sSeveral years ago, just for business, I visited a “cult teleconference” at a hotel in Solihull, where all the fans at the bar were dressed as Klingons and Peter Turk of the Monkees hosted a wild pub quiz. Parked on a table, B-movie actor John Saxon Signature memorial head photos for £10 each. Saxon was present thanks to his roles in Falcon CrestAnd the Dynasty And the The Six Million Dollar Man, but the insult of the occasion appeared on every line of his face. “I once made a movie with Marlon Brando,” he explained with a sigh.
If the road had been forked, everything would have been different. Midway Cinema speculationQuentin Tarantino mentions Saxon as one of his early choices to play Max Sherry, a bail bondman in the 1997 film. Jackie Brown. While the part eventually went to Robert Forster, another mainstay of the B-movie, this casual show hints at an alternate history, a parallel path. Indirectly, it reminds us that films are serendipitous, defined by rewriting, coin-throwing and audience reactions as they are by any single subjective view. Jeff Bridges almost starred taxi driver. Steve McQueen was close to the Sundance Kid. Every movie – big or small – holds the ghosts of movies that might be on it.
Which leads us to rolling, about to fall Cinema speculationTarantino’s first film criticism collection arrives In the wake of his novel From his movie of 2019 Once upon a time…in Hollywood. He is fascinated by the imprecise science of film production and promotion, and the behind-the-scenes crises that created the classics. Tarantino likes to look under the hood and pull up the canvas, show how the film was put together, and explain how it could have gone in other ways. Or rather, he does until he doesn’t: until his focus shifts, his attention shifts, and he immediately begins chasing a new train of thought. His book embodies the concept of sliding doors, almost to a fault.
But for his mixture of talent and rudeness, the director may have spent his days on the conference circuit himself. He’s the video store freak who got the gold, the boy fan turned into an emperor. Some filmmakers prefer to hide their effects (“I feel like the inventor of cinemaWerner Herzog said). Tarantino is, endearingly, dressed on the outside, like the one-man Pompidou Center with all the pipes exposed. true to form, Cinema speculation He conducts a personal walk through his film education, moving away from the well-known heavy personalities of Hollywood in the 1970s (Deliverance, Rocky, Dirty Harry) to a zoo of anonymous strangers.
Tarantino generously praises John Flynn’s thriller in 1977 rolling thunder (the film, he feels, gave him permission to be a director) and Kevin Thomas (one-time critic for a second series in Los Angeles Times). Points jumping, independent chapter awarded to Floyd Ray Wilson, the uneasy childhood educator and wannabe screenwriter who planted the seed in 2012 Unlock Django. “I do not know how [Floyd] He died or where he died or was buried.” “But I know I should have thanked him.”
As a critic, it turns out that Tarantino writes just as he speaks, in a torrent of information and opinions; It is fueled by caustic fervor, unwarranted grudges, rhetorical questions, and full-blown digressions. Often at odds with the films he loves, he beats screenwriter Walter Hill to befriend his issues with 1972’s Sam Peckinpah. getaway. Tarantino celebrates taxi driverMoreover, it is almost too roasted. After the movie was convincingly proven to be a “reworked paraphrase” of John Ford’s western researchersHe can’t resist criticizing what he sees as her shaky racist policies and accusations Martin Scorsese Hypocrisy for his pious stance on screen violence. taxi driver She was agonizing to paint her anti-hero Travis Bickle as a traumatized veteran. Hilariously, Tarantino isn’t buying that either. “Travis was in no way silly in Vietnam,” he says.
I tend to file Cinema speculation As a paraphrase itself – an extended extrapolation of its author’s day-to-day function in filmmaking. As with his portraits, they are gossip, undemanding, and in dire need of editing. But she is also lively and sincere, and in good harmony with life. Tarantino is happy to delve into the photos. He leaves himself largely unchecked. However, this cursory tour sheds light on his apprenticeship, and reveals the banal upbringing of the boy who would one day become king. Like Proust with Madeleine, he remembers being dragged by his mother and their dates to see images of human exploitation at the Tower Theater in Compton, California. Tarantino recalls the wonders, dangers, and sensations of tasting the forbidden fruit. He says it’s an experience he’s been trying to emulate ever since. He has come close to his films. It’s also close to this book.