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Chris Prentice drops in to talk about the cottage industry of Tarantino knock-offs that arose in the 1990s (and beyond). Why do they have long, tortured titles full of numbers and locations? Why do they all end on the same boat? These questions and more will be answered in digressive, non-linear fashion on this week's Frame Work.
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By Al Schwartz, John Bernhard
5
1717 ratings
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Chris Prentice drops in to talk about the cottage industry of Tarantino knock-offs that arose in the 1990s (and beyond). Why do they have long, tortured titles full of numbers and locations? Why do they all end on the same boat? These questions and more will be answered in digressive, non-linear fashion on this week's Frame Work.
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