TOM: MY FIRST GUEST IS
QUENTIN TARANTINO, AMONG
THE WORLD'S MOST FAMOUS
WRITERS-DIRECTORS, THANKS
TO THE TREMENDOUS SUCCESS
OF HIS MOTION I'M PLEASED T
QUINN TEN BACK TO OUR
PROGRAM.
I WANT TO PICK UP WHERE WE
LEFT OFF THE LAST TIME.
I APPRECIATE YOU COMING
BACK, BY THE WAY.
YOU SAID I WANT TO GO TO A
MILE POST IN MOVIE MAKING,
AND THAT WAS "ROCKY" WITH
SLY STALLONE IN 1976.
WHY WAS THAT A MAJOR MOVIEE
QUEVPBT?
>> WELL, IT WAS KIND OF --
A ONE-TWO PUNCH, SO TO
SPEAK, IN 1976 AND 1977,
BECAUSE UP UNTIL -- THE
WHOLE FIRST HALF OF THE
1970'S WAS PRETTY MUCH
CHARACTERIZED BY THE FACT
THAT THEY WERE DIFFERENT
FROM THE OLDER HOLLYWOOD
FILMS, THEY WERE GRITTIER,
TOUGHER.
ACTUALLY, NONCONFORMITY WAS
IN.
TOM: COULD YOU GIVE ME AN
EXAMPLE?
>> LIKE IN A WEIRD WAY, ONE
OF THE THINGS THAT MADE
"EASY RIDER" SO POPULAR WAS
THE FACT THAT THE TWO
CHARACTERS GOT KILLED AT
THE END.
TOM: AT THE END OF THE
PICTURE.
>> THAT WAS ACTUALLY A
COMMERCIAL THING FOR A
WHILE, HAVING THE
CHARACTERS DIE FOR NOTHING.
IT JUST KIND OF REFLECTED
THE MOOD AND STUFF, YOU
KNOW, OF THE TIME.
BUT THEN THAT WAS SO
PREVALENT FOR SUCH A LONG
WHILE THAT WHEN "ROCKY"
CAME OUT AND ENDED WITH A
HAPPY ENDING.
TOM: YEAH, THE CHAMPION WAS
THE CHAMPION.
>> EXACTLY.
"ROCKY" WOULD ACTUALLY BE
CONSIDERED, LIKE, A MIDDLE
ENDING NOW
WELL, AMERICA ACTUALLY
FOUND OUT THEY DID WANT
THAT.
TOM: IN THAT PERIOD OF
TIME, YOU WERE GOING TO,
LIKE, 200 MOVIES A YEAR.
YOU BECAME A GREAT STUDENT
OF MOVIES.
OF THE "ROCKY" A BIG EVENT
FOR YOU AT THAT TIME?
>> OH, "ROCKY" WAS -- YOU
KNOW, AT THE END OF THE
DAY, PROBABLY "ROCKY" WAS
PROBABLY, LIKE, MY FAVORITE
MOVIE AT THAT TIME PERIOD
WHEN I WAS A KID T. JUST
SAID SO MUCH TO ME.
ONE, THE MOVIE.
AND TWO, JUST STALLONE'S
WHOLE STORY WAS VERY
INSPIRATIONAL TO ME BECAUSE
AT THAT TIME I WANTED TO BE
AN ACTOR AND EVERYTHING
LIKE THAT.
I HADN'T THOUGHT ABOUT
DIRECTING YET OR ANYTHING,
BUT I ACTUALLY HAD NO HOPE
THAT I WOULD BE LUCKY
ENOUGH TO GO OUT AND
AUDITION FOR A MOVIE AND BE
CHOSEN OUT OF ALL THE
PEOPLE, AND I WOULD BE THE
GUY.
I ALWAYS FELT THAT I WOULD
HAVE TO DO WHAT STALLONE
DID, I WOULD HAVE TO WRITE
IT MYSELF, I WOULD HAVE TO
BE THE FORCE BEHIND IT.
TOM: HE COULDN'T FIND THE
PRODUCT COMMERCIALLY THAT
HE COULD MAKE AT SOMEBODY
ELSE'S AUTHORSHIP THAT
WOULD BE AS SUCCESSFUL AS
HIS OWN MOVIE WAS.
"ROCKY" WAS SYLVESTER
STALLONE'S STORY.
>> THAT WAS IT.
I NEVER FELT I WOULD BE SO
LUCKY TO BE PICKED OUT OF
THE GROUP.
I ALWAYS FELT I HAD HAVE TO
BE THE MASTER OF MY OWN
DESTINY TO SOME DEGREE.R6
THAT MOVIE AND HE SPOKE SO
MUCH TO ME.
ACTUALLY, YOU KNOW, A LOT
OF TIME HAS PASSED SINCE
"ROCKY" AND STUFF.
YOU KNOW, PEOPLE MAKE FUN
OF STALLONE A LOT.
NOT SO MUCH NOW BECAUSE HE
DID SO MUCH A GOOD JOB IN
THAT MOVIE "COP LAND," BUT
I ALWAYS THOUGHT HE WAS
TERRIFIC.
I THINK HE FORGOT HOW GOOD
OF AN ACTOR HE COULD BE FOR
THE LAST FEW YEARS.
TOM: IT COULD BE SAID THAT
MAYBE THERE WERE TOO MANY
"ROCKY'S."
>> AS FAR AS I'M CONCERNED,
HE COULD HAVE STOPPED AFTER
THE SECOND ONE.
I LOVED THE SECOND ONE.
I ACTUALLY LIKE THE SECOND
ONE EVEN MORE THAN THE
FIRST ONE.
THIRD, FOUR, FIVE, I DON'T
KNOW.
TOM: EVERYBODY TALKS ABOUT
THE 18960'S, BUT THINGS
HAPPENED IN THE 18970'S AS
WELL.
WE TALKED ABOUT THE
SEQUELS.
DIDN'T SEQUELS BEGIN IN THE
1970'S.
>> PEOPLE HAD DONE SEQUELS
BEFORE, BUT IT WAS
"GOODFATHER II" THAT PUT
OUT THE IDEA THAT YOU COULD
DO A SEQUEL AS GOOD AS THE
FIRST ONE AND EVEN WORK AS
A COMPANION PIECE.
THERE HAD NEVER BEEN A PART
TWO BEFORE.
TOM: AS THAT SEQUEL DID, IT
ADVANCED THE STORY, IT TOOK
IT IN A NEW DIRECTION, TO A
DIFFERENT DESTINATION T.
WASN'T JUST A REPLAY.
IT WASN'T JUST MA AND PA
KETTLE ALL OVER AGAIN.
>> EXACTLY.
WHEN MOST PEOPLE NOW -- I
MEAN, THEY WERE SO
SUCCESSFUL IN THAT WAY,
WHERE MOST PEOPLE NOW
REMEMBER THE SCENE IN "THE
GOODFATHER" AND YOU DON'T
KNOW IF IT'S ONE OR TWO.
TOM: SEAMLESS.
WHAT ELSE HAPPENED IN THE
IS THE 70'S?
>> THE OTHER PUNCH OF THE
ONE-TWO PUNCH THAT CHANGED
EVERYTHING, ONE, THERE WAS
THE WHOLE HAPPY ENDING
THING, WHICH KIND OF
BROUGHT AN END TO THAT NILE
STICK PERIOD, WHICH IS SAD.
FOR A WHILE YOU COULD DO
WHAT YOU WANT.
TOM: LATER, "THELMA AND
LOUISE" WOULD IN A WAY.
>> IN THE 1970'S, THEY WERE
DOWNERS.
IN 1977, THAT WAS "STAR
WARS."
WHEN THAT CAME OUT, THAT
WAS WHEN PEOPLE REALIZED,
IF WE MAKE THESE LIKE THIS
TOM: YEAH.
>> AND THAT WAS THE
BEGINNING OF PEOPLE GOING
TO SEE A MOVIE, LIKE, YOU
KNOW, FIVE, SIX, SEVEN,
EIGHT, NINE, 10 TIMES.
TOM: LET ME ASK YOU ABOUT
SOMETHING THAT'S WHAT
HAPPENS NOW.
I DON'T KNOW A LOT ABOUT
MOVIES, BUT I LIKE TO READ
ABOUT FILMS AND NEWS.
THERE'S A FLICK OUT NOW
CALLED "THE FULL MONTY."
THIS PICTURE HAS GROSSED
OVER $100 MILLION.
IT WAS MADE AT A COST OF
$3.5 MILLION.
COULD THAT BECOME A TREND,
OR IS THAT JUST A FLUKE?
>> WELL, IT'S NOT -- I
DON'T KNOW IF IT'S -- IS IT
A TREND THAT MOVIES WILL BE
MADE FOR $3 MILLION AND
GROSS $100 MILLION?
NO, THAT IS A FLUKE.
TOM: OK, ALL RIGHT.
>> THAT'S A FLUKE.
THE THING IS IF YOU'RE
GOING TO GO AND MAKE AN
INDEPENDENT FILM AND
EVERYTHING, YOU DON'T USE
"THE FULL MONTY" OR "PULP
FICTION" AS YOUR EXAMPLE.
THAT'S THE PHENOMENON.
THAT'S THE FILM THAT
CATCHES THE WAVE.
YOU CAN'T PREDICT THAT.
TOM: O
CAMPAIGN, LITERALLY A
DIFFERENT TIME, THE SAME
THING COULD HAVE HAPPENED
TO THEM.
BUT FOR WHATEVER REASON,
THEY DIDN'T CLICK AT THAT
MOMENT.
MAYBE NINE MONTHS FROM NOW
OR NINE MONTHS BEFORE,
LATER OR SOONER WOULD HAVE
BEEN THE SAME CASE WITH
THEM.
YOU KNOW, IT'S JUST ALL
TIMING.
IT'S REALLY INTERESTING.
TOM: THE PICTURE YOU HAVE
COMING UP, IT'S HE ARE
LEASE IN TWO WEEKS --
>> NO, CHRISTMAS WEEK.
TOM: IS THAT GOOD TIMING
FOR "JACKIE BROWN"?
>> IT'S GOOD TIMING FOR
"JACKIE BROWN."
THE REASON IT'S GOOD TIMING
-- CHRISTMAS DAY IS A BIG
MOVIE RELEASE DATE.
THERE'S EIGHT OTHER MOVIES
OPENING THAT DAY.
THINK ABOUT IT.
THERE'S A WHOLE LOT OF
PEOPLE IN AMERICA, THAT'S
ONE OF THE THINGS THEY DO
CHRISTMAS NIGHT.
TOM: GO TO THE PICTURES.
>> GO TO THE PICTURES.
THANKSGIVING, SAME THING.
I'VE GONE TO THE
THANKSGIVING MOVIE WITH MY
FAMILY QUITE OFTEN,
ACTUALLY.
THE THING THAT'S GREAT FOR
"JACKIE BROWN," YOU'VE GOT
A LOT OF MOVIES OPENING,
"TITANIC," AND "ARMISTAD"
AND KEVIN COSTNER'S THING.
NONE OF THEM ARE OUR
COMPETITION, ALL RIGHT?
"JACKIE BROWN" IS A THING
SCHOOL.
>> YEAH, UH-HUH.
CALLER: I WAS WONDERED IF
YOU REGRETTED DOING THAT IN
ANY WAY.
>> I HAVEN'T REGRETTED IT
BECAUSE EVERYTHING WORKED
OUT.
I MEAN, ONE OF THE REASONS
I WAS ABLE TO DROP OUT OF
HIGH SCHOOL WAS BECAUSE I
KNEW WHAT I WANTED TO DO.
AND I JUST DIDN'T
NECESSARILY NEED HIGH
SCHOOL IN ORDER TO DO IT.
I MEAN, ONE OF THE THINGS
--
TOM: WHEN YOU SAY YOU KNEW
WHAT YOU WANTED TO DO, IT
WAS TO DO SOMETHING IN
MOVIES OR SPECIFICALLY TO
DIRECT MOVIES.
>> YEAH.
IT WAS TO MAKE FILMS, YES.
TOM: SO YOU DIDN'T HAVE TO
KNOW ARITHMETIC OROFF
REALLY OR POLITICS TO DO
THAT.
>> ONE OF THE REALLY GREAT
THINGS ABOUT HOLLYWOOD IS
PROBABLY THE SINGEST
GREATEST THING ABOUT
HOLLYWOOD, OTHER THAN,
LIKE, THE MAKING OF ART IS
WHEN IT IS -- IT'S SORT OF
LIKE THE KLONDIKE.
I MEAN, YOU CAN COME FROM
ANYWHERE AND PEOPLE DO.
THEY COME FROM ALL -- IT'S
LIKE THE GOLD RUSH OR
SOMETHING.
EVERYONE COMES TO
HOLLYWOOD, AND THEY COME
FROM ALL THESE DIFFERENT
BACKGROUNDS.
IT'S THE ONLY MAJOR
BUSINESS WHERE YOU DON'T
NEED A COLLEGE EDUCATION,
YOU DON'T NEED A DEGREE,
YOU DON'T NEED NEED A HIGH
SCHOOL EDUCATION.
IT'S ON MERITS.
TOM: YEAH, BUT YOU NEED
TALENT, AND YOU NEED
DESIRE, AND YOU NEED
PERSEVERANCE.
AND FOR EVERY QUENTIN
TARANTINO, THERE ARE
PROBABLY 100 WHO ASPIRED TO
IT AND DIDN'T MAKE IT.
>> OH, THAT'S DEFINITELY
THE CASE.
BUT THE THING ABOUT IT,
THOUGH, ALSO, IT'S LIKE A
SITUATION, LIKE YOU SHOW
UP.
NO ONE'S GOING TO TAKE FOR
GRANTED THAT YOU CAN DO
WHAT YOU SAY YOU'RE GOING
TO DO.
YOU'RE GOING TO NEED TO DO
IT YOURSELF.
YOU'RE GOING TO NEED THAT
BUILD THAT, DO SOMETHING
THAT SHOWS THAT YOU CAN DO
GOOD WORK.
IF YOU DO THAT AND THEY SEE
THAT, THEY DON'T CARE WHERE
YOU CAME FROM.
TOM: THAT'S FOR SURE.
THAT'S FOR SURE.
JASON, LET ME ASK YOU THE
MOTIVATION FOR YOUR
QUESTION.
ARE YOU, BY ANY CHANCE, IN
HIGH SCHOOL OR COLLEGE?
CALLER: I WAS IN HIGH
SCHOOL.
I DROPPED OUT, AND THEN I
WENT TO COMMUNITY COLLEGE.
TOM: RIGHT.
CALLER: I WENT THERE,
COULDN'T FIND ANYTHING IN
THAT.
AND THEN PRETTY MUCH I'M IN
LIMBO NOW.
I'M JUST THINKING ABOUT
THAT, AND I THINK THE END
JUSTIFIES THE MEANS.
TOM: DO YOU HAVE A JOB OF
ANY KIND, JASON?
DO YOU SUPPORT YOURSELF?
CALLER: OH, YEAH.
>> JASON, WHEN YOU ASKED DO
I REGRET IT?
NO, I DON'T REGRET IT.
BUT LITERALLY, ME SAYING
BECAUSE I KNEW WHAT I
WANTED TO DO AND IT DIDN'T
REQUIRE A HIGH SCHOOL
DIPLOMA, THAT'S SAYING
EVERYTHING.
THAT REALLY MEANS
EVERYTHING.
IF YOU WANT TO BE A
PAINTER, NO, YOU DON'T NEED
A HIGH SCHOOL EDUCATION.
AND I'VE NEVER ALWAYS FELT
THWHOLE THING ABOUT, NO,
GET THIS FOR A BACKUP.
WELL, I DON'T INTEND TO
BACK UP.
I WANT TO BOX MYSELF IN A
CORNER WHERE I CAN ONLY GO
FORWARD.
BUT ALSO, I HATED SCHOOL.
I MEAN, IT WAS JUST SO DUMB
PERSON, ALL RIGHT?
BUT I DON'T REALLY GO WELL
WITH THE FORMULA THAT THEY
HAVE.
AND THEY'RE PRETTY MUCH --
THEY'RE NOT SET UP FOR THE
INDIVIDUAL.
THEY'RE SET UP TO TEACH.
I DON'T KNOW A BETTER WAY.
THEY'RE SET UP TO TEACH AS
MANY KIDS AS THEY POSSIBLY
CAN.
HOWEVER, I DIDN'T REALIZE
THAT EVERYTHING WASN'T
GOING TO BE THE WAY JUNIOR
HIGH WAS.
ALL RIGHT?
TOM: THANK GOOD, HUH?
>> I DIDN'T KNOW THAT, ALL
RIGHT?
LIKE, FOR INSTANCE, OK, I
WENT OUT WITH A GIRL WHO
WAS GOING TO COLLEGE, ALL
RIGHT?
YOU KNOW, MUCH LATER.
D I ACTUALLY LIVED -- I
ACTUALLY VICARIOUSLY HAD MY
COLLEGE YEARS THROUGH HER.
TOM: SURE.
>> AND I ACTUALLY WOULD
HAVE REALLY LIKED COLLEGE.
I DIDN'T REALIZE IT WAS NOT
GOING TO BE LIKE
THE JOB, YOU KNOW.
TOM: ANYWAY, JASON, IF
YOU'RE COMING OUT, DON'T
COME OUT WITHOUT A JOB.
THANK FOR CALLING TONIGHT.
CALLER: ALL RIGHT.
TOM: THANKS, YOUNG MAN.
THE PUSSY CAT THEATER, DEEP
THROAT, HUH?
>> IT WAS IN TORRANCE, RE I
TO EIGHT MILLIMETER, IT
WOULD PLAY AT THE TORRANCE,
PUSSY CAT THEATER.
TOM: BUT THEY WOULD HAVE
ADULT FILMS, WOULDN'T THEY?
>> OH, PORNO FILMS.
BUT IT WASN'T THE DEEP
THREAT, DEVIL AND MRS.
JONES FOR FIVE YEARS
STRAIGHT ON HOLLYWOOD
BOULEVARD.
IT WAS THE LOW-RENT ONE OF
THE CHAIN.
TOM: WHAT WERE THE FEATURES
THERE?
>> GLORIA -- WHAT WAS HER
NAME?
GLORIA LEONARD, SHE DID A
BUNCH OF MOVIES.
JAMIE GILL IS, THE JADE
PUSSY CAT WITH JOHN HOLMES.
THERE'S A WHOLE LOT OF
THEM.
TOM: THERE'S A PICTURE OUT
NOW THAT GOES BACK TO THE
1970'S, "BOOGIE NIGHTS."
DID YOU SEE IT?
>> YES.
TOM: I LEFT BECAUSE I WAS
PUT OFF ABOUT IT.
WHAT DID YOU THINK?
>> I THOUGHT IT WAS REALLY
GOOD.
I GOT A KICK OUT OF IT.
I LIKED THE DIRECTOR.
I THOUGHT HE DID A REALLY
GOOD JOB AND SWEPT ME UP
INTO IT.
IT WAS A FUN PICTURE.
I LOVED BURT REYNOLDS IN
IT.
I THOUGHT HE WAS EXCELLENT.
TOM: SO DID I.
>>Y ALWAYS BEEN A BIG FAN
OF HIS AS AN ACTOR.
I WAS NAMED AFTER HIM,
ACTUALLY.
TOM: REALLY?
>> MY MOM HAD ME WHEN SHE
WAS ONLY 16.
BURT REYNOLDS AT THAT TIME
WAS ON "GUNSMOKE "AND
PLAYED A HALF BREED INDIAN
NAMED QUINT.
I'M 25% INDIAN.
AND SHE HAD A CRUSH ON HIM..
IT WAS EITHER BURT OR
QUENTIN.
I WON.
I GOT THE GOOD ONE.
SERVICE I LIKE BURT
REYNOLDS, I DON'T WANT TO
BE NAMED BURT, ALL RIGHT?
BUT IT WAS GREAT TO
ACTUALLY SEE HIM CARRY A
PICTURE.
IT WAS GREAT TO SEE HIM IN
A CLASS ACT FILM WITH SOME
OF THAT OLD MOVIE STAR
CHARISMA.
HE'S ANOTHER GUY, WE WERE
TALKING ABOUT STALLONE,
WHO'S A VERY TERRIFIC ACTOR
THAT GOT NEGLECTED.
TOM: YOU LIKE ACTORS A LOT,
I GATHER.
>> OH, YEAH.
TOM: YOU ADMIRE ACTORS.
SPEAKING OF "BOOGIE
NIGHTS," JUST BECAUSE I
DIDN'T LIKE IT DIDN'T MEAN
IT WASN'T GOOD.
YOU BROUGHT TRAVOLTA BACK
FROM "LOOK WHO'S TALKING."
YOU PUT HIM BACK ON TRACK
WITH "PULP FICTION."
HE FOUND A WHOLE NEW
CAREER.
YOU HELPED HIM REINVENT
HIMSELF.
YOU LIKE TO DO THAT, I TAKE
IT.
>> YES, I DO.
BUT I DON'T DO IT AS A
STUNT, ALL RIGHT?
I DON'T DO IT AS A THING.
NO.
I JUST -- I HAVE A GOOD
MEMORY, ALL RIGHT?
AND I REMEMBER HOW GOOD
ACTORS ARE AND HOW GOOD
THEY CAN BE WHEN YOU GIVE
THEM THE RIGHT KIND OF
MATERIAL.
AND JUST BECAUSE THEY'RE
NOT HOT DOESN'T MEAN I'VE
FORGOTTEN THEM.
TOM: GOOD FOR YOU, BY THE
WAY.
BRAVO.
A LOT OF ACTORS GET
FORGOTTEN AND THEY DO GOOD
WORK.
PAM GRIER, THE STAR OF
TOM: WE'RE WITHE FLYING
THROUGH THE AIR GREAT.
I LOVE YOUR SHOW.
TOM: WE'RE PUMPING THEM
FULL SPEED TONIGHT.
CALLER: MR. TARANTINO.
>> HEY, KEITH.
CALLER: I HAD READ ONE TIME
THAT YOU HAD NEVER YOUR
BIOLOGICAL FATHER.
I WAS WONDERING HOW YOU
FELT ABOUT THAT.
AND WOULD YOU EVER LIKE TO
MEET HIM?
>> NO, I WOULDN'T.
BUT NOT BECAUSE I HAVE ALL
THIS -- HE'S PROBABLY
WATCHING THIS.
NOT BECAUSE I HAVE ALL THIS
ANGST IN MY HEART OR
ANYTHING OR I HAVE BEFORE.
YOU KNOW WHAT?
I DON'T EVEN HAVE A PROBLEM
WITH THAT.
BUT IT'S LIKE I -- ME AND
MY MOM, WE'RE MY FAMILY.
THAT'S MY FAMILY.
TOM: AND THAT WORKS FOR
YOU?
>> THAT COMPLETELY WORKS
FOR YOU.
TOM: WITHOUT TWO PAINTS, WE
OFTEN HEAR, THAT SOMETIMES
IT'S NOT FOR THE BETTERMENT
OF THE CHILD.
YOU NEVER MISSED YOUR DAD?
>> OH, NO.
WOULD I LIKE TO HAVE A
REALLY GREAT DAD OUT THERE
WITH ME?
WHO WOULDN'T?
BUT MY MOM IS JUST SUCH A
SUPER WOMAN.
YOU KNOW, SHE GAVE ME SUCH
A WONDERFUL VIEW OF WOMEN
AND THE STRENGTH OF WOMEN
AND EVERYTHING.
I DIDN'T REALLY MISS
ANYTHING.
AND THE OTHER THING IS, I
DON'T WANT TO HAVE TO LOOK
AT A TOTAL STRANGER, TRULY,
A TOTAL STRANGER, AND HAVE
TO FEEL THAT I'M SUPPOSED
TO FEEL SOMETHING.
TOM: I UNDERSTAND.
I UNDERSTAND.
>> IT'S NOT LIKE IT WOULD
BE PAINFUL.
IT WOULD BE EMBARRASSING,
YOU KNOW.
TOM: EXCEPT, WHAT WOULD
HAPPEN -- AND THIS IS
REALLY HYPOTHETICAL -- THAT
ONE NIGHT A FRIEND OF YOURS
OR MAYBE YOUR MOM WOULD
TAKE YOU TO DINNER WITH A
GUY, AND JUST SAY, YOU
KNOW, THIS IS MY FRIEND SO
AND SO, YOU HAD A GREAT
DINNER AND HE WAS CHARMING
AND WONDERFUL AND
COMPASSIONATE AND FUNNY AND
HUMOROUS, AND AT THE END OF
THE EVENING, HE SAYS, BY
THE WAY, I'M YOUR DAD.
>> WELL, IF THAT WERE THE
CASE, THEN THIS WOULDN'T BE
THE CASE WITH THIS GUY WHO
IS MY BIOLOGICAL FATHER,
ALL RIGHT?
HE'S KIND OF A LOSER TYPE,
ALL RIGHT?
SO THAT WOULDN'T BE THE
CASE, ALL RIGHT?
YEAH, IF MY DAD WAS CARY
GRANT, THEN MAYBE I MIGHT
HAVE A DIFFERENT FEELING
ABOUT THE WHOLE THING.
BUT YOU KNOW WHAT?
I DON'T KNOW IF --
TOM: HEY, QUENTIN, I'M YOUR
DAD.
JUST KIDDING.
>> THAT WOULD BE COOL.
I GREW UP WATCHING YOU.
YOU'RE MORE OF A DAD TO ME
THAN HE WAS.
BUT THE THING ABOUT IT -- I
EVEN SAY THAT AND IT SOUNDS
LIKE A DIG, AND I'M REALLY
NOT.
TOM: I UNDERSTAND.
I UNDERSTAND.
>> HE HAD -- IF HE REALLY
WANTED TO GET IN TOUCH WITH
ME, HE HAD 30 YEARS TO DO
IT.
NOW HE'S KIND OF TRYING.
IF YOU'RE WATCHING, I
APPRECIATE IT.
BUT IT'S YOUR THING AND
IT'S NOT MY THING.
AND GOOD BLESS YOU, BUT
LIVE YOUR LIFE.
AND I'LL CONTINUE TO DO
THAT WITH ME.
TOM: INTERESTING QUESTION,
KEITH.
AND AS YOU CAN SEE IT, IT
PRODUCES A VERY INTERESTING
AND UNEXPECTED RESPONSE.
THANK YOU FOR CALLING, SIR.
CALLER: THANK YOU,
GENTLEMEN.
TOM: ANYTHING ELSE ON YOUR
MIND TONIGHT, KEITH?
CALLER: JUST KEEP UP THE
GOOD WORK.
TOM: THANK YOU.
YOU'RE VERY KIND.
HAVE A GREAT WEEKEND.
BYE-BYE NOW.
LET ME ASK YOU ABOUT
QUENTIN TARANTINO AND HOW
HE RUNS THE SET, YOU KNOW,
MAKING ACTORS COMFORTABLE
IS SAID TO BE EXTREMELY
IMPORTANT IN RUNNING A
MOVIE OR STAGE PRODUCTION.
WHAT IS A HAPPY BIRTHDAY
MOMENT ON YOU GETS TO RUN
RAMPANT ON SKIRT DAY.
WE WERE SHOOTING -- WE HAD
-- SKIRT DAY CAME ALONG, I
DON'T CHOOSE WHEN IT IS.
BUT IT GOT CHOSEN.
WHAT HAPPENED WAS WE WERE
SHOOTING IN A MALL.
WE DIDN'T SHUT THE MALL
DOWN.
WE'RE, LIKE, SHOOTING IN
THE MALL, THE WHOLE MALL IS
GOING.
TWO DAYS BEFORE JULY 4, SO
IT WAS REALLY BUSY.
THAT JUST HAPPENED TO BE
SKIRT DAY.
AND I HAD -- I WIMPED OUT
ON ANOTHER DAY, LIKE DRESS
SNAPPY DAY, WHICH IS WE ALL
DRESS IN TUXES AND STUFF.
SO I COULDN'T WIMP OUT ON
SKIRT DAY.
I SHOWED UP AS A CATHOLIC
HIGH SCHOOL GIRL.
I ACTUALLY WENT TO THE
COSTUME DESIGNER AND SAID,
OK, GET ME A CATHOLIC HIGH
SCHOOL GIRL UNIFORM WITH,
YOU KNOW, THE BLAZER WITH
THE INSIGNIA, AND THE
KNEE-HIGH SOCKS AND THE
PLAIDED SITTER SKIRT AND
EVERYTHING AND A HAIR CLIP.
SO I HAD LONG HAIR WHEN I
WAS SHOOTING IT.
SO I SHOWED UP ON SKIRT
DAY.
WELL, THE THING ABOUT IT IS
--
TOM: DO THEY TAKE PICTURES?
>> OH, YEAH.
EVERYONE'S TAKING PICTURES.
THE THING THAT WAS FUNNY,
ALL THE REST OF THE CREW,
THEY'RE ALL DRESSED UP IN
SKIRTS AND DRESSES AND THE
WHOLE THING, ALL RIGHT?
I AM THE ONE THAT EVERYONE
RECOGNIZES OF ALL THE CROWD
THERE, ALL RIGHT?
I'M SITTING THERE, AND
DIRECTING IN MY CATHOLIC
HIGH SCHOOL THING.
IT WAS A BLAST.
IT WAS GREAT.
TOM: DO YOU TAKE A NAME FOR
THE DAY?
YOU WERE YOU SUSIE OR
SOMETHING?
>> NO, I DON'T DO THAT.
IT WAS ACTUALLY VERY
FRUSTRATING ON THIS MOVIE
BECAUSE I DIDN'T ACT IN
THIS MOVIE.
I JUST DIRECTED IT.
THERE WASN'T REALLY A PART
THAT WOULD BE RIGHT FOR ME.
I'M REALLY KIND OF ALMOST
IN AN
