EQUIVALENT MATCHUP HERE IN A BRAND-NEW QUENTIN TARANTINO
BRAND-NEW QUENTIN TARANTINO CLASSIC.
CLASSIC. >> Reporter: YOU GUYS HAD NEVER
>> Reporter: YOU GUYS HAD NEVER BEEN IN A MOVIE BEFORE.
BEEN IN A MOVIE BEFORE. >> NO.
>> NO. BUT WE STARRED ON THE SAME
BUT WE STARRED ON THE SAME TELEVISION SHOW.
TELEVISION SHOW. >> "GROWING PAINS."
>> "GROWING PAINS." >> ’91 AND ’90.
>> ’91 AND ’90. >> ’92.
>> ’92. >> MAYBE I WAS ’90.
>> MAYBE I WAS ’90. >> DECADES AGO.
>> DECADES AGO. WE WERE ON THE SAME TELEVISION
WE WERE ON THE SAME TELEVISION SHOW.
SHOW. >> Reporter: DID YOU EVER DO A
>> Reporter: DID YOU EVER DO A SCENE TOGETHER?
SCENE TOGETHER? >> NO, NO.
>> NO, NO. >> Reporter: WAIT NO LONGER.
>> Reporter: WAIT NO LONGER. L.A., THE SUMMER OF 1969, THE
L.A., THE SUMMER OF 1969, THE CITY OF DREAMS IS GOING THROUGH
CITY OF DREAMS IS GOING THROUGH SEISMIC CHANGES.
SEISMIC CHANGES. FOR SOME IN HOLLYWOOD, IT MEANS
FOR SOME IN HOLLYWOOD, IT MEANS OPPORTUNITY.
OPPORTUNITY. FOR OTHERS, IT FEELS MORE LIKE
FOR OTHERS, IT FEELS MORE LIKE THE LAST PICTURE SHOW.
THE LAST PICTURE SHOW. >> MEANT TO HELP CARRY THE LOAD.
>> MEANT TO HELP CARRY THE LOAD. >> IS THAT HOW YOU DESCRIBE YOUR
>> IS THAT HOW YOU DESCRIBE YOUR JOB, CLIFF?
JOB, CLIFF? >> WHAT, CARRYING HIS LOAD?
>> WHAT, CARRYING HIS LOAD? THAT’S ABOUT RIGHT.
THAT’S ABOUT RIGHT. >> Reporter: "ONCE UPON A TIME
>> Reporter: "ONCE UPON A TIME IN HOLLYWOOD" IS A BUDDY MOVIE.
IN HOLLYWOOD" IS A BUDDY MOVIE. >> HERE I COME.
>> HERE I COME. >> Reporter: A CLIFFHANGER, A
>> Reporter: A CLIFFHANGER, A HORROR FILM, AND A TARANTINO
HORROR FILM, AND A TARANTINO MASTIC CLASS IKER CLASS IN STORY
MASTIC CLASS IKER CLASS IN STORY >> DON’T YOU FORGET IT.
>> DON’T YOU FORGET IT. >> Reporter: CAN YOU GIVE ME THE
>> Reporter: CAN YOU GIVE ME THE ELEVATOR PITCH?
ELEVATOR PITCH? >> I DON’T KNOW IF I CAN DO THE
>> I DON’T KNOW IF I CAN DO THE ELEVATOR PITCH FOR THIS.
ELEVATOR PITCH FOR THIS. >> Reporter: ABOUT ANYTHING.
>> Reporter: ABOUT ANYTHING. >> YEAH, ABOUT ANYTHING.
>> YEAH, ABOUT ANYTHING. >> Reporter: LEONARDO DICAPRIO
>> Reporter: LEONARDO DICAPRIO IS THE FADING TV COWBOY ACTOR.
IS THE FADING TV COWBOY ACTOR. BRAD PITT, HIS STUNT DOUBLE.
BRAD PITT, HIS STUNT DOUBLE. >> WE GET INTO A FIGHT.
>> WE GET INTO A FIGHT. I EXECUTE.
I EXECUTE. I GO TO JAIL.
I GO TO JAIL. >> ANYBODY ACCIDENTALLY KILLS
>> ANYBODY ACCIDENTALLY KILLS ANYBODY IN FIGHTS, THEY GO TO
ANYBODY IN FIGHTS, THEY GO TO JAIL.
JAIL. >> Reporter: FRIENDS
>> Reporter: FRIENDS INSEPARABLE.
INSEPARABLE. >> WORKING CLASS GUYS TRYING TO
>> WORKING CLASS GUYS TRYING TO SURVIVE IN A CHANGING INDUSTRY.
SURVIVE IN A CHANGING INDUSTRY. THE POMPADOURS ARE FADING OUT,
THE POMPADOURS ARE FADING OUT, AND THE HIPPIE REVOLUTION WAS
AND THE HIPPIE REVOLUTION WAS COMING INTO PLAY.
COMING INTO PLAY. >> Reporter: DID YOU HAVE THESE
>> Reporter: DID YOU HAVE THESE GUYS IN MIND WHEN YOU WROTE IT?
GUYS IN MIND WHEN YOU WROTE IT? >> WELL, YES.
>> WELL, YES. >> A FEW OTHERS.
>> A FEW OTHERS. >> HERE’S THE THING THOUGH, YOU
>> HERE’S THE THING THOUGH, YOU CAN’T --
CAN’T -- >> TO BE FAIR.
>> TO BE FAIR. >> THE ANSWER IS, YES, I DID,
>> THE ANSWER IS, YES, I DID, BUT I COULDN’T BE ARROGANT
BUT I COULDN’T BE ARROGANT ENOUGH TO THINK I’M GOING TO GET
ENOUGH TO THINK I’M GOING TO GET THEM.
THEM. ALL RIGHT?
ALL RIGHT? >> OH, THAT’S NICE.
>> OH, THAT’S NICE. >> Reporter: WAS THERE ANY
>> Reporter: WAS THERE ANY TREPIDATION WHATSOEVER WHEN, OH,
TREPIDATION WHATSOEVER WHEN, OH, HIM, YOU, THESE?
HIM, YOU, THESE? YOU GUYS ARE REALLY FAMOUS AND
YOU GUYS ARE REALLY FAMOUS AND WELL REGARDED BUT HAD NEVER
WELL REGARDED BUT HAD NEVER WORKED TOGETHER BEFORE.
WORKED TOGETHER BEFORE. WAS THERE ANY TREPIDATION?
WAS THERE ANY TREPIDATION? >> HELL, NO, MAN.
>> HELL, NO, MAN. YOU KNOW YOU DON’T HAVE TO CARRY
YOU KNOW YOU DON’T HAVE TO CARRY THE WHOLE THING.
THE WHOLE THING. YOU HAVE THESE OTHER GREAT
YOU HAVE THESE OTHER GREAT PEOPLE, WHO ARE THE BEST OF THE
PEOPLE, WHO ARE THE BEST OF THE BEST AND ARE GOING TO, YOU KNOW,
BEST AND ARE GOING TO, YOU KNOW, HELP CARRY THAT LOAD.
HELP CARRY THAT LOAD. IT IS ACTUALLY A RELIEF.
IT IS ACTUALLY A RELIEF. >> I DON’T THINK -- I MEAN, I’M
>> I DON’T THINK -- I MEAN, I’M NOT SPEAKING FOR YOU, BUT I
NOT SPEAKING FOR YOU, BUT I DON’T THINK EITHER OF US THOUGHT
DON’T THINK EITHER OF US THOUGHT ABOUT IT IN THAT CONTEXT.
ABOUT IT IN THAT CONTEXT. IT’S WHAT’S BEST FOR THE FILM.
IT’S WHAT’S BEST FOR THE FILM. I’VE ADMIRED THE CHOICES HE’S
I’VE ADMIRED THE CHOICES HE’S TAKEN THROUGH HIS CAREER.
TAKEN THROUGH HIS CAREER. YOU KNOW, IF YOU START TO THINK
YOU KNOW, IF YOU START TO THINK IN THAT REALM OF BIG ACTOR, BIG
IN THAT REALM OF BIG ACTOR, BIG ACTOR, WHAT IS THE DYNAMIC,
ACTOR, WHAT IS THE DYNAMIC, YOU’RE TRYING TO CREATE A PIECE
YOU’RE TRYING TO CREATE A PIECE OF ART HERE.
OF ART HERE. >> YOU’RE TALKING ABOUT
>> YOU’RE TALKING ABOUT SOMETHING -- FROM AN OUTSIDE
SOMETHING -- FROM AN OUTSIDE PERCEPTION, I MEAN, JUST A
PERCEPTION, I MEAN, JUST A COUPLE IDIOTS ON THE COUCH.
COUPLE IDIOTS ON THE COUCH. I HAD TO CHANGE MY SHIRT BECAUSE
I HAD TO CHANGE MY SHIRT BECAUSE I GOT TOOTHPASTE ON IT ON THE
I GOT TOOTHPASTE ON IT ON THE WAY HERE.
WAY HERE. YOU KNOW WHAT I MEAN?
YOU KNOW WHAT I MEAN? WE SEE IT FROM THE INSIDE OUT.
WE SEE IT FROM THE INSIDE OUT. >> Reporter: MARGOT ROBBIE PLAYS
>> Reporter: MARGOT ROBBIE PLAYS SHARON TATE, A REAL-LIFE ACTRESS
SHARON TATE, A REAL-LIFE ACTRESS WHO WAS MURDERED BY THE MAN SON
WHO WAS MURDERED BY THE MAN SON FAMILY
FAMILY FAMILY.
FAMILY. IN THE MOVIE, LEO AND MARGOT ARE
IN THE MOVIE, LEO AND MARGOT ARE NEXT DOOR NEIGHBORS.
NEXT DOOR NEIGHBORS. >> I ONLY THOUGHT ABOUT HER
>> I ONLY THOUGHT ABOUT HER DEATH.
DEATH. I WASN’T EXPOSED TO THE PARTS OF
I WASN’T EXPOSED TO THE PARTS OF HER LIFE WHEN SHE WAS ALIVE.
HER LIFE WHEN SHE WAS ALIVE. >> Reporter: TATE’S SISTER GAVE
>> Reporter: TATE’S SISTER GAVE HER BLESSING FOR THE FILM AND
HER BLESSING FOR THE FILM AND GAVE MARGOT SOME OF SHARON’S
GAVE MARGOT SOME OF SHARON’S JEWELRY.
JEWELRY. >> IT WAS SOMETIMES VERY SAD, TO
>> IT WAS SOMETIMES VERY SAD, TO BE THAT CLOSELY CONNECTED WITH
BE THAT CLOSELY CONNECTED WITH REAL LIFE SHARON.
REAL LIFE SHARON. YEAH, IT HIT YOU AT MOMENTS.
YEAH, IT HIT YOU AT MOMENTS. SUDDENLY, THE TRAGEDY OF IT ALL
SUDDENLY, THE TRAGEDY OF IT ALL WOULD HIT YOU, AND YOU’D BE
WOULD HIT YOU, AND YOU’D BE TREMENDOUSLY SAD.
TREMENDOUSLY SAD. OTHER TIMES, IT MADE ME FEEL SO
OTHER TIMES, IT MADE ME FEEL SO HAPPY.
HAPPY. YES, THERE WERE MOMENTS IT WAS
YES, THERE WERE MOMENTS IT WAS VERY SAD.
VERY SAD. >> Reporter: AN EERIE REALITY IN
>> Reporter: AN EERIE REALITY IN A STORY FROM TARANTINO’S
A STORY FROM TARANTINO’S IMAGINATION.
IMAGINATION. BOTH PITT AND DICAPRIO HAVE
BOTH PITT AND DICAPRIO HAVE STUNNING SCENES.
STUNNING SCENES. >> EMBARRASS YOURSELF LIKE THAT
>> EMBARRASS YOURSELF LIKE THAT IN FRONT OF THE GOD DAMN PEOPLE.
IN FRONT OF THE GOD DAMN PEOPLE. >> THE SCENE WHERE HE IS IN HIS
>> THE SCENE WHERE HE IS IN HIS TRAILER, THAT WAS ALL IMPROVISED
TRAILER, THAT WAS ALL IMPROVISED AND WASN’T WRITTEN IN THE
AND WASN’T WRITTEN IN THE SCRIPT.
SCRIPT. >> I WILL GO ON RECORD AS IT IS
>> I WILL GO ON RECORD AS IT IS ONE OF THE BEST MELTDOWNS LAID
ONE OF THE BEST MELTDOWNS LAID ON FILM.
ON FILM. >> I AGREE.
>> I AGREE. >> Reporter: TARANTINO’S FILMS
>> Reporter: TARANTINO’S FILMS ARE IDIOSYNCRATIC AND OFTEN
ARE IDIOSYNCRATIC AND OFTEN SPECTACULARLY VIOLENT.
SPECTACULARLY VIOLENT. >> ANYBODY ORDER FRIED
>> ANYBODY ORDER FRIED SAUERKRAUT
SAUERKRAUT SAUERKRAUT?
SAUERKRAUT? >> Reporter: YOU’VE WORKED WITH
>> Reporter: YOU’VE WORKED WITH THIS GUY BEFORE.
THIS GUY BEFORE. WAS THERE EVER A MOMENT IN THE
WAS THERE EVER A MOMENT IN THE FILMS YOU’VE WORKED ON, OR THIS
FILMS YOU’VE WORKED ON, OR THIS ONE, WHERE YOU SAID, YOU WANT ME
ONE, WHERE YOU SAID, YOU WANT ME TO DO WHAT?
TO DO WHAT? >> NO.
>> NO. NO.
NO. YOU KNOW WHAT YOU’RE GETTING
YOU KNOW WHAT YOU’RE GETTING INTO.
INTO. >> YEAH, THE HULLABALOO SCENE.
>> YEAH, THE HULLABALOO SCENE. >> HEY!
>> HEY! >> THAT IS TRUE.
>> THAT IS TRUE. >> Reporter: THE FILM TELLS US
>> Reporter: THE FILM TELLS US FAME IS A CAPRICIOUS MISTRESS.
FAME IS A CAPRICIOUS MISTRESS. SHE CAN BE CRUEL AND UNFAIR.
SHE CAN BE CRUEL AND UNFAIR. >> IT IS OFFICIAL, OLD BUDDY,
>> IT IS OFFICIAL, OLD BUDDY, AND IT HAS BEEN.
AND IT HAS BEEN. >> Reporter: HAVE EITHER OF YOU
>> Reporter: HAVE EITHER OF YOU EVER HAD THAT SENSE, WHERE
EVER HAD THAT SENSE, WHERE EITHER THE TRAIN HAS STOPPED OR
EITHER THE TRAIN HAS STOPPED OR MAYBE I WANT TO GET OFF?
MAYBE I WANT TO GET OFF? >> I’VE ALWAYS, YOU KNOW -- YOU
>> I’VE ALWAYS, YOU KNOW -- YOU LOOK AT THE TRAJECTORY AND THE
LOOK AT THE TRAJECTORY AND THE CAREERS OF SOME OF THE GREATEST
CAREERS OF SOME OF THE GREATEST ACTORS THAT I’VE ADMIRED, AND
ACTORS THAT I’VE ADMIRED, AND THEY EBB AND FLOW.
THEY EBB AND FLOW. THERE’S GOOD TIMES AND THERE’S
THERE’S GOOD TIMES AND THERE’S BAD TIMES.
BAD TIMES. HOPEFULLY, YOU CAN JUST BE IN
HOPEFULLY, YOU CAN JUST BE IN THE RACE AS A LONG DISTANCE
THE RACE AS A LONG DISTANCE RUNNER, IS THE ONLY HOPE.
RUNNER, IS THE ONLY HOPE. >> PRECISELY THAT.
>> PRECISELY THAT. WE’RE AWARE THERE IS A SHELF
WE’RE AWARE THERE IS A SHELF LIFE ON THIS.
LIFE ON THIS. YOU KNOW, IT IS REALLY IMPORTANT
YOU KNOW, IT IS REALLY IMPORTANT TO ME, YOU KNOW, THE PEOPLE I
TO ME, YOU KNOW, THE PEOPLE I SPEND MY TIME WITH, AND THE
SPEND MY TIME WITH, AND THE ARTISTS I RESPECT.
ARTISTS I RESPECT. SO I DON’T KNOW WHAT WENT WRONG
SO I DON’T KNOW WHAT WENT WRONG ON THIS ONE BUT --
ON THIS ONE BUT -- [ LAUGHTER ]
[ LAUGHTER ] >> Reporter: WOULD YOU WANT TO
>> Reporter: WOULD YOU WANT TO WORK TOGETHER AGAIN?
WORK TOGETHER AGAIN? >> OF COURSE.
>> OF COURSE. >> WE TALKED ABOUT DOING JERRY
>> WE TALKED ABOUT DOING JERRY LEE LEWIS AND DEAN MARTIN’S
LEE LEWIS AND DEAN MARTIN’S STORIES.
STORIES. >> HE WANTS TO DO A CHRISTMAS
>> HE WANTS TO DO A CHRISTMAS ALBUM.
ALBUM. >> I WANT A CHRISTMAS ALBUM.
>> I WANT A CHRISTMAS ALBUM. >> I’M HERE FOR US.
>> I’M HERE FOR US. >> AMAZING.
>> AMAZING. >> NO FUN HANGING AROUND WITH
>> NO FUN HANGING AROUND WITH THOSE GUYS.
THOSE GUYS. >> YOU SAW THE MOVIE.
>> YOU SAW THE MOVIE. >> YEAH.
>> YEAH. >> WHAT’D YOU THINK?
>> WHAT’D YOU THINK? >> I WANT TO SEE IT AGAIN.
>> I WANT TO SEE IT AGAIN. >> REALLY?
>> REALLY? >> OH, TALK ABOUT SECRECY ABOUT
>> OH, TALK ABOUT SECRECY ABOUT THIS FILM.
THIS FILM. >> YEAH.
>> YEAH. >> LIKE YOU ALMOST HAD TO SIGN A
>> LIKE YOU ALMOST HAD TO SIGN A NON-DISCLOSURE AGREEMENT TO SAY,
NON-DISCLOSURE AGREEMENT TO SAY, THERE’S A BIG SECRET IN IT.
THERE’S A BIG SECRET IN IT. >> OKAY.
>> OKAY. >> I CAN’T TALK ABOUT IT.
>> I CAN’T TALK ABOUT IT. >> OKAY.
>> OKAY. >> IT’S 1969, THE YEAR I
>> IT’S 1969, THE YEAR I GRADUATED FROM HIGH SCHOOL.
GRADUATED FROM HIGH SCHOOL. THERE’S A LOT OF SCENES WITH
THERE’S A LOT OF SCENES WITH GUYS IN CARS WITH THEIR WINDOWS
GUYS IN CARS WITH THEIR WINDOWS DOWN, AND THE MUSIC IS PLAYING
DOWN, AND THE MUSIC IS PLAYING KHJ FROM LOS ANGELES.
KHJ FROM LOS ANGELES. YOU’RE LIKE, WHOA!
YOU’RE LIKE, WHOA! >> HARRY, THIS IS A ’60s RE-TRIP
>> HARRY, THIS IS A ’60s RE-TRIP FOR YOU.
FOR YOU. >> EXACTLY.
>> EXACTLY. NO STONE IS UNTURNED BECAUSE IT
NO STONE IS UNTURNED BECAUSE IT IS ALL AUTHENTIC.
IS ALL AUTHENTIC. THERE IS NO CGI.
THERE IS NO CGI. WHAT HE DID TO MAKE THIS
WHAT HE DID TO MAKE THIS AUTHENTIC WAS L.A. BECOMES A
AUTHENTIC WAS L.A. BECOMES A HUGE CHARACTER.
HUGE CHARACTER. >> WHICH IS SO AMAZING.
>> WHICH IS SO AMAZING. SO MUCH OF THAT TIME IN L.A.
SO MUCH OF THAT TIME IN L.A. STILL IS THERE.
STILL IS THERE. >> RUSTY AND ROTTING.
>> RUSTY AND ROTTING. SORRY.
SORRY. >> OH.
>> OH. THEY SEEM TO HAVE A LOT OF
THEY SEEM TO HAVE A LOT OF CHEMISTRY, BRAD AND LEO.
CHEMISTRY, BRAD AND LEO. >> I’M SO SORRY.
>> I’M SO SORRY. SORRY?
SORRY? >> THAEFEY HAVE CHEMISTRY.
>> THAEFEY HAVE CHEMISTRY. >> WHERE IS CARSON TO SAVE ME?
