The Weinstein Company wasn't content to just hit people over the head with a Grindhouse-sized double feature from Robert Rodriguez and Quentin Tarantino. No, they also thought they'd issue a double-whammy and hit the press over the head with a massive junket, providing no less than fifteen actors, and the two directors, for our pleasure. If you can imagine trying to take notes while Quentin Tarantino goes off on tangents at a million miles a minute, then you have a small taste of what we were exposed to. Next time, bring on the mutant zombies, I say.

Thankfully, we got to sit down with practically everyone in this film (no Bruce Willis or Michael Parks, sadly) and chat. Who surprised me the most? Hands down -- Freddy Rodriguez. He is one cool cat with a really great attitude and background. Who knew he was from Chicago? Well, er ... clearly not me, until he told me. He also seems to have shed himself of the Poseidon baggage as well, and rolled over right into Grindhouse. Get it?

Who seemed the most perplexed at all the hubbub surrounding Grindhouse? Naveen Andrews, without a doubt. He had a bemused attitude about the whole thing, and about the appeal of these types of films. In all honesty, he sounded a bit Lost. Get it? Sorry. It's just too easy. Check out the various interviews below, which should sate you until Grindhouse finally hits theaters. Then we can start the whole "Whose half was better?" debate in earnest.

Plus, as an adding warning -- if you don't like spoilers, then you might not want to read these. There's some juicy information in here, including details about stuff that'll be included in the international and DVD releases of the films. So either avert your eyes, or go full-speed ahead, readers.


Quentin Tarantino and Robert Rodriguez

How did you first get into Grindhouse cinema? RR: "He's been educating me in Grindhouse cinema for the past twelve years, showing me all these double features and triple features at his house -- either stuff he'd already seen in the theater back when he was growing up, or stuff he'd discovered, that he turned me on to. Didn't really think to do anything with it, because I'm kind of slow, then about three years ago I started thinking 'wouldn't it be cool to do a double feature?' Because I just finished a 3-D movie, and I was trying to think of something else that would bring people to theaters for a theatrical experience. I went crazy with that idea for a few months, then got sidetracked and did Sin City, then I went to show him my cut I did of his scene in Sin City. I went to his house, and laying on the floor with a bunch of other junk was a double bill poster for Rock All Night and Dragstrip Girl, which was the same one I had at my house, on my floor.

That was inspiration for my double feature, just the layout of it. I said 'I've got that same poster, and it's on my floor! I had this idea I was crazy about, I was gonna make two short features, but you should do one and I'll do the other one,' and he said 'Oh, I love double features -- we gotta call it Grindhouse!' and I said 'allright!' Then later he came up with the idea for the fake trailers. When he does show a double feature at his house, he always puts trailers in between -- it wouldn't be a complete experience without them."

QT: "I choose them -- I'm like a little mix master. I decide the order that they go in. They're either related to the genres of the two double features I'm showing, or the people in it, or even like maybe somebody in the audience."

When you two get together to have a creative meeting, who usually talks first?
RR: "Whoever has an idea. Usually, if he [Quentin] was talking, I was typing. I didn't want to lose any moment of it. Those ideas come and then they flip away. "

We heard that you two were like schoolkids, visiting each other's sets during filming and so on. QT: "Well, you know its funny, somebody once asked us 'Why are you guys such good friends? Is it because you're filmmakers? Because you came up in the same town?' Well, yeah, naturally. However, having said that, if we had never made a movie in our lives and we just 'met' each other, we would be these friends. If I worked at Video Archives and Robert was a customer, we'd just be great buddies. If we were in elementary school ... I wish I knew a guy like Robert in elementary school! The fact that we're both artists and both respect each other's artform, that's just amazing and I've always dreamed about the 'community of artists' kind of thing, but it's just actually that we like each other."

What made you choose Rose McGowan for this project? RR: "I met her at Cannes for Sin City. We were sitting around, I was talking to Clive Owen, and then turned around and met Rose, and I was like 'what are you up to?' and she told me she'd been stuck on a TV show for five years, and I was like 'oh, no wonder I haven't seen you around. You were a Dimension girl for a while, you were in Scream ... then, like, gone.' I didn't know what happened to her. And I started talking to her -- she's hilarious. She really just caught me off guard. When you meet somebody like that, that has a personality that's so strong in person, you know that if they can blow it up 50 times on a screen, it's going to be amazing. You know, like George Clooney or Antonio or Salma -- you get that epiphany of ' I want you to be in my movie, but as you are.' People tell her she should be a stand-up, she's so accident-prone, she has the worst luck, there are just so many things about her. She's always talking about her useless talents. I was like taking notes -- 'All I have to do is add a machine-gun leg to her, and she'd be over the top.' So really, there's so much of her in Cherry. No one else could have played her. The same with Zoe. No one could play Zoe but Zoe."

QT: "Yeah, it was a really wonderful situation. I worked with Zoe on Kill Bill; she was Uma's double, and she was Xena's double for the last three years of that show. Just one ass-kicking chick. But also really just sweet and effervescent and I got to know her really well -- literally, she's like my sister. I'd run into a burning building for her. But also, she was in a documentary about stunt-people -- it was about her -- called Double Dare. I saw that movie actually a few times in theaters with audiences, and what was fascinating was the personality that Zoe has. Her own bubbly-ness was there in the documentary, and it just kind of came out in the audience. There's this moment where she actually gets a job, that she really wanted to get, and the whole audience just bursts into tears, cause you're just so happy for her, you want her to do well. And I was like 'gosh darn,' that quality Zoe has in real life is completely there on screen -- everyone feels it in the theater.

I'd also been working with her slightly as an actress on Kill Bill, when she's got the motorcycle helmet, or she's in the yellow jumpsuit. I don't know how to talk to a stunt person -- I know how to talk to an actor. And it was her responsibility to not just do the stunt, but The Bride had to still be there. She's playing The Bride. So I'm always explaining to her where she's coming from, where she's going, just character-wise, and she wasn't used to that, until finally she got into it, and was always asking me acting-wise what I wanted her to do, even if there's just a motorcycle-helmet on her head. I thought 'wow, if I could cast Zoe as an actress and get that wonderful quality out of her, audiences would love her and then I could just do a balls-to-the-wall chase and always just show that it's her and never have to cut away. I just thought that would add up to a very thrilling experience."

How did you decide which film would play first and which second? RR: "Originally, it started alphabetical; we figured once we got our scripts in order, we'd figure out which would go first, and for a while I thought, well, since mine has so many characters, I could probably cut mine the tightest, and that way people wouldn't feel exhausted and ready to go home; we'd make it really short so they'd be ready for another picture. But they ended up being the exact same length."

QT: "We never really thought that much about it, it just seemed like the natural way to go, and I don't think we even put it under the microscope to wonder why that was the case, but I think it was probably that Robert's is a little bit more lighter, there's a more humorous vein."

Last week there was talk that you were having trouble with the MPAA. QT: "No, that's a complete rumor. I mean it was a complete rumor. They hadn't even seen it when all this stuff was coming out."

RR: "It was such a good rumor that we were actually disappointed we didn't get it -- maybe we weren't good enough to get an NC-17." [laughter]

Is there a future for any of the trailers? What about Machete? QT: "That one, for sure. Our whole thing was that we were going to let the audience, the fans kind of dictate that."

But you are thinking about Machete? RR: "Yes."

QT: "That one could really be done as genuine Grindhouse. He's already got at least a half hour probably put together, if he's expanded. And then literally just show up for like another six or seven days, and just wrap it up. That would be extremely new-world style."

How did you select the directors to do the trailers? QT: "That ended up happening, where -- the first thing Robert had done in the movie was Machete. I had it in my house, so Edgar Wright and Eli Roth are friends of both of ours, and they were at my house and I said 'hey, let me show you Machete, it's so cool,' and even had the lobby cards."

RR: "I had camera tests I was doing early, so I shot some of the trailer, and I shot some lobby cards and a poster, and I sent it to Quentin to get him really jazzed about the movie, and those guys were there."

QT: "They were there, and they really got what we were trying to do; they are as knowledgeable about this cinema as we are, and it seemed like a perfect fit to actually have them come aboard. Rob Zombie actually came aboard because of Bob Weinstein. I know Rob, he's a nice guy, but we don't really hang out or anything, we haven't had a chance to meet each other that much, but Bob Weinstein brought it up to him because he's doing Halloween for Dimension, and I go 'oh, wow, that's a really good idea,' and then when he came up with 'Werewolf Women of the SS,' I go 'that's kind of like a Jess Franco-sleaziness, that really wasn't in the other movies. That's actually really important! That is a vein we haven't hit in any of the other ones, we need to go that direction!"

If this is a success, do you want to do more Grindhouse films? RR: "It's such a big idea. Once we got just the first idea of doing the double feature together, and then when we called it Grindhouse, it just suddenly became this umbrella for a lot of projects we could do, and that's what we got the most excited about."

Is Bob Weinstein on board? QT: "They love the idea of this being a label, and everything. One of the things I like about it is, it would give me an opportunity to like say, do a blax-ploitation movie, or do a spaghetti-western, do something like that, where the weight of the world isn't riding on it. I don't have to re-invent cinema in order to do it, I can just do it."

This is all really a director's genre, isn't it? QT: "Oh yeah. That's one of the things I always thought was really interesting, growing up -- reading a magazine, like, say, Fangoria -- it was all about the directors. It also might be about the makeup guys or something like that, but if ever there was an auteur publication in America, it is Fangoria! Because it's all about 'here's the director.' Either that or the make-up guys."

What was the first Grindhouse movie you ever saw? QT: "That's a good question. What would legitimately be probably -- that you could absolutely call a Grindhouse movie -- my grandmother took me to the Gardmar Theater in Montebello, and the film I wanted to see, because it was on TV all the time, was The Doberman Gang. We went to see The Doberman Gang, and it was on a double feature with Eddie Romero's Filipino horror film The Twilight People, which was like a Filipino version of The Island of Dr. Moreau, and Pam Grier was in it playing 'The Panther Girl.' And my grandmother took me to see it!"

Robert, why did you choose Michael Biehn and Jeff Fahey? RR: "These are people I always wanted to work with. I've always thought Jeff Fahey was just fantastic, Michael Biehn I've always wanted to do something with. Both of them came in and read for the Sheriff, and I thought 'God, both of them did such a great job, maybe I could cast one of them as J.T. and one as the Sheriff, but they look so similar they'd almost be brothers -- they'd have to be brothers in the script. I would do anything to work with some of these people. I've been trying to check off my list -- Josh Brolin I've come very close to working with over the years."

Quentin, what about working with Kurt? QT: "Well, the thing about Kurt is, I've always been a huge fan of his, and there's this aspect of ... if you're men of mine or Robert's generation, it's like Kurt Russell is this incredible iconic figure. He's Snake Plissken, he's MacReady in The Thing, he's Rudy Russo in Used Cars, he's Jack Burton, he's this incredible figure, and I've always loved him as an actor -- in particular, the fact that he would do the Eastwood-esque voice, the John Wayne-esque voice, because he wasn't so serious an actor that he couldn't have fun. He has a sense of play like really good actors do, so it was a dream to work with him."


Rose McGowan


Did you always know you were going to be in both Planet Terror and Death Proof? "No. I auditioned for Quentin's twice. I had to go back twice, while I was shooting Planet Terror, so no, I did not. It was not a foregone conclusion."

Were you hinting to Quentin that he should put you in his movie too when he came to visit the Planet Terror set? "No, God no. Never. No, no, no, no, no. I think it was just the same old-fashioned way of somebody making an appointment for you and going in. But also, Quentin likes me and my acting, so to speak. I would never presume to go up to anybody and say anything like that. In fact, I made a huge point to never talk about it. He wasn't even doing auditions or anything like that, then. I think he was still finishing the script."

He's a fanatic about his scripts, I understand. Every word is agonized over. "Yes. He has a very specific cadence, obviously. As long as you can get that, I think you're sailing away, and you're just fine."

Since you left Charmed, you've done The Black Dahlia, some other stuff. Were you trying to move in a different direction with this? "It's kind of just the way it's happened. It certainly miss everybody on it [Charmed]. It's very funny because Quentin is a huge fan of the show."

So was it just time to leave? "Well, my contract was done, and yes, it was time. I was over, I didn't want to re-up. I was on for five [years] and the girls were on for eight, and the only reason I was on for five was because I re-signed for three more years, after I was on for two. I was told I'd be there for about a year."

Charmed had a lot of volatility, was there a big difference between doing a zombie movie with all these men? "It's a tisket-a-tasket. When you're with guys, you're like 'enough with the freakin' testosterone. God, take it down a level.' Especially actors. Aaagghh. Sorry you have to transcribe 'aaagghh.'"

Was working with Holly and Alyssa easy? "Everything has its challenges, and they were really close when I went in, but my job isn't to go in and be friends with people, my job is to actually work. We definitely became friends, but not sisterly, no. People say 'do you hang out after work?' Duh, I just worked fourteen hours a day. Do you hang out with people you work with after fourteen hour days? I think not. I go hang out with my dogs, and occasionally see my friends. But Holly just e-mailed yesterday and I told her she needs to come and visit me with her new baby. And last week I had a problem with my computer so I wrote Alyssa 'Do you ever have this problem on your Mac?' 'No.' Okay! So no, just kind of general exchanges."

What was it like working with Kurt Russell? "It was great. And what was interesting, actually, was that almost the way it's been cut, I have two different roles in Death Proof. Because Quentin wrote a 130-page script, which is really about two hours. So he had to truncate it, condense it for this. But once it's on DVD .. and the international release is a lot longer."

We get the back story about the boyfriend? "There's big, big scenes about that, before I even get into the bar. And then I have a lot more stuff with Kurt, which actually develops his character a lot more. He and I were primarily together the whole time. That was pretty much all of our scenes. In the bar, other than his stuff out on the porch, it was all he and I. So that will be seen a lot more. But as it is, it's interesting because right now I'm playing the girl who is like 'don't go in the woods, you dumbass, you'll get killed by the guy with the axe.' Now I'm playing 'don't go in the car, you dumbass...' But if you see the longer version of it, you'll kind of understand why I'm getting in the car. Currently, you're like 'what is she doing? What an idiot?' She's the girl you're gonna yell at, basically.'"

How did you do all the leg stuff? "Calisthenics. [laughter] No. I had a really heavy gray cast and it had kind of like a ball bearing. Cause if you wanted a table leg or a rifle or a machine gun, you'd have to get a little nub to rest on, so that was the ball bearing and my toes were pointed in the air, and I thought maybe my achilles tendon was going to snap. And the other side was a four-inch high heel boot. Gray cast with LED lights."

How did you walk like that? "Very awkwardly. How did I run like that? How did I jump like that, how did I roll like that? Yeah. I figured it out."

Talk about the flying. Were you on a crane? "That was fun. I love flying. I was on wires, I wasn't on a crane, but it was funny because I had to run to get up enough speed to be flown over the wall. And of course I had the four-inch heel."

Do you see this role as a big break? "I don't really think ahead that much. All I really hope is that drag queens have my leg on next Halloween. If that happens, I'll be happy."

So what's up next for you? "I'm going to do a movie called Black Oasis, which is very ironic, strange, it's this B-movie actress called Susan Cabot. She was Wasp Woman, in these Roger Corman movies, which Quentin's seen every single one of. It's written and going to be directed by the guy who did Priscilla, Queen of the Desert, Stephan Elliot.

Black Oasis is the Susan Cabot story? Did she end up an alcoholic or something? "Susan Cabot story. She ended up being killed by her son, with nunchucks. An ignominious death for sure. I get to be in drag, because she dies in her early 50s, but she starts going crazier and crazier, just piling on the make-up. Then she starts getting kind of crazier, and she goes into time and thinks she's Wasp Woman and all these other things, so I'll be acting in all these other movies. It's fantastical."

Where did this story originate from? "I think just her life story, probably an article. I don't know where the actual source material..."

Is it going to be serious? Weird? Both? "Probably both, I guess. I mean, it sounds very serious. It's quite tragic actually, this poor little thing."

When do you start shooting? "I hope to start in the next three or four months. It's really great. The woman who is producing it, Hilary Shor, she just did Children of Men. So we're hoping to start. She was about 4'10, Susan Cabot, so I'm not sure how .. I'm not super-tall, but that's certainly a lot smaller. She would wear 8' platforms, like going around with these high heels everywhere. Just such a sad life. She was sure she'd be an A-list actress if she was only taller. She was obsessed with that fact. She was engaged to King Hussein, then he found out her real name was Harriet Shapiro, she was Jewish, so he broke up with her. She got pregnant, and all her hopes and dreams pinned on the boy. She had a boy, and she was like 'he's going to be tall, and da da da, and .. . he was born with dwarfism. So then she put him through all these experimental treatments, shots and hormones, trying to make him taller. He got to be like 5'2, but it was really just a bizarre relationship with them. She had all the Wasp Woman and other props, like in her house. The house was like, crazy. And he became obsessed with Bruce Lee, hence the nunchucks. It was his way of getting masculine, because he never looked masculine. Because of all the hormones, he looked kind of feminine."


Zoe Bell, Grindhouse Stuntwoman/Actress


I heard Quentin was obsessed with you after working with you on Kill Bill 2. "Kill Bill was the first time I worked with him, and he sort of demanded things of me such as motivation and intention -- he started talking to me on those levels, which was something that had never happened to me before. You know, it was always like 'I'm just here to kill those people or keep bouncing until you say cut,' that's my intention. He was like 'no, your intention is to kill these people, so you can get up those stairs, so you can kill those guys, so you can get to O-Ren, so you can kill her, so you can get to Bill, so you can get your kid back.' I was like 'wow, that is complex! I gotta think of all of that?!' But it was true, and I started to appreciate it and take my work seriously in that way. I think that may have been when the idea first started popping into his head -- he's always been a fan of stunts and stunt people and the stunt community, and what they give to a movie, and all that stuff, so I think he probably had an idea. The man's had ideas floating around in his for 50 years -- oooh, don't tell him I said 50! What is he, like 44 or something?

So Kill Bill and then Double Dare, the documentary was made about me and another stuntwoman -- that was filming right through to the beginning of Kill Bill. It came out after Kill Bill, and Quentin was definitely like a fan and a friend of the project; he put money in and helped us do screenings, and I guess he was more of a fan than I thought, because he had a copy that he kept as his house and he would screen it for friends. He showed it to the Weinsteins when he had written the script, cause they were like -- 'What? Who the hell is that? Her name looks familiar. It's the stunt-woman in Kill Bill!' I guess he showed them the documentary, and what he said to me was 'me in Double Dare' -- he basically wanted that character in his movie -- which I guess makes sense to him, but it didn't make sense to me at all at the time."

How did the insurance company feel about you acting and doing stunts in the movie? "You know, I don't know -- I think there was a bunch of stuff about me doing all my own stunts, and all that kind of stuff. I think there was an issue with the insurance company that no one really talked to me about ... because I don't know how far it had gone before Quentin was gonna find out about it, and this and that. So it was like 'we just won't tell Zoe or Quentin until we fix this.' I turned up for rehearsals one day, and they were like, 'so, Zoe, we want to practice you getting in and out of the car. And I was like 'okay.' ... 'but it's going to be stationary.' I was like 'okay ...' ... 'and we're gonna put a mat in.' What!?"

Where do you see your career going now? More stuntwork? "I love doing stuntwork and I would love to keep doing it. I always think this is such a great opportunity and I had such a blast doing it."

Do New Zelanders get upset if they are referred to as Aussies? "You know, it depends on who you talk to. I don't give a shit. If I tell you I'm from New Zealand and you keep saying Australia, it gets a little irritating. Like, if I tell you my name is Zoe and you keep calling me Sally, that's annoying. I know a lot of Australians get pissy, and I know a lot of New Zealanders get pissy about it too."

Did the thought of acting scare you? "The thought of it scared me, just in terms of being outside of my comfort zone. It's definitely outside of my comfort zone because it's new to me."

Were you ever hurt doing anything? On any movie? "Not on this movie. Kill Bill, actually, I hate to say. At the end of Kill Bill, I dislocated a bone in my wrist and had surgery and pins and was out for a year."


Jordan Ladd and Vanessa Ferlito


Jordan, you're third-generation, old Hollywood -- was that appealing to Quentin? JL: "He most definitely knew every Alan Ladd movie ever made, but he knows everybody's work, and of course he was a fan of those things, but I don't think that played at all into the casting of me. Actually, I was in a movie called Cabin Fever with Eli Roth and he liked that, and he liked my work on that, and he called me in on the CSI finale, and of course I didn't get the job, but we had a really funny exchange in the room and the material was drama. I think he thought 'Jordan could be funny in the role of Shanna.' So he called me in to audition. I don't think he had me in mind for it, but you know, I won it in the room, so to speak, a few times, over the course of a month and a half. I practically bit my nails to the quick waiting, and ever since it's been a dream."

Vanessa, how did you get into this? VF: "He actually wrote the part for me, but I didn't believe him. He called me, I was in New York, and he was like 'yeah, so I have this script. There's this role, and I want you to do it.' And I was like 'allright -- are you sure?' and he said 'Yeah, I want you to do it.' But it was months before he cast the film, so I had to wait months. It was torture. I just knew the rug was going to be pulled at any moment. It was like 'there is no way I'm getting this.' And then he was like 'okay, are you ready to come down? Are you ready? Two weeks, we're getting ready to shoot.' And I was like 'are you kidding me? Are you kidding me? Yeah, I'm ready, let's go!' So it was weird."

Vanessa, did you do the lap dance? Was it actually shot, and if so, will it be put back in? VF: "I don't know, we'll have to see. He has a bunch of tricks up his sleeve. You think he would let that go? You think I wouldn't have to do a lap dance?"

Talk about the pressure on a big project like this. VF: "Well, the pressure's on. As much fun as he is, you can't screw it up. Then he gets really serious, and he's like 'it's time to focus' or 'what are you doing? or 'what's going on? come on, come on.' But then it's back to normal."

Jordan, you're going to be in Hostel: Part II , how is that? JL: "It's terrific. Anytime I get to work with Eli, who is one of my best friends, it's enormous fun. We also did the Thanksgiving Day trailer together. While we were over there, we shot Hostel: Part II and rolled right into the Thanksgiving Day trailer, which was a blast. I haven't seen it yet, but I hear incredible things about it."

Vanessa, you quit CSI? VF: "I quit. If I was still on the show, they would not have let me do this -- no way. I finished Shadowboxer and four days later I jumped right onto CSI."

I loved Shadowboxer, by the way. VF: "He's [the director] so cool -- they gave him a lot of slack for that, but he was a first-time director, just creative and artistic -- give the guy a break. Oh, they killed it. It was so weird. [On CSI] I just had no idea what I was getting myself into, no idea about the shows -- procedural every day. Yeah, they were great to me, the money was great ... if I hadn't had a taste of movies, then it would have been a dream come true. Maybe not. I was like kind of going crazy, so after the first year, I had a situation with a director -- I wouldn't have been able to get out of the contract, but I had a situation on the show which kind of made it a little easier. Anthony Ziga (sp?) was so good to me that he just said 'we have to spank you a little -- you're not allowed to do TV for some time, but go do your thing.' He's coming to the premiere. So it left on great terms, but I was like ... I know people say 'you should be grateful,' and I was like, 'you know what? I feel like it's good karma, because I'm passing this off to someone who will really be grateful for it.' I want to live in New York with my family and be able to do great things. That's what I signed up for this for. So I quit the show -- it's not to say I'll never do TV again. On 24, I had a blast. That was fun. Making out with Kiefer. So it's all good, just the creative process for me, it's all good."

Did you guys mingle with Rosario's crew on the set? JL: "We mingled. We were all on the same rehearsal time. We were like sisters and they were like sisters, and then when we were all in town at the same time, we were cousins -- all part of one big family. We'd stay up until six in the morning, just rowdy, have security come up and give us a hard time. All we were doing was kicking a few back and chain smoking and talking a little loudly."

VF: "The pressure was on for us a little more, because we had to rehearse for three weeks and then go right into it. The first day at work was twelve pages. That scene in the car? That was the first day of work. These girls [Rosario's girls] got to rehearse and go back to L.A. and chill and learn their lines. We were having a heart attack. So it was 110 degrees, we were in that car, 12 pages, two days in a row."

Jordan, are you worried about Hostel: Part II being called misogynistic? JL: "You know, I'm not going to take any of that personally. I really believe in Eli, and he's written some really terrific roles for women and that's what we're looking for. The truth is that violence is committed against women -- women against women, men against women, every day -- so it's not like it's coming from nowhere or that he's doing something provocative for the sake of just entertainment value. It is reflective of what does go on, sadly, but I actually didn't read the script. He just gave me my pages and said "let's do it -- I want you to read it and then I want you to see the movie." So your guess is as good as mine."

Was Tarantino hands on with Hostel: Part II? Is that how he came in contact with you? JL: "Oh, no, I actually went and did Hostel: Part II after -- right after, in fact. Eli had come and done work on the movie, and he went to shoot Hostel: Part II. They were nearing the end."

Vanessa, you were cut out of Spider-Man 2. VF: "They cut me out of Spiderman 2; it was one of my first kind-of jobs around that time. Sam Raimi was a doll, though. He sent me flowers, although I was so depressed and upset. He sent me flowers and a hand-written note. But it's Spiderman 2, you know -- there's so much they have to fit in there. My character was obviously not that important -- the dark-haired best friend -- it just wasn't that important."

This Tarantino film is creepy -- it's a lot to do with stalking women. Do you worry about that stuff? JL: "I don't, and I should. Everything's listed. Don't write that! Stop with the fingers! It never occurs to me. I think maybe after this movie ... I should reconsider on that. But it is something to think about. Men have it so easy, they can go to parties and park anywhere they want, but we need a can of mace and a stiletto."

Did you two shy away from Kurt on the set because of his character? VF: "No, I was obsessed with him. I hung out with him all the time. He took me to see Willie Nelson -- we met him -- and we went to dinner, I had a great time with him."

JL: "Right before he got popped, right?"

VF: "Yeah! That night. He left us, got in the van and got arrested!"