We have the intersection between famous people and crazy people to thank for no small amount of entertainment. Take the lawsuit filed by Dannez Hunter, who claims that in 1999 he submitted a story treatment to Miramax about a character named Ren. Hunter claims that Ren became O-Ren Ishii in Kill Bill, and that Quentin Tarantino stole elements of his treatment, including the specific manner of murder of Ren’s mother.
But it gets better, because Hunter also applied for a job at Miramax, and was, ahem, “never given a return phone call, as numerous similar situated less qualified Jewish and White people were bestowed job after job after job.” He wants a bag full of money, in part because whites and jews got all the royalties from Kill Bill. Good luck with this one, buddy. [TMZ]
After the break something slightly more substantive but less amusing: Tarantino reportedly may make a Harvey Weinstein documentary. Read More »
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Jeff Wells has posted three awesome clips of Quentin Tarantino telling stories from the Directors on Directing panel in Santa Barbara this weekend. I’ve embedded all three after the jump. The first clip is about how directors raise the bar on each other and Tarantino recounts a story Brian DePalma told him about Martin Scorsese and Blow Out vs. Raging Bull. The second story is about how he had to prove himself the first week directing Reservoir Dogs. And the third story is about how James Cameron‘s Avatar might have affected Kill Bill if it had been released first. I could listen to Tarantino tell his stories all day long (which reminds me, why doesn’t XM/Sirius hire this guy to do a weekly one-hour satellite radio show?) Watch the clips after the jump.
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There’s been even more gossip about a projected third Kill Bill film from Quentin Tarantino than about his long-delayed Whole Bloody Affair recut of the first two parts. The latest loose-lipped culprit to go sowing wild rumours is Daryl Hannah.
Hannah was speaking to UK TV channel Film 24 about her role in Raoul Ruiz’ A Closed Book when they got her on the topic of Tarantino’s Bride movies. In the first two films she played Elle Driver, the eye-patched Deadly Viper Assassin that we last saw losing her one good peeper. It was safe to assume she’d been offed, though apparently that’s not Daryl’s take. She told the channel:
He always meant it as a trilogy… Think about it. There’s always been a tradition of blind Samurais and you never actually saw her expire in the other film.
Does this mean we’re any closer to a Kill Bill threeque or spin-offl? Probably not, but I wouldn’t be surprised to find out her comments on the blind samurai role were actually founded in something Tarantino has told her.
Toronto based designer/art director Ibraheem Youssef created these wonderful minimalistic pieces of poster art for the films of Quentin Tarantino., including Kill Bill Volume 1 and 2, Reservoir Dogs and Pulp Fiction. Check out all of the posters in full, after the jump.
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The following introduction and interview contain moderate spoilers.
When a new film from Quentin Tarantino is released, a film as original and awash in genre-geometry as Inglourious Basterds, the post-viewing sensation that follows remains difficult to describe. In Kill Bill Vol. 1, there is a scene set inside the House of Blue Leaves in which Uma Thurman’s Bride blinks and the film switches from black and white to color. A sizable light switch is then thrown by a yakuza. In seconds, the screen turns a cool midnight blue. At that moment the aural equivalent of digital goosebumps chimes unusually through the speakers. Now everything on screen appears the same but is different, renergized and alive. I remember watching this scene and realizing that it inexplicably captures how I feel after a QT film; the difference being that the sensation of a QT film is not flicked instantaneously; it spreads over the following weeks and months as if by a potent time-release capsule. In addition, as this sensation is occuring at a personal level, Tarantino’s characters and images are similarly infiltrating and titillating the collective mind of endless media, fellow cinephiles, and general moviegoers. Pop-culture synapses connect further until a single Tarantino character is loaded into the permanent highlight reel of a respective year, for film or otherwise. It’s the lysergic, symbiotic propaganda of a true genius.
In this way, Inglourious Basterds is no different from Tarantino’s superlative works: the character that will be remembered in bold fashion is Colonel Hans Landa aka The Jew Hunter, the primary villain in Basterds. Moreover, international viewers, and American viewers especially, will come to remember their surprise introduction to the masterful talent embodying Landa, the Austrian actor Christoph Waltz. His career spanning some 30 years, primarily in theatre and television, Waltz’s performance as the erudite, calculating, and predatory Nazi colonel—a fictional Tarantino creation—is all but guaranteed a Best Supporting Actor nomination. This /Film staffer predicts “a bingo.” If a timely parallel need be drawn to exemplify the breakout performance by this veteran actor—a role that plants the seeds for a long, prosperous career—it would be that of Jackie Earle Haley in Little Children. During his whirlwind of publicity, Quentin Tarantino, doting even for Tarantino, has praised Waltz and his character with the following…
“You gave me my movie.” – to Waltz at the Cannes Film Festival, where he won Best Actor
“Hans Landa is one of the greatest characters I have ever written, and one of the greatest characters that I will ever write.”
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As Inglourious Basterds draws ever closer (get excited now), Quentin Tarantino is out doing the promotional rounds. At an event in Beverly Hills yesterday he was asked about the upcoming special edition releases of two of his past projects and Sci-Fi Wire got the quotes.
So, what has happened to Kill Bill: The Whole Bloody Affair? It seems that the DVD release really is coming ever closer, and work continues on the film all the while. Could we have this thing in our hands soon? Here’s the man himself:
I’m not going to monkey around with the movie itself, but we’ve actually done a whole new section for the anime as the last thing . I actually wrote a much longer script for the anime section during O-Ren’s revenge chapter… I had the whole script written out shot for shot what it would be, so [I said], “Harvey, this literally would make it complete. This is everything I came up with and wrote when I wrote it.” So Production IG just did it, and I just need to work with them a little bit and go over it with them—and I’ll do that once this is officially behind me.
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Webby Award nominated media artist Eclectic Method has thrown all of Quentin Tarantino‘s movies in a blender and created “the TARANTINO mixtape.” Watch it after the jump.
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Dear readers, yes, we had to. While browsing the NYT today, we came across a new interview with Quentin Tarantino in T Mag. Awesome. But then the horrific photo above came crashing atop our Sunday hangover like a white squall. Bustin’ surfboards. Alas, the chat does contain a few bits of cool info. First off, Tarantino confesses that Inglorious Basterds is indeed the “hardest film” he’s ever made. From a director who says that he would die to make his movies perfect, this may or may not come as a big surprise. Perhaps the latter, given that IB is a WWII epic, clocks in at over 2 hours and 30 minutes, and was cast and shot in time for this month’s Cannes. When asked about the quick production schedule, he frankly responds…
“I wanted to have a masterpiece before the decade’s out.”
At first, I interpreted this sentence to mean that he considers Inglourious Basterds to be his only masterpiece this decade. But clearly, both volumes of Kill Bill reached those heights, while Death Proof remains a genre exercise that certainly did not.
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