Author Topic: Inglourious Basterds [sic]  (Read 102965 times)

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MacGuffin

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Re: Inglourious Basterds [sic]
« Reply #525 on: September 16, 2009, 10:38:59 AM »
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Tarantino sees "Basterds" saving Weinstein brothers

TEL AVIV (Reuters) - The storming success of World War Two shoot-'em-up "Inglorious Basterds" is the ticket out of financial difficulty for its backers, the Weinstein Co., director Quentin Tarantino said on Tuesday.

Brothers Bob and Harvey Weinstein have released all of Tarantino's work, beginning in 1992 with "Reservoir Dogs" when they ran Miramax Films. But since launching their new firm in 2005, they have been short on critical or box-office hits.

The New York Times reported last month that the independent Weinstein Co., cash-strapped after seeing a quarter of its releases earning $1 million or less, had sought restructuring advice as well as a bridge loan.

"They were backed up against the wall, and this gives them breathing room. This gets their back off the wall," Tarantino told Reuters during a visit to Israel to promote "Inglorious Basterds", which he said had grossed $200 million worldwide.

"It will give them some cash by the time the whole thing is over with, but it also even helps them inside of the industry and it actually shows Hollywood that they can open a movie."

"I'm actually proud that I was able to do that for them, that I could pay back their faith in me, that I could pay back their support," Tarantino said.

The film, which reportedly cost $70 million to make and which will complete its global screen distribution by November, stars Brad Pitt as chief of a squad of Jewish-American troops who butcher Nazis in occupied France. Their plot collides with that of a Holocaust survivor bent on assassinating Hitler.

The Anglophone, German, Austrian and French cast interact in their own tongues, with some Italian thrown in -- a departure for the 47-year-old Tarantino, whose past films tended to focus feverishly on the style and lingo of American urban toughs.

"One of the things that I think that is very interesting is it is actually putting a lie to the aspect that subtitles aren't commercial," he said.

RISKS OF IMMEDIACY

Though the story is steeped in fantasy -- by Tarantino's own account, it's a spaghetti Western transposed to war-torn Europe -- he said original languages were key for building a sense of immediacy, especially scenes such as a tavern showdown where a faulty accent gives away a British spy disguised as a German.

"This was something I had to offer as far as a World War Two movie was concerned. So it wasn't just to prove to my critics that I wasn't a rube."

Any challenges he had understanding the actors on-set were overcome with the help of dialogue coaches: "It's my dialogue. I know it -- it's just a sixth sense."

"Inglorious Basterds" stirred concern among those who argued it trivialized the Holocaust by showing the fantastical triumph of Jewish brutes and an SS colonel who is both seductive and sinister. Its tone lurches between horror and black comedy.

Tarantino's Israel visit included a trip to the Yad Vashem Holocaust memorial and he said he was keen to gauge his film's reception in the Jewish state, which was founded in the wake of World War Two and has fought regularly with its Arab neighbors.

"That's the curiosity factor involved. American Jews are going to respond to it differently than European Jews, and I have to assume that Israeli Jews are going to respond to it in their own particular way," he said.

The most satisfactory premiere of "Inglorious Basterds," Tarantino said, was in Germany, where he watched the audience.

"Germans are used to cringing in movies, especially about World War Two, and that even happened at the beginning of my movie," he said.

"And then there was this moment in the theater when the Germans realized that they were allowed to laugh with the movie -- not at it, but with it. They were allowed to get into the adventure. So there was this cathartic experience."
“Don't think about making art, just get it done. Let everyone else decide if it's good or bad, whether they love it or hate it. While they are deciding, make even more art.” - Andy Warhol


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Stefen

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Re: Inglourious Basterds [sic]
« Reply #526 on: September 16, 2009, 02:32:24 PM »
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lol. Oh, Quentin. Tone if down, buddy.
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socketlevel

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Re: Inglourious Basterds [sic]
« Reply #527 on: September 16, 2009, 09:12:35 PM »
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lol he healed a country.  wow i think he can walk on water too.
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New Feeling

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Re: Inglourious Basterds [sic]
« Reply #528 on: September 21, 2009, 12:13:46 AM »
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this weekend IB became QT's highest grossing film, domestically. 

©brad

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Re: Inglourious Basterds [sic]
« Reply #529 on: September 24, 2009, 02:16:13 PM »
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this weekend IB became QT's highest grossing film, domestically. 

This amazes me, because I think it's by far his least accessible/crowd-pleasy film. Maybe I underestimate middle America.

I can't say I loved it. A few undeniably incredible scenes (most notably the opening and theater climax) interspersed with unforgivably long, masturbatory sections that didn't add up to anything I would laud as masterpiece. Like some of you I never really got invested in any of the characters. The pacing was totally schizo. And am I the only one here who found it pretty, uh, insensitive? I have to admit I was a little perturbed by the way the audience was cheering during the stabby parts, particularly that last scene. To quote a buddy, it's a potent reminder of what the Obama=Hitler crazies are tapping into.


tpfkabi

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Re: Inglourious Basterds [sic]
« Reply #530 on: September 24, 2009, 03:14:22 PM »
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Is that figure economy adjusted?

Prices are quite different just from when PF came out.
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Pubrick

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Re: Inglourious Basterds [sic]
« Reply #531 on: September 24, 2009, 08:57:47 PM »
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Is that figure economy adjusted?

Prices are quite different just from when PF came out.

you mean adjusted for inflation.

i don't think any box office reading given today is adjusted for inflation. no studio wants to admit that their shitty films (like this one) are still making peanuts compared to gone with the wind. the only thing that matters is the number in current american dollars, and the increase in ticket price is the only reason every movie these days seems to break all kinds of records.

the french, and i presume lots of countries outside the US, have a better way of ranking the popularity of films, and that is by attendance. by this method Bienvenue chez les Ch’tis is their second biggest domestic release going on number of tickets sold, and it is compared to titanic only on those figures, but also La Grande Vadrouille which is from 1966. the reason for this, i think, is that americans take their box office figure as the standard worldwide.. that is everyone assumes the world knows what US$153million means. but no one would be interested in hearing the number in EUROS.

also the reality of pulp fiction's original release is distorted by its subsequent cultural impact. you feel that millions of ppl watched the film over and over again for 6 years straight cos of the number of imitators.
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RegularKarate

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Re: Inglourious Basterds [sic]
« Reply #532 on: September 25, 2009, 12:13:21 PM »
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the french, and i presume lots of countries outside the US, have a better way of ranking the popularity of films, and that is by attendance.

But do they adjust for inflation of people?

pete

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Re: Inglourious Basterds [sic]
« Reply #533 on: September 25, 2009, 01:39:28 PM »
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lets not neglect the fact that the universe is constantly expanding.
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Kal

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Re: Inglourious Basterds [sic]
« Reply #534 on: September 25, 2009, 04:26:11 PM »
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Box Office is adjusted for inflation, not the regular numbers you see but the actual statistics. That is why Dark Knight is the second highest grossing film in US history, but if you adjust it for inflation its actually #20 or so.

In terms of attendance, as lame as films are these days, attendance has been up the past few years and there are more theaters open than ever. The overall box office is bigger than it was before even though individual films are less successful, but the reason why that happens is because when Gone with the wind was released there were a few dozen films released per year in theaters, now there are 500.

tpfkabi

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Re: Inglourious Basterds [sic]
« Reply #535 on: September 25, 2009, 05:11:59 PM »
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you mean adjusted for inflation.

That's what They say.

Why?

Because they were told to by Them.

Don't be a Them or They.

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Alexandro

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Re: Inglourious Basterds [sic]
« Reply #536 on: October 10, 2009, 11:06:32 PM »
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What I loved the most about the experience of watching this film was to be shown that Tarantino is back in the business of defying audience expectations. When Jackie Brown came out it was perceived mainly as a let down because he made a character / social comedy piece instead of pulp fiction. and then when the kill bill movies came out, in both instances, detractors for the most part complained about the lack of dialogue first and the lack of action in the latter. death proof is a minor work, but I find it at least amusing each time. Just good old fun. Now he comes with this, and we all were expecting one thing and get another. It is true, not many filmmakers could get away with a film like this, not only because of the politically incorrect point of view, but also because it is, in the end, a completely dialogue driven war film.

It is also true, at least of first viewing, that some of these scenes go on for a little too long, particularly near the end, when you just want to get down to business, but that's the way the film is telling itself. I'm baffled by the box office success, in fact it puts everything else into perspective. How come a nearly three hours movie mainly consisting of long conversations in restaurants and dinners achieve this hit status? It pretty much goes against any assumption made by the studios and analysts about what the PUBLIC wants.

Almost no one here has mentioned or made too much emphasis on the Soshana storyline (except to talk about the Bowie sequence) but that's the best part of the film for me. Her story is the embodiment of Tarantino's love...we could say eternal hard on for cinema. He sees cinema as a literal force of destruction and liberation, and he uses for that purpose both within the movie and outside of it, dismantling the usual notions about what we all should think regarding WWII, the holocaust and Hitler.

There is a lot to say about this film, and to discuss. A lot of ideas. Perhaps this could not be his masterpiece (as he himself claims) or even A masterpiece, but this one is definitely the one with more content and material to analyze and study. To say it is only a cool movie, or a good fun movie is to lovingly dismiss it.

Hope to catch it again real soon.

Alexandro

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Re: Inglourious Basterds [sic]
« Reply #537 on: October 12, 2009, 07:30:52 AM »
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Also, for all it's cinematic nods and obscure references, to me the most obvious influence is literary. The whole movie feels like reading an Elmore Leonard novel.

tpfkabi

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Re: Inglourious Basterds [sic]
« Reply #538 on: October 12, 2009, 08:56:06 AM »
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Almost no one here has mentioned or made too much emphasis on the Soshana storyline (except to talk about the Bowie sequence) but that's the best part of the film for me. Her story is the embodiment of Tarantino's love...we could say eternal hard on for cinema. He sees cinema as a literal force of destruction and liberation, and he uses for that purpose both within the movie and outside of it, dismantling the usual notions about what we all should think regarding WWII, the holocaust and Hitler.

Basically, how he would have changed WWII with what 'weapons' he has/d at his disposal if he could go back in time.
or
How he could kill one of the most vile people of all time with what he loves*.

Has he spoken about what started off his writing the screenplay - which story came first - as I have not read all his long interviews on IB?

*like Bret Favre being able to throw a football so hard he would puncture Hitler's heart or Bono sing so loud Hitler's head would explode...........now i am reminded of that movie with the robot girl who kills the woman with the basketball. =) (i want to say Deadly Friend).......i guess the analogy doesn't work exactly as there is actual physical violence and fire.
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MacGuffin

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Re: Inglourious Basterds [sic]
« Reply #539 on: October 20, 2009, 11:03:52 AM »
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Inglorious Basterds Coming Home December 15
Source: ComingSoon

Universal Studios Home Entertainment has announced that it will release Quentin Tarantino's summer blockbuster Inglorious Basterds on Blu-ray and DVD December 15th. Here are the full specs:

Cinematic icon and filmmaker Quentin Tarantino (Kill Bill Vols. 1 & 2, Pulp Fiction) helms one of the most audaciously inventive, eagerly-anticipated films of the year, Inglourious Basterds, coming to Blu-ray(TM) Hi-Def and DVD on December 15, 2009 from Universal Studios Home Entertainment. Starring Academy Award® nominee Brad Pitt (The Curious Case of Benjamin Button, Burn After Reading) in an audacious, adrenaline-packed, high-octane World War II revenge fantasy, Inglourious Basterds has been hailed as one of Tarantino's most stylish and entertaining films to date. From its deceptively bucolic opening scenes to its incendiary final moments, Inglourious Basterds delivers a heady combination of fact and fantasy that never fails to surprise. Written and directed by acclaimed filmmaker Quentin Tarantino, Inglourious Basterds is available on Two-Disc Blu-ray(TM) Hi-Def, Two-Disc DVD Special Edition, Single-Disc DVD and download to own. Both the Blu-ray(TM) and Two-Disc Special Edition DVD come with a Digital Copy of the film for a limited time only just in time for the holiday season and over 90 minutes of startling and engrossing behind-the-scenes bonus features.

Brad Pitt shines as the bodacious American commander of a lethal team of Jewish-American soldiers known as "The Basterds" - whose exploits in occupied France strike terror in the hearts of the German rank and file and enrage the German High Command. The acclaimed cast also includes Christoph Waltz, who was named Best Actor at the 2009 Cannes Film Festival for his unforgettable performance as a charming but cunning Nazi officer, B.J. Novak ("The Office"), Diane Kruger (National Treasure), Eli Roth (director of Hostel), Melanie Laurent (Paris), and Michael Fassbender (The Bourne Ultimatum).

In addition, notable veteran guest stars including Mike Myers (Austin Powers), Rod Taylor (The Birds), Julie Dreyfus (Kill Bill Vol. 1) and others contribute to this larger-than-life story that mixes pulp and propaganda in Tarantino's inimitable way.

Inglourious Basterds is priced at $39.98 SRP for Two-Disc Special Edition Blu-ray(TM), $34.98 SRP for Two-Disc Special Edition DVD and $29.98 SRP for Single Disc DVD. Preorder close is November 3, 2009.

BONUS FEATURES

All three editions of Inglourious Basterds include:

* Extended & Alternate Scenes
* Nation's Pride - The film within the film Inglourious Basterds can be seen it its entirety
* Domestic and International Trailers

Both the Two-Disc Special Edition and Blu-ray(TM) also come with:

* Roundtable Discussion with Quentin Tarantino, Brad Pitt and film historian/critic Elvis Mitchell
* The Making of Nation's Pride
* The Original Inglorious Bastards - a salute to the original 1978 film
* A Conversation with veteran actor Rod Taylor
* Rod Taylor on Victoria Bitters, the Australian beer
* Quentin Tarantino's Camera Angel
* Hi Sallys - Gag Reel
* Film Poster Gallery Tour with Elvis Mitchell
* Inglourious Basterds Poster Gallery
* Digital Copy of Inglourious Basterds

In addition to the above features, the Inglourious Basterds Blu-ray(TM) Hi-Def release includes:

* BD-Live(TM)-- Access the BD-Live(TM) Center with your Internet-connected player to download the latest trailers, host a chat with your buddies, upload your own webcam commentary, and more!

SYNOPSIS

In the first year of the German occupation of France, Shosanna Dreyfus (Melanie Laurent) witnesses the execution of her family at the hand of Nazi Colonel Hans Landa (Christoph Waltz). Shosanna narrowly escapes and flees to Paris where she forges a new identity as the owner and operator of a cinema.

Elsewhere in Europe, Lieutenant Aldo Raine (Brad Pitt) organizes a group of Jewish American soldiers to perform swift, shocking acts of retribution. Later known to their enemy as "the Basterds," Raine's squad joins German actress and undercover agent Bridget von Hammersmark (Diane Kruger) on a mission to take down the leaders of the Third Reich. Fates converge under a cinema marquis, where Shosanna is poised to carry out a revenge plan of her own. ...

Employing pulp and propaganda in equal measure, Quentin Tarantino's INGLOURIOUS BASTERDS weaves together the infamous, oppressed, real and larger-than-life stories of WWII.
“Don't think about making art, just get it done. Let everyone else decide if it's good or bad, whether they love it or hate it. While they are deciding, make even more art.” - Andy Warhol


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