Quentin Tarantino Thesis

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I don’t know if Tarantino was suggesting Scorsese had passed his peak, or that he’d reached a point in his career where he had to make movies – as Tarantino once said of a certain tier of directors – “…to pay for (his) pool.” Or, perhaps the notoriously motor-mouthed filmmaker was just on a jag and his tongue got a little in front of his head.

Whatever: dig, observation, or slip of the tongue, I remember thinking it wasn’t particularly flattering. Since then, Scorsese’s filmography has been extended by the Oscar-winning 27 years ago. Scorsese had been a frail and sickly child, unable to run the vibrant streets of his Little Italy neighborhood like the other kids.

Eli was able to make the Japanese version and release it in America. That level of intensity would have pushed people away. But isn’t it still just teenage guys in the theater?

Inglourious Basterds, like most of Quentin Tarantino’s movies, is a death-filled, genre-mixing masterpiece.

Saw, Saw II, Wolf Creek, these are all a part of this subgenre. T.: He’s what horror films have been waiting for: not a video director trying to make his first movie and then move on or the older guy who resents the fact that he’s still doing horror films. But this new group of films is really scary—and I think Eli’s made the most horrifying entry. R.: Well, I think you’re really talking about that feeling people get when somebody’s doing a terrible job of it, trying to cram a message down your throat. But you know, a lot of people read Cabin Fever as a metaphor for AIDS.

For Kill Bill, I had to make one version for Japan and a less violent version for America. T.: Because audiences have had six years to absorb Japanese films on DVD. They say half the audience for Saw II was teenage girls. A lot of genre filmmakers seem—annoyingly—to be sticking metaphors in their films, like George Lucas inserting Iraq commentary. With a blend of brutality and dark humor evocative of previously explored Tarantino troops like in Reservoir Dogs, Pulp Fiction and Kill Bill, Raine’s crew is a hybrid of previous creations.To counter Tarantino’s harsh-yet-likeable men-on-a-mission archetype, the filmmaker juxtaposes his screenwriting fantasies against the harsh reality of World War II.Tarantino cast native German-speaking actors for all Nazi roles, but despite appearances by Hitler in a velvet cape and Joseph Goebbels’ sex face, it is fictional Col.Hans Landa — also called “the Jew Hunter” — who stands out as the movie’s main antagonist. Instead of doing the electric slide at his bar mitzvah, he had himself sawed in half with a chain saw and insisted on a fake-blood-splattered cake.In 1995, he won a Student Academy Award for his NYU thesis film Restaurant Dogs, which cribbed the title sequence from Reservoir Dogs and so offended his professors that several protested the prize, calling the movie “sophomoric, overtly offensive, and gratuitously violent.” In 2002, Roth’s feature debut, Cabin Fever, a sick film about teens stranded in the woods with a flesh-eating virus, grossed 0 million (in ticket and DVD sales) on a

For Kill Bill, I had to make one version for Japan and a less violent version for America. T.: Because audiences have had six years to absorb Japanese films on DVD. They say half the audience for Saw II was teenage girls. A lot of genre filmmakers seem—annoyingly—to be sticking metaphors in their films, like George Lucas inserting Iraq commentary.

With a blend of brutality and dark humor evocative of previously explored Tarantino troops like in Reservoir Dogs, Pulp Fiction and Kill Bill, Raine’s crew is a hybrid of previous creations.

To counter Tarantino’s harsh-yet-likeable men-on-a-mission archetype, the filmmaker juxtaposes his screenwriting fantasies against the harsh reality of World War II.

Tarantino cast native German-speaking actors for all Nazi roles, but despite appearances by Hitler in a velvet cape and Joseph Goebbels’ sex face, it is fictional Col.

Hans Landa — also called “the Jew Hunter” — who stands out as the movie’s main antagonist.

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For Kill Bill, I had to make one version for Japan and a less violent version for America. T.: Because audiences have had six years to absorb Japanese films on DVD. They say half the audience for Saw II was teenage girls. A lot of genre filmmakers seem—annoyingly—to be sticking metaphors in their films, like George Lucas inserting Iraq commentary. With a blend of brutality and dark humor evocative of previously explored Tarantino troops like in Reservoir Dogs, Pulp Fiction and Kill Bill, Raine’s crew is a hybrid of previous creations.To counter Tarantino’s harsh-yet-likeable men-on-a-mission archetype, the filmmaker juxtaposes his screenwriting fantasies against the harsh reality of World War II.Tarantino cast native German-speaking actors for all Nazi roles, but despite appearances by Hitler in a velvet cape and Joseph Goebbels’ sex face, it is fictional Col.Hans Landa — also called “the Jew Hunter” — who stands out as the movie’s main antagonist. Instead of doing the electric slide at his bar mitzvah, he had himself sawed in half with a chain saw and insisted on a fake-blood-splattered cake.In 1995, he won a Student Academy Award for his NYU thesis film Restaurant Dogs, which cribbed the title sequence from Reservoir Dogs and so offended his professors that several protested the prize, calling the movie “sophomoric, overtly offensive, and gratuitously violent.” In 2002, Roth’s feature debut, Cabin Fever, a sick film about teens stranded in the woods with a flesh-eating virus, grossed $100 million (in ticket and DVD sales) on a $1.5 million budget—and, perhaps as importantly, it got the attention of Roth’s idol Quentin Tarantino. And to win that award and have professors mad at you? Eli, you decided to make Hostel while floating in Quentin’s pool, right? R.: I was getting offered remakes, but one day Quentin says, “What are your ideas?Now the two are buddies, and Roth’s second, nastier feature, Hostel—about doomed American backpackers in Europe—is opening as a “Quentin Tarantino Presents” film this week. Quentin, I assume you’ve seen Eli’s homage to you by now? ” I told him about this one movie that would be really cheap, $2 or $3 million, and completely sick.He said, “That’s the sickest fucking idea—make that movie.” You made it for less than $5 million. R.: Horror audiences don’t need to see some TV actor they’re familiar with. But maybe you watch it a second time and you see that all the stuff the American backpackers are saying about Amsterdam hookers in the beginning of the movie could be said about the Americans at the end. R.: I was really just thinking about how terrifying those Al Qaeda videos are—that idea that no matter what you say, they’re still going to torture and kill you.But Basterds is the Tarantino movie for non-Tarantino fans.Donny Donowitz, “the Bear Jew”) blows open a Nazi officer’s head with a Louisville Slugger.

.5 million budget—and, perhaps as importantly, it got the attention of Roth’s idol Quentin Tarantino. And to win that award and have professors mad at you? Eli, you decided to make Hostel while floating in Quentin’s pool, right? R.: I was getting offered remakes, but one day Quentin says, “What are your ideas?Now the two are buddies, and Roth’s second, nastier feature, Hostel—about doomed American backpackers in Europe—is opening as a “Quentin Tarantino Presents” film this week. Quentin, I assume you’ve seen Eli’s homage to you by now? ” I told him about this one movie that would be really cheap, or million, and completely sick.He said, “That’s the sickest fucking idea—make that movie.” You made it for less than million. R.: Horror audiences don’t need to see some TV actor they’re familiar with. But maybe you watch it a second time and you see that all the stuff the American backpackers are saying about Amsterdam hookers in the beginning of the movie could be said about the Americans at the end. R.: I was really just thinking about how terrifying those Al Qaeda videos are—that idea that no matter what you say, they’re still going to torture and kill you.But Basterds is the Tarantino movie for non-Tarantino fans.Donny Donowitz, “the Bear Jew”) blows open a Nazi officer’s head with a Louisville Slugger.

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