Pandaemonaeon wrote: »
"I want muy scalps!" :rotflmao:
fulgoso83 wrote: »
I am a Tarantino fan, but ain't watching this movie because of that ham actor Pitt. I just don't consider him as an actor.
Posted: Sun., May 17, 2009, 8:00pm PT
Tarantino reflects on 'Bas-terds'
Director aimed to finish film in time for Cannes
By MICHAEL FLEMING
Quentin Tarantino is so high on the Cannes experience that he worked at a breakneck pace to shoot and edit the 165-page epic-sized WWII drama "Inglourious Basterds" in eight months. And when the writer-director bows his film on Wednesday, he says, "I'm expecting this to be one of the high moments of my career."
Reflecting on the pic over a hamburger at the Carlton Hotel, Tarantino said it was worth the struggle to debut his third film in competition. (Tarantino won the 1994 Palme D'Or for "Pulp Fiction" and also brought "Death Proof").
"This is the cinematic Olympics," Tarantino said. "What an exciting year for auteurs this year, with four Palme d'Or winners. If you've done a movie you're proud of, that you might be defined by, then to me the dream is not necessarily to be there at Oscar time. That's wonderful. But my dream is to always go to present the film at Cannes.
"There is nothing like it in cinema," he said. "Nobody has seen your film. It's a wet print, fresh out of the lab. The entire world film press is here, and they all see it, at one time. The greatest film critics in the world, who are still critics, and they're all fighting and debating it. When you think back on your career, it comes down to these high moments. That level of excitement is unparalleled."
Getting to the Croisette took discipline. The film had the same 10-week production schedule as "Pulp Fiction," fast for a period war movie shot in Europe.
And the film came in at a running time of 2 hours, 27 minutes, shorter than some had expected.
"Directors in my situation don't normally go this direction, especially when they're doing something really big. If you have three days scheduled for a scene, it's easy to (add) the fourth day. It's nice to have all the time you need, but when you slow down, I think that marbled fat is felt in the pacing. I didn't want easy and comfortable and I do feel that energy is evident on the screen."
Tarantino flirted with his WWII project for years, once considering it as a miniseries, even a novel, before stripping down to the story of a brigade of brutal soldiers sent to hunt Nazis, and led by Brad Pitt, the biggest star Tarantino has directed.Said Tarantino: "Once, I was talking to a big actor who said, 'You're afraid of stars. You want to be the guy.' I never feel like I need a star, but a lot of the great Hollywood directors I respect all worked with stars and so there was this aspect in the back of my mind where it was time to do that.
"Brad is an actor I treated just like the other actors, who happens to be this huge movie star. But he is such perfect casting for this character that if Brad Pitt wasn't famous, I'd have lobbied for him to have the role."
While he gave several plum roles to unexpected performers -- "Hostel" helmer Eli Roth has a large role, Mike Myers plays a British intelligence agent -- no actor has a bigger starmaking opportunity than Christoph Waltz, a German TV actor who plays Hans Landa, the cunning SS Colonel who is the primary antagonist of the Basterds.
"Landa is a linguistic genius, and the actor who played him needed the same facility with language or he would never be what he was on the page," Tarantino said.
Tarantino grew so frustrated at casting that role, he was five days away from calling off the movie when Waltz auditioned.
"I told my producers I might have written a part that was un-playable," Tarantino said. "I said, I don't want to make this movie if I can't find the perfect Landa, I'd rather just publish the script than make a movie where this character would be less than he was on the page. When Christoph came in and read the next day, he gave me my movie back."
'Basterds' actors on pins and needles
Quentin Tarantino cut it close for Cannes premiere
By Scott Roxborough
May 19, 2009, 08:27 AM ET
CANNES -- Everyone is on tenterhooks ahead of Wednesday's premiere of "Inglourious Basterds," not least the stars of Quentin Tarantino's Nazi-slaying epic.
The director's mad rush to finish the film in time for Cannes has meant that virtually no one, including "Basterds" headliners, has seen the movie.
"When I arrived in Cannes and saw the posters on the Carlton Hotel and I wasn't on them I thought, 'Oh no, they've cut me out,' " German star Daniel Bruhl, one of the film's leads, told The Hollywood Reporter. "I saw Quentin, and he said he hasn't cut a minute. But I won't know what's in or out until the premiere."
The version of "Basterds" that bows in Cannes, however, is unlikely to match the one that Universal and the Weinstein Co. roll out at a multiplex near you. Wednesday's screening clocks in at 2 hours and 40 minutes -- reassuringly long for cast members worried about ending up as cutting-room dross -- but a programming challenge for distributors.
So "Basterds" in Cannes could resemble a test screening, with a leaner, perhaps meaner cut going up in August.
20 May 2009
We've Seen Inglourious Basterds!
QT's WWII epic debuts in Cannes, and...
Empire has just seen Quentin Tarantino's eagerly-awaited WWII flick, Inglourious Basterds, and it's rather brilliant. Every bit as idiosyncratic as the spelling of its title, it's a wonderfully-acted movie that subverts expectation at every turn. And it may represent the most confident, audacious writing and directing of QT's career.
Forget what you think you know is such a clich?\, but here it more than applies. Tarantino has made a career out of subverting expectations ? this is the man who made a heist flick without a heist, after all ? but he?s outdone himself with Basterds. It?s an action movie that has barely any action. The Basterds themselves, including Brad Pitt?s Lt. Aldo Raine, are off-screen for long periods of time. And it takes wild liberties with history.
But that?s all set up by the opening title card (the film is divided into five chapters), ?Once Upon A Time In? Nazi-Occupied France?. Not only does that allow Tarantino to use Spaghetti Western-esque musical cues and swipe the odd shot and convention from the likes of Sergio Leone, but it frees him up to take those liberties. This is a fairytale world, in which American soldiers can ghost behind enemy lines, scalp hundreds of Nazis and never get caught. And in which? no, we won?t go there. Not yet. But the ending is so thrillingly audacious that this reporter laughed out loud when it happened. Even when, having read the script, I knew it was coming.
The performances are superb across-the-board. Pitt is hilarious throughout, lending his lines that air of cocky movie-star insouciance that was a touchstone of his turns in the Ocean?s movies. But the standouts for me were Michael Fassbender, who deserves to become a star on the basis of his turn as British officer Lt. Archie Hicox, and Christoph Waltz, as the movie?s villain, Col. Hans Landa, aka The Jew Hunter.
A complex creation, refined, calculating and yet utterly monstrous when the time comes, Landa was the role that Tarantino struggled to fill, so much so that he might have had to pass on making the movie had he not filled it. But in Waltz, he?s found gold. He may look like an evil Rob Brydon, but the Austrian actor is fantastic: oleaginous, chilling and often devilishly charming. He may be a shoo-in for a Best Supporting Oscar nom, and even though it?s mighty early yet, he could become the first actor to win for a Tarantino film.
There are flaws, of course ? what film doesn?t have flaws? But they may be exaggerated depending on your feelings about Tarantino. Some of his Grindhouse flourishes ? large captions stamped on screen, the usual flirting with structure and chronology, offbeat musical cues (a David Bowie track shows up at one point) and the sudden introduction of a hip narrator (Samuel L. Jackson) ? may irk some, but this movie-movie approach has been Tarantino?s forte since Uma Thurman drew a box on the screen in Pulp Fiction.
It?s certainly very talky, and there?s no doubt that Tarantino is in love with the sound of his characters? voices, but QT dialogue is so much better than most other screenwriters that it?s hard to quibble. If all scenes in movies are about control, Tarantino understands that perhaps better than anybody, and some of the scenes here ? the opening exchange between Landa and a French dairy farmer, and the Reservoir Dogs-esque scene in French bar, La Louisiane ? are masterclasses in how to switch control from character to character. Indeed, both scenes are as tense as anything Tarantino has ever done in his career.
Remember, though: this is not the official Empire review, simply a reaction to this morning?s screening. Empire?s official verdict may differ from mine, so bear that in mind.
Early Buzz: Inglourious Basterds
Posted on Wednesday, May 20th, 2009 at 1:30 am by: Peter Sciretta
Quentin Tarantinos Inglourious Basterds has screened to the international press at the 2009 Cannes Film Festival. It will be a few hours before we have full reviews, but here is the early Twitter buzz. Ill be adding real reviews as they come in. Keep checking back.
The Hollywood Reporters Kirk Honeycutt gives his quick video review, which is ultimately negative (beware of possible spoilers):
Total Films Sam Ashurst: Not only did I love every minute, if the French projectionist wanted to cue it up and roll it again from the start, I would have sat through the whole film again, with the biggest grin on my face. This is Quentins best film since Jackie Brown. It might even be his best film since Pulp Fiction. [Eli Roth is] the only weak link I could spot
Tarantino dialogue at its best
QTs magpie eye has never been sharper, swooping down on Italian cinema and plucking the very best shots, framing and music to create a deserving homage to the spaghetti westerns of my youth.
Empires Chris Hewitt : Rather brilliant. Every bit as idiosyncratic as the spelling of its title, its a wonderfully-acted movie that subverts expectation at every turn. And it may represent the most confident, audacious writing and directing of QTs career.
The performances are superb across-the-board. [Christoph Waltz] may be a shoo-in for a Best Supporting Oscar nom
Some of his Grindhouse flourishes large captions stamped on screen, the usual flirting with structure and chronology, offbeat musical cues (a David Bowie track shows up at one point) and the sudden introduction of a hip narrator (Samuel L. Jackson) may irk some
certainly very talky,
Showbiz411s Roger Friedman: a big sprawling entertainment thats less violent than youd expect and a tad more intellectual, too.
Tarantino fans wont be disappointed but they may be challenged
Brad Pitt is excellent
feels sometimes disjointed.
less brutal action than expected
IB is a fairy tale at heart.
Total Films Jonathan Dean : Much of Basterds felt flat, with a schizophrenic spaghetti western style that blasts Ennio Morricone at the start and then David Bowie later on.
Enjoyable? Sure. But for 2 hours and 40 minutes its a big ask to keep brattishness exhilarating.
well worth watching and admirably ambitious and single-minded,
Inglourious Basterds will split viewers.
FirstShowing : Inglourious Basterds was frickin awesome! This is the WW2 movie weve all been waiting to see!! Lots of talking scenes, but still great! Diff than I was expecting, but I think Tarantino is back in action, hell yea!! The action is kind of minimal, but thats Tarantino for you, lots of talking, but great story, I loved it!
Alison Willmore (abridged): INGLOURIOUS ********: Soooooooooooooooo Muuuuuuuuuuuuuuuch Taaaaaaaaaalkiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiing!
empiremagazine: Glorious Basterds, as it turns out
very, very good, subverting expectations at every corner. Should make Michael Fassbender a star - C Its utterly unpredictable. When it looks like going one way, it twists the other, & the ending
so audacious it provokes giddy laughter. Christoph Waltz, as Jew Hunter Hans Landa, is a revelation. Shoo-in for Best Supporting Nom. Looks like evil Rob Brydon too. All performances are uniformly grand. Pitts hilarious. And the film has two or three scenes that rival anything in QTs career for tension.
BBCEntsTeam: Surely Tarantinos best film since Pulp Fiction. Goody!! Brad Pitt is superb
Its flabby in parts
And (spoiler?) Tarantino has produced an alternative ending to WWII
Nadianeo : Inglourious Basterds was almost 3 hours long but a good watch-lotsa typical Tarantino moves
monggaard [Strange] film, Inglourious Basterds. [In a good way]. Tarantino pulls no punches. Revenge, Jewish style.
joakimt: Inglourus Basterds as expected. Quite funny and violent, and far from Tarantinos best workNo sustained applause for Inglourious Basterds. No boos either.
Hyams: INGLORIOUS BASTERDS: a light comedy about killing Nazis. My low expectations were met. \\
owfilm: Just came out of Cannes screening
Inglorious Basterds - Absolute F**CKING quality! It gets a bit silly for ten minutes at the end and the brit characters are a bit *****.
djmecca: just saw Inglorious Basterds in Cannes. [
} the movie works and is the best competing film Ive seen at the fest so far.
Jesseblanco: INGLOURIOUS BASTERDS ( Cannes ), steadfast and strong, a linguistics dream, not historically acurate in a GREAT way.
gkilday Basterds turns out its the grindhouse version of Valkyrie
TVCalling: Bottom line of Basterds: entertaining but nothing ground-breaking