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Topic:
Quentin Tarantino Films
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Zaz
Title: Manager:
The Amphitheatre
Registered:
Oct '98
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Date Posted:
5/23/07 2:54pm
Subject:
RE: Quentin Tarantino films (Was "Kill Bill and other Tarantino films")
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Apparently QT debuted a full version of his section of "Grindhouse" at Cannes.
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Zaz
Title: Manager:
The Amphitheatre
Registered:
Oct '98
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Date Posted:
2/1 1:21pm
Subject:
RE: Quentin Tarantino films (Was "Kill Bill and other Tarantino films")
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Sight and Sound Interview with Tarantino
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Zaz
Title: Manager:
The Amphitheatre
Registered:
Oct '98
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Date Posted:
6/23 7:16am
Subject:
RE: Quentin Tarantino Films (Sight and Sound Interview with Tarantino)
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Tarantino's new movie will be a two-parter
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Zaz
Title: Manager:
The Amphitheatre
Registered:
Oct '98
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Date Posted:
7/9 8:14pm
Subject:
RE: Quentin Tarantino Films
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From the 'net:
"UPDATE: I've just confirmed that Quentin Tarantino is talking to Brad Pitt to star...[in "Inglorious Bastards"] And Harvey Weinstein will produce it with Lawrence Bender...
EXCLUSIVE: Quentin Tarantino has just gone out with his long-anticipated script about World War II. I hear it's gone out to Universal, Warner Bros, Paramount, and Sony. Not only is Lawrence Bender attached to produce Inglorious Bastards, but here's the weird thing sources are telling me: Harvey Weinstein also will be producing as well but not financing it though his The Weinstein Co wants to distribute it domestically to pocket the fee. This certainly adds fuel to those rumors that The Weinstein Co is having movie money woes. grondhouse1.jpgAfter all, one of the ways that The Weinstein Co attracted investors was by hyping its creative connection to the Pulp Fiction and Kill Bill 1 & 2 writer/director who has long made a lot of money for a lot of people. But will Harv's investors profit from the connection? Let's not forget that The Weinstein Co produced and financed Quentin's last pic Grindhouse/Death Proof that tanked at the box office because of Weinstein's own admission that he erred in releasing it in the U.S. market as half of a too-long 3-hour, 12-minute double-feature. (UPDATE: QT and Harvey Weinstein lunched very visibly at Ago on Melrose today. Just in case anyone thought they weren't working together...)
This latest Tarantino epic, originally for Miramax and originally set for 2001, has been so long in the works that some people thought it might never see the light of day. Tarantino himself has described it as a Spaghetti Western meets World II film that's an homage to 1967's The Dirty Dozen and its derivative, the more extreme 1978 Italian movie Quel Maledetto Treno Blindato (released in the U.S. under the title Inglorious Bastards) about a group of soldiers on their way to be executed who get the chance of a reprieve. Tarantino's script comes out just as the Enzo G. Castellari inspiration is heading to DVD. In a BBC documentary done around the time of Pulp Fiction's release, Tarantino said that he always wanted to do a "guys on a mission" film. As usual, there's a lot of secrecy surrounding this Quentin project sent out by William Morris.
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pass_the_scarab
Registered:
Jul '08
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Date Posted:
7/11 12:27am
Subject:
RE: Quentin Tarantino Films
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I think he's actually following through with this. Pretty exciting stuff.
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Leto II
Registered:
Jan '00
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Date Posted:
7/11 1:01pm
Subject:
RE: Quentin Tarantino Films
- Date Edited:
7/11 1:07pm (3 edits total)
Edited By:
Leto II
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Someone posted the entire Inglorious Bastards script online (in two parts):
http://rs272.rapidshare.com/files/128794613/INGLORIOUS_BASTARDS_1_1_.pdf
http://rs98.rapidshare.com/files/128795912/INGLORIOUS_BASTARDS_2_1_.pdf
-----signature-----
"Pronouncing the first 'r' in 'February' is like making a homemade seaQuest DSV uniform -- it's a crime
against breeding, taste, intelligence, and humanity itself; and very few people appreciate the effort."
-- Lore Fitzgerald Sjoberg
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Zaz
Title: Manager:
The Amphitheatre
Registered:
Oct '98
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Date Posted:
7/21 12:53pm
Subject:
RE: Quentin Tarantino Films
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I hear he's trying to get Brad Pitt to star. Good luck on that. 
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rogue_wookiee
Registered:
Apr '04
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Date Posted:
7/21 2:42pm
Subject:
RE: Quentin Tarantino Films
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Zaz posted:
I hear he's trying to get Brad Pitt to star. Good luck on that.
It's Quentin Tarantino. I can't imagine a guy like Pitt would pass up on that kind of opportunity. Especially considering that the man has done some great roles in some films that are not aimed at making him a huge popular star. Fight Club, The Assassination of Jesses James By the Coward Robert Ford, Snatch, etc.
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“You’re probably the biggest taxer in the country, even bigger than the Congress,” - Ron Paul on the Federal Reserve. Be aware of inflation and how it affects our daily life. http://mises.org/story/2914 -What You Should Know About Inflation
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Zaz
Title: Manager:
The Amphitheatre
Registered:
Oct '98
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Date Posted:
8/4 2:11pm
Subject:
RE: Quentin Tarantino Films
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Pitt has a bad case of civic virtue, currently.
I didn't realize "Inglorious Bastards" was a remake.
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Vortigern99
Title: Manager Emeritus
Registered:
Nov '00
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Date Posted:
8/18 2:37pm
Subject:
RE: Quentin Tarantino Films
- Date Edited:
8/18 2:45pm (2 edits total)
Edited By:
Vortigern99
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I watched Pulp Fiction the other night for the first time in six+ years. I've seen the movie at least 30 times -- the first viewing at the US premiere, with Tarantino in the audience. At one point, I had it memorized verbatim. When you know a film that well, it tends to lose its impact. The reasons you initially embraced it have been replaced by a sense of obligation, of ownership and also a kind of senseless detachment. You know every note of the score, every nuance of facial expression, every random distribution of brain matter in Sam Jackson's geri curls; there are no more suprises.
Lucky for me, since 2001 or '2 I'd forgotten most of those ticks. I won't say this was like watching Pulp Fiction again for the first time -- nothing can beat that, the most enthusiastic (and loud!) audience response I've ever been part of -- but it was a glorious rediscovery of a cherished piece of work. Somehow in the intervening years, I'd lost the understanding that this is one of the all-time great American films. I'd even found myself dismissing it in conversation, as if its success and fame were unwarranted, its author(s) overrated. I see now that I could not have been more wrong.
The movie is exhilerating almost from frame one: even in the set-up with Pumpkin and Hunnybunny, the first minute or so of the film, you can feel events moving toward an inexorable conclusion. The contrast between Hunnybunny's sweet, endearing waif -- who drowsily comments "I'm not going to kill anybody" -- and the snarling reptile who threatens to "execute every last ** one of you" is cynical, hilarious, and sets the tone of the film to follow. (I met Amanda Plummer at one of QT's movie fests here in Austin, and it struck me that in real life she's a pleasant amalgam of these two personae: waif and reptile.)
Justly famous, the dialogue throughout remains Tarantino's sharpest and most engaging. It crackles with life, rings with truth, and comes back to play with itself later on. Like the dialogue in Reservoir Dogs, it borders on feeling "written" -- as though we can see a pair of screenwriters giggling at their own cleverness while they type -- but it's so brilliantly funny, so descriptive of character, and so perverse, that we're willing to overlook this overwrought quality.
All the rapidfire banter wouldn't matter if we didn't care about character. Every one of the movie's many protagonists is a loveable shlug, a flawed mini-masterpiece of a human being. Crooks and killers the lot, a sense of honor permeates their relationships like a Japanese samurai tale: Honor betrayed, honor restored via execution, honor to one's boss, honor to one's God, honor to one's partner, honor to one's spouse. Yet the presentation of these themes is not ponderous or even readily apparent; on the surface it's high hilarity, unsavory acts, meaningless chitchat. The movie is a black leather briefcase, its underpinnings are a mystical, golden light revealed when you peer inside.
And of course the stories are ingeniously interlocked, the chronological order of events dissembled for maximum revelation of plot points. If the Bonnie Incident were placed into its proper time-slot, not only would we have a weaker climax with Butch on Zed's chopper, but the joy of seeing Vincent alive again after we've seen him die would be removed, as would any mystery about Jules' absence in the apartment. The way is stands, we're forced to think about how things must have played out.
The shift in time is a masterstroke, weaving four already linked stories into a seamless progression from vengeance to forgiveness and back again. Pulp plays with Hollywood, plays with the urban thriller genre, plays with itself and, best of all, plays with the audience. You never know what's coming; and even if you've seen it 30 times, you can always forget just enough to let it stun you into a state of grateful astonishment, your jaw unhinged, your eyes dilated, your heart beating. I always perspire a little when I watch Pulp Fiction, and I like it that way.
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"I knew from the beginning I was not doing science fiction.
I was doing a space opera, a fantasy film, a mythological piece,
a fairy tale."--George Lucas
My "Vader's Origins" thread:
http://boards.theforce.net/Classic_Trilogy/b10002/8708417/p1
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