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Movie Documentary – Variety



In one of the intermittent moments in "QT8: Quentin Tarantino, The First Eight," a documentary about Quentin Tarantino's films that is familiar but deliciously sliding to Quentin fans, we see Tarantino on the set of "Pulp Fiction "filming Jack Rabbit Slim & # 39; s iconic dance competition. As John Travolta and Uma Thurman giggle at "You can never tell," looking down at each other as they twist this two-finger gesture through the eyes I first saw Adam West do, in a full coat and suit , in an episode of Batman, Tarantino stands next to the camera a few feet away from his actors, and he dances too. This is not a big directorial show. He just looks like an overgrown kid (at 30, he still looked like one), a starburst observer who couldn't help but join.

Directors tend to be strict task managers, and Tarantino is known for tolerating no nonsense about kits. Yet, in "QT8," watching him in short clips during the filming of his films, you get a sense of passionate passion that permeates a tarantan set. The actors interviewed in "QT8" all express a great love for him, in no small part, because he invites them to pick up the characters they play and run with them. Christoph Waltz remembers how the extraordinary introductory monologue Tarantino wrote about Hans Landa, the obsessive Nazi crook of Wicked Bastards, contained endless ways of interpreting him that depended on the actor. And during the "Dogs from the Tank" photos, the script for the torture scene said only "Mr. The blonde does a manic dance. Michael Manson, who couldn't dance, invented his psychological marble place; he also improvises bits and pieces when speaking in the severed ear of a cop.

As seen in QT8, the Quentin sets are hard-working movie parties where the director's control mixes with an atmosphere of discovery. Tarantino is always at the camera, with no video player, cracking funny bits in his scenes. Cell phones are forbidden ̵

1; its a way to join everyone in the same immersion. And the actors become families. During the filming of Django Unchained, Leonardo DiCaprio felt uncomfortable when he spoke the N-word to African-American actors who he considered to be friends. Jamie Foxx and Samuel L. Jackson had to tell him: Don't worry, we're not your friends – it's another Tuesday for us, so let's tear it apart. DiCaprio put his hand on the dinner scene, hitting a glass, causing him to bleed profusely. But DiCaprio knew the reception was on fire, so he didn't stop; he just kept acting (and bleeding). When it was over, his non-friends gave him a standing ovation.

"QT8" is directed by Tara Wood, whose other credit is the 2014 documentary "Richard Linklater: 21 Years", and this movie, similar to this one, is an impatient, average, movie based on a piece of fan analysis who touches on the foundations of his subject's career without necessarily touching on his larger mysteries. Louis Black, co-founder of The Austin Chronicle and SXSW, makes eloquent reviews of the humanity that underlies Tarantino's pop sensibility. Still, it's curious that he's the only thing that comes close to being a critical voice on "QT8" because with a director like Tarantino, you want to tap the well of his artistry, the way Rick Burns' deep dive chorus "Andy" Warhol: A Documentary. This movie has no such claims. This is a remarkable record of how Tarantino made his films and the infectious exploration of their appeal, but it is no more conclusive than an old episode of "Well! A true Hollywood story. "Even so, those who already know a lot about Tarantino will be drawn to anecdotes and insights.

Similar to the fact that Quentin, directing his first feature, using the $ 20,000 leftovers he made as one of the Elvis Impressors choruses in an episode of The Golden Girls (yes, we see the clip), told everyone to appear on the set of Tank Dogs, dressed in black suits and white shirts. "They handed us over," Michael Mudson recalls. "That was about it. But if you're watching the movie, Steve Buskemi has black jeans . "Or the way Tarantino forces Eli Roth to wait four days, lifting weights and killing time, to shoot the scene in Mad Crazy, where the Bear Jew hits a Nazi with a baseball bat; by the time Roth left this cave, he was ready to kill. Or how, during the Proof of Death photo, Tarantino sat with Zoe Bell and watched the unusual scene in which she was nailed to the hood of a car overhanging. When he asked her what she was missing, she didn't know. It turned out you couldn't see her face, since she was used to hiding her as a stuntman. So they had to shoot it again.

The film has some great photos of Quentin in his video shop phase, as well as a solid array of videos that mention all the movies he's downloaded. Yet you will learn precious little about life outside of Tarantino, about his complicated relationship with Harvey Weinstein, or about the sources of his mania. There are some short stories with the Harvey bullies that feel like the movie's way of getting past Weinstein's more horrific crimes.

That said, one of the strongest elements of "QT8" is the evocation of the film of indelible female characters Tarantino gave us. Not just women kicking ass, but also women burning with a serious fire, like Pam Greer's Jackie Brown or Uma Thurman's longing mall in "Pulp Fiction" or the dynamo of Thurman's revenge in Kill Bill or rejection to Wuxen prisoners who do nothing but drive and talk in the first half of Proof of Death, magnetizing us (or at least some of us) all the time.

Producer Stacey Cher says shrewdly that Tank Dogs has announced a new sensibility that will shake the movie world as much as the French New Wave. Tarantino's voice was that free, this rule-breaking, rooted in movie that went through it that transforms into the future of the movie. On the day after the Reserve Dogs showed up in Cannes for a special midnight show, Quentin was strolling through Croisette with his producers, and the people passing by would yell "Tarantino!" Supreme insisted on meeting him. They might feel that a revolution is underway and Quentin is already a legend.

From the very beginning, he created his own universe, held together by his own connecting details. It wasn't just the Big Kaguna Burgers, the Red Apple Cigarettes or the Vega Brothers. Tim Roth points out that in Hateful Eight he plays the great-grandfather of Michael Fassbender's character in Wicked Bastards. Still, all the links – and the panoramic 70mm images – can't make Hate Eights a good movie, and when QT8 views it as a "Dog of the Tank" because of the combination of its enclosure and its double cross drama, this is a sign of the critical boundaries of the movie's QT boom. The movie stops short of "Once Upon a Time … in Hollywood," the movie that probably put Quentin at the center of the conversation more than any movie after "Pulp Fiction." And it reminds you that according to his 10-movie master plan, there is now only one movie left to go. Each can stand as its own monument, making a documentary like "QT8" at once attractive and superfluous. For all his fun facts and behind-the-scenes looks, he builds and deconstructs a legend that we've been building and deconstructing all along.


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