Didn't you love a few jerks when you were younger? Quentin is too suitable to be the heart-watering rogue lover. If the romance of ordinary people is to watch the snow and see the moon, then Quentin's romance is to watch the blood watch him blow up the moon. Some time ago, New York magazine asked him about his new work [Eight Wicked Men] and about his bad taste.
□ [Eight Wicked Men] is about to be released, how is the film finished?
Quentin: It's a little over an hour now, and I've just finished watching an hour of editing.
□You are still satisfied?"
Quentin: It's not about suicide yet. We're up all night to catch up. Then I looked at it again and wanted to polish it better. But only if you do, you have to get it done. Every time we make a movie, we have to finish it by a certain deadline. Whether it's [The Falling Dogs] catching up with the Sundance Film Festival, or [Pulp Fiction] catching up with the Cannes Film Festival. But we often slow down the process so that we don't get into a situation where a bunch of people get together and pick and choose your movie.
In order to let [Django who was rescued] be released smoothly in Chinese mainland, Quentin personally participated in the editing and adjusted the bloody and violent scenes in the film, which can be described as painstaking. Editing is a highlight of Quentin's films, but he often procrastinates on it, and the first cut of [Unscrupulous Miscellaneous] was 190 minutes long, and it wasn't until the eve of the release that Quentin and his royal editor Sally Munch cut the existing version.
▲ [Eight Evil Men] exposed work photos, although the play inside and outside the play are two eras, but from their uniform thickness of clothing, you can understand that it is a real cold season
□ after [Django Rescued] and [Unscrupulous Army], did it bring about a shift at the box office?
Quentin: In terms of the story I want to tell, I don't think so. But I learned a lot from [the execution chamber] that I will avoid repeating the mistakes of the past in the future. Robert Rodriguez and I used to follow our own way, and on this strange path, there would be an audience to follow.
□ you've talked a lot about how you like to conduct the audience as a conductor of a symphony orchestra when you're a director, and over time, the audience will become more experienced and adapt to your style.
Quentin: To tell the truth, an experienced audience is not a problem, a stupid audience is the problem. But I think the audience is really getting more and more experienced, it's just a product of time. A technique accepted by the audience in the fifties would be ridiculed by the audience in 1966, followed by the audience in 1978, and the audience in 1966 would also be ridiculed by the audience in 1966. The trick is to walk ahead of that curve, so in 20 years they won't laugh at your movie.
Like [pulp fiction], people think, "Wow, I've never seen a movie like this, can a movie be played like this?" "I don't think that's a problem anymore. I'm not out of the blue. I think people, when they look at [Django rescued] and [The Unscrupulous Army], know that they exist outside the real, but they still understand. They feel like they're being treated well without questioning ," what the hell is this?" They weren't confused or felt like I was doing anything wrong, they understood.
He must walk in front of others, otherwise he will be very congested, and there can be many ways to go, but there is only one standard: playing too much. The narrative structure of [pulp fiction] stunned Cannes at that time, and [The Execution Chamber] looked back fondly at the golden age of B-grade films, deliberately added a pseudo-trailer of [Machete], but did not expect that it actually developed into a feature film, before him, no one in Hollywood dared to play like this.
Behind the scenes of [The Execution Room], the front of the staff and the machine black and gray intertwined reveals a corner of quentin's film color, which is a bright yellow and bright red combination of mingshao
□ [The Eight Wicked Men] use the Civil War as the background of the story, a bit like [The Golden Three".
Quentin: [The Golden Triad] wasn't involved in the racial conflict of the Civil War, it was about what was happening. My film is about racial conflict after the country was divided, so many years later.
□ it makes the film feel a bit of an era, and now everyone is talking about racial rights.
Quentin: I know, I'm excited about that.
□ excited?
Quentin: The issue of white supremacy is finally being discussed and addressed, and that's exactly what the film is about.
□ how did the baltimore and Ferguson affairs manifest themselves in [The Eight Wicked]?
Quentin: It's already written into the script, and it's in the material we shot. It just happens right in the moment, and we don't want to appear deliberate, it's born at the right time. I am pleased that people are exploring and addressing the racism that has always existed and been ignored. I feel like it's another sixties moment where people keep exposing their ugly faces until things change, and I'm glad it's happening now.
Quentin had a unique affinity for black people, with whom Samuel Jackson collaborated eight times (including three screenwriting works). Remember when he blew up the villa that marked white supremacy in [Django Was Rescued], killed Hitler in [The Unscrupulous Army], and his films always more or less pulled on the issue of racism. This video rental shop kid, who has no formal film education, injects anger at reality into every character he creates.
□ Steven Spielberg and George Lucas were pessimistic about the future of the film industry, fearing that the collapse of some pillars would lead to the collapse of the entire industry. Do you have the same idea as them?
Quentin: My pessimism is not based on the business of these filmmaking, it is innate. You guys talk about [Transformers] now, but when I was a kid I liked to talk about [Planet of the Apes] and the 007 movies, and I always couldn't wait to see them. In fact, I was going to see Guy Ritchie's [Secret Agent] after the interview, and I didn't understand why Spielberg and Lucas had to worry so much, and they didn't have to make these movies.
□ so you're not worried at all?
Quentin: Don't worry about those bullshit reasons you just said. If you go to see a lot of movies in a given year, you'll have a hard time picking the top ten, and it's much easier if it's twenty. You might see one masterpiece a year, but I don't think you can expect to meet more than one masterpiece a year unless it's a particularly awesome year.
Guy Richie is often compared to Quentin, presumably because their films have a kind of black humor, but some people say that Guy Richie can tell more stories than Quentin, and Quentin's jumping thinking can drive people crazy. Spielberg, Quentin, and Lucas are on the list of Hollywood's top ten directors, and if their names are not listed together, it is hard to imagine that Quentin has anything to do with these directors who sit at the top of hollywood industry, but it is said that those big-name directors are all in love with each other behind their backs [pulp fiction].
▲ In [Pulp Fiction], Samuel Jackson's pseudo-explosive hairstyle was hand-picked by Quentin
□why about genre, what do you think about Westerns? Few people have noticed this type anymore.
Quentin: There are several Westerns coming soon, such as Anthony Foquia's The Seven Dragons, starring Denzel Washington. [Django who was rescued] has such good results, I wonder why there are no more such films. The truth is that no film genre can fully reflect the values and problems of the moment as the Westerns did in the era in which it was filmed.
The Westerns of the fifties reflected Eisenhower's America better than any other film today. The Westerns of the thirties reflected the mainstream of the thirties, and the forties suddenly became popular with westerns with black themes. The Westerns of the seventies were anti-mythical Westerns: the Watergate Westerns. It's all about anti-heroism, everything has a hippie mentality or a nihilistic mentality.
Movies are all like [Jesse James] and [Minnesota Clay], where Jesse James is a homicidal maniac. The kid named Billy in [Dirty Little Billy] is portrayed as a cute little punk killer. Wyatt Upp starred in Frank Perry's film Dowker. The theme of the seventies was to reveal reality and show the true face of human beings. So one of the most pivotal Westerns in the eighties was [The Battle of Siwara], which cheered for that era, and it was a very Reagan-esque Western.
Quentin said: "If I have two sides to my life, then one side is a Shaw kung fu film from the seventies and the other side is an Italian Western. "At that time, films of this genre were criticized and despised by many critics, but Quentin was like a family treasure, and [Django rescued] was a typical tribute to Italian Westerns. He once confessed that the biggest influence on this film was the Italian director Gio Caubussi, who had made [The Great Silence], [Django], and the highlight of [Great Silence] was those snow scenes, and [Django who was liberated] specially designed a snow scene. Caulbusy's films are always associated with racism, which may be the root of the western color that flows through Quentin's films.
□ now young directors who have made a good independent film are suddenly pulled to make superhero movies, [Jurassic World] and so on. After [Falling Dogs], you also received contracts for [Life and Death Speed] and [Men in Black], if you had promised one of them, would your career be different now?
Quentin: My career will still be good. I don't think it has much to do with the success of [Men in Black] or [The Speed of Life and Death], or the success of [Pulp Fiction], but more about my attitude toward industry. At that time, I wasn't a director waiting to be hired, and I wasn't going to sit at home and read the scripts that someone else had sent me. I would write my own, and I couldn't revise someone else's script.
□ What do you think of the overwhelming superhero movies?
Quentin: I started reading comics when I was a kid and have been obsessed with my own fantasy universe for many years. So I don't have a problem with all those superhero things right now, except I hope it's not until I'm in my fifties. Back in the eighties, when movies sucked, but it was the most movie-watched time in my life, when Hollywood movies were at their most decadent since the fifties, or it was a good time.
Outside of filmmaking, he was an authentic movie fan, and his eyes, which had grown up in the video store, were always hunting, and it was rumored that he had watched more than 20,000 films. According to statistics, [Pulp Fiction] has traces of seven films such as "Outlaws" and "Eight and a Half Films", and [Kill Bill] is pointed out to imitate nine films. Just when the outside world was arguing about whether he was "plagiarizing" or "paying tribute", he stood up and roared angrily, "Lao Tzu is plagiarism, not a fucking tribute at all." ”
Quentin in [Kill Bill] is filled with drama in Uma Thurman's eyes and movements
□ have young people's movies that excite you?
Quentin: Noah Baumbach, whose films have the feel of Paul Mazursky.
□ but he started making movies for almost as long as you, who else?
Quentin: I haven't seen all the Duplus brothers movies yet, but I've loved them. They shot [Cyrus] and [the paper bag head], and those murmuring kernels happened when I was shooting [Unscrupulous Miscellaneous] in Germany, so I didn't know anything about them. Later, when I came home and started to get in touch with this piece of information, I looked at [the head of the paper bag]. I asked my friend Mitchell Elvis, "Have you seen those murmuring movies?" I looked at [the paper bag head] curiously and thought it was nice. He said, "You just happen to see the good, not everything is as good as it is, you just happen to get a good piece of kimchi in the kimchi jar." "I haven't seen [the ladder of love] yet.
Noah Baumbach's films are mostly self-written and self-directed, and they are very autobiographical, especially the one [Squid and Whale] that has achieved good results in both Oscars and independent films. The Dupus brothers are popular players in American independent films, and their masterpiece is [Paper Bag Head]. Interestingly, Mark Duplace starred in Baumbach's [Green Berlin], going around and back to Baumbach, who is Quentin's true love.
□ is there any work that you would love to direct?
Quentin: The first thing I thought about was [Scream], that the Weinstein Company wanted Robert Rodriguez to be on, and they didn't expect me to be interested. I actually don't like Wes Craven's directing, I think he's the chain that ties the film to the moon and locks it firmly to the surface of the earth.
Imagine Quentin shooting [Scream], the movie is full of classic American soundtracks from the '60s and '70s. He often excerpts music from other people's films, and the song "I Giorni Dell'ira" has appeared in the Italian Westerns [Apocalypse of Rage] and the Hong Kong film [Eagle Claw Iron Shirt], and it has recently appeared in [Django Rescued]. Quentin is said to have a record store-like room filled with all sorts of records.
▲ [Unscrupulous Miscellaneous Army] At the scene, everyone behind the field note board was ready, but the eyes of the pole grandfather looking at the camera still betrayed everyone
□What TV do you usually watch?
■ Quentin: The last two TV series I've been chasing are "Detective in the Line of Fire" and "The Romantic History of Mom and Dad".
□ So "In the Line" gets you to notice Walton Goggins?"
Quentin: I knew him back in The Shield. You know, I've watched his fake Quentin-esque conversations for six years, and I think his tone is right.
□ Have you seen True Detective?"
Quentin: I tried watching the first episode of it, but I couldn't watch it at all. I think it's really boring. And the second season looks even worse. In the trailer alone, all the handsome actors try to make themselves look unsightly and walk as if the whole world were pressed against them. It was so serious that it felt like they were being tortured, trying to make them look miserable through their mustaches and tattered clothes.
Currently, HBO's TV series I love Aaron Sorkin's Newsroom. It was the only TV series I had seriously watched three times. I'll see it every Sunday at 7 o'clock, when it's updated. I'll watch it again after that. Then I often watch it more than once a week, just to listen to the conversation inside again.
□ I think the audience must have been surprised to hear you say this. Criticism of Newsroom is everywhere. Aaron Sorkin even apologized for it.
Quentin: Who the would go to watch a TV series review? Oh, my God. TV drama reviews are based on pilots, and those pilot episodes suck. I like what's so weird about the lines written in it.
□ have often been blamed for the same thing throughout your career, the violence and N-head vocabulary you use in your films. Do you still hear these accusations now?
Quentin: Social criticism doesn't make sense to me. They can easily be ignored because I believe in what I do. So anyone who contradicts me can get out of here. At some point they may hold you back, but after that moment, they are the gasoline in my flames.
□ will you watch online movies?
Quentin: No, no, my TV isn't connected to my computer. It's just something unique to this era, but that doesn't mean I'm not frustrated with it. The thought of someone watching my movies on their phones strikes me. I can't even watch movies on my laptop. I'm very old-fashioned, I read newspapers, I read magazines, I watch the news on TV, and I often read financial channels.
At the 67th Film Festival in Cannes, Quentin said in order to show his opposition to digital cinema: "Digital cinema is the graveyard of cinema, which is tantamount to putting TV in a movie theater." ”
▲ [Rescued Django] In which the dentist bounty hunter draws his gun and shoots furiously, the plasma and sparks on the scene explode at the same time, which is the effect that Quentin and Quentin fans like
□Do you miss the nineties?"
Quentin: No, even though I think the nineties were a particularly cool one, which was cool for me, just as Bob Dylan had to live from the sixties so that he wouldn't just be affirmed as an artist in the sixties, I would have to survive from the nineties so that VH1 wouldn't mention me when he did something like I Love the Nineties. I think it's a matter of opinion, and if there's anything to be missed, it must be something missing in this technological age.
It is true that Quentin loves the old days of cinema, but he loves the sixties and seventies more than the nineties, and most of the countless classics such as [Django], [Eight and a Half], [Horrors], [The Golden Three", [The Graduate] and so on were mostly born during this time. However, he did not like nostalgia, not so much that he wanted to survive from the old times, but rather that he was afraid that these things he loved would grow old, so he willfully brought them to the present.
□ You said you wouldn't do it after you made ten movies, and so you said, there are two more after [Eight Wicked Men], what do you think about them?"
Quentin: If the tenth film I made was the best I've ever made, it would be perfect, a big explosion, and then be with a small room after the explosion. I think about it occasionally, but I don't really think about it that way. I only do what is right at the right time. There are also some movies that I want to make, but when I finish making [Eight Wicked Men] and then have a little bit of personal time, all the things I want to do will rush to the top, I know that not everything can be done right away, so I let myself go, and the right story will find me on its own.
□ so the stories you've mentioned over the years, "The Killer Crow," "The Wega Brothers," "Django/Zorro," etc., are likely to never come true, right?
Quentin: Yeah, I don't think I'll ever make Killer Crow, but that's the only thing that looks like it can be achieved.
□ [Kill Bill 3] wasn't on the agenda either?
Quentin: No, but it hasn't been revoked, let's walk and see.
Luc Besson once said that he only made ten films in his lifetime, but so far more than ten, and Miyazaki almost every film he made in his later period had to shout a "retirement" slogan. As Luc Besson put it, filmmakers are artists, not politicians, and can not be held accountable for their own words, so it is nonsense to say "don't do it" from Quentin's mouth. He just doesn't obey the old age, and stories like "Killer Crow" will one day stimulate his nerves like the [unscrupulous miscellaneous army] of that year, and then another group of people are fascinated by it, it is only a matter of time.
Quentin is with a group of old robbers in [Falling Water Dogs], and his trademark treacherous smile makes people feel that he is the worst person
□ most of your characters are driven by hate, but you've been showing tolerance lately. Bruce Dunn leaked the script for The Eight Wicked, and he still appears in the film. Ainho Morricone has criticized [Django who was rescued], but he is now working for [The Eight Wicked]. Are you much more mature now?
Quentin: I'm probably mature now, and that makes me happy. I used to be a little angry, but if I'm still angry easily, it will become, I have a problem? I've had a wonderful life experience, and I think it's hard to be an artist here, how can I still be angry about anything? I will be angry, but I will also mature, life is too short.
The word maturity is put on the emotional Quentin, just as funny as the "ten movies" statement, and in January last year, there was news that the script of the "Eight Wicked Men" had been leaked, and the angry man said that he would not make this movie, so he simply published it. Don't see the bad guys succeed, arrogant. Angry Youth is old, but it is just old Anger Youth.
□ do you still write the script by hand now?
Quentin: Let me ask you a question: If you want to write a poem, will you write it on your computer? Poetry doesn't need technology.
Oh, this old bastard stabbed people with syringes in [pulp fiction], cut people's scalps in [Unscrupulous Miscellaneous Army], whipped those trembling bodies to the skin and flesh in [Django who was rescued], stole stars and stole the moon in other people's movies, was untamed in real life, played a good rogue, and now he is a self-proclaimed poet?
But he was still a rogue with a surge of emotions. Everyone has their own definition of the times, in the change of times he has always been a retro film fan, and now he is just an artist-level film fan who is making movies.
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