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Ennio Morricone Confirmed To An Extent For INGLORIOUS BASTARDS! And What's Eli Roth Doing Behind The Camera?

Beaks here...

Will Quentin Tarantino's rush to Cannes cost him a completely original orchestral score from Ennio Morricone? According to the maestro himself, it's a distinct possibility. Speaking to Variety, the eighty-year-old Morricone cautioned that, while he has accepted Tarantino's offer to score the World War II epic, he is concerned that the three-month, February-to-April window between the completion of principal photography and the April delivery to the Cannes Film Festival won't leave him enough time to finish his work. Per Morricone, "Either I start working on it before he stops shooting - after we discuss it together - or I just can't do it." (Couldn't he get an extra two weeks stretching into May? Movies cut it close at Cannes all the time. Just ask Wong Kar-Wai!) If it comes to this, Morricone might just contribute "a couple of tracks", which means Tarantino would fill out the rest of the film with old, lesser-known Morricone cues? Given the composer's prolific past, that shouldn't be too difficult. There are lots of rotten movies (particularly from the 1970s) sporting classic Morricone scores. Finally, CHUD's Russ Fischer informs me (via the The Quentin Tarantino Archives), that Eli Roth is taking a break from his baseball-bat-wielding duties as "The Bear Jew" to direct "Nation's Pride", the film-within-a-film starring Daniel Brühl as a heroic Nazi sniper. Though it's all in jest, I'm sure it's still a little... odd to call the shots on a Nazi propaganda movie.

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  • Nov. 18, 2008, 2:22 p.m. CST

    Great News...if Morricone gets the time he needs

    by KillaKane

    Temp tracks's aside some new Morricone underscore for a QT flick is worthy of a geek-out.

  • Nov. 18, 2008, 2:25 p.m. CST

    Ennio, how original Quentin.


  • Nov. 18, 2008, 2:27 p.m. CST

    There's always the 2010 Cannes

    by Aloy

    Give the artists the time they require. This'll be a lock to sell tickets so do it right.

  • Nov. 18, 2008, 2:42 p.m. CST

    Just keeps sounding better and better.

    by Zarles

    I cannot WAIT to see this. 2009 is going to rock balls.

  • Nov. 18, 2008, 2:44 p.m. CST

    "what's eli roth doing behind the camera?"

    by Major Hockshtetter

    boy, I've been asking myself that question for years...

  • Nov. 18, 2008, 2:46 p.m. CST

    Get John Carpenter to do the fucking score already

    by Stuntcock Mike

    An ounce of weed and one month later. DONE!

  • Nov. 18, 2008, 2:48 p.m. CST


    by skimn

    Does he scratch clockwise or counter-clockwise? Details to follow.

  • Nov. 18, 2008, 2:50 p.m. CST


    by AdrianVeidt


  • Nov. 18, 2008, 2:58 p.m. CST

    The best film of 2009...?

    by Brendon

    Well, probably not - that will probably be The Imaginarium of Dr. Parnassus. A close run second? All the signs say yes.

  • Nov. 18, 2008, 2:59 p.m. CST

    I'm not one to sling insults around usually...

    by thefrood

    But Danny Glovers Dick Blood is a fucking twat. Ennio Morricone is a literally a legend. Not a hyperbole chasing chancer like the people who are ordinarily associated with the word but a legend in the literal sense. Tarantino should get his priorities straight and fuck Cannes off in favour of giving the maestro time. Cannes is a meat market, ask anyone who's been to the festival. Just because it's held in France does not mean that it's any more an arbiter of taste than a hundred other movie fests.

  • Nov. 18, 2008, 3:03 p.m. CST

    All Morricone really needs to do is write a main theme

    by TylerDurden3395

    QT can fill the rest of the soundtrack with other Morricone cues from other movies...

  • Nov. 18, 2008, 3:04 p.m. CST

    If DGDB were a flavor of ice cream...

    by Zarles would be Shit-Covered Cock N' Balls.

  • Nov. 18, 2008, 3:08 p.m. CST

    an ounce of weed in a month stuntcock?

    by goatboy500

    did your grandmother teach you how to get stoned? Only joking, and i'll fuckin second that JC suggestion by the way.

  • Nov. 18, 2008, 3:09 p.m. CST


    by Gabba-UK

    all that needs to be said really.

  • Nov. 18, 2008, 3:11 p.m. CST

    "what's eli roth doing behind the camera?"

    by Darth Busey

    Hopefully, watching QT intently to learn how to competently direct films. More likely, he's probably fluffing QT, which has to be the only explanation for Eli Roth having anything at all to do with this film. (p.s. Eli, I know you're reading, I love ya, pal!)

  • Nov. 18, 2008, 3:11 p.m. CST


    by goatboy500

    I always thought Morricone's score for the Thing was a John Carpenter tune, like all of the early Carpenter films. I was shocked to find out Morricone did the score when i finally watched it on DVD (I grew up with watching it on a taped VHS off the BBC, and my dad missed the opening credits. So it was also the first time i saw the 'You gotta be fuckin kidding' line)

  • Nov. 18, 2008, 3:11 p.m. CST


    by Mr. Zeddemore

    I really want QT to leave the stupid Grindhouse style films to the awful directors. He's too good for them - you can't imagine QT making something as unintentionally awesome as 'Pieces.'

  • Nov. 18, 2008, 3:12 p.m. CST



    Oh fuck off with that bullshit. I never once slammed Ennio. I think the man is incredibly talented. The Untouchables is one of my favorite score. SO FUCK OFF. <P>I merely stated this is yet another predictable move by Quentin. You can plot his creative decisions like clock work. <P>Good luck with this movie guys. Its gonna be sad when this disappoints the fuck out of you.

  • Nov. 18, 2008, 3:13 p.m. CST

    To those giving QT shit for not wanting to wait for Morricone

    by Darth Busey

    You should also give QT shit for not waiting until Arnold was out of office to begin filming this. Since when did the awesome Arnold/Sly/Willis/etc. cast idea turn into World War Nebbish?

  • Nov. 18, 2008, 3:13 p.m. CST


    by Mr. Zeddemore

    If you're reading, Hostel was a terrible film. You can do better. Much, much better... I hope.

  • Nov. 18, 2008, 3:14 p.m. CST


    by Mr. Zeddemore

    Has a point. It's Tarantino having a cinematic crop fest on camera. The original cast at least would have made it an interesting cluster-fuck.

  • Nov. 18, 2008, 3:14 p.m. CST

    Eli -- if you're reading....


    ...kill yourself.

  • Nov. 18, 2008, 3:15 p.m. CST

    "Rush to Cannes"

    by mr.brownstone

    Give me a fucking break. Talk about having your priorities ass backwards. I want this movie to be great, but I would get some kind of sick pleasure out of it if got panned at Cannes. The hubris is mind numbing. Also DGDB -- hang your head in shame. That is the lamest comment you or anybody else could have made regarding this news.

  • Nov. 18, 2008, 3:17 p.m. CST

    hah - rush to Cannes

    by Mr. Zeddemore

    I'd love to see a video of the audience booing a rushed version of this flick at Cannes and QT losing it. I know that makes me a horrible person, but the thought of 'FUCK YOU. THIS IS ART' being yelled by an angry QT is hilarious.

  • Nov. 18, 2008, 3:18 p.m. CST

    "And What's Eli Roth Doing Behind The Camera?"

    by kwisatzhaderach

    A damn good question.

  • Nov. 18, 2008, 3:18 p.m. CST

    Congrats QT

    by Samuel Fulmer

    I was hoping he would change his mind about original scoring and try to get Morricone involved in this. It should be right up his alley.

  • Nov. 18, 2008, 3:20 p.m. CST

    And What's Eli Roth Doing Behind The Camera?

    by Mr. Zeddemore

    Abstract Algebra.

  • Nov. 18, 2008, 3:24 p.m. CST

    I'm so agnostic.

    by Nice Marmot

    I totally agree w/ you on this, Dickblood, but also totally agree that you are such a smarmy prick.

  • Nov. 18, 2008, 3:25 p.m. CST

    the Cannes audience will boo this film


    and it will be TOTAL FUCKING DESTRUCTION when QT takes the stage for a Q and A.

  • Nov. 18, 2008, 3:26 p.m. CST

    After the Hostels

    by skimn

    Quentins put Roth behind the camera to film a trailer parody for Grindhouse, and now a mini-doc, which I'm sure will be like the "Girls With AK47s" in Jackie Brown. Anything to keep him from feature length...

  • Nov. 18, 2008, 3:26 p.m. CST

    arnie, sly and bruce

    by Prossor

    something tells me i dont think those 3 would have ever been in this movie if they were free anyway. oh and fuck willis for deceiving us with die soft 4. i never liked willis's screen persona anyway, annoying smug grouchy fuck. i'll take martin riggs over john mcclane always.

  • Nov. 18, 2008, 3:26 p.m. CST


    by Mr. Zeddemore

    I'm all for this film going to Cannes now. I really, truly am.

  • Nov. 18, 2008, 3:27 p.m. CST

    Nice Marmot


    I'm not a politician, and this isn't a popularity contest. I'm merely here to speak the truth!! <p>SEEK AND YE SHALL FIND!!

  • Nov. 18, 2008, 3:27 p.m. CST

    yeah I'm excited about the Cannes review.


  • Nov. 18, 2008, 3:28 p.m. CST

    Eli Roth

    by Mr. Zeddemore

    Anyone ever seen that Braden Walker 'best of' video on Youtube? I think someone should do a tongue-in-cheek 'best of' compilation for Eli Roth's acting performances and films.

  • Nov. 18, 2008, 3:30 p.m. CST

    for those that are still excited about this....


    ....have you read the script?

  • Nov. 18, 2008, 3:34 p.m. CST

    The Script

    by Mr. Zeddemore

    I read about thirty-five pages. Got to QT writing dialogue for Hitler. I gave up reading it at that point. It's... odd.

  • Nov. 18, 2008, 3:39 p.m. CST

    odd? I'd say its fucking horrible.


    Its pretentious and repetitive What the fuck was he going for with that thing? Its fucking pointless. It feels like it was written by a retarded 12 year old with a permanent hard on for all things that suck. "HE FUCKS HER DOGGY STYLE" and "LEGS, ARMS, AND ASSHOLES RAIN DOWN ON US" Yeah....uhhhh...great writer. Glad to see you have finally grown up you talentless cunt. But Ennio is doing the score its all good!! Its gonna be swell!

  • Nov. 18, 2008, 3:42 p.m. CST


    by Mr. Zeddemore

    I wouldn't go that far. It all seems like a joke to be honest, like QT finds it hilarious that he's making the film. But it isn't hilarious to read, it's ridiculous and badly written and rather pathetic.

  • Nov. 18, 2008, 3:42 p.m. CST



    Thanks dude. <p>Oh shit I always forget about Orca!! Say what you want about the film, but its a fantastic fucking score by Ennio.

  • Nov. 18, 2008, 3:42 p.m. CST


    by Mr. Zeddemore

    I just did an essay on Death Proof, so I'm sick to death of QT to be honest. That's a really horrifyingly bad film.

  • Nov. 18, 2008, 3:42 p.m. CST

    "What's Eli Roth doing behind the camera?"

    by mr_macphisto

    hopefully getting beaten to death with another, much bigger camera.

  • Nov. 18, 2008, 3:43 p.m. CST


    by Mr. Zeddemore

    'We're gonna need a bigger camera.'

  • Nov. 18, 2008, 3:44 p.m. CST

    I think PRETENTIOUS is fitting....


    ...its like he is standing in the streets screaming for attention, hoping people still value him as a filmmaker, but he lacks the talent or class to make anything halfway decent. This is the best he could come up with.

  • Nov. 18, 2008, 3:44 p.m. CST


    by Monkey Butler

    Have you read any other QT scripts? They're all like that, it's just the way he puts things onto paper. The point is that the script for IB is a different kind of mess than the scripts to, say, Death Proof or Kill Bill (which would have been infinitely cooler if Tarntino had kept Yuki's Revenge and Can She Bake a Cherry Pie?) and that's what's interesting. And c'mon, you gotta give him credit at least for having the balls to end the film the way he does.

  • Nov. 18, 2008, 3:46 p.m. CST

    Death Proof

    by Mr. Zeddemore

    I suggest people read that script. They cut so much out of the film (thank GOD), and he keeps throwing in these really silly ways of phrasing things (3 girls 3 adventures had me yelling at a book... a book for the love of God.)

  • Nov. 18, 2008, 3:47 p.m. CST

    Monkey Butler


    Yeah I have wasted a lot of my life reading his scripts sadly. I think his best work is Dusk Till Dawn. On paper its an excellent script. The movie is okay....but it read a lot better.

  • Nov. 18, 2008, 3:59 p.m. CST


    by Come_ON

    will treat it like the dim-witted frat boy he is: LIKE SHIT ON BALLS

  • Nov. 18, 2008, 4:01 p.m. CST

    Eli Roth is an ass clown...

    by Blood Simple

    that is all.

  • Nov. 18, 2008, 4:03 p.m. CST



    your underscores aren't fooling anyone. step off, admit your inferiority, and get back in line for TOTAL FUCKING DESTRUCTION.

  • Nov. 18, 2008, 4:05 p.m. CST


    by AdrianVeidt


  • Nov. 18, 2008, 4:16 p.m. CST

    Tangerine Dream


    Why not hire both?!?!?!?!? Get a few tracks from Ennio and then salt in some TD. That or you use a single amazing Ennio theme throughout the entire film like Carpenter did in the Thing. God the stuff TD did for The Keep. I'd love to see that marriage. Ennio starts it up TD add some stuff to hear between his stuff.

  • Nov. 18, 2008, 4:20 p.m. CST


    by Mr. Zeddemore

    You're an odd cat, Mr. Veidt. A regular Bubastis. But my sides are splitting with laughter, and for that I thank you.

  • Nov. 18, 2008, 4:28 p.m. CST

    Lay Off The DB!!!!


    The script sucks ass and what's worse most of the plot is Lifted/Stolen from Paul Verhoeven Zwartboek/Black Book!!! <P> I hated the screenplay. More so because It's not the film QT promised us. Shosanna is the main story the Bastards are incidental and 2 dimensional. Aldo is well written. I'll say that much.

  • Nov. 18, 2008, 4:34 p.m. CST

    monkey butler- Balls???


    For ending it like Apples 1984 Apple Macintosh Commercial meets Gremlins Hi Ho, Uh Oh! Or are you talking about the I Defect and got Branded scene?

  • Nov. 18, 2008, 4:45 p.m. CST

    Mr. Zeddemore

    by AdrianVeidt

    Thank you, and thank you further for acknowledging my dear cat Bubastis, who has since forgiven me (I can only hope) for his ::ahem:: demise.<p> Furthermore, I must credit Billy Walsh, the great director of Medellin and Queen's boulevard for my antics.

  • Nov. 18, 2008, 4:46 p.m. CST

    QT: The most important director of the '90s

    by mode_7

    You know it to be true.

  • Nov. 18, 2008, 4:51 p.m. CST



    of the 90s..... <p> Jurassic Park <p>Schindler's List <p> Saving Private Ryan<p> one came close.

  • Nov. 18, 2008, 4:52 p.m. CST


    by Mr. Zeddemore

    Say someone made a film of your life, would you be outraged if they fiddled with certain key events?

  • Nov. 18, 2008, 4:53 p.m. CST

    A Morricone Score > Cannes

    by chaplinatemyshoe

    It's that simple. If he loses Ennio over trying to beat a silly festival deadline, he's an idiot.

  • Nov. 18, 2008, 4:53 p.m. CST


    by Mullah Omar

    ...might be the least-offensive film he ever makes. <br> <br> Weirdly enough.

  • Nov. 18, 2008, 4:57 p.m. CST


    by Continentalop

    Yes QT WAS once one of the most important directors of the 90's (WAS being the key word), but guess what, Peter Bogdonavich was once one of the most important directors of the 70's, as was Francis Ford Coppola and William Friedkin. Does anybody really that excited anymore when they make a movie? QT is gradually going down the same path other great directors have, by getting more narcissistic and indulgent. What happens when you make films so personal that only you can enjoy them? I guess it is a riddle, such as what is the sound of one hand clapping, but in Quentin’s case the answer is becoming “the same sound heard at any Tarantino film: no clapping at all.”

  • Nov. 18, 2008, 5 p.m. CST


    by Continentalop

    Yes, I will agree that Spielberg is the most successful, but I guess I wonder who is the most influential. For me it would have to be QT, Scorsese and, God help us, Roland Emmerich.

  • Nov. 18, 2008, 5:01 p.m. CST


    by Mr. Zeddemore

    Fincher, Anderson.

  • Nov. 18, 2008, 5:01 p.m. CST

    Krzysztof Kieslowski = Most Important 90s Director

    by chaplinatemyshoe

    I love Tarantino & Spielberg, but Kieslowski, in fact, owned the 90s.

  • Nov. 18, 2008, 5:02 p.m. CST


    by Mr. Zeddemore

    Sorry Continental, I meant Mode7.

  • Nov. 18, 2008, 5:04 p.m. CST

    Any film by ELI ROTH is Nazi propoganda!

    by Continentalop

    I'm sure hate groups recrutiment quotas are met everytime he makes a fim.

  • Nov. 18, 2008, 5:15 p.m. CST


    by Mr. Zeddemore

    Even Cabin Fever?

  • Nov. 18, 2008, 5:19 p.m. CST

    Ok, maybe a little hyperbole about Eli Roth

    by Continentalop

    But you get the point. He is not a good director.

  • Nov. 18, 2008, 5:20 p.m. CST


    by Mr. Zeddemore

    Damn, was hoping you'd have a theory for Cabin Fever being propoganda.

  • Nov. 18, 2008, 5:22 p.m. CST

    Mr. Zeddemore

    by mode_7

    With Fincher I see where you're coming from but Anderson? Boogie Nights and Magnolia? Give me a fucking break. Anderson's probably the most overrated director in history. His movies are interesting at best, at worst intellectual masterbation for film school hipsters. I swear to god I have never felt any emotion whatsoever while watching anything he's ever made. And I cried during fucking Star Trek once, I'm a total pussy!

  • Nov. 18, 2008, 5:24 p.m. CST

    Morricone is a bitter old Mummy

    by BauerJackBauer

    Just track it with old stuff, QT.

  • Nov. 18, 2008, 5:25 p.m. CST


    by mode_7

    Hostel 2 is an important movie. Not nesseserily a good movie, but an important one. I'm glad it exists, even though I'll probably never subject myself to it again.

  • Nov. 18, 2008, 5:27 p.m. CST

    Damn You Michael Bay


    Damn You Michael Bay

  • Nov. 18, 2008, 5:32 p.m. CST


    by Continentalop

    May I ask how Hostel 2 is an important film? I am curious. If you are saying that it has some sort of commentary about America's use of torture and extraordinary rendition, I will say it falls horrible flat on examining and commenting on those matters. That is like saying Fight for Your Life is examines race relations. Otherwise, I am all ears and would love to know how you came to that conclusion.

  • Nov. 18, 2008, 5:33 p.m. CST


    by Mr. Zeddemore

    I meant Wes Anderson, but PTA is good to.

  • Nov. 18, 2008, 5:49 p.m. CST


    by mode_7

    I'm way to tired to articulate my thoughts on that right now but I'll post something tomorrow if I manage to get my shit together:)

  • Nov. 18, 2008, 5:54 p.m. CST

    DANNYGLOVERS_DICKBLOOD, you're what's wrong w/ TBers

    by JumpinJehosaphat

    It's just you against the world, isn't it, Danny. I'm sorry they've yet to make a movie about you bitching about everything and jerking off to the sound of your own vitriol. That's the only story good enough for DANNYGLOVERS_DICKBLOOD!

  • Nov. 18, 2008, 5:55 p.m. CST

    Mr. Zeddemore

    by mode_7

    Wes Anderson is cool but I'm not sure I'd describe his movies as important. I dunno though, you could be right, I suppose only time will tell on that one. If he does have influence I'm not really seeing it yet.

  • Nov. 18, 2008, 6:06 p.m. CST

    Both Andersons hadn't matured in the 90s...

    by chaplinatemyshoe

    Joel and Ethan Coen though make a case for their best body of work being in the 90s. If you dig on Wes Anderson, it's hard to deny their influence on him.

  • Nov. 18, 2008, 6:48 p.m. CST

    The Dickblood Factor...

    by Major Hockshtetter

    I'm not a huge fan of his arbitrary pessimism that runs rampant on this site, I will say I have to agree wholeheartedly with him on the quality of this script. It's virtually unreadable. Does this equate to unFILMable or unWATCHable? Remains to be seen, I suppose. I thought the Kill Bill script was a drone to slog through and I found the film mostly brilliant. Derivative as hell, of course, but brilliant. While I feel Syd Field-ism has ruined any sort of creativity in modern screenwriting, there is something to be said for dramatic structure. This nightmarish run-on-sentence of a script screams for another draft - - I mean, the opening sequence, which could have been handled in five pages, goes fifteen, mostly because Tarantino has to show off with his off-putting descriptions that have nothing to do with what we see on screen!!!

  • Nov. 18, 2008, 6:57 p.m. CST

    coens in the '90's

    by swanstep

    Fink, Millers' Crossing, Fargo, Lebowski. Think about it.

  • Nov. 18, 2008, 6:59 p.m. CST

    Can we please keep Eli Roth away from a camera

    by Turd Furgeson

    Bad enough QT listens to that dude... Just keep him away from a camera... Please. This movie has too much awesomeness around it to have any of it tainted by ER....

  • Nov. 18, 2008, 7:10 p.m. CST

    "The Dickblood Factor"

    by Continentalop

    One of my favorite movies. Based on a book by Robert Ludlum right?

  • Nov. 18, 2008, 7:13 p.m. CST


    by Continentalop

    I am thinking about it, and I agree. The Coen's were the best American (I am not arrogant enough to assume I know all the films being made) filmmakers in the 90’s, but I still say Scorsese and Tarantino were the most influential, and Spielberg the most successful (box office, critical reception and awards).

  • Nov. 18, 2008, 7:38 p.m. CST

    i hope

    by Luke902

    we're not sacrificing quality in order to get it to cannes on time.

  • Nov. 18, 2008, 7:40 p.m. CST

    Bernard Hermann scored Taxi Driver in two days

    by ricarleite

    And he DIED at the night of the second day! He didn't see any footage before composing, and just recorded as much as he could on those days, so Scorcese would just use it where he saw fit. Just do the same strategy, you don't have to compose something that totally matches the action on screen like John Williams do, just record some 4 hours of tracks and let Tarantino do the rest.

  • Nov. 18, 2008, 8:16 p.m. CST

    My "problem" with Tarantino

    by Continentalop

    While I think of Tarantino is brilliant and skilled at filmmaking, I don’t think he is a brilliant filmmaker any longer, nor has he has not lived up to his potential, at least in my opinion. Tarantino’s first two movies where groundbreaking, original and exhilarating, and his third film, Jackie Brown, while not as innovative or exciting as his first two, felt more mature and sophisticated, and I felt like he was beginning to shake off his infant terrible title and becoming an “adult” filmmaker. However, after his last latest works (Kill Bill and Death Proof) I felt like not only did he regress, but that he also lost much of what I found enjoyable in his earlier work. <p> My problem with Kill Bill and Death Proof was that I felt as if I could sense Tarantino’s ego on the screen. His films seemed to drip with his own sense of his cleverness and his esoteric knowledge of cult films, and the number of references and allusions to other movies, whether they are obvious or hidden, well known or obscure, wear me down and hinder me from getting pulled into his films. Martin Scorsese is also a cinema-phile, as is Peter Bogdanovich, but I never feel the barrage of cinema references or sense a self-conscious nature about their films as I do when watching QT’s. <p> Quentin also seems to be obsessed with dialogue, to the point where a scene’s only point is to have someone say something clever and cool, just to prove how talented of dialogue writer he is. There is nothing intrinsically wrong with long dialogue scene, just how they are pulled off; just like there is nothing wrong with guitar and drum solos in themselves, just when and how they are done. A solo in the wrong part can ruin a song, and if they are played to often or go on to long can ruin a concert or album, even when performed by a talented musician. It’s what separates Jimmy Page from Ted Nugent, and Neil Pert from Tommy Lee. Right now Tarantino is heading down the C.C. DeMille from Poison route. <p>

  • Nov. 18, 2008, 9:23 p.m. CST

    The Continentalop Factor...

    by Major Hockshtetter

    Excellent points all around on Tarantino's evolution/de-evolution as a filmmaker. The Bogdanovich comparison is especially astute because both had atmospheric ascentions and then both descended rather gruesomely. (Tarantino less so since none of his films ever stunk up the box office like Daisy Miller or They All Laughed...) Kill Bill beguiled me because of all its flash and hyper-retro sensabilities but at the end of the day, it, like Death Proof, is a relatively substance-free film. It does all boil down to ego. Perhaps if QT stumbles upon a bit of humility, his films will grow a bit of soul. Dialogue, especially, has become a sticky, murky tool in his shed. He was lauded early on for it but, instead of developing it as a skill, he merely flaunted it by showing off like a 10 year old kid. If he could take one page out of the Mamet or Coen book, we'd all be better for it.

  • Nov. 18, 2008, 10:40 p.m. CST


    by swanstep

    What's influential in one sense is just what's easily copied and varied-a-tad...In that sense no contest: Bay/Bruckheimer and QT were the biggest single influences on movies in the 90's until the Matrix birthed a million clones. And similarly, Greengrass, esp. with The Bourne Supremacy, is easily the biggest new influence on 00's film-making. I guess I hold out a hope that there's another dimension of influence where what one does is almost uncopiable, and instead it inspires others by its excellence to try to be as good, and to make something just as singular: Coens, Brad Bird, M.Haneke, and a few others are my picks for being recently most influential along this other dimension. Still, I suspect we agree about almost everything...

  • Nov. 18, 2008, 10:44 p.m. CST


    by BGDAWES

    Agreed about the diner table scene in "Death Proof". My buddy cracked me up walking out of the theatre discussing that scene when he said, <br> <br> "There is nothing I can think of that I would dislike listening to 'less' than those women talking...I mean...I don't care about it"

  • Nov. 18, 2008, 10:49 p.m. CST

    Eli Roth

    by BGDAWES

    Also, I've already voiced my opinion about Eli Roth as a major character in this film but I feel the need to be a true talk backer and bitch...yet again. <br> <br> Maybe it's not so much that I dislike Eli Roth but more about how much I enjoy seeing QT tough guy 'regluars' like Michael Madsen, Tim Roth, or Harvey Keitel act in a QT film. <br> <br> The fact that this is a war movie (the Big One no less!) and that Roth is taking the place of any of the actors listed above? C'mon! <br> <br> Eli, if you're reading I did honestly sincerely enjoy your Thanksgiving trailer, that is a true gem that I love and still watch on my computer since it's not on the Grindhouse DVD's (FUCK YOU WEINSTEINS!!!!!) <br> <br> So hit it out of the park again with your 'film' in IB.

  • Nov. 18, 2008, 11:03 p.m. CST

    the dinner table scene that would never end

    by crazybubba

    loved death proof but thats gotta be some of QT's worst dialogue ever.

  • Nov. 18, 2008, 11:08 p.m. CST



    Don't watch HUNGER then. There is a 1:1 scene that goes on for something like 17 minutes!! A record I think.

  • Nov. 18, 2008, 11:58 p.m. CST

    I much prefer Eli Roth behind the camera than in front...

    by LaneMyersClassic

    oh wait, no I don't! I don't prefer him.

  • Nov. 19, 2008, midnight CST

    Ennio Morricone is a GOD.

    by LaneMyersClassic

    There should be no things Eli or Rothian mentioned around him.

  • Nov. 19, 2008, 2:08 a.m. CST

    Yeah, that table scene in DP was insufferable

    by caruso_stalker217

    Seven fucking minutes and they didn't say one goddamn thing. The only information you get out of it is Zoe Bell always lands on her feet. And so she does. After ten minutes of rolling around on the hood of a fucking car. <p>Goddammit, I hate that fucking piece of shit movie.

  • Nov. 19, 2008, 2:09 a.m. CST

    This just in

    by GilbertRSmith

    After ten years of being the primary form of self-congratulation, hating on QT is no longer the best way to look like you are super hip and have higher standards than other fans. Pretentious jerkoffs are now turning to shitting on Pixar to look cool.

  • Nov. 19, 2008, 2:48 a.m. CST

    "What's Eli Roth doing behind the camera?"

    by Lost Jarv

    If the answer to that question isn't "fetching coffee" then Tarantino needs an intervention.

  • Nov. 19, 2008, 3:04 a.m. CST

    Fucking Tarantino

    by Lost Jarv

    Lost it badly. Round about half way through Kill Bill 2 I realised I was watching complete shit. I'd been fooled by Kill Bill 1 but I had a fucking epiphany. It was the Wedding rehearsal scene. Not cool. Not clever. Not interesting. All it was was an excuse for Tarantino to have Samuel L speak some horribly stilted dialogue about some of Tarantino's favourite musicians. <P>And as for Death Proof? Horrible execrable abortion of a movie.

  • Nov. 19, 2008, 4 a.m. CST

    AVATAR - Fucking your eyeballs in 2009!!!

    by Motoko Kusanagi

    Nothing else matters.

  • Nov. 19, 2008, 4:23 a.m. CST

    Forget Cannes! take your time and do it properly!

    by zapano

    It's sickening how Morricone is not allwed to do the score in his own time. This is one of the worst trends in contemporary Hollywood, rushing the scoring of the film. No wonder most scores these days are absolute shit. You'd think Tarantino would know better. And more importantly, what's this rushing to get it ready for Cannes? Who gives a shit about Cannes or any awards ceremony. If this film is any bit good, it will make a lot of money. Scorsese would spend six months to just edit a film. Tarantino is doing the whole thing six months. Aboslutely crazy for a film on such a scale.

  • Nov. 19, 2008, 4:33 a.m. CST

    Lost Jarv

    by Mr. Zeddemore

    I remember that scene. To this day, I still cannot understand what the Hell SLJ was doing in that scene, or remember the dialogue. It was a fine example of using an actor for the sake of it, rather than giving them something they could really pull off.

  • Nov. 19, 2008, 4:54 a.m. CST

    Phew, I knew it wasn't just me.

    by Lost Jarv

    Periodically I give Kill Bill 2 a try thinking "it can't be as bad as I remember". And everytime I come away a bit grumpy. I think I've got battered wife syndrome about it.

  • Nov. 19, 2008, 5:01 a.m. CST

    Madsen was the best part of VOL. 2

    by caruso_stalker217

    I've never gone from liking a guy to hating a guy to liking to hating to liking a guy in a movie before. Madsen, motherfuckers.

  • Nov. 19, 2008, 6 a.m. CST

    Tarantino and dialogue...

    by Droid

    Tarantinos dialogue has always been heightened and self-indulgent. But it worked until Deathproof. The problem with DP is that the dialogue had no reason for existing other than to be said. In all his other films, the dialogue enriched a scene that already had something going on. The scenes themselves were "about" something. All Deathproof was, was people sitting around and talking. It was filler. It was meaningless. DP was shit except for the end scene, which was pretty fucking amazing IMO. Planet Terror wasn't very good either, but it at least had the conviction to be exactly what it stated.

  • Nov. 19, 2008, 6:06 a.m. CST


    by Lost Jarv

    what about the aforementioned Kill Bill scene? <P>And Death Proof was shit INCLUDING the end scene. You do not make OUR Kurt cry like a bitch.

  • Nov. 19, 2008, 6:19 a.m. CST

    Danny Glovers Dickblood

    by thefrood

    Apologies for touching a nerve son. Didn't realise you were such a sensitive soul. So enlighten me then. Are you saying that even though Morricone is a phenomenally talented composer, Tarantino should not use him to score the picture because it's too predictable a choice. That instead he should choose someone else purely to be unpredictable even though it could be argued that Morricone is perfect for the job? However it could also be argued that any movie score composer could be deemed predictable, as they by nature all write music for film. How about the guy who writes the songs for High School Musical? That would be pretty unpredictable. Except for the fact that I just predicted it. Damn you Tarantino! BTW I don't give a monkeys about this film. QT lost it around Jackie Brown as far as I'm concerned.

  • Nov. 19, 2008, 6:21 a.m. CST

    the sam jackson scene?

    by Droid

    to be honest i can't really remember it. haven't seen KB2 since the cinema, but can remember most of the film except for that. Maybe I've suppressed it? Like i said, IMO the end was amazing. And Kurts a champ but probably deserves to shed a tear or two after all the tears of anguish I've shed watching him in Soldier and that Elvis flick with Costner. lol

  • Nov. 19, 2008, 7:02 a.m. CST

    the end scene in deathproof is amazing

    by zapano

    however the film on the whole is crap. the dialogue is cringe worthy at best. from reservoir to kb1, he's made pure cinematic gold. Kill Bill 2 is uneven. Picking Morricone to do the music may be predictable but it's still a good idea

  • Nov. 19, 2008, 7:34 a.m. CST


    by Buffalo500

    Sso any film maker who uses Morricone to score their films is being predictable? Or is it just Tarantino? One of my favourite films of last year was The Unknown which Morricone scored, was the director in that case being predictable for using one of the greatest composers alive?

  • Nov. 19, 2008, 7:43 a.m. CST

    Agree on 'Morricone > Cannes'.

    by Darkman

    There are other film festivals in the world. If Tarantino shoots for Toronto, that'll be more than enough time for Morricone to do the score. To throw away an opportunity like this just for some deadline is as stupid a mistake as any director (good or bad) could make. <br><br> Also, 'bitter old mummy' guy? Eat a bag of dicks.

  • Nov. 19, 2008, 8:28 a.m. CST

    Most influential director of the 90's...

    by Droid

    Craven rejuvinated horror. Tarantino spawned endless imitators. Spielberg and Cameron by incorporating seamless CGI. They were all incredibly influential. The Coens had a great decade, but none of their films ever blew up big enough to influence too greatly. But, in terms of shaping how current films look... Most influential goes to... Fincher. He paved the way for all the commercial and music video directors. Without him you may not have Bay, Jonze, Sena et al. That's just IMO. I'm sure there are others I've missed. I've purposely left out people like Scorcese and the Scotts because their influence started long before the 90's. <p>Gripe of the Day. Against my better judgement, I watched Eagle Eye. After that steaming load of shit and Taking Lives, DJ Caruso really needs to stop imitating Fincher. And its not even a good imitation. Its fucking terrible. It's beginning to really fucking annoy me.

  • Nov. 19, 2008, 8:48 a.m. CST


    by skimn

    If you are using a commercial background as training ground for directors you'd have to go back to Ridley Scott in the mid '70s.<p>Prior to that, directors came from television, the theater, or the new breed of film school brats.

  • Nov. 19, 2008, 8:51 a.m. CST

    Tarantino DID make popular to the masses

    by skimn

    the concept of non linear storytelling. I'm sure he was aping some foriegn directors (any hints?), but Pulp Fiction was a watershed film for that type of film. Let's not forget, not only his direction, but his screenplays for True Romance and Natural Born Killers in that period also.

  • Nov. 19, 2008, 8:53 a.m. CST

    DAMN IT!

    by sonnyfern

    I didn't like the script that much, the Bastards are pointless and it didn't even feel like a real movie...but a fantasy film or something. I love the first half of Deathproof, the first group of girls were cool..the second I WANTED to die, except for Bell. But Pulp Fiction is a seminal life altering film for me. I wish QT would quit fucking around and get back to real filmmaking instead of paying homages and shit...

  • Nov. 19, 2008, 8:56 a.m. CST

    Most influential director of all time?

    by skimn

    I'd say a combo of Eisenstein and Hitchcock. For use of montage and camerawork/editing. Was there any director prior to Hitchcock that used the POV as effectively as Hitch..?

  • Nov. 19, 2008, 8:59 a.m. CST


    by Droid

    I agree, but the topic in the posts above was 90's... And i did mention i left out the Scotts for that reason. The directors today more commonly come from a commercial/music vid background, which the success of Fincher and Seven primarily influenced. Although the Scotts come from that background, I don't think their success produced an influx of similar directors. Also, I've no doubt that Fincher is influenced by Ridley Scott, but today, I think a lot of Hollywood flicks have a look and feel more similar to Fincher than Scott, but its like a link in a chain.

  • Nov. 19, 2008, 9:02 a.m. CST


    by skimn

    Sorry, didn't finish reading your post before jumping in. But in the music video "art form" became popular in the '80s and matured in the '90s, then lets not forget Russell Mulcahy who bridged the music video/feature director gap.

  • Nov. 19, 2008, 9:06 a.m. CST


    by Droid

    Thats true, I haven't seen it for a long time but I remember Highlander essentially being a one long Queen music video.

  • Nov. 19, 2008, 9:17 a.m. CST


    by Mr. Zeddemore

    I think the ending of Death Proof works thematically because, really, the film is 'The Rise and Fall of Stuntman Mike' - but there's no real logic move from 'bad-ass Mike' who crashes cars for fun to 'WAH' Mike. I know it's Grindhouse and all... but those films don't pretend to be art. And are far funnier. 'Pieces' is a far better Grindhouse film than Death Proof OR Planet Terror.

  • Nov. 19, 2008, 9:46 a.m. CST

    most influential director of all time is George Lucas....


    ...admit it. If it weren't for him, the film industry would be much different.

  • Nov. 19, 2008, 10 a.m. CST

    QT's 90's films had a bigger impact on film

    by Flip63Hole

    than Spielberg making two very personal (and incredible) films. The effects Pulp Fiction has had on movies can still be seen...

  • Nov. 19, 2008, 10:15 a.m. CST

    what is this magical effect Pulp Fiction had on films?


  • Nov. 19, 2008, 10:25 a.m. CST

    the concept of non linear storytelling

    by Samuel Fulmer

    Citizen Kane (and much of Orson Welles directoral output) The Killing, Last Year at Marienbad, Wild at Heart (which True Romance seems greatly influenced by in terms of plot and tone), Point Blank, Raising Cain, Godfather PT. II, Bad Timing, JFK, The Doors, Hiroshima Mon Amour, off the top of my head.

  • Nov. 19, 2008, 10:42 a.m. CST


    by skimn

    I'd say Lucas and Spielberg are the most influential business-wise. They made the modern blockbuster the formula that is the template for today. Artistically, I'd stick with my originals.

  • Nov. 19, 2008, 10:44 a.m. CST

    Re: Magical effect of Pulp

    by skimn

    It made psuedo hip geeks think they could write and direct.

  • Nov. 19, 2008, 11:07 a.m. CST

    Mr Zeddemore

    by zapano

    You're right, Kurt's breakdown is not logical and as far as I can remember it was Kurt who improvised the "wah" scene and Tarantino went with it. what i'm really referring to is the car chase, which was great old school filmaking that gave me a rush of adrenaline. The rest of the film can be thrown in the bin imho.

  • Nov. 19, 2008, 11:34 a.m. CST

    Two most influential of the 90's

    by Samuel Fulmer

    I'd say Brian De Palma and Martin Scorsese had the most influence on the important directors of the 1990's. De Palma definitly with his use of camera (which if you watch Fincher/PTA/Tarantino and then De Palma films from the late 70's through the 80's you see the connection), and Scorsese with his use of violence and gritty character studies. With the exception of Goodfellas, I'm basing these directors influence on the 90's generation based on their pre-90's work.

  • Nov. 19, 2008, 11:43 a.m. CST

    It's hard to argue against Lucas

    by Lost Jarv

    even if he has been rubbish for yonks.

  • Nov. 19, 2008, 11:48 a.m. CST

    Lucas/Spielberg 90's influence equals

    by Samuel Fulmer

    Every event/Special effects film of the era. Really even now if you think about it.

  • Nov. 19, 2008, 11:59 a.m. CST

    How about most influential filmmaking device

    by skimn

    Look at DePalma, Scorsese, Anderson..and on and on. What would they do without the Stedicam????

  • Nov. 19, 2008, 12:06 p.m. CST

    Best/Most Influential in the 90’s

    by Continentalop

    Ok, this is always going to be a hard thing to figure out. And everyone will have their own list, but I actually break it down into four categories: <p> Those who produced the best body of work during the decade: The Coen brothers, Kieslowski, Abbas Kiarostami, Kar Wai Wong. <p> Those who were the most successful (box office, critical reception and awards): Spielberg, Cameron. Roberto Benigni <p> Those whose films influenced the grammar of other filmmakers during the decade: Scorsese, Tarantino, Lars von Trier, <p> Those who influenced the aethstetics of films being made: The Wachowski brothers, John Woo, Michael Bay, John Woo <p> Of course this is in an incomplete list, and there is going to be overlap, but you get the idea. <p> But that brings up my choices for “most influential”, Martin Scorsese. I base it really on only one film GoodFellas, which as I said before had a huge impact on 90’s filmmaking. A friend of mine once said that Tarantino took Goddard and brought him to the masses; well Scorsese took Truffaut and took him to the masses. Like Jules and Jim, it was an inventive encyclopedia of the language of cinema that incorporated freeze frames, photographic stills, panning shots, dolly shots, hand held shots, voice over narration, non-linear story-telling, use of source and period music instead of a score, and creative editing. Everything in it had been done before, but not with such vitality and energy. Or with such violence. <p> And its affect could be felt overnight. Look at film editing after that movie. Every movie was now being cut at the same pace as Thelma Schoonmaker did the final real in GoodFella, faster, quicker, more energetic. Continuity became less important than emotion. Camera and motion tricks were no longer necessary for only “big” scenes but could work for smaller ones as well: the dolly zoom didn’t have to be used just for big reactions, but could be used for a scene at a diner café; slow motion wasn’t just used for a big explosion or action scene, but now could be used for something as simple as opening a door or smoking a cigarette at a bar. <p> The other thing this movie did, along with the work of Tarantino, was push the idea that films don’t have to play linearly, and that was done with just one scene, the killing of Billy Batts in the beginning of the film (which took place in the middle of the story). I know other films and other directors used non-linear storytelling first, but it was Scorsese and Tarantino who pushed it to the mainstream of Hollywood and allowed it to be accepted by the audiences. <p> Finally, lets look at how many movies were directly influenced by it, not even counting the mafia ones: Menace II Society, Private Parts, SLC Punk, Boogie Nights, Amongst Friends, Blow, Fight Club. All of these films style, aesthetics and/or story structure are based in a large part on GoodFellas. I mean, if you want to see the influence of Scorsese and GoodFellas, you don’t get much of a better argument than that Howard Stern’s Private Parts, a comedy biopic, had a lot of its style and structure based on GoodFellas.

  • Nov. 19, 2008, 12:19 p.m. CST


    by skimn

    Benigni ?? I enjoyed your post, but Benigni? I wish I could erase the memory of the man from my mind...

  • Nov. 19, 2008, 12:22 p.m. CST


    by Continentalop

    Benigni was under most successful category because his films garner critical praise, good box office and won awards. Success is not always fair. Sometimes those who are most successful are the least deserving. <p>Look at Donald Trump and Paris Hilton.

  • Nov. 19, 2008, 12:26 p.m. CST


    by skimn

    can't deny the success Benigni had with Life Is Beautiful. Wasn't it the most successful foriegn film in the US prior to Crouching Tiger?

  • Nov. 19, 2008, 12:48 p.m. CST

    I would probably go with Wachowskis.....


    ...and Spielberg. You can deny it all you want, but CG technology and the style with which action effects are executed has driven the sort of films we see today. Obviously there were much different films being made in the 70s and 80s when this technology was not yet available. We would never have had this rush of comic films if it weren't for the groundbreaking effects of Jurassic Park, and the groundbreaking action scenes/effects of The Matrix. I think almost every big Summer movie for a long long time, owes a ton to these two.

  • Nov. 19, 2008, 12:51 p.m. CST

    Tarantino fellates Eli Roth!!!


    and AICN is there to report!

  • Nov. 19, 2008, 1:04 p.m. CST


    by Continentalop

    While taking nothing away from Spielberg and the Wachowskis, the only thing that prevents me from listing them as the most influential is that their work really depends on a large canvass. They pretty much revolutionized the big blockbusters only, and it was the tent pole movies they influenced (unless you are Uwe Boll who thinks Bullet-time is a good thing to have in a low budget action-horror film). While these types of movies are popular, only about a dozen are made each year. Scorsese, however, influenced big, small, little, independent, name it. So just for that reason I have to give Scorsese the edge.

  • Nov. 19, 2008, 1:08 p.m. CST


    by Daniel_Plainview

    Inglourious Basterds. C'mon!! Yous should know this!!!

  • Nov. 19, 2008, 1:54 p.m. CST


    by skimn

    if you want to say CGI has been the most influential advancement in movies since the '90s, I would put Cameron in front of the Wachowskis for being at the forefront of CGI. From the waterpod in The Abyss and T2, Cameron has been spearheading CGI and pushing effects houses (ILM particularly) to break new barriers. John Knoll, co-creator of Photoshop, and one of the key figures in ILM's CGI house, has said without Cameron, we wouldn't be where we are today. And Cont, on a technical level I'd say DGDB's got a point. Nowadays someone with a good camcorder and software can produce things unthought of years ago. What was that short film made about the airliner forced to land on a freeway a few years back? CGI has freed the masses to "film" whatever their imagination can come up with, along with the big studios.

  • Nov. 19, 2008, 2:12 p.m. CST

    skimn and Continentalop


    Good points both of you. I think we're all right. <p>And I think CG/Digital/HD/Avid/Final Cut all that sort of digital revolution shit are the most important advancements in filmmaking in the past 25 years. Anyone named the most important filmmaker would have something to do with this movement. Whether I like it or not-- digital technology has changed the film industry forever. And sorry Quentin, but you had nothing to do with this.

  • Nov. 19, 2008, 2:28 p.m. CST

    DG, skimn & conti

    by Droid

    I would weigh in on this, but you've all pretty much summed it up. Good to read an intelligent discussion where no ones calling each other cocks and fags.

  • Nov. 19, 2008, 2:58 p.m. CST


    by Continentalop

    I agree with DANNYGLOVERS DICKBLOOD, OBE, that the digital revolution might have been the most important advancement. That is why I am nominating Daniel Myrrick and Eduardo Sanchez, the directors of the Blair Witch Project, as two of the most influential filmmakers of that decade. While their film was glitzy or flashy, it changed the way independent movies are viewed by the studios and marketed. They now could see the huge profit potentials for such films. <p> Plus, it created an avalanche of imitators shooting a bad independent movie just on some cheap camera. Everyone saw that you could make get recognized by making some ultra-low budget flick. Unfortunately, they all buried themselves under a barrage of DVD and VHS sent to the Sundance Film Festival, so only a few, some talented and some not, could separate themselves from this overload of cheapness and crappy looking movies.

  • Nov. 19, 2008, 5:41 p.m. CST

    Eli Roth Might Be A Douche, But HOSTEL Was Great

    by LaserPants

    Sorry, but alot of the Eli Roth bashing sounds like sour grapes from people who desperately want to make their own films but never will. He does have a douchebag personality, but I really, truly, honestly, thought HOSTEL was pretty fucking awesome as far as exploitation horror cinema goes. I really liked part 2 as well, though it wasn't as good as the first one...

  • Nov. 19, 2008, 5:47 p.m. CST

    Blair Witch Project? What About Cannibal Holocaust

    by LaserPants

    It came about 20 years before Blair Witch and used the same conceit. The BWP people weren't groundbreaking in terms of filmmaking, they were ground breaking in terms of marketing -- they were one of the first to generate a huge buzz through online viral marketing.

  • Nov. 19, 2008, 5:48 p.m. CST

    I'm sorry I can't let LaserPants get the last word in

    by skimn

    with his constant praising of Hostel 1 and 2. No, its not sour grapes. Its recognizing the man is a One Trick Pony, and a weak one at that.

  • Nov. 19, 2008, 6:37 p.m. CST


    by Continentalop

    Cannibal Holocaust might have been first, but it didn't have the impact that Blair Witch Project did. I am not saying who is the real groundbreaker here, or who is the more original artist. I am merely stately that the makers of the Blair Witch Project had a huge impact on the film industry and moviemaking. Whenever anyone makes a cheap, fake horror documentary, I am sure they are more influenced by the Blair WItch (and its massive returns) than they are by Cannibal Holocaust.

  • Nov. 20, 2008, 5:51 a.m. CST

    Hostel was awful and worthless

    by Lost Jarv

    even for torture porn. <P>Roth is a hack

  • Nov. 20, 2008, 1:24 p.m. CST

    And whats eli roth doing behind the camera?

    by lucky slevin

    Better stuff than you ass clowns. you all are very quick to give someone a label of being untalented and then everyone suddenly wants to be a part of gang banging. you all like to gang rape children i guess is what im getting at