Category Archive 'Quentin Tarantino'
04 May 2018
The Telegraph causes jaws to drop by telling us what might have been:
The gentle, meandering drama of the Lord of the Rings trilogy won Peter Jackson and his team 17 Oscars and a place in the cinematic pantheon. But the fantasy epic very nearly didn’t happen: if Harvey Weinstein had his way, JRR Tolkien’s Middle Earth would have been condensed into a snappy two-hour film, directed by none other than Quentin Tarantino.
Tarantino, known for his gratuitous, cartoonish violence and provocative scripts in films such as Django Unchained and Pulp Fiction, was the back-up Weinstein had in store after Lord of the Rings director delivered a two-film script to Weinstein costing $12 million in development. This, Weinstein said, according to a new book on the film, was a â€œwasteâ€.
â€œHarvey was like, â€˜youâ€™re either doing this or youâ€™re not. Youâ€™re out. And I got Quentin ready to direct itâ€™,â€ Ken Kamins, a producer who worked for Weinstein on the project, told Ian Nathan, author of Anything You Can Imagine: Peter Jackson & The Making of Middle-Earth.
Of course, Quentin’s wiggerish devotion to African-American thuggery would probably have made his version of LOTR a lot more friendly to the Orc point of view. And the casting would have been so different! Samuel Jackson would make a great Uruk-hai chief, but Quentin would probably have made him Saruman. We might have had Brad Pitt for Aragorn and Steve Buscemi as Gollum. Uma would have definitely made a hotter Arwen or Galadriel. The possibilities are fascinating and frightening.
04 Feb 2018
Maureen Dowd serves up Uma Thurman’s #MeToo testimonial.
We learn from all this that Uma is a true New Yorker, unable to drive, and scared out of her wits at the prospect of managing Maxwell Smart’s joke sports car, the Kharmann Ghia! Watch Uma go all over the road before she crashes it.
Uma plays a superwoman assassin in “Kill Bill,” but, alas! we learn here that she’s a hypochondriac (“my permanently damaged neck and my screwed-up knees.â€) and a whiner. (“As she sits by the fire on a second night when we talk until 3 a.m., tears begin to fall down her cheeks. She brushes them away.”)
Maureen Dowd clearly sat up and listened to Uma’s BS until 4 A.M. You know what that means don’t you?
16 Jan 2018
Sylvain Sarrailh, who is also known by the name Tohad, is a French concept artist based in Toulouse. His works vary from beautiful illustrations to exciting video games that always bring some fantasy into our daily lives.
This time Sarrailh decided to take some beloved characters from our favorite childhood stories and turn them into villains that seem like they just came out from Quentin Tarantinoâ€™s movies.
05 Feb 2016
Guitarplayer.com has a story not very complimentary to Quentin Tarantino.
The makers of Quentin Tarantinoâ€™s The Hateful Eight never told Martin Guitars how a historic acoustic guitar on loan from its museum came to be destroyed on the set of the 2015 film.
Dick Boak of C.F. Martin said the company did not learn that the instrument was smashed by actor Kurt Russell until the incident was reported on Tuesday by Reverb.com, an online marketplace for gear. That story was itself based on an interview with the filmâ€™s sound mixer, Mark Ulano, that ran on SSNInsider.com.
Boak, director of the museum, archives and special projects for C.F. Martin & Co, said the company was initially told the guitar had been damaged in an accident on the set. â€œWe assumed that a scaffolding or something fell on it,â€ Boak told Reverb.com, in response to its story.
The filmâ€™s script included a scene, shown below, in which Jennifer Jason Leighâ€™s character, Daisy Domergue, plays the Martin guitar before Russellâ€™s character, John Ruth, smashes it against a beam. A prop guitar was supposed to have been substituted at the last moment. According to Ulano, Russell was not told of the swap and proceeded to destroy the Martin, an act that is retained in the filmâ€™s release. …
According to the SSNInsider interview, upon learning of the guitarâ€™s destruction, Martin reps asked, â€œDo you need another one and can we please have all the pieces to display in our museum?â€
While the pieces were returned to Martin for examination, Boak said restoration is impossible.
â€œWe want to make sure that people know that the incident was very distressing to us,â€ Boak says. â€œWe canâ€™t believe that it happened.â€
As a result of the incident, Boak said Martin will no longer loan guitars to movies â€œunder any circumstances.â€
09 Jan 2014
The great Run Run Shaw, Hong Kong producer of countless examples of martial arts cinema, who brought Chinese culture and flying Kung Fu masters to the world, passed away, allegedly at the admirable age of 106. Quentin Tarantino is basically his disciple, and Tarantino acknowledges the debt by routinely prefacing his own films with the Shaw Brothers logo.
Shawâ€™s birthday and his exact age have long been clouded in mystery â€” his widow Mona Shaw (aka Mona Fong) has often refused to clarify the issue â€” and other sources put his age at 107. He died at 6.55am local time in Hong Kong on Jan 7, 2014.
From his early work doing odd jobs around theaters and cinemas controlled by his older brothers, Shaw went on to establish and run the leading production studios in Asia by the 1950s. Along the way he ushered in significant technical progress into Chinese film.
Shaw is best known for the Shaw Brothersâ€™ martial arts output of the 1960s, but he should rightly also be given credit for pioneering a form of Asian musical film and for putting Hong Kong on the global cinema map.
The Shaw Brothers company was in its heyday in the 1960s and 1970s and was influential in both the Asian and Western film industries. He personally has credits on some 360 films, ranging from martial arts classics to Ridley Scottâ€™s â€œBlade Runner.â€
19 Apr 2007
The London Times thinks that the box office failure of Quentin Tarantino’s latest homage to cinematic genre trash demonstrates that high budget parodies filled with obscure references to the director’s own personal cinematic obsessions are just too esoteric and too demanding to bring in the popcorn-eating mass audience needed to recoup their cost.
When a high-profile $100 million movie flops at the box office Hollywood groans. When that movie has been directed by two of the hottest hitters in town, produced by the best in the business, filled with sex, violence and stars, and yet it still flops, then the entire industry panics.
Such is the case for Grindhouse, the new double-feature homage to 1970s exploitation movies, directed by Quentin Tarantino and Robert Rodriguez. The movie, a three-hour self-aware smorgasbord of genre action, zombies and killer cars, represents the creative apogee of the relationship between its directors and their long-time producers Harvey and Bob Weinstein. (The movie takes its title from the down-at-heel venues that once specialised in sceening B-movies).
Tarantino and Rodriguez are the Weinsteinsâ€™ golden boys, responsible for such commercial and critical Weinstein smashes as Pulp Fiction , Desperado , Kill Bill and Sin City . These two â€” more than any within the Weinstein stable (which includes the likes of Kevin Smith and Anthony Minghella) â€” have given the producing brothers their brand identity as the masters of populist yet edgy â€œindie-woodâ€ entertainment.
The shock was thus all the more profound when Grindhouse managed to turn in only a paltry $12 million (Â£5.9 million) from its opening Easter holiday weekend. Things got even worse last weekend, when figures revealed that audience members were walking out halfway through the movie, unaware that it was a double bill. Others were complaining about the degraded nature of the film footage (itself a nod to Seventies production values), while the movie was often playing to near-empty theatres (14 people per screening was the average).
Read the whole thing.
I must admit: I haven’t made it out to this one yet myself, and I’m a strong Tarantino aficionado.
Easter weekend doesn’t really inspire in most of us a major yearning for a 1970s exploitation flic. I really like Tarantino’s work, but I see Robert Rodriquez films grudgingly. It’s one thing for Quentin to show up in a bit part in a Rodriquez film, or even to write one as a lark, but combining the work of Rodriquez with his own, and marketing them together on an equal basis does not strike me as a really great idea.
02 Apr 2007
Variety previews this coming weekend’s release of the Quentin Tarrantino/Robert Rodriquez doublebill Grindhouse.
The 1970s exploitation movie gropes, bites, kicks, slugs, blasts, smashes and cusses its way back to life in “Grindhouse,” a “Rodriguez/Tarantino double feature” that lovingly resurrects a disreputable but cultishly embraced form of era-specific film production and exhibition. A pair of pictures devoted to re-creating their progenitors’ grubby aesthetics and visceral kicks, but with vastly greater budgets, higher-end actors and a patina of hipster cool, they part company when it comes to talent and freshness. The numerous marketing problems for this bizarre pop-culture artifact begin with the three-hour-plus running time and young auds’ unfamiliarity with the format. But the B.O. strength of “Sin City” and “Kill Bill” alone suggests the helmers’ loyal followings will produce a very potent opening frame, with fairly steep fall-off thereafter in the manner of most horror films.
Read the whole thing.
Another Tarantino homage to one of the cinema’s more disreputable genres is bound to be a hoot.
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