Saturday, June 24, 2006

How Many Directors Does It Take To...

EW Online has this cool interview with Quentin Tarantino and Robert Rodriguez regarding their upcoming joint venture, Grind House.

Whether he was directing or writing, I really dug Tarantino's innovative story narratives from his early movies, especially Reservoir Dogs, Pulp Fiction and True Romance. Since Jackie Brown, though, I haven't been much of a fan. Something feels gimmicky to me about his work since the mid-90s.

I'm a big fan of the visual way in which Rodriguez tells a story. Sin City was brilliant, I thought, and I really liked the early Spy Kids flicks. I may be the only person in America over the age of 17 who liked The Adventures of Shark Boy and Lava Girl.

Grind House sounds like it may be a winner when it's released in 2007.


Anonymous said...

I also enjoy Tarantino's earlier work. Don't forget about the Kill Bill movies! I am sure that Grind House will have classic Tarantino twists.

Kelly said...

Shark Boy and Lava Girl? You and Reagan agree on one thing! ; )

jedi jawa said...

My favorite Tarantino films have to be "Reservoir Dogs" and the "Kill Bill" flicks. "Dogs" just feels like a one act play even though we do get the flashbacks of story. It flows well and is well done. The first "Kill Bill" was such an homage to all of those classic martial arts films that I can remember seeing on cheesy weekend movie marathons growing up. The second "Kill Bill" seemed more an homage to the Sergio Leone style of western including using the same composer who wrote so much of the music for those "spaghetti westerns." To me, "Kill Bill" invoked so many familiar things from movies that I watched growing up, including musical cues, while still maintaining its own story and perspective that it should be an instant classic.

I can't speak to "Spy Kids" or "Shark Boy...", except that they looked really gay, but I loved how Frank Miller's dark vision was so clearly visible in "Sin City." Somehow my wife came up with the idea that she would like to see this film and before she could rethink it or change her mind I had the car keys and the popcorn buckets and was holding the door for her (let's just say she didn't like it as much as I did). I thought that much of the imagery and lighting/color effects in that film just leapt from the pages of a comic book much like some of the scene perspective shots did in "The Matrix" and "Ultraviolet".

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