Coddling Quentin Tarantino

“Quentin works when he wants to,” Harvey Weinstein says to Anne Thompson in her latest Variety column. “There’s no pressure from us to work at all. It’s better when he’s excited about something. He blends his life and his art. He’s not a journeyman director. He doesn’t have to make a movie every year.”

No pressure? Wanton unstructured types like Tarantino secretly crave it deep down. If Harvey and brother Bob were able to somehow force Tarantino to crank out a movie every eighteen months or two years (instead of one every three or four years, which is his average so far), it would check his natural wank-off tendencies and shape him into being a much more commanding and refined filmmaker. This discipline might even goad him into writing and directing something that’s not a knockoff or a genre riff. (I know, I know — we’re talking about Tarantino here.)

42 thoughts on “Coddling Quentin Tarantino

  1. I knew that pro-Death Proof review was fleeting. By May, I bet Jeff is pulling a King Kong and flat out panning this movie. As for Jeff’s demand for more pressure on Tarantino (you do realize he’s a writer-director and therefore must spend some of his time writing, right?), why can’t people just accept what Tarantino gives them and be grateful if they enjoy it. What’s with this endless, consumerist hunger for more product? And why is it acceptable for Alejandro Gonzalez Inarritu to take 3 years to make a movie, but not Tarantino? Inarritu doesn’t even write his own films.

  2. not to compare, but i don’t think kubrick’s output was prodigous either.

    that said, i think qt should just make a couple fast films to get them out of his system.

  3. but coddling? it’s not the weinstein’s job to “force” creative people to work. they can barely stop themselves from “forcing” filmmakers to edit to their weinstein vision.

  4. Wels to JD: No change of heart whatsoever about “Death Proof,” now or later. I’m just saying that underneath many slackers (and anyone who takes three to four years per film is definitely a jack-offer) is the desire for someone in authority to crack the whip. Tarantino isn’t exactly renowned for being an an avatar of the Protestant work ethic. And life is very short. And we all have a lot more in us than we think we’re capable of producing/expressing.

  5. These days the only directors who make a movie more often than 3-4 years are the insane workaholics (Spielberg) and the total commercial hacks (the dude who’s made Saw 2 and 3 and currently working on 4). Give him a break.

  6. Let me start by writing that I truly enjoy Quentin’s work. With that written, I just want to add a comment: I watched the first half of Q’s interview with Leno the other night, and must say that his entire demeanor was disturbed me. And be all professed personal accounts, I√ɬ¢√¢‚Äö¬¨√¢‚Äû¬¢m not easily disturbed…

  7. I’d say the dif is that Tarantino seems to have a short, scattershot attention span and that’s why he fails to complete some of the big projects he touts (Inglorious Bastards, anyone?)

    Kubrick, on the other hand, seemed to have a reduced output because of his obsessive nature.

    Same result, I guess, but different perseonalities.

    I sort-of agree that “forcing” Tarantino to work a bit more (directing episodes of Alias does not count) might discipline him. His films are still fun and clever but they’re getting more “inside” each time.

    At this rate he’ll put out a 60s-style psychedelic romp straring the cast of The Surreal Life in five years and then follow it 4 years later with a 3-hour film adaption of The Rockford Files. (Or, even worse, a sequel of From Dusk Til Dawn with QT’s character in some kind of ghost world where he keeps fighting vampires, kung fu style…)

    He could maybe use a bit of Soderbergh in him. He gets to keep the neurotic edge but he’ll be putting out two weird films for every piece of greatness instead of nurturing hollow epics for years on end.

    Is that ambiguous enough? I like the guy but think he’s selling himself short right now. I like Kill Bill and I’ll see Grindhouse but neither are really building towards anything…he’s got the fanboy coolness thing down pat. Now let’s see some ambition.

  8. Okay, but everyone is still living under the delusion that directors and writer-directors are the same thing. Tarantino spends more time writing his films than he does in production. Sure, Soderbergh and Spielberg can make a film every year, but they also have the world’s best screenwriters crafting scripts for them while they’re shooting other films. I guess Tarantino (or Alexander Payne, Wes Anderson, Paul Thomas Anderson, etc.) could increase his output if he started directing other people’s scripts, but who wants to see that happen? I certainly don’t.

  9. I’m tired of Jeff lauding and rationalizing the mad genius of some artists while chastising the quirks and eccentric characteristics of those whom he doesn’t secretly wish he could keep in a jar in his basement…

    …sorry for the Chris Farley/Mr. Belvedere reference, just popped into my head like the Stay Puft Marshmallow Man…

  10. My theory is that even the greatest, most legendary directors/filmmakers have had AT MOST a half-dozen classic films in them– whether they produced product once a year or twice in a decade. (The mathematical norm turns out be exactly in-between Kubrick and Woody Allen.) QT, at the age of 44, and still quite active, doesn’t qualify for my study of full (or limelight) careers, but he’s on track to make the grade with two classics in the last 13 years.

    Tarantino once said he’d like to make both a musical and a “movie for children.” That’s, potentially, two more classics right there which he could conceivably get done by the age of 50.

    But I’m not holding my breath.

    I do kinda admire him for doing what he wants to do, when he wants to do it. At the same time, maybe he’s got anxiety issues, and insecurities, that we know nothing about. Maybe he’s doing the best that he can. A little sympathy, perhaps?

    Yeah, nevermind.

  11. I’m content to let Tarantino be Tarantino, though I do wish he’d reach down and pull out another Jackie Brown. I doubt forcing him to work faster is the answer though.

    The Protestant work ethic and authoritarian whip cracking are all well and good if you’re talking about cranking out Fords or flipping burgers, but I don’t think you can easily or safely apply them to the creative process for all people.

  12. To the “writer-directors need more time” point, Woody Allen and Mike Leigh and John Sayles, just to name three examples, did just fine keeping up a good shooting pace in their primes while producing some great films. And they weren’t half as dependent on recycling that Quentin Tarantino has gotten.

    I think QT is just terrified to do anything that isn’t a cocktail of films that were already made. He’s become bunkered down in his comfort zone of nostalgia, and eventually, that’s going to be lethal to his future work. I hope like hell he gets over this thing.

  13. i think the relative lack of PULP FICTION success for JACKIE BROWN turned him back a bit. when he spoke about the film’s reception, you could see the pain.

  14. JD: “I knew that pro-Death Proof review was fleeting. By May, I bet Jeff is pulling a King Kong and flat out panning this movie.”

    Jeff liked King Kong, but only after the first viewing. He can’t help it if more films are like that nowadays.

    “As for Jeff’s demand for more pressure on Tarantino (you do realize he’s a writer-director and therefore must spend some of his time writing, right?),”

    More like watching old 35 mm prints of obscure films in his basement, and looking for scenes to steal…

    “I guess Tarantino (or Alexander Payne, Wes Anderson, Paul Thomas Anderson, etc.) could increase his output if he started directing other people’s scripts, but who wants to see that happen?”

    Last time I checked, Pulp Fiction is someone else’s script…

    cJkennedy: “I’m content to let Tarantino be Tarantino, though I do wish he’d reach down and pull out another Jackie Brown.”

    You mean a boring heist movie which demeans black people, despite being a “tribute” to blaxploitation?

  15. “demeans black people”

    gee DZ you should have let sam jackson and pam grier in on that secret. pretty racist to make a 40something black woman the star of a major motion picture where she outsmarts everybody.

    oh no…DZ versus QT round 365…

  16. “gee DZ you should have let sam jackson and pam grier in on that secret. pretty racist to make a 40something black woman the star of a major motion picture where she outsmarts everybody.”

    It’s pretty racist to make a movie about a 40-something black woman who can only committ crimes for a living. Even the ladies in “Set It Off” had real jobs.

  17. “I watched the first half of Q’s interview with Leno the other night, and must say that his entire demeanor disturbed me.”

    Do tell! What did he do and say that was so disturbing?

  18. “It’s pretty racist to make a movie about a 40-something black woman who can only committ crimes for a living. Even the ladies in “Set It Off” had real jobs.”

    So being a stewardess isn’t a real job?

  19. nemo: I’m guessing it was something like, “Jay, Grindhouse is cool and all, but nothing beats Slasher Tits ’80. The stalker in that one aborts the fetus with the same knife he uses to decapitate her.

    I was rollin’ on the floor laughin’ after I saw that one!”

    cj: I’m sure it’s a real job, but it’s not her real job.

  20. Dear Lord – My latest theory is that DZ is actually QT, sitting in his screening with a laptop, smokin’ some weed and having a piss.

    I haven’t read the book or seen the movie in a little bit but IIRC there are reasons given for how Jackie ended up being a stewardess at such a shitty airline and it’s established that she can’t get out of it.

    So she ends up smuggling to make ends meet but is, quite clearly, being used by others and not benefitting from it.

    And then she takes charge of her life…etc. etc.

    Oh, and in the book (Rum Punch) Jackie is white so then the question is whether Leonard is a self-hating white person (I mean, a 40-something white woman can’t even get a real job with committing crimes!?) or whether QT made her black to get his racist ideology across.

    Plus we can tie in the theme of how Grier couldn’t get a real job and had to participate in QT’s racist screed, selling herself out just like her character….man, this really gets deep!

    I think DZ should teach a college course on the auteur theory, theft, racism and how QT tied it altogether with a bow.

    Yeesh.

  21. Three to four years between movies seems to be the unfortunate norm for a lot of the top tier directors these days. Granted, legends like Spielberg and Ridley Scott can seemingly get a movie made every year if they choose, but the whole generation of filmmakers who got started in the mid to late 90s seem pretty leadfooted on the whole.

    Fincher – 3-4 years between films.

    David O. Russell – one film in the 8 years since Three Kings.

    Spike Jonze – Last film was 5 years ago.

    Wachowski’s – just now trying to rebound from the Matrix Trilogy debacle.

    Wes Anderson – three years between films

    And if working fast is better for the filmmaker there are plenty of examples that prove contrary. Woody Allen and Quint’s chum Rodriguez come to mind.

  22. “And if working fast is better for the filmmaker there are plenty of examples that prove contrary. Woody Allen and Quint’s chum Rodriguez come to mind.”

    If you want to compare Woody Allen’s output to Quentin Tarantino’s, then you have to synchronize the timelines. So if Tarantino’s done what he’s done since 1992 when Reservoir Dogs came out, Woody Allen, in his first 15 years had made:

    What’s Up Tiger Lily?

    Take the Money and Run

    Bananas

    Everything You Always Wanted to Know About Sex

    Sleeper

    Love and Death

    Annie Hall

    Interiors

    Manhattan

    Stardust Memories

    A Midsummer Night’s Sex Comedy

    And if you started with Take the Money and Run, the list would reach to Zelig and Broadway Danny Rose.

  23. DZ, by your logic every blaxploitation film in which blacks go ‘outside the law’ to outsmart whites is racist. Is this what you are saying?

    In general, though, shut up shut up shut up shut up shut up.

  24. DZ:

    Are you fucking serious? (I guess you are.)

    Wow. You have pretty much missed the point.

    Or.

    You have failed to make YOUR point.

    Try again, I guess…

  25. Kubrick’s hardly the only “classic” director who worked at a leisurely pace: Lean, Wyler, Stevens, Zinnemann, even Hawks and Hitchcock in their later years. And anyway, where is it written that a director has to work every single minute? Maybe some people prefer taking a year off to relax and recharge the batteries, or perhaps do other things (stage, TV, write a book, etc.). Yes, we all wish QT were more prolific, but he shouldn’t hafta grind ‘em out (no pun intended) just because we want him to.

  26. I’m tired of Jeff lauding and rationalizing the mad genius of some artists while chastising the quirks and eccentric characteristics of those whom he doesn’t secretly wish he could keep in a jar in his basement…

    …sorry for the Chris Farley/Mr. Belvedere reference, just popped into my head like the Stay Puft Marshmallow Man…

  27. I’m content to let Tarantino be Tarantino, though I do wish he’d reach down and pull out another Jackie Brown. I doubt forcing him to work faster is the answer though.

    The Protestant work ethic and authoritarian whip cracking are all well and good if you’re talking about cranking out Fords or flipping burgers, but I don’t think you can easily or safely apply them to the creative process for all people.

  28. “It’s pretty racist to make a movie about a 40-something black woman who can only committ crimes for a living. Even the ladies in “Set It Off” had real jobs.”

    So being a stewardess isn’t a real job?

  29. I do find it interesting that even when QT has done something based on another persons work, i.e. Elmore Leonard’s Rum Punch becoming Jackie Brown that QT was able to craft a script using what he brings to the table without losing what makes a Elmore Leonard book work. To that effect I would have love to see The Man From U.N.C.L.E. movie he was set to do a few years back.

    A spy flick is one arena he hasn’t tackled yet. What QT does best is write… but he also has an uncanny ability to pick the right music (Which most of the time inspires his writing) to picking the right actor and then getting from them performances out of them the likes we haven’t seen them do.

    As a Director… well he isn’t an Autuer like De Palma, Kubrick, Mann, R. Scott, but still… his films are edited will, acted well and drip with coolness.

    It amazes me because in person whilst coming across as a savant with his knowledge of film arcana he is also the ultimate Fan Boy! Yet he runs a tight/creative ship on set.

    I await each of his films… Like I do PT Andersons (Where is his next movie?) and the Coens.

  30. David: “or whether QT made her black to get his racist ideology across.”

    Probably the latter, especially in light of Forster’s comments towards Jackson.

    jeff: “DZ, by your logic every blaxploitation film in which blacks go ‘outside the law’ to outsmart whites is racist.”

    Actually, black communities did criticize the genre for perpetuating negative stereotypes. But

    I think that many of those films weren’t really about breaking the law as much as defending urban neighborhoods from the encroachment of criminal organizations and racist cops. Jackie Brown’s from a director who thinks what made those blaxploitation films great was the criminal activity on the part of certain members of the community.

  31. Wow, QT makes the best film in ten years about how hard it is to get past racism when you’re set in your ways (the end, in which Forster doesn’t chase after her like we know he should, he knows he should, is heartbreaking) and D.Z. says that’s his “racist ideology.”

    Wow.

    Talk about missing a 747 taking off over your head.

    Anyway, Kubrick is an object lesson in what not to become. Sure, his last few films are cool in their own way… but hermetic, insular, detached from reality, and all because he made his world cozy around him. The real Kubrick, the tireless exploring Kubrick with a crackling wit who liked to play with smart guys like Calder Willingham and Terry Southern and Arthur C. Clarke, died somewhere between Clockwork Orange and Barry Lyndon, and turned into the lord of a very small group of courtiers in England.

  32. It’s pointless having a discussion with you, DZ. While it’s worthwhile to have a discussion about the ideologies of blaxploitation (most films of which were directed and produced by white guys in the 1970s), any discussion of Tarantino is a priori decided by you.

    Stop it. We get it, he stole your girlfriend or ran over your dog or something. You have two trains of thought: “I’m better than everyone else because I’m an extreme liberal” and “Tarantino is the worst human being on earth”. Both points have been made. Go away until thought number three enters your head.

  33. Kubrick changed focus in the last couple of decades of his life, but it just means he became more of an art director, less populist. The case could be made that a populist director is inherently better than an art director, but it’s haggling. His last few films are as great as his earlier ones.

  34. Without flaming me… here me out on one subject brought up here but a tad way of topic… In a world without a Kubrick… is it safe to say that Michael Mann is the next Kubrick? Or dare I say Terry Gilliam? I bring this up more about Mann. He is a complete control freak on set. There is not a speck of dust nor a house fly in a frame if he didn’t ok it and want it there. I know that you could also include The Coens and even David Fincher as well… but Mann has a vision, Fincher is getting there, Gilliam is lost within his vision and the Coens live, breath and create their own universe on film. All of these filmmakers added up make a Kubrick. Kubrick in a sense has made the ‘best’ film of each genre he attempted. THink about all of his movies… they do not cross over each others genres but are unto themselves… and redefine their prospective genres. Most of the other directors mentioned above have gone back to the well of inspiration for at least two if not more films in their oeuvre but not Kubrick. He made a definitive film for each genre he tackled.

  35. Wow, QT makes the best film in ten years about how hard it is to get past racism when you’re set in your ways (the end, in which Forster doesn’t chase after her like we know he should, he knows he should, is heartbreaking) and D.Z. says that’s his “racist ideology.”

    Wow.

    Talk about missing a 747 taking off over your head.

    Anyway, Kubrick is an object lesson in what not to become. Sure, his last few films are cool in their own way… but hermetic, insular, detached from reality, and all because he made his world cozy around him. The real Kubrick, the tireless exploring Kubrick with a crackling wit who liked to play with smart guys like Calder Willingham and Terry Southern and Arthur C. Clarke, died somewhere between Clockwork Orange and Barry Lyndon, and turned into the lord of a very small group of courtiers in England.

  36. no, it is not safe to say michael mann is the next kubrick.

    so please don’t. for your sake.

    mann’s vision fumes do not a kubrick remake.

  37. I think it’s a mistake to characterize Kubrick purely on the basis of ‘obsessive’. Sure, that’s how he worked and how Mann and Fincher work (I guess) but more importantly is what’s on the screen, and I don’t know of any director working today who has Kubrick’s blend of formal visual rigor and incisive sociological insight.

  38. Without flaming me… here me out on one subject brought up here but a tad way of topic… In a world without a Kubrick… is it safe to say that Michael Mann is the next Kubrick? Or dare I say Terry Gilliam? I bring this up more about Mann. He is a complete control freak on set. There is not a speck of dust nor a house fly in a frame if he didn’t ok it and want it there. I know that you could also include The Coens and even David Fincher as well… but Mann has a vision, Fincher is getting there, Gilliam is lost within his vision and the Coens live, breath and create their own universe on film. All of these filmmakers added up make a Kubrick. Kubrick in a sense has made the ‘best’ film of each genre he attempted. THink about all of his movies… they do not cross over each others genres but are unto themselves… and redefine their prospective genres. Most of the other directors mentioned above have gone back to the well of inspiration for at least two if not more films in their oeuvre but not Kubrick. He made a definitive film for each genre he tackled.

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