Episode 263: From Dusk Till Dawn – Pulp Fiction trifft Splatterhouse

: Podcast: Der mussmansehen Podcast - Filmbesprechungen Episode: Episode 263: From Dusk Till Dawn – Pulp Fiction trifft Splatterhouse Publishing Date: 2026-01-14T08:43:12+01:00 Podcast URL: https://podcast.mussmansehen.de Episode URL: https://podcast.mussmansehen.de/2026/01/14/episode-263-from-dusk-till-dawn-pulp-fiction-trifft-splatterhouse/

Florian Bayer: What? Where are, what should, what? Vampires? I think it's absolutely key from A to B. From this moment where they're in the liquor store to the Twitty Twister is a straight line and nothing else can happen.

Johannes Franke: Welcome to the second time this year.

Florian Bayer: The Mussmann Sehen Podcast starts in the year 2026. Woohoo!

Johannes Franke: Woohoo! Ah, schön, Flor. Ich hoffe, du hattest gutes Silvester. Ich hoffe, du hattest schöne Weihnachten. Das haben wir alles schon geklärt.

Florian Bayer: Wie immer. Fantastisch. Es war ein großes Fest. Und es war auch ein großes Fest, mit dir, mit Charlie Chaplin, dieses Jahr zu starten. Ja. Und da wir letztes Jahr auch relativ am Anfang des Jahres einen Tarantino-Film hatten,

Johannes Franke: Yes, that's right.

Florian Bayer: I thought,

Johannes Franke: why not this year again? Yes, but this time Tarantino has changed the roles a little bit. Even though he didn't direct the book, he wrote the book, although that's also a bit debatable. Yes,

Florian Bayer: we'll see which role Tarantino plays in this film. And we're talking about From Dusk Till Dawn from 1996, which was kind of like the... Palp-fickchen-Nachfolger.

Johannes Franke: Oh no, it's so mean. We haven't even named the director's name.

Florian Bayer: Robert Rodriguez. But we have to put this name behind it, because the story of this film starts with a completely different person, who is not so much connected to the film or whose name you don't know when you talk about this film. And our story starts with a certain Robert Kurzman. His signature special effect and make-up artist with... productions und Regieambitionen. Der hat 1988 zusammen mit Craig Nicotero und Howard Berger ein kleines Special Effects Studio gegründet namens KNB. Das sind ihre Namen. Nicotero, Berger und eben Kurtzman. KNB EFX Group. Nachdem die unter anderem bei diversen 80er Jahre Splatterhorror Filmen miteinander gearbeitet haben. Unter anderem Re-Animator, about which we talked. That was one of our Halloween films from last year. We founded this special effect booth and then they started to make B-Movie special effects like Nightmare on Elm Street 5. So not B-Movies, but Shondos, Splatter, Horror, Größen. And had a huge success with the buffalo design from The Wolf Dance from the year 1990.

Johannes Franke: Okay, random.

Florian Bayer: If you remember this film, there are very brutal scenes of killed buffaloes, which are very bloody. They did the special effects, but they weren't that big. And of course they wanted to push the studio forward and thought, we need something that's a good showcase for what we can do. And that's not just masks, that's special effects, that's the ever-growing digital effects. And then Kurtzman said, I have an idea, let's make a mixture of vampire and gangster films. We can put everything in there that we can, stunts and computer animation and awesome masks and so on. Perfect.

Johannes Franke: And And this idea of making a showcase film, you have to keep in mind, which is very important, to understand the film and its dramaturgy and its sudden actions. Floor, would you tell us briefly about what's going on in the film? Yes,

Florian Bayer: where do we actually end up with that? We end up in a film. And it goes like this. Richard and Seth Gekko, two brutal gangsters on the run. Jacob Fuller. A priest who lost his faith because of his wife's death and his two children, Kate and Scott, on the road with their caravan. The paths of the two unequal small families will cross. After Richard and Seth have fallen over a liquor store, Richard rapes and murders their last girl. She should actually be the ticket to Mexico. The brothers need a new plan. And so they take Jacob and his children and drive with their Ari over the border into the Mexican desert to be picked up by gangster prince Carlos. The hit point? The biker and trucker bar The Titty Twister. Here the geckos want to spend the night with their geese until Carlos arrives. But they made the bill without the word. Psst, now comes the spoiler. The entire staff of the bar unlocks as a horde of bloodthirsty vampires who want to hit the guests on the collar. It begins a fight to survive that lasts until tomorrow morning. From Dusk Till Dawn from 1996. A collaboration of two years of the independent cinema. Robert Rodriguez meets Tarantino. Pulp Fiction meets Splatterhouse. Johannes. In 2025 we started with Pulp Fiction. In 2026 now with From Dusk Till Dawn. Which of these two Tarantino cult films is better or worse aged?

Johannes Franke: Better or worse aged? Ugh. I think this one is better aged, but still worse than Pulp Fiction.

Florian Bayer: I also think that it is better aged. And I had a lot more fun than with Pulp Fiction, which we watched last year. Because last year was really like that. So to put that back in the right light, last year we took Pulp Fiction apart very nicely. We went really hard with this film and recognized that it is absolutely a cult film and still a good film. But that he's also a little bit dated. Yes, yes, yes, yes. I had this impression with this film here. Less.

Johannes Franke: That's true, that's true. But I think we have to talk about two films. And that, of course, in this film, we actually have two films in front of us that we may also have to deal with separately. No, and I think we're going to argue a lot.

Florian Bayer: Because I don't think they're two films.

Johannes Franke: I know that...

Florian Bayer: There is absolute consensus among all film connoisseurs that we have two films in front of us here. And most of them agree that the first half is much worse than the second. What? Oh!

Johannes Franke: What?

Florian Bayer: You see it differently.

Johannes Franke: I think the first half is much better than the second. Oh, crazy. Oh,

Florian Bayer: we would have had to discuss so much. I don't think they are two films, but it is absolutely logical and conclusive what happens after that. And I think both magazines are better aged than Pipe Fiction. Yes, okay. And I can... I want to connect my judgment to Re-Animator again, that this film is completely ruined and that this film really makes some mean decisions and has a very strange, broken morale on board. But it's such a great pleasure that I can see so much of it away, which really doesn't work. Because everything works in this film. But we have to jump back to our film history for a moment, namely to the origin of this film.

Johannes Franke: Yes.

Florian Bayer: How the two of them even get in there. We're still with Robert Kurtzman, who writes this thing, who has this design for a showcase for the special effects of his production studio.

Johannes Franke: And he actually thought to himself, I'll do something small. He wanted one or two million budget for his specs. So he wrote a concept and thought, yes, good. And then we throw in one or two million. And he probably also thought, these one or two million go completely to their cap, as far as special effects are concerned. So mask and so on. He didn't think that this was going to be a successful, big movie.

Florian Bayer: How could this be a big movie? It was a long way, but it became a big movie. And it was Craig Nicotero, the Admin KNB. He was regularly a guest in a...

Johannes Franke: In a small video library in Los Angeles called Video Archives. Oh, we know that somewhere.

Florian Bayer: A young, determined, independent script author, especially back then, called Quentin Tarantino,

Johannes Franke: who hasn't sold a single script yet. That's not quite right. He wrote before, but he hasn't received an order to write a script.

Florian Bayer: He wrote, he tried to bring his scripts to the fore, he tried to make his own films. to do. As I said, we are at the end of the 80s, beginning of the 90s.

Johannes Franke: And...

Florian Bayer: Then they said, let's work together. And Tarantino said, yeah, yeah, awesome. Awesome, guys, watch out. I'm making a film called Reservoir Dogs. That's going to be my directorial debut. That's going to be something really big. That's going to be a great film. And don't you want to do make-up and special effects? I don't have a lot of money. But do you have the mood to do a little bit of it? You can show your special effects. But I can't really pay you.

Johannes Franke: And then Kobold Kurzmann said, we couldn't really pay you either. We're going to exchange. You need money. we have gerade mal noch so 1500 Dollar übrig.

Florian Bayer: Das ist ein symbolischer Betrag, oder? Sie haben ihm 1500 Dollar gegeben, damit er ihnen das Drehbuch für From Dusk to Dawn schreibt.

Johannes Franke: Gesagt, getan. Es ist wirklich seine erste Auftragsarbeit als Drehbuchautor und ich find's total sweet, weil das wirklich so dieses independent filmmaker Ding ist. Du hilfst mir, ich helf dir, ich hab hier quasi Auftrag und du machst mir dafür irgendwas anderes. Und diese Szene with the ear at B Reservoir Dogs. By Reservoir Dogs. That wouldn't have worked like that if they hadn't done that.

Florian Bayer: Reservoir Dogs was in their budget area. That was like a 1-2-3 million dollar thing. Somehow co-financed from different directions. Harvey Keitel thought the film was awesome, so he contributed a little money. And so on. And they did the make-up, the special effects. Tarantino wrote the script. And then they had that. And Kurtzman actually wanted to direct the film. To direct the film. And... But he didn't have any directing experience. And then of course the studios, they all said, hey, no, guys, really. And Tarantino, yes, he just did this Reservoir Dogs. And yes, that was obviously also quite awesome and a small success. But you don't have that much experience and we don't really want anyone who has so little experience.

Johannes Franke: It was really like a rift and no and yes and maybe already and then back and forth. And that's what you really see as development. hell bezeichnet.

Florian Bayer: Aber dann ist dazwischen etwas passiert. 1994 hat Tarantino einen kleinen Hit gelandet mit einem Film And Pulp Fiction.

Johannes Franke: If you have seen it, by chance, so Pulp Fiction, I don't know if that's known or something.

Florian Bayer: You can't imagine how it was back then. He really became number one from a well-known indie film director to Hollywood darling overnight.

Johannes Franke: Insane.

Florian Bayer: When Quentin Tarantino said, I want to do something, everyone jumped.

Johannes Franke: Yes.

Florian Bayer: Pulp Fiction alone made sure that everyone wanted to do the next big Tarantino thing. Yes. We talked about this in our Tarantino episode. They have very aggressively hired companies that somehow only had something to do with Tarantino from the makers of Pulp Fiction. They tried to get everything out of there that could be taken out. And when a Quentin Tarantino then says, take this one as director, he made a great indie film that I like, then the studio jumps there. And then Robert Rodriguez comes into play.

Johannes Franke: That's so absurd. What kind of power does Tarantino suddenly have? to make a direction. It was in the room that he was directing himself. And then they somehow have each other like a buddy. It was a friend, Robert Rodriguez, they were just friends. And they've been fighting each other in private and then it suddenly said, don't you want to... Robert Rodriguez It was shot in 1992 by El Mariachi with a...

Florian Bayer: a ridiculous small budget of a few thousand dollars and tried to sell it on the video market. Somehow, actually, the original plan was to really only do it in such a Latin American video market. And somehow people became aware of it, and that was Columbia Pictures. And they put in a lot of money again, both for a reasonable post and for the marketing. And that was such a small hit. But so that Tarantino was also noticed by him, they also met from the library and Tarantino then played a small role in the continuation of El Mariachi, namely Desperado from 1995, where also a certain Salma Hayek played for the first time. And Tarantino liked Robert Rodriguez, his way of shooting films and then they also directed at V-Rooms from 1995, with such small episodes. Also da gab es irgendwie diese enge Verbindung und Rod Rieges wurde auch irgendwie als so eine Art mexikanischer Tarantino wahrgenommen. Then it was Tarantino who said, take this one and then say, in this case Harvey and Bob Weinstein, who were responsible for Pulp Fiction production, yes, we will do it.

Johannes Franke: Before you talk about Weinstein, would you like some tea, Floor?

Florian Bayer: Oh yes, please. They founded Miramax about ten years ago and then also the daughter of Dimension Films, because Miramax was bought by Disney and they wanted to decouple the bloody stuff a little bit from it, so that it doesn't stand next to the Disney family films. And Dimension was responsible for that. They, like many others, also participated in Tarantino's success. And when Tarantino says something like, he's shooting for Rooms, then they do that. And when Tarantino says something like, make a little bigger film from From Dusk Till Dawn and make Robert Rodriguez the director, then they do that too. And so we came to the shooting of this film.

Johannes Franke: Let's talk about that right now. Tarantino on set from From Dusk Till Dawn and Robert Rodriguez as director. And they're both a bit alpha animals when it comes to that. Yep. And I heard a podcast that said it's not a poltergeist situation, but I would say no, it's definitely... Poltergeist. Tarantino is on set, the poltergeist, who goes everywhere in between and says, come on, I have another great idea, let's do it like this and like that. And Robert Rodriguez can't just say, no, I'll do it the way I want. And Tarantino really has ideas here and there, come on, let's do this, let's do that. And if you look at the film in a bad way and look at the scenes that are without Tarantino, then they might be different from the scenes where Tarantino is in.

Florian Bayer: You mean the film wins when Tarantino, when he plays his character, namely the Ratchet Gecko, when he died at some point, because Tarantino then doesn't go to everyone's nuts so extremely on the set anymore?

Johannes Franke: I'm afraid the scenes where he's there are better. I'm afraid that Rodriguez is the bad director. Oh,

Florian Bayer: interesting. Let's talk about Rodriguez for a moment. Rodriguez is, in my opinion, a very strange, a chameleon director, I would say. There are people who do, depending on what kind of film they make, it's completely... unterschiedlicher Style. El Mariachi und Desperado sind wirklich so sehr nah dran an diesem amerikanischen Indie-Kino der damaligen Zeit. Das sind so Gangster-Filme mit Referenzen ans Midnight-Kino der 70er Jahre.

Johannes Franke: Aber schon auch viel Action und viel schnell.

Florian Bayer: Und Action und schnell, aber ja, aber gar nicht... Not so action and fast, but also a bit rowdy and nasty cool gangsters and style over substance and so on. And then he did something like The Factualty from the year 98, which is almost a classic slasher horror that has been brought to this new slasher wave. So kind of like a scream epigone. But then he also did something like Spy Kids in the 2000s with several sequels. I think there are now five films or so.

Johannes Franke: Oh, okay.

Florian Bayer: Just like children's fantasy films in colour and with a lot of computer effects. What?

Johannes Franke: Okay.

Florian Bayer: Or he did something like Sin City, which is an over-stylized comic film. I want to say, Robert Rodriguez doesn't really have his own language of vision. Robert Rodriguez is always what he's getting presented with. For the best and for the worst.

Johannes Franke: Yeah, yeah.

Florian Bayer: And... That's why I think that when you see From Dusk Till Dawn, I see a lot of Tarantino in it. I see a bit of Rodríguez in it too, but I really see Tarantino primarily from start to finish.

Johannes Franke: That's why I say Poltergeist. Really?

Florian Bayer: Yes. What I find much more problematic is that obviously, because they came from the indie area, they said we're going to do a non-union production. So unions are the bad guys? Yes,

Johannes Franke: and the unions also threatened with strikes and all kinds of things. It wasn't nice.

Florian Bayer: It's a real problem. They come from a field where they, well, Rod Rieges especially, where he shot a film for 10.000 dollars. And it's clear that you have other things to do. You shoot it with friends. You have a completely different kind of production and you can't really pay. But if you shoot a film for several million dollars and say, here are unions, nothing lost.

Johannes Franke: That doesn't work. That just doesn't work.

Florian Bayer: hast du ein riesiges Problem, weil du dann einfach mal der Tyrann am Set bist. Und du bist der Tyrann in der Bezahlung und du bist einfach, du bist... King Tarantino and King Rodriguez. And I can totally understand that that somehow didn't come so great at the unions. No, not at all.

Johannes Franke: Especially because the production company is in the background. If Weinstein does that, then you can't just, well, they would have to just do it and say, no, we're doing a union production,

Florian Bayer: that's not possible. I think it's crazy. There's a documentary about the shooting of this film. Have you seen it?

Johannes Franke: I haven't seen it properly,

Florian Bayer: no. I've seen a little bit the and was very annoyed by it quickly, because it's a very strange mixture. So on the one hand Tarantino is staging himself, the docu itself is really such an staging. The film starts with Tarantino and George Clooney running to the set together and then somehow fooling around with a trainee and flirting with fangirls. By the way, Tarantino allegedly occupied George Clooney because he said, ah, the guy looks like me.

Johannes Franke: True, I also noticed that.

Florian Bayer: He could be my brother.

Johannes Franke: How stupid is that? Oh my God.

Florian Bayer: You're trying to bring George Clooney into the picture. It's so cute. I think it's totally putzy and totally weird. And it fits so well with Tarantino. George Clooney was a film star. He wasn't a film star, but a TV star. He shot Emergency Room. He was a sex symbol from Emergency Room. And his trademark was above all that he looked damn good.

Johannes Franke: Yes, exactly.

Florian Bayer: There wasn't much more. Exactly. And he was supposed to be a big actor at the time and also a director. And Tarantino said, he saw this sexy doctor in the emergency room and said, that's my brother. He looks like me. Haha,

Johannes Franke: fuck dude. Yes,

Florian Bayer: in any case, the docu shows how they both go over the set and shows so much played stuff, where it is clear that this docu is also simply their own staging.

Johannes Franke: Yes. Yes.

Florian Bayer: And Full Tilt Boogie, which was released two years later. A little too late maybe. But in any case, a lot is shown by the crew. There are interviews with the crew and it is also themed, how it is to have non-union. I found it rather long-suffering and rather dragging and I skipped through a bit and thought, okay, that's so weird. Such a strange mixture of super staged and tries something documentary and also maybe a bit critical. I don't really have to give it to myself now. Okay, okay. sexy. And then people came together for this film. Selma Hayek, who played the famous dance scene, had previously starred with Rod Rieges, and that was Desperado, the El Mariachi sequel.

Johannes Franke: Do you know how big the role was?

Florian Bayer: Bigger than here, which is not particularly difficult. She plays, I don't know anymore, I think she's a teacher, but I'm not 100% sure. In Desperado it's about this guy coming into town. Played by the Mexican George Clooney. Or I would say George Clooney is the American Antonio Banderas. Played by Antonio Banderas. He comes to the city and wants to avenge the death of his wife. And he's a mariachi, he's equipped with a guitar case that's full of weapons. And then he beats down all the gangsters. And at some point in the course of the film he meets this woman who lives in this city. And who is somehow connected to the gangster and falls in love with her. and she is She is more than a tool, but she is less than a real female role. We talked a lot about the relationship between Robert Rodriguez and Tarantino in his film. With Robert Rodriguez, I think, there is something similar, at least at the beginning of his career.

Johannes Franke: Okay.

Florian Bayer: doesn't. hyper-masculinistic movies.

Johannes Franke: Yeah.

Florian Bayer: And there's also a sex scene in this film. And she's very good at talking about how Robert Rodriguez got around to it. Because she had problems with it. She didn't want to do a naked scene. Yeah. And she had a lot of difficulties with the sex scene. And she said in retrospect, Robert Rodriguez treated it super sensitively. It was totally cool to get around to it. It was really good on set. And the scene took much longer than it should have taken, among other things, because... was taken into account. Awesome.

Johannes Franke: Okay. That's nice.

Florian Bayer: And maybe it's a bit of a revenge from Rodriguez that he then lets her dance with a real snake in this film. A woman who has fear of snakes. She had fear of snakes.

Johannes Franke: It is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, She had to go to therapy for months and so on. Of course, it's not all that way, but she was really afraid of snakes. Especially such a blatant snake. And then she had to deal with it somehow and somehow. ...touching her so that she can do it. And I think... Sorry. No, now you're not saying that the dance is awesome.

Florian Bayer: Really?

Johannes Franke: You can see that she's really a bit stiff and it's not so... No. And they didn't like it when she didn't clap for the choreography. Robert just said, go ahead, do it. You can do it. Just feel the music. No choreography. And I think the worst decision. Wow, crazy.

Florian Bayer: I think the scene works incredibly well. I don't know how stiff she is, because I don't think about it, because the staging is so on point to say, everyone is bound by her. We're in this bar and there are a lot of women who let their tits wobble around. And then she comes and she's very attracted to these bar conditions. And yet everyone is bound by her. And that's so staged that I don't give a shit how she moves, because the film manages to sell me that she can hit everyone in her band.

Johannes Franke: That's true. You're absolutely right. But the thing is, I still have, because I have a distance and I sit in my living room, I have a distance and can look at it and say from the outside, you might have to say that I'm a burlesque show model. Three times a year or four times a year, depending on how we do it. And I might be a little bit active in that topic. And I didn't find it so right. Good. And we have to talk a lot about her figure itself and what she uses and what she doesn't use and what potential she actually had. But we'll do that later.

Florian Bayer: I thought for a moment that you wanted to talk about her figure.

Johannes Franke: So, cards on the table.

Florian Bayer: Tarantino, boops. Feet.

Johannes Franke: Especially feet. Oh god. And Tarantino wrote it himself. Of course he writes such a scene. and the thing is The scene is not necessary at all. Who needs to see how Tarantino gets his feet in his face? I think it's disgusting when feet are washed. But in this drunk bar she just walked along the entire bar.

Florian Bayer: How many sexual diseases are hanging on her feet at this moment? How much shit? How much piss? How much spilled beer from ... irgendwelchen leprakranken Beikern hat sie da an sich hängen.

Johannes Franke: Tja, aber sie muss sich nicht darum scheren. Sie muss sich ja sowieso am Ende alle aussorgen. Das ist zumindest der Plan offenbar. Aber lass uns ein bisschen zurückspulen und mal erstmal den ersten Teil des Films.

Florian Bayer: Den ersten Teil eines geschlossenen Films und ich bestehe darauf, dass wir die ganze Zeit darüber reden, als ob das nicht zwei Filme wären.

Johannes Franke: Okay.

Florian Bayer: Wir starten mit einer Szene in der Wüste mit dem Liquor Store von Benny. We will never see Benny. Instead, we see Earl McRoe, a Texas Ranger, and Pete, the liquor seller. And Earl McRoe, there is an expanded Tarantino Universe, which will appear in later films. In Kill Bill and in Death Proof, where he plays the role. The actor himself, who is also a name for all people who deal with 70s and 60s cinema. Michael Parks, who, like many people in this film, as of Terrence Newman casted really hard after what he was interested in. He has played in a lot of gangster movies, B-movies and so on since the mid-60s. He plays this Texas Ranger here and we have a conversation that stumbles over all the 2026s, 2026s wrong lines,

Johannes Franke: as far as political correctness is concerned. Well, he doesn't stumble over it, but he rolls over it really hard because he wants to. Also Tarantino doesn't write that because he thinks it's a harmless conversation, but there you really feel the will to political incorrectness.

Florian Bayer: And why does he do that? We have in this scene Apleism, we have sexism, we have a really... A non-sympathetic cop who just pulls badly from the leather, with heavy derbs, does he do that to make him unsympathetic? Does he do that because he thinks political incorrectness is cool and funny and just needs a character to put it in his mouth?

Johannes Franke: So after what we have with Tarantino,

Florian Bayer: I think the coolness factor is the most important. Ah, that's hard, right? I think it really is. I'm afraid it also plays a role. And not even that I would say Tarantino is someone who has a right political attitude. No, not that. It's just about being such an edgelord. Exactly. I'm, ha, I'm full of shit. Exactly. That's art. And that's funny. Live with it. Exactly. And you're so stupid if you think that's stupid. Exactly.

Johannes Franke: I actually think the dialogue is awesome. I have to say, it's so well staged and dramatic and so it's just damn good. I have, I think, if I leave the rest of the film completely, it develops over and over again. But the first scene that is there like a monolith is one of the best first scenes I know. Including the dialogue. Including the dialogue. Really, really so well staged, so good timing, so well cut, so good. Ideen im Drehbuch. Es ist wirklich Wahnsinn.

Florian Bayer: Tarantino ist echt ein guter Autor. Ja, scheiße, man. Und er kann wirklich gut diese banalen Alltagsgespräche schreiben. Und das Schlimme ist, er kann auch wirklich gut dieses Zeug schreiben, wo man draufguckt und sagt, oh, das ist moralisch alles so fragwürdig und den Charakter so agieren zu lassen. Oh, muss das so sein? Auch diese Entscheidung, wie er Richard und Seth Gekko inszeniert, weil er benutzt ja den totalen Psycho Richard, um Seth wie eine Art Helden aussehen zu lassen.

Johannes Franke: Was absurd ist. But we can talk about the characters again. I find it incredibly interesting how the development is, what we as viewers think, who is what and what kind of background there is. I find it here that Richie comes across the whole time in the first scene as he sees more than the others. He might just be brilliant. Do you think so? Yes. No. Yes, I think the whole time, wow, maybe he sees something. Wait a minute, did I miss that? Did he really signal? I'm not spilling back now, but something is there and he'll get it better than everyone else.

Florian Bayer: I take it completely differently, namely from the first second on. This is a psycho and this is a dangerous person and this is the person you have to be afraid of.

Johannes Franke: Of course you have to be afraid of the two.

Florian Bayer: Of course, but funny enough, it's so extremely staged for me that I see the whole time the attempt of the film Seth to rationalize. We see this brutal gangster who killed several cops on the run and so on. And because of his constant, I'm different than you, Richard, I don't rape people and I don't kill people if it doesn't have to be, he's the good guy. And that's totally problematic.

Johannes Franke: Of course it's totally problematic.

Florian Bayer: But it's totally brilliant in the staging. Because Tarantino does it, Rodriguez does it, the two do it. Also to have a psycho like Seth as the good guy, that we're with him, and I've been on his side all the time in the film. I don't want it, but I am, because the film makes it so good. Yes.

Johannes Franke: But I think that at the beginning I can't sort out who Quentin is. Really?

Florian Bayer: I think Richie seems so psychopathic.

Johannes Franke: But he could also just be a neurodiverse type who sees more than others.

Florian Bayer: We see the conversation between Pete and the Texas Ranger. And when Pete says, I traded Oscar Reif, then I say, yes, he's right. He did it really well. He plays it so well that we buy it from him as an audience.

Johannes Franke: Yeah, yeah,

Florian Bayer: sure.

Johannes Franke: And I think that's a bit problematic in this scene, I have to say, because he... He plays it too well? He plays it too well. For a normal guy who works in such a thing, he can't push it away, this fear that he has to put under it all the time. But I think that's important.

Florian Bayer: I think that's important because that shows us right away that Richie is completely paranoid. That Richie just isn't right, because he played it really well. And of course it's a surprise that the two are in the liquor store with the geysers.

Johannes Franke: Of course.

Florian Bayer: The more you hit it, the more it's a punch. And this scene, I don't know if I would say like you now, that this is one of the best opening scenes of the film series, but yes, it has so many punches. And so much success and is so dull and so corrupted and so broken, these scenes. Because we really have here right at the beginning, we have really brutal moments where people are brutally attacked, where someone is shot in the back of the head,

Johannes Franke: where someone is burned alive. Also a great idea. So really so dramatic is the scene so so good. Maybe not necessarily the best in the film history, but at least in this genre I really find it very, very, very at the forefront.

Florian Bayer: And that's a staple that I take through this film, which I think is very important. She's just fun and she has a lot of drive. She is so entertaining.

Johannes Franke: Yes.

Florian Bayer: And that's totally weird and I think we have that in this film. There are really crazy and brutal and bad things happening. And it's entertaining all the time and you can discuss a lot about whether something like that should be entertaining. But you can't deny the film that we see all the time how terrible things happen and we have an incredible amount of fun with it.

Johannes Franke: Absolutely, absolutely. I think at the latest when the first time they think that he is dead and then he goes to his safe again to get his revolver out. It's so well cut, so fast in between and almost anarchic and really good. So I have to say, especially for the nineties, really great first scene. And then also It's also great that she really, just this humor that's in there all the time. That Pete, after it's clear now, it's a shootout and I have to survive somehow, still discuss with them and says,

Florian Bayer: I didn't warn anyone, I did everything. They're already in the fight, but it's still important to him to say once, I didn't warn, I didn't lie, I did what you wanted.

Johannes Franke: Fantastic, really very, very, very good. But as I said, I think he plays a little too well for the credibility of the character or the scene. But dramaturgisch... I understand that you need that for this scene so that it can develop as it does.

Florian Bayer: We come to the part after the very cool prelude with Dark Knight from the Plasters. I always say that it's Tarantino and not Rodriguez, who here again proves his good hand for surf rock and the like. Let's get to it. One of the really difficult scenes in this first part of the entire film. Yes,

Johannes Franke: where they run away from the explosion without turning around.

Florian Bayer: That's okay, because they don't go cool about it, but they discuss it. And it's so funny how Richard then says, bitch, bitch, bitch, bitch, bitch. Because he's so annoyed by the mockery of his brother.

Johannes Franke: But what a cliché, right? Absolutely. Behind the explosion and without paying attention,

Florian Bayer: gone. In my opinion, it works at the moment because she doesn't pay attention. because they are really caught in this sibling rivalry. They just discuss and they don't have time to take care of the fire.

Johannes Franke: No,

Florian Bayer: that's problematic. That's the hotel scene. They have a geyser with them, Claudia.

Johannes Franke: Yes.

Florian Bayer: And they take it to the motel room. And Seth makes a clear announcement about what to do and what to leave. And then he says, he's going to the border again to ... to see how it looks there and to meet Carlos, to make a meeting point and so on. And your favorite character, who you find so sympathetic, asks Gloria to sit on the bed while he watches the cartoons.

Johannes Franke: I was so naive. Really, I didn't see it coming. I was so naive in that moment. Still in that moment. Because he comes, he says, come sit down, we watch TV. And I'm like... Oh, how nice! He says, the guy should sit down with him for the TV. And I think to myself, after I understand what happened afterwards, I get so proud and I get so bad in my stomach, because I think, fuck. Dude, we don't even know what he did exactly with her, but that makes it even worse, because I can draw anything in my fantasy. The film can't show me as bad things as I think it does. Oh,

Florian Bayer: now you're getting crazy. Now you're saying he's not right when he says she's really become another person. She's basically forced me to kill her. Of course,

Johannes Franke: I don't believe him anymore. I don't think I have a word anymore. But it's really, really hard. And you have this woman in charge of... Because she really looks like the most normal woman in the whole world, right? Yes. Well,

Florian Bayer: she just looks like you really have compassion for her. Exactly. And can see her fear.

Johannes Franke: She really comes from our reality. And the film has many moments where I think, this is no longer our reality. But this woman comes directly from our center, from our audience center. And that's why she makes us so incredibly sorry. I think it's really well-composed.

Florian Bayer: I think it's just crazy because... This scene is especially useful to explain to us once again very clearly what the difference is between Richard and Seth.

Johannes Franke: And

Florian Bayer: I sometimes have the feeling, well Tarantino looks good, right? What? Tarantino, nonsense.

Johannes Franke: George Clooney looks good.

Florian Bayer: George Clooney looks extremely good.

Johannes Franke: Yes, George Clooney looks extremely good.

Florian Bayer: It's actually not that hard to sell George Clooney as a hero. I find it problematic that they just go very far to show that here we have a difference between two people and you know very well who you find scary. and who scares you and who is your hero with whom you can identify yourself.

Johannes Franke: Yes. I don't know if an identification figure really makes sense as a concept here.

Florian Bayer: I don't know how awesome I find a rape and murder to bend our characters like that. Yes,

Johannes Franke: but I don't know if I saw it so much as a calculation to sell it to us as a hero. He's not a hero anyway. We still don't have any identification with him.

Florian Bayer: But we're fiddling with him. We want him to survive. There's this moment where we just say, okay, what happens to Richie doesn't matter. Or we hope that Richie gets his fair punishment. But there's also the moment where we say, and Seth, we're on Seth's side. No, no, no.

Johannes Franke: You don't want him to escape to Mexico?

Florian Bayer: No. Really not? No. I want Seth to escape to Mexico. I think he's fine. He's the absolute shining hero in this film for me.

Johannes Franke: I understand. But they also have too many little scenes where it's really... So as soon as they have him with his family, Jacob, he then asks him, so George Clooney sits there and asks him about his wife, who just died. Is he really interested? No, no, no, no.

Florian Bayer: Empathy?

Johannes Franke: No, that's not empathy. Of course. The questions he asks are totally mean and just go on and on and deep into the wound. No, that's not possible. He's just empathetic. Can you lick my ass?

Florian Bayer: And And I buy him completely from what he says to Jacob, that he will let them free if they help him.

Johannes Franke: Yes,

Florian Bayer: I think so too. I never go, especially Scott is afraid that they will be shot in the desert. I don't think so. Seth tells us that he's just too cool to do that. That's right, yes. But here again, this thing, this elevation of Seth by saying again, hey, and by the way, I also protect your daughter from being raped by my brother. Great.

Johannes Franke: Thank you. How about we just leave it alone? Okay,

Florian Bayer: let's move on to Jacob, Kate and Scott.

Johannes Franke: Yes.

Florian Bayer: And especially to our three actors that we have here in front of us, namely Harvey Keitel. OG New Hollywood.

Johannes Franke: Yes. I think he was not really trusted back then. Can you make him a role? Is he a real family man? A priest? I don't know.

Florian Bayer: He always played the gangster.

Johannes Franke: He also played the gangster in Tarantino.

Florian Bayer: Reservoir Dogs was a gangster. Pulp Fiction was a gangster. And otherwise something like Taxi Driver.

Johannes Franke: In Last Temptation of Christ by Scorsese he played the Judas. Those were his roles. He was always the bad guy. sagen muss, nur vom angucken. I can fully imagine that he is the shining hero, not the gangster. Just by looking at him. And then he starts playing and I think to myself, there is a secret behind it. He has something. Something is there. He always has in the game, I think, such a secrecy that he always has an ass in his sleeve, apparently. So just from the game. I always think he has something. He leads something in the shield.

Florian Bayer: I buy him that completely. And there is this moment where and what I see in him. and that's when later... will ask him what he is and then he is somehow a motherfucking priest or something. That's him for me. So he's a priest, but he's still kind of a motherfucker. He's a cool guy.

Johannes Franke: But it doesn't come from him, this word choice. That's not from him. I know. But Seth has seen through him.

Florian Bayer: He is actually a cool priest and at the same time kind of a mean motherfucker, who can also record it with vampires. And I find him in this role totally convincing.

Johannes Franke: Also ich mag ihn auch in der Rolle total, aber ich habe immer das Gefühl, dass er irgendwas, irgendeine dritte Ebene immer dabei läuft. Was für den Film vielleicht auch ganz gut ist, weil man irgendwie immer on the edge ist dadurch. Man fragt sich immer, was kommt da als nächstes.

Florian Bayer: Ja, genau. Er ist am Anfang noch nicht so 100% zu durchschauen, obwohl er voll transparent ist. Also im ersten Gespräch erzählt er schon, dass er Probleme mit seinem Glauben hat und so. Und trotzdem hat man das Gefühl, da steckt mehr Tiefe in der Figur. Juliette Lewis. who was 23 at the time, 22 when the film was shot, who especially made a name for herself in Cape Fear in 1991. She played great. Juliette Luiz here, the teenager who is there. Forz?

Johannes Franke: Thoughts on that? They should both be under drinking age. I don't think so with him. I don't know exactly if I'm taking that here.

Florian Bayer: It's so close. She was just over 20. I like Juliette Lewis, I think she's a good actress. I think in this film, especially at the beginning, she sometimes plays the stubborn teen a little too much. Which is also the fault of the script, because the script describes her as a stubborn teen. I think she gets better in the course of the film. At the beginning I actually had her better in my memory.

Johannes Franke: Okay. I can't really think about it. I don't think I've noticed it that way. I thought the conversation at the beginning at the table in the diner, where he tells that the woman died and so on, was relatively organic. It's not like it's just shouting for exposition. Although the dialogue is actually only there to find out who is this, what is his story, his wife has just died, he has lost his faith and so on. Or rather not completely lost. He didn't lose faith, he's just angry at God.

Florian Bayer: That's such a cliché, and it's from religious people, that they say atheists don't actually believe in God, but they hate God. And you can see that quite often, when they deal with it, it's always the narrative, no, no, you're not unbelieving, you hate God. And we have to explain to you again why God is actually good.

Johannes Franke: That's nonsense. Well. But he's definitely angry at God. Who would have allowed that? My poor wife and so on, blah, blah. And I think the dialogue is really, really quite well done for such an exposition dialogue. And I think that she is quite okay, even if she lets the teenie hang out a bit. I think he's a bit of a burden, the other son. Ernest Liu, he's got a damn lot of shit. abgedeckt. Ja, ja, ja.

Florian Bayer: Wenn du seinen Namen googelst, findest du meistens Texte zu... Bad actors in good movies.

Johannes Franke: Oh, man.

Florian Bayer: I don't think so.

Johannes Franke: I don't think he's that bad, but I think he's pale. It's really much about his performance.

Florian Bayer: Everyone gives him another one and says, thank God, he didn't shoot anything after a few years. He's completely disappeared from the public. I just think he's a bit pale, but he's okay for what he's supposed to play. He doesn't have a big role.

Johannes Franke: The question is whether the role would have been necessary. Is that so? Do you need two? siblings and what functions does he have in the film? He has no function.

Florian Bayer: He can increase the body count. You also want to kill a few protagonists. Oh god. I definitely don't think he's that bad and it really made me a little bit angry when I realized how many people can talk badly about such a small role. It's unbelievable.

Johannes Franke: Why? But that's so, I don't know, are those the whole masculine haters who are there somehow? I don't know. Maybe it's a certain clientele that are... diesen Film auch dann guckt.

Florian Bayer: Und wo wir gerade bei Schauspielleistungen sind, müssen wir ja noch mal kurz über George Clooney und Tarantino reden. Tarantino, der es geschafft hat, als einer der wenigen in diesem Jahr für einen Saturn Award nominiert zu sein und für einen Razzie. Er hat beides nicht gewonnen. Einmal schlechtester Nebendarsteller und einmal bester Nebendarsteller. The Saturn Award for Best Supporting Actor was nominated by Harvey Keitel. They both lost against Brad Pitt in 12 Monkeys. And that's what I find so bold, that they made a list of the best supporting actors of the year. And then they have Brad Pitt from 12 Monkeys and Quentin Tarantino from this movie on the same list. And with Rezzy he lost against Marlon Brando in the remake of The Island of Doctor Moreau. He played Doctor Moreau and that was obviously a pretty disappointing performance.

Johannes Franke: Oh, too bad. Yes,

Florian Bayer: Tarantino.

Johannes Franke: Tarantino. Okay, so you out there, I got a lot of shit for saying that I said last year, Tarantino, that he should definitely not play in his film,

Florian Bayer: because he breaks everything.

Johannes Franke: You said he's a bad actor. I said he's a bad actor. I don't know how to do it, but I think I have to apologize. Maybe I have to crawl to the cross and do knee pain. I think it's so good here. He does exactly the right thing for this figure. I think he does it exactly right, exactly on the right point. And so many people say that he plays wood and so on. And I could just jump on the train now so that I'm right. But actually I'm not right. Actually, Tarantino is really, really perfectly occupied here and does it very well.

Florian Bayer: He brings the necessary amount of creepiness with him for this role.

Johannes Franke: Yes.

Florian Bayer: Which is very important. Totally. I think it fluctuates between I think he's okay. Yes. And I think he's a little annoying. But what also lies in the fact that... That his performance is a bit in between. He is the comic relief and he is the type of woman who rapes. And I find this combination extremely hard to swallow.

Johannes Franke: That's true, but it's not the characters.

Florian Bayer: He plays it as an actor, but he also plays it as an actor. He plays some scenes really funny. I think when he's in the car and then has to take this plastic insert for his bite, because he's gnashing his teeth. And if he's before... And that's also a problem, that both of them are overlapped. When he asks Kate if she meant it seriously with the pussy licking, that's just overlapped. Yeah,

Johannes Franke: that's true.

Florian Bayer: And he plays both of them. He plays it funny and he plays it sometimes creepy. And the transition is pretty seamless. And you could now say, oh yeah, that's good. Because he succeeds. It stays a credible figure, despite these extreme peaks. What I'm a little bit surprised by is that this creepy thing about him. is used for...

Johannes Franke: For gags.

Florian Bayer: For gags. And that's of course also something that I also... Well, I can't even... I can't accuse him of that because he wrote that thing.

Johannes Franke: Yeah.

Florian Bayer: The problem is just because it's inherent in the film that there's always this ha-ha, they want to rape the 16-year-old, jokes. Right? Yeah. In that case, ha-ha, he wants to rape the 16-year-old. But we also have ha-ha, the doorkeeper makes the 16-year-old on and says to her, Apple Pipe. posi. Haha, der Grenzschützer guckt nochmal besonders lange, wenn er ins Klo guckt bei der 16-Jährigen. Und dann gibt's vielleicht doch irgendwann einen Moment, wo man sagt, okay, so ein bisschen Rape Culture zu viel.

Johannes Franke: Ja, ja, ja. Das auf jeden Fall. Aber bei ihm, muss ich sagen, hab ich das nicht so sehr als Gag gesehen. Da war ich tatsächlich zu sehr in diesem Creep drin. Und deswegen, glaube ich, macht er das auch einfach sehr gut. Because I'm not being ripped out of it. I'm not being ripped out of this figure. It's still the figure and not the rape culture.

Florian Bayer: Yeah.

Johannes Franke: With him.

Florian Bayer: Yeah.

Johannes Franke: However, I have to say, actually, that with Titty Twister and with the border police and so on, I actually think that's a hard tip too much rape culture.

Florian Bayer: We'll definitely come back to that in a moment. Just a quick thought on George Clooney.

Johannes Franke: George Clooney? Good for him. He made it with this film out of his... ...to appear in a series and to enter a fandom that I don't think anyone would have thought of back then. He's just a cool badass.

Florian Bayer: Yeah, he does that very well. He's really cool. And of course it doesn't hurt that he looks extremely good. But it's more than that.

Johannes Franke: He has the most stupid hairstyle ever.

Florian Bayer: He chose it himself. That was in the 90s. He's just a cool badass. and what you notice... He also played these charming roles at some point, who are charming but so exquisite gangster charming. And he plays that here too, which is of course also where you say, okay, crazy, he actually plays a psycho killer, who has a lot of people on his conscience and plays this so charming. I fall completely into it. I don't like George Clooney's charm. And even if that's a bit much sometimes, I like him in Ocean's Eleven.

Johannes Franke: But there is a big difference between Ocean Eleven gangster and this gangster.

Florian Bayer: Well, it doesn't play that much.

Johannes Franke: But I think it's a big difference. Because he often, also in Titty Twister and so, really has such peaks where I think, wow, okay, that's really a psycho. Well, that's true. So it's Danny Ocean, plus sometimes he snaps out and pricks people or shoots them in the head. Yes, and that's really a difference, you have to say. I don't know.

Florian Bayer: I think it doesn't make such a big difference, I have the feeling.

Johannes Franke: I, ha. No, I don't think he's charming enough for that. I think Ocean's Eleven is great, very charming and so on. I think he's totally, totally good from a acting performance point of view, because it's not just Ocean's Eleven, but because he really has an unimaginability and a danger that he doesn't show in other roles. Okay,

Florian Bayer: but we're obviously agreed that the acting performance is basically pretty good in this film. Absolutely. And also especially for such a B-movie, which is also so...

Johannes Franke: trashy is and also midnight cinema trashy will say we will really really I find the part up to the titty twister of this overall film the first part is his own film is really really good very Tarantino-esque cinema where you really this gangster thriller thing hinterher und And also really falls into it psychologically.

Florian Bayer: But it's still through and through B-movie. Midnight Theater. I don't think so.

Johannes Franke: Really? No.

Florian Bayer: But these rowdy gangsters who do rowdy things and somehow drive through the desert and lead the trivial dialogues. Maybe it's for 90s.

Johannes Franke: But we got used to it quickly that there are such gangsters in mainstream cinema. Don't get me wrong.

Florian Bayer: I like this first half. Totally, from this whole film, which is one. But it's a noisy, entertaining B-movie. It's not like I have the feeling here, I have a serious gangster thriller. When I look at the 90s and say, deep, intelligent gangster thriller, then I think of something like Goodfellas or then I think of something like The Coens and so on, but not this film.

Johannes Franke: I understand what you mean. Yes, yes, absolutely. That's true. But for such a B-movie, it's too well staged and too well written.

Florian Bayer: That's him. But I think that's the Tarantino thing again, that he manages to bring B-movie tropes into the mainstream. He still remains B-movie. From the staging he's champagne. But the champagne is still mixed together from distilled beer.

Johannes Franke: We'll find the distilled beer in the second half.

Florian Bayer: The distilled beer tastes great. Both in the first and second half. They're on the way in the RV. Oh my god, Floor! What kind of music is that? What was that? Where are we?

Johannes Franke: Oh my god, I think...

Florian Bayer: Oh no, we're in a self-promotion! No, shit! Quickly,

Johannes Franke: so we can find our way back! You out there, there are so many ways you can support us. And we need support,

Florian Bayer: believe us. If you want to lend us some money, please do it via buymeacoffee.com slash mussmansehen. You can also find the link in the episode description.

Johannes Franke: You can give us a few euros, and also set it up monthly, right? Because we have enough money. If you want to force us to discuss a certain film, Is that your chance?

Florian Bayer: You can do that with this form as well.

Johannes Franke: Or you just send us a movie proposal without money. And feedback to johannes at mussmansehen.de and florian at mussmansehen.de.

Florian Bayer: We are also happy about every subscription, whether it's Spotify, Apple Podcasts, Deezer, Amazon Music, whatever.

Johannes Franke: What would help us a lot is if you give us five stars or hearts or whatever your podcatcher offers. And best of all, write a review about it. Ah, super. Is there anything else missing?

Florian Bayer: No, I think we have everything, right? Okay, then let's get right to the episode.

Johannes Franke: Yes.

Florian Bayer: You're on your way to the AVI. You're driving to the border. Mm. And we have our first appearance as Cheech.

Johannes Franke: He has three fucking roles in this movie. What's going on? And I didn't notice that right away, right? No, me neither.

Florian Bayer: Cheech Marin from Cheech and Chong. The... Kiffer, the stoner movie pioneer from the 70s, can play here three times. The guy who synchronized a hyena in Lion King.

Johannes Franke: So this B-movie character is maybe just there. We don't have enough budget for the actors, so let's just let one actor play several roles.

Florian Bayer: Do you know how it came about?

Johannes Franke: How did it come about?

Florian Bayer: Robert Rodriguez already shot with him, he played in Desperado and he said, I'm making this film from dusk till dawn. Look at the script.

Johannes Franke: What role do you want to play? And Cheech Marin reads the script. He's totally excited and says, everyone. And then Rod Reedus says, okay, we have a deal. How awesome is that? Very nice, very nice. But it's a good nod to these B-movies, which apparently feed on each other. I think the interpretation, so with Tarantino, there's always this... Over-interpretation. Like the cover with Marcellus Wallace-Seeler.

Florian Bayer: That this film is actually the story of Seth, who drives into hell. And Cheech Marin is the devil. He knocks on the caravan, he has to be let in. Then he's the one who lets in, namely the doorkeeper. And at the end he's the one who says, follow me. And then George Clooney drives with him into the sunset, into hell.

Johannes Franke: So he's always at the gates. At the gates of the decision where it goes now, where it goes.

Florian Bayer: I don't believe that, but it's great.

Johannes Franke: But it's nice, yes, yes, of course, by chance. And then it fits so well. Of course, I take it.

Florian Bayer: He plays this very creepy border officer here.

Johannes Franke: Yes, yes, yes. Ah, fuck. So how he knocks on there and then why does she say yes at all? And then he opens it and she complains. Why? I don't understand. But then he really looks a little too long and I'm like, help.

Florian Bayer: And at the same time, this scene is so well staged, which is about the intensification of the tension.

Johannes Franke: Totally.

Florian Bayer: We have the three back there and we have the two forward and no one knows what to do. And then Richie starts to tick. and to get nervous and to talk.

Johannes Franke: And it's really super, super exciting. It's totally good. So of course it's always, what can happen now the worst? And then of course Richie falls in, who then has to quack and tick. But then to solve that by simply giving him a headscarf and then wakes up again and says, you just became impotent. What's going on? It's also a good decision. I like that.

Florian Bayer: And we find it so exciting because we are on the side of Seth. We want it to cross the border.

Johannes Franke: Yes, I want my father to survive. Because he plays with enough need. I think that's very good. How would you do it? Not as a director, but in the situation. The border guards come there. And the question is in the room. Does that tell them or not?

Florian Bayer: I have no idea. But fucking,

Johannes Franke: what are you doing there?

Florian Bayer: I don't know what I would do. I think I would try it the easiest way. If I, like Jacob, were convinced that Seth said the truth, if I was really convinced that he wouldn't kill me in the desert, and I would assume, I think in 90% of the cases, that he would kill me. So I would assume that with this setup, these gangsters, if they are at the border, they will kill me.

Johannes Franke: Yeah,

Florian Bayer: sure. But if I really believed Seth, I would do it like Jacob. I would try to get through with the lie, because I knew. If there is a change of shooting here, even if Seth doesn't shoot Kate actively, if there is a change of shooting here, then the probability that someone from us leaves this caravan extremely high. If I didn't have that trust in him, I would whistle at him and would bet that they would turn him off before something happens to Kate. But I wouldn't be able to live with me if something happens to her.

Johannes Franke: Yeah, that's just the thing. You have to make it so smart that the police don't immediately say, oh, there's someone in there, then I'll come in.

Florian Bayer: So you can just try to give Pete the signals that were thrown at him. You're alone up there. Seth and Richie don't know what's going on up there. That means telling him, it looks like this. And now you're the pros and now you can do it without my daughter dying. That's probably the right move.

Johannes Franke: I think so, maybe. Ach, man weiß es doch auch nicht.

Florian Bayer: Aber dann würde uns der zweite Teil dieses gesamten Films, der eins ist, entgehen, wenn sowas passieren würde.

Johannes Franke: Ja, und vielleicht wäre ich auch dankbar. Wirklich? Ich weiß nicht. Okay,

Florian Bayer: ich bin gespannt, an welcher Stelle es kippt. Sie fahren in die Wüste.

Johannes Franke: Mhm.

Florian Bayer: Und die Fahrt durch die Wüste ist kurz.

Johannes Franke: Mhm.

Florian Bayer: Sie kommen beim Titty Twister an. Ist das der Moment, wo es umschwenkt bei dir?

Johannes Franke: Nein, noch nicht.

Florian Bayer: What a great scenario and what a great set. I love everything about it. And that's both outside and inside. And even if that's so hyper fiction again, that's not believable. It doesn't look like a bar. No matter how cluttered it is, it's just awesome.

Johannes Franke: It's actually a studio now, you have to say. They have built it up in the studio, the thing. And you can see it. It's too bright actually and it's too much this Disney ride. So you have the feeling that there is so... Plastic built up and here and there and stuff. Everything fits to this B-movie charm, I think. Only this fact, the exterior of the bar, that's completely unrealistic. Obviously they celebrate their own party out there. Why? Why are there bikers and make pyro effects in front of this bar? What is the deeper meaning of that? Because they just crossed the border and are happy to have made it. But these bikers are just bikers. They're not criminals. They're just on the road. So they're all criminals, of course. Of course. best time of their life. And I think it's so funny. Including Cheech in his second big role as a guy who, I don't know,

Florian Bayer: uses the word pussy a hundred times in a sentence.

Johannes Franke: Who also sometimes improvises, just plays through all the variants that he thinks of. Oh, that's crazy. And I think he proves an insanely good timing in it, suddenly going into this understated perspective and then he looks down and we find a cheaper pussy. Fuck it. And that's really crazy. So the timing is very well done. There are two or three fourth wall breaks in this film.

Florian Bayer: And they're all great. And Cheech, who talks to the camera, tells us again that we should grab a pussy, if we get it cheap. It's great. So of course this,

Johannes Franke: the sexist content and so on. I don't want to be his role. We'll make our own blog about everything problematic in this film. I'll wait. This timing and the way he does it, he plays it amazingly well. He has a good timing. Great. And it's also great how they get there, because it's completely random. So what does Seth expect from what good should happen when he pricks the doorstep? It's clear that it will cause problems afterwards. Yes, of course.

Florian Bayer: It's so logical. He wants to stand there all night and he pricks the doorstep. Do you think he'll get through it and there won't be any more trouble?

Johannes Franke: Especially because he also... as a gangster among other gangsters and already knows that that doesn't work well with colleagues. I think that's dramaturgically pretty shit, but it's of course entertaining.

Florian Bayer: It's so entertaining. And that's also a thing that Tarantino can do, to make amoral things so entertaining. Because when Ritchie comes back and breaks the ribs of this poor guy again, when he's on the floor, you have to smear it. And I feel totally dirty, but I have to smear it. Yeah, well,

Johannes Franke: and This is a good thing, this staging is just his thing. So fast and with good timing and with fun and so.

Florian Bayer: And then this bar is of course just set piece. Including the two guys who are walking past the camera and you can see this brawl is so random. And just made to show us that we have a fucked up bar here. But it's so cool because it's so hyper-fictional. Because nothing really works, but everything is staged and everything for the fun.

Johannes Franke: It reminds me a bit of the slapstick movies. Because you really even shot it without sound and then someone called behind the camera and now give him a prelude and so on. Then some chaos is staged and the camera is next to it. It's really funny and big, but that's where the break starts for me.

Florian Bayer: I also had to think of spoof films, where so much happens in the background that you don't even know what to think is funny.

Johannes Franke: Yes, exactly.

Florian Bayer: I think it's great. I think it's really entertaining because it's just so over it. And this bar is just so awesome as a set piece. And everything that takes place in it, including our new protagonists who come with it, namely Sex Machine and Frost above all.

Johannes Franke: Sex Machine is really, that's such an absurd figure.

Florian Bayer: It's Tom Savini. And Tom Savini, that's also such a thing. Of course, Kurtzman has contacts to the people from the make-up scene and Tom Savini He's a big make-up artist, who was also a actor. He worked with George R. R. Martin and for some of the best zombie splatter films of the 70s, like Dawn of the Dead and Day of the Dead, he just made masks and sometimes also played along. He made the mask on Friday the 13th. He was a stuntman. And he did the stunts in Dawn of the Dead, among other things. And the cool thing is, he was a war photographer. He has in Vietnam... worked as a war photographer and said at some point in the interview, I think what I saw there was so blatant that I tried to process it somehow and the way to process it was horror and then I just did horror special effects and horror make up because that was the best way to deal with it

Johannes Franke: Wow.

Florian Bayer: Tom Savini, Sex Machine. There's a long tradition of B-movies, but I don't think there's ever been a guy with a weapon in his step that automatically, as always, goes out when he wants to. How does he control this weapon?

Johannes Franke: And I know the answer and you know the answer too. But I want you to say the answer. He needs an erection for it. And how fucked up must you be that you can get an erection in a situation where you have to shoot? have his superpowers, right? He can get an erection in this set on the push of a button. Fuck, dude.

Florian Bayer: And I mean, there are a lot of mops to see. But I would be sexually not particularly irritated in this bar, no matter how many mops swing around.

Johannes Franke: I think that you can already see which turn the film takes a little bit. But I forgot it. I knew the film, yes, I've seen it before, but I had completely forgotten which turn it takes now. And that's why I was like, oh fuck, that's right, there was something. And here the films start to develop inconsistencies. For example, that at the bar they say, get out. Why? Why? You have food here in front of you. You want, you want, later it all turns into a fly trap. Why do you want to get rid of your flies that you want to eat later? What is that? Vielleicht weil der Bart Typ.

Florian Bayer: The barkeeper played by Danny Trejo, to whom we will have to say something later. Yes, yes, yes, great. Because he might suspect that these two guys belong to those who can defend themselves. There are not many in the bar who have the opportunity to defend themselves. But Seth and Richie look like two motherfuckers. Who might have a little more against the vampires than the rest of the bar audience.

Johannes Franke: Really? Is that so? They are also just two small criminals.

Florian Bayer: Yes, but they prove it afterwards.

Johannes Franke: Yes, and I think that's problematic, I have to say. Also, If you have a bar like this, as a vampire collective, and you keep milking it, no matter what, whatever they do, what's different about this fucking evening? What's different? Does it always look like this? And then the other relatives come and take over the part and a bunch of vampires die again and again? That's complete nonsense. Why? What's different about this evening that it's getting so out of the way and the vampires are finishing it? That's complete nonsense.

Florian Bayer: Now you're starting to ask for logic?

Johannes Franke: Of course!

Florian Bayer: We had the intro where they discuss in the shootout whether he gave a sign or not. Where they hit without reloading. And there were a lot of cool balls sinking. Where, and that's really a trope from a B-movie where everyone says that's bullshit, Whiskey catches fire as if it were gasoline. That's... all complete bullshit. And now you start asking for logic?

Johannes Franke: The one is, are requisites that you use to paint the picture. And what we have here is just complete nonsense in itself. That's completely nonsense in itself before. No.

Florian Bayer: We don't see any realistic gangster strips before.

Johannes Franke: But a lot, a lot, on a completely different level realistic. I beg you.

Florian Bayer: What happens at the border, how they get over the border.

Johannes Franke: It's a hyper-fictionalized version, but one is a gangster movie and the other is just trash.

Florian Bayer: It's both hyper-fiction. Okay, we'll talk about it a few more times, don't worry. Danny Trejo is our barkeeper. Oh, how nice. Danny Trejo is just a cool sock.

Johannes Franke: And he's over 50 at the moment. And he looks like he's in his mid-30s.

Florian Bayer: He started shooting in 1985. And he also worked with Robert Rodriguez.

Johannes Franke: And I think he was born in the 40s?

Florian Bayer: Yes, he's old.

Johannes Franke: He's really old!

Florian Bayer: He's really old and he plays, but he's been playing for a long time. And the cool thing about Danny Trejo is Danny Trejo is a changing Hays Code. Danny Trejo always plays the gangsters and Danny Trejo always plays the bad boys. Insanity. And Danny Trejo is based on when he plays a film with bad boys, that he dies at the end so that the audience learns that he becomes evil. He was punished.

Johannes Franke: That's so cool.

Florian Bayer: Danny Trejo is a Hays Code. Oh, how cute. Born in 1944, he played a lot of bad people in his life. He was in prison for a while in San Quentin. And he became a staple, especially with Rodriguez and Tarantino. And through them he got another boost of fame. He started in the 80s, then played the bad roles in small B-movies. And then he appeared in Desperado and From Dusk Till Dawn. And then suddenly a lot of people said, oh, he can do that. And then he was allowed to play something like Con Air in 1997 and The Replacement Killers in 1998. He was suddenly a guy who got main roles again. Yeah. Crazy, right? Yes. Madness. He was in The Masked Singer.

Johannes Franke: Isn't he still alive? Doesn't he have ten films starting every year or something?

Florian Bayer: He makes so much. Zeug, der hat in Star Wars mitgespielt, 2022 in der Star Wars Serie. Der hat, wie gesagt, in Masked Singer war er als Raccoon verkleidet, wurde in der zweiten Runde rausgeflogen. Das ist das,

Johannes Franke: was du vorausstellen willst? Masked Singer?

Florian Bayer: Masked Singer, nee, wenn du heute was bedeuten willst, dann musst du Masked Singer erwähnen. Er hat in GTA, Y-City, hat er synchronisiert, da hat er seine Stimme geliehen. That wasn't his only video game appearance. His video game appearances include, among other things, something like Call of Duty Black Ops, where he appears as himself. Wikipedia would now be a arrow to unfold the biography. Unfortunately,

Johannes Franke: you have to go through that now. Flo has a long list ahead of him.

Florian Bayer: He has played in various music videos, including for Sepultura and Mobb Deep, and he has published a cookbook called Trejos Tacos. Rezepte und Geschichten aus L.A. Wo er unter anderem, wo er neben tollen Taco-Rezepten auch über sein Leben redet. Und er hat 2021, vor ein paar Jahren, hat er seine Memoiren veröffentlicht. My Life of Crime, Redemption and Hollywood. Er hat einige Restaurants eröffnet.

Johannes Franke: Muss ich den Knebel raus holen.

Florian Bayer: Und er war Ring-Announcer für Karate-Kämpfe.

Johannes Franke: Bloß reicht. Danny Trejo ist Eine coole Socke.

Florian Bayer: Und ich finde es total schräg, dass er ein Haze Code ist. Ja, total.

Johannes Franke: Ja, auf jeden Fall ein saukooler Auftritt, aber ich verstehe es nicht. Ich verstehe nicht, warum der die rausschmeißen will. Und dann auch noch diese Rationale, dass dann unser Familienvater sagt, übrigens, ich bin Trucker und ich nehme die jetzt mit. Und er dann sagt, see it's legit.

Florian Bayer: Yes, for paper, of course. He has the proof in front of him. I am a trucker. Here is my trucker driver's license. Absolutely logical and understandable.

Johannes Franke: And why do they only want truckers? Do they taste different? What's going on? No,

Florian Bayer: the idea that they want truckers is actually canon. No one asks for truckers.

Johannes Franke: That's not true. Truckers have to go somewhere and deliver something.

Florian Bayer: Yes, but not the truckers. These are all truckers who do any illegal business. Kein normaler Trucker würde da halt... to drink his beer and spend the night. It doesn't make any sense at all that no one notices that behind this bar a huge Aztec pyramid is deep in the abyss, where a lot of trucks and bikes are. Man, you really just have to go a very small piece around the corner and you see, oh, yes, that's a rat nest. I don't want to go in there.

Johannes Franke: And you say, that's a film. At this point.

Florian Bayer: You're asking for logic now?

Johannes Franke: Dude.

Florian Bayer: You're acting as if the first hour was the logic itself. That's just as hyper-fictional. That's just as illogical and just as bullshit.

Johannes Franke: It's probably a different quality if you suddenly have such an Aztec thing in front of you. A huge, strange thing. But before that, it's really a different movie,

Florian Bayer: listen. It's just as bullshit when you start asking yourself questions like, for example, how Richard and Seth manage to get the geyser into the motel, how they manage to get the entire Fuller family out with weapons and so on. It all makes no sense. How they manage to get it across the border, how they don't get caught in this liquor store. They stand at the shelf and the cop passes by them. The camera shows us, the camera follows the Texas Ranger as he goes to the toilet. and on the right of it is a guy whose phantom image überall in den Nachrichten zu sehen ist, mit einer Waffe und zwei jungen Frauen. Und selbst wenn man die Waffen nicht sieht, er würde ihn entdecken, er würde ihn sehen. Es macht keinen Sinn.

Johannes Franke: Aber an solche Sachen sind wir gewohnt. Da gibt es eine andere. Es gibt noch viele, viele Filme, die genau diese Probleme bei solchen Gangsterfilmen haben.

Florian Bayer: Genau, und deswegen sage ich, das gehört alles zu diesem Gesamtpaket dazu. Und wenn du jetzt anfängst, nach Logik zu fragen, bist du einfach mal ein gottverdammter Heuchler.

Johannes Franke: Alter! The Titty Twister is a completely different movie. You can't talk to me better than that. No. It's just a completely different movie.

Florian Bayer: The Titty Twister is just awesome. And you know,

Johannes Franke: the problem with it is, if I had the Titty Twister as my own movie, then I could adjust to it and have a lot of fun with it. But since I have all the pre-requests, the whole hour before, I don't know how it happens to me at all. And I suddenly think, what? Where are, what should, what? Vampires? I think that's absolutely crucial from A to B.

Florian Bayer: From the moment they are in the liquor store to the twitty twister, there is a straight line and nothing else can happen. To briefly mention Frost, our Vietnamese veteran, Tom Savini, the real Vietnamese veteran, but here we also have someone who plays Vietnamese veteran. How great that he is in this fucked up bar and actually only stacks dominoes, when he is completely annoyed by the striptease dancers who destroy him. played by, to name another big name, also a big B-Movie actor. Fred Williamson, former football player, who made an incredible number of Blacksploitation movies in the 70s, which I can't name all of them now, because there's sometimes the N-word in the title. Oh no! Who was really a 70s guy. I haven't seen any of his films, but if you know him from Blacksploitation, you've obviously seen him. And he played in the original of the Glorious Bastards from 1978. I think everything is great about this show and I think the characters that are now being re-established in their comic-like nature Absolutely fitting for this scenario and I'm looking forward to how it goes with them.

Johannes Franke: Are these characters also comic-like before in the movie? I mean, they appear exactly at that moment and are comic-like.

Florian Bayer: Yes.

Johannes Franke: Are there comparable comic-like characters in the first part? Er,

Florian Bayer: McGraw? The Texas Ranger? Pete? The liquor store seller?

Johannes Franke: No.

Florian Bayer: Come on,

Johannes Franke: they're also fully overrated. Yes, but not in this way.

Florian Bayer: I can accept the conversation between these two characters, when I say, yes, that's a completely caricatured overwriting of a Texas Ranger. Who sees himself as badass and who lets down other people's words and so on. That works on this comic level.

Johannes Franke: But the characters in Titty Twister are all slapstick. That's a different number.

Florian Bayer: Isn't that awesome? Cheech on the border. You don't want to sell me that Cheech on the border is not a comic figure.

Johannes Franke: But he's not slapstick either. He's just over-described.

Florian Bayer: The way he looks at Kate when she's sitting in the toilet. Richie is also comic. Richie is also the comic figure.

Johannes Franke: Well, but he doesn't play it that way.

Florian Bayer: Would you do me a favor and lick my pussy?

Johannes Franke: I think this first scene where it's established that he... See ya. hallucinates, as she says, I think a good decision, because we then realize, okay, something is really broken with him. Yes,

Florian Bayer: but that's totally absurd. This is not a realistic representation of audiovisual hallucinations. Of course not. Just a slender, bizarre moment.

Johannes Franke: But it is thought as a hallucination insertion.

Florian Bayer: It is thought as a hallucination insertion. I just say, we also have this comic-like over-drawing.

Johannes Franke: Okay, next point. A Cree to disagree. The father, who now has to sit in TT Twist with his children and drink alcohol with his children because of this strange experience, suddenly the figure is really different, I think. I can't say exactly, but he suddenly has a fucked upness that he didn't have before.

Florian Bayer: I see that in him before. He's a badass. That's what you meant. You see this Harry Cattell and you feel like he's somehow more behind it. Yes,

Johannes Franke: that's right.

Florian Bayer: And that's someone who has cojones, who then dares to talk to Seth like that and ask him, are you such a loser that you don't understand when you won? Yes, yes.

Johannes Franke: But it all comes together in this T.T. Twister. You know, that's just everything falls on it, on this one moment. And that's why it's just so inner clock. Okay, new movie.

Florian Bayer: No, this movie is just against its climax, which is completely correct. Tito and Tarantula we haven't even mentioned. Tito and Tarantula are in this Titty Twister. And there's a great moment when Tito and Tarantula make music with the body parts. They've been making music for ages. Tito was born in 1953. They've been making music since the 80s. He's played in various bands, the Plucks and the Crusaders. And there's a totally sweet interview from... Tito, where he says he was totally shocked when he was at some point in the late 90s, of course, because he was famous for this film, gave concerts in Europe and in Germany everyone saw him as a one-hit-wonder and said, this is the guy who appears in From Dusk Till Dawn. Tito and Tarantula were a big band in Mexico and also in America, already known. He says it's really, it's completely... It's weird to be in Europe, because they all see me as the guy from From Dusk Till Dawn. I'm not like that. And so I was never noticed in America. Because Tito and Tarantula is just a big band, regardless of whether they made music for Robert Rodriguez and performed in From Dusk Till Dawn. Great with their music, which perfectly fits as a sublimation for this bar. And then we also come to the big song of the film, namely the one hit wonder, at least from a European point of view, After Dark and the dance by Selma Hayek. the Not Sayma Hayek, but...

Johannes Franke: Santanico Pandemonium.

Florian Bayer: Yes. Obviously a Mexican non-sploitation horror film from the 70s. And I have to watch it.

Johannes Franke: Yes, tell me again. I don't want to see it, but I want to know. No.

Florian Bayer: If I like it, I'll give it to you. But the probability is not... I haven't seen a good non-sploitation film yet.

Johannes Franke: Sayma Hayek. The one we discussed earlier didn't get a choreography and we have different opinions, but I think that they should have given her a choreography and that she does that a little wooden and that it doesn't work 100 percent. And she's a little bit, you have the feeling she's not that comfortable with the snake.

Florian Bayer: I didn't notice that, but as I said, I think it also plays a big role in what happens around it and how it is played by the others.

Johannes Franke: But that's true, the others play the king and they do that very well, that's true.

Florian Bayer: I think the foot scene is absolutely disgusting. Absolutely. That's really disgusting and not only because I have problems with my feet, but because Tarantino really puts a number on it. So he always has his foot staging, but here it's a deep throat with a foot, what he's doing there. Because she really puts him deep in. That's really, oh, I have the feeling that I have to swear at the thought. Yes,

Johannes Franke: absolutely, absolutely. It is, oh, help.

Florian Bayer: I don't think that's particularly sexy afterwards, when she drinks the whiskey and spits it into his mouth. Yeah. Really, I think Tarantino and I, we would send something sexual. We wouldn't be able to reach one.

Johannes Franke: No, but then you don't take away the women either.

Florian Bayer: Although I think, well, I think the women, they're always nice. I can understand that he always likes Furman and that he likes Simon Hayek and Richard Fonda. I think I'm just interested in other body parts.

Johannes Franke: I have the feeling, I don't know how Simon Hayek perceived it, but you have the feeling to be there just for his fetish. And that's really a bit heicky. That's really weird, isn't it? Yes, that's not a good feeling. No, I think so too. That's shit. I don't know if it was that famous back then, because that was actually his second big foot fetish scene.

Florian Bayer: And in Pulp Fiction it was especially still verbal. They're mainly talking about foot massages.

Johannes Franke: Exactly.

Florian Bayer: And once you can see Juma Furman's feet. I think Tarantino said at some point that Juma Furman has the most beautiful feet he's ever seen or something.

Johannes Franke: Okay. Yes, Tarantino. Slender guy. Naja, und ich finde es einmal, Hayek hätte... so much more deserved.

Florian Bayer: Absolutely. I'm completely of your opinion. Selma Hayek's character, as she is introduced to us, is the queen of vampires.

Johannes Franke: Aha.

Florian Bayer: And for that she dies way too fast and way too easy and also has to endure an improvised George Clooney gag, a real dead joke. Yes. Yes.

Johannes Franke: Terrible. My goodness. They didn't want to have him in it,

Florian Bayer: right?

Johannes Franke: They didn't want to have him in it. No.

Florian Bayer: Tarantino improvised that. Yes. It wasn't in the script and both Tarantino and Rodriguez looked at it and said, no, let's get rid of it. And then Miramax shot the trailer. And in the trailer was this. And that was the last big scene in the trailer. Shit. Thanks, I already had a wife. And then they were committed. Then they couldn't take the thing out anymore.

Johannes Franke: Shit.

Florian Bayer: We have to thank Harvey Weinstein for this stupid saying in there. And it fits so Harvey Weinstein.

Johannes Franke: Exactly. Fuck, dude. But there are enough trailers, you know, where trailers use pictures that are not in the finished film. gar nicht drin sind.

Florian Bayer: Das stimmt, aber ich glaube, das war eine zu prominente Stelle. Das war wie dieser... Ah, it's very interesting with American Pie. There's this apple pie sex and there are two scenes, one a little more harmless and one a little bigger. And I don't know exactly how the story is about. In the trailer, I think, the harder one is to see. And there's this one scene where he's lying on the table and in this, what happened to my life? I'm sitting here and talking about sex with apple pie. And we're on this table.

Johannes Franke: That's the wrong moment for Midlife Crisis.

Florian Bayer: And takes this apple pie really nicely. And his father comes in and is shocked.

Johannes Franke: Why didn't I walk with the camera? Flo played that really nicely.

Florian Bayer: And this harmless scene is, his father comes in and he just has this apple pie over his penis hanging. And one of them made it into the film. And one was at least in one trailer to be seen. And I don't know the connection anymore. So yes, there are these ending things. But probably they thought it was too funny and said, okay, now, no idea. It was maybe also because it was the final scene in the trailer. was the big one-liner, George Clooney. doesn't get that many one-liners in the movie. Okay, but we have to rewind one second. Samaheek did her dance. Yeah. And then hell breaks loose because she turns into vampires.

Johannes Franke: She would have so much potential as a final enemy. Why isn't there a final enemy? The whole thing has no dramaturgy. I think it's totally shit. The last 40 minutes have no dramaturgy.

Florian Bayer: Slowly, slowly, slowly. When you saw this movie for the first time, did you know that the vampires were coming? No. I knew it. And I... I envy everyone who sees this movie for the first time and doesn't know that the vampires are coming.

Johannes Franke: I haven't seen it again.

Florian Bayer: You forgot it?

Johannes Franke: Yes, I forgot it.

Florian Bayer: But what did you expect what happens in the next 60 minutes?

Johannes Franke: I just didn't expect it. I don't make a movie and say all the time, what happens next? But I just let it go. And then my brain suddenly said, shit, there was something. But only when it happened.

Florian Bayer: I think it's absolutely correct. And it happened.

Johannes Franke: I think it's absolutely correct. It happened after about an hour. That means we have... So,

Florian Bayer: we have our last half hour of vampire action. Plur, you just want to get a little bit of rage from me. That's all. You're trying to get me out of your reserve. Full of bullshit. I think it's fantastic. I think this is the moment when you say, yes. And then it's just like the first half. It's on point in the staging and dramaturgy. The door is closed, dinner is served. Yes, that's right. And then we have a drive through this restaurant. Yes. And it's really... We see body parts being torn apart, we see heads flying through the area, we see blood and smudges, by the way, a lot of green blood. Yes,

Johannes Franke: they shouldn't have made it red, otherwise they wouldn't have gotten a release.

Florian Bayer: The fight against the film societies, against the MPA, great. We see an extreme amount of smudges and splatters and we see again what Tarantino, and I say now consciously, Tarantino can do well, namely such absolute... B-Movie-Nischen-Kino-Splatter-Filme mainstreaming, because it's extremely fun and has an extremely blockbuster dynamic. I think everything on this first time is grandiose from the beginning to the end. I sit there and have fun. I'm not disgusted by Splatter.

Johannes Franke: I don't see it as Splatter because it's just a colorful, funny scene. I don't understand it, because, as I said, no more dramaturgy comes into this film. And the film had a dramaturgy up to that point where I would have liked to have a satisfying ending. And then comes that and I think to myself, yes, I see that they have fun and I could maybe have fun myself if I could adjust to seeing this now.

Florian Bayer: Aha!

Johannes Franke: Yeah, yeah, of course. If it was an independent film, I would be happy with it.

Florian Bayer: Exactly, it's not an independent film, because it's absolutely correct in this film.

Johannes Franke: I would have been prepared. And if I know what's coming, as you had in mind, even the first time, then I see the whole film before that. Because I forgot it again, I wasn't prepared for it and didn't see the film in its B-movie-like nature, but in its gangster-like nature. So in a Tarantino-esque variant. And I just didn't expect that. And then to get in there in this second film needs a grandiose flexibility. Let me make a comparison. Okay, go ahead.

Florian Bayer: Kevin Alone at Home.

Johannes Franke: What?

Florian Bayer: We all watch Kevin Alone at Home. A film about a boy who has to fight alone, who lost his family. And then the monsters come.

Johannes Franke: Because we know...

Florian Bayer: We want to see the big finale, where just a half hour Joe Pesci and Martin Stern walk through the house and get hit in the face. That's what we want to see. That's the last half hour. That's the film,

Johannes Franke: of course.

Florian Bayer: Of course. That's not the film. That's the last half hour of this film.

Johannes Franke: Yes, I know. But you always remember, three quarters of the film is just Joe Pesci and Stern.

Florian Bayer: Would you even call Kevin Alain two films?

Johannes Franke: No. Thank you. Man, only. Floor, no, that doesn't work like that. No, no, no, no. It's just, well, Kevin Alone at Home is from the beginning to the end still a slapstick comedy. Yeah,

Florian Bayer: but there's not that much slapstick in the first half.

Johannes Franke: But there is.

Florian Bayer: In the first two thirds.

Johannes Franke: Yeah, exactly. First two thirds. Like how she calls the helpless police and so on. That's just all, that's not realistic. That's just... verbal and visual slapstick, what happens there. Even before that.

Florian Bayer: Was Kevin Alleyne's house more realistic than this movie? And I'm talking about the first half. Yes,

Johannes Franke: yes, yes.

Florian Bayer: Kevin Alleyne's house is more like a normal city. Unless we assume that Kevin's father is a gangster.

Johannes Franke: But the break is not as strong. The break is not as there as in this movie.

Florian Bayer: I think the break...

Johannes Franke: You don't suddenly have a bunch of vampires.

Florian Bayer: No, but you have gangsters who get you in the face. And it's really comical. And I see that here too. And that's the...

Johannes Franke: Ah...

Florian Bayer: Where... I had fun in the first 60 minutes, but what I'm also looking forward to in the first 60 minutes and especially what's going on now, yes, now the splatter is going on and now we just have a fun. First, a lot of people get eaten, then the last survivors fight the eaters, then a few heads are blown. And then we have the very last survivors who defend themselves. And I think it's from the beginning to the end, it's also, I think it's dramatic, absolutely logical, cut. I think it's absolutely key what is being told here. This has a story,

Johannes Franke: this has a dramaturgy. What kind of story does this have? They just defend themselves and there are a few ... So it's like a video game, you know? Yes, definitely. You have to be like an ego shooter or something. I don't know what video games are like. Okay, boomer.

Florian Bayer: We first have the vampire action, the vampires.

Johannes Franke: Yes. ...

Florian Bayer: they go to the people in the bar. But we already see that there are a few who can defend themselves. They actually manage to clean up so much that we have our survivors, our new protagonists, namely Seth, Richie, the Fuller family and Frost and the Sex Machine, who are now cleaning up a little more.

Johannes Franke: But what kind of losers have been there before, and that is obviously for centuries, because of this ... And I ask myself again,

Florian Bayer: now you're asking for logic?

Johannes Franke: No, man, you can't always take everything with you, it doesn't have to be logical. No, that doesn't work.

Florian Bayer: But the first part, I don't find it as illogical as the first part. I think the behavior and the way protagonists deal with problems, I don't find it as inconsistent as what was seen before. Guys,

Johannes Franke: you out there, you have to, we have now, how many years have we been doing this podcast? Three years? Yeah. Four years? Oh god.

Florian Bayer: Five, six years.

Johannes Franke: What? Yes, at least since 260 episodes or something. And I think you have to get used to it a little more, to write me emails, by saying, yes, you're right. To hit you on my side, so that I can have a little something in my hand and say, here, look, the community, our community is on my side. 260 episodes. How many emails have you gotten so far? Not a single one. Not a single one. See? Up your game.

Florian Bayer: See? See? I get ten emails every day saying I'm right.

Johannes Franke: Exactly.

Florian Bayer: We have this great interlude, and don't tell me you don't think it's great, where six machines turn into a vampire and try to hide it. That's super cute.

Johannes Franke: It's so funny. It's of course a bit of a cliché, the guy who doesn't want to realize that he's being transformed and who also needs way too long. But also the other, the family man, who also takes way too long to change. A man of God. Yeah, okay. And at some point God can't defend himself anymore. God lost in this film. That's how it is. Yeah,

Florian Bayer: definitely.

Johannes Franke: Go for it! Okay. I like sex machines and stuff, of course, it's fun, but it's such a 180-degree turn, I don't know. I think the first part is really much better. I think the first film is really much better. Man, we have this great scene where the vampires are being dropped on the table legs. We have this great scene with... Okay,

Florian Bayer: that's partly CGI, sometimes it's not so well aged, but we still have this very funny scene where Danny Trejo dissolves on a billiard table and then his eyes roll into the billiard holes. Yeah, okay, okay. We have this really cool body guitar. Tito and Tarantula and they all have body parts as instruments. It's so funny.

Johannes Franke: And then they dissolve in the air.

Florian Bayer: Because they just don't want to. We have a montage scene. When did you last see such a cool scene where people prepare for the final fight against the final enemies and we just have a montage including Juliette Lewis who fights with an arm breast, which is really an unfavorable weapon at the moment. And the fourth wall breaks into the camera. Yes,

Johannes Franke: yes, yes. So there are a lot of funny ideas. But it's just the other movie. It's just a wrong movie. No,

Florian Bayer: it's still the same movie and it's so much fun. We have bodies that explode because they are hit by water. No matter if it's a condom or a water gun. By the way, the weapon of my choice in this case. Ah, okay. The condom. The condom and the water gun. I think Scott actually has the best weapons of them. Because Kate has a arm. That's really shit. Hard to reload and so on. Then Seth has a melee weapon. Which is not the cheapest thing to do when you're fighting beasts that want to bite you. You don't want to have a steam hammer and go so close to them. And yes, okay, Jacob has a knife, but it has to be reloaded often. Yes, exactly. That means I would choose water pistols and condoms, but above all because I couldn't use the other weapons. I don't want to imagine myself with a breast.

Johannes Franke: For having the best weapon, he dies mercilessly. That's a bit mean.

Florian Bayer: But he dies because he is distracted by his father, who turns into a vampire.

Johannes Franke: Yeah, because he doesn't have the Coronas to kill him. By the way,

Florian Bayer: there are quite a few emotions in there. For one, Seth, who has to kill his own brother. And the emotions are very well counter-carried with this moment where they are standing there. And after Richie has dissolved, they still have his arms in their hands. And really, Seth is emotionally moved because he killed his brother. And Sex Machine and Frost have their arms in their hands and throw them to the side as if it were garbage.

Johannes Franke: Great.

Florian Bayer: And also an emotional scene where Scott has to kill his father and Kate then her brother. Great moment.

Johannes Franke: Everything goes down in the slapstick, which goes in completely unexpectedly.

Florian Bayer: Man, dude, really.

Johannes Franke: I don't understand. The whole emotions, they don't matter at all. And then they shoot at the end everywhere in the walls, although tomorrow is coming from everywhere, from every wall. Daylight. Although that can't be at all.

Florian Bayer: Disco ball action!

Johannes Franke: But that's awesome. That's true.

Florian Bayer: Daylight broken on a disco ball.

Johannes Franke: Disco ball is great.

Florian Bayer: It doesn't make any sense at all, because the room is also kind of bright. Yeah, yeah. And then you have this light on and say, no, the room is bright. Light doesn't work like that. But it's a big finale and at the end there are just a lot of exploding bodies. I have from start to finish in these, let me see, nothing wrong to say, 30 minutes. That's a little more than that, 35 minutes more. Unbelievable much fun.

Johannes Franke: But completely different fun than the hour before, right? I don't understand, Floor. I just can't get it out of my head.

Florian Bayer: It's just the whole thing again, high ten, with vampires. But otherwise I just have fun.

Johannes Franke: Is it also because you don't like splatter? Of course it is, Floor. I can't start with splatter. I can start a lot with slapstick. That's why I really find many funny moments in the thing. But I really think it's so, so... strange 180 degrees, that I also think the first part has so much more deserves a resolution. He deserves a much better second part because he builds everything up so well and then somehow hangs in the air because then what kind of resolution is that?

Florian Bayer: But do you want to do a second part just like the first part? Then it would be a very, I think, a very, then it would be a very boring film from a certain point of view.

Johannes Franke: Oh, come on, Tarantino also has good ideas. He can do it, then to write a decent second part. He doesn't have to ... This Rodriguez or this, this short man, the short man probably had that in mind. Of course! So it's a showcase. And that's why I said at the beginning, we have to keep it in mind, because it's so transparent when you know it. You can't do it alone, but when you know that it should be a showcase film, then everything makes sense. Of course, of course you have to do that. Of course, you have to show it in one part once nicely compressed. By the way, we can do that as mask craftsmen, as makeup specialists. And of course they can do that. It's a bit trashy in between.

Florian Bayer: But you have to admit, they can do that really well.

Johannes Franke: They can do that really well, but also a different part. And the CGI.

Florian Bayer: I think they built in the CGI to say, yes, that's the hot thing right now. We can do that too. It's not particularly good. No. So both Selma Hayek's face that transforms into a snake, as well as various vampire bodies that dissolve. That's very dated. And that's just the problem with mid-90s CGI, that they just don't keep up. with the current scale.

Johannes Franke: And they have strange cuts in it, where a vampire is a full blown vampire and then suddenly not quite like that again. It's a bit inconsistent.

Florian Bayer: They had relatively few vampires there and they also worked a bit with CGI and green screen to multiply them and to let stuff happen in the background. Because they didn't have that many masks and costumes and they tricked a bit. But good that this is a successful... showcase was because they then did the effects for Walking Dead among other things. Yes. And yes, they did a lot of other effects and so on afterwards and until today. And yes, but of course you can see that. It is thought a lot to show, hey, look what we can do with stunts, special effects and CGI and practical.

Johannes Franke: And it's exciting because it will then be a showcase of a showcase, because you can see that it is possible that you, whether you als Schauspieler oder als Make-up Artist oder was auch immer ein Teil einer Filmproduktion ist, kann man mit einem eigenen Projekt die eigenen Fähigkeiten durchaus promoten. Und wenn man Glück hat und wenn man die richtigen Leute dazu holt, kann das ein richtig riesiges Ding werden und als Sprungbrett gelten für seinen eigenen Job. Und das finde ich sehr ermutigend.

Florian Bayer: Yes, absolutely. And at the same time, I would also say that it shows. that it can really be a good film. Because I know you're split, in the broadest sense of the word. Yes,

Johannes Franke: exactly.

Florian Bayer: I think it's just over this showcase character a really good film. And I would at this point, and I think you disagree with me, also distribute credit in many directions. I would say it's of course Tarantino's script, which he can write extremely well, which he wrote extremely good dialogues. But it's also Rodriguez's staging, who took these trademarks from his films.

Johannes Franke: Yeah.

Florian Bayer: Tarantino is staged differently than Rodriguez. Tarantino, we also discussed in our Pulp Fiction episode, has a lot of static cameras, is very much inspired by his kind of staging from the European art house cinema and still manages to bring in dynamics, but it's more static images. Rodriguez is the guerrilla, hand camera, let's make it rough and fast type.

Johannes Franke: That's a lot of dynamic, that's good.

Florian Bayer: And especially this splatter scene, where so much happens, they live off of you having a more dynamic camera, more camera action. By the way, to say the name, Guillermo Navarro was the cameraman who already directed cameras with Desperado. And then he also worked with Tarantino, he did the camera with Jackie Brown for example in 1997. Exactly. I think that feels more like Rodriguez, this dynamic, this action. And some people say they like to see Tarantino in the first part and Rodriguez in the second. I have the feeling that it's more like that. I think in the first part you often have a dynamic that is perhaps not the Tarantino thing. And maybe also a dynamic beyond the reference that is not the Tarantino thing. With Tarantino you often have this feeling of everything is a remix when you see pictures of him. Because you think, ah, that's... It's from this movie or this movie. And with Rodriguez there is, I think, a trace with it, that it's just a noisy indie staging that is not so much based on references.

Johannes Franke: It also means that the films by Rodriguez, where he had more money, are the worse films.

Florian Bayer: I said Rodriguez is a chameleon director. I don't think he's the best director. And yes, I would probably also sign with the money. I thought Sin City felt very sterile. It was a good film, but it felt sterile. And everything that Rodriguez did in the 2000s was rather half-baked. What's the craziest thing that brings me to say this Rodriguez thing again, Alita Battle Angel, which he made in 2019, that was also such a high CGI film with computer animated people running around between real people. And that was a James Cameron film.

Johannes Franke: Oh yeah, okay.

Florian Bayer: James Cameron produced, wrote a script, you watch this film and think, oh, Robert Rodriguez is the regie? No, that's James Cameron.

Johannes Franke: Okay.

Florian Bayer: Yes, I think Rodriguez was best when he... made dirty films with little money. Mariachi, Desperado, this one definitely too.

Johannes Franke: Maybe it's also, these are also earlier films, right? And then maybe it's also the youth or something that got the anarcho out and then when you get a little older, somehow set, then you maybe lose a certain drive or something. Rodriguez has shot a movie. That's totally great.

Florian Bayer: I like Rodriguez alone.

Johannes Franke: Hundred Years heißt das Ding. Ja.

Florian Bayer: Und zwar ein experimenteller Science Fiction Kurzfilm mit John Malkovich, der auch das Drehbuch dazu geschrieben hat. Oh. Robert Rodriguez ist für die Inszenierung verantwortlich und der wurde 2015 gedreht und wird beworben mit der Tagline The Movie You Will Never See. Er soll 2115 veröffentlicht werden.

Johannes Franke: Nein.

Florian Bayer: Ja. The thing is deliberately kept as a promo, as a gag in the gift box. And we won't be able to see this film, unless we become immortal or something. Wow.

Johannes Franke: Okay. I'm looking forward to the film.

Florian Bayer: What a sweet idea. And I hope that someone will steal it and we'll find out that it's total bullshit. But I think the idea is funny. Crazy. Awesome. After our big action finale, we still have the epilogue to this closed film, which is one.

Johannes Franke: With the third role.

Florian Bayer: With Cheech, who suddenly appears. The devil who finally asks, do you follow me? And it's supposed to be Seth after El Rey, that's why he doesn't give him 30% anymore, but a little less. He treats him in a wonderful scene. Yeah,

Johannes Franke: so he's pissed. Just. Yeah, logically. I totally understand. And he does it very well. So I also think, well, George Clooney, really a good scene. George Clooney does it very well. And then gives her the run pass. Although she asks, and we expect that as a viewer, that she drives with him, the remaining daughter. Which is quite strange,

Florian Bayer: because there was no great chemistry between the two. Except for the thank you, what she said to him, when he beat Tarantino.

Johannes Franke: Yes, but he is the only figure she can hang on to. And of course you think, yes, okay, then she drives with him, because she doesn't have anyone else. Family is dead. But he says, surprisingly, no, I'm not such a motherfucker either. I'm an asshole, but not one like that.

Florian Bayer: Two thoughts on this scene. On the one hand, I think she says it's pretty cool. She asks, want some company or something.

Johannes Franke: Yeah, exactly. So very casual.

Florian Bayer: Exactly.

Johannes Franke: Which I really like.

Florian Bayer: Yeah. That she just, that she doesn't say, help me,

Johannes Franke: get me out of here.

Florian Bayer: But that she just says, eh, eh. And then, in the moment when he says, yeah, I can't take it with me. You don't even know what El Rey is. Very nice that such a mystery is being built here. Yeah, exactly. He takes off his jacket and his tattoo. Tattoo will be very revealed. Does that have any meaning? Because it almost seems as if this tattoo and El Rey, as if there was any connection there. Because in this moment where he says, do you know what El Rey is? And then he pulls out like that and we see, he has such a huge tattoo on his arm, which we didn't really expect. It almost seems as if there was any connection there.

Johannes Franke: There is such a series.

Florian Bayer: Yes, there is a series.

Johannes Franke: I haven't seen it. I can't say anything about the tattoo now. But I have the impression, after what I read and heard, that the series... so much over explaining that there is probably somewhere where this tattoo is explained. I watched the first season to the end and then turned it off because it didn't work.

Florian Bayer: Because it was really a complete disaster.

Johannes Franke: Oh god, oh god, oh god.

Florian Bayer: From the beginning to the end. It was like someone didn't understand this film and made a series out of it. Shit. I can also say something about the sequel. No, I can only say one thing about the sequel. I haven't seen the third one. The series... That really turned me off. And that's because they really come up with the idea to stage the Tarantino character, so Richie, so that his visions are related to the vampires and that he really sees more than others. That means this whole game with this tick, with this bizarre, with this hallucinative, what Richard actually has. machen sie zu einer übernatürlichen Fähigkeit. Oh fuck. Und wenn wir uns daran erinnern, dass in diesem Film das gezeigt wird als Erklärung, warum er Frauen vergewaltigt, dann ist das komplett daneben.

Johannes Franke: Ja, ja.

Florian Bayer: Dieser Film hat nichts, hat weder den Humor, noch die Action, noch die Dynamik von dem Film. Und zwar, ich habe mich darauf gefreut tatsächlich. Ich dachte, ach geil, mal schauen. Und es war wirklich, wirklich mies. And shit, shit. Ich war nicht glücklich.

Johannes Franke: Okay. Ja, gut.

Florian Bayer: Should I say something about the movie, because I'm just about to do it? Come on, tell us. There were two sequels to this movie, logically From Dusk Till Dawn 2 and From Dusk Till Dawn 3. And I'll tell you the right titles. Namely Texas Blood Money was the second part and The Hangman's Daughter was the third. And Texas Blood Money, From Dusk Till Dawn 2, I had seen half of it at some point. And I know that I made it up and I didn't know why. By the way, both direct-to-video, we're in the 90s. And that's why I have... I started it again now because I just wanted to know why. Did you turn it off again in 1990? I went through it a little longer, but not much.

Johannes Franke: Oh god.

Florian Bayer: Here, too, the problem is not the least of the fun and the dynamics from the first part and the third, which obviously tells the prehistory of the Salma Hayek figure. That's why I didn't start anymore.

Johannes Franke: Oh god, okay.

Florian Bayer: And this time for the same reason as last time, because the second turned me off so much that I didn't feel like it. But obviously From Dusk Till Dawn 3, the Hangman's Daughter, plays. irgendwann Anfang des 20. Jahrhunderts. Und es ist eher so ein Spätwestern. Und es wird halt erzählt, wie die Protagonistin zu Santanico Pandemonium wird.

Johannes Franke: Ah, okay. Na gut.

Florian Bayer: Kein Interesse. Also ich habe einen schlechten direkt zu Videofilmen gesehen. Das reicht mir. Ich muss jetzt nicht. Ich habe ihn nicht mal ganz gesehen. Aber Danny Trejo war in beiden.

Johannes Franke: Ah, okay.

Florian Bayer: And Rodríguez was also somehow in the production. Rodríguez sometimes has a really bad hand to make films. Oh

Johannes Franke: God, oh God. Well, good. Do we also want to jump into our top three, when we are already in the quasi-discord, because we have the largest part behind us, into our top three? On.

Florian Bayer: Top three bars. I wanted bars. I'm very uncreative. Clubs or bars. Clubs or bars. And my choice is also very uncreative. And I think I have everything that everyone would take. I am, this is the most generic top three that I have ever created in my life.

Johannes Franke: Then I'm curious to see if we have the same. I would say the same. I think I really have that. Well, that's just the bars. So what's my choice? Yes, go ahead. Number three, Rick's Cafe.

Florian Bayer: That's my number one.

Johannes Franke: In Casablanca.

Florian Bayer: We are so boring.

Johannes Franke: Fuck. Yes, of course. So, Rick's Café in Casablanca. It's about... What's the point of Casablanca? I have to start from the beginning. So, a second world war in Casablanca. Everyone is being washed up, who somehow try to flee and then want to go to America. But the visa to America is hard to get. And Rick, a man disappointed by life and love, is being weighed down. Very good movie, by the way. We've talked about it. Very, very good movie. 1942.

Florian Bayer: Great movie, great bar. And I still find it totally boring. My place three is the club Obi-Wan in Indiana Jones and the Temple of Doom. Indiana Jones and the Temple of Death right at the beginning. They sit there and drink and it's just such a club where women dance too. And at the beginning you have the feeling you're at a musical stage and then it's suddenly much smaller and it's all so relatively chic and very pretty.

Johannes Franke: Yeah, especially because it looks really huge at the beginning. You have the feeling, okay, that's a huge musical production. I think it's a nice effect, but the bar itself I don't think is worth mentioning.

Florian Bayer: I'm not confident with my top three. Keep going. Floor,

Johannes Franke: really. I'm on second place, Mos Eilish's Cantina.

Florian Bayer: That's also my second place.

Johannes Franke: Krieg der Sterne. Star Wars 1977. And there's this great coupling of this band that just, all right, the same song again, all right. And then it goes again.

Florian Bayer: The song is great.

Johannes Franke: It also sets itself firm in the head. And of course, I think that's actually a very good bar, because there's everything possible to come together on showcases for this world. You have a lot of characters and then you think to yourself as George Lucas, yes, come on. Alles rein.

Florian Bayer: Da packen wir mal ganz viel Ehring rein. Übrigens der einzige Moment, in dem im Original Star Wars überhaupt groß fremde Völker gezeigt werden. Stimmt, ja. Weil sonst sind es hauptsächlich einfach Menschen, die da rumlaufen.

Johannes Franke: Ja, wie gesagt,

Florian Bayer: das ist mein Platz 2 und mein Platz 1 ist Rick's Café. Und jetzt musst du mich umhauen mit deinem Platz 1.

Johannes Franke: Der blaue Engel.

Florian Bayer: Oh. I didn't even think about that.

Johannes Franke: I won these top three. Yeah,

Florian Bayer: but I didn't like the film.

Johannes Franke: But the bar is great, listen. Yeah, the bar is great. Oh yeah, oh yeah, oh yeah,

Florian Bayer: it's already good. You won the top three. The Blue Angel, a same-name film. Yeah. From the year? 1930. 1930.

Johannes Franke: We talked about it. We talked about it for a long time. We weren't quite satisfied because Plore is a wanker and says, the book is much better than the film.

Florian Bayer: Read Professor Unrath, guys. The Blue Angel, you don't have to watch it. You can watch the singing songs of Marlene Dietrich. Then you're happy and have seen the best.

Johannes Franke: I've read it now, by the way. And? I was so disappointed and ashamed that I didn't read it. Isn't it great? It's great.

Florian Bayer: How he changes in the book is fantastic, isn't it? Very,

Johannes Franke: very great. Yes, yes, really. A great development. And it's very, very... You're so attached to this guy,

Florian Bayer: although you think all the time...

Johannes Franke: And at some point he becomes the awesome guy. Yeah,

Florian Bayer: Back to our film, Dusk Till Dawn. That was our top three. And we come to a very important clock, not only for all 90s, but especially for all 90s Tarantino films.

Johannes Franke: Yes.

Florian Bayer: What is problematic?

Johannes Franke: Now we are talking about Dusk Till Dawn about this topic.

Florian Bayer: Let's make it short and let's get a few bullet points down. This film has a lot of rape culture on board.

Johannes Franke: Yes, this film is insanely sexist.

Florian Bayer: And the bad thing is, it's all for half-baked jokes. It's not bad to show that men are pigs and want to rape women. It's difficult when it's shown for a gag, for a lame gag.

Johannes Franke: Even if the gag would be good, it's still not cool. You don't do that.

Florian Bayer: Tarantino as an author is really, really a good author. But especially the boy Tarantino is not an open insider and you can notice that. Yes,

Johannes Franke: exactly.

Florian Bayer: And he puts his sexual fantasies into the movies and at the same time you can notice that these are the sexual fantasies of someone who... Yes.

Johannes Franke: You have the feeling to have someone in front of you who thinks, oh now I have a standing and a power and now I can just do whatever I want. Now I'm where I always wanted to be and I'm just edgy. Yes. I want to be edgy.

Florian Bayer: Big problem, this movie doesn't go back to... with various slurs on various groups of people, including homosexuals, among others Asians and disabled people. And here, too, it is not wrong to put the character in the mouth. But it is wrong if it is for a lame joke or to say Hey, look how edgy I am and both make this film.

Johannes Franke: Yes, full of power. Yes, you don't have the feeling that the film has a healthy attitude, but that the film makes it out of an unhealthy attitude.

Florian Bayer: And like many films by Tarantino and Rodriguez in this time, ist dieser Film einfach mal eine Schwanzparade. Es steckt sehr viel Testosteron in diesem Film. Frauen haben wenig zu sagen.

Johannes Franke: Und das tut mir echt leid für Sam and Eric. Ja, die hätte viel mehr machen können.

Florian Bayer: Genau. Das haben wir noch gar nicht. Das ist einfach auch dramaturgisch, was schlecht ist, was daraus wird. Wenn du einer Frau nicht eine vernünftige Rolle gibst, dann verpasst du es, eine geile Obervampirin zu haben. Und sie hat komplett das Zeug dazu.

Johannes Franke: Deswegen hat er ja auch keine Dramaturgie, der letzte Teil.

Florian Bayer: Hier haben wir doch alles schön ausgelegt. Aber ich gebe dir, dass das wirklich eine Schwäche davon ist.

Johannes Franke: Sehr schön. You found one weakness in the whole movie?

Florian Bayer: I don't think so. We'll come to the judgment. The judgment. I really only found one weakness in this movie. Well, what I just counted. Yeah, exactly. But it doesn't matter at all, because this movie is incredibly fun. And to start with the bow, I think this movie is better aged than Pipe Fiction. And I have... I thought about it, what it's about. I heard our Pulp Fiction episode and we often said style over substance. Yes, that's true. And style ages rather badly, often. Especially when it's so specifically in a time frame as with Pulp Fiction in the

Johannes Franke: 90s. But was that what was badly aged in Pulp Fiction? Really? Did we talk about it like that?

Florian Bayer: I don't know anymore. I think it was more my opinion. But we agreed that it's badly aged. Yes. And I think it's mostly that... Was stilistisch und was cool gewirkt hat in den 90ern an Pulp Fiction wirkt heute halt nicht mehr cool, sondern Daryl Walter wirkt einfach nur noch wie ein verpeilter Dude. Und bei diesem Film ist es nicht so schlecht gealtert, weil es eher Fun over Substance ist. Und das, was damals in den 90er Jahren mir Spaß gemacht hat, macht heute immer noch Spaß. Es ist einfach besser gealtert und es ist natürlich, es ist alles ein bisschen holprig und es ist... partly dirty and you think so yes and and the way politically this film is not so well aged but it's so much fun and it's just as much fun as it was back then and that's why I think the film is much better aged and really easy and great pleasure so

Johannes Franke: I have to rate two films now because I really see this break so strongly I have a great first part that I really damn well and The entry is the hammer, really, really insanely good. And then it develops well. It's done well. We had, of course, all the problems with sexism and racism and all these things. But the set is really, really good. Just that this film, this film lacks a good end. And what we get instead is just a second film, which I probably view singularly. If I only knew this film and knew what I was getting into, I would also find it funny. fände. Einfach als... Okay, we're just looking at people who are clapping their hands at each other and people are wearing masks that somehow somehow remind you of a fantasy environment. And then the fantasy film itself is also cool. So I actually think both parts are cool, but because they're together, they make each other weak. And that's my problem with the film.

Florian Bayer: Okay, so Johannes says two films that you have to see. I say a film that you have to see.

Johannes Franke: Can we agree on that? I don't know if you have to watch it. But both are fun for them. I think the first one is a little better than the second one. But well, maybe just because I'm not a big fan of slasher stuff. And there's a lot of disgust in it.

Florian Bayer: The film was a big hit. And I said it before. It's Tarantino who manages to do something like that on the mainstream. And I think that's a strength that draws through Tarantino's career. That he rather takes niche cinema. And what makes a big audience out of it. And that's absurd for such a splatter spectacle. What is really brutal, what really has a damn humor. What really often hits under the belt line. He has a budget of 19 million dollars, has the thing 59 million played in. And it's really, although he's not so good at the critics, has become an absolute cult film. And I think so right. I think that's what it is. If you say Pulp Fiction, you have to think of From Dusk Till Dawn. And I think he's even the more desirable film of the time.

Johannes Franke: Okay. Well, good. And nice conclusion, Flor, many, many thanks for this film.

Florian Bayer: Thank you, Johannes, that you watched it. Yes. That you watched the two films. Yes, exactly.

Johannes Franke: Thank you very much that I was allowed to watch these two films. That we have formulated and considered them bravely, separated from each other. How dare you cut out these two episodes and name them with film 1 and film 2. You know that I can't do anything else.

Florian Bayer: If you want to know which two films Johannes will give me next week. Bleibt noch kurz dran. Ansonsten euch wie immer vielen Dank fürs Zuhören. Toll, dass ihr da seid.

Johannes Franke: Ja, ich wünsche euch einen wundervollen Start ins 2026. Haben wir das letzte Mal schon gesagt, aber wir bekräftigen es, weil dieses Jahr wird großartig. Wird es. Bleibt noch kurz dran und ansonsten hören wir uns nächste Woche. Bis dann. Bis dann. Ciao. So, Plor, I have something for you.

Florian Bayer: Yes,

Johannes Franke: what is it? I saw Marie Antoinette a while ago.

Florian Bayer: Oh.

Johannes Franke: And then I told you about it and you said, yes, was he that good? I don't know. And I thought the whole time, was he really not that good? And then I saw him again.

Florian Bayer: Yes.

Johannes Franke: And I thought, no, I have to give it to you. Okay, it's been a long time since I've seen it.

Florian Bayer: I think I've only seen it once and I didn't think it was particularly great. So I'm curious. It's been a really long time. That means it could be that my judgment is 180 degrees.

Johannes Franke: Who knows? Who knows? I hope so, actually. Because I'm taking a risk here, because I know that the film wasn't that good back then.

Florian Bayer: Just so we understand each other correctly, Marie Antoinette isn't some stupid film from 1926, but the Marie Antoinette by Sofia Coppola.

Johannes Franke: Would totally fit me. No, 2006 released, Marie Antoinette by Sofia Coppola, which is famous for using music that doesn't fit into the time of Marie Antoinette.

Florian Bayer: Let's make history pop. That was kind of like the late 90s, early 2000s, that was a thing, right?

Johannes Franke: Weiss nicht. Mir fallen keine anderen Beispiele ein oder nur Beispiele, die später sind. Aber können wir alles nächste Woche besprechen?

Florian Bayer: Machen wir.

Johannes Franke: Also schaut euch den Film Marie Antoinette an und dann könnt ihr nächste Woche mitreden.

Florian Bayer: Wir hören uns. Bis dann.