[Music / Quentin Tarantino Movies] I make movies for an audience and
they indulge in big set pieces that gets an audience reaction. And to me, that's
a good night at the movies. [Music] I see the movie in my mind
before I make the movie, I've watched the movie. I've got a genuine vision. That's how I see it. So Mr.Willis is this the finest
moment of your acting career or what? That first real flash of excitement
is always when I'm writing something that should go this way
and then all of a sudden inspiration happens and it goes
somewhere else and I'm party to it. I was put on Earth to face the
blank page and pull stuff out of me. Find whatever story or genre, I want to deal with and do just
my own little version of it. [Intro Music: "Quentin Tarantino Movies"] [Intro Music] [Crowd Cheering] According to filmmaker
and historian Peter Bogdanovich, you are the single most influential
director of our generation. [Music] And the Oscar goes to... Mr. Tarantino. [Crowd Applause] [Music] Some boys are into sports. Some boys are into cars. I was always into movies. [Music] I work in a video store
in Manhattan Beach California. Place called "Video archives." We were specialty was
like foreign films classics, TV shows,
you know this oddball stuff. I had like the shelf and every
week I would do like a new theme. The films of Michael Parks,
the films of Andre DeToth, you know, that store was five my
one source of artistic expression. [Music] The time I never even
thought about writing. But where I actually
realized I had a little bit of talent at it,
was going to acting class. And I always doing
bizarre scenes in acting class. Little by little, I just — I started
adding more and more and more to the scenes and that was me learning
how to write dialogue. [Music] All of my writing techniques,
I never took any writing classes or seminars or anything like that.
I didn`t read any pamphlets. My whole thing was - everything I
learned as an actor of studying acting for six years, I've basically
applied to writing. If I'm playing on,
I don't know whatever, "Sugar Babies" something really crazy
in a theater production. And I break up
with my girlfriend, who I'm like madly in love with
and in my heart is shattered. When I go out on stage, I have to bring
that experience on with me. Well the same thing
with me as a writer. That pain that I'm feeling
has got to find its way into the story or else
what am I doing? [Music] I mean "Kill Bill"
was insanely personal. -Hello, kiddo. I don't necessarily want you to
know why it's so damn personal and why it was like
ripped from my heart. So, I bury it inside
of a bunch of other stuff, but it's still all very real
and it's still coming from me. ... it`s been a pleasure chatting with a
fellow cinema lover. Sweet dreams, mademoiselle. I really like taking my story what I have to say, my tale,
my little autobiographies. But sticking them
in crazy genre world. [Music] -Your unique storytelling. What led you
to constructing that? Sort of back and forth
non-linear style. [Music] -I've read novels and in novel you
can start in the middle of the story. They're doing something and it's
just moving in the forward momentum of what they're doing that's
taking place in the here and now. And now it comes to chapter 3. And chapter three happen
two years before. -Right. -I always thought if you did it
the way they did it in novels that would be
inherently cinematic. The cross-cutting would be neat. [Music] And they just put it all in chronological
order was inherently not cinematic. It was drab. -How did you get out? -Shot my way out. They start shooting,
so I blasted my way out of there. [Gun Shooting] [Music] My first movie "Reservoir Dogs", everybody else in that set could
know, a hell of a lot more about filmmaking than I
did, and they all did. But I knew this material
better than they did. What I could do is put a bunch of actors
in a room and get the best out of them. And being able
to talk after talk. [Music] I always knew that that
would be one of my strengths. The cops didnt`t show up when the alarm
went off. They didn`t show up until after Mr
Blonde went off. I mean, that's how I know,
we were set up. Come on, Mr. White, you can see that. - Look, look.
Fuck this Mr.White shit. All right. Hey, hey, hey, wait a
minute, don`t tell me your fucking
name, I don`t want to know it. Jesus Christ,
I ain`t telling mine. Don't be intimidated
by your actors. Don't be scared. You're there to
find it together. Bruce, Bruce, Bruce gives just a
little bit more of a slow burner. Blank. And then boom action. -Okay. [Music] [Cut] One of the best things that are film director
today can do for an actor is you should be sitting
right by the camera. Not be watching it on a monitor and not be watching
it on a TV set. Sitting in a chair, oftentimes
in a whole other room. If you watch the acting
right next to the camera, right in front of the actors, it's as if they are
acting only for you. -Tell him: "Fuck You." -Fuck You. -And then throw it to
everybody all around you. — and your Jew dogs. [Laughing] The three stages - one is like, ohhh.
Feel the head and it's like: "Motherfucker."
That it's like get them. -Struck a room. Here you go. Get out of your house. Action. [Fighting] Cut. Damn good, yeah. Interior - wedding chapel
day, overhead shot. We hear a bang and the brightness is a
bullet in the side of her head. CUT TO: BLACK SCREEN...
"The 4th Film by Quentin Tarantino." [Laughing] [Music] That was me, throwing my hat into the action film
making ring in a big way. [Music] When you were so painstaking
and how you shot it, I think even would shoot
in one direction, get a shot, turn around,
shoot the next cut. That's the Hong Kong
way, you know. The American way is like
if you ever wonder if we should in this room,
we cut the room in half and we do one thing
on this side first, and then we do everything
on that side. That's not really their way because
you can't be organic. - Right. And no one can ever keep
all that stuff in their head. And hope that all the editings works. Okay. Action. So what you do is, you break everything down to
two,three or four fight movement. [Fighting sounds] Say, you've done four move. That last move
that fourth moose. Well, that's what comes the first
move of the next three of four. [Fighting Sounds] Then also because you're
fighting in order. Anything that happens
to the costumes is fine. -Right, right. Because it's happening on camera
and it's right there. Completely works in continuity. [Sword Slashing Sound] She's leaving a trail of death
and destruction behind her, but it's all right there. We just keep adding to it. Good,good. You`re hitch. [Laughing] [Music] Being the director - the one artist that I think is
the most influential to me is got to be Sergio Leone. He is the filmmaker that you
can spot the most in my work. [Music] That kind of operatic quality. The way the music takes over
and kind of set pieces. Directing via a set-piece
a lot of times. [Music] It all started on Jackie Brown. [Music] Harvey Weinstein was like: "That's not enough music in it. I
think you really need to put a score. I think you need to hire."
And it goes: "It's too late Harvey.
We've just gone too far. I'm not gonna hire some guy that I could write a score
in the next four days. That's not how I'm going
to do a movie." He goes: "Well isn't there
some old movie that you like that you can just like use the
score that already exists?" I could do that and
that's not such a dumb idea. Can I do that? Well, yeah, I guess if I license
it I can do anything I want. [Music] When you know on the day this is
a piece of music you're using, you can get even
more clever with it. I said: "Well, I don't see any reason
to change. I like doing it this way." [Music] I didn't ever want to trust a
composer with the soul of my movie. [Music] But I had a little voice in my head saying this material
deserved an original score. With Marconi is because yeah,
you know, so I see a theme that it's moving forward. There's a forward momentum
to it, the suggest to stagecoach. [Music] Moving forward but the important
part of the theme is the fact that it truly
suggest the violence that will follow eventually. That sounds pretty fucking good. [Laughing] [Music] -I ain`t dead yet,
you black bastard. [Laughing] A filmography is not
a hit-or-miss thing. You have a vision. You have a voice. And each new film is
your new conversation. Times are changing slowly, but surely and it's men like you
that will make a difference. [Music] It feels magnificent
to be able to work in this art form at a level
of genuine artist. We have a little mantra that me and the crew doing
a long time where we say: "Okay, we've got it.
But we're going to do one more. And why are we going
to do one more?" And then the whole
crew screams out. -Because we love making movies! And we do.
We're living a great life that we're just absolutely
blessed to live it. Starting with that pen and
that blank piece of paper. That is my journey. That's my heart of darkness. That's what I'm
really here to do. This is the Zeitgeist Movement. This is a phenomenon. I'm not going to get another
phenomena the next movie out. I should tell them for a loop. [Crowd Chatting]
This is actually a really nice look into his process and what QT puts into each film—shame to see so many haters in the comments.
Some really uninspired comments in here by people who didn't bother watching the video, saw the thread's title, and just went for a one liner thinking they're smart. I thought that was a brilliant video and it's always interesting to hear Tarantino talk so passionately about his film making process.
Here come the arm chair directors who will say his new movies are crap and he doesn't know anything.
Establish how much blood you'll need for any given wound and then triple it.
Have an encyclopedic knowledge of films and "homage" everything.
Cool video. Also looks to me like this dude lives only for movies. I don't think he'll stop at 10 given how passionate he appears about cinema. Thanks for sharing
How to get your foot in the door.
Great Tarantino video.
What part of the process do "feet" enter?