The Hollywood Reporter realizza tradizionalmente delle stimolanti tavole rotonde con attori e registi in lizza per la stagione dei premi.
Nel director’s roundtable ha messo a confronto Van Sant, Russell, Affleck, Lee, Hooper e Quentin Tarantino, che come al solito ha rubato la scena a tutti con dichiarazioni che hanno fatto notizia.
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Quentin ha smentito innanzitutto che sia stato spinto da Havey Weinstein ad accorciare il suo nuovo Django Unchained: “If he treated me that way, I wouldn’t be working with him for twenty years! I didn’t want a three-hour movie, either. When you’re cutting it down, at that moment in time, before you watch it with an audience, you know it’s too long, but you can’t imagine taking anything out. So then you watch it with an audience, and then all of a sudden — ‘Oh, wow, that is kind of boring now!’ or ‘No, this is not as suspenseful by the time we got to it as it needs to be.’ But you can only go so far in the Avid room on your own. At some point, you have to watch it with an audience… And then you watch the movie and 15 minutes are gone by noon the next day!”
Il film comunque sarà il più lungo della sua carriera: 2 ore e 45 minuti esatti.
Tarantino ha parlato anche del digitale in termini molto netti: “I can’t stand all this digital stuff. This is not what I signed up for. Even the fact that digital presentation is the way it is right now — I mean, it’s television in public, it’s just television in public. That’s how I feel about it. I came into this for film.”
Persino la proiezione digitale del suo film girato in pellicola lo disturba. Piuttosto preferirebbe lavorare direttamente: “I shoot film. But to me, even digital projection is — it’s over, as far as I’m concerned. It’s over. So if I’m gonna do TV in public, I’d rather just write one of my big scripts and do it as a miniseries for HBO, and then I don’t have the time pressure that I’m always under, and I get to actually use all the script. I always write these huge scripts that I have to kind of — my scripts aren’t like blueprints. They’re not novels, but they’re novels written with script format. And so I’m adapting the script into a movie every day. The one movie that I was actually able to use everything — where you actually have the entire breadth of what I spent a year writing — was the two Kill Bill movies ‘cause it’s two movies. So if I’m gonna do another big epic thing again, it’ll probably be like a six-hour miniseries or something.”
Quindi ha parlato della paura di non riuscire a farcela: “I didn’t entertain that thought [of failure]. If I did, I’d probably own a video store right now, and it’d be out of business right now, and I don’t know what the hell I’d be doing. I just figured I couldn’t have a fallback plan, ‘cause I couldn’t allow myself to fall back. All or nothing. There’s directing and there’s wanting to direct without ever having directed before, and they’re two different dudes. And the thing about wanting to be a director, and wanting this to be your artform… Aside from getting a 16mm camera, or Super 8 camera, and making something, which is definitely within your power, and even more within people’s power now, to test out these theories. But in the ’80s, when I was a young guy, there was no proof of it at all. You could act, and see if there’s something there. If you want to write, you can get a piece of paper, and see if there’s something there. But if you want to direct, actually direct a feature film, and you’ve never done anything, it’s all theory. So at 3 in the morning, from time to time, you wonder ‘Is this a mistake?’ You think you might have it, but you don’t know. I’m talking about before I literally did anything. This mountain you’re trying to climb, before you even know you’re a mountain climber.”
Quindi ha parlato della sua filmografia, dell’insuccesso di A prova di morte e del fatto che fare il regista è un mestiere da giovani. Troppe volte gli ultimi film di grandi registi non sono stati all’altezza della loro brillante carriera: “It’s age, it’s absolutely age. I’m really well versed on a lot of directors’ careers, you know, and when you look at those last five films when they were past it, when they were too old, and they’re really out of touch with the times, whether it be William Wyler and ‘The Liberation of L.B. Jones‘ or Billy Wilder with ‘Fedora‘ and then ‘Buddy Buddy‘ or whatever the hell. To me, it’s all about my filmography, and I want to go out with a terrific filmography. [2007’s] ‘Death Proof‘ has got to be the worst movie I ever make. And for a left-handed movie, that wasn’t so bad, all right? — so if that’s the worst I ever get, I’m good. But I do think one of those out-of-touch, old, limp, flaccid-dick movies costs you three good movies as far as your rating is concerned. It’s a grade-point average. I think I risk failure every single time with the movies I do, and I haven’t fallen into failure. Risking failure is not what I’m afraid of. Failing is what I’m afraid of.”