Lemme tell you what 'Like a Virgin' is about. You said 'True Blue' was about a nice girl, a sensitive girl who meets a nice guy, and that 'Like a Virgin' was a metaphor for big dicks. I found this old address book in a jacket I ain't worn in a coon's age. Oh, Toby was this Chinese girl, what was her last name? You know, 'Lucky Star', 'Borderline' - but once she got into her 'Papa Don't Preach' phase, I don't know, I tuned out.
All I asked was how does it go? Excuse me for not being the world's biggest Madonna fan. Look, asshole, I didn't say I ain't heard of it. I don't even follow this Tops In Pops shit, and I've at least heard of "True Blue". 'True Blue' was a big ass hit for Madonna. That's what "True Blue" is about, now, granted, no argument about that. 'Like a Virgin' is not about this sensitive girl who meets a nice fella. Tell that fucking bullshit to the tourists. Then she meets some guy who's really sensitive. It's about a girl who is very vulnerable. It's all about a girl who digs a guy with a big dick. I'm so sorry," he says, knowing the truth will kill him.Let me tell you what 'Like a Virgin' is about. But because of the older man's trust and loyalty, Orange can't help but level with him at the film's end once White gets shot, too. White is no font of compassion: He kills a few cops, "no real people," in front of Orange. He also holds the younger man when Orange says he's scared and whispers something that actually makes Orange laugh. Telling Orange his first name complicates bringing the wounded man to a hospital, but it was something that White felt compelled to do to comfort him. "All this blood's scaring the s*** outta me, Larry, I'm gonna die. Two confessions are made, in which both men say things they know they shouldn't - a sentiment that Tarantino describes on the DVD commentary as "beyond honor, with a little bit of humanity in there." Audiences learn that White's real name is Larry as White drives the wounded Orange to the warehouse. The camaraderie between White and Orange adds poignancy to Reservoir Dogs' bloody finale. Astute listeners will recognize the voice of DJ K-Billy as that of deadpan comedian Steven Wright. I was thinking, 'Oh my God, this is gonna be awesome!'" Writer-producer Roger Avary, who shares a screenwriting Oscar with Tarantino for Pulp Fiction, also shares writing credit in Reservoir Dogs for the dialogue of the DJ hosting the "Super Sounds of the Seventies" weekend accompanying the action. Tarantino, who has an extensive vinyl collection, told Rolling Stone that he was open to using another song for that particular moment, but he tried Stealers Wheel during auditions, and it stuck: "The first time somebody actually did the torture scene to that song, the guy didn't even have a great audition, but it was like watching the movie. And boy, does it make them notable: 1972's "Stuck in the Middle with You" by Stealers Wheel is forever linked to the infamous scene in which Blonde tortures Officer Nash by slicing off his ear. The Reservoir Dogs soundtrack has no original compositions: It is composed entirely of songs that already existed.
0 kommentar(er)
