The first one you
direct is Reservoir Dogs in 1992
and you announce your arrival
on the scene with this particular moment.
Well good luck to me.
I got to be somebody
I just scared off all of my chair
and worried how good those things
close to me.
Jokers to the right here.
I can tell you that.
Mr. Blond torturing a cop.
Yes.
You kind of just before I got good
or I would have closed this studio down.
How did you come up with this idea
of highly stylized violence?
Hmm.
You know,
there's all kinds of scenes
that I respond to
in movies
that respond to music sequences.
I respond to big comedy sequences.
It was like
they galvanized the entire theater.
Everybody woke up,
everybody got connected.
And, you know, and
I would go see a film that had a sequence
like that.
I would see it
two or three times at the theaters
just to see that sequence.
And then just to have that experience up
with an audience so,
you know,
again, we're talking about, you know,
you know, you're calling it violence.
You know, it it is violence.
It's also action.
I think it's also kind of what movies do
in a way that
that's particular
to them
as opposed to theater or literature is,
you know,
the domain of kinetic violence that that,
you know,
that can usually usually
they can have different
reasons for the impact,
but it can oftentimes
give a cathartic release for an audience.
Two years later,
you make Pulp Fiction,
and there we see
something else that makes you unique,
which is dialog
you won't find anyplace else.
Yeah.
What does Marsellus
Wallace look like?
What?
What country are you from?
For what? Ain't no country.
I have heard up there speak English.
And what?
What English do you speak it?
And you know what I'm saying?
Describe what Marsellus Wallace
looks like.
Try what again.
Say what again. I dare you.
I double dare you, Mother.
Say what?
One more goddamn time.
You won the Oscar
for Best Original Screenplay.
What is the secret to Tarantino dialog?
I just get the characters
talking to each other.
So it's like me.
The writer is writing it.
And, yeah,
I'm kind of controlling it for a while,
but the idea is the conversation
catches fire among the characters,
and then they take it and run with it.
And then I'm almost like a court reporter
jotting it all down.
And and then
then usually whatever comes out
is what comes out.
Now,
inside of that, there is a
there is a rhythm to it,
there is a musicality to it.
There is
a bit of
rhyme that happens
between some of the words
and some of the phrases.
And so, you know, it's not poetry,
but it's not completely divorced
from poetry.
It's not rap,
but it's not completely divorced.
From it.
It's not a up
comedy act,
but it's not completely divorced
from that either.
I want to show one other scene
for no other reason
than it's just so cool from Pulp Fiction.
John Travolta.
Oh, here they are.
They had a high bar phono board,
and they let it bland
700 little records,
all rock the rhythm and jazz
but when the sun went down,
the rapid tempo of the music fell
to allow these videos
to go to show you never again to
have that come about.
Everyone knows that
I've kind of was bringing John Travolta
back from
I think, look, he's talking three
when he did the movie,
and it set him up for a whole second
act of his career
and a really loved third
act of his career.
For a really lovely way. But at the time,
the audiences would go see the film.
They didn't quite know everything yet.
So they're feeling,
Oh, John Travolta isn't
so I haven't seen him in a while.
So he's in the movie
and he's playing a gangster
and it's all going along and it's funny.
And it says
then they go to Jack
Rabbit Slims and everything's interesting
and the funny dialog back and forth.
This is all interesting.
And they go, Okay,
and now it's time for this twist.
Contest, and
Uma Thurman goes, Okay, right here.
And then they go up there
and then he takes off his shoes.
And then all of a sudden,
all throughout the audience of a
packed theater.
And this happened for a few weeks
when the movie was first opened,
you had this little realization like,
Oh my God, he's going to dance.
He's actually going to dance.
And then John Travolta
with the biggest dance
stars of the last 30 years and a movie
you did not expect that to happen,
goes out there and cuts the rug
and brings the house down.
So let's jump ahead.
2009 Your War World War Two Movie
Inglourious Basterds.
And here's a scene where
Aldo Raine,
who's the head
of the American commando unit,
The Bastards,
has a surprisingly civil conversation
with SS officer Hans Landa, yells
Tell you're
Aldo the Apache,
you're the Jew hunter.
I'm a detective a damn good detective.
Finding people is my specialty.
So naturally,
I worked for the Nazis, finding people.
And yes,
some of them were Jews, but Jew Hunter
just a name that stuck.
Well, you do have to admit it is catchy.
So often in your movies,
instead of realism, you go for the way
we wish life would be.
Don't you know it? Well, sometimes.
Sometimes, yeah. Huh?
And, well, I mean.
Well,
starting with that one particularly.
All right.
Where I kind of consider bastards
the the first part of my
rewriting history trilogy
with that Django.
And then
so once upon a time.
Once upon a time in Hollywood,
but, you know, the way that
ended up coming about
is I didn't start
the movie with the idea.
Oh, and this will be the movie
that I kill Hitler.
That will be the whole thing.
And I'll re-engineer everything.
So that happens.
I never really
I never have a super clue about.
Exactly. I have a clue taking it back.
I have a clue,
but I never know
100% how the movie's going to end
when I start writing it.
So the thing about it
is I'm writing the script
and now all of a sudden the
the bastards are in the theater.
And the whole idea is to blow up
the theater and kill kill Hitler.
I go,
Hey,
this is actually kind of working out.
And it's like four in the morning
or three in the morning
or something like that.
I go, What?
I'm going to do, what I'm going to do.
And then I just had the idea.
And so I just took a piece of paper
and I wrote Just F and kill him.
And then
me put that piece,
I don't know if that's a good idea
or a bad idea.
Let me just put the piece of paper
on my bedside table and go to bed.
When I wake up the next morning,
I'll look at it
and I'll know more
if that's a good idea or a bad idea.
And when I woke up the next morning,
I thought it was a good idea.
It's your movie. Yeah.