Auggie: You’ll never get it if you don’t slow down my friend.
Paul: What do you mean?
Auggie: I mean you’re going too fast you’re hardly even looking at the pictures.
Also of note, from IMDB quotes:
OTB Man #1, Tommy: Look, I’m telling you, there’s gonna be another war. I mean, those slobs in the Pentagon are gonna be out of job unless they find a new enemy. They got this Saddam character now, and they’re going to hit him with all they’ve got. Mark my words.
A Brooklyn smoke shop is the center of neighborhood activity, and the stories of its customers.
Once Upon A Time In Hollywood (Original Motion Picture Soundtrack) – Exclusive Limited Edition Orange Colored Vinyl LP (Includes 2 Posters)
Roy Head & The Traits–Treat Her Right
The Bob Seger System*–Ramblin’ Gamblin’ Man
No Artist–Boss Radio
Featuring – Humble Harve*
No Artist–Mug Root Beer Advertisement
The Village Callers–Hector
Buchanan Brothers (2)–Son Of A Lovin’ Man
Chad & Jeremy–Paxton Quigley’s Had The Course
No Artist–Tanya’s Tanning Butter Advertisement
Paul Revere & The Raiders–Good Thing
Paul Revere & The Raiders–Hungry
Box Tops–Choo Choo Train
Mitch Ryder & The Detroit Wheels–Jenny Take A Ride
Deep Purple–Kentucky Woman
Buffy Sainte-Marie–The Circle Game
No Artist–Boss Radio
Featuring – The Real Don Steele*
Simon & Garfunkel–Mrs. Robinson
No Artist–Numero Uno Advertisement
Los Bravos–Bring A Little Lovin’
No Artist–Suddenly / Heaven Sent Advertisement
No Artist–Vagabond High School Reunion
No Artist–KHJ Los Angeles Weather Report
No Artist–The Illustrated Man Advertisement / Ready For Action
Dee Clark–Hey Little Girl
No Artist–Summer Blonde Advertisement
Neil Diamond–Brother Love’s Traveling Salvation Show
Robert Corff–Don’t Chase Me Around
Paul Revere & The Raiders–Mr. Sun, Mr. Moon
José Feliciano–California Dreamin’
I Cantori Moderni di Alessandroni–Dynamite Jim (English Version)
Vanilla Fudge–You Keep Me Hangin’ On (Quentin Tarantino Edit)
Maurice Jarre–Miss Lilly Langtry
No Artist–KHJ Batman Promotion
THE ARRIVAL IN MY LIFE of Film Culture 28 in the spring of 1963, with Andrew Sarris’s preliminary sorting out of American movie directors that became the basis for his greatly expanded The American Cinema (published in 1968), was one of those before and after moments. It’s hard even to reconstruct what it was like to have the past of American film suddenly spread out, a map of a country known previously only through rumor and fragmentary glimpses. Not just a map: a map accompanied with pointed commentary by a guide at once passionate and endlessly curious. It was all so exotic then. The very titles of the movies seemed like a strange kind of recovered poetry. But it was our own past, a lost world of universal neighborhood experience that had been occulted and buried. He pointed out things that I didn’t know existed and argued persuasively for their importance. Rarely had there been such a cascade of information and insights and urgently communicated judgments.
andrew sarris, 1928–2012
O’Brien, Geoffrey. Stolen Glimpses, Captive Shadows
Old Man: When young, we mourn for one woman… as we grow old, for women in general. The tragedy of life is that man is never free yet strives for what he can never be. The thing most feared in secret always happens. My life, my loves, where are they now? But the more the pain grows, the more this instinct for life somehow asserts itself. The necessary beauty in life is in giving yourself to it completely. Only later will it clarify itself and become coherent.
Video Backpacker: To me, my thing is, a video image is much more powerful and useful than an actual event. Like back when I used to go out, when I was last out, I was walking down the street and this guy, that came barreling out of a bar, fell right in front of me, and he had a knife right in his back, landed right on the ground and… Well, I have no reference to it now. I can’t put it on pause. I can’t put it on slow mo and see all the little details. And the blood, it was all wrong. It didn’t look like blood. The hue was off. I couldn’t adjust the hue. I was seeing it for real, but it just wasn’t right. And I didn’t even see the knife impact on the body. I missed that part.
Old Anarchist: And remember: the passion for destruction is also a creative passion.
Working on Same Painting: Sorry, I’m late.
Having a Breakthrough Day: That’s okay, time doesn’t exist.
Presents a day in the life in Austin, Texas among its social outcasts and misfits, predominantly the twenty-something set, using a series of linear vignettes. These characters, who in some manner just don’t fit into the establishment norms, move seamlessly from one scene to the next, randomly coming and going into one another’s lives. Highlights include a UFO buff who adamantly insists that the U.S. has been on the moon since the 1950s, a woman who produces a glass slide purportedly of Madonna’s pap smear, and an old anarchist who sympathetically shares his philosophy of life with a robber.
Quentin Tarantino’s first novel is, to borrow a phrase from his oeuvre, a tasty beverage.
It’s his novelization of his own 2019 film “Once Upon a Time … in Hollywood” (the book’s title omits the ellipsis). It’s been issued in the format of a 1970s-era mass-market paperback, the sort of book you used to find spinning in a drugstore rack.
It’s got a retro-tacky tagline: “Hollywood 1969 … You shoulda been there!” If it weren’t so plump, at 400 pages, you could slip it into the back pocket of your flared corduroys.
Quentin Tarantino Turns His Most Recent Movie Into a Pulpy Page-Turner
The Times of Harvey Milk – 1984
A documentary of the successful career and assassination of San Francisco’s first elected gay city supervisor.
Paris is Burning – 1990
A chronicle of New York’s drag scene in the 1980s, focusing on balls, voguing and the ambitions and dreams of those who gave the era its warmth and vitality.
Incident at Oglala – 1992
This film describes the events surrounding a 1975 shootout at the Pine Ridge reservation in S. Dakota where two FBI agents were killed.
Crumb – 1994
An intimate portrait of controversial cartoonist Robert Crumb and his traumatized family.
Hoop Dreams – 1994
A film following the lives of two inner-city Chicago boys who struggle to become college basketball players on the road to going professional.
Paradise Lost: The Child Murders at Robin Hood Hills – 1996
A horrific triple child murder leads to an indictment and trial of three nonconformist boys based on questionable evidence.
Filth and the Fury – 2000
A film about the career of the notorious punk rock band, the Sex Pistols.
Sunshine Hotel – 2001
A portrait of one of the few remaining men only ‘flophouses’ on New York City’s infamous skid row, the Bowery.
Enron: The Smartest Guys in the Room – 2005
A documentary about the Enron corporation, its faulty and corrupt business practices, and how they led to its fall.
I’m Not Your Negro – 2016
Writer James Baldwin tells the story of race in modern America with his unfinished novel, Remember This House.
Where was I? Oh, yes. Films. It is hard to believe that my parents’ generation would walk into a cinema when it suited them, without paying any attention to what film it was that they were going to see. Indeed they weren’t even concerned whether the film had just started, or was halfway through, or was in the middle of the final chase sequence. They would just happily settle into their seats with their sweets and cigarettes and start trying to decipher the plot, and who was the villain, and why everybody was in Hamburg, and then the film would end, and they would sit patiently through the advertisements and newsreels, eat an ice cream, and then the film would begin again, and they would finally discover who everyone was, and why they had all gone to Hamburg, and at exactly the moment when they’d understood what the hell was going on, and could now enjoy the denouement, they’d all shout, “Oh! This is where we came in!”— and leave. How are you supposed to write for an audience like that? The great farce-writer Ben Travers once told me that in the ’30s, posh “country people” would invariably arrive in their seats at the back of the stalls about twenty minutes late (to show that they were not bound by the trivial conventions of the proletariat) and that he therefore always added a brief summary of the plot at that point, so the toffs could get up to speed. But Ben at least knew roughly when they’d be arriving. Did the “Oh! This is where we came in!” brigade ever consider why they liked watching a movie in the wrong order? Well, not my parents, anyway.
Cleese, John. So, Anyway…
Highest-grossing films of 1990
1 Ghost Paramount $505,702,588
2 Home Alone Fox $476,684,675
3 Pretty Woman Disney $463,406,268
4 Dances with Wolves Orion $424,208,848
5 Total Recall Sony / Carolco $261,317,921
6 Back to the Future Part III Universal $244,527,583
7 Die Hard 2 Fox $240,031,094
8 Presumed Innocent Warner Bros. $221,303,188
9 Teenage Mutant Ninja Turtles New Line $201,965,915
10 Kindergarten Cop Universal $201,957,688