Every Scene In Once Upon A Time In Hollywood…Ranked
The definitive ranking of each and every scene in the ninth film by Quentin Tarantino
Once Upon A Time In Hollywood hit theaters three weeks ago and it would be fair to say it has divided audiences. While it has received close to universal acclaim from critics and has already generated over $100 million domestically at the box office, it also has its share of extremely vocal critics.
However, even many of those who didn’t think the film quite worked have praised the acting performances and a number of its individual set pieces. In fact, one of the main criticisms I have heard is that while the movie has great individual scenes, they don’t quite add up to a cohesive whole. I strongly disagree with that perspective and believe that virtually every scene of the movie acts in service of its thematic through line: the exploration of how the craft of acting and the power of storytelling work together to blur the line between fact and fiction in the creation of nostalgia that shapes our collective memories.
Well, if you thought we were done arguing about this movie, you were sorely mistaken. I’ve taken the liberty of breaking down the movie into its individual scenes and ranking them from worst to first. The result is a non-linear (it is a Tarantino film, after all), scene-by-scene breakdown of everything I loved about this magnificent movie.
32. Hulabaloo (1965)
Rick Dalton’s (Leonard Dicaprio) failure to keep up with a generation that was about to pass him by is underlined by his forgettable appearance singing “Green Door” on this rock ’n’ roll variety show.
31. KHJ Boss Radio’s Batphone Secret Number Contest (1966)
Tarantino’s final homage to the 60’s comes at the very end of the credits in the form of the audio from the 1966 Batphone Secret Number Contest with the actual voices of Adam West and Burt Ward.
30. Rick Rehearses His Lines (February 8, 1969)
Rick makes a drink and rehearses his lines for an upcoming part using recorded tapes of the script. The camera floats through his home and reveals old copies of TV Guide and Mad with Rick on the cover, giving us a glimpse of Rick in the prime of his career. The scene ends with a pan across his backyard fence, as his younger, hipper, relevant neighbors leave to attend a party at the Playboy Mansion. Roman Polanski (Rafał Zawierucha) is fresh off directing Rosemary’s Baby and Sharon Tate (Margot Robbie) is a rising star, a duo that personifies everything that Dalton is not: young, magnetic and on the way up.
29. Rick Gets Cliff A Job (1966–1967)
In a flashback/memory from the mind of Cliff Booth (Brad Pitt), we see Rick trying to convince a stunt coordinator named Randy (Kurt Russell) to let Cliff work on the TV show, Green Hornet. It is here that we learn that it’s an open rumor in Hollywood that Cliff killed his wife but Rick assures us it’s bullshit. Rick ultimately twists Randy’s arm by playing the “war hero” card.
28. Six Months Later (August 9, 1969)
We watch Rick and Cliff fly home to LA from Rome, as Kurt Russell narrates us and catches us up on the trajectory Rick’s career has taken over the last 6 months. The narration here is a bit sloppy and can have the effect of taking the viewer out of the movie. One wonders if it was added to bridge the gap of scenes that were cut out of the reported four-hour version that will hopefully hit Netflix one day.
Rick took the advice he got in the opening scene from producer Marvin Schwarz (Al Pacino). He moved to Italy and starred in Nebraska Jim, directed by Sergio Corbucci, a real life director who happened to make a little old film called Django. Rick loved being a star in Italy and married a native named Francesca. What he didn’t love was the Italians’ way of making movies (he thought “the post-sync every actor speaks their own language Tower of Babel shooting style of European movies was ridiculous”). Rick stars in three other movies while in Italy: Kill Me Quick, Ringo Said the Gringo; Red Blood, Red Skin; and Operazione Dyn-O-Mite!, leading me to imagine an alternate reality where the walls of my TV room are graced by the movie posters from Rick Dalton’s quartet of Spaghetti Westerns.
We also get a quick shoutout to Antonio Margheriti, a real director whose name was used as an alias by Eli Roth’s character while posing as an Italian in Inglorious Basterds.
27. Cliff Drops off Rick at the set of Lancer (February 9, 1969)
Cliff drops off Rick at work and asks Cliff to fix his TV antenna. In turn, Cliff asks Rick if he spoke to the stunt coordinator about getting him a job on Lancer but Rick says it’s a no go because the guy in charge is best friends with Randy from the Green Hornet. Cliff understands but before driving off reminds Rick that “you’re Rick Fucking Dalton, don’t you forget It.”
26. Rick And Cliff’s Last Hurrah (August 9, 1969)
Rick tells Cliff that he can’t afford to employ Cliff anymore because he’s decided to sell the Cielo Drive house, buy a condo in Taluca and “live off the money,” ending his dream of being a Hollywood real estate owner. Rick and Cliff decide to have one last night out and go for dinner at Casa Vega, get drunk and take a cab home. Cliff takes Brandy for a walk along with the acid cigarette he bought six months earlier, while Cliff makes frozen margaritas.
25. Rick Arrives On The Set Of Lancer (February 9, 1969)
Rick arrives on set and is given a breakdown from director Sam Wanamaker about the Tarantino-esque pastiche he wants for the show. “How’s the audience gonna know it’s me,” Rick naively asks, only to be informed that Wanamaker specifically hopes they don’t. This scene mirrors a later scene where Sharon Tate is asked to pose for a picture next to the movie poster so people will know who she is: two actors at a similar place in terms of fame, but clearly heading in opposite directions.
24. Cliff Gives Rick A Dose Of Reality (February 8, 1969)
After meeting with Marvin Schwarz, Rick laments the sorry state of his career and that the only door open to him are the Spaghetti Westerns he thinks are silly. Cliff retorts with a heavy dose of reality coming from a man who would be thrilled to just have a steady job in this town. We briefly see the Manson girls rummaging through the trash singing Charlie Manson’s “Always Is Always Forever”. They then walk directly in front of Cliff and Rick stopped at a stop sign, making it clear that while it was Sharon Tate’s murder on August 9, 1969 that cast a light on the dark underbelly of Hollywood and the counterculture, it was staring everyone in the face for all to see far earlier. Rick and Cliff drive home as Mrs. Robinson plays but the song cuts as it reaches the chorus and they turn onto Cielo Drive. It’s at this moment that Polanski and Tate arrive home from the airport. Rick is amazed that he lives right next door to the director of “Rosemary’s Fucking Baby,” the 1968 horror phenomenon about true evil driven by a cult existence, leading him on a rant about how the true measure of importance in Hollywood is owning real estate in town so that you’re not just a visitor.
23. Bounty Law (1958–1963)
Rick stars as Jake Cahill in an episode of Bounty Law titled “Incident in Janicetown” and featuring Michael Madsen as Sheriff Hackett. Bounty Law is a fictitious but typical 50s Western that is loosely based on “Wanted: Dead or Alive” (which featured Steve McQueen). Tarantino has revealed that in preparation for this film, he wrote five episodes of Bounty Law because of course he did.
22. Cliff Fixes the TV Antenna (February 9, 1969)
After dropping off Rick at the set of Lancer, Cliff sees a hitchhiker but he is going the wrong way. He climbs the roof to fix the antenna, removes his shirt and the audience gasps.
We cut over to Tate listening to “Good Thing” and she teases Jay Sebring (Emile Hirsch) for being afraid that Jim Morrison might find out he was dancing to Paul Revere & The Raiders.
As Cliff looks on from the rooftop, Charles Manson makes his only appearance of the film, as he knocks on the Polanskis’ door looking for music producer Terry Melcher (the previous resident) and peers ominously at Sharon Tate standing in the doorway. Tate’s real-life fate, brutally murdered along with her in utero child and housemates at the hands of the Manson Family, casts a shadow over the whole movie, providing a hint of the darkness around the corner, the precipice our characters are careening towards without knowing it. Her presence in the film is Hitchcock’s bomb under the table, instilling us with a sense of foreboding dread through every frame.
21. Sharon’s “Last Day” (August 9, 1969)
Kurt Russell’s narration takes on a true crime vibe here, as he recounts the minute-by-minute details of what the audience recognizes as the last night of Sharon Tate’s life. We learn that Sharon is pregnant and that her friends Wojciech Frykowski, and Abigail Folger (who together with Tate and Sebring would be murdered that night in real life) moved in while Polanski was in London shooting a film. In a shot brimming with nostalgia, we see a succession of lights turn on at classic LA locales, including the Chinese Theater, Taco Bell, the Pacific Cinerama Dome, Der Wienerschnitzel and others. Sharon and her friends go to El Coyote for dinner on the hottest night of the year and then retire home to play piano, watch TV and smoke joints. While entering the El Coyote, Sharon remarks about a porn theater across the street. This theater, Eros Europa, is now the New Beverly Cinema, owned by none other than Quentin Tarantino himself.
20. Cliff Drives Home (February 8, 1969)
After dropping off Rick at home, Cliff does his best Mike McKay impression, as he races through the streets as “Ramblin’ Gamblin’ Man” by The Bob Seger System blasts through his car stereo. He passes by one hot spot after another and Los Angeles of the 1960s comes to life. While most outsiders think of rising stars (like Tate and Polanski) or seasoned veterans (like Rick Dalton) when they think of Hollywood, the reality is that most of its population is made up of Cliff Booths: no-name crew members who do the heavy lifting while the stars get the credit, people who are desperate for a job and who live with their dog in a trailer behind Van Nuys Drive-In Theater.
19. I’m On A Boat (Unknown, But Prior To 1966–1967)
This scene has sparked more controversy than almost any in the movie. Framed as a memory within a memory, we see Cliff on a boat arguing with his wife Natalie (Rebecca Gayheart) as he holds a harpoon gun in his hand. The upshot of the scene is that Natalie died on that boat and many in Hollywood assume Cliff murdered her (although Rick says he thinks it’s all a bunch of bullshit). Lindsey Romain has written eloquently at Nerdist about how the scene serves as a Rorschach Test for the audience: Cliff is either a violent wife-killer who skates by because of male privilege and show biz connections or a good man whose career is unfairly ruined by Hollywood slander.
18. The 14 Fists of McCluskey
While Marvin Schwarz meets with Rick, we get a brief glimpse of this fictional World War II action-adventure film directed by Paul Wendkos and starring Van Johnson, Rod Taylor, Sal Mineo and Rick Dalton as Sgt. Mike Lewis. In an obvious nod to Inglourious Basterds, Sgt. Lewis burns a group of Nazis alive with a flamethrower and quips “anyone want fried sauerkraut?”
17. Cliff Gives Pussycat A Ride To Spahn Ranch (February 9, 1969)
While he previously turned down her request for a ride because he was heading in the opposite direction, Cliff now picks up a hitchhiker, who we learn is a Manson Family member named Pussycat (Margaret Qualley) who needs a ride to Spahn Ranch. Cliff knows it well, leading Pussycat to wonder whether he is “some old cowboy guy that used to make movies there.” Cliff is surprised at how accurate that description is. While en route, Pussycat offers a soliloquy about how actors are phony because “they just say lines that other people write and pretend to murder people…meanwhile real people are being murdered every day in Vietnam.” Cliff then turns down her offer of blowjob because he suspects she’s underage so maybe he’s a good guy (or maybe he’s a wife killer who only commits crimes he can get away with).
16. Allen Kincaid Interview (Probably 1961–1963)
Rick explains the purpose of a stunt double (Cliff “carries his load”) and establishes the core of their friendship. This also sets up one of the central dichotomies of the film: Hollywood stars who coast through life and the men and women around them who carry their load. The segment closes as Kincaid promos next week’s guests, Morey Amsterdam and Rose Marie from “The Dick Van Dyke Show”.
15. Red Apple Cigarettes Ad
The mid-credits scene features a hilarious flashback to Rick Dalton acting as Jake Cahill in a commercial for Red Apple cigarettes, one of the sponsors of his hit NBC series Bounty Law and a brand that has popped up in a number of Tarantino films, including The Hateful Eight, Inglourious Basterds, Kill Bill, Pulp Fiction,Grindhouse, From Dusk Till Dawn, and Four Rooms. Rick pumps up Red Apple cigarettes as better than competing brands because they have “better drag, more flavor, less throat burn.” Of course, as soon as the director calls cut, Rick breaks character and complains that Red Apple cigarettes “tastes like shit!”
14. Cliff And Rick Watch FBI (February 9, 1969)
After returning from Spahn Ranch and the set of Lancer, respectively, Cliff and Rick sit down to watch an episode of FBI (“All The Streets Are Silent”) in which Rick made a guest appearance and in which real-life Burt Reynolds (who was originally supposed to be both an actor and a character in the movie) . This is a touching scene of two friends hanging out that also provides us with a sort of “directors’ commentary” track of the show for the audience’s benefit. Cliff stores away his recently purchased acid cigarette for another time and we cut to Marvin Schwarz who is also watching FBI and calls someone to tell them to turn on the show because “I’m watching your Nebraska Jim as we speak.” He was right.
13. The Polanskis Party At The Playboy Mansion (February 8, 1969)
In one of my favorite moments of the film, Polanski and Tate drive carelessly and haphazardly through the Hollywood Hills to a party at the Playboy Mansion as Deep Purple’s “Hush” blares in the background. If there is a greater symbol of the excessive indulgences of Hollywood life than the Playboy Mansion, it’s beyond me. As Tate dances to “Son of a Lovin’ Man” among a who’s who cache of Hollywood royalty, Steve McQueen (Damian Lewis) explains the history of the bizarre Tate/Polanski/Sebring love triangle to Connie Stevens (and us). Stevens observes that Sharon obviously has a “type” (cute, short, talented guys who look like twelve-year old boys) leading McQueen to lament that he never stood a chance with her. Of course, it was his type (and not Rick Dalton’s) that John Sturges was looking for when he cast McQueen in the lead of The Great Escape.
12. Shooting The Pilot of Lancer, Take 2 (February 9, 1969)
Rick returns after having a meltdown in his trailer, approaching the set as a Western hero ambling towards a climactic showdown with deadly stakes (“If you don’t get these lines right, I’m gonna blow your fuckin brains out”). Rick portrays Caleb DeCoteau, a villain who has kidnapped Mirabella Lancer (being played in Lancer by Trudi Fraser and in Once Upon A Time In Hollywood by the magnificent Julia Butters), while Luke Perry portrays Wayne Maunder starring as the show’s protagonist, Scott Lancer. Rick nails the scene, throwing the young girl to the floor, earning praise from both Wanamaker (“evil Hamlet scares people!”) and Fraser (“that was the best acting I’ve ever seen in my whole life”). But it is perhaps Rick’s own recognition of his acting prowess and the feeling that, for even one scene, he mattered again that made for one of the most moving moments of the movie, as he chokes up and mutters “Rick Fucking Dalton” to himself.
11. The Manson Killings (August 9, 1969)
Cliff returns from walking Brandy, while Rick relaxes in the pool and Francesca sleeps. Suddenly, three Manson members (Tex Watson, Susan Atkins, and Patricia Krenwinkel) enter wielding knives. Cliff maintains his super casual nature in the face of murderers, in part because he’s on acid and isn’t sure they’re real (is any of this, really?). Cliff sics his dog on them, and with Francesca’s help, violently disposes with two of the three, leaving the final Manson for Rick to take care of in the pool with the use of Chekhov’s flamethrower. This scene got an uproarious reaction from my audience, a mixture of cheering and laughter signaling a cathartic release after 140 minutes of dread for what we assumed this climactic scene would entail. As an ambulance takes Cliff away, he and Rick say their goodbyes, capped by Rick’s heartfelt salutation: “You’re a good friend, Cliff.”
10. Cliff Fights Bruce Lee (1966–1967)
Yet another scene that has sparked controversy, most notably from Bruce Lee’s family who didn’t appreciate his portrayal as an obnoxious blowhard. As the scene opens, most viewers probably think they are watching a movie within a movie but as the camera zooms out we realize that the larger than life character we see is merely real life Bruce Lee.
Lee’s claim that he could beat Cassius Clay in a fight gets a laugh out of Cliff and the two agree to a best two out of three melee. Just before they battle, someone notes to Lee that Cliff killed his wife and got away with it and we witness the perverse manner in which the circulation of this rumor has caused a legend around Cliff to sprout. Rather than making him despicable, this rumor makes him seem more bad-ass.
They split the first two bouts but we never get to see the tiebreaker because Randy and his wife Janet break it up and Cliff is promptly fired. Of course, Lee is just as (if not more) responsible for provoking the fight but nobody says a word to him because he’s the star of the show, not a dispensable stuntman. Most importantly, we recall that this entire scene is a Cliff memory from the present, leaving us to wonder how much of the scene actually happened as we saw it and how much is Cliff’s selective memory and/or wish of what could have been.
9. Shooting The Pilot of Lancer, Take 1 (February 9, 1969)
Johnny Madrid (played by Timothy Olyphant as James Stacy) confronts Caleb DeCoteau at a saloon, as the scene moves from outside the saloon, to the top of a staircase on the inside and finally to a table down below. The majesty of this scene (which is shot as a modern production but captures the 1960s Western aesthetic) derives from the feeling that for a few moments, you are actually inside an episode of Lancer, as Caleb DeCoteau makes you forget the existence of Rick Dalton and Leonardo Dicaprio. The illusion lasts until Rick requests a line read and the spell is broken.
8. The Great Escape (February 9, 1969)
On the set of Lancer, James Stacy asks Rick to confirm a rumor he heard that Rick almost got the lead role in The Great Escape. In one of the true highlights of the film and a breathtaking display of movie magic, Rick is inserted into a classic scene from The Great Escape. Rick downplays the rumor, saying he never even got an audition, but nonetheless one can’t escape the feeling that this is the one that got away for Rick and we are forced to imagine a sliding doors like universe where it was Rick Dalton and not Steve McQueen attending parties at the Playboy Mansion with Sharon Tate.
7. Rick Confronts The Mansons (August 9, 1969)
In one of the funniest scenes of the movie, Rick Dalton bursts outside wearing nothing but a robe and wielding a margarita pitcher to confront the deadly Mansons he confuses for “fucking hippies” making a ruckus on the private road outside his home. Realizing that he was none other than the Jake Cahill of their childhood lunch boxes, Atkins calls an audible and suggest they kill Dalton rather than his Cielo Drive neighbor. After all, every show on TV was about murder so it’s only fitting that they kill the people who taught them to kill. The gratuitous violence present in Tarantino’s films have been a common source of criticism leveled against him and it’s certainly no coincidence that Tarantino puts the words of his critics into the mouth of a Manson murderer. Still, one can’t help but notice a recurrence of violence coming to life throughout the film (particularly the way the pretend action and violence from Rick’s movies bleeds into the real life of his stuntman) and wonder if there’s an extent to which Tarantino is admitting that the criticism partially rings true.
6. Rick Breaks Down In His Trailer (February 9, 1969)
Leonardo Dicaprio is as tender and vulnerable as we have ever seen him, portraying Rick having a total meltdown in his trailer after screwing up his lines in a scene in Lancer. Chastising himself for ruining the scene and for his alcoholism, he swears to redeem himself and show everyone else on set who the real Rick Dalton is. He stares into a wall mirror, which stares right back at us as he declares “if you don’t get these lines right, I’m gonna blow your fuckin brains out.”
5. Rick Meets Marvin Schwarz (February 8, 1969)
The film opens with Cliff and Rick driving in reverse as they exit Rick’s driveway where they were parked opposite a giant Rick Dalton mural, cross-cut with Sharon Tate and Roman Polanski Return to Los Angeles via Pan Am. Rick meets with Marvin Schwarz, who explains that Rick is being cast as the weekly bad guy on TV Westerns, a trick Hollywood uses to slowly phase out old-timers while simultaneously setting up the new heros that kick their asses. The scene also makes use of excellent hidden exposition, as Schwarz gives us a break down of the ups and downs of Rick’s long career, from Bounty Law and Tanner to Hulabaloo and The 14 Fists of McCluskey. Come for Schwarz’s brilliant meta pedagogy on how filmmakers manipulate the audience’s perception of an actor (a Tarantino staple), stay for Al Pacino’s hilarious delivery of Mary Alice Schwaaaaaarz.
4. Once Upon A Time…In Hollywood (August 9, 1969)
As the excitement with the Mansons winds down, Jay Sebring recognizes Rick and asks him what happened. Rick assures him that everyone is okay, other than the “fucking hippies.” Sharon and Jay invite Rick inside for a drink and Tarantino invites us to imagine an alternate reality where Sharon Tate lives and Rick Dalton gets the comeback opportunity he had been pining for. As a soft melody plays, the title card appears on the screen, reminding us that what we’re watching (and, in fact, what we’ve been watching the entire movie) is a fairy tale.
Joan Didion famously wrote that “the Sixties ended abruptly on August 9, 1969…at the exact moment when word of the murders on Cielo Drive traveled like brush fire through the community.” Indeed, it was that moment that shattered the bubble Hollywood was living in, no longer able to live cloistered off on private roads that allowed them to ignore the sinister elements of the counterculture and pursuit of celebrity that was there all along.
The film ends with an overhead shot of Rick Dalton meeting Sharon Tate, symbolizing the fusing of old and new, but there’s a menacing element to this shot as well, a feeling that while the tragedy of the Tate murders were avoided, the reckoning with a culture in flux that the murders represent was merely delayed. Because while a second chance at life for Sharon Tate and her baby are wonderful to think about, it changes nothing about the realities of the Vietnam War, the Nixon administration, the collapse of the studio system or the myriad other real world conditions for which the die had already been cast. Taking a cue from its title, the film ends not with a period but with an ellipses.
3. Rick Gets An Acting Lesson (February 9, 1969)
It’s very possible that this film will long be remembered as the one in which the world was introduced to Julia Butters because despite appearing in only a couple of scenes, she puts on a clinic. Portraying child actor (not actress) Trudi Fraser, she insists on being referred to only by her character’s name on set and offers Rick a lesson on the virtues of method acting. “It’s the actor’s job to avoid impediments to their performance. It’s the actor’s job to strive for 100% effectiveness.” As she stresses, it’s the pursuit that is meaningful and if working her butt off makes her performance even a tiny bit better, she’ll do so without hesitation.
The duo proceeds to compare notes on the books they are reading. Trudi is reading a biography of Walt Disney, who she calls a once in a generation genius and whose name drop is one of the first clues we get of the fairy tale nature of what we’re watching. Rick is reading a Western about a character named Tom “Easy” Breezy, a cowboy whose story mirrors Rick’s own: “he’s not the best anymore.”
2. Cliff Visits Spahn Ranch (February 9, 1969)
The longest and most tense stretch of the movie is a 20 minute sequence midway through when Cliff visits Spahn Ranch. In a clear example of “life imitates art”, the old movie ranch where Rick and Cliff used to film television and movies has been converted into a breeding ground for the Manson Family, who ride on horseback and live like they’re in an old Western. We meet a series of Manson girls, many of whom are played by children of celebrities (Maya Hawke, Rumer Willis, Harley Quinn Smith, Margaret Qualley), a jarring statement about the inevitable derivation of ugliness from the pursuit of fame. Indeed, the real life Charles Manson appropriated pop culture and the glamour of celebrity life to allure vulnerable young girls under his influence. We also hear Squeaky Fromme (Dakota Fanning) and George Spahn (Bruce Dern) allude to their plan to watch FBI later that night, much like we will see Cliff and Rick watch together in a coming scene. This film is filled with nostalgia for a lot of things but none more than a time when people of all different kinds shared a monoculture that represented a starting point for co-existence.
The sequence is straight out of a horror movie and makes me hopeful that the genre is one Tarantino returns to. There was not a moment throughout this sequence that I was not on the edge of my seat, expecting Cliff to either become a victim at the hands of the Mansons or somehow co-opted into their grips.
1. Sharon Tate Goes To The Movies (February 9, 1969)
This is my favorite scene of my favorite movie so far this year. After going to a bookstore to pick up a copy of “Tess of the d’Urbervilles” by Thomas Hardy (which her surviving husband would later adapt into the movie Tess), Sharon spontaneously decides to go see The Wrecking Crew, in which she played the part of Freya Carlson aka “the klutz.” Using her charm and her role in the movie, she scores a free entry and all it costs her is a photo-op (plus a slight bruise to her ego when the ticket collector asks her to stand by the poster “so people will know who you are”).
Sharon Tate has the unfortunate distinction of being a person who is most famous for her death but for a few minutes in Once Upon A Time In Hollywood she comes to life. Tarantino makes the crucial choice not to digitally replace the actual Tate with Robbie, which adds to the dreamlike nature of the film and serves as a fitting tribute to a life and a career that we lost.
The scene is special not only for the pleasure of us getting to see Sharon Tate watch herself on screen but also for the joy we vicariously experience from her getting to watch the audience watch her on screen. The delight that she gets from experiencing other people enjoy her art is simple but wholesome. While some, like Cliff Booth, come to Hollywood in search of nothing more than a steady job and a paycheck, others are attracted by the glitz and glamour of the fast-paced lives Sharon Tate and Roman Polanski are living. But it is that simple purity that Sharon Tate enjoys in that theater, the feeling that you are making something important that matters that Rick Dalton is trying to recapture, as he (together with Quentin Tarantino) wistfully longs for days gone by.
Av Sinensky talks about movies on the 32 Fans Movie Podcast and writes about them on Letterboxd. You can follow him on Twitter at @asinensky
