Live from Berlin: Once Upon A Time... In Hollywood - Tarantino, Robbie, DiCaprio & Pitt (2019)

please welcome Brad Pitt's vemma and vitamin I'm Biden superstar please welcome Leonardo DiCaprio the one and only Quentin Tarantino they're wonderful Mago Robi last but not least producer David Heyman welcome thank you ladies and gentlemen ladies and gentlemen to Berlin thank you very much for bringing this wonderful piece of art movie to the premiere to the German premiere well thank you thank you very much Quentin let's get started with you I mean this movie your ninth movie is awesome it's really mind-blowing is great it's fantastic I would like to know Quentin why because it took you five years to base you write the story did you ever get to a point because it's based on a very gruesome tale of gruesome murderess did you ever get to a point by writing the story that he actually said to yourself I don't want the Manson family to get more into my head I'm gonna quit I'm gonna stop writing the story mob just gave my answer all right yes I that absolutely happened at some point quite a few years ago I was kind of working out the idea of the story I think I'd written a few different scenes but just before I done a little bit of research on the Manson family but just before I was getting ready to do a deep dive and really really start doing the the research and really learning the whys and wherefores and learning more about them then I I knew a lot but I was gonna now learn a whole lot more but even the idea I mean the movie you don't hear Charlie talk but I wrote some scenes where you actually see Charlie we shot him it just didn't make the movie but even to try to get to know Charles Manson enough that I could write his vocal rhythms so I could write his speech patterns and write the way he talks I was like do I want to do that so I want to let these guys into my head like that do I want to know Charles Manson so well that I can write his speech patterns and I haven't even 4 or 5 years ago I was like I don't think so and so I put it away and did something else but then the material that I wrote I liked so much that it just kind of after that project was over it gravitated me back to it and then in between projects I just kind of pushed the rock up the hill a little bit further glad that you finished it though No thank you thank you Quentin Shannon and David Shannon you've been working with Quentin for quite some time so you know his body of work and David you basically joined as a newbie being the producer of this movie not as a newbie producer people call this Quentin's most personal movie would you agree and why would you say so well it's a lot about his growing up and his memories of being a child in Hollywood and driving around Los Angeles and when you see the Marquis in the theaters I mean those are things that were actually there and as a kid those were there and we the radio which is a backdrop khj are also part of his memories of driving around Hollywood and listening to the sounds of khj so David okay that's pretty much answered it what makes it a typical Quentin Tarantino movie would you say David well I think nobody else could make this film but Quentin you know it's got his singular voice it is as Shannon said and as you indicated an incredibly personal film it has it's just so full of life and originality and and freshness and really it is a film that could be made by no other you feel that in every frame you know Quentin bring such enthusiasm to making films and one of the pleasure it's a great pleasure to work on his films because of that and you can see that enthusiasm in every frame of this film my face is crimson Margot you have an incredible incredible body of work that you've done so far you Vita is amazing with the stuff that you've done but this was perfect timing in getting the role of Sharon Tate could you tell us the story that the two of you basically got together yeah I am I knew I always wanted to reach out to my idols Quentin being at the top of the list at one point in my life and let them know how much their movies meant to me and affected more my career choice and my taste in movies and I wrote Quentin a letter but I held off for a couple years I didn't feel like I was really at the stage in my career where I felt like I was ready to reach out I didn't think I was a good enough actor yet and then I watched the first cut of I Tania and I thought okay I feel like I've hit the point where I'm happy with my acting now now I'm gonna reach out to my idol so I wrote him a letter and fortuitously it was great timing it timed out nicely and we met up we spoke about share and we spoke about film I got to read the script when it was done and here we are fantastic and next to you Margo it's great to see Brad and Leonardo together on the big screen for the first time even though you had basically matchups in TV series a long time ago Leo what I would like to know is you play Rick Dalton an actor acting in a couple of movies and TV series how difficult was it for you to be acting as an actor it was interesting to say the least was a little bit existential at times because through the journey of finding out who this character was in the creation of him with Quinton I I had to realize that so much of who the character was was in a day in the life of a guy acting on a semi bad TV show and that was the catalyst for our journey and in creating Rick as me getting that footing and I just love the way he constructed this story of to sort of voyeurs two guys that are on the outskirts of Hollywood and giving us this incredible backstory of who these men were beforehand we up the second Brad and I stepped on set we had this incredible history together that we implicitly and I think instinctually knew so we're able to infuse all that in sort of two or three days of their life where you don't tell a full story but we we had this sort of sort of silent understanding of our past and that was that's what's so amazing about a journey like this is trying to tell a story in a condensed time period like that but all of us having that understanding of our own history Brett do you agree that basically what you've endured throughout your career the profession of friendships that came about on set next to being away from family and friends made it easier for the two of you to connect and to feel what Rick and cliff basically went through yeah absolutely I mean Quentin chose to tell the story of I guess filmmaking process television process through a a stuntman an actor at that time which was much closer but we all here sitting here rely on our our friends specifically for to to survive this thing to enjoy this thing to to negotiate our way through it there's a lot a lot a lot of downtime more downtime than actually than actual action time and so it was a I mean we had it was pretty automatic for Leo and I cuz we could we could just step right into that and and like Leo says the back story I'm didn't there's a whole there's probably two movies of prequels and Baxter yeah that Quentin laid out for us so it was it was good fun thank you so much Ian thank the cz humidifying director and the enesta diet questions from the floor thank you very much does it work yep yeah okay investigate I'm Ashley and come on the specimen amarka several times and when you have been here last time Berlin you already mentioned yet the only one to shoot 10 movies is that true is it still true and I also heard that you would like to do a Star Trek movie and maybe a Kill Bill 3 which wouldn't count them yeah I'm gonna that's the plan is to do 10 movies I'm not really sure what the 10th one is gonna be now it could be Star Trek this is pretty good script I'm holding off to deal with them until after all this is said and done but me and i'ma have talked about what could be that I'd always had an idea for Kill Bill 3 but then I started thinking about a little bit more in the last six months and I came up with an interesting idea so I I called her up and just told her about it and see what she thought and she liked the idea so I don't know how I'm gonna do it but I wanted to just you know find out gauge her interested and she was very interested in it so it was like um I'll see or it might be neither one of those two it might be just something that's in here right now that I don't know and it pops up and reveals itself if I wanted to have a loophole I guess I could treat Star Trek is like well and naturally when I said I was only gonna do 10 films they were obviously gonna be 10 originals so obviously Star Trek doesn't count you know but if you're gonna say you're only gonna do 10 films looking for a loophole alright is not necessarily the way to go yeah I think Bucky so part of me actually thing said okay well no if I'm gonna do Star Trek that should be the last movie because that means I mean it and that means I give a damn but then I heard a guy on a podcast say something like I want to see Star Trek I want to see Star Trek I don't want it to be the tenth film but I want to see Star Trek alright and well I understood that too so I don't know question from the lady right here then we move to the back both roll hi hi and this is actually a question for Bradley Oh Quentin and Margo and I just seen the movie and there were cigarettes everywhere and I was like oh my god this was basically the bad habit of everyone or the neutral habit depending on the time I wanted to know what is your a bad habit your personal twisting my hair it's terrible what's your habit cigarettes really picking my nose which will be a lot of people here but you're not gonna have the balls to say it the way next question from the gentleman right there hello Phillip Padma it's a wonderful movie hey I like your tailor thank you very much I like this movie also I think a question to mr. Pitts and mr. DiCaprio short question this is a wonderful match to Hollywood on to filmmaking what does film and filmmaking mean to you right now you know it's it's an I love storytelling and it's an industry that we all appear loved we wrestle with at times but ultimately it's about storytelling and and we I would say we all feel very fortunate to be able to do that right now it's a really interesting time because you see the cinema experience shrinking you see streaming exploding the positive of that is we see this wealth of talent that's been on the sidelines all this time this wealth of talent actors and writers and actors and it's and really gutsy storytelling as being is being embraced so that is really really fun to watch what happens to the communal experience we'll see I don't think it'll go away but it's certainly certainly in a shift right now but I would go with the times we go with the changes and and and it's all it's all right with me I don't think it can ever go away people will always I believe want to go out to movie theaters and have that experience it is the greatest art form in the world I'm honored to be a part of it and as Brad mentioned you know we're entering an era where we're in undated with not only content and information but new amazing you know stories are being told the format of which remains to be seen whether the two-hour three-hour format will stay intact or whether things are going to be seven part series because you know there's so much content but I don't think we're ever gonna lose that communal experience of being able to go out to a theater together and feel the energy of a movie we're excited about and that's why this movie was so incredible and awesome and I'm honored to be a part of because it's a it's a make a big-budget fantastic art film and that we may see a lot less of but that's why you guys got to keep going to the theaters and supporting films like this mago I have a question about the jewelery because I heard that Deborah Tate actually the sister Sharon gave you some of the original jewelry that Sharon actually had worn um did that help you sort of embrace the character more what was the feeling that you had when you were wearing it yeah no that's true and um I wore it every day that I was in character Sharon and yeah it was like a little talisman it just helped me feel feel a little more connected to her yeah I did find it helpful thank you then me your phone about huh hey Tom best AHA job in public radio good to have you guys thanks for coming today we know that you all have stunts do bullets or doubles how do you say by the way stunt doubles or do our blades do we know that you guys have stunts do a blast on this why you shoot movies but I'd like to know question - Margot - Leo and - bread I'd like to know in what everyday situation which you guys really love to have a stunt do up there - to jump in for you and do the stuff you have to do any opportunity I can going through airports if someone else could do that for me that would be great oh you mean in real life is that yeah like an everyday situation the way that's all - a stunt development I've heard many people suggest to me when there's lots of paparazzi outside that I should have some sort of double but that kind of kind of thing never works out as little Kim said the paparazzi is gonna get you one day one way or another and so that would be a great opportunity but it never works out I'm going that as well that's a fine choice froggy phonathon yeah you know down hi I'm Dennis from Kanodia and this one goes to Quentin um you have changed history already here with the power of cinema and in glorious bastards and without spoiling the film you did it again with Once Upon a Time in Hollywood um how do you come up with this ideas and what what are your intentions well I can't really go too deep into that because I'd be giving away the ending of my movie and I don't want to do that um but in the case of okay in the case of inglourious basterds I think basically I just wrote myself into a corner and then I had to figure out how to get out they're supposed to kill Hitler and then there I'm writing it and actually everything's going pretty good Jesus this could actually work all right I thought they'd get caught before now and and so I didn't know what to do it was like four o'clock in the morning or something like that and then I just thought what if I just [ __ ] kill him you know I I didn't want it to be like you know oh it's a they killed him but it's a double because I've seen that before and the eagle has landed or they didn't want to have to slip him out the back door so I just said no I'll just [ __ ] kill him and then I took a piece of paper he's like four in the morning I took a piece of paper and I just wrote on the piece of paper just [ __ ] kill him and I laid it on the bedside table and I went to bed and I thought when I get up the next day I'd see that piece of paper and either think it was an idiotic idea or it was a good idea and after a night's sleep and I looked at like oh no that's a great idea that's what I'm gonna do wasn't down with it at first all right we go to talk to him about it and we're having a nice conversation thing is okay I'm not so sure about this killing Hitler thing I'm gonna do it okay that's not the question I'm gonna do it I'm just not so sure about this all right but then at some point I think about like three weeks into the movie or something he showed up on saying goes I've got religion I think it's a great idea now I remember reading the script and going can you do that I actually heard a cool thing somebody was saying that they were 12 years old and they were seeing Pulp Fiction with their dad and like the the credits are playing and they're like you hear a misirlou' and then all of a sudden the radio changes and it goes to jungle boogie so like we changed the opening credits song in the middle of it and then the 12 year old kid turns to his father goes can they do that and the father goes now they can target etosha from a radio and IW and crescent we were all the fall of you and we got a lot of car driving here in the movie with some great music and so I was wondering what are your favorite songs in the car or maybe favorite genre of music and why driving heavy metal classical music what do you prefer I'll start that off I mean one of the things I like about driving with music is I'm sure everybody in the room has this feeling of like you kind of feel like you're in the opening credits sequence of your own movie you know when you get there like that when you can't actually go kind of fast and like not stop and start and you picked like the right song you just yeah it feels like like it's the Quintin movie and there's just the opening credits and what's gonna happen next is gonna be a big adventure I wouldn't say that this is like my favorite song for that but a song that works really well because they use it that way in the movie was Blondie's call me the way they use it or Richard Gere you know driving through Beverly Hills to call me he was like that was a great opening credits I actually have a playlist that's like songs that have been in Tarantino films you pick a good song I'm tuned to one channel and that's forties Junction 40s music really boring really yeah I got a friend I know of someone who listens only to classical and watches over on the street and it's like comedy foreign when I'm in traffic I listen to classic oh yeah complete the column for the LA traffic I listen to stand-up comedy that's my gig that's is that Shannon David um you know as the producer you have to overwatch the whole project and once you read the script and basically saw and read that Quentin wanted to jump back into the late sixties to basically capture that time and the change in Hollywood were you thankful that the whole thing was based in LA is that probably the most thankful City to be jumping back in time it wasn't so easy to set everything up it's not easy to say blessed that we were able to shoot it in Hollywood and all around Los Angeles area and that we got the incentive and that people really on board it's a very location-based movie so we moved around a lot very rarely were we in any place where we started off for two weeks in one place and then we're on the move the whole time but we had in the wonderful team who got it set up our location production designer and everyone was really very fluid about getting it done and worked their butts off it's a quick no I was just gonna say about the that I've been trying to cut David off but I was just gonna say the fact that it's like a um we wouldn't be able to do what we did like next year it's gonna it'll be a little too much changed we wouldn't be able to do it exactly as we did like even next year even as it was things were changing during the shoot so it was like we were on a bridge that was on fire burning behind us and we were just trying to get our stuff and then and then the bridge will go away and like it was kind of that way through the whole hundred days of shooting you got to understand Quentin is a purist so that means no CG everything we're gonna get everything in camera so to see Hollywood Boulevard even the stretch we did what do we shoot for blocks they dressed and then we came back a month or so later to do a few more blocks to piece that whole thing together so we would get the street but what what was stunning to see was the depth of detail that only comes from Tarantino and that is like not just the bus stop benches were ads from that time but then even in the store windows things that you'll never see the pamphlets of of some radio show of that time or books of that time it was that deep in detail and we just go whizzing by but it was it was really pretty special to see Hollywood Boulevard transformed that way I'm not subjective I've fogging I'm not a phony deed ahmud under how Madame Jean sent a stir I it's why do I you know you found it yeah yeah Thank You Johanna Stein from speech for China's Kino magazine mr. Tarantino I've got a question for you first of all thank you for another great movie and your recent movies like the hateful eight and Django Unchained and even inglourious basterds day was set way in the past and Once Upon a Time Hollywood is set in 1969 so is it different and maybe more difficult to create a story that shows a time that a lot of people still can remember oh it's a really good question um I mean it's funny because uh you do a Western you're you're you're making a period film but for some reason that I mean I know it's a period film compared to if I was making a movie that takes place today but you go to a western town and I just it just doesn't seem it didn't seem as much of a it just seems controlled in a strange way where this is close enough to our time but it's also incredibly different and so it creates a different kind of detail I got to say one of the things after doing a forties World War two movie in two westerns back-to-back the fact that I could just have a character turn on the radio and just enjoy a song I referred ten minutes was just it was almost orgasmic for me I couldn't it was just so much fun oh my god I can turn the radio on again they can listen to records again I can have rock and roll in my movies again it's been a decade since I've had rock and roll my movies mystically which I did you know the fact that characters could just like guitar D and groove to records was the fantastic question from the gentleman by leaving trio from Belgium question for Quentin um so it's been mentioned that it's your most personal movie in a sense because it goes back to what you you know knew as a child so in a sense it's been inside you this movie forever so why did you decide to make it right now and not enough before not after but right now does it have to do with the fact that you are only going to make ten films so you kind of want to get this out before you quit as a director um well yeah I wanted to do it before I quit alright it was just it's time it was it's time and you know I'm pretty organic I mean today maybe say something pretentious um so warning um I'm pretty I'm pretty I'm uh I'm pretty connected to my instrument and so I don't try to push anything um I just trust it I trust it so when it's the right time it'll it'll be there alright I don't need I'm not even a guy who when I come up with a cool line or a cool thing I got to write it down hey if I don't remember it wasn't that [ __ ] good to begin with you know so I just kind of uh so image so I kind of worked on film in between projects and just like just kind of thought that was just kind of the way it was going to be and then after and I thought maybe this might be my last movie but then I started writing at this time and then like oh wait the horses just ran away alright so I was oh I guess I'm gonna finish it so uh yeah okay let's the fiery folk on its a question to Quentin Tarantino your film is for me a kind of homage to Sarah Leona and my question is in which way did he influence your style as a filmmaker well I personally think that Sergio Leone is kind of the what I would call the the father of what I guess what I would call modern movies both his use of the way he used music but even more importantly the way he put it together and then cut to music that was not really done before people would do with soundtracks and even when they put like you know rock around the clock or something in a movie they wouldn't cut it to the movies I mean every once in a while it would sync up in a neat way but it's not cut to it in this way partly because they didn't know what the music was gonna be until after the film was over well Leone had Morricone write the music before the movie and they would even play it on the set and I just think that final the final shootout in good in the band the ugh that's my favorite moment of cinema of all time and the idea that like it's one of the greatest comedy violent stories and you go through this entire three-hour journey to get to that bullring and you've kind of grown to love these guys but they don't love each other which is very frustrating and and then I mean that's just I to me it's just the greatest moment of cinema the way that's all built up and that gigantic suite of music and then just cut to a fare-thee-well I mean it's just a it's um it's not it's the Sistine Chapel as far as as far as I'm concerned but also the other thing about Leone is I like the idea that you know him and a lot of this spaghetti-western guy they started out as some critics very similar to the way the the French new-wave did and no one really loved movies more than those guys and they loved westerns and I love the idea that they loved westerns but they knew they were making western movies so they wanted to do it their way and I loved that and I also loved the idea of thinking and cinematically thinking in terms of set pieces the way Leone did where it's like a an eight-minute cinematic set piece that's just completely onto its own or a 15 minute or a 12 minute I mean if you look at once about time in the West I mean that is just a collection of set pieces just connected to each other well I love that I love set pieces I let that to me that's like you know that's when you know that you're sitting in a movie theater you know and then the film is just taking you over and then you're like the you're thinking wolf of wallstreet the the quaalude all right sequence is [ __ ] amazing all right and it's like 15 minutes right at the end of a 33 hour movie and it's I never want it to end thank you so much we love your movies and we love you guys being here in Berlin thank you so much David Margo Quentin thank you know every wonderful permit tonight thanks a lot not to you brother

Channel: moviemaniacsDE

Views: 250,538

Keywords: moviemaniacs, Once Upon A Time in Hollywood, Once Upon A Time in Hollywood trailer, Once Upon A Time in Hollywood official trailer

Id: xOVIxhZIHkQ

Length: 30min 11sec (1811 seconds)

Published: Fri Aug 02 2019