Newsgroup: it.arti.cinema
Titolo: Re: [INTERVISTA - ENG] (1994) Le preferenze/influenze italiane di Quentin Tarantino

 With all of the talk about QT's influences,
Basta, bastaaaaaaaaaaaaa, AABBBBBBBBASTAAAAAAAAAAAAAAAAAAAAAAAAAA!
Ne ho le palle piene delle influenze di Tarantino!
Non dico a te, swelzer, fai bene a postare gli articoli, ora lo leggo,
magari a leggerlo è interessante.
-- 
adamski
"A te i concetti non piacciono vero?"
(Giannetto)
UFV:Munich/The Door in the Floor/Trappola in fondo al mare/Matc
h Point/I segreti di Brokeback Mountain/La neve nel cuore/The T
hin Red Line(HV)/The New World/Mildred Pierce(HV)/Me and You an
d Everyone We Know/King Kong/Parole d'amore

The following interview with Quentin Tarantino was ripped off from The
Giallo
Pages #3, a zine devoted to Italian exploiation films, and printed in
England,
where the interview took place.  Asking the questions is Giallo Pages
editor
John Martin.  Buy this excellent zine for 2.50 pounds from: On Line
Publishing, P.O. Box 134, West PDO, Nottingham, NG7 7BW, England,
($7.00 US).
With all of the talk about QT's influences, the following should shed
some
more light on the subject.
============================================================================
GP: So what did Keitel tell you about working with Argento on TWO EVIL
EYES?
QT: He was in TWO EVIL EYES, and he did another Italian movie, THE
INQUIRY,
    by Damiano Damiani...
GP: He did that other thing too, ORDER OF DEATH by Roberto Faenza...the
one
    with Johnny Rotten in it.
QT: Oh yeah...I never talked with him about the Johnny Rotten movie,
but he
    really liked Dario.  He said that they might do another movie
together
    some time down the line, because he says Dario said to him,
"Harvey, I've
    never really learned so much about acting as I have from working
with
    you."
GP: Keitel was great in that film, as usual, but I wasn't too crazy
about the
    Argento half in general...
QT: What...you mean you liked Romero's bit but not Argentos?!?
GP: Well, I'm not a great Romero fan, so I went in there with no great
    expectations of his half, which turned out to be...not bad, but I
expect
    so much from Argento, and he just didn't give it to me.  It was
like he
    was sacrificing a lot of things in an attempt to get into the
American
    mainstream or something.
QT: That's true, but I still enjoyed his bit.  I actually think it's
the only
    movie he's done since SUSPIRIA that was good from beginning to end
- it
    works consistently, all the way through.
GP: Yeah, but for me it's working on a lower level than usual - some of
his
    other movies have there peaks and troughs, but the peaks are so
much
    higher than anything in TWO EVIL EYES.
QT: Yeah, I know, the thing is that...TWO EVIL EYES has a lot of good
stuff in
    it.  I mean, is there anything as good as the needles being taped
to the
    girl's eyes in OPERA?  No!  But is was just so nice to see a Dario
Argento
    piece of work that didn't make any apologies...it was really cool,
y'know,
    just like really compact and I loved it, thought it was terrific.
GP: It did have Keitel, who's a cut above the level of actors  Argento
usually
    gets to work with.
QT: Yeah, Harvey was great in it, he was really funny and the movie's
wild,
    it's not like some kind of weak sister movie...got really wild shit
in it,
    and I loved all the camera movements.  Yeah, I thought that movie
really
    kicked ass, I was really happy with it, though a lot of people do
badmouth
    it.  Harvey loved working with Dario, said he was really a sweet
man.  Tim
    Roth, who was also in my movie, almost got the Jimmy Russo part in
TRAUMA.
    He had to back out at the last minute, but he's a big Dario fan,
and I've
    been a big fan of Italian films for a long, long time, following
them ever
    since I was a teenager, y'know.
GP: Do they get well distributed in the States?
QT: Well, they used to be well distributed back in the '60s, but they
showed
    up big time in the video explosion in the early '80s.  It's
stopping now,
    because there's no market for dubbed films in America...when they
come out,
    they're really just thrown out there, y'know, they could care less.
 But
    for a while there, video stores were buying everything, and that
was when
    all this stuff got released...Ciro H. Santiago movies and
everything,
    there were a zillion of those, Anthony Dawson (Antonio Margheriti)
and
    Enzo G. Castellari films all over the place.  Of course back in the
'70s
    was the last hurrah of these things playing the theatres.
GP: ...after which they started closing all the grindhouses down...
QT: Right.  I got into it, of course, through Mario Bava...
GP: That guy is so underrated...
QT: Well, Martin Scorcese's been championing Bava for years.  After
Bava I got
    into spaghetti westerns, guys like Sergio Sollima...I think it's
    fantastic that the Aktiv guys are getting this spaghetti western
    collection out over here in England.  They don't have anything like
that
    in America - I mean, I'm desperate to see the spaghetti western
Lina
    Wertmuller directed, but you just can't get it, and until I came
over here
    I'd never seen Sollima's FACE TO FACE, just read about it for
years.
GP: What about Corbucci?
QT: Well, Corbucci's OK, but Sollima's fantastic, y'know: FACE TO FACE
and THE
    BIG GUNDOWN...that one is a particular favorite of mine.  Also
Damiano
    Damiani, who did A BULLET FOR THE GENERAL and CONFESSIONS OF A
POLICE
    CAPTAIN - with Franco Nero and Martin Balsam - and AMITYVILLE 2.
He's
    really good...Sergio Leone, naturally...then I discovered Anthony
    Dawson...
GP: I just might as well rename the magazine "The Antonio Margheriti
fan-club
    nwesletter"...he's made pictures in so many different genres -
which of
    them were the one's that you got into?
QT: Well, let me see...I don't know where it was I started noticing who
he
    was, but the first movie where I knew I was watching an Anthony
Dawson
    movie was THE STRANGER AND THE GUN FIGHTER, the Lee Van Cleef / Lo
Lieh
    kung-fu western.  I collect his films, I've got a pretty big
Anthony
    Dawson collection now.  A bunch of my friends and I are into a lot
of his
    early movies, really neat stuff like CASTLE OF BLOOD and THE LONG
HAIR OF
    DEATH.  But I think probably my favorite Anthony Dawson movie ever
is THE
    CANNIBALS  ARE IN THE STREET (CANNIBAL APOCALYPSE)...
GP: I just did an interview with John Morghen from that movie.
QT: Yeah, I remember that guy from so many movies.  That'll be
fantastic, I
    can't wait for that!  He's great, been in...
GP: CANNIBAL FERROX...
QT: Exactly, yeah, and the Lucio Fulci picture GATES OF HELL (CITY OF
THE
    LIVING DEAD.)  So I like CANNIBALS IN THE STREETS, I like THE LAST
    HUNTER...it's hysterical, the way these movies have been released
and
    re-released in America...y'know Dawson did all those Vietnam
movies, THE
    LAST HUNTER, TORNADO STRIKE FORCE, all these things, and he did
them
    before RAMBO, they were all actually APOCALYPSE NOW rip-offs.  He's
a
    great rip-off director, he'd do DEER HUNTER rip-offs, which is what
THE
    LAST HUNTER is, he'd do APOCALYPSE NOW rip-offs...
GP: The original Italian title for CANNIBALS IN THE STREETS translates
as
    "APOCALYPSE TOMORROW"!
QT: Exactly!  What's funny is the fact that when the RAMBO movies came
out...
    I mean RAMBO is really well done and everything, but it has the
flavor of
    an Anthony Dawson film...in America they just re-released all of
his DEER
    HUNTER rip-offs and marketed them as RAMBO rip-offs!
GP: It's like BODY COUNT by Ruggero Deodato, which people say is a
FRIDAY THE
    13TH rip-off, but FRIDAY THE 13TH itself is just a retread of Mario
Bava's
    ANTEFATTO (TWITCH OF THE DEATH NERVE, BAY OF BLOOD)...
QT: Exactly!
GP: So who's ripping off whom?
QT: I know, exactly.  Another Anthony Dawson movie I like is TAKE A
HARD RIDE,
    that's a cool one...
GP: Which is the one where they're looking for a map tatooed on a
girl's ass?
QT: That's THE STRANGER AND THE GUNFIGHTER...
GP: Oh right, what was confusing me was that it was released over here
as
    BLOOD MONEY...
QT: Right.  After all that stuff I started getting into the mafia
movies, a
    whole stack of them, and the number one director there was Fernando
di
    Leo - he's sort of like the Don Siegel of Italy, did a whole bunch
of
    movies.  There are two he did, one was called - I think the
original title
    of it was RULERS OF THE CITY - and another one called HITMAN.
RULERS OF
    THE CITY starred Jack Palance and HITMAN starred Henry Silva and
Woody
    Strode, and they've been retitled so many times in America, because
    they've been released and re-released, so five different companies
have
    them, all under different names...it's common to go into a video
store
    and find that the owners have the same movie under different
titles, and
    don't even know it's the same thing...
GP: ...and you get movies witht the art work from completely different
movies
    on their boxes...
QT: In America that even happened to the MEAN STREETS box!  You had
like a
    still from THE GETAWAY on the MEAN STREETS box!  RULERS OF THE CITY
has
    been known as BIG BOSS, MR. SCARFACE, THE SICILIAN CONNECTION...but
    Fernando di Leo is really cool, HITMAN is really a neat movie, and
he did
    another - I'm almost positive it's him - it's one of my favorites
from the
    Franco Nero action movies of the '70s, a film called STREET LAW, in
    which he stars with Barbara Bach.  It's like a DEATH WISH kind of
movie,
    and it's terrific, man!  It is a great, great action film, it's
just
    really wonderful - Franco Nero is the meak, mild guy, who's pushed
into
    being a vigilante and stuff - really terrific!  A lot of di Leo's
movies
    were really cool, because sometimes they'd get someone who was a
big star
    in Italy like Franco Nero, Tomas Milian or someone like that, or
sometimes
    they'd get an American star, like RICO with Christopher Mitchum,
that's a
    good one...Robert Blake did a movie over there called RIPPED OFF,
before
    BARRETTA had happened...they get 'em over there, people like Henry
Silva,
    but the thing is, whether or not they had an American actor or an
Italian
    as the lead, they always had a fallen American actor playing the
big mob
    guy - Martin Balsam or Lee J. Cobb or Richard Conte or Arthur
Kennedy,
    y'know, all the way down the line...Alain Delon did a good Italian
mafia
    movie that was released in America, called NO WAY OUT, that's
really cool.
    Richard Conte is the mob guy in it, the Big Boss Man, he was really
good.
GP: Telly Savalas did a lot of those...
QT: Oh, Telly Savalas did a zillion movies in Italy...what's cool
though is
    that when the mafia movies started, Sergio Sollima just switched
from
    doing spaghetti westerns to doing mafia crime movies, alright, and
his
    best was THE FAMILY with Charles Bronson, Jill Ireland, and Telly
Savala
    ...I think it was known in Britain as VIOLENT CITY, because the
original
    title is CITTA VIOLENTA and Lina Wertmuller wrote the script for
that...
    it's terrific.  What's wild about THE FAMILY is that it's a full-on
    remake, with the same story points and everything, of OUT OF THE
PAST the
    Jacques Tourneur / Robert Mitchum thing...
GP: ...which was also remade as AGAINST ALL ODDS...
QT: Yeah, that was the official remake.  Exact same story, but Bronson
is a
    hitman as opposed to a detective, Telly Savalas is in the Kirk
Douglas
    part and Jill Ireland's in the Jane Greer role.  It's terrific,
really
    great.  Sollima also did a remake of his own movie, THE BIG
GUNDOWN, in a
    modern setting, called REVOLVER.  It's got many titles on video,
I've got
    it as BLOOD ON THE STREETS.  Oliver Reed's in the Lee Van Cleef
role.
    Other guys I like are Alberto de Martino, Duccio Tessari...
GP: As well as the spaghetti westerns, Tessari made a couple of
excellent
    gialli - DEATH OCCURED LAST NIGHT and THE BLOODY BUTTERFLY...the
one with
    Helmut Berger in it...
QT: Oh Yeah!  There's one of the Italian mafia movies, I'm trying to
remember
    if Fernando di Leo did it or not, but it's a great one with Helmut
Berger
    called MAD DOG.  It was terrific, and it's got Helmut Berger as the
bad
    guy, and he totaly lives up to the title, just an out of control
crazy
    hitman killer, and this cop's after him...I mean, it's a really
cool
    movie, it's so neat.  And De Martino is just great...
GP: He did a superb film that came out over here as BLAZING MAGNUM...
QT: Which is that one?
GP: Gayle Hunnicutt's in it, and the cop is Stuart Whitman...
QT: Oh yeah, that was called - it had this really arty title in America
-
    STRANGE SHADOWS IN AN EMPTY ROOM...
GP: Sounds like a literal translation of the original Italian title.
There
    was a great car chase in it...
QT: Yeah, really great car chase...
GP: ...and a kung-fu fight with a gang of transvestites in a penthouse
on top
    of a skyscraper...
QT: Yeah, John Saxon's in it, Martin Landau...
GP: Tisa Farrow too...I just think it's a really exceptional movie in
the
    genre...
QT: I love De Martino, HOLOCAUST 2000's good, THE TEMPTER...
GP: That one was shot by Joe D'Amato...
QT: Oh really?
GP: Yeah, he uses his real name - Aristide Massaccesi - when he's
working as
    a cinematographer.  What do you think of that guy anyway?
QT: It's funny, I haven't seen that many of his movies actually, but
Michele
    Soavi really gives him the credit for taking a chance on him...
GP: I think it's great that he always gives D'Amato credit for that,
when he
    could just dismiss him as a hack sleazemeister...
QT: You don't do that to someone who basically made your career for
you, I
    mean it was D'Amato who really took the chance on Michele's talent
-
    Dario didn't...Joe D'Amato did it!  And STAGEFRIGHT is definitely
his best
    movie...
GP: Oh, by a mile!
QT: It's better than anything Argento's ever done.  The only thing that
can
    touch it is some of the sequences of OPERA.  I love OPERA.  It
doesn't
    work from beginning to end like STAGEFRIGHT does, but some of the
    sequnces - you know the first time theyt do the "needles under the
eye"
    thing, wow!  But for my money, in the '80s, STAGEFRIGHT is the best
    Italian horror film, and Michele is the most talented guy on the
Italian
    film scene right now...I mean. I'm going to have to take a look at
this
    Baino guy's stuff, because you've raved about him to me...
GP: Mariano had a meeting with Soavi, showed him his stuff, and Michele
is
    supposed to have said to him, "When you get going, the rest of us
won't
    be able to live with you!"
QT: Wow, I'm really looking forward to seeing the tape of his movie
now!
GP: You're so conversant with all these Italian films...everyone knows
about
    the Hong Kong influence on your work, but how does the Italian
stuff show
    up in something like RESERVOIR DOGS?
QT: Well, I dunno - it's the same thing with the Hong Kong stuff, I
don't know
    where it overtly rears its head in the course of the movie...
GP: When I was watching the infamous "cop torture" scene from RESERVOIR
DOGS,
    with that guy tied in the chair and forced to watch Michael Madsen
going
    through his routine, it made me think of Cristina Marschillach,
tied to
    that pillar in OPERA with her eyes pinned open...
QT: Oh yeah, that wasn't conscious, but it's an interesting analogy,
yeah...
    but the thing about crime films, in particular, is th at the yakuza
movies
    they make in Japan, the triad movies they make in Hong Kong, the
mafia
    movies they make in Italy, Jean Pierre Melville's films in
France...the
    thing is, we're all telling the same stories, but we're all telling
them
    differently, because we're all from different cultures, different
    nationalities, and that's what's really interesting to me, how
different
    cultures attack the same story.  The story's almost exactly the
same in
    every country, y'know: the hitman's supposed to do something for
someone,
    but he doesn't do it, so they kill his girlfriend, and then he goes
to get
    The Big Boss.
GP: It's like a myth...
QT: Right, and in Japan they do it differently, in Hong Kong they do it
    differently, in Italy they do it differently.  I'm familiar with
all this
    stuff because I've been watching it my whole life...got the job in
the
    video store because I'm like a film expert...
GP: And you're a self-taught expert, you didn't learn any of it in film
    school...
QT: Hey, they don't teach you "The Films of Anthony Dawson" at UCLA!
GP: That's their loss.
QT: Yeah, right (laughs).  The thing about people like Dawson or what's
his
    name, Enzo G. Castellari or whatever, is that these guys do like a
zillion
    movies, and I get a kick out of those films because...in the case
of those
    guys, and in particular Dawson, I mean the guy's a hack but he's a
hack
    who really knows what he's doing, you're in good hands and they're
real
    fun, and Castellari...he did a load of disposable stuff like THE
BRONX
    WARRIORS and all those MAD MAX type movies, but I think he's
probably
    also the director who's worked with Franco Nero more than
anybody...
GP: They did KEOMA
QT: Right, and the crime / action movies they did together are really
good.
    He did one movie - and I think it's one of the best movies in all
Italian
    exploitation - THE INGLORIOUS BASTARDS!
GP: That's the one with the GIs in Nazi Germany passing themselves off
as
    Gestapo men...
QT: Right, they're American soldiers who have been condemned to death
and
    they escape, so they're trying to get to neutral Switzerland,
trying to
    carve their way out, fighting both the Americans and the Nazis...
GP: Bo Svenson's in it...
QT: Right, and Fred Williamson.  It's terrific, it really is, really
good,
    and the script is fantastic.  It's like a hommage to Sam
Peckinpah's
    CROSS OF IRON, which was a smash in Italy, so they made a bunch of
CROSS
    OF IRON ripoffs and that's what this movie, stylistically, is
taking its
    cue off...
GP: CROSS OF IRON was released on a double bill with SUSPIRIA over
here...
QT: CROSS OF IRON just came and went in America, but in Germany and
Italy it
    was a smash - I always follow these trends, in fact the only one I
don't
    follow that much, because they really didn't do them that well
though
    they did them forever - is those post-apocalypse MAD MAX ripoffs.
I love
    MAD MAX though...
GP: Have you seen RATS - NIGHT OF TERROR by Bruno Mattei?
QT: No, but I've heard a lot about it.  He's known as "Vincent Dawn" in
the
    States...he did a western actually, which I'd be interested to see
- it's
    called WHITE APACHE.  But one of those post-apocalyptic movies I
did like
    was...I don't know if it was a real Italian one, but this one was
about
    these guys attempting to repopulate the Earth, Martin Dolman's
AFTER THE
    FALL OF NEW YORK...
GP: That's Sergio Martino.
QT: Oh Yeah?  I didn't realise that was Sergio Martino, that's
fantastic!
    He's the guy who did, er, CANNIBAL GOD, right, with Ursula Andress
and
    Stacey Keach...
GP: Depending on where it's released it's either MOUNTAIN or PRISONER
or
    SLAVE OF THE CANNIBAL GOD...
QT: Yeah, SLAVE OF THE CANNIBAL GOD...
GP: That was released quite cut over here, although it still became a
"video
    nasty."  Maybe the cuts were a factor, but actually I think that's
one of
    the least entertaining cannibal movies...
QT: Me too.
GP: I mean, Martino's a real pro, always makes a polished movie, but he
    doesn't have that kind of tacky edge that someone like Umberto
Lenzi
    brings to this genre...
QT: CANNIBAL HOLOCAUST is my favorite, a really cool film...but Martino
did
    a great job on AFTER THE FALL OF NEW YORK...George Eastman's in it
as is
    "The Big Ape," and there was this one guy in the movie, I don't
recall
    his name but he's the guy who's protecting the girl once he's found
her,
    and it's great, because he's kind of like the Italian William
Smith....I
    see him crop up all the time, he's kind of a real big guy with
sandy
    colored hair and he just looks like an Italian William Smith.  He
leads
    some rebel crowd in it, and when he finds this woman, the last
fertile
    woman, he protects her, that kind of thing and he has the same part
as the
    big guy in THE LADY KILLERS, basically!  And Michael Sopkiw's
really good
    in it too...
GP: He was in BLASTFIGHTER as well...
QT: Yeah, BLASTFIGHTER's really good.  I think that's Lamberto Bava's
best
    movie...
GP: What - better than MACABRE?
QT: MACABRE's pretty good, and I heard that he directed about half of
SHOCK,
    which I absolutely love...
GP: There's some dispute as to whether he had any hand in directing
SHOCK...
QT: Well, people who like SHOCK say it was all Mario, those who don't
like it
    say Lamberto did it! (laughs)  But yeah, I like MACABRE, I really
like
    BLASTFIGHTER...and I actually like DEMONS 2 more than DEMONS 1, I'm
on
    the DEMONS 2 side, actually...
GP: What's weird about the way they released those films over here is
that
    the first one is set in a cinema, and really should be seen in a
theatre,
    but they just dumped it on video, whereas DEMONS 2 got quite a big
    theatrical release.
QT: No kidding, really?  DEMONS 2 didn't get a theatrical release in
America.
    It was really cool.  I actually worked for a company for a while -
    Imperial Entertainment, it's Imperial America out here, I think -
and
    they released a bunch of Italian stuff for a long time, so it was
really
    cool.  They released DEMONS 2, which was the biggest of all their
Italian
    things, they also released some great Italian westerns, Duccio
Tessari
    films like THE RETURN OF RINGO, and the first RINGO movie, and they
    released lots of Larry Ludman movies and Vincent Dawn movies.
D'you ever
    see that Larry Ludman version of SALVADOR?
GP: He makes about seven movies a week, that guy!
QT: He does, yeah.  I can't remember the name of it now, but it was
with that
    guy who's in BUGSY... "something-Vansomething-else"...he's starred
in a
    whole bunch of movies, and Roger Wilson, the guy who stars in
PORKYS, as
    these two photojournalists in Central America, trying to break a
story
    kind of thing, and it was really cool, a fun movie.  I also get a
big kick
    out his THUNDER WARRIOR series.
GP: Are you into Luigi Cozzi?
QT: He's OK, I mean I liked ALIEN CONTAMINATION...
GP: I told him one that I really enjoyed CONTAMINATION and his reaction
was
    to just fall about laughing, like it was the most outrageous idea
ever
    that anyone would compliment him on that movie.  I mean, it's
easily his
    best movie, for Christ's sake...
QT: Yeah, it's definitely my favorite movie of his.  He did another one
I'd
    like to watch, but I can't remeber what it was...
GP: In the horror genre?
QT: Yeah, but I can't remember what it is right now...I like a lot of
zombie
    movies, like CITY OF THE WALKING DEAD (NIGHTMARE CITY,) the Umberto
    Lenzi one.
GP: That's the one with the "dream ending"...
QT: Exactly, but I just love the fact that like, the zombies in this
movie
    run, shoot machine guns...
GP: ...fly planes...
QT: Yeah, it's like - fuck man, it's no fun being chased by a zombie
and he
    can run as fast as you!  That's so cool, and it was such a neat
idea,
    based on the whole NOSFERATU thing, to have the plane landing with
all
    these zombies in it...really cool, and I had a lot of fun with it.
I get
    a big kick out of all those zombie movies.  The only problem I have
with
    ZOMBIE (ZOMBIE FLESH EATERS) is the fact that people in it don't
turn
    around fast enough!  Me and my friends were watching the movie, and
we
    all agreed that, like, if you were in this jungle full of flesh
eating
    zombies, ok, and they turn up behind you, guys in the movies always
turn
    around like (mimes around v-e-r-y slowly): I would be like the
Jesse
    Owens, man, Carl fucking Lewis of turning around.
GP: Right, and I always loved the fact that although they know that
dead
    people are coming back as flesh-eating zombies, they decide to lie
down
    in the cemetery and have a necking party!
QT: Oh, ZOMBIE has one of the most out of control scenes I've ever seen
in
    my life!  It's the scene where the zombie falls to the bottom od
the
    ocean floor, and he's just tripping along, minding his own
business, and
    a shark comes to eat him!  So he starts eating the shark!  Now
what's
    weird about that scene is that while you're watching it, it
actually
    makes a little sense, but when you try and describe this scene to
    someone who hasn't seen the movie, they just go, "What?  That was
in a
    movie?!?"  and you say, "Yeah, I suppose it sounds pretty wild,"
but in
    the movie it seems like a real commonplace.  But my favorite Fulci
is
    GATES OF HELL...
GP: Could you figure out that ending, though, with the slow motion and
the
    spider web and everything?
QT: Yeah, yeah, exactly...I have absolutely no idea what that means.
HOUSE
    BY THE CEMETERY is also great fun, it has that great sequence where
the
    kid's head is held against the door while his father is on the
other side
    trying to smash through with an axe.  That's more or less a replay
of the
    scene in GATES OF HELL where they're digging up the girl, which I
actually
    think, along with the zombie / shark fight, is the best sequence
Fulci's
    ever done.  That "digging up the girl" scene - great!  I really
love John
    Morghen in that film too, he's such a cool character...
GP: Right, he lives in this shack with a blow up doll and a decomposing
baby
    ...but he's still a real wow with the girls...
QT: ...and everybody else talks about him so much, I mean they talk
about him
    more than they do about any character in the movie, even the
priest,
    y'know.  I think it's so funny, everyone's looking for him, then he
bumps
    into this teenage girl and it's like, "Hi, how y' doin'?" and they
sit
    down, smoking a joint and everything...fucking great!  I like THE
PSYCHIC
    (SETTE NOTE IN NERO) too.
GP: We got that that one on satellite over here, but they tend to leave
off
    any pre-titles sequences, so we lost the scene where the woman
falls off
    the cliff and gets her head bashed in...
QT: Yeah?  But that's a really important scene in the movie!
GP: I know...that film reminds me so much of OBSESSION by Brian de
Palma...
QT: Yeah!
GP: It's just got that slow, dreamy, opulent, soft focus kind of feel
to
    it...really beautiful.
QT: I would agree with that, yeah.
GP: A lot of these Italian movies are a real acquired taste, because
some of
    them are all action, rat-tat-tat, and others are really slow, and
they're
    kind of puzzling to people brought up on the pacing of Hollywood
movies...
QT: Sure.  They are an acquired taste, and you have to forgive a lot of
things
    in them, but they're fun and I just like the kind of operatic feel
that
    they bring to it.
GP: Actually, a lot of people on the UK fan scene have turned toward
your pal
    John Woo's stuff and other Hong Kong movies now as a safer bet for
the
    out-of-whack, out-of-left-field stuff, because there's a feeling
that a
    lot of the Italian guys have kind of blanded up their act...
QT: Well, absolutely.  That's true, the Italian stuff is pretty
unreliable.
    I mean, I haven't seen ZOMBIE 3, but I've heard that it really
isn't all
    that good...
GP: You mean the one that Fulci started but Mattei took over?
QT: That's the one.
GP: Well, there are a lot of laughs to be had from it anyway.
QT: I don't know why it is, why I get such a kick out of them, because
they
    go crazy with all these zooms and everything...the sense of
over-the-
    topness in them is really cool, really neat, and I like the fact
that
    you're into a brand of cinema that not everyone in the world is
into...
    it's like being in this select little club!
* END *


Neanche se ha preso l'aviaria? 

Beh ho ritenuto interessante postare l'intervista, anche perchè
qualche giorno fa c'è stato un post su Mattei, visto che tra un mese
c'è il ritorno al cinema di Soavi ecc.
L'ho ritenuto più un omaggio al cinema italiano che un omaggio a
Tarantino (che a me sta un po' sulle balle!)
Cmq probabilmente si leggerà come al ca*** il mio "incollamento", per
via di layout...
Linkando qui si risolve il tutto:
http://groups.google.it/group/alt.cult-movies/msg/017cadbb432916ad?dmode=source
Sorry.

 c'è il ritorno al cinema di Soavi ecc.
Infatti, hai fatto benissimo.
Grazie mille.
-- 
"Dentro mi sento una merda, ma fuori appaio uno splendore!"
PatBateman, "American Psycho"

 c'è il ritorno al cinema di Soavi ecc.
Sìsì, hai fatto bene a postarla, comunque. Il mio era uno sfogo
personale.
Ciao