Inglourious Basterds [sic]

Started by brockly, May 20, 2003, 06:05:39 AM

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Host: What are the next films that you are going to be making? We're hearing KILL BILL 3, KILL BILL 4, which one is it?

Tarantino: The next movie I'm doing is my World War II movie. I just finished up the first draft and if ALL GOES WELL, I will be here, in Cannes, in 2009 with INGLORIOUS BASTARDS!

By QT shooting standards there's no way he will have ready IB for Cannes next year, and still first draft? So yeah, not gonna happen.


That was probably an interview from 2002. In 2002 he had just finished the first draft and hoped to have it ready for Cannes 2009.

Now? He probably just finished the second draft and hopes to have it ready by Cannes 2013.
Falling in love is the greatest joy in life. Followed closely by sneaking into a gated community late at night and firing a gun into the air.


Tim Roth Talks 'Inglorious Bastards' and 'Pulp Fiction' Spin-Off!
Source: Cinematical

I just got off the phone with Tim Roth, who, of course, stars as Emil Blonsky/Abomination in The Incredible Hulk (due out on Friday). We'll post our entire interview later this week, along with two reviews of the new (and definitely improved) Hulk, but to whet your appetite, here are a few non Hulk-related nuggets from the man himself. When I asked Roth about Inglorious Bastards and how Quentin Tarantino claimed to be heading for pre-production, he had this to say: "It's something me and Quentin had talked about over the years, and I don't know what's happening. If Quentin wants me, I'm there. But it's been years and years in the making. It's gonna be fun, though. If it's coming from Quentin, it's gonna be fun. I'm perfectly happy to roll up; I don't even need to read the script. Just tell me where to stand."

Additionally, and I thought this was kinda fun, I asked Roth if there were any characters of his he'd like to revisit at some point down the line. That's when he replied, "I'd like to do the Pulp Fiction character." I asked if he'd talked with Tarantino about doing a spin-off flick with Pumpkin and Honey Bunny: "Yeah, we did -- we talked about it before, because he thought they would've been good in Natural Born Killers; those two characters. We've often talked about it -- day dreams -- about taking those characters and making a film around them."
"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

Skeleton FilmWorks


what i don't understand is where this idea came that Inglorious Bastards is a "real movie", as in it will be different from all the other homages and re imaginings that came before. What do we know about this project except that it is a WWII movie? That sounds like a genre picture to me, filled with Leone, Peckinpah, and who knows what other million references. It sounds like an escape film, maybe, with music from old films played in it during important set pieces De Palma style.

I don't find anything bad with any of that. Tarantino is awesome. He can be a total geek with such love for his own references and time periods that you fall in love too. If this is going to be a homage to those 50's and 60's war films then great. I think people expecting otherwise will be disappointed. That said, it would also be incredible if the guy did something different this time around.


I always thought that type of criticism for tarantino was unfounded.  his movies wouldn't be half as engaging / entertaining if they were actually what people said they were.  they're not remixes; you can't just re-do pekingpah and mix it with sergio leone or whatever the critics are always saying.  he's not an armchair filmmaker.  he uses a ton of shorthands, wears his taste on his sleeves, and brag about them whenever he can, but as a filmmaker he's usually way more than that.  vintage and recycle are not the same thing.  the geek in him lets the audience in on a lot more of his craftsmanship; he likes to draw attention to the shit that he's doing, but beneath all of the flash he is a great storyteller - very few people can set up, build tension, and pay off all in one scene, but his characters are always changing their minds, being charmed, commiting second/third degree murders, or just otherwise exchanging drama, midways through the scene.  he also differs from genre filmmakers in that his characters always feel very vulnerable, and the violence depicted matter-of-factly in most genre films is usually more consequential in the context of his films.  even when he's being boring or just plain cheesy - like the end scene in kill bill 2, he's doing it on his terms. 
"Tragedy is a close-up; comedy, a long shot."
- Buster Keaton


i think the complaints were not about his storytelling and filmmaking talents, but about what he chose to do with them. precisely because he is so obviously and hugely talented some folks get frustrated that he has chosen to make his own versions of old movies he loved than to try to incorporate his influences in some sort of "new" thing. Also because his first two films were a full surprise and then it appeared that the films that came after were ones in which the "concept" being homaged (blaixplotation in JB, kung fu 70's films in KB, slasher 70's in DP) seemed to be the first more important thing about them. One thing that was remarkable about his first two films and even Jackie Brown is that for all their hipness and attitude and references they still felt like movies taking place in the real world, with characters closer to everyday people, whereas in Kill Bill and Death Proof we are in movie universe, with characters resembling archetypes from the same movies he is referencing. I was frustrated by this before, when I heard the premise for Death Proof I was turned off because I do wish he went back to use reference as a backdrop and not as the very definition of the movie, but after seeing it I really can't complain. He knows his shit and does it with class and precision. Few directors can guarantee a true fun time in the theatres like him...And he keeps trying new things in terms of what he demands of himself as writer and director. He's not really repeating himself and even if you would prefer he did something else with his time, what he does is done perfectly.

Wes Anderson is getting the same shit for being repetitive and getting deeper into his own movie universe. The difference with him is that, at least for me, his films have been getting progressively less and less good.

Gold Trumpet

Tarantino Cuts "Bastards" In Half
By Garth Franklin
Friday, June 20th 2008 12:52am

For the upcoming DVD release of the classic ensemble WW2 movie "Inglorious Bastards", Quentin Tarantino did an interview with the film's director Enzo Castellari which has been included in the set.

Now, AICN has seen that interview and garnered some new facts from it about Tarantino's long in-development remake of the property which he claimed he finished the script for last month.

First up the film will be split into two ala "Kill Bill" and is said to be keeping much of the original's setup. That film had a group of hardened criminals escape custody when Nazis attack the military convoy transporting them. The cons decide to make their way to Switzerland, fighting off both the Allies and Nazis to get there.

Most important though is that all the rumored names mentioned so far for the film can be chucked out as he's "decided to write the characters with no specific actor in mind". QT is also considering "an epic slow motion scene".


He held on. The dolphin and all the rest of its pod turned and swam out to sea, and still he held on. This is it, he thought. Then he remembered that they were air-breathers too. It was going to be all right.


Quote from: The Gold Trumpet on June 21, 2008, 02:22:51 AM
Now, AICN has seen that interview and garnered some new facts from it about Tarantino's long in-development remake of the property which he claimed he finished the script for last month.

For some reason, I've always had in mind that he was only reusing the title, not doing a remake of the film.
I am Torgo. I take care of the place while the Master is away.


Quentin Tarantino Unveils 'Inglorious Bastards' To 4 Major Hollywood Studios
Source: Deadline Hollywood

EXCLUSIVE: Quentin Tarantino has just gone out with his long-anticipated script about World War II. But here's the weird thing sources are telling me: not only is Laurence Bender attached to produce Inglorious Bastards, but there's also "a possibility" that Harvey Weinstein will be producing as well but not financing it. This certainly adds fuel to those rumors that The Weinstein Co is having movie money woes. After all, one of the ways that The Weinstein Co attracted investors was by hyping its creative connection to the Pulp Fiction and Kill Bill 1 & 2 writer/director who has long made a lot of money for a lot of people. But now only Harv, and not his investors, could potentially profit from the connection? Unreal. And let's not forget that The Weinsten Co produced and financed Quentin's last pic Grindhouse/Death Proof that tanked at the box office because of Weinstein's own admission that he erred in releasing it in the U.S. market as half of a too-long 3-hour, 12-minute double-feature.

This latest Tarantino epic, originally for Miramax and originally set for 2001, has been so long in the works that some people thought it might never see the light of day. Tarantino himself has described it as a Spaghetti Western meets World II film that's an homage to 1967's The Dirty Dozen and its derivatives with a story about a group of soldiers on their way to be executed who get the chance of a reprieve. I hear it's gone out to Universal, Warner Bros, Paramount (all yesterday) and Sony (today). As usual, there's a lot of secrecy surrounding this Quentin project sent out by William Morris. In a BBC documentary done around the time of Pulp Fiction's release, Tarantino said that he always wanted to do a "guys on a mission" film and thought Where Eagle's Dare was the best of the genre. Some believe that Quentin's latest script is inspired by the 1978 Italian movie Quel Maledetto Treno Blindato which he has gushed over in interviews and is a more extreme version of The Dirty Dozen. Tarantino's script comes out just as the Enzo G. Castellari inspiration is heading to DVD...
"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

Skeleton FilmWorks

Gold Trumpet

Tarantino's "Bastards" Shoots In October
By Garth Franklin
Wednesday, July 9th 2008 12:13am

It looks like Quentin Tarantino's "Inglorious Bastards" is finally moving ahead after all at The Weinstein Company says The Hollywood Reporter.

The long-gestating World War II action tale follows a group of Dirty Dozen-like group of soldiers behind enemy lines.

The Weinsteins will co-finance the film, distribute it domestically and oversee production and worldwide marketing.

Shooting will take place in Europe starting in October and will be put through an accelerated production schedule to be finished in time for next May's Cannes Film Festival.

Deadline Hollywood Daily adds that Brad Pitt is in discussions to play a role.



We've Got Quentin Tarantino's 'Inglorious Bastards' Script

...and it is exactly as batshit over-the-top insane as we hoped.

The copy we acquired includes a handwritten cover page which we think might actually be in Tarantino's handwriting, reading, "INGLOURIOUS BASTERDS." This misspelling of "bastards" continues through the screenplay, suggesting we were right when we guessed Tarantino was writing really, really fast. He doesn't even have time to spell-check if he's gonna get this movie turned around by Cannes!

The script is 165 pages long and follows a squad of American soldiers called the Bastards — a guerrillalike force who travel behind German lines in 1944, striking terror into the hearts of Nazi soldiers. The Bastards are headed by Lieutenant Aldo Raine — the role we'd imagine Tarantino is hoping to land Brad Pitt for — described by the script as a "hillbilly from the mountains of Tennessee," who has around his neck a scar from where he survived a lynching. ("The scar will never once be mentioned," Tarantino writes.) In a parallel story, Inglorious Bastards follows a French Jewish teenager named Shosanna who survives the massacre of her family and flees to Paris, where she winds up running a movie house during the Nazi occupation.

The Bastards' and Shosanna's stories intersect when a gala premiere of a Goebbels-produced propaganda film is put on in Shosanna's theater, with Hitler and most of the German High Command scheduled to attend. Both the Bastards and Shosanna launch plots intending to end the war a little earlier than anyone expected.

The script's divided into five chapters:

    Chapter One: Once Upon a Time ... Nazi Occupied France

    Chapter Two: Inglorious Basterds

    Chapter Three: German Night in Paris

    Chapter Four: Operation Kino

    Chapter Five: Revenge of the Giant Face

The first chapter, set in 1941, introduces Shosanna and the film's antagonist, a Nazi officer named Landa who's known as the "Jew Hunter." The second chapter introduces the Bastards and their tactics: They kill Nazis on sight, take their scalps, and — when they let one go — carve a swastika into his forehead. The third chapter, set in 1944, reintroduces Shosanna in Paris ("This whole Chapter will be filmed in French New Wave Black and White"). The fourth sets up the Bastards' attack on the theater. And it all comes together in Chapter Five, which plays fast and loose with history, to say the least.

The script is definitely the ur-text of Quentin Tarantino's career up to now; it combines his love of old movies (war movies, Westerns, and even prewar German cinema), his attraction to powerful female protagonists, his love of chatter, and his willingness to embrace the extreme — visually and in his storytelling. (The flashbacks have particularly Tarantinoian flourishes: a thought bubble pops out of a character's head to introduce one, while another is shot spaghetti Western style.) All in all, it reads like Kill Bill meets The Dirty Dozen meets Cinema Paradiso.

We wondered at times if this script was a fake, and it's still possible that it is — but if so, it's such a skillful fake that the author has even mastered Tarantino's ability to write moments that seem almost like parodies of his own tastes. Such as, for example, our favorite moment in the screenplay, with a mix of fetishism and inspired comedy that feels authentically alive. Late in chapter four, the Nazis are preparing Shosanna's movie theater for its big premiere, and Goebbels tells her that he appreciates "the modesty of this auditorium." Then he suggests sprucing the place up a bit, with a chandelier from Versailles and a couple of Greek nudes from the Louvre scattered around the lobby. A quick montage shows this happening, and then Tarantino describes the result:

We see Workers trying with incredible difficulty, to hoist the huge, heavy, and twinkingly fragile chandelier, in Shosannas auditorium, which now resembles something out of one of Tinto Brass's Italian B-movie rip-off's of Visconti's "The Damned".

If anyone is crazy enough to fund it, this movie is gonna be awesome.

Marty McSuperfly

From the script:

My name is Lt. Aldo Raine, and I'm putting together a special team. And I need me eight soldiers.  Eight – Jewish – American – Soldiers.  Now y'all might have heard rumors about the armada happening soon.  Well, we'll be leavin a little earlier.  We're gonna be dropped into France, dressed as civilians.  And once we're in enemy territory, as a bushwackin' guerilla army, we're gonna be doin one thing, and thing only, Killin Nazi's.  The members of the Nationalist Socialist Party, have conquered Europe through murder, torture, intimidation, and terror.  And that's exactly what we're gonna do to them.  Now I don't know about y'all.  But I sure as hell, didn't come down from the goddamn smoky mountains, cross five thousand miles of water, fight my way through half Sicily, and then jump out of a fuckin air-o-plane, to teach the Nazi's lessons in humanity.  Nazi ain't got no humanity. There the foot soldiers of a Jew hatin, mass murderin manic, and they need to be destroyed.  That's why any and every son-of-a-bitch we find wearin a Nazi uniform, there gonna die.  We will be cruel to the Germans, and through our cruelty, they will know who we are.  They will find the evidence of our cruelty, in the disemboweled, dismembered, and disfigured bodies of their brothers we leave behind us.  And the German will not be able to help themselves from imagining the cruelty their brothers endured at our hands, and our boot heals, and the edge of our knives.  And the Germans, will be sickened by us.  And the Germans, will talk about us.  And the Germans, will fear us.  And when the Germans close their eyes at night, and their subconscious tortures them for the evil they've done, it will be with thoughts of us, that it tortures them with.  But I got a word of warning to all would be warriors.  When you join my command, you take on debit.  A debit you owe me, personally.  Every man under my command, owes me, one hundred Nazi scalps.  And I want my scalps.  And all y'all will git me, one hundred Nazi scalps, taken from the heads of one hundred Nazi's or you will die trying.

-Lt. Aldo Raine aka Aldo the Apache


He held on. The dolphin and all the rest of its pod turned and swam out to sea, and still he held on. This is it, he thought. Then he remembered that they were air-breathers too. It was going to be all right.