually, I'm a little. I'm kind of kicking myself right now for not picking. Not picking. I'm like, actually a little distressed now.

[Roger Avary]

Yeah, you should be. Because it is number one.

[Josh Richard]

That is. That is a really good. No matter how you feel about the movie, that falling out of the airplane sequence without a parachute is one of the greatest, greatest gags and stunts ever done.

[Quentin Tarantino]

Do you have to convince me if. No, you did a whole episode trying.

[Josh Richard]

To convince me to convince you.

[Roger Avary]

Okay, dad, what about you?

[Josh Richard]

Okay, so I actually had rollerball. The game of rollerball. The game of rollerball is played on here. And I. And I realized, well, that's kind of double dipping.

[Quentin Tarantino]

But that's okay.

[Josh Richard]

I mean, the truth is, that is what it is.

[Quentin Tarantino]

The big. Yeah, it can be.

[Josh Richard]

That is the best beginning for me. I. And I. And I would actually struggle between that as my number three slot and the demonoid. That hand is removed at the beginning, which is the setup.

[Quentin Tarantino]

The breasts are revealed and the hand is removed.

[Josh Richard]

Breast is revealed, the hand is removed. But I'm going to go with rollerball just because it's. It's out. Outstanding. My number two is Haunted Honeymoon. The radio play. Oh, I love the radio play. I. Well, I love Jean Wilder. I could watch Jean Wilder in anything.

[Roger Avary]

Even Sunday Lovers.

[Josh Richard]

Even Sunday. I could watch. Listen, I. Gene Wilder is a very special person in my life. I really adore Gene Wilder. And so I can watch him in anything. And he's just so good in that moment. And it sets up those two characters so well. And so I just love that opening. My number one is. What else it is Jungle Raiders.

[Quentin Tarantino]

I never wanted in their opening.

[Josh Richard]

Number one, that is, without questioning, the best opening of all the movies we saw. It's better than rollerball. It's inventive and smart. It's a twist. It's great. It's like. It's really brilliant.

[Quentin Tarantino]

I'm overwhelmed with the unironic love for Antonio Margariti. The most unironic love he's ever received.

[Josh Richard]

Well, Margariti should get more attention. The way he blended models and action. And how he's look normally.

[Quentin Tarantino]

The effects are rather junkie. It just so happens. All right. On these two movies, this one that we watched was, like, exceptionally well done.

[Gala Avery]

The category is best ending. All good things must come to an end. There is nothing worse than sitting through a fantastic movie only to have it fail you in the last few minutes. It feels like a lover lying to you about who they were the entire time that you were together. You have been cheated. Thankfully, these movies did the opposite. They fulfilled their promises.

[Roger Avary]

They told us the truth.

[Gala Avery]

They left us nodding our heads and smiling. In this category, we honor those endings that satisfied us to our core.

[Josh Richard]

Okay, my best final moments. And number three is the Great Waldo Pepper. The dog fight between Ernst and Waldo.

[Quentin Tarantino]

Right on.

[Josh Richard]

Suffice it to say that it's a great standoff between two men who love each other or who love the idea of each other.

[Quentin Tarantino]

Yes.

[Josh Richard]

My number two. My number two is Rodin. The death of the Rodin. The Phoenix Death of the Rodin.

[Quentin Tarantino]

Oh, wow, that's a really good one.

[Josh Richard]

It's an emotional ending, and it's a vividly beautiful effect that they're creating with all the fake lava and the fire and the phoenix moment where it rises up and screams. It's just. It's.

[Quentin Tarantino]

No, that makes me want to change mine, but I'm not going to. It makes me want to change it, though.

[Josh Richard]

It's just know that it's represented.

[Quentin Tarantino]

Yeah.

[Josh Richard]

And. And my last great final moment, it's the moment where Jonathan scores in rollerball. It's from the moment of the end when he's the last one there with those two motorcycles or that one motorcycle, and he's just kind of going around alone with all the dead bodies, fiery motorcycle. And the audience has become quiet. And now you're just there and all you hear is the motorcycle and his skill skates and the ball as it rolls around. And then once he just brutally. When the game has just been distilled down to merely violence, and what he must do is just beat the out of the guy. And then he comes to the point where he's must kill and he doesn't, and instead he scores because to him, it's. It's about. It's not a game without the scoring. And what they're saying is it's not about the scoring, it's about the violence. That's what people want. And so Jonathan makes a choice that I think is one of the greatest choice a human being can make. And that's in complete and total defiance to the authority that or the agency that's been taken away from him. And that's to score and to shove it to the man who's literally right there next to the goal box. Jonathan, best ending.

[Quentin Tarantino]

Okay, I sold me. Okay. But my number third final moment, the final moment of any of these George C. Scott movies.

[Josh Richard]

It's absolutely just.

[Quentin Tarantino]

His final moment is.

[Josh Richard]

His final moment may as well be a Rodin screaming in flames and falling into lava. This is.

[Quentin Tarantino]

This is the human equivalent of the Rodin screaming in flames.

[Josh Richard]

And Quentin is holding up the rage again.

[Roger Avary]

He holds up the rage box and he shakes it.

[Josh Richard]

He shakes it for effect.

[Quentin Tarantino]

For these purposes, I will choose the final moment of George C. Scott in the last run.

[Josh Richard]

Good choice.

[Quentin Tarantino]

On the beach alone. Then my second favorite final moment is the final moment of Dress to Kill.

[Josh Richard]

Yeah.

[Quentin Tarantino]

Classic final moment.

[Josh Richard]

Maybe one of the most chilling.

[Quentin Tarantino]

Yeah.

[Josh Richard]

Moments. And Nancy Ellen's so good in it.

[Quentin Tarantino]

Yeah. Oh, and then to me, the final moment of all the movies that we watched, frankly. And it's all about the final moment. And that is the final moment on Peter Fox Face at the end of Mikey and Nikki.

[Josh Richard]

It's a devastating and logical ending as well. So I just want to. I'm just looking at lipstick right now and I just want to say lipstick has a pretty. I'm just going to give that a quick honorable mention.

[Quentin Tarantino]

That deserves an honorable mention as a.

[Josh Richard]

Revenge of the one part that actually.

[Quentin Tarantino]

100% works is the end moment.

[Josh Richard]

Okay.

[Roger Avary]

Okay. Number three is the final reveal in Operation Nam.

[Quentin Tarantino]

Oh, yeah.

[Roger Avary]

That was a shocking twist. Twist or shocking take on the ending that I wasn't expecting and completely changed how I had evaluated the movie prior.

[Quentin Tarantino]

Yeah, yeah, Right on. You mean this? You mean the surprise before the surprise before the tag on surprises?

[Roger Avary]

Yes.

[Quentin Tarantino]

Okay.

[Roger Avary]

There's like a series of like four surprises. I'm talking about starting at the first one because it's like the last like 15 minutes.

[Quentin Tarantino]

They all get more cynical.

[Josh Richard]

Yeah. We can call it the cynical wrap up of Vietnam.

[Roger Avary]

My number two has to go to Moonraker. Take me around the world one more time, James. Because I love the thing about a Bond movie is it has to end with sex on a boat. All the classic Bond movies do. And Moonraker, they're in space and so it ends with sex on this. On the space boat, basically. But I love that they're on the phone and they all see what's going on and then she just turns it off and she. She doesn't care. Just taking around the world one more time.

[Josh Richard]

Yeah.

[Roger Avary]

Such a great ending for me.

[Quentin Tarantino]

And actually, if you asked me, the best anti gravity effects in the whole film or that's.

[Josh Richard]

Yeah.

[Roger Avary]

With her hair.

[Quentin Tarantino]

Yeah, yeah, yeah, yeah.

[Josh Richard]

She's beautiful in that moment.

[Gala Avery]

She's beautiful in every moment.

[Josh Richard]

Lois Child.

[Roger Avary]

She's Lois Childs. And number one, Rollerball. Jonathan.

[Josh Richard]

Jonathan. Jonathan.

[Quentin Tarantino]

Jonathan.

[Roger Avary]

I can't describe it any better than my dad did. So. Yeah, that's. That's that.

[Gala Avery]

One of the most unique parts about our podcast is that we watch entirely on vhs. The next three categories honor the art of video. The category is best video box. You're browsing the video store. They don't have any more copies of Die Hard in stock. You stumble through the aisles, desperate for a movie to pop on for the night. What. What's that over there? An amazing video box catches your eye. Its shape, its size, its color, it calls to you. You pull it off the shelf and hold it in your hands, feeling the weight of the tape. You see the box art, the cool title treatment, and in a second, you're sold. In this category, we honor these awesome boxes.

[Roger Avary]

One thing I love about doing this podcast is that I have gotten to experience now the wonder that is the VHS box. There are so many cool boxes. There are so many cool companies. I hate clamshells, like the big plastic clamshells. So I'll just put that out there. Number three, Moonraker. I don't know what the heck is up with this box. It's like you can pull it out.

[Quentin Tarantino]

It's like a tray box.

[Roger Avary]

It's a.

[Quentin Tarantino]

It's a shelf. It's called a shelf.

[Roger Avary]

It's a shelf. Okay, well, I love it.

[Quentin Tarantino]

Like a dresser drawer.

[Roger Avary]

It's beautiful. It's beautiful. It looks great on my shelf. Yeah, I love how it pulls out. I love the COVID Her art. It's one of my favorite art. And then number two has to go to Jungle Raiders.

[Quentin Tarantino]

The Jungle Raiders.

[Gala Avery]

I don't.

[Roger Avary]

I don't have here. The boxes under there. And that's right here.

[Josh Richard]

That box is awesome with the fake distressed poster.

[Roger Avary]

Look, when you open it, it's just so beautiful. Yeah, it actually has like a tray MGM UA imprint.

[Quentin Tarantino]

Yeah. Well, look, I love all the MGM boxes that.

[Roger Avary]

Oh, it's so beautiful. And I love that, like the. It looks like a ripped up poster. It's gorgeous.

[Quentin Tarantino]

Oh, you're right. We don't really have any of those old MGM boxes in our normal shows.

[Roger Avary]

And my number one best video box, my copy of Dirty Hands that I drew, that my dad drew for me and I asked him, hey, dad, would you just like draw on this? Didn't expect him to do this. I have a full back of the box. I have a spine. I have Rod Saiger in someone's dirty hand. I love it. This is my most prized tape, my most prized possession. It is like a $1 tape.

[Josh Richard]

When I drew it, it's. It's actually Rod Schager actually is the dirty hand.

[Roger Avary]

So he is like the illustrated man.

[Josh Richard]

It's like a hand with a. It's basically a hand holding its own face.

[Roger Avary]

But yeah, this is my most prized possession. My $1 art house production French promotional tape.

[Josh Richard]

And the back of it reads. You read it, dad, Sometimes. Dot, dot, dot. And there's a little hand drawn picture of Steiger there with his little cap on, his little fisherman's cap. And sometimes you have to get your hands dirty. Claude Ch presents Rod Steiger and Rummy Schneider in a sexually charged thriller. When Lewis finds himself cuckold to his beautiful wife's young lover, Jeff, no one will emerge without blood on their hands. Color 1975. And this VHS tape is from Art House Production.

[Quentin Tarantino]

Yes.

[Josh Richard]

Whose logo is Little Hand.

[Roger Avary]

Anyway, it's my most prized possession, so it wins my number one vote.

[Quentin Tarantino]

Excellent. Those are good choices. Okay, Roger, what are your boxes?

[Josh Richard]

Okay, so my number three.

[Quentin Tarantino]

Produce them as you talk.

[Josh Richard]

Yeah. My number three is also Moonraker.

[Quentin Tarantino]

Oh, okay.

[Josh Richard]

You know what? It's part of it is the tray, the shelf, the pull out tray. But also the Bond posters are something, something special on their own. And I just love the painting on the front and how crazy it is and all the stuff. It's a lovely box.

[Quentin Tarantino]

It's a very, very funny, very good illustration, I will give you that. My problem with Moonraker has nothing to do with the video box, of course.

[Josh Richard]

Exactly.

[Quentin Tarantino]

To judge it by the video box is to judge it favorably.

[Josh Richard]

My second one is Darkstar. The clamshell box for Darkstar. This one, it's a little like Heat Damaged or something.

[Roger Avary]

It's like the, yeah, my copy is a little.

[Josh Richard]

But I, I, I wanted to pick one that had like kind of a poster that was like a little wild.

[Quentin Tarantino]

Yeah.

[Josh Richard]

And I just love it. It's like this is one that just jumps off the shelf for me. I, this is a movie I want to see.

[Quentin Tarantino]

Well set.

[Josh Richard]

And then the last one. Yeah.

[Quentin Tarantino]

Number or number one?

[Josh Richard]

My number one is Demonoid.

[Quentin Tarantino]

Yes.

[Josh Richard]

And that's just because the Demonoid poster is, I think, the best poster.

[Quentin Tarantino]

Okay, well, look at that.

[Josh Richard]

Yeah.

[Roger Avary]

I was trying to look at do the proper one because we have three.

[Josh Richard]

I was imagining this one. Yeah, it was a media, it was the Media Entertainment box was the one.

[Roger Avary]

I was thinking, because Roger has the Media Entertainment one, which is the one that Quentin has from the archives.

[Josh Richard]

It was definitely not the Video Treasures.

[Roger Avary]

And then I have a Video Treasures box and I have a Japanese copy.

[Josh Richard]

Oh, that Japanese copy is kind of cool. Show that to Quentin.

[Quentin Tarantino]

Oh.

[Roger Avary]

Cost me like $120.

[Quentin Tarantino]

That's really cool. That's really cool.

[Gala Avery]

It was what I would be a.

[Josh Richard]

Tossup between the Japanese version and the, and the media, but I'm going to stick with the media. But man, look at that. Look at that poster.

[Quentin Tarantino]

Like I said, no that's the. That's the one. If I could have the original artwork. I want the original artwork from demo.

[Josh Richard]

Yeah. And so that's my number one. That's the one I love.

[Quentin Tarantino]

For my number three, I choose the Warner Brothers video of Dress to Kill. I love this cover of Dress to Kill. I always have.

[Josh Richard]

Yeah.

[Roger Avary]

And it's the green box. Right. Are there different colors?

[Quentin Tarantino]

No. No. Well, the box will change itself. It'll get to a clamshell, and it'll have the famous Stress to Kill poster in it instead. But this was the original one when it was still the paper cardboard.

[Josh Richard]

Yeah. When Warner's was using just like a picture from the movie and just slapping it on the front, sometimes arbitrarily. But this is a very good.

[Quentin Tarantino]

Yeah, no, some of you. Like, this one works. Looker is arbitrary.

[Josh Richard]

All right.

[Quentin Tarantino]

But Dress to Kill is perfect. Yeah.

[Roger Avary]

Right.

[Quentin Tarantino]

The way it's.

[Roger Avary]

But the best part, actually, I think.

[Gala Avery]

Is a picture on the spine where.

[Josh Richard]

It'S just a close up of Angie Dickinson's eyes.

[Quentin Tarantino]

A little bit of a thumb as.

[Josh Richard]

She'S getting taken from behind in the shower.

[Quentin Tarantino]

That's exactly it. That's great. Number two is as well. Choose Demonoid. Yes. Video box with the media. The media version, not the Video Treasures version.

[Josh Richard]

The hand grabs you. The hand grabs you.

[Quentin Tarantino]

And number one, you can dig it. Right on the bottom there is the Japanese box for Sunny and Jed.

[Josh Richard]

Yeah, that's a pretty damn cool box.

[Roger Avary]

The white box.

[Quentin Tarantino]

Yeah, the white JNS box.

[Josh Richard]

Jns, yeah. Jed and Sunny.

[Quentin Tarantino]

Yeah.

[Josh Richard]

Actually, I forgot about Eric Stoltz on the COVID of Fast Kill, because that is one of my favorite. This minor guy in the movie. This, like, tertiary character.

[Quentin Tarantino]

No, that's what I love about it, too.

[Gala Avery]

And the category is Best Video transfer. You go home and pop that tape in. Soon the moving images come to life. As Quentin and Roger have told us over the season, VHS is made from original film prints. This is as close to seeing a movie on film as you can get at home. Sometimes cool box art doesn't lead to a good transfer. But in this case, we honor the best transfers of the season.

[Josh Richard]

So Best Video Transfer Gala's gonna sit this one out because she didn't watch.

[Roger Avary]

All the Amazon is going to get an award for that.

[Quentin Tarantino]

Yeah. Okay. Gotcha, gotcha, gotcha.

[Josh Richard]

This was actually kind of tough for me. For example, like, I wrestled. The one I wrestled with over was Mikey and Nikki, because the dark, kind of almost murky 4 by 3 transfer of the film when I was watching and I Was thinking, wow, it's really, you know, it's muddy, it's dark. But it was representative of the print that they used. And then when I watched the blu ray on 4k and I realized what can go wrong when you try to get too much clarity where it's not needed, where you're trying to pull detail out, where you know, it's meant to be murky and the movie's meant to be murky.

[Quentin Tarantino]

Yes.

[Josh Richard]

And that's when I realized, wow, you know, it's like more is not always more.

[Quentin Tarantino]

Yes.

[Josh Richard]

And so for that reason, oh, I'm not picking Mikey and Nikki. That was just an example, by the way.

[Quentin Tarantino]

That was like, and therefore.

[Josh Richard]

And therefore, actually, I'm gonna put my Mikey misses Fuck it.

[Roger Avary]

Are you my homie? What were you gonna pick instead?

[Josh Richard]

No, I'm actually gonna drop off the private life of Sherlock Holmes and it's pristine image. It was actually just.

[Roger Avary]

That was funnier.

[Josh Richard]

It was pristine. No, but I actually. I talked myself into Mikey and Nikki as I was sitting there talking about my honorable mention, Basically. I now realize that I was making a point greater. Greater than the actual image of the film itself. The transfer of the film itself is the principle behind the transfer. That they're going from a print, not from original negative.

[Quentin Tarantino]

Well, that's why it seemed like a therefore.

[Josh Richard]

Therefore. Okay, I just did a classic Roger.

[Quentin Tarantino]

Okay, okay, okay, so. Okay, so do you want to do it with the therefore, therefore? No, we just can't.

[Roger Avary]

We should just keep that whole thing. And where he's like, oh, no.

[Josh Richard]

Oh, yeah, yeah, just keep it. That's how I am. That's how I truly am. Okay, my. My second is the keep. I thought the keep's transfer was fantastic. Way better than my feelings about the movie after I saw it in the end. Better than my initial assessment of the.

[Roger Avary]

Entirety of the film.

[Quentin Tarantino]

Did we watch that on video? Did we watch it on laserdisc?

[Josh Richard]

Oh, is that what it was? Did we watch it on laserdisc?

[Quentin Tarantino]

I think we watched it on laserdisc.

[Josh Richard]

You know what? Maybe that's what it was.

[Quentin Tarantino]

Look. That counts as good trans. That counts as good transfer.

[Josh Richard]

That's actually why it sits in my memory so well. You just actually answered why. I was like, why did that look so good?

[Quentin Tarantino]

Because my laser discs work.

[Josh Richard]

Yeah, your laser disc. Well, a laser disc is basically kind of quote unquote, DVD level.

[Quentin Tarantino]

We make clear that we don't.

[Roger Avary]

Yeah, yeah, you don't have to explain laser disc.

[Josh Richard]

The keep on laserdisc.

[Quentin Tarantino]

Okay. Like I said, the Laser transfer account.

[Josh Richard]

How we watched it. So I'm going to go with the Keep on laserdisc. And the number one best video transfer, which I think was just oh, so artistically achieved is Dressed to Kill. And this is specifically for the pan and scan. Yeah, the quality of the pan and scan work in. In this transfer because the movie is. I mean, is a widescreen filmmaker. This was a movie with.

[Quentin Tarantino]

Yes.

[Josh Richard]

Split screens. And yet they're making it all work.

[Quentin Tarantino]

I agree with you. And it's even a controversial choice because a joke is lost. A joke is love. They can't help it. They can't help it.

[Josh Richard]

But a joke is managed.

[Quentin Tarantino]

But they made a choice.

[Josh Richard]

Yeah. We sacrifice a background joke. Yeah. You know, because. And a famous one. And a famous one. Having said that, there's still.

[Quentin Tarantino]

It was so lovingly done integrity to the whole overall thing that is just lost.

[Josh Richard]

Yeah.

[Quentin Tarantino]

It's an art that's just lost. Just doesn't even exist anymore.

[Josh Richard]

Exactly.

[Quentin Tarantino]

Well, that's a good choice. That makes me want to put dressical on mine. I didn't though. I didn't agonize over this. What were the one. What were the transfers that immediately popped in my mind? If they pretty much immediately popped in my mind, I figured they were the most memorable transfers. Best video transfer. Number three, Dirty Hands.

[Josh Richard]

Yes.

[Quentin Tarantino]

Was your home video. I remember us talking about the transfer of the print. It's beautiful, colorful, and you could feel the film. Print, print in it.

[Josh Richard]

It almost feels like the colors are slipping off the tv.

[Quentin Tarantino]

It's beautiful. No, it felt like, you know, that's like. Oh, this is almost like owning a 16 millimeter print in the movie.

[Josh Richard]

Yeah.

[Quentin Tarantino]

Number two. And I just remember that I felt this from the moment that I first watched it when I bought it at that store in Detroit is Rage. I think the transfer, even. It's been compromised a little bit to make it 1, 3, 3. The transfer for Rage is just fantastic.

[Josh Richard]

Yeah.

[Quentin Tarantino]

And then number one, because I think it's the one that we talked the most about. I've seen it also on DVD recently. Number one transfer is Straw Dogs.

[Josh Richard]

Yeah.

[Quentin Tarantino]

Because it's the one that I. It's the one that you could tell that was taken from an IB Technicolor print. And you just feel that, you know, that print, you know, is on your tv.

[Josh Richard]

Yeah.

[Quentin Tarantino]

When you watch this video cassette and that great ABC World logo at the beginning.

[Josh Richard]

And it. It really captures the. The texture of the celluloid, you know, and the. The quality of light in that film and the quality of the dy. How shiny people's skin is.

[Quentin Tarantino]

Yeah, the. The. The dye of the. The technicolor process.

[Josh Richard]

It's beautiful.

[Gala Avery]

And the category is Best Video Distributor. You've returned to the store. Y. Yes, you have to pay a late fee, but it's because you loved that movie that you checked out last time and kept it way too long. You reluctantly return it and think about what you'd like to see next. Now, this distributor is a trusted brand. Be it the trailers that lead you to the next movie in their catalog, their gorgeous box art that caught your eye, the transfer that looked great, or the uniform boxes on the shelf. You now love this distribution company. In this category, we honor the distributors we love.

[Quentin Tarantino]

So Best video distributor. I am going number three with Paragon Home Video.

[Josh Richard]

Yay.

[Quentin Tarantino]

There's a Paragon right there. Hostages.

[Josh Richard]

Yeah, that's a great choice.

[Quentin Tarantino]

There was also Delirium is around here somewhere.

[Roger Avary]

And American Nitro.

[Quentin Tarantino]

And American Nitro.

[Roger Avary]

And one armed Executioner.

[Quentin Tarantino]

And one armed executioner. Exactly. And we saw American Nitro because of the trailers in the front of one armed executioner.

[Roger Avary]

Okay, so it was the trailers in front of Delirium. Yeah. And it was Hostages.

[Quentin Tarantino]

Hostages.

[Josh Richard]

Yeah, you're right.

[Quentin Tarantino]

It was Hostages.

[Roger Avary]

Yeah.

[Quentin Tarantino]

And so Paragon. Big fan is of them. They've entertained us a lot through the season.

[Josh Richard]

Boy, have they.

[Quentin Tarantino]

Number two. Roger just had his fingers on it. Number two is Magnetic Home Video. Is that straw do?

[Josh Richard]

Yes.

[Quentin Tarantino]

With a special arrangement with ABC Motion Picture, this Magnetic Home Video is proud to offer you this newest film on videocassette. Da da da da da da da. All right, so that's Magnetic Home Video is number two. And number one would be the bane of Scala's existence. When she tries to find videos is an unfucked up clamshell from video gems that I'm holding fast. Kill and Julia, two of my favorite video gem titles of this season.

[Roger Avary]

They are the bane of my existence. You ask for them.

[Josh Richard]

I should have gone with Magnetic Home Video on my list. On my list. And it's.

[Quentin Tarantino]

And.

[Josh Richard]

But I'm. But because you mentioned it, I'm not going to bother, okay? Instead, I'm going to just give an honorable mention first because I'm not sure it's the best distribution company. But to us, they may be. They may rank way up there. And that's Imperial.

[Quentin Tarantino]

Oh, yeah. Imperial Home Entertainment Entertainment. In fact, just watch Operation Nam.

[Josh Richard]

Yeah, Operation Nam. And more importantly, because they do vacation giveaways.

[Quentin Tarantino]

Yes, Imperial Home Entertainment, apparently. So, yes.

[Gala Avery]

If you or someone you Know has.

[Josh Richard]

Had a vacation giveaway from Imperial Home Entertainment.

[Roger Avary]

Please call us.

[Josh Richard]

They had a Hawaii vacation getaway with $1,000 of pocket cash.

[Quentin Tarantino]

Yes, In. In the tape. In the tape that we had. That. That was the tape that I had from the store. Not from the store. It was the tape that I had from Imperial Entertainment. Operation Nam was released during the time I was at Imperial. And so we were. I had their tape that they sent out to video store. So we just were watching it and it had the Operation NAMM trailer on it and the trailer for Days of Wrath with the great Lee Van Cleef Western. Anyway, but they advertise that there's like a special giveaway that you could have your choice between London or Paris or Rome will fly you first class and give you $1,000 spending cash. And then after that. Oh, how do you win this? Then after that, the details get really, really murky. Look for details on your. Da da da da da da da da da da da da da da da da.

[Josh Richard]

Yeah, we're wondering, did anybody ever go on those vacations? Sun dip or ash go on those vacations?

[Quentin Tarantino]

I don't think anybody actually ever went on that vacation.

[Roger Avary]

But if you did call us.

[Quentin Tarantino]

But if you did, let us know.

[Josh Richard]

But you know, Imperial, they also, they. They gave. They gave Quentin a job.

[Quentin Tarantino]

It was. It was my next step in the video field after working at the store level forever. You know, to actually work for an actual video distributor. That was a nice step.

[Josh Richard]

My next is going to be MGM ua.

[Quentin Tarantino]

Yeah.

[Josh Richard]

Mostly for Coma and their. And Blind Rage. Those boxes, I love MGM ua. They never failed. They. The boxes protected the tapes really well.

[Quentin Tarantino]

They were classy looking. They classy looking. The cast thing on the inside.

[Josh Richard]

Yeah, I just. I love it.

[Quentin Tarantino]

The gray.

[Josh Richard]

So I had to cut one. I'm cutting Warner Home Video. Okay. I love Warner Home Video. I do like. And it's going to be hard for me to cut it. Cut them. But I'm going to go ahead and cut them because Key Home Video. And they're beautiful. Rainbow Box has and. And the titles that they chose and the happiness that they brought me.

[Quentin Tarantino]

Just look at them together. They look great.

[Josh Richard]

You know, as video distributors are constantly doing what they call their catalog titles and. Which basically means that, you know, the branding of the company is, you know, part of the design and.

[Quentin Tarantino]

Yeah.

[Josh Richard]

For some reason with Key Home Video. I like the catalog box look.

[Quentin Tarantino]

Yeah.

[Josh Richard]

No, with them, you know, I like it to have the identity of Key Home Video.

[Quentin Tarantino]

Yeah, I agree. And I don't like it when they monkey around with it, make it brownish or whatever.

[Josh Richard]

Like actually just got one. She got one here. Whip it up.

[Quentin Tarantino]

Yeah. See, that's not.

[Josh Richard]

Just not the same as.

[Quentin Tarantino]

It's not as bad as I remember to be black. So key is number one, entertainment number three.

[Josh Richard]

And then mgmua and then number one, key Home video.

[Roger Avary]

Okay, so before I get into. I'm just admiring Quentin's rollerball.

[Josh Richard]

Yeah.

[Roger Avary]

Actually Magnetic Home Video. Because mine is an MGM UA box. But I love that one's like a white box and one's a black box.

[Josh Richard]

This rollerball, I've given roll ball way too much. So. But this rollerball box, I wasn't looking at it. I was looking at our rollerball box. Who is this? Mgm. But yeah, the Magnetic. Look at that. All of the typefaces they use. How. You know. And also that's one where. Where the catalog title packaging, the branding isn't on the box. It's the poster of the movie. Beautiful.

[Quentin Tarantino]

Perfectly like the Paramount ones, perfectly formatted for the video box.

[Roger Avary]

And then the MGMUA one has actually James Khan's face. And then this one is just kind of like a less descript face.

[Josh Richard]

Wow, that's interesting.

[Roger Avary]

Yeah. So it's like updated art. So I was just admiring it. But when I bought my rollerball, I bought it from a seller that included this. If Christ has not been raised, Christ is risen from the dead. Like, little Bible thing with it. So I keep that in my roller.

[Josh Richard]

Coaster to keep it safe, getting his message out however he can. You gotta do what you gotta do.

[Roger Avary]

Okay, so my number three best video distributor is Paramount Home Video. But specifically the Paramount Home Video boxes that are like lipstick and the one and only.

[Quentin Tarantino]

Yeah, yeah, yeah, I love those. And little darlings too.

[Roger Avary]

Yeah, yeah. But my little darlings is this red.

[Quentin Tarantino]

Like the red.

[Roger Avary]

So you have.

[Josh Richard]

Now that's. Now that's a nice. Yeah, the Paramount.

[Quentin Tarantino]

Whoa. Look at it open up. Look at it open up.

[Roger Avary]

Rub it in, Rub it in, why don't you, Quentin?

[Josh Richard]

Wow.

[Quentin Tarantino]

See the little Paramount hills?

[Josh Richard]

Yeah, look at that.

[Roger Avary]

It's.

[Josh Richard]

And, and, and how it has the little. They've made like a little.

[Roger Avary]

I have tears falling up a little.

[Josh Richard]

Paramount logo pattern on the inside.

[Quentin Tarantino]

Oh, I know.

[Josh Richard]

It's like you could get a bed sheet made with that pattern.

[Quentin Tarantino]

It's. It's so beautiful. It's so beautifully art directed.

[Josh Richard]

Yeah.

[Roger Avary]

Anyway, that specific box style, not necessarily the new box style, but that box.

[Quentin Tarantino]

Yeah, yeah, yeah.

[Roger Avary]

Number two goes to Paragon. When I have things on my shelf, I Like them to be uniform. That's why I like the Paramount home video white boxes, and that's why I like the Paragon boxes, because they're uniform, but, you know. And then my number one, because I like things to be uniform, key home video. It's got the rainbow. They look great when they're.

[Josh Richard]

When you line up a whole bunch of key home video boxes and you've got that rainbow running across your bookshelf, you just know that there's gold at the end of it.

[Roger Avary]

And also, they're nice, heavy tapes.

[Quentin Tarantino]

Yes. No, they're very heavy tapes.

[Roger Avary]

That gets a win from me.

[Gala Avery]

The cat category is best discussion. Throughout the season, we had plenty of amazing discussions. We laughed, we cried, we fought, we agreed, we made silly quotes and even did a few d. In this category, we honor our favorite discussions of the season.

[Quentin Tarantino]

Okay, so now we have best discussion. And. Okay, this is one. Since it's about ourselves, I'll give my. The only tie I'll give myself would be, like, number on number three. All right, so to me, it's kind of a tie between. For the third spot, between our discussion of rage and our discussion of Demonoid. Then for number two, I would have our discussion of Sunny and Jed, and that would leave, number one, our discussion of Straw dogs.

[Roger Avary]

All great discussions.

[Quentin Tarantino]

Yeah, if we say so ourselves.

[Josh Richard]

Yeah.

[Roger Avary]

Fantastic show.

[Josh Richard]

I'm done with all of this.

[Roger Avary]

Okay, so my number three best discussion comes in with Coma, because that was one of the first times that Quentin and I really disagreed with each other. And we really disagreed with each other, and we still argued about it for months later. And it was what really drove me in the after show to do a lot of research in Tacoma and to dig deeper into why I felt the way I did about the movie. And I really appreciated also being able to disagree about something so strongly and then just laugh about it later. Yeah, yeah, it was a really good lesson for me. My number two is right on. My number two is the Illustrated man, because listening to you guys say, he's a bum, just like me, he likes it hot. Because peak for Peek. It's one of my favorite favorite banters that you guys had back and forth and just being in the room during that, like, Demonoid and that were, like, just as good that way. But I had to go with the Illustrated man because it's a bummer, like, so hot. And my number one best discussion was the Great Waldo Pepper. I loved listening to it. It was such an easy listen. It was a heartfelt listen. And we had really, by that time hit a really, really great str. We had done the single movie episodes. We kind of knew what we were getting into.

[Gala Avery]

And I just love that discussion.

[Josh Richard]

From my part, our best discussions was every time we would get together. I've really enjoyed myself. This has been so much fun for me because, like Ala said, it's not really about agreeing with each other. It's about learning from each other. And I've learned so much, much on this journey of making this season of this podcast. You know, the amount of movies that I've seen that I wouldn't just pick up on my own, and being able to come here and watching with you, Quentin, and then to be able to discuss them and getting in the room here and just discovering our dynamic, it's just been great. It's just been great. I've loved it. And for that reason, my number three is Moonraker. Because. Because I actually loved it that you like. And that was one of our early ones where.

[Roger Avary]

Second episode, you took a stand, and.

[Josh Richard]

That'S when we realized we don't have to agree.

[Quentin Tarantino]

Yeah, yeah, yeah.

[Josh Richard]

And. And. And. And we had such a fun discussion, and it just kind of. It just. For me, it cracked the ice.

[Quentin Tarantino]

Yeah.

[Josh Richard]

Even though we had already kind of been. Yeah, it just. It just opened it all up for me. So I really, really enjoyed that. And it just kind of. It set a standard for me that actually, it set a running joke for me that I could say Moonraker. I could say Moonraker at any point. And Quentin will understand what I mean by saying Moonraker.

[Quentin Tarantino]

Dare I say I could listen to the Moonraker discussion more than I can ever watch. Moonraker. Moonraker discussion is entertaining from beginning to end.

[Josh Richard]

So when you said Sunny and Jed, I just suddenly started thinking about our. Our Sunny and Judd conversation and how great that was. And really, that was one of my, like, just third eye opening up in my forehead moments this season was that. And so that easily could have been on there, but it wasn't. Instead, Straw Dogs was, I think, going into Straw Dogs, and I thought I knew the movie, and I just know it so much better now. And so I.

[Quentin Tarantino]

You came up with all the stuff about the novella that it's based on.

[Josh Richard]

Well, that's another thing. Just like going out and reading the. I had never read the, you know, the short story the Siege at Trenchner's Farm. I had. I. You know, it led me into, you know, discovery, and by that point, we were. I knew that I had to dig in, and I You know, and that was just a great conversation for me, and I'm really proud of what we did.

[Quentin Tarantino]

Yeah, me too.

[Josh Richard]

And I am equally proud of my number one Choice, which is star 80.

[Quentin Tarantino]

Oh, wow.

[Josh Richard]

Yeah.

[Quentin Tarantino]

Yeah.

[Josh Richard]

I think in a similar way, I think when we watched that movie and then when we discussed it, I made a kind of realization to myself about the film and about. Especially the final shot of the film. And I just. I loved our conversation. I think we handled it delicately, but at the same time, pushed forward on it.

[Quentin Tarantino]

Yeah.

[Josh Richard]

In a way. And actually, I think what makes me the most proud was hearing that Brett approved.

[Quentin Tarantino]

Yeah. Yeah.

[Josh Richard]

Brady Stellas.

[Quentin Tarantino]

Yeah.

[Josh Richard]

And.

[Quentin Tarantino]

Well, also, Brett is a tough.

[Josh Richard]

A tough customer. He's a tough customer.

[Quentin Tarantino]

He gave it. He gave it.

[Josh Richard]

He's gonna tell you the trut truth of what he feels, whether he likes something.

[Quentin Tarantino]

I couldn't even believe he was listening to another podcast.

[Josh Richard]

All right.

[Quentin Tarantino]

You know, I think he's so.

[Josh Richard]

And when I heard that Brett gave us his stamp of approval on Star 80, I knew we were doing something right.

[Quentin Tarantino]

But also my editor, Fred Raskin, he thinks it's, like, our finest hour.

[Josh Richard]

Yeah. Well. And that means a lot. And actually, you know, Fred has emailed me throughout the. Throughout our. Our season, throughout our tapings. Every now and then, he shoots me an email, and I feel like I've never responded, but I'll resp on the show. Thank you, Fred. I am reading them, and I'm loving them.

[Quentin Tarantino]

Thank you. Fred is famous for getting shout outs on radio because it's like one of his heroes of all time is Howard Stern. And so whenever I'm on Howard Stern, I always, like, have a reason to bring up Fred, you know, and Howard knows what it's like. Fred. Hi, Fred.

[Gala Avery]

The category is best soundtrack. When the music swells, our hearts do as well. Soundtracks have the power to do everything from making you cry to putting you on the edge of your seat, biting your nails. Using all sorts of instruments, these distinct composers lent their powers to the films in question. Roger starts us off with the music that stood out to him.

[Josh Richard]

Okay. This actually was shockingly easy for me. It just jumped. They popped right into my head. Number three was Henry Mancini for the Great Waldo Pepper. This is the kind of music that goes through my head all day long. And Gala knows this, that I kind of. When I'm alone, I'm walking around the house like, I'm going to clarify this.

[Roger Avary]

Not when you're alone, when you're with me.

[Josh Richard]

This is the kind of early 1900s, late 1800s music is just like, in my head. Pharrell's music is in my head constantly.

[Quentin Tarantino]

Number two, the Quabboys.

[Josh Richard]

No, number two is Pinot d'Angio for Dressed to Kill. I think Pinot d'naggio is just so distinct a composer and that even his other score that we saw that. What other score?

[Quentin Tarantino]

Also the Piranha. He also did.

[Josh Richard]

Yeah, and Piranha, which every now and then I was like, it sounds definitely Pinot d'agnaggio.

[Quentin Tarantino]

Yeah, well, that's Carrie.

[Josh Richard]

Yeah, you feel the Carrie coming through. But my favorite score is to John Berry for the Quiller Memorandum.

[Quentin Tarantino]

Oh, wow.

[Josh Richard]

And this sweeping, memorable flexitone. Flexitone, yeah, that's right. It was a flexitone, wasn't it? It's not a harpsichord, it's a flexitone. And it just lent such a big feeling to the movie when it needed to be big, even though it was doing sometimes small brushstrokes. He would have this kind of deep emotional score. I'm almost uncertain if any of the emotional scenes, the love scenes or anything would work without his score. His score does a lot to carry you through the movie.

[Quentin Tarantino]

No emotional scene. No. It's a classic score, and the movie rides on its coattails, I would say. Okay, so number three, my worst score.

[Josh Richard]

Would be for the Keep. And I love Tangerine Dreams. Just gonna throw that out there.

[Roger Avary]

I think it's a negative one, Roger.

[Quentin Tarantino]

My number three would be Jerry Goldsmith score for the Last Run. This actually is a soundtrack.

[Josh Richard]

That's a great score. I forgot how great that was. That was a great.

[Quentin Tarantino]

And this is the soundtrack album I actually have, actually. That's how much I like to score. So number three would be the Last Run. Number two would be Enamoricone score for Sunny and Jed.

[Josh Richard]

Yes, Sunny.

[Quentin Tarantino]

And number one would be actually one of the very first soundtrack albums I ever bought in my life when I first bought nothing but a music soundtrack album. Dressed to Kill d'angios. Dressed to Kill. And that was actually one of those soundtrack albums where if. Like, if you love the movie as much as I did, when you listen to the soundtrack album, it did its job that it was supposed to do. You were supposed to be able to just walk around your room rather than watch the movie, feel the movie. You were actually just put the soundtrack album on and walk around your room and remember the movie. That was the whole goal of it, all of that. And you could actually put it on. And you remember the museum scene.

[Josh Richard]

Yeah. All that love kind of those voices that Come in. It's a striking soundtrack.

[Roger Avary]

My number three is going to be Dark Star for their use of Benson, Arizona.

[Quentin Tarantino]

Yeah.

[Roger Avary]

Excellently.

[Gala Avery]

Especially for student film.

[Josh Richard]

Yes.

[Roger Avary]

I think one of the things that student films sometimes lack is the music.

[Josh Richard]

No, no, no, no, no. We have an early John Carpenter score.

[Roger Avary]

Yeah, exactly.

[Quentin Tarantino]

Yes, you do.

[Roger Avary]

My number two is a score that surprisingly stayed with me for a really.

[Gala Avery]

Long time, but the one Armed Executioner.

[Roger Avary]

Score, I don't know what it was about that score, about the music, but it stayed with me, and I think it's a really cool score. And my number one best soundtrack is going to be for Cry For Me Billy.

[Quentin Tarantino]

Oh, really? The songs?

[Roger Avary]

Yeah, the songs in it. Actually, I went and I had the album. Yeah, Yeah. I bought the record. I enjoy listening to it.

[Josh Richard]

You've been playing that record.

[Roger Avary]

Yeah. And then I bought Quentin the record, and I'm sure he enjoyed it, but the whole Little Sparrow song, I just think it's so sweet. And I think it was one of my favorite parts about Cry For Me Billy was the song, so I just had to give it to him.

[Gala Avery]

The category is favorite after taping Movie. Some people have asked me, no, I don't watch the movies for the show with Roger and Quentin. They get together, watch on VHS while they eat a pizza and then send me a list. I refine these movies so that you don't have to. However, after we record an episode, we sit back and watch a movie all together just for the heck of it. In this category, we honor the one favorite movie that we watched after recording. And the nominees are. Vixen, Figures in a Landscape, Hang Fire Posse, Fast Break, Harry and Walter Go to New York, Nava Hojo. Nava Hojo. The Italian Connection, the Train Killer. Stay tuned. The Gun in Betty Lou's Handbag, Inside Out, Sunday Lovers, Bad Company, Conquest of the Planet of the Apes, and American Commandos.

[Quentin Tarantino]

It's an interesting thing because, like, I just naturally thought, well, I want to pick him movie I haven't seen. And then I was, like, looking at through the list, I go, well, I've seen all of these except for two. Now, that actually doesn't invalidate my choice because my choice is still so strong.

[Roger Avary]

Yeah.

[Quentin Tarantino]

But I. But I couldn't go by that. Okay, so I'll start it. Okay, yes, I'll start. I'll start it. Okay, so having. With my entire preamble that I just said, okay, if I wasn't going to go by that, I mean, that's just not even fair because, like, I showed what I Consider classics. Navajo Joe, that's a classic to me. That's one of my all time favorite movies. All right. But if I wasn't trying to just be defined by the classic of all time, and I was choosing something I had seen before, I would actually choose just for the screening of it all. Fast Break.

[Roger Avary]

Oh, yeah.

[Gala Avery]

That was so fun.

[Quentin Tarantino]

I had a great time when we watched Fast Break. It's just a fun movie. It's the good Jack Smite movie, and it's just fun. It's a real fun sports movie. However, I will choose, even though there's only two choices, to me, one of the most special screenings that we had, and it was the movie that I always wanted to see and I never got around to watching, was when we watched Fix it.

[Gala Avery]

And that was our very first one that we watched all together, actually.

[Quentin Tarantino]

Yeah. And that was such a fucking fantastic movie. And it was so exciting for all three of us to watch it for the first time together. And it just kind of lit a fuse and there was like an explosion and it was just. It was just really a. It was a very gratifying experience all the way around. And the movie just really fucking lived up to its reputation in such a profound way. And that's a tough fucking movie to watch too, but, like, in the most exciting, challenging way.

[Roger Avary]

Dad, what was your favorite after recording movie?

[Josh Richard]

My favorite after recording movie was Vixen. Easy choice. Easy choice. Russell, Russ Meyer is a genius. Had one of his movies actually been here on this side of the.

[Quentin Tarantino]

No, no. Vixen would. Would be number three for screenplay.

[Josh Richard]

And I would say Russ Meyer would have been one of my favorite film distributors or video distributors as well.

[Quentin Tarantino]

Absolutely.

[Josh Richard]

He might have been number one.

[Roger Avary]

Maybe next season.

[Quentin Tarantino]

Yeah, maybe next season.

[Josh Richard]

Maybe next season.

[Quentin Tarantino]

We watch Harry, Cherry and Raquel.

[Josh Richard]

Yeah. Yes.

[Roger Avary]

My favorite after recording movie is the movie that has turned me crazy, the Train Killer.

[Quentin Tarantino]

Of course, I knew I'd be disappointed if it wasn't the Train Killer.

[Roger Avary]

I'm obsessed with the Train Killer to the point where now people know that I like train crashes in movies and are sending me movies that have train crashes and then saying, gala, there's a train crash in this movie. You're gonna love it. Man, I love train crashes and man, I love that Train Killer.

[Gala Avery]

The category is favorite quote. Characters say memorable things. Quentin and Roger tend to repeat them. In this category, we honor these phrases that will carry forward into season two.

[Roger Avary]

You guys have quoted a lot of movies. But, ma'am, my favorite quote has to be the illustrated man. Bum who likes it hot. I think I've quoted it like four or five times.

[Josh Richard]

We've even said it tonight. Not today. We.

[Roger Avary]

The bum luck of me probably being.

[Josh Richard]

The litmus test and proving that that is the best quote.

[Roger Avary]

But I'm going to give an honorable mention to two other movies. The first one is the Jet Benny Show.

[Quentin Tarantino]

Yeah.

[Roger Avary]

But I'm not sure how much of that is Jack Benny.

[Quentin Tarantino]

Yeah. Yeah.

[Roger Avary]

And the second one is Baxter. Baxter, the girl, she does not understand me.

[Josh Richard]

The boy doesn't get me.

[Quentin Tarantino]

She thinks I want to be the boy. Has me all wrong.

[Josh Richard]

Has me all wrong.

[Roger Avary]

So definitely for me, it's between Bob.

[Quentin Tarantino]

Keep it in my head. I thought about that all afternoon.

[Josh Richard]

Killer tomorrow. Killer bird.

[Quentin Tarantino]

I love that moment. Perhaps I'll kill it tomorrow. Perhaps.

[Roger Avary]

So for me, it's between Illustrator man, Bum, who Likes it Hot And Backstab.

[Quentin Tarantino]

If that had to be broken down to one movie quote that we did the most, I think it was those are not tattoos they ask. Illustration. I think that goes for almost every line Rod Seiger says In the first 20 minutes of Illustrated Man Illustrated Man. One of the other quotes. I also said it a couple of times in this episode. I caught you by the ball and I'm squeezed.

[Josh Richard]

Weber.

[Quentin Tarantino]

Robert Weber.

[Josh Richard]

Robert Weber, man.

[Quentin Tarantino]

Great Robert Weber. I never thought those words would ever come out of my mouth. The great Robert Weber. But now when I think of him, I think of the great Robert Weber.

[Josh Richard]

Yeah, he's actually. And he's. And by the way, the great Robert Webber has his balls in his hands. He squeeze them.

[Quentin Tarantino]

Squeeze. Can't even say it.

[Josh Richard]

Well, my number one.

[Quentin Tarantino]

I have one last little other one. One last one. Rodin. Hundreds dead. Tokyo in flames. And still nothing will destroy them.

[Josh Richard]

So my number one is they are skin illustrations. So even though today we've been doing the other quote from that, which is bum. He likes it hot. He likes it hot.

[Quentin Tarantino]

He likes it hot.

[Roger Avary]

I like it hot.

[Gala Avery]

His name is Peak.

[Josh Richard]

Yeah. So maybe that is the. The more favorite. Favorite quote. But their skin illustrations just felt like that began the quotes for our.

[Quentin Tarantino]

Yeah, I agree.

[Josh Richard]

Our episodes.

[Quentin Tarantino]

Absolutely.

[Josh Richard]

And then when I was talking about Dennis Franz earlier and I thought, you know, well, you get Jim from out of town, in town and downtown. Like that is coming out of Dennis Franz's mouth. One of the funniest things I've ever heard. And the fact that it lands in the middle of this, like, Thriller has that. It's so funny and, like, out there. I mean, Friends is great in that movie. Yeah, Friends is Great in that movie.

[Quentin Tarantino]

Oh, this plate.

[Josh Richard]

Have I offended you?

[Quentin Tarantino]

Oh, am I too crude for you?

[Josh Richard]

Yeah, that's right.

[Quentin Tarantino]

Cut. The.

[Gala Avery]

The category is season one's most value player. Quentin starts us off with his reasoning as to how he picked his picks.

[Quentin Tarantino]

So I just took this to mean as opposed to one movie. More like what Roger did earlier on is what I took this one to be. Where particularly it was. It was individuals, individuals inside of the movies that we watched that became Video.

[Josh Richard]

Architect during my discoveries when I was.

[Quentin Tarantino]

Like, yes, your discoveries. All right, so number three is our very first discovery is Tommy Sullivan from Cocaine Cowboys.

[Josh Richard]

Yes.

[Quentin Tarantino]

And then we did the research and the research just kept on giving and it was this. His. His story was even, even more interesting than the movie. Number two, it would be Fernando Guero.

[Josh Richard]

Yeah.

[Quentin Tarantino]

From one on Armed Executioner, both his performance as the one Armed executioner and less. But I still liked him. His performance as the bad guy. I own you. I own you.

[Josh Richard]

In American Commando and that great white outfit that he has with the necklace built into it.

[Quentin Tarantino]

Yes, exactly. The Jim Morrison kind of shirt with the necklace built in. But I have to say, Video archives MVP Samantha Egger and Demonoid.

[Josh Richard]

That's a great choice. Number three, Jack Pallance. For me, just in general. In general, I think for existing. Just for existing.

[Quentin Tarantino]

Thank you, Mr. And Mr. Pallance.

[Josh Richard]

It really is for Cocaine Cowboys.

[Quentin Tarantino]

Okay.

[Roger Avary]

Yeah.

[Quentin Tarantino]

Yeah.

[Josh Richard]

But we watched both during this.

[Quentin Tarantino]

He is fantastic.

[Josh Richard]

And we watched a number of movies on our own as well.

[Quentin Tarantino]

Yes, exactly.

[Josh Richard]

And I just love Jack Plants. But he's going to be my honorable mention today. He's going to be my honorable mention because I'm actually clutches their pearls. I'm actually going to bump him. I guess I'm actually going to bump him because it just occurred to me, I think Joe Dante is my MVP for this because not only was he a guest, but he directed Piranha.

[Roger Avary]

Wow, he's stealing the show right there, Roger.

[Josh Richard]

Well, I mean that to me, that makes him a very valuable player. He came through the. That fourth wall, I guess, and he entered the room.

[Quentin Tarantino]

So he's still number three.

[Josh Richard]

He's still number three, though. And why. Why is he number three? Because Rod Steiger is number two. I mean, Rod Steiger could easily be number one.

[Quentin Tarantino]

Yes.

[Josh Richard]

And. And actually I have him written down here is number one, but I'm going to place him as number two.

[Quentin Tarantino]

So you're just juggling everything as we're on the fly.

[Josh Richard]

Yeah, well, Joe Dante messed me up, but Rod Steiger, and I mean Steiger the amount of work that he did for us between Illustrated man, between Dirty Hands, between Hennessy and it goes on the loved one. The loved one, Dr. Joy Boy. Like, really, he should be number one. But. But I'm still.

[Quentin Tarantino]

You're talking yourself back into your head.

[Josh Richard]

I'm talking myself back into it. Rod knows that he's number one, but I'm gonna give it to Susan George.

[Quentin Tarantino]

Oh, wow.

[Josh Richard]

Number one. Because I think she's so brave. I had always been aware of her and always known her work and, you know, and I've even seen these movies, you know, before, but watching her now and. And especially Sunny and Jed and then having her realizing that she's going from Straw Dogs to. To Corbucci, and it's just like, man, thank you for the movies.

[Roger Avary]

Okay, so my brain, like, decombobulated during that discussion because when I thought of mvp, I didn't realize, like, we could just pick anyone. I don't know what I was thinking.

[Josh Richard]

Oh, you mean when I picked Joe Dante. So, like, you were like.

[Roger Avary]

You were like Punter was naming all these awesome names and I was like, you can pick anyone. Well, I'm just gonna give an honorable mention because I have to to Cobra Boy from Jungle Raiders.

[Josh Richard]

Cobra Boy. Yes.

[Quentin Tarantino]

Jungle Raiders. Late edition of really?

[Roger Avary]

It was really good.

[Quentin Tarantino]

That movie that ends up being on the top 10 list by being released so late in the game because everyone remembers it.

[Roger Avary]

Yeah, yeah. But he's just my honorable mention. But I love Cobra Boy and Cobra Boy story.

[Quentin Tarantino]

Yeah.

[Josh Richard]

I wonder if Jungle Raiders and one Armed Executioner had been reversed. And when we showed them and had.

[Quentin Tarantino]

Them on the show, Jungle Raiders is. I gave one of the awards away to it too. Well, you all gave for best.

[Josh Richard]

Yeah, Best opening.

[Quentin Tarantino]

Yeah, Best opening.

[Roger Avary]

But my number three spot is going to go to Telly Savalas because I love. Not only is he Telly Savalas in Sunny and Jed as this video box shows, but we watched Inside Out.

[Quentin Tarantino]

Yeah.

[Roger Avary]

Our after party movie. And we also watched another of his movies, but we didn't cover it. I forget what name it was. It was like when they go to Greece and there's like prisoners.

[Quentin Tarantino]

Oh, yeah, yeah. Escape from Athena.

[Roger Avary]

Yeah. Escape from Athena. So we watched a lot of his stuff behind the scenes and also on the podcast. So Telly gets my number three spot.

[Quentin Tarantino]

He very. It's like that one moment where he's bossing everyone around and inside I go, well, if you don't know what I'm.

[Josh Richard]

Talking about, let me spell it out for you. Like, he's in Jersey or something.

[Quentin Tarantino]

It's like a very commanding, commanding man that he was.

[Roger Avary]

My number two spot is going to George C. Scott. This man has felt enough rage throughout our show for a lifetime. I don't know if anyone can ever feel the way that this man feels. My number one video archives mvp. The man, the myth, the legend himself, Rod Steiger.

[Josh Richard]

Yay.

[Roger Avary]

So good that I don't even know what his native accent is, because I keep thinking that no matter what role he's in, he just is that. I think he is Hennessy. I think he's a Mexican. And duck.

[Josh Richard]

You suck. You suck, you suck.

[Roger Avary]

I think he is Mr. Joy Boy, and I just think he is whatever he puts himself into. He just is. And my brain completely forgets about revenge consumed Hennessy. Yeah, literally, I always forget. I don't know what accent he actually has, and I don't care to know because Rod Steiger is amazing and I love him. And he's a bum who likes it hot.

[Gala Avery]

And now for the Voice of God to tell us which movie reigns supreme.

[Voice of God]

Tying with eight awards each, we have Darkstar, Sunny and Jed, Demonoid and Moonraker. But then just above that is in second place, the Loved one. And then just above that, well, not just above that, five or six awards above that is Dressed to Kill. Taking the top spot.

[Quentin Tarantino]

Dress to Kill the top spot.

[Voice of God]

But I'll very quickly give a short shout out to all of the movies that you covered on this season that did not get any awards from any of you. Firefox, Delirium, the Relic. Welcome to Blood City, Eyes of Laura Mars, Happy Birthday to Me, the one and only slithers hostages Julia, Mr. Scarface, the young Nurses, My Knights of Susan, Sandra, Olga and Julie Rustler's Rhapsody, Buster and Billy Baksta, Elzada's Raid, the Marshal of Madrid and Blast Fighter.

[Quentin Tarantino]

And you know what? That was a. And that was a good little group of movies you just mentioned, too.

[Josh Richard]

And they were all of them deserving.

[Quentin Tarantino]

All of them deserving. But you can only give. Give out so many.

[Josh Richard]

Yeah, There can be only one.

[Quentin Tarantino]

There can be only one.

[Josh Richard]

You know, frequently on this show, it's. It's been just Quentin and I watching the movies together. And then sometimes Gala comes over and she watches them with us, and then it's us here in the room with Josh, and we're pretty much like, you know, every now and then we have a guest and everything, but. And so it's been really super gratifying. But what has really made it gratifying is the fact that this is actually going out there and so many people are enjoying it and it's been touching so many people and the feedback that we've getting from it.

[Quentin Tarantino]

Yeah.

[Josh Richard]

What I. What I hear from people out there and how energized people are by, you know, making new discoveries as well, that is really what our show was all about. It's what we wanted to achieve. And I'm really happy to say I feel like we did it. I feel like we achieved what we set out to do.

[Quentin Tarantino]

I. I agree.

[Josh Richard]

So thank you to really, more than anything, everybody out there.

[Quentin Tarantino]

Yeah.

[Josh Richard]

Because it's you all that make the movies.

[Voice of God]

Hi, everyone, it's Josh. Just dropping in at the end here to say what a dream it is to make the video archives podcast as the silent partner sitting in on every recording, it sometimes feels like I'm the first fan of this show. I'm lucky enough to get to hear all these episodes before anybody else gets to. Getting to work with Gala, who brings so much knowledge and passion and hard work to every taping, especially for these after shows, which were really her brainchild, makes my job as a producer so much easier. Roger is just a wonderful guy who made me feel instantly welcome in this crew. I always love getting to catch up with him pre show to talk movies and anything else. And Quentin, the ringmaster has been so kind welcoming me into his home and has opened me up to a world of film I barely even knew existed. Seriously, I thought I was a film buff before I started on video archives, but I am a featherweight compared to these three. And my movie knowledge feels so much richer after just one season. So it's a joy to get to find the perfect trailer drop or foreign release poster for the newsletter and get to add my little contribution to the video archive's canon. I want to throw a thing thank you to Casey, Devin, Patrick, Greta, Alex, Aaron, Jared, Jeff and Emma, Marissa and Hannah, Colin, Natalie, everybody at Stitcher who's contributed to making this show special. It's really a team effort. Thank you all for listening and being part of our little community and I'll see you next season.

[Gala Avery]

Quentin, Roger and I would like to thank our guest customers this season. Customer number 1101, Jacqueline Coley. Customer number 11 oh. Eli Roth. Customer number 1103, Joe Dante. And employee unruly Julie Jules McLean for coming into the store and bringing their personalities to the mic. We would also like to thank our expert, Mark Hoyk for coming on the after show to discuss the visitor and the apple. I would like to thank our wonderful advertisers and everyone who worked on the show and made it possible to be brought to you. The listener, Roger Quentin and I would also like to give a special shout out to fellow producer Josh Richard. Not only does Josh sit in with us every recording session, but he also helps shape every episode in the edit and puts together the wonderful weekly countertalk newsletters. I couldn't ask for a better partner. But most importantly, we'd like to thank you, the listeners, for tuning in every week to the Video Archives Podcast. You are who make this show possible. So thanks everyone. This is Gala Avery signing out.

[Roger Avary]

See you next season on the Video Archives Podcast.