Quote:
Originally posted by CJFusco
Perhaps his attitudes are juvenile, but he has a sophisticated understanding of the pace and momentum of film, along with the effect of sound/music, not to mention that he is a master of writing dialogue. Make no mistake, within academic film circles, Tarantino is slowly-but-surely being canonized, and in 15-20 years he will appear on syllibi along with Ford, Hitch, Wells, et al.
dd74, when PULP FICTION was produced (1994? 96?), Tarantino already had a multi-picture deal in place with Miramax, thanks to the massive success of RESERVOIR DOGS. I don't think the man needed to do a lot of script shopping. Moreover, I don't see PULP FICTION as being an incredibly racially-charged movie.
I'm still not sure what you mean about racially-charged films not getting made. One of the biggest movies of 2005 was CRASH, non?
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Hey CJ, sans the canned analysis you make about Tarantino with pace and momentum, sound and music and dialogue - blah, blah, blah; let's get to the heart of the issue with the pure fact that had it not been for Harvey Keitel, Reservoir Dogs, partly because of its content, would have never been made. Had it also not been for Harvey Keitel, RD, would have received an NC-17 rating. Had it not been for Keitel financing much of Reservoir Dogs and taking on the financial risk, partly because he wanted to regenerate his own snoozing career, Reservoir Dogs would not have been made.
So save all the undergrad film school regurgitation; you're missing the point of the business by confusing it with tech stuff that doesn't matter if the film can't be made at all.
As for Pulp Fiction, your mention of that film proves what, exactly? That Tarantino has a legal obligation to fulfill a previously established contract with Miramax? That the movie was ten to twelve years old and produced in a much different time than movies today? As I said, try pitching a movie like that TODAY, not ten years ago.
As for Crash, the polar opposite of racially charged, that movie was more racially apologetic. Of course it won awards as it was an easily accessible, superficial movie ripe for a simplistic PC-hazed moviegoing crowd. I mean, really, was there something new and interesting about Crash other than encapsulating short stories about racial stereotypes by paper-thin characters inspired by Haggis' (the movie's screenwriter) own L.A. carjacking?
Please...theft of a Mercedes (or whatever car it was) inspires true great racially-charged commentary on America - I don't think so.