I merely stated this is yet another predictable move by Quentin. You can plot his creative decisions like clock work.

Good luck with this movie guys. Its gonna be sad when this disappoints the fuck out of you.

SEEK AND YE SHALL FIND!!

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

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.

Furthermore, I must credit Billy Walsh, the great director of Medellin and Queen's boulevard for my antics.

Jurassic Park

Schindler's List

Saving Private Ryan

Yeah...no one came close.

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.

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.

Goddammit, I hate that fucking piece of shit movie.

And as for Death Proof? Horrible execrable abortion of a movie.

And Death Proof was shit INCLUDING the end scene. You do not make OUR Kurt cry like a bitch.

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.

Prior to that, directors came from television, the theater, or the new breed of film school brats.

Those who produced the best body of work during the decade: The Coen brothers, Kieslowski, Abbas Kiarostami, Kar Wai Wong.

Those who were the most successful (box office, critical reception and awards): Spielberg, Cameron. Roberto Benigni

Those whose films influenced the grammar of other filmmakers during the decade: Scorsese, Tarantino, Lars von Trier,

Those who influenced the aethstetics of films being made: The Wachowski brothers, John Woo, Michael Bay, John Woo

Of course this is in an incomplete list, and there is going to be overlap, but you get the idea.

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.

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.

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.

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.

Look at Donald Trump and Paris Hilton.

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.

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.

Roth is a hack