Full Tilt Boogie

Some where...

in the middle of nowhere,

two of America’s most dangerous criminals...

are headed for the border

Earlier today, during a daylight liquor store robbery in Big Springs,

the Gecko brothers killed another Texas Ranger.

That changes the death toll to 76.

The night is all that stands between them and freedom.

Now this is my kind of place!

But it’s going to be one hell of a night

— Ready? — Yeah.

Huh? Let's do it.

— Ready? — Mm—hmm.

— Richie Gecko. — Seth Gecko.

Let's rock.

Hey, which way to the set?

Through the door, down the hall. Can I see your hall pass, please?

— Here you go. — Thank you

— No, no. We don’t need yours. — You want—— You don't need mine? Okay, fine.

Oh, yeah.

Oh, yeah.

— Right this way, Mr. Kennedy. —

* Well, you can tell by the way I use my walk *

* I’m a woman’s man No time to talk *

* Music loud and women warm *

* I've been kicked around Since I was born *

* And now it’s all right It’s okay *

* You may look the other way *

* We can try to understand the New York Times’ effect on man *

* Whether you’re a brother or whether you’re a mother You’re stayin’ alive *

Guys, I'm waitin' on Quentin and George. Where in the hell are they?

— Let's go, guys. Move it. — Copy that, Doug. Looking.

— You gonna stall? — I’m ready to go, man.

— "To set." "To set." Okay, gotcha. — "To set." Cool.

Okay Hey, hey, hey/ Ho, ho, ho, ho! Let’s go.

Guys, I need a 20 on Quentin and George, please, right away.

I need a 20 on Quentin and George, guys.

Anyone got a 20 on Clooney or Tarantino?

Rubber baby buggy bumper. La, la, la, la, la, la, la, la, la.

Ma. Ma. Ma, ma, one. Mo, mo, two.

Peter, let’s go. Get on it now

Still looking

— Great Excellent — Got it

— — Right.

Man, I gotta work on this.

Mr. Tarantino, I'm your biggest fan. I quit school because of you.

— Get the fuck outta here. I can't work with this shit. — Get lost. Piece of shit.

— Fuck. You know, goddamn it. — Yeah. Probably a little wuss.

— These fuckin' geeks just come by. — They come poppin’ out Yeah.

— Is that my fault? — No.

—All right, did I ask him to quit school? — Hey, I am the director.

— Yeah, how's it goin' pal? Suck one. — Fags.

Fuckin' shit. I don't need guys like that around.

— Geez, last time I make a movie in—— — Yeah, Every time, I hit dead ends.

Mr. Tarantino, Mr. Clooney Can I have your autograph?

— Sure. — Absolutely. Absolutely, darling. Absolutely. What's your name?

Scooter, let's go. Get on it now.

— Copy that, Doug. Still looking. — And—— What's your name again?

— Houston. Gimme an " H"! —Okay.

— Got some I.D.? — So how was that?

— I'm 18. Yeah. — Yeah, well, that's old enough.

— Here you go, Houston. Bye—bye. Thank you. — Thank you, guys.

— Bye—bye. Take—— Take care. — Oh, my God.

— Bye. Bye—bye. —

— Whoo. Teen slut. — All right!

— Put it there, motherfucker. — I could take her to the wrap party, that girl.

Guys, somebody had better be walkin' with 'em.

Get some fuckin' lights in here.

— Where the fuck is the stage, man? — Big—ass joint.

— Nancy's right. This is like a fuckin' fortress. —

— We’re gettin’ there. Cool, cool, cool, cool — Yeah, we’re gettin’ close now

— Here we go. — There it is. There we go.

— Rock and roll! — Hello, Cleveland!

—I think, uh—— No, it's left here, I think. —Okay.

What did I tell you? What did I say to you?

I said, "Buy the road map and leave."

— What the fuck am I supposed to do, Seth? He recognized us. — He didn't recognize shit.

Seth, I'm telling you, the way he looked at us—— you especially——

I knew he knew.

L ow profile. You understand the meaning of the words "low profile "?

"Hey, Richie, how’s your hand?" "It hurts like a fuckin’ son of a bitch, Seth.

— Thanks for asking. — Let me tell you what "low profile " is not!

And here to tell us all about it is the director of the film...

and one of the stars of the film.

Let's have a big "Fango" welcome for Robert Rodriguez, the director of Desperado,

and Quentin Tarantino, one of the stars of, uh, Desperado.

They're also collaborating this summer on a new horror film, From Dusk Till Dawn.

with effects created by Greg Nicotero and Robert Kirchman of K N B.

Well, it’s good to be here. Um, horror fans ourselves.

Um, Greg and Bob, demented minds.

Um, from the sick and deviant mind of Quentin Tarantino...

will be coming From Dusk Till Dawn.

a horror film that we're gonna be making sometime later in the summer.

Mixing that with the, uh, special effects and sick, deviant minds...

of greg and Bob, we should have a pretty sick and deviant picture.

Part of the advantage to the picture we’re doing is that..

there's no horror for the first half of the movie...

so that you can really invest yourself with the characters and feel part of the movie...

before anything happens to them that you don't want to happen to them...

so that you really, you know, feel the horror a little bit more.

A lot of horror films start delivering the horror too soon,

and you don't really have any eyes into the picture.

What this is enabling us to do is, uh, really get you to be a part of the picture...

before the horror element comes in, which is always the best thing about most horror novels.

Yeah. That’s right

There's a lot of time spent with the characters before the horror comes in,

and then you care about them a lot more and then you're really part of the movie.

Not to compare ourselves in any way, shape or form, but let me——

One of the things that actually makes Stephen King's novels so scary when you read them is——

You know, he's never given credit for like——

He's a—— For like—— He's one of the best writers of characterization that there is.

I mean, you know, he writes these incredibly believable people,

who you really kind of embrace as yourself and take into your heart,

and then, after you've totally assimilated with these people,

then he literally puts them through hell, and you know——

'cause he's Stephen King, and you know the kind of stuff he's doing——

he's not afraid to take them anywhere.

— So now it—it's really painful, all right? — Right

Because you truly do care about these people. They're not stick figures, all right?

— Now, our characters are actually a bunch of jerks, all right? — But they’re fun jerks.

Yeah, but they're fun jerks, see? They're fun jerks. All right. But—— But——

But what's funny, though, is—— is the fact that, uh, um,

uh, you know, about an hour into the movie, all of a sudden,

all these vampires show up in our film, and, you know, the audience has——

There's been no indication that that will happen at any point in the movie...

until they just, in the blink of an eye, show up, and now they gotta deal with it, all right?

And so the audience is, like, completely caught unawares, like "What the hell's going on?"

Well, that's exactly what the characters are doing.

— They weren't expecting to bump into vampires either. —

So all of a sudden, they're just dealin' with it.

And you know what works, like in a Stephen King novel, for instance, is that...

you're enjoying the characters and the story so much, you don't even want the horror.

— You don't even need the horror element to come in, — Yeah.

and when it comes in, it almost gets in the way,

'cause it starts messing with all the characters and screwing them up.

_Oh__ — So this movie is the same way.

In the script, when you read Quentin's script, you can just follow the movie through...

and never have to bring in the horror,

and it would be an exciting enough, engaging movie...

because you like the characters and you like the situation.

To add that into the mix is what really starts churning the pot. So it's—— it's fun.

Let's go, guys. Clear, guys. If you don't need to be here, step out, folks.

— — Step out, please. It's too noisy. It's too hot.

Step out. Step out if you're not workin' in this, guys.

It all boils down to it, you know.

Whatever his vision is, I——I try and facilitate it.

I try and get it in front of the camera on time, on schedule,

keep it on schedule and give him what he wants.

All right. Here we go, gang. Here we go. And... roll sound.

— Robert? — Try one thing? We're gonna try it one more time?

I got most of the stuff she did, but I didn't get it all because——

'cause we couldn't get back far enough.

— So do you want to go back—— — I might overlap it—— I might overlap it later...

when we do, uh, "Sex Machine" on the full tape.

Lookin' back this way? So that'd be a Wednesday situation then.

—Yeah. —All right.

So bed's goin' back in its normal position. Camera comes out.

— Artsy. —We are lighting, guys.

We are lighting mode for the two—shot and singles on the bed, guys.

Gloria and Richard on the bed. So good night to camera. Good night, effects.

— Flight call sheets? — Good night, sound. Flight call sheets.

My first job in this business? I was a tour guide at Universal Studios.

— No. — Yes.

Straight from Walnut Creek. I didn't know anybody in the business.

I couldn't figure out how to get on a studio lot...

to get the resume that I didn't have under somebody's door.

— Yeah. — So a friend of mine suggested—— Actually, my mother suggested...

that I be a tour guide at Universal...

because then, on my days off, I could walk around the back lot and pass out resumes.

— Wow That’s awesome. — So I took my mother's advice, and this is where I am.

Why do I love bein' an AD?

Can't think of any reason why I love bein' an AD.

Why are you one?

Ah, you know, my wife got me into this business,

and, uh, it's too late to get out, basically, you know.

But, I mean, it's better than sittin' behind a desk, you know, 40 hours a week.

— Yeah. — Yeah. It's the challenge. You're always working.

You're always doin' something, pushing your limits all the time.

It's a lot of stress but, you know, by the time you get home, you know——

If you can handle bein' an AD, it's a great job, but you gotta realize that when you go out——

When you start, you know, becomin' an AD, you know,

you're pretty much dedicated to bein' an AD, you know?

— Yeah. — You don't wanna go off and do somethin' else, you know.

But you start on non—union shows, you know, work your way up.

And once you get on, you know, the D.G.A., you know, you can make good money,

and you can work on big shows, and, you know, you can get residuals...

and be workin' with a lot of great people, you know?

Is that your goal?

That's my goal. My goal in this industry is to make a lot of money.

— Yeah? — Yep.

And how important is the creative product and process?

For me—— The creative process isn't that important to me, you know?

If I was producing, I could see it, you know, bein' an important part,

you know, or an aspect of my job,

but, you know, as an AD, it's not really that important to me,

—'cause an AD, basically, your job is to get the job done: — Right

talk to the director, find out what he wants in a shot,

you know, and if that's what he likes——

You can always, you know, give your input, you know,

and tell him exactly what you think—— you know, how the shot should be——