haha, nope, it's just making the rounds. I would like to go there, tho.

I was kinda hoping you guys would continue the talk about Tarantino's little universe when you started talking about the cop, but since you didn't bring it up, I guess I will - though maybe you bring it up in volume two, when Sam Jackson is actually talking:

There's a theory that would have you believe that Tarantino's films all exist in the same universe. They are all interconnected in some way. You have to exclude Jackie Brown from this, as that was based on a book and not set in his universe.

Do you guys put any stock into this theory? I mean, we know at least that Reservoir Dogs and Pulp Fiction have to exist in the same universe, since there's a Vega brother in each film. I think it's safe to also assume that Kill Bill and Death Proof exist in the same universe, as the cop and his son show up in both. He uses the same brand names in his movies. Personally, I like the idea a lot, so until he comes out and says it's not so, or he does something that would definitely prevent that theory from working I'm gonna just go along with the notion that this is all one big universe and he's just showing us all how fucking awesome the universe in his head is.

Kon's films and that show he did have a lot of weird mental stuff going on. The main character in Perfect Blue is an actress in a show about herself being a murderer and then people start getting murdered in reality and it messes her head all up to where she can't keep the acting and the reality straight in her head. Paranoia Agent deals with a number of mental / social stigma but mostly in subplots...  i think...  It's been a while since I saw it and it seems to do the same thing in the last couple episodes that Paprika did in the final act.

I didn't really like Paprika all that much. I should try watching it again, tho. I think I was pretty drunk the first time I saw it. From what I remember, tho, it seems to do the opposite of what inception does. In a dream, anything and everything can happen. That's a really cool way to do it, but there's a danger of pulling stuff out of your ass whenever you need it. I can't remember enough of Paprika to say if that happened at all, tho. It was definitely surreal.

I feel the same as Fixed, tho I will agree with the idea that other film makers need to stop ripping it off every time they want to make a dark sci-fi film.

A Few Good Men is one of those movies that I've always meant to get around to watching, but haven't. So glad I decided to swing by the forum again tonight

I think it was mentioned during one of the other shows that they'd have to tackle this one eventually just because it's one of those movies that you can either embrace it's weirdness and love it to death or you can't and you hate it with a passion. I haven't seen it, myself. It sounds like something I'd like, tho.

I had one more thing to add to this thread a while back and didn't want to dredge up the topic just for this:

The only thing in the movie that had perplexed me was the story Ofelia tells to her unborn brother about the rose that could give eternal life. I couldn't figure out why it was in there, and then it dawned on me. The baby is the rose. I suppose you could look at the rose story as some kind of metaphor for life in general as well. People sought the rose because it gave eternal life, but the thorns gave instant death. But the two are inseparable. You can't have life without death, yeah? So maybe it's like a story about how dumb it is to want eternal life. Like, this Captain guy just wanted his name and memory to go on, yeah? So that's why he wanted the kid, but he obviously got stuck by a thorn instead.

I still don't know what all that crap ends up meaning, but there you go. I wonder if the face-smashing scene was a metaphor for alcoholism or something...