Quentin Tarentino

[movieman1957]

I can't say that I am a particular fan of his work but he is quite fascinating to listen to talk about his work. I just spent an interesting hour watching him with Charlie Rose. He talks so vividly about how he works, mostly about how he writes. His new film was 10 years from idea to release. What was really interesting was how he discovers underlying context of his films often only after he sees them a time or two when they are done. These things apparently never occur to him while he writes.

He is also quite knowledgeable about his film history. He mentioned several old stars from Raymond Massey as John Brown to Ilona Massey. I have seen pieces of his films and don't really feel the need to discover more but I think I'll sit and listen to him anytime.

If you can find it again check it out.

[Dewey1960]

Chris, first you say: I can't say that I am a particular fan of his work... but then you go on to say: I have seen pieces of his films and don't really feel the need to discover more...

You really need to start at Square One, Chris. Tarantino is probably one of the very few directors working today whose films will be viewed and discussed fifty years from now. Why is this? Because he invests his work with visual power and authority. Because he's been audacious enough to pay rigorous attention to the glorious history of Hollywood's past while striving to create new and exciting means of expressing emotional truths. And despite the fact that he's seriously misunderstood by most, he's nevertheless important and great because he cares about what he does and he does it better than almost anyone else currently making movies in this country.

[movieman1957]

Dewey wrote:

Tarantino is probably one of the very few directors working today whose films will be viewed and discussed fifty years from now. Why is this? Because he invests his work with visual power and authority. Because he's been audacious enough to pay rigorous attention to the glorious history of Hollywood's past while striving to create new and exciting means of expressing emotional truths.

I thought he was very interesting as a way to find out about his process. He never even stumbled over a thought. I have seen enough of "Pulp Fiction" and Kill Bill" (both) to know he is not cup of tea. I agree he will be talked about a long way off because even though I am not that crazy about his films but he does stuff unlike any other director. I don't know a lot about current directors but he and Speilberg (Eastwood being a whole different generation) talk about the influence of classic film as part of their work. I grant there may be others but I don't know them. One other thing I found interesting is his knowledge of history in general, at least how it relates to his work.

Sorry I expressed myself so poorly.

I wholeheartedly agree with what you said in what I copied. Maybe what I have seen is his most eccentric work and that has been enough so far. If that is the case what films should I put on my Netflix list?

[Dewey1960]

Chris, you didn't express yourself poorly at all. Your comments and opinions are always of interest to me. Regardless, it would be interesting for you to check out RESERVOIR DOGS, JACKIE BROWN and DEATH PROOF (from GRINDHOUSE) for starters. Then revisit PULP FICTION and both KILL BILLS. For a nightcap try FROM DUSK TIL DAWN which he co-wrote and co-starred in for his pal, director Robert Rodriguez. Then, when you're finished, watch 'em all over again.

[movieman1957]

Then, when you're finished, watch 'em all over again.

That's a tall order but I'll try it and get back to you. It is apparent you like his work so I'll be back.

[Mr. Arkadin]

Hi Chris, like you, I'm not a fan of Pulp Fiction. From what I know of your tastes (which is next to nothing ), I'd try Jackie Brown for a starter. This is a very underrated and bittersweet homage to the seventies Blaxploitation era. While that might sound like something you would not be interested in, I urge you to give the film a chance. Tarantino expects you to know the genres he's reworking and you might say all of his films--while able to stand on their own merits--are reflections of his love for certain kinds of movies. This is why his films have created a huge resurgence in genre type films that were often overlooked by critics. To discover his work is in a sense, to discover a film history that's currently under the radar of mainstream press.

[charliechaplinfan]

Reservoir Dogs although it has it's merits is too gory for me. Pulp Fiction is a classic film, it deserves a place as the best film of the nineties. My favorites are Jackie Brown and Kill Bill and if I were you I'd go for Jackie Brown for starters. I love the way he takes a genre like the martial arts films and runs with them. I love his soundtracks.

I'm not a fan of modern day films but I do rate Tarantino quite highly.

[srowley75]

Here's a link to the interview (or at least parts of it):

http://www.slashfilm.com/2009/08/25/vot ... rlie-rose/

[klondike]

Took the wife out last night to see Inglourious Basterds, and what a glorious romp it was!
IMO, the Man is fast approaching the apex of his craft . . or at least for the first half of his body of work, as we now know it; perceptually, those 2.5 hours sped by, and yet left me with the sensation of having partaken memorably of a lovingly prepared & deeply satisfying feast in five broad, crackling courses.
See it on the big screen while you all still have the opportunity, I urge you, if only to join the droll, puckish QT in a kaleidoscopic homage to the hallowed hallmarks of genre cinema.
For this old sled dog's money, Tarantino has done for the period commando war movie here, what Lawrence Kasdan did for the Western with Silverado . . only better, more painstakingly, and peppered more flavorfully with smart black humor.

[Birdy]

Klondike -
Just how bloody was this? It looks funny but I need to know what a bloodbath it is before I can take it on the big screen.

I really can't take the man's movies (except J. Brown) but I get a kick out of Tarentino, himself in interviews. He is so enthusiastic and seems to enjoy himself whatever he's doing.
Did you ever see his cameo in Sleep With Me , 1994. What a hoot, and I bet he had a ball doing it.

B

[srowley75]

Hi Klondike (and everyone else as well),

I went to see this with Sis today and I thought it was fair but didn't fall in love with it like I did other QT films - and that's odd because I generally like everything he's done so far and, after all, he supposedly spent years on this screenplay. The thing about QT's films is that whether they're successful or whether they fail, they're always immense fun for film buffs who share the man's obvious adoration and respect of movie history, and it's especially gratifying to see him place some of the undervalued giants of exploitation cinema on the same level as those who've been essentially canonized worldwide. And yes, I get that his movies are essentially about movie love. I think that's why no matter what critics may make of his work, they can't help but admire his enthusiasm for moviemaking.

But I just wasn't able to get into the spirit of this one and I've been trying for part of the day to figure out why I didn't warm up to it as I did Pulp Fiction, the Kill Bill films, and even Death Proof . I'm sure that part of the problem stemmed from the emphasis on plot to the near-exclusion of characterization. In earlier films, most of the characters seem more well-rounded despite the fact that they're often caricatures. I didn't get that feeling with Basterds - I felt as though few of the actors had really made an effort to get into any of their characters' heads or as though they really clicked in their roles (though everyone's been talking about Christoph Waltz, and he's possibly the only the exception here). Pitt's hick act and chin jutting wore thin to the point that I found him distracting (and despite what anyone says, I continue to suspect he was cast for box office clout after Grindhouse's dismal performance last year). Atypical for a Tarantino film, the female characters were blank slates - even Shoshanna Dreyfus (Melanie Laurent) who could've been so much more. And I find it frustrating and condescending that a filmmaker so generally averse to having his violence and gore taken ultra-seriously by activist types would simultaneously attempt to preach to me a la Peeping Tom in the final act.

The fact that it's a Tarantino film aside, I was still surprised that a film with so many subtitles (probably 60% of the movie) was the #1 box office draw last week. Personally, I found that the subtitles contributed to much of the comedy and I even wondered if they were on purpose sometimes. For instance, words like "Oui" and "Merci" were unnecessarily transcribed yet not translated - e.g., if a character said "Oui," the subtitle read "Oui" instead of "Yes."

[movieman1957]

Based on Mr. Arkadin's suggestion I watched "Jackie Brown." A couple of general observations... It was much less violent than I expected. Jackson was born to play Tarentino's characters. I didn't get the whole DeNiro character. Was he really needed in the film? Other than take care of Melanie he didn't have much to do. For the first 90 minutes he watched TV, did drugs and grunted.

He loves title cards. The longer the film went the more he used them. Even time stamps were used. I guess it was part of the appeal to Tarentino to have a movie set in the 1990's, look like the 80's but feel like the 70's. (The man loves his music.) It was a pretty elaborate setup in the plot. It was still long.

One thing that struck me was near the end of the movie when Jackie and Max say their goodbyes she appears so much bigger than Max. Her head with her big hair dominates Max's appearance. (Tarentino loves her profile.)

On to something else in awhile.

[Mr. Arkadin]

Hi Chris. I enjoyed reading your observations, but I'm not clear if you liked the movie, disliked the movie, or felt indifferent about it.

A couple of insights to other films:

The opening of the film where Bobby Womack sings Across 110th Street is a link to an earlier 1972 blaxploitation classic by the same name which also opens with the song:

Jackie Brown
[youtube][/youtube]

Across 110th Street
[youtube][/youtube]

Pam Grier is also a living legend of the genre with films like Coffy (1973), Foxy Brown (1974), and numerous others.

In the scene where Jackson talks about guns, he references John Woo's Hong Kong action flick The Killer (1989), a story about a compassionate hit man.

The Killer
[youtube][/youtube]

Jackie Brown
[youtube][/youtube]

There are tons of other name-drops throughout the film. Another idea is the fact that an aging (but still beautiful) Grier was getting a second chance on the big screen in real life, just as Jackie is in the story. Personally, I loved the sweetness of her relationship with Robert Forster and thought they both did a great job. Most directors would have made the film a full fledged romance, but Tarentino wisely keeps them isolated in professional and personal life, making a romantic film instead.

[movieman1957]

The relationship between Forster and Grier was one of my favorite parts. It was a friendly, I assume nonsexual, respectful relationship. It did seem to be completely honest when so little of other relationships were. I don't recall seeing Forster in anything else but he has done enough work I should have.

I guess I am more indifferent about it. I like the complexity of out smarting each other but, for me it took a long time to get there. Frankly, I could have done without DeNiro or Fonda. They were annoying and I wondered why Jackson would even put up with them. I liked Grier. She looked good and handled things well.

You mentioned the scene talking about guns and I suspected some of the clips and the conversation were his little homage to those 70s pictures but I wasn't informed enough to catch them all.

I'll get hold of something else and go from there.

[Mr. Arkadin]

The relationship between Forster and Grier was one of my favorite parts. It was a friendly, I assume nonsexual, respectful relationship. It did seem to be completely honest when so little of other relationships were. Frankly, I could have done without DeNiro or Fonda. They were annoying and I wondered why Jackson would even put up with them

I think the fact that the other relationships were superficial was intentional, and perhaps the biggest point of the film. While the majority of the world often plays games, using and exploiting one another, here are two individuals on opposite sides who are simply honest with themselves and each other. Tarantino seems to be indicating that life does not consist of physical and material acquisition, but something much deeper.