Author Topic: Inglourious Basterds [sic]  (Read 102808 times)

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Stefen

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Re: Inglourious Basterds [sic]
« Reply #270 on: April 28, 2009, 09:10:05 AM »
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That's a long runtime. Reading the script, it doesn't feel that long.

Please don't be over-indulgent, Quentin.
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tpfkabi

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Re: Inglourious Basterds [sic]
« Reply #271 on: April 28, 2009, 11:09:06 AM »
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wasn't he talking about splitting it up Kill Bill style at one point?
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SiliasRuby

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Re: Inglourious Basterds [sic]
« Reply #272 on: April 28, 2009, 11:12:26 AM »
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I am a QT believer and defendant but if he split it in two like he did with Kill Bill, I just might've cracked.
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diggler

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Re: Inglourious Basterds [sic]
« Reply #273 on: April 28, 2009, 05:53:13 PM »
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the script didn't feel long, but looking back on it there was a lot of content in there. this movie would NOT work well split in two.
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MacGuffin

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Re: Inglourious Basterds [sic]
« Reply #274 on: April 30, 2009, 10:53:25 AM »
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Eli Roth Dishes on His ‘Basterds’ Nazi Mini-Movie: ‘What Have I Done?’
Source: MTV

Forget about real-life movies. Sometimes, the best flicks are the mini movies-within-movies that audiences only get a tantalizingly short peek at. From the Bruce Willis/Julia Roberts thriller “Habeus Corpus” glimpsed in Robert Altman’s “The Player” to the serious-minded dramatization at the end of “Pee-Wee’s Big Adventure” to the “Bowfinger” blockbuster “Chubby Rain,” I know I’d gladly fork over ten bucks if Hollywood ever got around to making them. And soon we’ll have a new one to enjoy, courtesy of Eli Roth and the “Inglourious Basterds.”

“There is this Nazi propaganda movie that is like a film-within-a-film,” explained the “Hostel” filmmaker when we spoke with him recently about the eagerly-anticipated Quentin Tarantino flick that will be premiering at this year’s Cannes Film Festival. “And it’s like a whole other movie.”

Tarantino’s “Basterds” is about a posse of Jewish soldiers wreaking havoc on the Nazi troops during WWII – and Roth not only stars in it, but was asked by Quentin to direct the mini-movie “Stolz der Nation (The Nation’s Pride)” that was written into the script. Naturally, the Jewish filmmaker relished the chance to spoof such real-life, Hitler-approved works as Leni Riefenstahl’s “Triumph of the Will.”

“Quentin had two shots that were very specific that he wanted to do - but he was like, “For the rest of it, I need footage of people shooting. It’s a guy in a bell-tower shooting 260 Americans. I need footage of people shooting!’ So I said okay,” Roth remembered. “We got a second camera, and in 2 days we did like 130 shots and Quentin was so happy he gave me a third day. We shot with the actor Daniel Bruhl, and put together this Nazi propaganda film…[as we shot] I was thinking ‘God, I didn’t think I could be more offensive after ‘Hostel 2,’ but how can I upset people more than that?’”

Remembering his direction techniques, Roth laughed. “I was going, ‘More swastikas! More swastikas!’
But as ironically over-the-top as the whole experience may have been, Roth has been wondering lately if he did too good a job on the mini-movie. “The first time we showed it to an audience [the actors] were in character, but the Germans were screaming ‘Heil Hitler!’ and ‘Kill the Jews!’ and it was terrifying,” he remembered. “We watched it over and over, and we were all friends and joking around by the end of it. But there was still something very powerful about that. I looked at Quentin and said, ‘What have I done?’”

When “Basterds” hits theaters August 21st, Roth hopes “The Nation’s Pride” goes down in history as a memorable mini-movie alongside “Habeus Corpus,” “Chubby Rain” and the rest. But he also hopes that the wrong people don’t come to enjoy it.

“I’m going to, like, resurrect the Nazi party,” Roth explained. “They are going to make me their Sarah Palin. They will be like, ‘We love his movie. But he’s a Jew! But it’s such a good movie. But a Jew made it!”

“It’s going to really throw off all the neo-Nazi’s,” he grinned. “I can’t wait.”
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modage

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Re: Inglourious Basterds [sic]
« Reply #275 on: April 30, 2009, 11:00:36 AM »
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what an asshole.
Christopher Nolan's directive was clear to everyone in the cast and crew: Use CGI only as a last resort.

Stefen

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Re: Inglourious Basterds [sic]
« Reply #276 on: April 30, 2009, 11:11:06 AM »
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SPOILERS....

FUCK. One of my favorite parts of the script was when they were in the movie theater watching the movie and Quentin is explaining the movie they're watching. I remember thinking how awesome it was going to be when Quentin made it but now that it's Eli Roth making that movie inside the movie the awesomeness of it all goes right out the window.

Bullshit.
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polkablues

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Re: Inglourious Basterds [sic]
« Reply #277 on: April 30, 2009, 02:07:52 PM »
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Creepy... I wrote the "Still committed to making Eli Roth happen" thing just a couple days ago, and then this morning this news comes out. I'm psychic!
Now you're in the *spoiler* place.

modage

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Re: Inglourious Basterds [sic]
« Reply #278 on: May 01, 2009, 10:03:26 AM »
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(caption contest?)
Christopher Nolan's directive was clear to everyone in the cast and crew: Use CGI only as a last resort.

modage

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Re: Inglourious Basterds [sic]
« Reply #279 on: May 01, 2009, 06:55:41 PM »
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Christopher Nolan's directive was clear to everyone in the cast and crew: Use CGI only as a last resort.

Gold Trumpet

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Re: Inglourious Basterds [sic]
« Reply #280 on: May 01, 2009, 11:02:09 PM »
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(caption contest?)

Little Yuriy always loved Brad Pitt, but he didn't forsee the horror of inviting the actor to his Bar Mitzvah while he was filming Inglourious Basterds.

The Perineum Falcon

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Re: Inglourious Basterds [sic]
« Reply #281 on: May 02, 2009, 04:41:58 PM »
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"That's not a knife! THIS is a knife!"
We often went to the cinema, the screen would light up and we would tremble, but also, increasingly often, Madeleine and I were disappointed. The images had dated, they jittered, and Marilyn Monroe had gotten terribly old. We were sad, this wasn't the film we had dreamed of, this wasn't the total film that we all carried around inside us, this film that we would have wanted to make, or, more secretly, no doubt, that we would have wanted to live.

MacGuffin

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Re: Inglourious Basterds [sic]
« Reply #282 on: May 03, 2009, 12:23:31 AM »
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Quentin Tarantino's 'Inglourious Basterds' on a mission
Brad Pitt stars as the leader of World War II soldiers spreading terror among the enemy in Nazi-occupied France.
By John Horn; Los Angeles Times

When Quentin Tarantino was just a video store clerk filled with filmmaking dreams, he and his pals shared a shorthand for the against-all-odds mission movie they would someday make: "This will be our 'Inglorious Bastards!' " Tarantino and his friends would say.

Other aspiring filmmakers might have cited "The Dirty Dozen" or "The Magnificent Seven" for reference, but Tarantino -- who always has been drawn to and has an encyclopedic knowledge of obscure B movies -- preferred director Enzo Castellari's 1978 Italian World War II film "Inglorious Bastards," a sometimes campy drama about renegade soldiers shooting and blowing up Nazis in World War II France.

Tarantino's new film -- starring Brad Pitt, a mix of American and European character actors and some fish-out-of-water casting picks such as comedian Mike Myers and torture-porn director Eli Roth -- borrows hardly anything from its Italian predecessor, and even the title of Tarantino's Cannes Film Festival competition movie is a bit different: "Inglourious Basterds."

But there is still a difficult mission in the film that opens Aug. 21; it is still World War II, and there are still guns and bombs.

Pitt's Lt. Aldo Raine heads a group of eight Jewish soldiers (two of whom are German-born) spreading terror among the enemy in Nazi-occupied France. Their tactics, given the filmmaker's soft spot for sadism, aren't exactly subtle.

"Their mission is to psychologically beat the Germans by desecrating and butchering their bodies, taking their scalps, disemboweling them, and always leaving one soldier alive to tell the story," Tarantino says, sipping an iced tea on the second-floor balcony of his Hollywood Hills home overlooking Universal Studios. It's akin, he says, to what the Apaches did to the U.S. Cavalry: When you'd rather die than be captured, the enemy is winning the mind game.

Lest the Basterds be labeled one-trick ponies, the outfit is then given its impossible mission: to blast the Paris movie theater hosting the premiere of the latest propaganda film by Nazi spin doctor Joseph Goebbels.

Tarantino had tried to write the movie for years, and found himself mired in history books that only confused his plotting. "The problem with doing World War II research is that it can derail you, because there are too many great stories, too many good ideas to go around."

Tarantino hopes that his movie is not nearly as somber as the most recent round of World War II films -- including "Defiance," "Valkyrie" and "Flags of Our Fathers." Instead, he's hoping "Inglourious Basterds" has some of the wit and looseness of movies about the war made during the war, like 1943's "This Land Is Mine" and 1941's "Man Hunt."

"This isn't," Tarantino says, "antiwar misery."
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modage

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Re: Inglourious Basterds [sic]
« Reply #283 on: May 03, 2009, 04:34:23 PM »
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THAT BAD-BOY AUTEUR QUENTIN TARANTINO AUDITIONS HIS NEWEST FIND, DIANE KRUGER.
Source: NYTimes

Quentin, when did you first become aware of the Cannes Film Festival?
As a film enthusiast growing up in Los Angeles, I’ll say by 13, 14, I already knew about Cannes. I think the first movie that I knew of that had won the Palme d’Or was ‘‘Apocalypse Now’’ in 1979. Life magazine did a whole big thing on it, with Brando on the cover in his bald head. I still have that issue. To me, that movie proved that when you make a great, terrific film, you take it to Cannes. That is your premier screening — your Ali-knocks-Foreman-out screening.

What was the screening like of ‘‘Pulp Fiction,’’ which won the Palme d’Or?
It certainly wasn’t, Oh, they’re going to win this, this is obviously the movie of its time. The violence was not 100 percent accepted, and there were some boos at the end. They were reacting against the idea that this could be considered art.

Who was the head of the jury?
Clint Eastwood. And the second head of the jury was Catherine Deneuve. I think of her as the queen of France. So having the queen judge your movie is scary until you remember that she did ‘‘Belle de Jour.’’ She turned out to be one of my bigger defenders. She’s spent an entire career supporting directors who pushed the envelope, from Buñuel to Jean-Pierre Melville to Godard.

You were head of the jury in 2004. Whom did you award the Palme d’Or?
‘‘Fahrenheit 9/11.’’ You know what? As time has gone on, I’ve put that decision under a microscope and I still think we were right. That was a movie of the moment — ‘‘Fahrenheit 9/11’’ may not play the same way now as it did then, but back then it deserved everything it got.

Did you like being on the jury?
I loved it. I enjoy arguing. There was one year when I visited Cannes, and I was so caught up in the spirit that I picked 12 movies that I had never seen from all different countries and I watched them and did my own little awards thing. Can I tell you the movie that won? ‘‘Perfume’’ by Tom Tykwer. ‘‘Perfume’’ won my own little Cannes Film Festival.

In your festival, who won best director?
Bryan Singer for ‘‘Superman Returns.’’ I am a big fan of ‘‘Returns.’’ I’m working on what is now a 20-page review of that movie, and I’m not done yet.

When you’re making a film, like this year’s ‘‘Inglourious Basterds,’’ which will premiere at Cannes, is it hard to watch movies?
Maybe it’s just this movie, but it’s become very hard to concentrate on anything but the film I’m making. This was the hardest movie I’ve ever made.

‘‘Inglourious Basterds’’ is a World War II epic that combines historical events with a vivid, pop sensibility. The movie stars, among others, Brad Pitt as an American lieutenant in search of Nazis and Diane Kruger as a German movie star/spy. It’s both authentic and highly theatrical. Did you shoot on soundstages in America or in Europe?
We shot the film in Berlin and a little bit in Paris. I only cast actors who could speak English with their native accents. The Germans have accents, the French are French, and the English are English. During the war, your understanding of German, whether you were a French citizen or you were in a concentration camp, meant the difference between life and death. In Hollywood movies, Germans often have English accents, and I can’t go for that contrivance. The proper accent could be the difference between success and failure.

On this movie, you worked very quickly. Was that partially to have the film ready in time for Cannes?
Yes. I wanted to have a masterpiece before the decade’s out.

What directors made you want to become a filmmaker?
Sergio Leone and Mario Bava. I saw ‘‘Baron Blood’’ and ‘‘Beyond the Door II’’ by Bava in the theater, and I was overwhelmed. And Leone is Leone. Those two influenced me the most as far as thinking in terms of shots. And then I was in acting school, and I discovered I knew drastically so much more about cinema than anyone else in my class. I realized I was with the wrong group.

What was the first movie you remember seeing in the theater?
‘‘Airport.’’ At Grauman’s Chinese. And I loved it! When the bomb exploded, I couldn’t believe what I was watching and neither could anybody else in the theater. ‘‘Airport’’ changed things: now, when you buy a ticket to see a disaster movie, you expect to see the disaster. That was not the case in 1970. Audiences then expected the hero to save the day.
Christopher Nolan's directive was clear to everyone in the cast and crew: Use CGI only as a last resort.

Convael

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Re: Inglourious Basterds [sic]
« Reply #284 on: May 03, 2009, 06:55:12 PM »
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Well, there it is from Quentin's mouth: Mazal tov, it's a masterpiece!

 

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