"One of the things I always loved about exploitation movies is that, even in the midst of all that's going on, you all of a sudden start caring about the characters," he says. "And, all of a sudden, it's not silly any more because you actually give a fuck about what happens to these people, and I love that. Especially when you're watching it with modern audiences. When I show these films to my friends, I say, 'Look, there's some funny stuff in these movies but, please, laugh because it's funny, not to show that you're superior to it and show how cool you are - don't laugh at it, laugh with it. And if you resist the temptation to just ridicule this shit and take it at face value, you'll be surprised. All of a sudden, you get into the movie."
"I don't consider this a movie-movie," he continues. "This takes place in the movie real world, taking Reservoir Dogs and Pulp Fiction as the Quentin universe. This is the Quentin universe, not the Kill Bill world. These girls would never bump into the characters from Kill Bill. To me, this is not fantastical. You could get a car to do this. You could meet a guy like Stuntman Mike. And if you do, you're fucked. When he's coming at you at 100mph, there's not a damn thing you can do about it."
And the MOST IMPORTANT ONE:
"I’m not going for that cheesy factor myself, in terms of the making of the movie, but one of the things I always loved about exploitation movies is that, even in the midst of all this whatever, you all of a sudden start caring about the characters. You care what happens to them and you get caught up in it, even in this silly movie. And all of a sudden it’s not silly any more because you actually give a f*** about what happens to these people, and I love that. Especially when you’re watching it with modern audiences."
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