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Cool ass short film from a Brazilian director exploring the connections in Quentin Tarantino’s films. A lot of this is already documented by Tarantino nuts, or at least thought about and some of these connections seem like a stretch. Still, this is a well-made short film staring Seu Jorge (Life Aquatic). I also love that the movie sort of takes the piss out of the silly Tarantino fanboys at the same time. [via]

Earlier today, I was reading a Jeff Wells piece where he commented that QT’s newest movie Inglorious Bastards clocked in at 165 pages - too long to be a conventional movie, but too short to be broken into two films.  It’s a proxy that one script page is one minute of screen time.  So as is, the movie would run about 2 hours and 45 minutes.  Wells mentioned that he would have the script by the end of the week and our excitement was pushed to the brink when both Latino Review and Vulture got their grubby hands on a copy of his script.

The consensus from both reviews is that this is a bloody masterpiece, if QT can get the funding and shoot this thing on his own terms.

So what’s it about?  The long and short of it is that this movie follows eight Jewish-American soldiers in WW II with the sole mission of kicking Nazi ass.  Lt. Aldo Raine (Brad Pitt is rumored for this role) leads a blood thirsty squadron of soldiers called the “Bastards” for a final mission that involves ruining Nazi party plans to premiere a propaganda film in Paris.  MORE »

It was an unexpected surprise, but QT had a panel during Cannes. Thankfully, Spoutblog was there to capture it as best they could. Moral of this story is that live-blogging a Tarantino discussion is a-okay, but live-blogging Indiana Jones 4 makes you a douche. Actually a supreme douche.

Anyway, back to Tarantino. I think that Karina did an excellent job keeping up with the notorious motormouth and while he doesn’t reveal anything great, like say, his next project, he does reveal some cool insights into how he works as a director. So big kudos to Karina.

I go to Sundance, Reservoir Dogs is already set to go, we’ll be leaving Sundance and going into production. I liked long takes, I was a huge Godard fan. So I do one of the scenes from the movie, the one where Mr Pink is like, “Is taht a fucking set up, or what?!?” I set it all up in long takes. They tell me at Sundance, we want you to get out of this whatever YOU want out of it.” So I do. John Amiel, Monte Hellmann were there…and they hated my scene. Stephen Goldblatt, the cinematographer, said, “Not only is this horrible, but what’s really frightening is, you’re going into production. If you do this, they will fire your ass.” They have a meeting with me, and they just start talking about how I can’t do what I did. Like, “We ALL liked Godard, but enough!”

So I get my ass reamed, and take a long solitary walk. And I go, you know what? I liked my scene. It’ wasn’t like they were mad at me for experimenting, it was like they thought I didn’t know any better. So after dealing with all that, they leave. The next group of resource directors come in, and it’s Terry Gilliam, Volker Schlorndorf )sp?) and Stanley Donen. And Terry comes in and goes, “Ahhh! Your scene, just great!” And never in my life have I experienced black to white, just like that. And Wolker comes in and was like, “Oh, our little genius!” And I took another walk, and I was like, “you know what? That’s going to be my career. People are either gonna really like it or really hate it, and that’s the way it’s fucking gonna be.”

That’s one of things about Tarantino that I’ve long admired. As a sophomore (maybe junior?) in high school I probably watched Pulp FIction more times than I can count. I bought in on VHS and wore the tape out. In the decade or so since then he hasn’t directed many movies, but he’s always stayed true to his vision. Whether it’s remixing martial arts movies for Kill Bill or paying homage to blaxploitation with Jackie Brown. Admittedly I still haven’t seen Grindhouse.

This is where my computer battery died. I continued to take notes by hand, but obviously this guy talks too fast to really keep up that way.The one memorable moment that I was able to get down pretty much verbatim: the moderator asked him why he likes to use pop music in his movies instead of original score. And Quentin said…

I just don’t trust any composer to really do it. Who the fuck is this guy coming in here, putting his shit over my movie? What if I don’t like it? And if I was in a situation like that, chances are, I WOULDN’T like it. Fuck that!

So there you go.