Quentin Tarantino: "I prefer any time before mobile phones"
The director of 'rase once in … Hollywood' confesses that his film number 9 is, in truth, a compendium of all his work and himself
Joaqun Romero Marchent, maker of 'spaghetti westerns'; a cowboy with a strange Spanish accent Johnny Madrid, and the one already celebrated until the exhaustion song of The Braves. At least, three are the clear references to Spain in 'Once upon a time … Hollywood', which was presented yesterday at the Cannes Film Festival. Surely there is more. There will be more time that will make us more fantastic. "If it's a privilege to work with Tarantino, it's because there are very few who can reach him in knowledge of music, cinema and television," he says. Leonardo Dicaprio. He does it in a press conference at least as tumultuous as is every step that the director takes for the Croisette.
In fact, Tarantino has long since become synonymous with tumult. Tumult for each of the projections, tumult for the red carpet and tumult for the most tumultuous press conference since Lars Von Trier confess his admiration for Hitler. In that case, the tumult came later. Be that as it may, they landed Quentin Tarantino, Brad Pitt, Leonardo DiCaprio, Margot Robbie and there in the conference room and, again, tumult. It will be said that the tumult extends, as we say, to each of the infinite references that directly flood his film.
"It's funny because the first time I gave him the script with more people in high, the first thing that came out on the table is that we were in front of my film number 9. When we finished reading someone said: 'A moment, the 9. This film is the compendium of all the previous ones' And I think that, in fact, it's just as ridiculous as it may seem to have self-awareness of your work, "says the director and re, and a nervous laugh closes each one of his interventions.
On this matter, in effect, there is consensus. The entire table is declared, in order: a) unconditional Tarantino cinema; b) fascinated by his wisdom and ease of references, and c) convinced of having made a sort of self-homage both for what concerns the industry that shelters them and, already, what speaks of themselves. "For me", take the word DiCaprio, "it is a love letter not so much to the cinema as to all the 'outsiders' that have made it possible. It is undoubtedly a tribute to the industry that I am proud of belonging to for a long, long time. "
Pitt, at his side, describes his character (l is the double action of the protagonist, a television actor obsessed with the idea of becoming great in the cinema, which gives life to his partner) as a type "who accepts the letters that the Life has given him, he knows what his place in the world is. " And DiCaprio insists: "I've been in this all my life and I know the pathos of the profession. I know what it is to fail … And that's why I feel very fortunate. "It's clear.
Tarantino tells that one of his favorite directors is Sergio Corbucci. "It made me dream to meet an actor who had worked with him, that he somehow believed that he had been making garbage and that I corrected him 20 years later explaining why he is a genius." And that, in effect, happens in the movie. He also entertains in remembering that one of the scenes that were left out of the final editing and that turns Rick Dalton (DiCaprio) into protagonist of 'The great getaway'. "John Sturges himself was considering several alternatives if Steve McQueen said no," he says. He tells all this at the same time that he confesses his admiration for 'The seed of the devil', by Roman Polanski and without forgetting that he was visiting the same ranch where Charles Manson and his family lived. This last as an accidental joke. And I will be. In passing, he points out his wife sitting in the front row and describes her "as the perfect woman". And laugh again.
Recall, to place ourselves, that 'once in Hollywood ' It tells two stories in parallel that, in turn, forks even beyond assimilated by a pure spirit. The television actor (Rick Dalton-Leonardo DiCaprio) and his double action scenes (Cliff Blooth-Brad Pitt) go through the dream industry in search of an opportunity to make them reach the cinema. How to dream in a whole world of dreams. Beside him, Sharon Tate-Margot Robbie walks through his incipient success with Roman Polanski (this is Rafal Zawierucha). The film is, as it was said, the film number 9 of the director. And it arrives when the 25th anniversary of the Palme d'Or is celebrated.Pulp Fiction ' that amazed the world. In addition, at the bottom of everything palpita the story of the murder of Sharon Tate at the hands of Charles Manson and his people.
"What's really fascinating about that is that the more you know, the darker everything remains. It is impossible to understand why it happened. And from there the fascination"says Tarantino Pitt adds his own:"That meant the end of innocence. The end of a little optimism that seemed to have come to stay. Forever. And no, the murder uncovered the dark side of human nature. "
And at this point, you have to ask about obsessing about the past.
-Preferira to have lived in 1969 before now?
– I prefer any time before mobile phones.
It is said.
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(tagsToTranslate) culture / cinema (t) Festival de Cannes (t) Cineseries