Oh no, let's go. *Reservoir Dogs* was the one where, um, that great opening credit sequence where, you know, Quentin put our names like right on the screen, like in front of our face, so um, that was that was huge. I, you know, all the directors

like the really good ones that I've worked with, I think what they're really good at is making everybody feel like they're collaborating. Yeah, I mean we like uh, hanging out. I mean all the guys, I mean working on the film, uh, it's like we can't wait to see each

other again, you know, um, and that's and that's nice because uh, we did all get along well. Quentin has seen every, every movie in the world, so he actually knew like all of my work, you know, like not that I had that much, but he knew it all.

He called me up and when I read *Reservoir Dogs*, I, I, I thought it was written by, you know, a 45-year-old ex-con, you know, who had like lived that life. And when I talked to him on the phone, I just couldn't believe that this voice wrote this

script. And uh, yeah, but uh, he knew my work, and um, then I, I finally met him in Sundance when we uh, did the workshop for it. And um, he, he wanted to play Mr. Pink. I mean, he had written that for himself, but thank God he uh, decided not to do it.

and he gave it to me. When I read the script, Mr. Pink is the character that, that I wanted, wanted to do, but I told it wasn't available. Well, I was just, I was just told it wasn't available. Then on, on my uh, I auditioned twice, and on and on.

the callback he told me that that that it was the part that he that he wrote for himself that he wasn't going to just give it away uh whoever gets this part is going to have to take it from from him then he told me later that it it it

wasn't based on my two auditions it was uh he hired me because he saw me uh he saw an audition tape that I did for a Neil Simon film The Marrying Man he said I saw that audition tape and you look like a criminal your hair was slicked back

you had a 50 shirt on I said but that's the way I dress and he says well that's why I hired you you really look like a criminal and he's right about what's happened you know he doesn't know who the rat is but somebody's a rat I'm a

great tipper you know uh that was a really uh that was an acting feat that I had to do there to um in that but I understand that philosophy I mean that's actually Quentin's real philosophy Tarantino he doesn't leave but he feel that's how he

really feels about tipping I've been out with him and it's been a problem you know it's cuz you always have to like compensate for what he doesn't leave uh but uh but now I'm going to be the one that's stuck with the reputation once

the M comes out oh yeah now he really really uh I mean he is he really believes that and uh he's proud of it and uh he doesn't understand why everyone else isn't up to his level mhm um because uh this is you know the

consequences are very serious. MH and um so yeah, so he's freaking out, but with good reason. Yeah, now I have to overtip. I probably I'm still short changing them, because but um yeah, that that was uh, you know, that really was an incredible role.

and just to be in the same room with all those guys and to you know, be with Harvey Keitel who was, you know, he was an idol. Just love him and uh, he's really the reason that I got into the film because they were only doing auditions on

the West Coast uh, they couldn't afford to come to New York and Harvey paid for Quentin and Lawrence Bender to come to New York and he got in all these New York actors and I mean I didn't know him, but because they came to New York I was

I was able to get in on those auditions and um somehow I made it into the film. There was a camera direction where the the camera pushes in on Mr. White and Mr. Pink is off camera, you know, and you hear Pink like talking, but it just pushes in

on Mr. White and that was a great it was a great um, visual and when we came time to shoot it, we we shot it that that way and then the producers said, well, you know, you really should get Mr. Pink, like you should like cover the scene this way

when you get in the editing room if you feel and Quentin was like, no I don't I don't have to. No, we're just doing it this way. They said, no, no, really, cuz a first-time director, no I mean really, you might regret it later. No, I don't care.

I'm not going to use it. I don't want to waste time. I'm not, and I'm the actor who's off camera going, 'Well, should I argue for getting more screen time?' But, but I was so impressed at his commitment and his passion. I went, 'No, I

don't want to be on camera for this scene. That's how he wants it.' And that was like a huge lesson. Um, and uh, yeah, he was, you know, just an amazing force, you know. Well, I think that scene is funny because it, you know, the way the

structure of the film is, is that you don't know these guys in the first scene, and you learn a little bit about what's happening throughout the movie until at the end the audience knows more than the characters know. And that scene where he's handing out the colors comes at

kind of at the end of the movie, and so you see what these guys have been through, and you know they've been through hell, and the movie is kind of brutal, and it's, you know, and it's like in your face. Yeah. And then you have this

scene where it's he's giving out the colors to these like hardened criminals, and they're bickering about what color they're getting, you know. That's uh, and Lawrence Tierney is great in that. Unfortunately, he, I mean, he was a little bit loopy. He was

you know, he got very distracted like when we were doing the scene where he's handing out the colors and he's telling us, you know, like what we're going to do. He had a hard time memorizing his lines, and he could only do it like line

by line and you had to sit there off camera straight as a board because if you scratched your nose you go what are you doing I'm trying to I'm trying to he's oh God I like I'm sorry I my nose you know and everybody got upset with him one by

one the actress like got up and started to leave really yeah and um but I stuck it out it was like me Quentin Chris Penn and Eddie Bunker were the only ones left at the end but we had to sit like perfectly still but he he really pissed off everybody and after

the third day Quentin fired him interesting he was so mad he fired him didn't know that and Harvey said you can't fire him we just shot for three days right you know I see it almost as a black comedy in a in a in a way I mean

um to me uh the best comedy comes from uh very human situations and this is you know these these these these are real guys and uh what they do for a living is uh I mean these guys are hard to take at times but and and it and it doesn't

paint a pretty picture um but it I think it's it's realistic MH and there is a lot of humor I mean just in these characters being in the same room because they're all so distinct and they each have such a strong personality that the conflicts that arise it's they're

sometimes funny I felt like we were doing something amazing but it didn't mean that it would translate you know I mean I've worked on films where you think oh this will be great and and then nobody sees it but uh so I felt it was

special I felt Quenton was special yeah like I had never come across somebody who was making his first film and he first of all he was so excited and that just you know it made everybody feel like we were working on our first film and he was so confident yeah I've

never seen such confidence come out of a first-time director it was just wow he he knows what he's doing

Steve Buscemi on Reservoir Dogs

Steve Buscemi on Reservoir Dogs