Marmalade

Guy Ritchie: It's bitter and sweet, right? What you got here is contraction and expansion. Absolute and relative. Don't get me jam! No fucking jam. See, I don't like raspberry jam, because it's too tart. I do like strawberry jam, but it's a bit too sweet. What you got with marmalade is fucking bitter and sweet.

Tom Chiarella: And may I add soft and fucking chunky, too. There's a little report on those rinds, you know?

GR: You got your thick cut and you have your thin cut. Now, do you like thin-cut or thick-cut marmalade?

TC: Fuck. I don't know. Where do you fall?

GR: What I like is a nice thin-cut marmalade. With a bit of rinds, 'cause I like a bit of bitter. I've had every fucking marmalade known to man and I like a thin-cut marmalade.

TC: You're the king of marmalade.

GR: Now, the marmalade at Richoux, that's an accessible marmalade. And my sensibility is accessible. My nature is, I like accessible shit. The first two accessible movies I made, Lock, Stock and Snatch, they are accessible. The next two aren't accessible. First there's Swept Away, which, well, everyone gets confused on, because of Madonna. And the next one is just conceptual. That one — that's just pure esoteric marmalade.

TC: You mean Revolver.

GR: Right. Here's what you can tell a lot by a person's marmalade. My palate is really a fine shred, it's accessible. I'm not saying I won't test you. Because all marmalade tests you.

TC: Apricot jam is accessible.

GR: Well, true. But with marmalade, within its esotericism is a bit of accessibility. So you see, what I want to create is an accessible bit of esotericism. And well, that's marmalade, innit?

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