When it comes to fans of Hong Kong movies, we have to mention this one - Quentin Tarantino. He is a hollywood ghost director, who has won the Palme d'Or and the Academy Award for Best Screenplay at the Cannes Film Festival, and his representative works include "Falling Water Dog", "Pulp Fiction", "Kill Bill", "Shameless Bastard" and so on.
He once said: "If I had two sides to my life, one side would be a Shaw kung fu film from the 70s and the other would be an Italian Western." He is also a big fan of wong kar-wai and director Wu Yusen, and his relationship with Hong Kong cinema was made into a documentary called Quentin Tarantino: A Disciple of Hong Kong Cinema, which shows how much Hong Kong cinema has influenced him.
Born on March 27, 1963 in Knoxville, Tennessee, Quentin was married to a composer. The stepfather's insights into art and film were unique, and when Quentin was young, his stepfather often took him to see some quirky movies and tried to make him understand the culture of cinema.
When he was a child, Quentin did not like to read, often fought with social gangsters, and later dropped out of high school to work in a video store. With the convenience of a video store, Quentin read countless films there, and it is said that there are as many as 20,000 films. Because of such a special film learning experience, in many of his later works, you can see clips of tribute to old films, and he is also jokingly called the gangster stew of take-ism, the shameless bastard of the film industry. Like what:
The classic gun-toting clip in 1992's "Falling Dogs" is a parody of a clip from the 1987 film Dragon and Tiger, starring Chow Yun-fat.
There is also the rabbit dance in "Pulp Fiction", which is still talked about by fans, from Trauvalta and Uma Thurman's provocative and tentative twisting of the body, showing the shyness of the professional killer and the tension of the temptation and provocation of the old woman. But in fact, this clip is also borrowed from the 1963 feature film "Eight and a Half Parts".
There's also a close-up of the face of gogo, a 17-year-old girl in Kill Bill, who is killed, also borrows footage from 1980's Zombie City.
Because of his fascination with Chinese kung fu, Quentin paid tribute to his kung fu idol Bruce Lee in "Kill Bill".
Picasso once said, "Good artists learn from them, and great artists copy." "In fact, except for the first person to use a shooting method in the real sense, all directors are using the methods of their predecessors to shoot scenes, and the most difficult thing is actually to break through and form their own unique style on this basis."
Quentin is like this, he may have borrowed a lot of the techniques of his predecessors on the lens, but he can combine the strengths of the predecessors, use his own story, adopt a unique non-linear narrative technique, unforgettable and black ironic lines, and with exquisite film soundtracks, to create a film with a very personal violent aesthetic.
Quentin's films have a lot of dialogue, and many of them have no direct impetus to the plot. This is also a major feature of his personal film lines. But a large number of such life-like lines are very helpful for the shaping of the character's personality, which can close the emotional resonance point with the audience, and if you study it carefully, many of them are actually laying the groundwork for creating conflicts in ambush, and the climax may often appear in the next second.
One second the characters are still talking and laughing, the next second there may be a scene of blood spattering, and his films reflect "anti-conventional, anti-expectation" everywhere.
In the beginning, violence and aesthetics were not related, until Hemingway wrote about the matador boxers, which made violence a beauty. Hemingway himself thought that "everyone thinks I'm writing about violence, but I'm writing about elegance." "Violence has since become an aesthetic.
Quentin's film amplifies this aesthetic, and under his lens, seemingly extremely important characters may be shot in the head in the next second, and the plasma is splashed like ketchup. Although the scene looks bloody, under his extremely gorgeous camera scheduling, the audience does not have a sense of horror, but feels very cool and enjoyable.
There is also his unique personal lens use skills. Like the "trunk" perspective, you can find one or two of these shots in almost every one of his films. So much so that his fans would say, "If you see a shot with a 'trunk' perspective, you're almost certain that it's Quentin's movie."
In addition to his lines, violent aesthetic, unique use of shots, and his non-linear narrative techniques and unparalleled film scores that he has learned from countless future generations of directors are the fascinating places of his films. In addition to being a film director, Quentin is also a foot fetish, of course, he will occasionally make some strange roles and live an actor's addiction.
In The Killer Trilogy, Quentin makes a cool appearance with his nose smeared like Bruce Lee.
In "Django Rescued", Quentin takes on the task of escorting the protagonist, and finally the mentally retarded are blown up into a cloud.
Quentin has said he retired after making ten films, and the latest is his ninth. I hope that this talented director can postpone his retirement period and continue to create absurd, interesting and gorgeous stories for fans around the world.
Quentin Tarantino, he's an asshole and a master.