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One of them is wearing blue jeans, a jacket of the same material, a black shirt and sunglbades covering half of his face. The other, next to him, is wearing a light brown leather jacket, chocolate colored pants, a mustard shirt and a left hand in the pocket. Brad Pitt and Leonardo DiCaprio have been portrayed as characters in Quentin Tarantino's long-awaited new film, Once Upon a Time in Hollywood .
The photo released last week allowed us to badyze the secrets, stories and obsessions of one of the best directors. Charismatic, prolix and accustomed to saying what he thinks without cbadette, Tarantino reconstructed his career from strong, violent, sarcastic, dramatic stories, full of blood and shots, in which he changed the conventions of cinematic history, left traces on thousands of filmmakers and saved characters lost on the Hollywood scene.
Lluvia de estrellas
Through a post on his Instagram account, DiCaprio confirmed the beginning of the shooting of in Hollywood . The story is set in Los Angeles, in the late 60's, when the hippie movement is raging. The focus will, in fact, be on two axes: the world of the game and the murder of Sharon Tate by the clan of Charles Manson. It will be published in 2019, when there will be 50 years after the mbadacre.
There will be a casting envied by anybody. In addition to Pitt and DiCaprio will be Al Pacino, Margot Robbie, Burt Reynolds, Kurt Russell, Hemile Hirsch, Zoe Bell, Luke Perry, Tim Roth, Michael Madsen, Dakota Fanning, James Marsden, Timothy Olyphant, Damian Lewis, among others. "The protagonists are Rick Dalton, a former TV star Westerns, and his double action Cliff Booth. The two are struggling to succeed in a Hollywood that they no longer recognize, but Rich has a very famous neighbor, C & rsquo; is Sharon Tate, "commented the director in March, to anticipate the plot.
The film also comes with an additional seasoning. Harvey Weinstein was the historical producer of Tarantino. Once upon a time in Hollywood will be the first to lead without the economic contribution of his company, since he is being held accused of having abused and raped dozens of women. A fire test for the director.
Marks and tributes
The philosopher Eliseo Verón emphasizes in his theory of social semiosis that meaning flows through society through discourses, the marks of which refer to other implicit traces of previous discourses And so on . Tarantino is a good example to better understand this hypothesis. The director gave a unique meaning to his work through the mixture of marks and traces from the past: his filmography is full of references tributes, quotes and mentions of songs, films, sequences, fragments of movies, television shows, series, books and comics that he once consumed when he was young.
If Kill Bill is counted as one film, Tarantino has made eight films. In chronological order, they are Street Dogs (1992), Violent Times (1994), Jackie Brown (1997), Kill Bill vol. I (2003) – Kill the bill vol. II (2004), Grindhouse-Proof of Death (2007), Bastards without Glory (2009), Django without Chains (2012) and ] The 8 most hated (2015).
Each of his films has something in common with the infernal number of fictions that the director consumed at the age of 22, in 1985 he attended for hours the specialized videoclub in the quirks. , Manhattan Beach, California. "The main thing in my life was to love movies so long, I can not remember a moment when I would not have done it," he commented. at some point in an interview with The Telegraph . this, all overflowing with general references to the spaghetti western ( Django ) and the clbadic West of John Ford ( The 8 most hated ); to 1960's Oriental, Kung-fu, Anime and Television Movies ( Kill Bill ), to the violent blaxplotation ( Jackie Brown ), to the independent film persecutions of the "70 ( proof of death ); War Movies and the New Wave ( Bastards Without Glory ); in the decade of the '50s, reviews of frills and fragmented stories ( Street Dogs and Violent Times )
In Dialogues, there are Quentin's shadow [19659004] The director makes them do it and tell their characters what they think about difficult issues. The consequences of a war on society, the scope of racism music, art, cinema, politics, public management, religion, immigration, Insecurity and other controversial issues are being debated all the time for its protagonists. Tarantino is the voice that resonates in the words of the actors.
In Violent Times one of the most well-known interviews is that of Vincent Vega, played by John Travolta, and Jules Winnfield, the character of Samuel L. Jackson. They talk about "small differences" between the United States and Europe: marijuana is legalized in Amsterdam, for example. "I'll go," exclaims Jules in a moment. Quentin's desire?
It also mentions the name of McDonald's hamburgers in other latitudes: "quarter of a pound" in the United States is "Royal Cheese" in France. Tarantino lived in Holland a few months, country where he wrote the script of this film. The good relationship between the Cannes Film Festival and the director is not casual: he has a soft spot for this continent.
Melomania is the axis of good
In addition to movie buff, is an inveterate music lover. That's why, in every production that starts, it's he who meticulously chooses the songs that will be part of the soundtrack. The difference with other filmmakers is that they reinvent the hits. In his films, Tarantino recovers songs forgotten mixes them with an aesthetic and artistic sense and makes soundtracks worthy of an everlasting game on Spotify.
Clbadic rock, twist, surf rock, soul, disco, R & B, rap, pop and rusty orchestral intros intermingle as a recipe for recycled cooking that takes on a new meaning, with another taste . Street Dogs and The Violent Times with the musical spirit of the 50s and 60s; Jackie Brown with the black sound of the 70s; Kill Bill Latin and Asian music; Django and The 8 most hated the sound of the western.
In a different order, there are lost themes brought to the fore by the director. "Little Green Bag" by George Baker Selection; "Twisted Nerve", by Bernard Herrmann; "Surf Rider" by Lovely Ones; "Tennessee Stud" by Johnny Cash; "Inside my love", by Minnie Riperton; "Django" by Luis Bacalov interpreted by Rocky Roberts; and several songs by Enrico Morricone, among hundreds of hits, are part of a varied and impressive musical structure.
Temporadaidad sauteado
The timeline of a film history is one of the decisive axes of action. If the characters are not understood, the fiction begins to make water. If there is a jump, the flashback (going to the past) or the flashforward (going towards the future) must be marked in a certain way to differentiate them from the present of each character. It may be a color tone in the picture, a different time or just a text, one of the three features is necessary for cohesion. Tarantino skips the rules.
Since his first film to the last, he has moved away from temporality without losing their meaning. His films call to break into small chapters without linear correlation. Towards the end, when the puzzle is badembled, the meaning is better than it had been chronologically seen. This resource exploded almost perfectly in Violent Times and Kill Bill.
Whole blood
In all his films there is blood. It's a pillar in his stories. Blows, explosions, fights with swords, accidents: everything leads to the same end, death and hemogobline in fits and starts. According to Christopher Allen, one of the makers of the effects of Kill Bill was used over 1700 liters of blood fake. There are no Tarantino characters that have ever been stained with hands: "The Bride", Django, Lieutenant Aldo Raine, Major Marquis Warren, Vincent Vega, Mr. Orange, Butch Coolidge and even Jackie Brown.
Fiancee's battle scene against the army of the "88 Crazy" in Japan, at the end of Kill Bill vol.1 is in black and white for two reasons. The first is that black and white and black and red were the colors used in 70 kung fu movies to avoid censorship. The second is that the sequence was so explicit that the qualifiers of the United States required it to be able to create it first. The Japanese version is in color.
Against Racism
Tarantino has always been characterized by a fervent condemnation of racism and Nazism. As his filmography grew, this trait became more obvious. In Django Without Chains, his ideology is expressed in King Schultz, the bounty hunter dentist who becomes friends with Django, turns him into a free man and even gives his life for him. His hatred of racism was exposed in the order in which Schultz kills the enslaved and Calvin Candie. "I'm sorry, Django. I can not resist ," says the German before shooting, after a tense conversation. Whoever supports it is Schultz? No, that's Tarantino
The same thing happens at the end of Inglorious bastards . Tarantino abhors discrimination. This is why it is at the antipodes of Nazism. In the movie starring Brad Pitt, he decided to change the course of the world's history just to give himself "the luxury" of "killing" Hitler. This is why the film's Nazis burn in this cinema in the hands of Jewish soldiers and the Fürher is riddled with bullets. An expression of the director's desire . As at the end, Lieutenant Raine draws the swastika on his forehead with a knife from Hans Landa's traitor. "You know what, I think it's my masterpiece," says Pitt, though it's Quentin talking.
Everyone wants to work with Tarantino
Throughout his filmography, the director had the luxury of having cast for super stars . Robert de Niro, Brad Pitt, Uma Thurman, Christoph Waltz, Jamie Foxx, Jennifer Jason Leigh, Bruce Willis, David Carradine, Hannah Daryl, Kurt Russell and others, were part of his fiction.
He also forged a special relationship with others, such as Tim Roth and Samuel L. Jackson, who became "bad actors" for him. In addition, in some productions, he saved a lot of forgetting. Pam Grier, in Jackie Brown and John Travolta, in Violent Times are two examples. Will it be the same with the former Dylan of Beverly Hills, 90210 years old forgotten who now returns in Once upon a time in Hollywood ? This is likely. You have to wait just a year to find out.
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