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Inglourious Basterds [sic]

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Reply #300 on: May 10, 2009, 01:39:09 AM
haha word about Brad Pitt going to ruin IB. as I was saying to SoNow IRL, Brad is becoming a movie ruiner more and more because of his off screen persona and his looks. (hope this doesn't aply to Tree of Life)

Eli is ok with me with his work (I love Cabin Fever and enjoyed Hostel) but he looks like a fucking douche in that picture and he shouldn't be acting


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Reply #301 on: May 11, 2009, 12:54:53 AM
The portions of the trailer that Brad Pitt appears in remind me a bit of what Clooney has done in recent cohen bros. movies. Perhaps playing to what they feel the director has done, historically. Playing to his idea of Joel and Ethan's sensibilities. I know that a lot of people feel that Clooney hams it up in Cohen movies, but I always find his performances funny. His hamming fits my sense sense of humor. I'm not sure on Pitt in this movie yet, but without seeing it, that's probably not a bad thing.

I can't get behind Eli Roth. Even if Brad Pitt is a disaster in this movie, he will never be Eli Roth. And that alone should help him sleep well at night.


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Reply #302 on: May 11, 2009, 03:08:07 AM
The portions of the trailer that Brad Pitt appears in remind me a bit of what Clooney has done in recent cohen bros. movies. Perhaps playing to what they feel the director has done, historically. Playing to his idea of Joel and Ethan's sensibilities. I know that a lot of people feel that Clooney hams it up in Cohen movies, but I always find his performances funny. His hamming fits my sense sense of humor. I'm not sure on Pitt in this movie yet, but without seeing it, that's probably not a bad thing.

I can't get behind Eli Roth. Even if Brad Pitt is a disaster in this movie, he will never be Eli Roth. And that alone should help him sleep well at night.

clooney has done some of his best work with the coens. and pitt too actually cause he was very funny in burn after reading. I usually like his work, but there's something about the clips in that trailer featuring him that just doesn't feel right.


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Reply #303 on: May 11, 2009, 01:44:40 PM

‘Bunch of Guys on a Mission Movie’

“THIS ain’t your daddy’s World War II movie,” Quentin Tarantino said with a grin, standing on a street corner here that had been scrubbed of 21st-century signposts to become the set of “Inglourious Basterds,” his new film about a band of Jewish-American soldiers on a scalp-hunting revenge quest against the Nazis.

Although it was mostly shot at Studio Babelsberg in Potsdam, Germany, the movie’s subtitle is “Once Upon a Time in Nazi-Occupied France.” So on a three-day sojourn in Paris in December, Mr. Tarantino and his bi-continental moviemaking coalition commandeered a 1904 bistro with peeling paint, Art Deco stained glass and a wall of windows overlooking an intersection of identifiably Parisian streets in the 18th Arrondissement.

“We had to have a scene to sell the audience that we’re in France,” Mr. Tarantino said. “This is it.”

“Inglourious Basterds,” which is to have its premiere at the Cannes Film Festival on May 20, is Mr. Tarantino’s first movie since “Death Proof,” half of “Grindhouse,” a double feature and box-office flop that he directed with Robert Rodriguez, and his first solo feature since “Kill Bill Vol. 2” in 2004.

Mr. Tarantino calls “Inglourious Basterds” his “bunch of guys on a mission movie.” Judging by the script, it should have the crackling dialogue, irreverent humor and stylized violence that are hallmarks of his work.

“You’ve got to make a movie about something, and I’m a film guy, so I think in terms of genres,” he said. “So you get a good idea, and it just moves forward and then usually by the time you’re finished, it doesn’t resemble anything of what might have been the inspiration. It’s simply the spark that starts the fire.”

The spark that led to “Inglourious Basterds,” starring Brad Pitt, Diane Kruger, Mike Myers, Eli Roth and a large international cast, can be traced to Mr. Tarantino’s storied days as a video-store clerk in Manhattan Beach, Calif. (The inspiration for “Reservoir Dogs,” “Jackie Brown” and other Tarantino movies can also be traced to that time.)

“The guys at Video Archives were like, ‘Quentin, maybe one of these days you’ll make your ‘Inglorious Bastards,’ ” Mr. Tarantino said, referring to the (conventionally spelled) 1978 Enzo G. Castellari film. “But they hadn’t even seen the movie, all right, it was just a great title. I love the movie, don’t get me wrong, but it’s not a remake,” he said, of his version.

“It will be in the original category at the Oscars,” he added optimistically.

Lawrence Bender, who has produced all but one Tarantino movie, said he was surprised when Mr. Tarantino called last summer to announce he had finalized the long-gestating “Basterds” script and wanted to finish the movie in time for Cannes. Mr. Tarantino won the top prize there, the Palme d’Or, in 1994 for “Pulp Fiction.”

“He’s read me all kinds of stuff over the years,” Mr. Bender said, “but I always assumed it was something he was going to have and never do.” (Mr. Tarantino is known for taking plenty of detours on the way from one movie to the next. He has directed episodes of television shows, including “CSI,” acted in and produced other people’s movies, and has been a guest judge and “mentor” on “American Idol.”)

A six-month research period for “Basterds” several years ago “paralyzed my writing for a while,” Mr. Tarantino said. He thought of making a World War II documentary or teaching a college course and even plotted out a 12-hour mini-series. Then in January 2008 he said he decided to “take one more crack at seeing if I could make this a movie,” he said. “I wasn’t out to teach a history lesson. You can turn on the History Channel — which might as well be called the Hitler Channel. I just wanted to tell my story and have the same freedom I would have telling any story. I want the act of writing to be so fulfilling that I have to question do I want to even make the movie.”

Mr. Tarantino’s unedited script was circulating online within days after he completed it. “This was so personal to me, misspellings and all,” he said, mentioning that he had typed it with one finger on the same 1987 Smith Corona word processor that he used to produce “Reservoir Dogs” and “Pulp Fiction.” “I mean I’ll proofread it when we publish it.”

Not that he’ll change the title. “Basterds should be spelled with an e,” he said. “It sounds like it has an e.” He shouted, “Basterds! Basterds!” in what sounded like a Boston accent: more “BAS-tids” than “BAS-terds.” (As for the spelling of “Inglourious,” Mr. Tarantino said: “I can’t tell you stuff like that. It’s a movie thing.”)

A man with a walkie-talkie tugged on Mr. Tarantino’s arm. “Sorry, I’m getting the vaudeville hook,” he said, and went inside the bistro to shoot a scene in which Shosanna (the French actress Mélanie Laurent), a young Jewish woman in hiding and running a Paris cinema, sits across a café table from an unsuspecting Nazi soldier and matinee idol (the German actor Daniel Brühl) trying to win her affections. Mr. Tarantino watched the actors like a patron spying on a couple across the room, barely glancing at the nearby monitor.

“I’m looking through the viewfinder when I set up a shot,” he said between takes, “but I watch the performance and listen to it. Otherwise the monitor is directing the movie.”

Like 70 percent of “Inglourious Basterds” this scene was being performed in French and German, which is just one of the reasons this isn’t your daddy’s World War II movie. “When you see the Germans speaking English with a German accent or sounding like British thespians, it just seems very quaint,” Mr. Tarantino said. “That’s one thing I don’t want this film to have. If Spielberg hadn’t made ‘Schindler’s List’ yet, I joke, I like to think that after our movie he’d be shamed into doing it in German.”

(Executives at the Weinstein Company said the heavy use of subtitles did not give them pause. “Tarantino is a universal language,” said Tom Ortenberg, president of theatrical films.)

Mr. Brühl said it was the director’s non-sacred approach to Germany’s painful history that attracted him to the role.

“I’m curious to see how it’s going to be received in Germany,” Mr. Brühl, 30, said, placing the movie in the tradition of Ernst Lubitsch’s “To Be or Not To Be” (1942) and Charlie Chaplin’s “Great Dictator” (1940). “If a comedy is intelligent and has depth, it’s a very legitimate way to talk about Fascism in Nazi Germany, which was also a big show — and if you think about it, very ridiculous.”

The screenplay is loaded with movie references and jokes, and intrigues involving actors and film premieres. Hitler’s minister of propaganda, Joseph Goebbels, is portrayed as a typical studio chief. (“People write about the horrible anti-Semitic films,” Mr. Tarantino said, “but most of the 800 movies he made were comedies and musicals.”) And it is safe to say, without spoiling the history-bending penultimate scene, that cinema saves the world.

The production designer David Wasco, who has worked on all but one of Mr. Tarantino’s films, said that while they had labored to reproduce the period using original photographs and documents, “pretty much 90 percent is based on movie references.”

“It’s a Quentin period world,” he added. “That’s what we’re helping him do here.”

Mr. Tarantino said: “All that movie stuff just kind of organically happens. It’s just what I am interested in.”

Late in the day bottles of Champagne appeared on the sidewalk, and Mr. Tarantino called for a toast to honor the 800th roll of film. He circulated, clinking plastic glasses as evening fell over the city, with a word and a smile for everyone.

The Basterds — the film’s Jewish soldiers, given their nickname by the Nazis — hadn’t made the trip to Paris, but their presence could be felt in the grown-out “basterd haircut” (short on the sides and in back, long on top) that Mr. Tarantino was sporting. “The Basterds don’t have the luxury of being soldiers,” he said. “They have the duty to be warriors, because they’re fighting an enemy that’s trying to wipe them off the face of the earth.”

Mr. Tarantino, who was born in Tennessee, said his childhood revenge fantasies centered more on the Ku Klux Klan. “But it’s all the same,” he said. “Once the Basterds get through with Europe, they could go to the South and do it to the Kluxers in the ’50s. That’s another story you could tell.”

Not to mention a shelved subplot about African-American soldiers stuck behind enemy lines. “I have a half-written prequel ready to go if this movie’s a smash,” he said.
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Reply #304 on: May 15, 2009, 10:36:07 AM
According to AICN, this is Bastard's soundtrack:

for the purists, sweep to read.

The Green Leaves of Summer
(d’après le film ALAMO)
De Dimitri Tiomkin,

The Verdict
(Dopo la condanna)
D’Ennio Morricone
Interprété par
Ennio Morricone

L’incontro con la figlia
D’Ennio Morricone

White Lightning
(Chanson principale du film LES BOOTLEGGERS)
De Charles Bernstein
Interprété par Charles Bernstein

Il mercenario (ripresa)
D’Ennio Morricone
Interprété par Ennio Morricone

De Billy Preston
Interprété par Billy Preston

Algeri: 1 novembre 1954
D’Ennio Morricone,Gillo Pontecorvo
Interprété par Ennio Morricone,Gillo Pontecorvo

The Surrender
( La resa )
D’Ennio Morricone
Interprété par Ennio Morricone

One Silver Dollar
(Un Dollaro Bucato)
De Gianni Ferrio

Bath Attack
(d’après le film L’EMPRISE) (The Entity?)
De Charles Bernstein
Interprété par Charles Bernstein

Davon Geht Die
Welt Nicht Unter
De Bruno Balz,Michael Jary
Interprété par Zarah Leander

The Man With The Big Sombrero
De Phil Boutelje,Foster Carling
Interprété par Sam Shelton and the Michael Andrew Orchestra

Ich Wollt Ich
Waer Ein Huhn
De Hans-Fritz Beckmann, Peter Kreuder
Interprété par Lilian Harvey, Willy Fritsch, Paul Kemp

Cat People
(Putting Out The Fire)
De David Bowie, Giorgio Moroder

Mystic and Severe
D’Ennio Morricone
Interprété par Ennio Morricone

The Devil’s Rumble
(d’après le film DEVIL’S ANGELS)
De Mike Curb
Interprété par The Arrows

What I’d Say
D’Elmer Bernstein

Un Amico
D’Ennio Morricone
Interprété parEnnio Morricone

Tiger Tank
De Lalo Schifrin

Eastern Condors
Rabbia e Tarantella
D’Ennio Morricone
Interprété par Ennio Morricone


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Reply #305 on: May 16, 2009, 09:12:55 AM
Christopher Nolan's directive was clear to everyone in the cast and crew: Use CGI only as a last resort.


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Reply #306 on: May 18, 2009, 01:10:39 AM
Tarantino reflects on 'Basterds'
Director aimed to finish film in time for Cannes
Source: Variety

Quentin Tarantino is so high on the Cannes experience that he worked at a breakneck pace to shoot and edit the 165-page epic-sized WWII drama "Inglourious Basterds" in eight months. And when the writer-director bows his film on Wednesday, he says, "I'm expecting this to be one of the high moments of my career."

Reflecting on the pic over a hamburger at the Carlton Hotel, Tarantino said it was worth the struggle to debut his third film in competition. (Tarantino won the 1994 Palme D'Or for "Pulp Fiction" and also brought "Death Proof").

"This is the cinematic Olympics," Tarantino said. "What an exciting year for auteurs this year, with four Palme d'Or winners. If you've done a movie you're proud of, that you might be defined by, then to me the dream is not necessarily to be there at Oscar time. That's wonderful. But my dream is to always go to present the film at Cannes.

"There is nothing like it in cinema," he said. "Nobody has seen your film. It's a wet print, fresh out of the lab. The entire world film press is here, and they all see it, at one time. The greatest film critics in the world, who are still critics, and they're all fighting and debating it. When you think back on your career, it comes down to these high moments. That level of excitement is unparalleled."

Getting to the Croisette took discipline. The film had the same 10-week production schedule as "Pulp Fiction," fast for a period war movie shot in Europe.

And the film came in at a running time of 2 hours, 27 minutes, shorter than some had expected.

"Directors in my situation don't normally go this direction, especially when they're doing something really big. If you have three days scheduled for a scene, it's easy to (add) the fourth day. It's nice to have all the time you need, but when you slow down, I think that marbled fat is felt in the pacing. I didn't want easy and comfortable and I do feel that energy is evident on the screen."

Tarantino flirted with his WWII project for years, once considering it as a miniseries, even a novel, before stripping down to the story of a brigade of brutal soldiers sent to hunt Nazis, and led by Brad Pitt, the biggest star Tarantino has directed.

Said Tarantino: "Once, I was talking to a big actor who said, 'You're afraid of stars. You want to be the guy.' I never feel like I need a star, but a lot of the great Hollywood directors I respect all worked with stars and so there was this aspect in the back of my mind where it was time to do that.

"Brad is an actor I treated just like the other actors, who happens to be this huge movie star. But he is such perfect casting for this character that if Brad Pitt wasn't famous, I'd have lobbied for him to have the role."

While he gave several plum roles to unexpected performers -- "Hostel" helmer Eli Roth has a large role, Mike Myers plays a British intelligence agent -- no actor has a bigger starmaking opportunity than Christoph Waltz, a German TV actor who plays Hans Landa, the cunning SS Colonel who is the primary antagonist of the Basterds.

"Landa is a linguistic genius, and the actor who played him needed the same facility with language or he would never be what he was on the page," Tarantino said.

Tarantino grew so frustrated at casting that role, he was five days away from calling off the movie when Waltz auditioned.

"I told my producers I might have written a part that was un-playable," Tarantino said. "I said, I don't want to make this movie if I can't find the perfect Landa, I'd rather just publish the script than make a movie where this character would be less than he was on the page. When Christoph came in and read the next day, he gave me my movie back."
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Reply #307 on: May 19, 2009, 06:40:28 PM
'Inglourious Basterds' Cutdown To 2 Hours, 27 Minutes For August Release?
Source: Playlist

Have Maggie Cheung, Samuel L. Jackson and Cloris Leachmen been cut out of Quentin Tarantino's feverishly anticipated WWII saga, "Inglourious Basterds"?

It sure looks that way. The world will find out tomorrow morning when the film first premieres at Cannes. In the meantime, as an astute and loyal reader has pointed out, all three actors are nowhere to be mentioned in the detailed or bullet-point cast credits.

It's completely conceivable that their scenes were never shot (Jackson was just supposed to be simply a brief narrator, anyhow), and their characters were excised from the script before they started shooting (perhaps a new revision was written before filming began), but all three of them are listed in the special thanks section, which certainly suggests some sort of removal.

Further evidence that is more explicit?

In a very recent Variety interview, Tarantino said the film is now running 2 hours and 27 minutes. Wait, when the Cannes line-up was revealed, the film was listed as running 2 hours and 40 minutes and all the literature here at Cannes jives exactly with that running time. What gives? Were edits made just as the festival press notes were being made?

Here's what seems to be the answer: The Cannes version is going to be two hours and forty minutes, but the August 21 version that the world will see will be trimmed down to two hours and twenty-seven

SPOILERS which stands to reason possibly why roles like Maggie Cheung and Cloris Leachman have been cut. Though to be honest. Cheung's role as the doyenne of the cinematheque Madame Mimieux was far greater and we're betting the role was cut out of the script before shooting began. 13 minutes feels like her entire role. Leachman's role is a flashback sequence that we even once suggested would be the first thing omitted from the film if it ran long, as the scene she's in did have a superfluous target on its back. END SPOILERS

Will fans not in attendance at Cannes who want the "true" Tarantino experience ever get to see this footage? Presumably, the DVD will rectify any issues, but, THR suggests, the Weinstein Company do not want to try and sell an almost three-hour movie to audiences, having probably learned their lesson with "Grindhouse."

In related news, the official "Inglourious Basterds" website has launched and contains all kinds of imagery, wallpapers, soundtrack notes, etc. etc.
Christopher Nolan's directive was clear to everyone in the cast and crew: Use CGI only as a last resort.


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Reply #308 on: May 20, 2009, 06:51:21 AM
"Get Your First Look at 3 Inglourious Basterds Clips!"


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Reply #309 on: May 20, 2009, 07:06:31 AM
"Whole Lotta Talkin'"
Source: Hollywood Elsewhere

Here's the opening of this morning's Inglorious Basterds press conference, following this morning's 8:30 am screening. And here's an mp3 of most of what was said. About 13 or 14 minutes in director-writer Quentin Tarantino delivered a great riff on what the Cannes Film Festival so special. I'll try and find and isolate and run it as a stand-alone. As for the film...

video displaying above:

It's not great. It's a fairly engaging Quentin chit-chat personality film in World War II dress-up. It's arch and very confidently rendered from QT's end, but it's basically talk, talk, talk . Tension surfaces in a couple of scenes (especially the first -- an interrogation of a French farmer by a German officer looking for hidden Jews) but overall story tension is fairly low. A couple of shootouts occur but there's no real action in the Michael Mann sense of the term except for the finale. No characters are subjected to tests of characters by having to make hard choices and stand up for what they believe, and nobody pours their heart out. What they do is yap their asses off. Cleverly and enjoyably at times, yes, but brisk repartee does not a solid movie make.

The theme, I suppose is the penetrating and transformative power of film. The secondary theme is a Jewish revenge fantasy against the Nazis. (Costar Eli Roth called it "kosher porn" in this sense.) No emotional currents, no sense of realism and no characters you're allowed to really and truly enjoy and care about. That said, the two best performances are given by Christoph Waltz as Col. Hans Landa -- a great malicious Nazi -- and Melanie Laurent as Shoshanna Dreyfus, a French farm girl who escapes Landa's grasp and winds up running a Parisian cinema.

Inglourious Basterds is probably too talky to lure the knuckle-draggers. The chat really does seem to weigh things down in the middle section. It's an arch exercise in World War II genre filmmaking, a kind of filmic valentine for people who love film and film culture, and a put-on about World War II movies.

I'll get into it a bit more after I post some photos.


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Reply #310 on: May 20, 2009, 07:57:05 AM
Falling Short of Tarantino’s Own High Bar, “Inglorious” Goes Bubblegum
Source: Indiewire


Given what the world expects from Quentin Tarantino - the man, the myth, the pastiche-driven movie machine - his latest feature, “Inglorious Basterds,” stands out for its seemingly low ambition. Talked about for years by the filmmaker as his epic “guys-on-a-mission” movie, the final product, unveiled this morning in Cannes, certainly meets those standards. The story of Nazi-hunting Jewish soldiers delivers on the colorful brand of unserious entertainment implied by the plot, but no matter how much extreme contextualization and heavily stylized techniques Tarantino introduced to the production, “Inglorious Basterds” feels like a bubblegum sidedish to the heavy dinner plate of his career. While not intentionally a rudimentary project, it automatically becomes one by the limits of its design.

In the opening scene, Nazi Colonel Hans Landa (Christoph Waltz) arrives at a house in the French countryside, where he interrogates a man about hiding Jews in his basement. The sequence culminates with the Nazis discovering the family hidden beneath the floorboards, killing all of them except for a young woman named Shoshanna (Melanie Laurent), who dashes into the forest. Except that’s not really the opening scene, because the first image of “Basterds” arrives on the heels of credits that beg to be considered as the true narrative introduction. Written in block letter aping the title cards associated with Sergio Leone Westerns, while the jangly soundtrack follows suit, they set the stage for the barrage of genre references to follow. Despite a World War II setting, “Inglorious Basterds” mainly feels like an homage to crime and thriller movies, using Nazis as cardboard villains in a facile manner akin to the “Indiana Jones” franchise.

As the story shoots forward, building into an espionage drama, Tarantino churns out the most conventional accomplishment of his career, “Jackie Brown” included. Sure, you can tear apart the layers of references to countless genres from multiple eras, but not with the same relish allowed by “Kill Bill” or “Pulp Fiction,” where reading into the text and digging its natural flow were not mutually exclusive.

That’s hardly the case here. To watch “Basterds” without considering Tarantino’s implementation of enyclopedic movie knowledge makes it into a breezy, insignificant experience. After introducing Shoshanna’s plight, Tarantino shifts to the antics of the “basterds,” a group of Jewish soldiers led by the fierce Lieutenant Aldo Raine (Brad Pitt). Merrily capturing Nazis, gleefully bashing their skulls and pocketing the scalps, the basterds provide the makings of a typical revenge fantasy. Tarantino wittily cast scrawny Jewish men (“Hostel” director Eli Roth and “The Office” star B.J. Novak among them) as the movie’s principle musclemen, but that subtly ironic joke never reaches its potential.
That’s because “Basterds” isn’t really a jokefest; it’s a talk-fest. Anyone familiar with the Tarantino touch will testify that the director likes to make his characters talk, and talk, and talk - and sometimes so that it ends up absorbing the spotlight. In “Basterds,” we see the worst side-effects of this tendency, as much of the movie relies on chatter to propel it along the basic trajectory of a spy movie. Shoshanna emerges in the disguise of a non-Jewish theater owner in Paris, where she manages to infiltrate the Nazis and scheme with the basterds to them out.

The ludicrous plot heads straight for a fiery climax that finds our heroes on a straightforward path to killing off Adolph Hitler, Joesph Goebbels and prettty much everyone else at the head of the Third Reich. In an nice bit of self-referential irony, they aim to pull it off at a movie theater while the Nazis view a screening of their own propaganda. So “Basterds” makes viewers watch a movie about killing Nazis in which Nazis watch a movie and get killed. Setting the stage for a slaughterfest, Tarantino wants to craft an old-school entertainment by way of his favorite examples, but the multiple layers prevent it from holding interest from scene to scene. “Basterds” has an arbitrary progression: As Shoshanna plans her glorious retribution, dialogue scenes go on and on, people gets shot, lavish music cues make way for interstitial moments of contemplation, and so on. Get around to it, already.

Despite the injection of content from a variety of directions, “Basterds” lacks the crackly excitement of Tarantino’s other efforts, mainly because he can’t seem to tie the whole package together. Why does Samuel L. Jackson suddenly pop up on the soundtrack to narrate a fleeting background of the basterd’s evolution?  If the movie pays tribute to Westerns, how come we never get a single man-on-man confronation, the sort of climax that magically concluded “Kill Bill”? The disconnected ingredients don’t mean that the movie lacks the ability to deliver a good time, but simply that it never rises above the sense of a juvenile cinephilic rush job, and everyone knows Tarantino can do better than that.
Christopher Nolan's directive was clear to everyone in the cast and crew: Use CGI only as a last resort.


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Reply #311 on: May 20, 2009, 08:54:39 AM
talk, talk, talk

i knew it. tarantino will never again be what he once was to me.

i'd rather see sherlock holmes. or antichrist for that matter.
“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


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Reply #312 on: May 20, 2009, 09:07:04 AM
This was one of the things I was worried about while reading the screenplay. Not much happens in the movie. It feels really short. I was worried that the dialogue would stretch it out past it's breaking point and it looks like that's the case.

Sounds like another chapter in Quentin's recent style over substance crapfest. Oh, well -- hopefully it will at least be fun.

I wonder what Quentin's movies would look like if instead of hanging out with Robert Rodriguez and Eli Roth, he hung out with filmmakers who made more substantial fare and not just glossy flicks for the sake of being cool.
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Reply #313 on: May 20, 2009, 12:19:35 PM

The Guardian's Peter Bradshaw calls it an "armor-plated turkey":

"There are some nice-ish performances, particularly from Fassbender and Waltz, but everything is just so boring. I was hoping for Shosanna at least to get a satisfying revenge on the unspeakable Col Landa. But no. The two Hitler-assassination plots cancel each other out dramatically and the director's moderate reserves of narrative interest are exhausted way before the end. He should perhaps go back to making cheerfully inventive outrageous films like Kill Bill. Because Kill Adolf hasn't worked out."

Movieline's David Bourgeois just didn't give a crap:

Yet despite all of Tarantino’s typically intricate plot weavings, character development is nowhere to be found. We never know the Basterds, Dreyfus remains a mysterious figure, and Col. Landa, the real main character of the film, is only minimally developed. By the end of the film — almost two-and-a-half hours later — its hard to care much about what happens to anybody on screen.

The Hollywood Reporter says Tarantino blew his shot at a second Palme d'Or:

"The film is by no means terrible ... but those things we think of as being Tarantino-esque, the long stretches of wickedly funny dialogue, the humor in the violence and outsized characters strutting across the screen, are largely missing."[/size]


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Reply #314 on: May 20, 2009, 12:25:48 PM
Let's go to a motel. We don't have to do anything -- we could just swim.