Gah. I’m sorry that I never replied to these sooner.
6. Oh yeah, I noticed that the first time I saw the film… I think.
7. It sure looked like it could have been the sweet bread recipe. I’ll have to watch the film again to properly judge/answer this question. That said, I don’t blame Ego for pushing that dish away. Why they call it “sweet” bread is anyone’s guess. (snigger)
8. I wondered that myself after repeated viewings. It is possible that Colette confided in Horst more than in her other fellow employees, if she even discussed her past with them at all. Perhaps she and Horst began working at Gusteau’s around the same time, and, therefore, know each other more intimately?
9. This is what’s called “artist’s license”, or something along those lines. Obviously, it was mainly done so as we could become more acquainted with Remy’s devious side. In addition to this, maybe he (Remy) figured that his brother would only react to the most delectable of morsels, not just grapes and bread?
10. Yeah, it sounded as if poor Linguini had been through a lot. (heh)
11. I always just assumed that Remy had his one little spot somewhere in the sewer line, one that was situated in between Gusteau’s! restaurant and his family/clan (it was probably closer to the former). Generally, rats prefer company… and lots of it, but this is Remy we’re talking about here. He was unique and seemed to prefer seclusion (in certain situations).
12. Ha-ha. Yeah, I think I noticed that too when turning on the subtitles.
13. Hmm. Interesting tidbit on the “dates” factor. As for the “Witness my Hand” note, I’m not sure what that refers to.
14. That was Lalo who said that. I highly doubt that there’s any correlation between Django and Lalo, if that’s what you’re referring to, but it’s a possibility. Hmm…
15. Ha! I’ve been trying to figure that out for ages, but I can’t hear what Colette says before Skinner storms in, so I guess we’ll just have to leave their conversation up to our imagination.
– Mitch