Quentin Tarantino Thesis
Played by Austrian-born Christoph Waltz, Landa breathes new fear into the Nazi with hypnotizing small talk, a sinister grin and piercing eye contact that forces his victims into submission.
Tarantino movies are often overhyped, drawing viewers in more with A-list talent and excessively aesthetic death scenes than actual enjoyability.
Saw, Saw II, Wolf Creek, these are all a part of this subgenre. T.: He’s what horror films have been waiting for: not a video director trying to make his first movie and then move on or the older guy who resents the fact that he’s still doing horror films. But this new group of films is really scary—and I think Eli’s made the most horrifying entry. R.: Well, I think you’re really talking about that feeling people get when somebody’s doing a terrible job of it, trying to cram a message down your throat. But you know, a lot of people read Cabin Fever as a metaphor for AIDS.
For Kill Bill, I had to make one version for Japan and a less violent version for America. T.: Because audiences have had six years to absorb Japanese films on DVD. They say half the audience for Saw II was teenage girls. A lot of genre filmmakers seem—annoyingly—to be sticking metaphors in their films, like George Lucas inserting Iraq commentary.
I’ve tried to run the quote down to make sure I have it exact (I’d hate to stir up a fuss with a bit of misremembering), but haven’t been able to trace it.
Unlike most of Tarantino’s films, however, it flips history on its head and turns a rewritten demise of Nazi Germany into a neo-noir-spaghetti-western-turned-war-film-revenge-flick that is as satirical as it is high octane.
The movie follows several developing plots to kill top Nazi leaders at a film premiere in Paris during the height of World War II.
I don’t know if Tarantino was suggesting Scorsese had passed his peak, or that he’d reached a point in his career where he had to make movies – as Tarantino once said of a certain tier of directors – “…to pay for (his) pool.” Or, perhaps the notoriously motor-mouthed filmmaker was just on a jag and his tongue got a little in front of his head.
Whatever: dig, observation, or slip of the tongue, I remember thinking it wasn’t particularly flattering. Since then, Scorsese’s filmography has been extended by the Oscar-winning 27 years ago. Scorsese had been a frail and sickly child, unable to run the vibrant streets of his Little Italy neighborhood like the other kids.