Grind House

Started by MacGuffin, May 26, 2005, 12:11:11 AM

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Gold Trumpet



quoting the shit that's just been said without adding anything makes no sense.

anyway, here's the thing with QT: in the end i don't care if all he wants to be is cool especially if that's all he CAN be, poor guy has no choice, but goddamn at least actually BE cool this time. kibble was fucking boring and the dialogue was pathetic, there was no momentum to the story and about half the scenes went on too long or were not necessary.. that's not good and therefore not cool. Pulp was cool and it was also GOOD. be good quentin. be good tanyas.
under the paving stones.


enough to know i don't need to see them again.
under the paving stones.


anybody watch those scream awards?  god, he's gotten worse. 


Fergie Helping Tarantino, Rodriguez 'Grind' Out Horror Flick
Scene with Kurt Russell touching Rosario Dawson's feet also building buzz for double-edged flick.
Source: MTV

HOLLYWOOD — If you're the type of horror fan who's always searching for the next evolution in the genre, there's a good chance you've fallen in love with the buzz-building "Grindhouse" footage making waves on the Internet. If you're the other kind of horror fan — the one who longs for the old days of grainy footage, gore and gratuitous sex — there's also a good chance that "Grindhouse" has been rocking your world lately. And if you haven't seen the clips of Rose McGowan with a machine-gun leg, the Crazy Babysitter Twins painting each other's toenails or cult favorite Danny Trejo as tongue-in-cheek hero Machete, then somebody needs to introduce you to the wonders of a Web browser, post-haste.

A long time ago, in a distant era called the Mid-Nineties, precocious young Hollywood filmmakers Robert Rodriguez and Quentin Tarantino combined forces to create "From Dusk Till Dawn," an ultra-violent flick that reinvented the horror genre by bringing in elements of comedy, exploitation and gangster flicks. Now, a decade later, they've each filmed about an hour of new footage — and judging by the "Sin City"-like buzz that's building around this April release, either of these short movies might be better than most full-length ones. A wide cast has already assembled for the affair: In addition to McGowan and Trejo, Rosario Dawson, Kurt Russell, Josh Brolin — and Black Eyed Peas' Fergie — have hopped onboard.

Sydney Tamiia Poitier — daughter of film legend Sidney Poitier — appears in "Death Proof," Tarantino's slasher movie about a homicidal stuntman. "I play Jungle Julia. ... She's a drive-time DJ in Austin, Texas," Poitier said, referring to a character that Tarantino junkies might find somewhat similar to Steven Wright's "Reservoir Dogs" disc jockey. "She's kind of a local celebrity; she's an aficionado of music ... what Quentin Tarantino is to movies, Jungle Julia is to music. So, she plays all her own collection and she is just a really cool chick, and she rolls with her little posse of girls and they go out and have a good time."

One of Julia's loyal listeners is an aspiring actress played by Mary Elizabeth Winstead ("Final Destination 3"). "I play Lee, who's this up-and-coming starlet starring in my first big movie. Rosario Dawson plays my makeup artist, and Zoe Bell is a stunt woman, and Tracie Thoms is also a stunt woman, and we're hanging out together, having a good time," Winstead said of the setup. "There's a lot of really funny dialogue and funny scenes, and then Kurt Russell ends up stalking us. He's a very deranged madman, but we turn the tables on him."

In case that quasi-"Kill Bill" plotline doesn't sound like enough to watch, "Grindhouse" also includes "Planet Terror," a new movie from "Sin City" director Rodriguez. "I play Dakota McGraw-Locke, an anesthesiologist who is on the run," actress Marley Shelton said of her role in the second feature. "I'm planning to make a huge life change, but then our little town in Texas gets overrun by zombies and everything goes in a whole different direction!"

In the middle of all this madness are a number of movie trailers for films that you'll most likely never see, teasing you with such alluring titles as "They Call Him Machete" and "Cowgirls in Sweden." You see, the unusual film format — and the "Grindhouse" name under which it all appears — references a beloved genre of '70s flicks that had a "screw it, let's just have fun" attitude that heavily influenced both Tarantino and Rodriguez.

As a whole, "Grindhouse" promises plenty of carnage, the hallmark dark humor of both directors and even some musical performances. "I actually get to sing in the movie, which I have never gotten to do before," Winstead beamed. "So I had a lot of fun the day I got to belt out a song [and] get really into it. The song is called 'Baby It's You,' it's this '60s soul-funk song," the 22-year-old actress added. "And while I'm singing it, Kurt Russell is, in a very creepy way, sneaking up on Rosario Dawson and touching her feet."

As anyone who remembers Mia Wallace's plush carpet in "Pulp Fiction" or the Bride's coma recuperation technique in "Kill Bill" knows, the sequence continues a tradition of Tarantino's fetishistic affection for his leading ladies' feet. "[The scene] is this really strange but really cool moment," Winstead added. "It's black-and-white and it's really creepy, just the fact that I'm singing so innocently while that really strange thing is happening at the same time. [Filming it] felt like a really classic movie moment."

From Michael Madsen's "Stuck in the Middle With You" dance to "You Never Can Tell" inspiring John Travolta to do the Batusi, old music has always been a key element of a Tarantino flick, and the DJ's playlist in "Death Proof" will once again allow the director to display his record collection. "I'm not allowed to say what the songs are, he keeps that pretty under wraps," Poitier shrugged, "but I can say it's an amazing soundtrack. ... There's a lot of '70s music in there, but not all."

Meanwhile, Shelton says, a modern-day hitmaker will take on her biggest acting role yet in Rodriguez's flick: Fergie. Insisting that she couldn't reveal Fergie's top-secret character, Shelton was then asked whether the Dutchess will unleash a song of her own. This caused Shelton to run over and ask her director for permission to discuss it — after Rodriguez shook his head, she returned with a smile and said, "Sorry, no dice."

Read into that whatever you would like, but if Fergie didn't perform a song, it doesn't seem like there'd be much to ask Rodriguez about.

One thing these leading ladies are eager to discuss, however, is the unusual techniques that their directors use to get such strong performances out of actors."[Tarantino] really is an actor's director," Poitier said. "We had two weeks of rehearsal before we even started shooting, which is almost unheard of nowadays ... he got all these girls together, the seven of us, and I think part of his ploy was just to get us all to bond and have that connection before we even started shooting; that was really key to our scenes."

The directors also afforded their stars the rare luxury of shooting scenes in near-sequential order, which most actors prefer since it helps them develop their characters naturally. "Only in Robert Rodriguez's world can I shoot the last scene of the movie, on the last day, as my last shot for the film. ... So, I had a full moment of closure, for my character and my experience," Shelton said.

"My favorite day of shooting was probably the first day," Poitier countered. "It was three of us — me, Jordan Ladd and Vanessa Ferlito — in a tiny little Honda Civic, crammed on one of those giant rigs going up and down the biggest street in Austin. ... We did that all day long, and people were yelling out things. They were going to cut the sound, because we got a lot of cat calls and crazy things."

If the footage that's surfaced so far is any indication, the noise is only just beginning.
"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


Mickey Rourke talks Grind House exit
Source: Moviehole

There's been much speculation as to why Mickey Rourke was dumped from the part of Stuntman Mike – later replaced by Kurt Russell – in Tarantino/Rodriguez's "Grind House".

In an interview with Radar, Rourke – who worked with Quentin and Robby on the fucktastic "Sin City" – hinted that there might have been a bit of a kafuffle between him and old banana-chin.

"You know what? He hasn't made any comments about it. And until he makes a comment about it, I'm not going to say anything. It just didn't work out. And I hope that's what he has to say. I'm just going to wait", says Rourke, who was supposedly QT's first choice for the film's villain.

The interview hints that it was Rourke himself who passed on the role of the scoundrel in Tarantino's film – and it's not a case of anyone being fired. It wouldn't be the first time, if its accurate, that the 80s icon has turned down an offer to feature in one of QT's films – back in the early 90s he also gave the birdie to a role in a little pic called "Pulp Fiction".
"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


Rodriguez Talks Grindhouse
Freddy, not Robert, on Planet Terror

Actor Freddy Rodriguez is a busy man. Perhaps best known for his role in the HBO original series Six Feet Under, the young performer is in the midst of a budding film career. This month alone boasts two movies that feature him in a leading role — Harsh Times, where he stars opposite Christian Bale and Eva Longoria, and Bobby, where he stars opposite a slew of Hollywood A-listers too numerous to mention.

But the Rodriguez-starrer that genre fans are perhaps most anxiously awaiting is the Robert Rodriguez/Quentin Tarantino collaboration Grindhouse, hitting theaters in April 2007.

"It's an homage to the 1970s exploitation films that were really popular back then, and also an homage to the double feature," explains Rodriguez. "It was big where I'm from in Chicago. You would go to the movies, you would pay one fee and you would see two films. And that's what this is going to be — when you go see this film, Robert Rodriguez is going to direct one and Quentin Tarantino is going to direct the other. And I star in Robert's. In all of Robert's films in the past, he always has a quintessential action hero and that's who I play in the film."

For those who've only just emerged from that rock they've been living under, the two films that comprise Grindhouse are Rodriguez' Planet Terror, a shoot 'em up zombie flick, and Death Proof, more of a traditional slasher film. So it's safe to assume that lots of blood and lots of action are par for the course.

"It's a horror film, so you're going to get a little bit of gore in it. But it's gore with taste, if you can even associate both words," notes Rodriguez of his installment, Planet Terror. "It's gore with class. It's Robert Rodriguez; this guy puts out the good stuff. So you know anything he has his hand in is going to be good. And also Quentin — anything he has his hand in is going to have that certain level of quality to it."

Known more for his dramatic turns, Rodriguez found the intense action required of him for the project challenging, but manageable.

"It was hard, but thank God I have a dance background and I've always tried to stay in shape," says Rodriguez. "Thank God for that because if I didn't, it was the most physically demanding film I've ever done in my life. And we were working nights for four months, which would mean I would go to work at 7 p.m. and get out at 7 a.m., which is just hard. But nevertheless, [it was] a great, great experience."

With two "segments" (as Planet Terror and Death Proof are referred to) comprising one film, not to mention the numerous fake movie trailers interspersed in-between, it's a wonder what the final running time for Grindhouse will clock in at.

"I'm not sure," comments Rodriguez. "It started off as like, 'Oh, we're going to shorten this up.' But, come on. You have Quentin and Robert. Those guys are not going to make small movies. At this point, I don't even know how long the movies are going to be."
"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


''The whole idea behind Grindhouse was to pay tribute to the movies that we grew up on,'' says Tarantino. ''I call them 'boner movies' because they get you so excited.'' 

''The best thing about Grindhouse is how easily it can be a franchise,'' says Rodriguez. ''We can do kung fu, blaxploitation, you name it.''

i'm going to assume we'll be seeing a trailer very soon.
Christopher Nolan's directive was clear to everyone in the cast and crew: Use CGI only as a last resort.


The Perineum Falcon

Quote from: modage on December 14, 2006, 10:31:36 AM
i'm going to assume we'll be seeing a trailer very soon.
i'm going to assume we'll be seeing many sequels very soon.
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.


wait...wait...nope still stupid. 


under the paving stones.


Kurt Russell looks like he's doing his best Mickey Rourke imitation.
Music is your best entertainment value.


Quote from: soixante on December 16, 2006, 08:08:29 PM
Kurt Russell looks like he's doing his best Mickey Rourke imitation.

that's exactly what my first reaction was
"The myth by no means finds its adequate objectification in the spoken word. The structure of the scenes and the visible imagery reveal a deeper wisdom than the poet himself is able to put into words and concepts" – Friedrich Nietzsche