Production note The episode notes that Inglourious Basterds was released in 2009, premiered at Cannes, and grossed about $320 million worldwide.
Production note The film won only one Oscar, Best Supporting Actor for Christoph Waltz.
Production note Sally Menke edited the film; Chris notes it was the last Tarantino film she edited before her death.
Production note The opening chapter title ‘Once Upon a Time in Nazi-occupied France’ is noted as Tarantino’s handwriting.
Production note The title Inglourious Basterds is discussed as an intentional misspelling and a Tarantino flourish.
Production note Tarantino reportedly spent nearly 10 years developing the film.
Mentioned with uncertainty They say the original idea at one point could have included Stallone, Willis, and Schwarzenegger in the lead roles.
Production note The hosts mention that Landa’s dairy-farm monologue about rats was influenced by the Nazi propaganda film The Eternal Jew.
Production note They say Bo Svensson, the original star of Inglorious Bastards, appears in Nation’s Pride.
Pulp Fiction Used repeatedly as the obvious comparison point for Tarantino’s stature and style.
Reservoir Dogs Mentioned as one of Tarantino’s earlier landmarks and as the next Rewatchables episode.
Kill Bill Used as part of Tarantino’s career context before Inglourious Basterds.
Dirty Dozen Named as one of the men-on-a-mission WWII influences.
The Big Red One Cited as another war-film influence.
Guns of Navarone Cited as an influence on the mission structure.
The Searchers Referenced in relation to the Shoshana-in-doorframe image and outsider framing.
King Kong Discussed through Tarantino’s theory of the film and the tavern conversation.
Top Gun Mentioned as another Tarantino theory that could not be used here.
The Wizard of Oz Referenced in discussion of Shoshana’s smoky projection and face on screen.
True Romance Used in a bit about character-name lineage and the Saul Rubinek Award.
Hurt Locker Mentioned as the Best Picture winner over Inglourious Basterds.
Avatar Referenced as the other major Oscar contender that year.
The Hurt Locker Mentioned in the Oscar discussion and as a comparison point for the era’s film quality.
Le Corbeau Identified as the film on the marquee that Shoshana replaces.
