A Quote by J. Hoberman
Energetic, inventive, swaggering fun, Quentin Tarantino's Inglourious Basterds is a consummate Hollywood entertainment--rich in fantasy and blithely amoral.
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I was massively jealous but also excited when Tarantino did Inglourious Basterds, I'm a huge guys on a mission fan. Those kind of movies.
Since many people have been asking me to elaborate on why I think "Inglourious Basterds" is akin to Holocaust denial, I'll try to explain what I mean as succinctly as possible, by paraphrasing Roland Barthes: anything that makes Fascism unreal is wrong. For me, "Inglourious Basterds" makes the Holocaust harder, not easier to grasp -- as a historical reality, I mean, not as a movie convention. Insofar as it becomes a movie convention, it loses its historical reality.
I saw Quentin Tarantino's 'Django Unchained,' and you could say a lot of things against it, but it was incredible fun. I don't like blood and gore and I am very squeamish about violence, but Tarantino's violence is actually funny.
I saw Quentin Tarantino's 'Django Unchained,' and you could say a lot of things against it, but it was incredible fun. I don't like blood and gore, and I am very squeamish about violence, but Tarantino's violence is actually funny.
I think that Hollywood should also be influenced by directors from Hong Kong. You see how Quentin Tarantino is really the example of how you can develop, and how you can go ahead if you accept the existence of different cinematic cultures. There you have Quentin playing with kung-fu. That's why the independents are the most interesting.
When I was filming the death scene [in Inglourious Basterds], and I'm killing somebody, I had to work myself up.
Even Christoph Waltz's character, Colonel Landa in 'Inglourious Basterds', I never judged him.
Quentin Tarantino doesn't beat Hal Ashby, and he's one of my favorite directors. Quentin is incredible.
Then all of a sudden, Quentin Tarantino comes along and puts a song from 40 years ago in one of his films and they've suddenly discovered you. That was a real gift that Quentin gave me.
There are no good guys in a Quentin Tarantino movie. They're all bad guys. And you like us. That's Quentin's big talent.
Quentin Tarantino is controlled insanity, I would say. He's very loud and fun. I don't think there's anybody on the planet like him that I have ever met.
A script arrived, and on the front cover - scrawled really big, as if it were a book report - is 'Django Unchained, written by Quentin Tarantino.' And I thought, 'Well, no art department came up with this; this is Quentin's writing.'
I like Quentin Tarantino, especially the early films, but I'm a big fan of Billy Wilder and Preston Sturges... you know, people were writing great dialogue back then. It's as if people only have the memory of the last 15 years. So, before Tarantino no one was writing witty dialogue? That's ridiculous. Why do we have to keep referring to Tarantino?
As a movie fan, I remember Quentin Tarantino and Lawrence Bender and the sort of energy around 'Reservoir Dogs,' and the jump from 'Reservoir Dogs' to 'Pulp Fiction,' and how everybody was stoked on Quentin's career.
For me, it was a lot of pressure to make another movie after 'Inglourious Basterds' because I didn't want to do something wrong. I wanted to have a beautiful project for another American movie.
I got a message that Quentin Tarantino would like to meet me, that he was a Spider-Man fan and wanted to talk about playing Peter Parker. We had a general chat, a nerdy conversation about Hollywood in the 1960s and 1970s.
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