über Quentin, dies & das - Seite 7

#92 14.02.06 - 19:10

EIne Schwedin. hrrr.

#93 14.02.06 - 20:21

Wenn die Schwedin der Vorstellung entspricht die ich von Schwedinnen habe, hat der gute Geschmack.

#94 14.02.06 - 22:20

Och, der soll sich lieber mit Sofia Coppola paaren, kommt sicherlich ein talentiertes Kind bei raus. Smile

#95 15.02.06 - 00:54

Dafür aber ein hässliches Kind Ironisch

.

#96 15.02.06 - 13:14

#97 15.02.06 - 14:18

Hässlich hin oder her. Hauptsache es käme sicher ien guter Regesseur dabei raus.

#98 16.02.06 - 20:08

naja - hauptsache der gute lässt sich nicht ablenken oder beeinflussen so ... wie richie von madonna Smile

#99 13.03.06 - 13:07

#100 13.03.06 - 15:04

#101 14.03.06 - 14:42

das stand glaub ich auch hier drin und zwar am schluss bei der filmographie. hatte das buch mal, leider verkauft...

Geschlecht: Beiträge: 15018 Registriert: 15.12.01

wieso verkauft man so ein buch? bekommt man doch nicht mehr, als 10€ dafür. meines verstaubt zwar auch im regal, aber um die kohle behalt ich es lieber ...

#103 14.03.06 - 17:31

hab das alte für 20 franken verkauft und dann das neue mit kill bill 1+2 und weiteren ergänzungen gekauft.. Schelm

#104 14.03.06 - 17:36

Hmm, das buch sollte ich mir wohl auch mal zulegen. Bei der nächsten amazon bestellung ist es mit dabei...

#105 22.03.06 - 15:12

QUENTIN TARANTINO - Horror, Is It Me You're Looking For?

Quentin Tarantino's latest venture is as Executive Producer for Eli Roth's Hostel. The violent film - Roth's second, following Cabin Fever - trails three backpackers in Europe who encounter a hostel, which, as they soon learn, is a makeshift resort for psychopaths who pay for the pleasure of torturing young tourists.

As we discovered, 'Quentin Tarantino presents' means just that to the writer/director, who not only threw his own ideas in the pot, but also embarked on the press circuit for Hostel with good friend Roth. In the process, Tarantino also revealed details for an upcoming project, and by the sounds of it, there's plenty more gore to come.

Hostel is screening in cinemas now.

By MITCHELL GRACE

Where and when did your fascination with horror begin?
Oh, I think... it was when I was a little kid, actually. When I was a little kid, my two favourite types of movies in the world to see was horror films and comedies, especially like Laurel & Hardy or Abbott & Costello or WC Fields, that kinda stuff. I loved that stuff when I was a little kid. But horror films were always like one of my favourites because I was like... I got really into them, like the Universal monsters, Zelda. Which is funny because when I was a little kid actually, talking about the comedians, Laurel & Hardy and Abbott & Costello, it wasn't dissimilar talking about the monsters. To me they were like famous actors, too - Frankenstein and Dracula and the Wolfman - they were all one of a piece. So I grew up watching those and that's where it all kind of came from. And I loved the idea of seeing something that might be too strong for me, that I might not be able to handle, but I was going to try, but I might not be able to handle it.

Do you take your own advice that you gave Eli [Roth], that once you have the idea, unplug the phone, get in there, take two and a half weeks and just do it. Do you do that?
Pretty much. Like in the case of Eli, he was like... he kind of blazes through it. Alright, so he was able to, like, just literally turn off everything for two weeks or three weeks and do it. I do that, too. I tend to write a little bit more, though, like a novelist writes. It's not about blaring through it to get to the end. It's like, when I'm writing, I'm just kind of in writing mode. And then what I'll have is, I'll have weeks or weekends like that. But I'm kinda more coming from like a novelist place where... I'm here luxuriating writing.

What was it about Hostel that made you want to be involved?
Well, it was a couple things. It was, one, the story sounded really, really cool, and I was a real fan of Eli's work from Cabin Fever and just becoming a good friend of his. And then I was like, 'Well, I could like really help Eli out here. Because I could help kind of protect him'. Because this has gotta be... if it's not raw, if it's not tough stuff, then there's no point in making this movie. I thought maybe I could help him out a little bit in that regard as far as dealing with the ratings board or dealing with the problems of the company making it or whatever. Which ended up being non-existent, to tell you the truth. And also, I thought it would be fun to work with Eli on it, either on the script stage, in the editing stage, and then just have the fun of going around the world advertising the movie with a friend of mine. And it's cool. We've been to all these horror festivals and stuff since then. It's really cool.

There was a little confusion about your total role in this. Can you explain the main parts you were involved in?
Well, it's like... I don't want to go into super detail about what I added to the script for the simple fact that I don't want to take anything away from Eli. Because the script was like really, really terrific. It was really good. And we also had...

So you played editor on that?
Yeah. Exactly. Yeah. I suggested things, wrote a couple little pieces of dialogue here and there, and suggested this, but you know we also had two other writers as executive producers, Boaz Yakin who wrote Fresh, wrote and directed Fresh, and Scott Spiegel who wrote Evil Dead Two. So we all like, 'Well, what if the character does this? Or what if they do that?' But just kinda giving them... putting it under a microscope a little bit and adding a couple little bits. And pretty much the same thing in the editing, too. Watching the film, suggesting this, a couple cuts here, maybe adding a couple things here.

Who's idea was it to put your film in the film?
Oh, that was Eli. That was Eli's. But he actually said that was based on something, and he actually said he went to like a... not a hostel, see, so he went to a hash bar, or something, and they had Pulp Fiction playing (laughs).

Do you think Asian cinema is going to influence American film for a long time?
Well, I really think Asian cinema right now is one of the more exciting cinemas going. I'm never the guy that's actually putting the movies of the year down, but man, it just seems like there's been some really boring movies this year. Even all the stuff that's nominated for the Golden Globes. It's like they all have the same commercial, they all have the same Aaron Copeland, heart-warming, good-for-you, music. And to me, it's been the genre films that have been saving this year. It's been like the Hostels and the Devil's Rejects and stuff like that. I really was a big fan of Domino, too. I thought Domino was really good. But the thing is, it's like... to me those have been saving this year. But I actually think it's really kinda cool. Y'know, I think Hostel might be the first movie that you could actually say is a direct link to Takashi Miike's ultra violent Japanese horrors. He started about maybe six years ago now. Five or six years ago. And it's been seeping into the consciousness of American horror, via the fans and via the horror film directors who actually are fans. And I think Hostel is like... pretty much it's right up there. It's kinda like no holds barred in that regard. It's not the Takashi Miike's lite... it actually could stand head and shoulders with a lot of his stuff. And I think it's just... being a horror film fan, and being a guy who likes to push the envelope, I think it's actually great that now, all of a sudden, unbeknownst to any of us doing it, the pendulum seems to have kinda swung in our direction, and that's now the horror vogue of the day. And here we are with ours.

Yeah.
So it's kinda like that lucky thing where, y'know, you go and make My Bloody Valentine, not knowing Halloween's going to come along tomorrow to make your thing commercial all of a sudden [laughs].

Are you planning on directing a horror film soon?
Yeah. Me and Robert Rodriguez are going to do a film together. We're going to collaborate on another film. It's called The Grind House. Anyway, what it's going to be... it's going to be a horror film double feature, and it's going to duplicate what it was like to go to a ghetto theatre and see these exploitation double features when they used to come out. So we did two horror films and we're going to release them together. We'll set it all up like real night movie theatres, y'know, in a Grind House, where like all the intermission stuff will be there. We'll direct both - Eli's going to do one, too - we're going to do trailers for exploitation movies that don't exist to play in between the two movies. So it will be just like... without the rats and without the violence. So it'll be what it's like to go to one of those theatres that don't exist any more.

Is there a difference for you, filming things like Kill Bill, which is action violence versus the horror violence. Do you see them differently? Because in Kill Bill...
Let me give you an example...

In Kill Bill you had the black and white. You put the violence in a black and white situation so it was kind of separated from the movie.
Right. Right. Right.

But this is like... torture like right there in your face.
Right.

So is there a difference for you?
Yeah. There is a difference... there is a difference. Because the thing about it is, it's like the action like, say, the fight in the House Of Blue Leaves with the crazy 88 in Kill Bill... y'know, that's not a horrific sequence. That was supposed to be exhilarating. That was supposed to be fun. Alright, even with all the limbs cut off, and the blood shooting out like at the Bellagio fountains [laughter] you were supposed to get caught up in the whole movement of the rhythm of it and the excitement of it and the empowering of it, and you are Uma and you're doing all this, and you just get caught up in the whole thing. So, y'know, in its own way, it's not too dissimilar. In fact, not dissimilar at all from a dance sequence in a Vincente Minnelli movie or something. So that's how that's supposed to work. And it's supposed to have that special charge and whatever. Now this, it's got its own same charge, but there's dread involved in it. You're being drug down the hall and you're trying not to go, but you still kind of want to go, regardless. So it is actually, as a director, it's in the same family, but there are two different responses I'm trying to get from the audience.

Do you have any brothers and sisters?
No, I don't, actually. I'm an only child [laughs]. But maybe that's why...

Did your parents realise what they were spawning and what was happening here?
Oh, actually, like my mum, in the case of Resevoir Dogs, her favourite scene is the torture... her favourite scene is where somebody gets an ear cut off, right? She actually, I asked her what her favourite scene was, and she goes, 'Oh, the scene where he gets his ear cut off, that's for sure. When Mr Blond does that, that's totally my favourite scene'. And I go, 'And what was your second favourite scene?' She goes, 'Oh, when they're all walking in the opening credits'. And I was like... now those are actually my two favourite scenes, too. But I was like... I was curious. 'Why? What was it about them? I know why I like it, but what was it about the walking?' 'Oh, they're just so male!' [laughter]. In Resevoir Dogs when they're walking in the opening credits.

Did you give Eli any torture stuff or did he do it himself?
Yeah, I came up with the book cutters that cut off the girl's toes [laughs]. That was me, I came up with that. And actually it was my idea that they run over the girls, too. If I did nothing else, I did that, alright?

Two of the worst...
Because it was like... he was in the script, and you see them, and then he kinda goes, 'Eli, you've gotta run over them. The audience is gonna go apoplectic if you kill them!' And every time the audience cheers when that happens, I say, 'See? It worked'.

Revenge.
Exactly.

Are there some new, uninvented horrors for your next thing that we can't even fathom that you have come up with?
Yeah. It's pretty different actually, what I've done. Actually, it's kind of cool because it's the first full-on horror thing I've ever written. I wrote From Dusk Till Dawn, but that was also kinda fun, it wasn't taking itself that seriously. This is literally... our movies don't take place in the '70s, they take place now. But for this Grind House thing, we're trying to get that flavour of the '70s. So it's not like they're retro, but it's as if that type of filmmaking has never stopped. So they still make them, and like the theatres are so crappy, and the prints are still being traded from one place to another, so there's frames missing and frayed edges, and all that. But it's now, they talk on cellphones and they text message each other. It's sort of my take on a slasher film. Because I love slasher films, and when I first started coming up with the idea, I was like, 'Well, slasher films are so specific. I don't want to do some retro, look back thing'. So I tried to think what could work in the same format, more or less, as a slasher film, but be actually something maybe I hadn't seen before, and it could be horrifying, and I think I've come up with it.

What's the time line for that? When is it coming out?
Well, we're going to start shooting... I think Robert is going to start shooing his in late January, so once we get going, I think in about six months we'll be all done.

Are you working on a Kill Bill DVD special edition?
Yeah. I'm going to be doing that coming up. I wanted to take literally a year off of not thinking about Kill Bill at all, and now I'm ready. We're also going to even release it to the theatre, the film in the full, full edition. And it won't just be the two movies added together. I've actually cut it to make it one big movie, and there's an intermission... like a '60s Battle Of The Bulge kind of movie, an intermission right in the middle with intermission music and stuff.

I heard a story that you used to work at a video store in Hermosa Beach...
Manhattan Beach.

I was wondering, quickly, how did that form your own movie experience?
Well, it's like... the one thing that's been said about that that's wrong is that that made me a film expert. I've been watching film since I was a little kid. I got hired at Video Archives because I was a film expert. But what it did was it allowed me... for all intents and purposes, I didn't have to get a job for five years because I was working at the place that I liked. It was like my college. In a learning way, even though I started off as an aficionado, in a learning way but also just like the way you have your college experiences. Me and all the other people at the store, we all hung out together like you do when you're in college, and we didn't have any money, we all went to the movies, ate pizza, and I got my first real girlfriend from the store. It was my college experience. When you don't go to college, you have it somewhere, and I had it at Video Archives.

Who's in the cast... who's the lead of your new movie?
We haven't done it... I'm still finishing up the script. I won't be finished with it until next week.

Do you have any ideas?
Uh... it'd be cool if Mickey Rourke could be in it. I'm a big Mickey Rourke fan. It'd be cool if Mickey Rourke could be in it. He's kicking ass and taking names this year like nobody's business.