All language subtitles for Filme - Documental QT8 - Los Primeros Ocho (2019).srt

Who do you know right
now that's dangerous?

I got a friend and he and
I love to fuck shit up.

There is no one like Quentin.

There's Quentin.

He makes a different
kind of movie.

You're gonna land the
word nigger a hundred

and ten times on Christmas?

Quentin loves strong
female characters.

Brilliant, hilarious,
and disturbing.

From the mind of
Quentin Tarantino,

he really is a powerhouse
of creativity.

It's Quentin's World.

It's his baby.

He wrote it.

He's a lightning rod.

He's absolutely unique.

He's the voice of
his generation.

It's the end of
an era of Quentin

and the Weinstein Company.

He's not gonna fade out.

This is why he talks
about making ten.

Quentin is a champion
of the female.

And he's just the build,

but he gets the
opportunity to do this.

And then there are the movies.

Now, that's what he
says about himself,

about how he sees the world,

his very purpose of existence.

Quentin's sort of a
natural born filmmaker.

It's his passion.

It's where he connects
with the full range of

human feeling.

And I think that you really
see the through line

of his fascinations as
a human being running

all the way through
what matters to him,

looking at race in America...

...looking at what is romance...

...commitment...

...honor...

...betrayal,

loyalty...

...and people having to

do the right thing.

It's for sure the end of an era.
The Weinsteins

have been the distributor of
every single film of

...his in the United States.

Eight movies, all of them,

very successful.

He surely is immortality.

A friend of mine, he turned
me onto Quentin Tarantino,...

...who was

stuffing video boxes at
Imperial Entertainment.

And we had this meeting
and he seemed like kind of

an overzealous geek.

Pardon, pardon me.

But guess what?

He had the talent to back it up.

He would sleep on my couch.

I don't think he had
a car at the time

and flat broke.

"I want to get in
the movie business.

Do I think I can write?

I'm gonna give it a stab,
'cause all it takes is

a pen and paper."

I asked him about

writing on a computer.

He said, "You can't
write on a computer."

I'm like, "Why not?"

He's like, "You can't write
poetry on a computer.

He's like, "My pen is
my antennae to God.

That's how I write.

It just- it just flows.

It's just a receiver."

He has a red pen and a
black pen, felt tip,

and yellow legal pad, and
dit-dit-dit-dit-dit-dit-dit.

That was it.

Five minutes later,
he's got dialogue that would

take some people an
entire lifetime to write.

I think Quentin
basically writes novels

and then when he's directing,
he's basically adapting

his own novel to the screen.

A lot of different
things are gonna happen.

It's a roller coaster ride.
Oh, yeah, baby.

You're gonna be horrified.

You're gonna feel relief.
Then say something.

Something.

You're gonna feel romance.

Quentin is above all a romantic.

First script,
True Romance,

Clarence saving Alabama is
the beginning of rescuing

the princess that really
pays off in Django coming

back to rescue Broomhilda.

The first script of his I read
was Natural Born Killers.

And when I read that I went,

whoa, this guy's amazing.

Then I read True Romance.

I went, what the?

What's going on.

What's wrong with Hollywood?

Where is everybody?

You'd take home a slog of
twenty scripts a weekend

and you're looking for
that thing that jumps off

the page where the
characters are alive,

where the dialogue
doesn't feel trite.

Every kid wants to
give you a script

and you- you- you with
the best intentions,

you go, God, I
hope this is good.

And then by page two
it's like turning like

oh, I can't turn the page.

This is really just terrible.

Not with Quentin.

No way.

Oh, they're brilliant
screenplays.

Can you imagine having to
sell those to pay your rent?

I mean, wow, you know.

I read a lot.

Especially about things

about history.

I find that shit fascinating.

Here's a fact.

I don't know whether
you know or not.

Well...

Sicilians were
spawned by niggers.

Uh, come again?

You look at the stuff
that Quentin writes.

If it was on stage,
he'd have the Pulitzer.

You know, because it's movies,

everyone said, "Oh,
he was in a video store.

He stole."

Which of course launched
a thousand people working

in video stores going,

"Oh, I'm gonna be
the next Tarantino."

Well, literally,
there's Quentin

and there's everyone else.

There's great stories,
great characters.

Later on in the story...

Clearly in True Romance,

Clarence is a surrogate
for Quentin.

You see his love of cinema
present in his voice

as he expertly carries
you through his films.

Oh! Ooh. You
have three kung-fu moves.

In the original draft,
his version of True Romance,

it was non-linear storytelling.

The audience is
ahead of the characters

and on the edge of their seat

'cause they know
something bad's coming.

And Tony Scott in his
adaptation made it linear,

and Quentin loves True Romance,

but Clarence died in
Quentin's version.

Sweetie!

He had sold True Romance.

He was hoping to direct it.

Baby!

He wasn't gonna be able to.

He couldn't get anywhere
with Natural Born Killers.

Um, he couldn't get that
going to direct, also.

And he wrote Reservoir
Dogs so that it would be

set in one contained place,

so that no matter what happened,

he was gonna direct this movie

with the twenty thousand
dollars he had made on

Golden Girls residuals for
being an Elvis impersonator.

I do love you
with all my heart.

I read a script of

Reservoir Dogs and I just
hoped that the writer

who said he was going
to be the director

was really a director.

I introduced him to my
friend Lawrence Bender,

and Lawrence got Reservoir
Dogs all up and running.

And Lawrence said,
"Give me a month.

I know somebody who
knows Harvey Keitel."

And Harvey said yes.

I was pumping gas, man.

I was driving a tow truck and,

uh, I had done Thelma and Louise

and I had done
some episodic TV.

And I got that
thing and, you know,

I- I- I'd never read
anything like it in my life.

These guys and they're
named after colors.

Mr. Brown, Mr. White,
Mr. Blonde, Mr. Blue,

Mr. Orange, and Mr. Pink.

Why am I Mr. Pink?

And I remember my agent,
she was saying,

"Well, you know, they all kill
each other at the end and,

you know,

there's no money
and, uh, you know,

nobody's ever heard of
this Quentin guy and...

You have no way of knowing

with a first time director
whether they can direct or not.

You never know.

But Quentin, even then,
prior to making any film,

knew every actor's resume.

This guy was in this.

I want this guy from this,
and this Lawrence Tierney

was in Dillinger and I want him.

He just set about putting
together the ensemble

and it came out exactly
the way he wanted it.

I don't know why he had me
stuck in his head to play

Mr. Blonde, 'cause I didn't
want to play Mr. Blonde.

I didn't want to get shot
by Tim Roth, you know.

I don't want to be
killed by Tim Roth.

I was like, hey, man,
"Who's Tim Roth?"

I went along and met with him

and- and Harvey Keitel.

And they wanted me to read
and I wouldn't read for it.

I'm very bad at auditioning.

I got to memorize all of this?

There's over four fuckin'
pages of this shit.

And they pushed, you know,
they were pushing me.

And so, me and Quentin
went and got some food

and then some beer, and then
we went down to a pub near me

and we got more beer.

And we read every
character in the script

I don't know how many times.

I'd let Harvey Keitel kill me,

but I don't, I'm not getting
killed by Tim Roth.

I was on the floor in
a disproportionate

amount of blood to
what you can actually

contain in a human body.

At the end of the day, one day,

we- we- we hugged each other.

And, you know, we're
both covered with blood,

but it's- it's syrup,
basically.

It's- it's fake.

It's stage blood and
so when it starts to dry

a little bit it
gets extremely sticky.

And we were hugging
each other, like,

you know, doing
the big guy hug thing

and we- we couldn't get apart.

We were stuck together.

And the wardrobe people
were convinced that

if we forcefully separated
that it would tear

the clothes apart,
and they didn't have

a lot of budget for wardrobe.

In fact, that was my suit.

He told us to come to work in
a black suit with white shirts.

They gave us the ties.

That was about it.

And if you watch the movie,

Steve Buscemi
has black jeans on.

Those aren't- aren't-
aren't suit pants.

They're black jeans, man.

And my suit, the
jacket or the pants,

don't go together.

They're from two
different suits.

When I see the movie,
that's all I remember is

my pants were too tight, man.

They were making me crazy.

And I didn't have black shoes.

He wanted everyone
to have black shoes.

I didn't have any.

But I had black
cowboy boots, see.

So that's how
the razor ended up

being in the boot,

because what am I gonna
do with this razor?

Where is it gonna come from.

You know that's
how that happened.

In the script it said,
"Mr. Blonde dances

maniacally around
the manacled cop."

And every time we got to
the part of the rehearsal

where that was about to happen,

I would say, "Quentin,
I don't know what to do."

And he'd go, "No, no, no.

We'll- we'll-
we'll shoot another day.

We'll shoot another day."

He didn't want to do,
um, the dancing.

Didn't want to do it.

Iconic.

Right?

Yeah. I was like,
"Fuck, man.

I'll do it,"

from the floor.

I asked him, I said,
um, "What's the music

you're gonna play over
this whole thing?"

And he said, uh, "Well..."

he said, "I really want,
uh, Stealers Wheel.

I want to do
"Stuck In The Middle."

And I said,
"Why don't you play it for me."

And so they put
it on a boom box.

That's actually how it's
actually cued in the movie.

And so I slowly started
to stand up and I sang while

I started to suddenly do my
version of a maniacal dance.

Well, I don't know why
I came here tonight I got...

Honestly, I don't know
where it came from.

I honestly don't.

And I'm wondering
how I'll get down the stairs

I can't dance,
which is obvious,

and- and then
sort--I just went with it,

'cause I felt like
it was working

and I didn't hear
him say, "cut".

...stuck in
the middle with you.

I felt really respected.

And the fact that
he let me do that,

I mean, I- I loved him for that.

Even the- the ear thing.

He said, "Okay, step in
the frame with the ear."

So I walk in the frame
and I have it in my hand,

which is a horrifying
moment, you know.

Oh, my God.

And he's going,
"Throw it.

Throw it.

Throw it."

And I didn't really
want to throw it,

but I couldn't think of
anything interesting to do.

And so I spoke in it.

Hey, what's going on?

You hear that?

So then I threw it.

And I was thinking, God,
if you were that guy,

if someone did that to you,

how horrible would that be?

It was a terrifying movie.

As an audience,

we had never seen anything
like that really.

It felt so new and so
exciting and explosive

and dynamic in
just the dialogue.

Give me that fuckin' thing.

Now what the hell do you
think you're doin'?

Give me my book back.

I'm sick of fuckin' hearing it.

Joe, I'll give it back
to you when we leave.

What do you mean when we leave?

Give me it back now.

For the past fifteen
minutes now,

you've been droning
on about names, Toby.

Toby?

Once we started shooting
Reservoir Dogs...

...and I remember just being

a couple days in,

and I pulled Harvey
Keitel aside and I said,

"Harvey, I'm so excited."

And he said, "Well, why
are you so excited?"

And I said,
"Well, I never imagined

that what we would do on
the film would better

the experience that
I had of sitting alone

in my room reading the script."

I've got Madonna's big dick
coming out of my left ear

and Toby the Jack,
I don't know what,

comin' out of my right.

And Harvey Keitel
said, "Of course,

it's better than that.

I'm here."

There's just so much
good stuff in them.

No only visually,
but, and not only

what the actors say,
but what they do

and how they do it and how
the plot unfolds.

I think the reason
that every critic

and journalist went crazy
for Reservoir Dogs

is rightfully so.

It was the debut of an
extraordinary new voice.

And, you know, it was our
nineties Auteur Indie cinema,

you know, the equivalent
of the French New Wave,

breaking any rules that he
wants.

It was thrilling.

We were walking
back to the trailers.

I remember Harvey, he says,
"This is good, right?"

And- and,
I went,

"Yes, really fuckin' good."

Who's a tough guy?

Who's a tough guy?

And he went,
"Don't jinx it.

Don't jinx it.

Whatever you do,
don't jinx it."

I said, "Okay."

But it was, the word was
out on this- on this guy.

So when we went
to France with...

..Reservoir Dogs,

it was, um, it was chosen
as an official selection

of the film festival,
which is a very prestigious

place to be,
particularly for

a first time director.

So we showed our
film in the Palais,

and in the three
days prior to that,

Quentin and Lawrence and
I are walking around Cannes

and walking down the
Croisette and looking at

different movies and going
to different screenings

and just... Hey.

...having a good old time.

And then we screen the
film as a midnight special

screening in the Palais.

And the day after that,

when we would walk down
the street as we were

goofy guys wandering around,

you'd start to hear
people going, "Tarantino!

Tarantino!"

And thus the legend
of Quentin began.

The Auteur was born
somewhat as it should be

in Cannes.

The day after it screened,
I got a call from Mario Kassar

who is head of
Carolco and he said,

"All of our directors
on our boat,

um, want to meet Quentin.

Like what is this movie you
made and who is this guy?"

And I said, well,
I'll bring him by.

So we showed up at
the boat and Renny Harlin

and Oliver Stone
and James Cameron

and Paul Verhoeven
were all there

and they just wanted
to meet Quentin.

And, suddenly,
Quentin has,

not only a seat at the table,

but is kind of running
the table and these guys are

so interested in Quentin.

And this is how it
sort of all began.

Quentin came back

from Cannes after
Reservoir Dogs.

Now that was a
fascinating story,

'cause he was crashing
on my couch, right?

So I was, I had to get, uh,

the "Hollywood
Reporter", "Variety",

all of the- the magazines,
"L.A. Weekly",

all the stuff that had
articles on Reservoir Dogs.

Literally, you couldn't
believe how much stuff.

I went, "Oh wait.

This is like a joke."

He went away to Cannes

just another
independent filmmaker

and came back like a star.

Miramax was the company
that stepped up to

take Reservoir Dogs.

Before that, you know,
Quentin was pretty much

nobody wanted to give him
a chance to do fuck all.

So that started the
bond of Quentin

and the Weinstein Brothers.

"The whole mystical,

shamanistic thing that I thought
directing was went 'poof'.

I realized I can do that." - QT

We were in a hotel
room on the road

with Reservoir Dogs

and he's got his legal pads out.

And his thing, you know,

the way that he
does his scripts.

He starts reading all these
characters and stage direction.

I love you, Pumpkin.

And I love you,
Honey Bunny.

And it's Pulp Fiction.

Everybody be cool.
This is a robbery.

What?

Any of you fuckin'
pricks move and I'll execute

every one of ya motherfuckers.

Quentin says,
"This is my next thing.

This is what I'm gonna do."

There was an eagerness
by many financiers

to make Quentin's next movie.

We had agreed,

uh, Harvey Weinstein agreed,

uh, to finance the film.

They never interfered
with his material.

There's subject matter

and dialogue in Quentin's
pictures that really nobody else

could get away with doing,
especially a white guy.

Did you notice
a sign on the front of

my house that said,
"Dead Nigger Storage."

Jimmy, you know
I ain't seen no shit.

Did you notice a sign on
the front of my house

that said "Dead Nigger Storage?"

No.

I got the script and ...

...I kind of sat

there and stared at it.

When I was done I was like,

"Oh, there's no fuckin'
way the script that's good."

I'm just readin' it like
that because he told me

he wrote this part for me.

You know what they call a- a
Quarter Pounder with Cheese,

uh, in Paris?

They don't call it a Quarter
Pounder with Cheese?

No, man.

They got the metric system.

They wouldn't know what
the fuck a Quarter Pounder is.

Then what do they call it?

They call it, uh,
The Royale with Cheese.

Royale with Cheese.

That's right.

Second time it
was just as amazing.

So it's like,

okay.

If Harvey Weinstein has
the balls to make this movie,

this movie's gonna be awesome.

I know my friends
are gonna love it.

He had built a real fan base

on home video by the time
Pulp Fiction came out.

But I think he learned
something, too.

Watching the film
with enough audiences

when he went and
toured film festivals,

he realized that he needed
to give the audience

permission to laugh.

The dude's head gets blown
off in the back of the car.

I mean people laugh at
that shit and then they

catch themselves
and go, "Oh, shit.

I can't laugh at that."

Oh!

What the fuck's happenin'?

Ah, man. Oh, shit, man.

Oh, man, I shot
Marvin in the face.

Why the fuck'd you do that?

And it's cool, too,
because it's not CGI blood.

He still likes to use squibs
and blood packs and stuff,

so I mean I could be twenty-five
feet across the room

and get blood splattered
on me from shootin'

somebody on the other
side of the room,

which was like awesome.

You're sending The Wolf?

Don't you feel better,
motherfucker?

Shit yeah, Negro.

That's all you had to say.

Like you have to call

someone because
you accidentally shot

someone's head off is amazing,

and then that it becomes, like,

he's so blasé about
cleaning bits of brain up.

Oh, man!

I will never forgive
your ass for this shit.

Because he always
intended it to be funny,

but people sort of felt a
little bit uncomfortable.

Am I allowed to laugh?

Am I sick if I'm laughing?

You know, what's going on?

And with Pulp,
intentionally,

he really let everybody
in on the joke.

They look like a
couple of dorks.

Ha-ha-ha.

They're your clothes,
motherfucker.

I can look at it and
say this is one of those

gangster characters.

This is how he's thinkin',

this is how he's talkin',
and this is what his

cadence is.

And I will strike down
upon thee with great

vengeance and furious
anger those who attempt

to poison and
destroy my brothers.

And because I spent so
many years doing theater.

And you will know
my name is the Lord

when I lay my
vengeance upon thee.

I love a monologue.

I remember when I
originally gave this script

to the Weinsteins,
Harvey read it

and called me up and said,
"You guys are crazy.

You just killed
the main character

in the middle of the movie."

I said,

"Keep reading."

He said, "But you can't
kill the main character in

the middle of the movie."

I said, "Keep reading."

He said, "Oh, my God.

He comes back, doesn't he?"

He goes, "Is it
a happy ending?"

I said, "It's a happy ending.

And the beauty of Quentin
is that when it's time to

shoot the film, though he
wrote it and he conceived it

and he knows where it's going...

Hello?

...the actors are a
huge part of that soup

that creates that
character of the story.

Vincent?

Vincent?

I'm on the intercom.

And he wrote the part

that John Travolta played
in that movie for Michael.

And Michael didn't do it.

I was already committed
to Wyatt Earp.

And now here's Quentin
wants me to do Pulp Fiction.

And they were both going
at the same time.

You know look at Travolta
in Pulp Fiction.

It's one of the most
extraordinary performances

in a- in a film that's
filled to the brim

with extraordinary performances.

John had to be convinced.

But the moment that they met,

it was clear that it- it
was their destiny to-

to work together.

Isn't it true that a part of
John Travolta being in it,

it became John's comeback.

He was doing movies
about talking babies and,

suddenly, he's,
you know, Vincent Vega.

You know he had that wig on.

Nobody'd ever seen
Travolta with a fuckin' gun.

And that was a huge,
huge reason

why the movie worked.

John Travolta can move
like almost nobody else.

The dance scene
that Quentin gives him

is so incredible because Quentin
gets what this guy can do

and lets him do it.

That was neat, man,
that whole thing and,

uh, I- I wouldn't have
come up with that,

you know.

The twist wouldn't haven't
have been exactly the same.

He would have had to
change the script that

they don't win
the dance contest.

When you're on a set
and working with Quentin,

he always seemed to me
like he kept a very healthy

distance between himself
and producer types.

And what Quentin
wanted, Quentin got,

deservedly so.

Action!

We were a bit into production

and Harvey Weinstein
came to visit.

I purposely wanted to take
him to the Jack Rabbit Slim set

because we built it.

It's cool.

It's really filmy.

And Quentin isn't the
"build sets" kind of guy.

He's the "find a real
place and do it".

And as we walked in, I
didn't tell Harvey what we

were shooting.

And I just remember
looking at him and going,

"Welcome to Quentin World."

He just said,
"What- what- what is this?

This is crazy."

You know with the race
track and the dancers

and the trophies
and the characters

imitating other characters.

You know Quentin just has
in his head I want people

to sit in the back seat of a
nineteen-fifty-seven Cadillac.

And, you know, they need to
drink an Amos and Andy shake.

And he comes up with all
this stuff in the same way

that he comes up
with his own products.

Mm...

This is a tasty burger.

Vincent, have you ever
had a Big Kahuna burger?

By the time Pulp
Fiction came around,

he was doing his
own product placement.

Give me a pack of Red Apples.

Filters?

Nah.

And that's when
Red Apple came about.

That's when Kahuna
burger came about.

That's when all of that
stuff started to happen.

Red Apple tobacco
is not a real thing.

That's a Quentin cigarette.

There's a great moment

in Hateful Eight where...

...Demian Bichir is standing

behind the bar.

And he's having a smoke
of Red Apple tobacco.

And he's just standing there
like this and he's going,

"Hmm.

This is pretty good."

Like this.

And we got all pissed off
because he got to do

the Red Apple moment.

He got to have it himself.

Everybody from costumes
down to every detail,

to props,
to Red Apple tobacco,

to everything,
there's nothing random

about anything
in a Quentin movie.

Remember her cutting
the ropes off

when she's in the coffin.

That's Mr. Blonde's razor.

It's brilliant, right?

That's cool.

There's a little nod when
you're watching Reservoir Dogs.

If you every hear Mr. White,

somebody says,
"How's Bama?"

By the way,
how's Alabama?

Alabama?

I haven't seen Bama
over a year and a half.

And you understand
that Alabama left,

met Mr. White, learned
about the- the bank heist

or jewelry thief
business from him,

and they couldn't be
together because she was

still in love with Clarence
and she'd be in

love with Clarence
for his whole life.

So all these characters
live in Quentin's universe.

And Vic here, I mean
he's only been nothing

but good luck for us and, that
guys a fuckin' rabbit's foot.

Vic Vega, Vincent Vega,
the Vega Brothers.

And, uh, how
'bout your fella here?

Vincent Vega.

With film it's not
just characters

and it's not just action
and it's not just cinema,

but it's celluloid,
it's seeing it on the film,

and it's the soundtrack,
but also,

amazingly, taking songs
they know and reimagining.

Bow, bow, bow...

...- you'll be a woman soon.
- ...a woman...

And you just sit there
and you just- you can't

believe that you're
hearing the song in a new

and different way.

- He's not your kind.
- He's not your kind.

And so much of those songs
were background on the radio

when you were kids or
when you were adults

driving around.

And Quentin takes them and
he takes that background,

counterpoints it
against something that

it doesn't make sense with.

Or he uses it to
emphasize a scene.

What he makes are really rich,

densely textured mosaics.

Try to dissect it,
you'd almost undoubtedly miss

so many of the pieces
and the ways they interact

with each other and
the way they make sense

with each other.

I remember being

on the set of From Dust Till
Dawn while they were

shooting that, and I said,
and by that time Pulp Fiction

just went through the roof.

I said, "Quentin,
did you have any idea

how big this would be?

He goes,
"Yeah, no."

The Palme d'Or goes to...

...Pulp Fiction.

What do you do after
that masterpiece?

When you know you're damned.

There's, you know,

after Citizen Kane,
Welles walks away

from Magnificent Ambersons.

Quentin's made Pulp Fiction.

He's made one of the great films
of the last half century.

So what does he do next?

A genre film that in and of
itself is really wonderful.

Plays with time,
plays with character,

plays with your perceptions,

and he doesn't try
and redo Pulp Fiction.

I know he has

this strong Blaxploitation
influence in his life.

For God's sake.

People say he makes

revenge movies.

You know, those were
sort of revenge movies,

all about gettin' the man
or gettin' back at the man Sweet

or gettin' back at the person
who did somethin' bad to you.

It's one of those things
that makes his movies fun.

And those are the things

that influenced his young
cinema experiences,

like mine.

He broke everything down.

He explained, like,
"When I was a kid,

my mom dated black guys.

Black guys would try to
get in good with my mom,

would take me to, uh,
Blaxploitation films

to watch as a kid.

So that's what I grew up on.

So I'm writing what I saw,
what's inside my DNA,

and then that's
why my characters are

always very strong."

You helped her,
didn't you?

When you're sort of bred

into naturally appreciating,

it's not like
someone's taught you,

you should respect women,
or black people are equal.

Like someone's not
teaching you that lesson.

You just know it to be true.

This is how he views the world,

and he paints the world the
way he sees it in his movies.

And so the power is
this is his truth.

Jackie Brown is in many ways

an ode to the sort of
Blaxploitation films

of the period.

And who are you gonna cast?

Pam Grier.

I'd heard about Foxy Brown

and Coffy and all
the Pam Grier movie.

You know, of course,

Pam Grier's had
a glorious career

even up before
Quentin Tarantino.

He just, like, has made
her that- that much cooler

in my opinion.

Pam Grier can kick ass,

you know what I mean?

It's not all Foxy Brown
and it ain't all,

you know, Straight
Outta Compton.

Jackie Brown, to me,
that performance is

so amazing and beautiful.

But still like so strong

and so flawed and desperate,

and yet very sort of steely.

I mean he writes women
like nobody's business.

In the last forty-five
to fifty years,

women have not been given
a fair shake in terms of,

uh, leading roles in, uh,
movies where we can see

what makes the woman tick.

That's why you came
here to kill me.

I ain't come
over here to kill you.

Oh, no, that's fine.

It's okay.

Now I forgive you.

That's the thing with
Quentin's dialogue.

A couple of men
that would be like,

I mean, women don't
really talk like that.

And I was like.

Aw, that's cute,
'cause we really do.

Now if I have to do
more than a year,

you'll pay another one
hundred thousand dollars.

Women would come up
to us and be like,

"Oh, my God.

How- Is he a woman
on the inside?"

I'm like yeah, he's kind of,

he's a bit of woman
on the inside.

He's a little bit
black on the inside.

He's just got a whole bunch
of stuff going on in him.

If you think
that you know more

about a movie or an actor
or- or anything to do

with cinema history,
he will just sit there

and smile and listen to you,
and then he will bury you

with how much stuff he knows.

Exactly the fact that Quentin
didn't go to film school.

I guess his film school
was video archives

and the endless movies that
he could learn and read and,

uh, watch and, uh,
and enjoy and turn other

people onto.

Get himself gone.

The films that he gets
off on vary vastly.

Everybody's after Kowalski

He's passionate
about Vanishing Point

and that genre.

And then Moeshe.

He just loves the
TV show Moesha.

Moeshe.

I would have
never guessed that.

And I- I think he's like
that about all kinds of things.

I think he's like
that with food,

like he loves amazingly
high quality French dishes

and he- he will smash
a Pink's hotdog,

you know, like I honestly,
I think he's kind of like

that with women.

..break my heart

and make me sad.

Tell me what did I do wrong.

He's sort of like,
if he's in love with you

and you're a big, black,

curvy, gorgeous lady,
he's all about big,

black curves.

My baby love...

And if you're a waify,

skinny little white model type
and he's in love with you,

he just thinks that's the
hottest thing on the planet.

He's just like an appreciator.

He knows everybody.

And when he meets an
actor from my era,

the era when he was growin' up,

he amazes them and amazed
me by reminding me of this

and that and things and moments

and scenes that he remembers.

He also built a way of sharing
his vision with people.

It wasn't storyboards.

It was references.

And so he'd say,

"The warehouse looks like this."

Or, "Look at this film
for a reference for

what I'm kind of
trying to do here."

When you're in
rehearsal with him,...

...you're discussing
those references,

specifically, and he gives
you stuff to watch.

It's not something you come to

lightly with him.

It's not a rip-off

that's just crap.

And it's not even an homage.

It's that he's using
the tools of cinema to make

more resonant
and greater cinema.

Quentin uses filmic vocabulary.

If you look at great art,

that's what musicians
do, composers do,

painters do, sculptors do.

'Cause he always, you know,

elevates everything
and charges everything.

The detective was the
genre that I started with.

Old cars, old clothes,
old jokes, fast women,

they all lied to me.

The cynical,
but human detective.

Robert Forster as Banyon.

One of the things
Quentin does is incur

talent all the time.

I mean a lot of
times people will

resurrect old actors
and they have them do

what they always did.

What Quentin always does
is he pushes them further.

He takes them to a new place.

He gives them a
different career.

When my career was
at the very bottom,

in walks Quentin.

He said, "I am
adapting Rum Punch,

an Elmore Leonard
novel, to a movie."

And I said to him,
"I don't think they're gonna

let you hire me."

That period in my career,
the distributors

didn't want me.

They wanted, you know,
somebody with a bigger name.

And he said, and I will
never forget him for it,

he said, "I hire
anybody I want."

And that is the first
moment when I said,

"Wow, Bob, this is
a life-changer."

All right, before we start
talking about stewardesses,

let's get Beaumont
out of the way first.

Uh, you know, I think
somebody already did.

I got a call from my agents.

They said that, uh,
Vince Gilligan was

gonna call me.

I picked up the phone.

Vince said, "Uh,
we've been saving a role

called "The Disappearer".

We've been calling it
the Robert Forster role.

And it was, in fact,

a straight shooter.

It's gonna take me

some time to get your
new situation fixed.

Until then, you're
gonna be staying here.

I've got a place
downstairs out of sight.

And, uh, this was
a direct result,

of course, of Jackie Brown.

People kept sayin' well,
it's not Pulp Fiction.

No, it's fuckin' Jackie Brown.

It's a different pace,
it's a different story

and it's about different
kinds of people.

Yeah, there are some
criminals in there,

but it's really an adult
movie about people

in a certain place in
their life when it's time

for them to make a choice
about how they want to live

the rest of their life.

It's a crossroads movie.

If you had the chance,
unemployed now,

to walk away with a
half million dollars

would you take it?

Despite whatever the
minor violence is in it,

it's just a great story
about these people trying

to figure out their lives.

When Jackie Brown
came out of the prison

and had that long walk toward me

and it is accompanied
by music...

Why do I keep my
mind on you all the time?

And I don't even know you...

...you're watching
this guy fall in love

with a woman.

I cannot tell you how
emotive that was,

and for a director to do that.

They never do that.

Out of all those films,
Jackie Brown is sort of like

the best one.

Yeah, for me, just because
of the cinematic beauty

and gentleness of that
particular story.

...baby.

Hmm.

Gave you the love
you never knew, girl.

Who is this?

The Delphonics.
Didn't I do it baby...

It's nice.

Mm-hmm.

The main influences of Kill Bill

is all the best of
Hong Kong cinema.

Quentin is in love

with the culture.

When he does martial arts stuff,

he's recreating the energy
and he's participating as

somebody who is so
thrilled watching this.

The last script Quentin
gave me was Kill Bill...

And it was like almost

the size of a small phone book.

Remember those?

Story by Q and U,

meaning U as in Uma.

We've all just been
calling her the bride on

account of the dress.

You can tell she was pregnant.

That woman deserves
her revenge and-

and we deserve to die.

I could see the
faces of the cunts

who did this to me and
the dicks responsible.

It read like a novel.

It was funny.

It had all this action in it,

you know, but it read in-
in a way that you just

could not put it down.

He would tell me what to read.

I was like, wait.

Okay, I'm gonna read
it so now I know

what action I'm gonna do.

And I'd start reading
and I'd forget

to read for the stunts
and I just would read

the whole thing again.

It happened four times.

That was when I first
had my kind of like

professional moment
of, "Holy shit.

I'm gonna be a part
of something magic."

Quentin has it as Boomer
is this part of The Bride

and Zoë is this
part of The Bride.

Whatever's in front of
the camera is different parts

of the same whole.

We were doing the scene
where she runs up

the banister.

And he came to me
and he was like,

"So, what are you
doing in the shot?"

And I was like, I'm
running up the banister.

And he was like,
"Yeah, but why?"

And I was like, trick question.

'Cause that's my job."

You know, and
he was like, "No,

but why is The Bride
running up the banister?"

and I was like,
"Oh, to get to O-Ren."

And he was like, "And why is
she trying to get to O-Ren?"

It sounds like
such actor-speak,

but my running up
the banister shifted,

because now
I have an intention.

Now I have a reason outside of

just technically
getting it right.

That was always super
important to Quentin,

"'cause that bitch
fucked up my life

and I want her to die."

The fact that he always
has women in these strong

positions isn't something
that he necessarily

highlights or billboards.

To him, of course,
it makes sense

these are women doing this,
are fighting or are leaders.

He does it and, it's for him,

it's just natural.

It's such an interesting
conversation to have these days,

girl power and a quality
that sort of feels like

it's all kind of
coming to a head.

The biggest feat is gonna
be making it normal

that we are in lead
positions as opposed to

it being the fight.

And that's where Quentin
is just a priceless ally.

And I think he needs to sit
in an interview and be like,

"Listen, women should
have these roles

and women..."

Like he doesn't have to
drive it because he's-

he's just presenting it
as such.

Now if any of you
sons of bitches

got anything else to say,
now's the fuckin' time!

O-Ren Ishii is a survivor.

She is a woman who was
probably never going to die

peacefully of old age.

She swore revenge.

It only made sense
that in the end,

in her great honor,
she was killed

with the Hattori Hanso sword.

Uma worked her ass off
and was in training

for a long time before
I was even on board.

She had a crazy schedule.

She was in just
about every shot.

We were shooting in Beijing.

She had a newborn.

She was under intense
amounts of physical pressure.

Cut. Great.

Excellent.

Excellent.

Check

Like, you know, she was
in pain a lot of the time.

She was sort of like,
she had blisters and cuts,

things like that.

It's just part of
the- the deal.

It feels good to be tough.

It's strangely
sort of liberating.

Yeah, I'm bleeding.

Keep rolling.

The girl fight
between Uma and, uh,

Vivica Fox in Kill Bill is,

without a doubt,
the greatest fight

any two women
ever had in a movie.

It's crazy good.

Vivica and Uma just
were so great in that scene.

When I'd sit
there and watch,

I'd forget that
I was there to do a job.

When the daughter
comes in the door,

I'm just like God,
it's beautiful.

The mother versus
assassin just like

in one shot. Perfect.

Mommy, I'm home.

Hey, baby.

How was school?

It softened everything.

Just amazing.

And- and- and
The Bride sells it,

too, because she knows,
you know.

It's just genius.

It's absolute,
irrevocable genius, man.

There's a viciousness
and yet their femininity

never went away for a second.

It's all about presentation.

You walk through
a shoji screen and then,

suddenly, there's this
winter wonderland.

He really worked with
the designers to create this

beautiful visual that
also turned into a wonderful

sound backdrop for
what we were doing.

There's the bamboo
water fountain.

It almost acts as a metronome.

It was absolutely beautiful,

like when you are watching
something from another time.

It's one of the perfect
examples of movie magic

where the practicality of
it was kind of difficult.

The snow we were using was
sort of difficult to breathe.

So in between takes,

we had the protective
masks on and, you know,

we were constantly having
to cover our footprints.

And action!

Women work for him.

They are fiercely loyal
'cause he actually

is very protective of them.

He promotes them.

He works creatively with them.

And when you look at
the female characters

in his films,

they're all quite remarkable.

Cut! Okay?

Yeah. Terrific!

You guys were great.

That was terrific.

Part of me still feels
like I don't want to talk

about it because I don't
want people to- to know.

It was
the camera angle

that sold the fact that
my head had been cut off

so I look like I had a little
bit of a cone head in real life.

And then when you
see it in the movie,

it's just like
angels are singing.

There's something
beautiful in understanding

that- that is done in camera.

That was completely practical

because you know
Quentin doesn't,

is a fan of avoiding
CGI when possible.

He adores Uma.

And nobody was more
enthusiastic than Quentin.

I mean, he's still like a
kid when he gets worked up.

Sometimes you do dumb things.

This is the thing
with this business.

You make the best level of plans
and you have great people.

And then sometimes
there's human error.

Everyone was just having

fun making a movie.

And everybody was
damn happy to be on a

set with Quentin Tarantino.

And everybody was damn
happy to be represented

and distributed by
Harvey Weinstein

and the Weinstein Company.

What was weird
about Harvey is,

and this was true of
his relationship with

competitors and with people,

was he- he was a bully
and he enjoyed it.

He had this- this
enormous power that,

I know he was conscious
that he had it,

and I know that he would
consciously use it,

but whether or not he
realized he was using it

in such an obstructive way,

I don't know about that.

I'll tell you a funny thing
that happened in Cannes.

I was at this little reception
thing with Quentin.

Here comes Harvey and he
comes around the corner

and he's sweating,
like profusely sweating.

And he's got this really
angry face, you know.

You see a Harvey
Weinstein in that mood,

everybody literally froze.

And right before he
had come in the room,

Quentin had introduced
me to Harvey's wife

and his little daughter.

And the little daughter
had a doll in her hand

and she had handed me the
doll while we were talking.

And so I was holding the
doll when Harvey came around

the corner and came
into the room.

And he looked at me
and he looked at Quentin

and he looked at
his wife and child

and he sized up the situation

and he took the
doll out of my hand

and handed it back to his
little kid, to his daughter.

And Quentin goes,
"Harvey, Harvey,

what are you doing?

He goes, Michael's gonna
do The Hateful Eight.

Michael's gonna do The
Hateful Eight with us."

And Harvey kind of-
kind of stood there

and his eyes were
shifting back and forth

and he was thinking on his feet.

Mm. Mm. Mm.
And, all of a sudden, he went

and he took the doll
from the little girl

and gave it back to me.

And I- I took it and I -- I-
I didn't know what to say.

I mean it was like...

And he walked away
right in that moment.

He gave me the damn the thing
and then he walked away.

And I remember
going, oh, my God.

And Quentin was
laughing hysterically.

When Quentin finds something
funny and he laughs,

he's got a great laugh.

And, of course, I gave
the doll back to the girl.

It was very strange
and I'll never forget it.

It was like, wow.

Where did that come from?

Holy shit.

You know a year later,
you know,

the guy's being indicted.

Quentin loves genre.

He used to do his
QT Fest in Austin.

There's a big rule that we
have during this festival.

You don't laugh to
show that you're superior

than the movie or how much
cooler you are than the movie,

because I'm telling
you nobody here is cooler

than this movie.

These movies are fuckin' cool.

For ten days he
would show movies.

He would have double
features every night,

some nights triple features,

and showed Asian films and
genre films from all over.

Constantly people would
talk movies with him,

which is what he loves.

And so I think there
was a period of time

where Austin was a very
safe haven for Quentin.

Quentin and Robert
were hanging out a

lot together at that time.

I remember Quentin
and Robert took me

and Edgar right
out for Mexican food.

And they told us the

whole concept of Grindhouse.

Quentin's part of Grindhouse

is extraordinary.

I think it's so smart.

It's like lots of
people have done

chase films and
lots of people have

done revenge films.

And it is such a
remarkable pro woman,

feminist, but also cinematic,

a visionary cinematic,
exciting film.

He rang me and was like,

Zoë, I've finished the
script for Death Proof.

He had told me that it was
gonna be about a stunt guy

whose car was death proof

and that he killed
women with it.

Every troupe that you've
seen where a woman is

brutalized is referred to

and then he flips
it on its head.

Hey!

Now I want blood.

It's about redemption.

It's about power.

It's about feminism.

Oh, you want...

He makes roles for
women that he wants to see.

I remember saying to him,
"As long as you cast

someone in the movie that looks
like me so I can work on it."

Nice.

Nice. Thank you.

Yep.

Like, it's on you, buddy.

Like if I'm terrible at this,

if I fuck it up,
it's your fault.

And he, at
one point, was like,

"Look, this is my job.

This is what I do.

I make good casting choices."

And he said, "I know you
and I know what I want

and I know I can get it."

So you just need to relax

and know your lines.

I remember...

..thinking this is like a,

yeah, it's a great
night at the theater,

you know, in nineteen seventy.

I'd gone in and
interviewed for those

kinds of movies,
you know, so I knew,

I knew them.

I knew what he was doing.

I thought it was pretty great.

Do I frighten you?

I was what a stuntman
would look like.

Big scar, that.

He goes, "Yeah,
let's do the eyes."

And you mean big, don't you?
and he said,

"Oh, yeah."

The old school action hero
and the stunt guy are

really important to him
and I think this was an

exciting way for him
to say thank you

to the stunt people
of- of the industry.

Now.

That's that Quentin
magic is- is getting as

much of it to be as
real as possible.

We're doing ninety miles

an hour for a lot of that
stuff down that road.

She's strapped to
the hood of that car.

There's nothing you can do.

If he catches his tire
on the edge of the road

and we go over,
that's it for Zoë.

It's not gonna
be a broken arm.

He came up to me
one time and he's like,

"Zoë, come and look at this."

And I sat there and I was
all excited to see it and

I was watching it
and I was like,

"Oh, my God.

It looks amazing."

I was so over the moon.

He was like,
"What's wrong with it?"

And I was like, "What?

What are you talking about?

There's nothing
wrong with that.

That's fuckin' gold."

He was like, there's
something wrong with it.

What is it?

And I was like,
"I don't know, Quentin.

I think you're
being a bit fussy."

You know, and he was like,
"What don't we see in the

whole four minutes?"

And I was like, "What?

My face."

And we never once saw
my face because my job for

so long had been
to know exactly

where the camera
was so I'd avoid it.

I'd have an arm up.

I'd use my hair or
my body or whatever,

'cause that was my job.

If you saw my face,
the take was ruined.

And he was like,

"I love that
you're that good at it,

but I need you to
reverse it because the

whole point of this is
that we can see it's you."

He loves to help
actors get to a place

where they can
completely bring it.

So how's Quentin different
from other directors?

I never, never fear

that my joy is
gonna be cut off.

Wahoo!

Hey, ladies,
that was fun.

Acting in
Death Proof was a blast.

We had so much fun.
I mean, it's a bar scene.

Quentin is a bartender.

And there was one
scene where Quentin had

to do these Irish car bombs.

And Quentin's like,
"It's got to be real or the foam

won't be correct."

And Quentin's like
"I can't be there to see

how the take looks,
so this is a long take.

You've- you've got
to do this right,

but I'm drinking real
Guinness and real Jager.

You guys can't fuck it up."

Right.

Okay, okay.

Everyone's ready.

Last shot of the night.

It's like six-thirty
in the morning. Aah!

So we're like, boom,
boom, boom, boom.

And Quentin's like,
how'd it turn out, Jimmy.

And he's like, actually
that was- that was great.

Quentin said,
"Cool, cool.

We should get one for safety,

right?"

Boom, boom.

He drinks another shot,
drinks another shot.

And I don't know how,
but we started singing this

song from Blazing Saddles,
where I was like,

din-din-din-in,
din-din-din.

Throw out your hands,

- Stick out your tush...
- Throw out your hands,

And I just started
doing it to Quentin.

And he just started laughing.

And he's like,
"Ah, that was so fun.

He's like, "Ah,
yeah, yeah, yeah.

Let's- let's just
do another one."

And we're like,
yeah, but now it's like

seven fifteen in the morning.

And so Quentin's like,

"Action!"
And he goes,

"pshew" and slams the glass
down and shatters it

and cuts his hand and falls
off the table laughing.

And he's like,
"Ah-ha-ha-ha!

That was so funny.

Oh, my God!"

I think we did
about twelve takes.

Finally at like, maybe
it's eight-forty-five

in the morning, I was
leaving and Quentin, like,

grabbed my arm.
He's like,

"You're stayin' and you're
having a drink with us, right?"

I said, "Yeah, yeah.

Let me be right back."

And I like ran away

back to the hotel to sleep.
I don't know.

All I heard was someone
may have been puking

in a dumpster at eleven o'clock
the next morning.

when I saw
Death Proof,

in that scene

where the girls are
sitting in the car

driving and talking,
nothing happens.

They don't say anything that's
really relevant to anything.

It goes on and it goes on
and I think it goes on for

forty-five minutes,

and they are still
driving and talking.

And I was so smitten by
that moment that it really

clicked that- that
yeah, despite all the

extraordinary
entertainment that these

movies deliver, there is
an allure and a suction

that pulls you in.

There is always that, this-
this strength in it.

Where the
hell are my keys?

Here they are.

I think Quentin's influence
on film is twofold.

One is that
he's empowered

a lot of half-ass
filmmakers to make some

very bad films
because they don't know

how to watch his films.

They miss the poetry

and the elegance and the
eloquence of his filmmaking.

And so they go and they-
they had a lot of,

you know, bizarre violence
and- and people

mistreating people and they
miss his passionate humanism.

Inglourious Basterds,
this is a film that teaches

filmmakers how to make
movies because the opening

scene is literally Quentin
saying to everybody,

"Oh, you think
you know who I am,

and you think you
know what I can do,

and you think you've
seen a war movie before.

Well, I'm gonna mess with you

in a way you haven't
even begun to think."

Papa!

That I'm in control.

Then you were in
the palm of my hands

and you're on my trip.

The German general comes in.

You can't quite figure out
why he's being so friendly.

And you don't know why
are they so scared?

And then at a certain point,

Quentin takes you
under the house.

And it's really a
horrific moment.

You know, it's not Robert
Wise with The Haunting

where he's freaking you
out with camera angles.

It's not Toby Hooper's, uh,

Texas Chainsaw where

he's like shoving
your face in it.

It's what's not happening.

A German soldier conducts
a search of a house

suspected of hiding Jews.

Where does the hawk look?

He looks in the barn.

He looks in the attic.

He looks in the cellar.

He looks everywhere
he would hide.

But there's so many places
that wouldn't even have

occurred to a hawk to hide.

No, you're not turning a
corner and suddenly having

a cat screech.

And you go, "Oh!"

It's not cutting.

It's all intellectual
and it's all unbearable.

Point out to me the areas
where they're hiding.

The dialogue is,

so to say,

the tiny tip of the iceberg.

It's a clue.

I thank you for your time.

We shan't be bothering
your family any longer.

So Quentin, in his dialogue,

doesn't tell you how to say it,

but he gives you like
a whole abundance

of elements of what to say.

...adieu.

You derive fun from trying
to figure that out.

That's it.

And Quentin
starts there and then he

goes and messes in doing
almost every other way he

can in terms of
what a war film does.

I remember the

first rehearsal from
Inglourious Basterds.

We all sat around and
everybody had our scripts

and we had our lines.

Quentin's like close
your scripts.

And he's like,
who are you?

And I was like,
"I'm Donny Donowitz."

And you had to go
on and on and on

about your backstory.

And he's like,
"Well, how did you feel

when he joined the Basterds?

What did you think about

Stiglitz coming
into the Basterds?"

Everybody had to have
their answers ready.

And there was one
person who didn't.

You!

And...

...you weren't
there the next day.

And that guy was an extra.

So I was really,
really training for it.

And I knew the bat scene,
that was the scene.

Like, this-It was like
if I do nothing else in

my life, it is this scene.

You hear that?

Yes.

It's Sergeant Donny Donowitz.

You might know him
better by his nickname,

The Bear Jew.

Quentin just gave me
the most heroic...

The one they call
"The Bear Jew"...

...is a Golem!

He's like you have Brad Pitt

and Hitler building you up.

He's like this is
gonna be your moment.

And, you know, I was gonna
come out of this tunnel.

Quentin was like,
"I got the best tunnel.

You're gonna be tapping
with a bat and

you're gonna come out."

Well, I got some weights
and we set up a punching bag,

so that Brad was
doing the whole scene

and I was in the back
and I was like lifting weights

and doing pull-ups, like,
I wanted to be ready like-

like an animal.

And Quentin was like,
all right,

we're gettin' to
you after lunch.

We're gettin' to you.

And then by the end,
he's like,

we're gonna do you next,
so be ready, ready.

And he was like,
well, that's a wrap.

And I was like.

And I would, like, sit
there at the end of day

and like like
getting all made up and ready,

pumped up, ready to go,

and then it would be like
the night at the gym and

in the morning the gym,
and then ready for it.

And Quentin did that to me
for about four or five days.

He finally, and he just like
had me like a caged animal.

He was, of course,
doing it on purpose.

And when I came out
with that bat,

I was so, so ready.

And then I just started
wailing on that dummy.

I'm going
completely crazy.

I mean I think I lost my voice

for a couple days after that.

I know that Quentin really
wanted,

um, authentic, um, actors
to be really German,

to be really French.

Um, he spent months
and months and months in

Germany trying to find
the right people,

especially for Christoph
Waltz's character.

And I know that he
had said himself,

that if he wouldn't
have found Christoph,

he wouldn't have been
able to make this film.

Quentin was very
secretive about,

uh, Christoph's character.

Uh, even at the
read-throughs we didn't

get to really see
his performance.

In the theatre
when Christoph comes in

and confronts Bridget,

we never rehearsed that scene,

so it was a complete
surprise to me when

he started going crazy on the
laugh and- and the way he

did that scene.

And I think it
kind of shows in my face.

Christoph just found
this character.

He had a really specific
idea of how he wanted to

play it and together with
Quentin they just had this

great bond and it got bigger
and bigger and bigger.

There is definitely an
exuberance about the

medium that he spreads.

And there is no, no
inoculation against this bug.

You get infected whether
you want to or not.

Well, I don't
know whether you want to

or not, because
that's part of the,

part of the infection that
you do want to get infected.

It's like going to
a whore house to

get infected with the syphilis.

I've never been killed on film,

so as the day approached,
I was getting more and more

nervous about it.

I'm in my trailer and Quentin
comes in and he goes,

"Well, I don't really
trust Christoph to

kill you, so I'm
gonna do it myself."

And he was like,
"Well, look at this.

They cut off SS sleeves
that fit me and I'm gonna

put them on and then
I'm just gonna be on top of

you and I'm gonna
be strangling you,

and it's gonna be great."

I was like, " Oh, oh.

Yeah, that's great.

Sure.

Fair enough.

Why not?"

And- and now I'm
really panicking.

And so we know we do the
stunt and like I'm finally

on the ground and I just
have this to the end of

my life vision of Quentin,
who by all means is three

times Christoph's size
and his hands are three times

Christoph's hands on top of me,

you know, with put-on
sleeves that are three

sizes too small for
him strangling me.

And I was just like,
well, at least if I die,

it's Quentin Tarantino
who killed me today.

Ooh!

I guess he
really gets in there.

Quentin is very hands-on.

He sits next to camera.

Usually directors
sit at video village,

sometimes in a different room.

You feel like he's involved,

he's there, he's kind of
holding your hand a little bit.

At the end of the day, you
feel like he sees everything.

He laughs when there's
like a joke in the scene.

He's always like--
Sometimes you have to cut

because we can
hear Quentin laughing.

It's- It's pretty great.

Hi, Sally.

Any time you get
a take and he likes it,

he's like, "All right,
another one to shout to Sally.

Hi, Sally.

He called me right after
he met Sally Menke

and he said,
I've met this gal.

I think we're gonna work on
all our movies together.

Look into the camera
and tell my lonely editor

stuck in Los Angeles

that's in her room
all by herself, hello.

Her name is Sally.

Hello, Sally.

And welcome to
happy first day.

And happy first day!

Now all together, go.

Hello, Sally and
happy first day!

Sally Menke, unfortunately,

is not with us anymore.

But she was Quentin's
major contributing editor

for all of his movies
for a while there.

She is my only true
genuine collaborator

from beginning to end
and that's the way it is.

They just knew
each other so well,

it felt like kind of
their unspoken language.

She was one of those
women that could be like,

"You're being self-indulgent."

And he'd be like, "Fine!"

I think he could hear Sally's
voice when he's shooting.

And so tonight I want
to thank my co-writer,

Sally Menke.

She was his cheerleader

and his editor
all rolled into one.

Hi, Sally.

Hi, Sally.

Hi, Sally.

Cut!

The Basterds will be
waiting from you.

Fucking, fucky, fuck.

So, close.

Hello, Sally. So close.

The resonance of his
cinema is to push you

with every tool at his
disposal and he's a master

at most of those tools.

I remember that ending
watching it and my parents,

my parents were crying.

It was just this incredible,

incredible moment.

I get to
be the Jew that shot Hitler.

It's the greatest.

Everywhere I go,
people recognize me for

The Bear Jew, every country.

It's incredible.

I think
the people who think that

Inglourious Basterds goes
off the rails when Hitler

dies misses that we all
are watching the movie and

we all know we're
watching a movie.

He didn't change history,

nor does he ever
claim to do that.

But he's doing
exactly the- the- the

quintessential task of
what storytelling is all about.

What if?

I've never had the desire
to be part of repeating my

country's history
over and over and over,

so the set seemed
really refreshing.

And, uh,
only Quentin Tarantino gets

away with stuff like that.

I mean, what a
ballsy movie to make.

That guy makes a movie,
that's a movie called

Inglourious Basterds where
the bastards aren't really

in it that much, a war
movie where there's almost

no war, and it's two-thirds
in a foreign language.

It's just like, how
do you do that?

How do you have the
confidence and the balls

to do that coming off
of what was the biggest

commercial failure
of your career?

I'm alive.

He's like,
I'm gonna do something

bold and brave and different.

Then he does it
again with Django.

And everyone's
still doubting him.

How can you do a slavery
movie at Christmas?

And he said, watch this.

It's his biggest movie ever.

Everyone is standing

in the Quentin Tarantino
line to work.

I don't care who they are.

I don't care how
big your star shines

and what you do
at the box office.

You are still Quentin
Tarantino deprived

if you haven't gotten a
chance to work with him.

. ..your black ass.

I get a chance to
meet Quentin Tarantino.

Hey, white boy.

I said, hey, white boy.

Shut up, black.

You ain't got nothing'
to say I want to hear.

You make unknowns,
celebrities, stars.

But you turn stars
into legends.

I said, I know
the dude needs to be able

to ride his horse.

I got my own horse at the crib.

It'll be cool.

And not only did he allow me
to take on the character,

but I got a chance
to ride my own

horse in the film.

My valet, Django.

These are our horses,
Tony and Fritz.

We had Bruce there,

Bruce Dern, who's done
every western that's

ever been made for television,

played every bad guy
you could imagine.

Django, Django, you got sin,

Django.

The boy's got sin.

When you've watched this man
for however many year, what,

thirty, forty, fifty
years of his career,

and to step in.

And that's what you
need, you know?

No political correctness.

No softening the blows.

I want you to burn a
runaway "R" right here on

his cheek, and the girl, too.

Getting into the role
and working with Quentin,

Quentin was, especially
in the beginning

because he didn't know me.

You know, he knew Samuel.

He knew Christoph.

And so he was like, "Listen.

You know, we really got
to put the work in."

And so I would come in
and I was doing my lines

really sort of Jim Brownish,

like, you know,
like I was already the guy.

And I remember him going, "Uh,

let's take a break."

He takes me in the room.

He says, "Hey, listen.

Listen.

You- you- you got
to be a slave."

I said, "What do you
mean?" He said,

"You- you have to be a slave."

And I said,
" I- I don't get it."

He says, "You're
already too macho

and you're too in control."

The Louis bag and the Range
Rover you're driving,

all of this, and so
you have to come in and

strip that all the way,
'cause I don't want this

to be a mistake that if I
hired someone who is like

yourself or some other
person who's well known,

that you couldn't break
away from your persona and

that's why I work with
the people that I work with.

And so the next day,
I left all that at the crib

and sunk into that- that
type of person who was

strong on the inside, but
afraid to allow it to come out

because you would be murdered.

Imagine if anyone here
saw someone you love and you

can't say nothing
'cause they'll kill you both.

Broomhilda, come
on and get on my horse.

Broomhilda
That was powerful.

Even in the rehearsal,
I had to do certain things

in order to get the fear
out of my character

when it came to Sam because
he came in like this.

He howls to everything.

I can literally say he's

probably the best actor
I've worked with.

You scaring me.

Why is it
I'm scarin' you?

Because you're scary.

Oh, fuck.

Oh, fuck, it's incredible.

I told Quentin Stephen
was gonna

have his fans.

Stephen could
read, write, count,

do all those things,

and he had a disguise.

He disguised himself
as a feeble old man

and he wasn't.

And he realized that
inside the confines of

Candyland, he was king.

Even when Calvin was home,
he was king.

He's gonna stay
in the big house?

Stephen, he's a slaver.

It's different.

In the big house?

The character is
the characters.

And that's why I...

...think people love

his characters is that

they are honest,
whether you like them,

whether you agree with them
or disagree with them,

they are who they are.

The film has
already sparked

controversy over its repeated
use of the "N" word.

And now, Director, Spike Lee
says he won't go to see it.

Spike,
Spike Lee's,

you know and
I respect Spike Lee,

you know, but Spike
Lee's that guy.

You know, it's like
Spike Lee is like the-

the old dude with the nice
little house that has the grass.

Don't you get on my grass,
you little motherfuckers.

That's my grass,
every blade of it is.

Little motherfuckers.

You know.

You're not gonna get

Samuel Jackson to say

nigger, nigger, nigger if he
feels he's demeaning anybody.

You know, I mean Samuel
Jackson's gonna turn to

you and tell you where to go.

You take Twelve Years A Slave,

which is supposedly
made by an "auteur",

so Steve McQueen's very
different from Quentin.

So when you have a song
that says nigger three

hundred times in it
and nobody says shit.

Nigger run,

nigger flew, nigger tore
his shirt in two Run,

run or the pattyroller
will get you Run nigger

run Well you better get away

So, it's okay for him
to use it because

he's artistically attacking
the system or the way people

think and feel in a way.

Then Quentin's just doing
it to just scrape the

blackboard with his nails.

You know, and that's not true.

There is no dishonesty in
anything that he writes

or how people talk,
feel, or speak.

There you go!

The consumer, especially
black consumers,

they understand
that it's a movie.

Sometimes we get a little
overboard with our

sensitivity level with-
with everything,

because nobody was really
payin' attention to that.

They were comin' to see
their favorite director

direct some of their
favorite stars.

If it's Quentin, if it's Samuel,

if it's Leo, it's Christoph,

Carry Washington, and myself,

I- I just find it hard
for us to fuck that up.

All three are champions.

Samson's a champion.

Them other two pretty good.

Calvin-- You know we live
in a very politically

correct society now to
where almost everything,

it almost chokes
art a little bit.

That's just the way it was.

What's your name, boy?

His name is Django Freeman.

His characters are
a part of him.

It's how he creates.

But they're living breathing
characters to him.

There's a great story that
his mom told me about when

he was a little boy and he
was playing with his GI Joes

and he was using foul language.

And I think it was
like, you know,

"Fuck you. Die."

And you know, like, whatever.

And she came around the
corner and she was like,

Quentin, don't you
use that language.

And he said,
"It's not me, Mom.

It's just the guys.

That's how they talk."

I count two guns, Nigger.

You said in seventy-six
years on this plantation,

you've seen all manner
of shit done to niggers,

but I notice...

you didn't mention kneecapping.

Oh, God!

Motherfucker!

Leonardo DiCaprio had a problem
saying the word nigger.

"Pal.

Pal, it's just.

It's tough
for me to say this."

And, uh, I remember
Samuel Jackson going,

Get over it, motherfucker.

This is just another
Tuesday, motherfucker.

I don't give a fuck about
these motherfuckers.

Look at- look at
who I am, motherfucker.

Fuck! And it was like...

You know, and I said, "Yeah."

I said, "Leo, Leo,
we're- we're not friends."

I said, "This is
just another Thursday.

This is your property.

These aren't humans.

These are your property."

And when Leo came
in the next day,

it was literally like, I
was like, "What's up, Leo?

What's up fam?"

He didn't speak.

You won't mind me
handling this nigger

anyway I see fit.

He's your nigger.

Mr. Stonesipher, let
Marshall and the bitches

send D'Artagnan
to nigger heaven.

Quentin allowed us to
transport back to that

time and it was- it was
really real. It was intent.

Leonardo had that gigantic
sequence where he becomes

wise to what Schultz
and Django are up to.

He brought his hand down
and smashed the glass.

So now blood is running
down his hand.

He's kind of getting white.

Leo never breaks.

He goes all the way
through 'cause he knows

it's a great take.

Where were we?

Quentin's right there,
right at the lens next to him,

not in some video village.

In fact there are no monitors

on a Quentin Tarantino movie.
There is no video village.

And you can see it
in the performances.

Broomhilda here is my
property and I can choose

to do with my property
whatever I so desire.

After Leonardo
finished, you know,

his fellow actors, his peers,

and the crew, basically,
gave him a standing ovation.

And I think that it
was the first time

that Leo had really been
in that atmosphere,

that brotherhood,
and that spirit of fun.

After a hundred
rolls of film,

they, all of sudden,
I'm- now I'm in chains,

like, all of a sudden
they start playing music.

Ba-ba-ba-ba-ba-ba-ba...

I was like,
what's going on?

What's all this?

They start bringing
out tequila.

I say, what? Oh, shit!

This is great.
I said, what the fuck?

I said, what kind
of set is this?

He says, "My kinda
set, motherfucker."

Quentin had called

everybody in and- and-
and we were waiting

for- for everybody to
come in and we chatted and...

And then Quentin
came and said, "Okay.

I thought about this for a
long time and this morning

at three o'clock I came
to the conclusion,

now this is
what's going to happen."

And then he acted
out that whole scene,

this big battle inside.

And then Quentin said, "Well,

I thought about ending
the movie here,

but then this happens."

And he threw himself
on the floor.

And he jumped up
and threw his gun.

You know, I- I think he
had like fifteen and shot

and- and really acted
out the whole scene.

Bob Richardson
was sitting there,

you know, trying to control
his- his blood pressure.

And the- and the- the-
the stunt coordinator,

who is about seven feet
tall and five feet wide

was leaning against
the wall like that.

And the- and
the special effects guy

started to cry.

That main hall
was literally destroyed

and the blood was squirted
up to the second story.

Blood up to the
gallery of that,

literally everywhere.

Ow!

God!

The furniture,
the interior,

everything thrashed to
the size of toothpicks.

And you want to tell me
that's a true story?

True is what
happened on the set.

True is what happens
on the screen.

But the violence? No.

The violence is opera.

Django...!

You son of a...

Django's not trying
to cure slavery.

He just wants to take out
the people that did him

bad and get with his girl.

This is a love story.

Django is the- is
the super hero.

He's the guy who rides
off into the sunset.

And you don't see a lot of
black characters that do that.

You don't see in Hollywood
when a black character's

in that type of setting of
slavery does what he does,

kills the bad white
folks, gets his girl,

and rides off into the sunset.

It's about eight
people trapped

in a blizzard in
a haberdashery

in the middle of nowhere.

It's a mixture of
western, who-done-it,

revenge movie.
It's all those things.

Want to make a deal?

Huh?

The deal
still stands, Chris.

You ain't got nothing
we can't forgive.

The Hateful Eight is
kind of almost like a- a

bookend of Reservoir Dogs.

It'd just be more bullshit.

This man set us up.

He creates an initial scenario,

an initial group of people,

and he throws them together

often in one room.

And then he explores what
might happen by putting

this group of people
in the same room,

like Reservoir Dogs
or The Hateful Eight.

It's a complete ensemble piece,

which is pretty incredible
because you've got eight people

in there talking to each other
about some very specific,

interesting, and sometimes
very hateful things.

What
the-

He lets the
characters be infused

by the actors that he
chooses to portray them.

He played me a piece of
music and then he said,

"I think it would be nice
if Daisy played the guitar

and sang this song."

It really focused me

because I had to practice
that fucking instrument

everyday whenever
I was not on camera.

I'll kill you
bastards one and all I'll

gun the floggers down It
was ama-I had never played

guitar in my life.

And you'll be
dead Behind me John

When I get to Mexico.

He wanted it to
come from the inside.

And when you are singing
a song to yourself,

you're immediately going inward.

Give me that guitar.

I think he has a way
of getting into each

character and
letting them breathe

and create their life.

He gave me the script.

He goes, "Here.
You're Joe Gage."

A bastards work
is never done,

huh, John Ruth?

That's right, Joe Gage.

And I said, "Thanks
for thinking of me."

And he goes, "Michael, you
were there at the beginning,

and by God you're gonna
be here now, you know."

I find him to be the same man,

but just with a
lot more of a pack.

He's more of a package
than he was, you know.

He pays attention.

He also became much more
sophisticated as a filmmaker.

His mastery of blocking
and his mastery of camera

movement and that
choreography is really

pronounced and you can
really see his growth.

Also, you are seeing his
maturity as a human being.

He may look at
the same things,

but through the lens of
where he sits right now.

Who said it that, uh,
Kurt Russell's character was

based on, yeah.

I think John Ruth was
a lot nicer guy that

Harvey Weinstein.

If Kurt was supposed
to be Harvey,

then that must have been
Harvey's good side.

You ruin that letter of his,

that nigger's gonna stomp
your ass to death.

And when he do, I'm gonna
sit back on that wagon

wheel, watch, and laugh.

Yeah, if you
read them on the page it

was a little more accurate.

Kurt's the most charming
person on the planet.

When that sun comes out,
I'm taking this woman into

Red Rock to hang.

The association of
Quentin and Harvey

over twenty-five years,

it was a pretty
good brotherhood.

It was a pretty good
combination of Hollywood

power and of talent.

In the past, with the
Weinstein Company,

whatever he said was-
was the word of God.

These guys, there was a toll,

you know?

He earned, he made enough
money for everybody.

We shot on seventy,

because he knew
that if we went to the

expense of shooting
on seventy,

they were gonna
project it in seventy.

And it was the exhibition,
which was as important

as the image capture.

Quentin cares about cinema
and caring about cinema

means literally
caring about cinema,

caring about film,
the romance of cinema,

how it looks and feels,
and for him,

he doesn't feel that
digital technology

approximates the impact
that that flicker has on us.

He just bought a theater.

He owns the new Beverly Cinema.

I've been going there recently
introducing pictures.

I love the new Beverly.
I was there last week.

We watched a print of Seven,

which had silver in it.

It was incredible.

It was so beautiful.

I mean Quentin leaned
over to me and he's like,

"Take a good look.

You're never gonna see
a finisher movie look

this good again.

It's
like sad, but true.

He wrote it in the script,
glorious seventy

millimeter about
six times during the

first twenty pages.

And my jaw dropped
when I saw that.

I was like, "You're
kidding me, right?

You're gonna
actually do this?"

Once he found
this big, gorgeous,

beautiful seventy
millimeter format,

he realized that there
was an intimacy.

He'd shot a hundred
close ups of Sam Jackson,

but he never shot a
close up of Sam Jackson

that looked like that.

And you literally could
get even deeper underneath

the skin and into the
hearts and minds of these

characters and hold
these big wide frames

so that you were
almost in theater.

Everybody had to be on
at every given moment in

those rooms all the time.

I don't know really that
Quentin would have felt

all that comfortable doing
the seventy millimeter thing

if Bob Richardson wasn't
his partner doing it with him.

Bob brings so much
to the table both

technically and creatively.

Quentin's exuberance and
his enthusiasm for films

and filmmaking is so
unbelievably vast.

And that's the way he
was making Reservoir Dogs

and that's the way he is
making The Hateful Eight,

and that spirit is contagious.

Quentin values friendship.

Quentin values
deep relationships.

Quentin values a rag tag
sort of family that is

more committed to each other
than even actual blood.

And I think that you
see that on our set.

That was a great one.

We have the same people.

Our script supervisor
has been with Quentin since

Reservoir Dogs.

Our sound mixer, I think,
has been with us since Pulp.

The makeup crew, stunts,
everybody feels like

they're coming home.

It's that Quentin thing
where you're suddenly

working around family
and to see so many familiar

faces and that loyalty that
Quentin has to his people,

his crew, and his cast.

There's music playing.

There's conversation.

There's laughter.

Quentin's like,
"No cell phones on set.

Let's go to work."

And if you were caught
with a cell phone,

you'd be fired, no
matter who you are.

We called him Checkpoint
Charlie where you had to

turn in your cell phone
and he put it in a Ziploc

bag with your name on it,
and there were absolutely

no cell phones allowed on set.

And so we talk to each other,

we dance, we sing,
we laugh.

We talk about
what we just did and

how we can make it
better the next time.

Just like an extraordinary
experience just being on

set when it's that down take.

He laughs openly during takes.

He cheers.

I imagine that he
cuts himself out.

Douche Bag take one.

Twenty-eight prick,
take two.

Humiliation,
take one, mark.

- Premiere take one.
- Premiere.

His sets have
become the most unique

set experience you can have.

What Quentin
would say all the time,

"All right, we got this
and we could move on,

but we're gonna do one more."

We're gonna do one more.

Why?

Because we love making movies.

I said, "Man, I'm- I'm-
I'm on that train."

He's a fan.

You know he loves movies.

He appreciates people.

He's a fan of fans.

He appreciates life.

His way of socializing
is inviting people over to

watch a movie.

He gets us all together.

He screens a
movie of some sort.

Hey, everybody,
come on and sit down.

Let's watch this.

And he'd go get some
popcorn and sit there and

watch it with you.

It's a collective experience.

He was showing it to
us for the first time.

We're just this
group of, you know,

people and actors that he
had chosen to use in his movie.

After the screening was over,

I couldn't help but notice.

He wasn't just sweating,
he was- he was drenched.

And yet, I've never
met anyone who honestly

comes even remotely close to
the confidence he has when it

comes to making his movie.

It's amazing to me that
he would have any nerves on

the other end at all.

But is shows, you know,
how much he cares.

He was big and
he was everywhere.

And everybody feared him.

Quentin and Harvey

Weinstein are two
different animals.

I get it.

I understand why a
lot of these girls

didn't say anything.

Their life depended on it.

If my livelihood, the
preservation of my children,

if that is
dependent upon someone

else that has power,
like a Harvey Weinstein,

it's really scary.

That's the underbelly
of the industry that

nobody knows about
and it's really dark

and it's really fucked up.

I've been told things
from a few people

who haven't
even shown up yet.

I'll say exactly
what Quentin said.

He simply said, "Listen.

I knew about it
for a long time.

And I should have said
something, but I didn't."

The fear factor

should never have
entered into any of it.

And that's what I think
the average person doesn't

understand, the fear
and the emotional shutdown

that you'd have to
force yourself into.

Oh, my God.

I can't believe
what just happened.

And who am I gonna
say anything to?

And if I do say
something, I'm finished.

I won't be in
another movie and

I won't be able to
fulfill my life.

That's a pretty hard thing.

Now you find out about
these hundreds of

thousands of dollars that
was paid out to these

different girls in
situations with him.

But see the people

who are complicit with that,

who followed his orders,

they're just as blameable
and corrupted as- as him.

And a lot of that ain't

on the cover of Time Magazine.

They're still hiding.

There's a lot of them
out there who were

more than
happy to follow the

orders and the ideals of,

uh, Harvey's opinion.

And the fact
that your own body,

your own face, your
physical being is what you

use as your
instrument of work,

and if that gets
persecuted and that gets

ruined and that gets destroyed,

and somebody like Harvey
has the power to do that,

don't hire that person.

And the people who would take

a call from a Harvey Weinstein,

"Oh, that was Harvey."

"Yeah, he says
not to hire so and so."

Having now separated
himself so instantaneously

from Harvey, that
was the end of it.

It's the end of an era.

It's an era that
certainly made a point

and was envied by an
awful lot of people.

He has moved on.

He's making a new movie.

He's doing Once Upon
a Time in Hollywood.

And it ain't with the

Weinstein Company.

Quentin Tarantino
is a rock star.

Quentin Tarantino can do
a movie about any subject

matter that he wants to
because Quentin Tarantino

stands out in front of
the movie a little bit.

He's not gonna fade out.

This is why he talks
about making ten.

He doesn't want to be
that guy who people go,

"Oh, most of them was good,

but his stuff, you know
as his stuff used to be,

but you know he's a bit
too old for it now,

you know.

Bless him."

Doesn't want that.

I don't know, man.

I think he needs to live
to a hundred and fifty or

two hundred years just so
he can accomplish whatever

he wants to accomplish.

You know how his
characters are related.

There's always a kind of a

family history
that runs through.

I'm Doctor King Schultz.

This is my horse Fritz.

Full loads? Obviously.

Dandy Michaels, Joe Nash, and...

Crazy Craig Koons.

This here is Captain Koons.

He was in the POW
camp with Daddy.

You know there's a family chain,

that there's a string
that runs from the beginning

through to the end.

Hello, little man.

So I am in Hateful Eight,

the great- great
grandfather of

Michael Fassbender's character

in Inglourious Basterds.

I'm watching Kill Bill,
and there's Earl McGraw alive

as a character in it
with his son, James Parks.

I said, "They got killed in From
Dust Till Dawn One and Two."

He goes,
"This happens before that."

I'm like, "Oh, God.

You- you like a gen-He's-
he's- he reminds me of like

Norman Lear, you know,

how All In The Family
begot The Jeffersons and

The Jeffersons begot
the Good Times

and so on and so forth.

He was gonna make
the Vega Brothers,

which would be me and John,

which would have been great,

right?

'Cause that would be believable,

right?

It would have to be a prequel
because we're both dead,

which doesn't make sense,

but that's how it would be.

He's got his ten.

He'll do other stuff.

And I know some
of his plans and they're

fucking amazing.

You're writing
your life story.

You bet I am.

Am I in it?

You just entered.

I mean, I wonder when
he starts writing books

whether he will,
some of these characters will

show up in his novels.

It's complete.
It's a hundred percent.

And sacrificed relationship,

having children,
all of that stuff to

pursue his dream.

He's a complete filmmaker
and- and an artist in- in

the full on sense.

We're gonna miss it.

We're gonna miss the
opportunity that he brings.

And it's true of all of us.

If your phone
buzzes in your pocket

and you take it
out of your pocket

and you look at it and it says

QT on it,
you go please, please,

please, oh just please,
please be one, please.

You know and.

Hi. And he goes, "Hi.

Um, I've got something
I want you to read."

And you're done.