Quentin Tarantino's "The Hateful Eight"

He did a two-part episode of CSI.

xpost ER and CSI. He'll only do acronymed shows.

He's hinted at moving over to TV once his tenth movie is done. Tarantino's Twin Peaks.

xpost - i think the reaction to DP made him retreat into safer genre stuff...

like, before that, QT was prob taking a few more risks

I don't know if Basterds or Django are safer, but they're definitely smarter. At least the former is.

another reason is that you wouldnt get someone like QT doing a native american venge-fest is that well, its just cooler and more acceptable to be doing films about jewish and african american atrocities, than it is NA ones (though thats perhaps for another thread)

smarter how?

Well, I really like the revisionism of "Basterds" as actual audacious revisionism. As in, they actually kill Hitler! Et al. Which, along with all the movie stuff, I think comments loudly about the role (or frequent role) of film as escapism and/or wish fulfillment, which of course is another aspect of revenge. It's pretty all tied together for me, though I haven't seen the movie in years. "Django" is much less smart. Dumb, even. But I think "Basterds" is the most complex and thoughtful thing he's done.

xpost

Never saw Django, but I think you're selling Basterds short. If you reduce it to premise alone (grindhouse movie about badass Jewish unit that kills Hitler), then, yeah, it seems easy and stupid, but in execution the movie had a lot more going on than that. It feels like half the movie doesn't even feature those guys! And it is filled with long, tense scenes with pretty unconventional rhythms.

I don't even really love Basterds, I just think that saying it's dumber/safer than, like, the Kill Bill movies seems weird to me.

Yeah, "Basterds" would have been largely the same san said Basterds, who were easily the weakest and most expendable link in the movie.

Even Kill Bill, the first one is just dumb fun, but the second one is much more complex and sensitive, iirc, which somewhat recontextualizes the first (which of course was not originally intended to be a first, just the first part of one epic).

maybe not safer or dumber, but def QT really out to crowd please more than ever. its like thats his great aim right now, or has been the last 2 films at least.

Django was dumb fan service. But Basterds is pretty weird and Death Proof challenging in its dullness alone. And kinda subversive, in the sense that the violent revenge aspect of the former is its least consequential, and the latter is overwhelmingly (iirc) four girls sitting around and talking. First Kill Bill was prob peak Tarantino crowd please. Probably also his most virtuoso filmmaking, though, so I can dig it. Shame he keep bsing about retirement, because I look forward to seeing what kind of movies really old QT starts to make. Kind of wild how not prolific the guy is, though. He seems like the sort of dude who would crank out films, a la almost all of his icons. Save Leone, I guess.

Despite some plot implausibilities, I enjoy Django more than Basterds tbh

One of my favorite scenes in Tarantino is when that girl in Death Proof gets an sms she's been waiting for, and it's outside and the music starts playing, and all of a sudden it's as if he's redoing Umbrellas of Cherbourg for a few seconds. Then it's back to badass, but I love the little islands of feelings he puts in there sometimes.

I think Django is both better and smarter than Basterds, but I enjoyed both.

the story of Squanto that's told in the 1491 book is insanely epic

he works for everyone and no one, he's like a triple agent, he crosses the Atlantic like 5 times, survives countless capture attempts, it's nuts

Django and Basterds would both be improved by someone with enough power to make Tarantino do some editing. I love Death Proof and one of the reasons is that he had to keep it relatively short and tight due to the double-feature structure.

Death Proof is probably my 2nd-favorite Tarantino movie (fave being Kill Bill Vol 1)

i dont know why he is so slow in making movies - i imagine he would be writing all the time, but maybe he is thinking of his legacy, or maybe the weinsteins want to maximise on the power of a QT film, so only want one every so often so they can really work it fully. though youd think he might do some smaller projects here and there too.

Eh who needs another Four Rooms.

yeah are people forgetting how shit is extra work was in the 90s?

he's smart to play to his strengths, write/direct his own material + make "event" movies

Other that watching Eli Roth attempt to act, I don't think Death Proof is dull at all.* I don't get the feeling that Tarantino treated it any differently than any other movie in terms of level of effort/focus or whater.

*Death Proof improved immensely when I saw it as a single bill rather than as a double-feature.

xp be even smarter if he didn't try acting in them, but otherwise totally agree.

Death Proof is v good (altho I infinitely prefer the second set of girls to the first, and this impacts how enjoyable it is on the whole). It's too bad Qt seems to consider it a failure - it's more like the whole marketing ploy was a failure, rather than the film itself. Didn't help things that Planet Terror was p crap.

I think sometimes the single best scene in a Tarantino movie is the McGowan/Russell part leading into the car chase/head on collision just wrt music and editing and tension.

That whole sequence is chilling.

https://twitter.com/juvie_cinephile/status/635932735626842112

One of my favorite scenes in Tarantino is when that girl in Death Proof gets an sms she's been waiting for, and it's outside and the music starts playing, and all of a sudden it's as if he's redoing Umbrellas of Cherbourg for a few seconds. Then it's back to badass, but I love the little islands of feelings he puts in there sometimes.

― Frederik B, Wednesday, August 26, 2015 10:11 AM (10 hours ago) Bookmark Flag Post Permalink

stuff like this in DP is actually what i liked most in a way, just those moments where the story just seems to be going nowhere. i dug the first half more than the second, it's like a parody of a bad 70s drama that is somehow still affecting

I think sometimes the single best scene in a Tarantino movie is the McGowan/Russell part leading into the car chase/head on collision just wrt music and editing and tension.

― nomar, Wednesday, August 26, 2015 1:17 PM (7 hours ago) Bookmark Flag Post Permalink

That whole sequence is chilling.

― One bad call from barely losing to (Alex in SF), Wednesday, August 26, 2015 2:16 PM (6 hours ago) Bookmark Flag Post Permalink

YES

it's very like bad '70s TV cuz it's a bad short film

Profound.

https://imgflip.com/i/q4k5v

https://i.imgflip.com/q4k5v.jpg

Death Proof is v well done, but I feel incapable of watching it in the detached, meta-aware way that it seems to require and instead just get nauseated.

muscle cars, zoe bell, rosario dawson and kurt russell: it's like he KNOWS me

‘‘If you’ve made money being a critic in black culture in the last 20 years you have to deal with me,’’ he says. ‘‘You must have an opinion of me. You must deal with what I’m saying and deal with the consequences.’’ He pauses, considers. ‘‘If you sift through the criticism,’’ he says, ‘‘you’ll see it’s pretty evenly divided between pros and cons. But when the black critics came out with savage think pieces about ‘Django,’ I couldn’t have cared less. If people don’t like my movies, they don’t like my movies, and if they don’t get it, it doesn’t matter. The bad taste that was left in my mouth had to do with this: It’s been a long time since the subject of a writer’s skin was mentioned as often as mine. You wouldn’t think the color of a writer’s skin should have any effect on the words themselves. In a lot of the more ugly pieces my motives were really brought to bear in the most negative way. It’s like I’m some supervillain coming up with this stuff.’"

http://www.nytimes.com/2015/10/12/t-magazine/quentin-tarantino-bret-easton-ellis-interview.html

Yes how could the color of someone's skin possibly matter in this world, thank you Quentin Tarantino

That URL alone sort of tells the whole story doesn't it

it sure does

As hugely influential as his earlier movies were (there seemed to be thousands of terrible rip-offs throughout the ’90s and into the 2000s), it’s impossible now to imagine an earnest 20-something millennial dreaming up a film as perverse and lurid as ‘‘Pulp Fiction’’ or ‘‘Reservoir Dogs’’ or anything else he’s made. In an era obsessed with ‘‘triggering’’ and ‘‘microaggressions’’ and the policing of language, the Tarantino oeuvre is relentlessly un-PC: His movies are impolite, rude, irresponsible and somewhat cold.

lol jesus

The Conceptual Adventures of ERNEST, The 20-Something Millennial

Bret Easton Ellis idiot.

It's hard to imagine Reservoir Dogs being made by a bunch of fucking babies amirite QT hi five

As hugely influential as his earlier movies were (there seemed to be thousands of terrible rip-offs throughout the ’90s and into the 2000s), it’s impossible now to imagine an earnest 20-something millennial dreaming up a film as perverse and lurid as ‘‘Pulp Fiction’’ or ‘‘Reservoir Dogs’’ or anything else he’s made.

Hmmn pretty sure it's totally possible to imagine a filmmaker making a film like Reservoir Dogs (Pulp Fiction a little harder to imagine, that's a pretty odd movie and very of a time).

the cocaine round table

Bret Easton Ellis idiot.

― One bad call from barely losing to (Alex in SF), Tuesday, October 13, 2015 3:13 PM (1 hour ago) Bookmark Flag Post Permalink

ellis seems like such an arrogant, smug creep in interviews and on twitter that i feel embarrassed for ever liking any of his work even a little bit