Quentin Tarantino Interview | The Hateful Eight, Television, And Police Brutality

what the flick everybody uh Ben mankiewicz n whatever I'm joined by Quentin Tarantino uh Quentin's new movie uh debuts on Christmas Day but since the people on the right would have us believe that we're all part of war on Christmas it opens on December 25th whatever day that may be uh so the movies the hateful eight uh start by talking about that a little bit I saw it last night uh is you know it's very powerful and it stays with you uh three hours and what six minutes no no I like bomb AFC conta it's how closing credits I think it's about the experience the roadshow experience my particular is about like including the intermission that's inside of it is eleven three into three minutes in three hours in two minutes or three hours and two minutes and with an overture at the beginning like this is a you know in some ways what we hear you talk about it you're a little like a studio executive in 1954 but when they were so paranoid about television you've got to make these movies bigger and more splendid and Cinerama and uh you know uh the stunned the made up forms of center other words the a anything but this is you seventy millimeter right yeah so you're trying to deliver an experience that is very different than somebody watching on a computer or god forbid a phone you know I didn't I had I had a couple really nice hits in the case of inglorious basterds and Django and chain and I wanted to kind of really take an you know take advantage of my high stock rate basically yeah and one of the ways I could do that was um as time has gone on sent him a projection in particular has become gone the way of the dodo bird for the most part except for certain revival theaters and I wanted to commit to a format that would make the studio if they're going to pay for the whole thing of doing a seventy millimeter film then they're going to at least make an effort to have it have a cinema projection in some theaters now don't get me wrong I actually really like the DCP version and it's a lot of fun and and and if you just want to go see a movie that's that still works just in a regular thing absolutely absolutely to me the roadshow version which I'm magic what you saw that was so people know that's a that has an overture at the beginning what five minutes yeah there's a five minute overture and then there's an intermission in the middle and it's a little longer than the other version but like maybe four minutes or so and but my feeling about it is the DCP version is going to play in all the malls all over America and so if that's a real fun version and that case can be made actually the two movies aren't that different however the intermission does change everything as far as your viewing experiences as you talk about it first of all that's totally different to me yeah inevitably are going to talk about what you've just seen half way through absolutely case can actually be made that the DCP version who knows might even be more intense because you don't have a break after the big moment that hat that wraps up the first half stuff kicks off in the second half pretty quickly yeah and so without a break it's just like boom boom boom boom boom right relentless but the but where I'm coming from as as far as that roadshow version is concerned it's like well you're mine if you're going to go and buy the ticket for the roadshow version and you've got the program and you know that's like no you're going to see La Boheme at La Scala you're going to see Eugene O'Neill on Broadway you're giving yourself to me and it's my it's it's my presentation for you yeah but you so you're there's a little Mike Todd in you there's a little mannan alright well I like that well I mean the thing is it is actually is kind of nice to give an audience something that they can get at home yeah that is that is something that you get when you go see that version of the hateful a I get back to the movie a sec but I read one thing I like about you is the the way to you the the honesty with which you embrace your age like you know you're not hostile to new technology but it's not yours it's not we grew up with you're like look man I'm in my 50s what do you want for me I read newspapers cable television I'm not I can't I'm not about to reinvent myself yeah well it's like I mean it's funny because it's really easy to get grumpy about some of this stuff and the point being is you know there are things that seem different arresting loss by the way technology has moved around and stuff having said that I've also gotten used to a whole lot of stuff - yeah so uh whenever I think of some of that stuff just going away it's like oh wow I mean like I've gotten used to um yeah I have DirecTV at home so I've gotten used to I'm watching a movie and everything then I hit the info button and then it has the cast then I hit like a filmography of this member of the cast I've got used to doing stuff like that even as I'm watching a movie that I'm still connected to as like of a sudden that goes away like when you're in a hotel room and you're like oh wow where's my that's one thing that's gone for me I don't watch television in a hotel room I just don't I'll have my computer I'll watch something that I'm already into that I'm already vested in some series some something but the idea of flipping channels actually I mean if I don't really watch well sometimes I don't I don't bring my computer with me when I get through security very quickly actually I look at the idea of like being on airplanes and and and traveling as an excuse to not be connected yeah yeah do all this stuff I mean even something about the effect of like I mean on one hand I don't like the way this the way kind of journalism has taken a course where and before you do an interview for Rolling Stone and you do an interview for Vanity Fair or whatever it was or New York Times magazine and you do a really nice sit-down interview you spend two or three days with somebody and then that interview maybe it wasn't art but it had this it had its own reason for existence it had a beginning in the middle and an end and that was what it was and and and it was always consumed that way and appreciated that way right and maybe other time other interviewers would interview down the line and they had asked questions about it but now with the way things are like kind of chopped up and like the the go to bits or are posted on Times of India and the Guardian and 450 things that's that's a real drag at the same time it's only a real drag if that's how you're reading your if that's how you're consuming your media if you know if I don't google my name every other day and see all that stuff listed then it doesn't affect me whatsoever can you do that yeah I have to kind of just during this period of time right now I have to take my iPad the only thing I really have is an iPad I take my iPad I'm giving it to my assistant to hold on to for the next couple of months so yeah so I'm not tempted to do that style I admire that that is maybe I just need an assistant in a way to give the iPad to um alright well we'll talk about the the way news is consumed now how news is reported because I know that's interesting to you but let's let me talk a little bit more about the movie so Sam Jackson is 66 Kurt Russell 64 Jennifer Jason Leigh is 53 those are the three main stars of the movie now Walton Goggins who I know we both love from just I did Tim Ross 54 Michael Madsen 57 I mean have you been to the theaters lately like this is this is a little ballsy no I don't think it's ballsy I mean you know it is uh it's one of my movies and to me most of those people I consider them the Tarantino superstars right you know they're they're associated from with my work and stuff you know so yeah I don't believe yeah I don't really special II for a Western kind of thing yeah I don't you don't really expect to see you know the young talent pop up in in that that much but also I mean I remember also not that I think these guys are in that category you know least as far as age wise is concerned but um I remember like in the 90s they the the Cinerama Dome was having a a special engagement of the Wild Bunch like when like the 70 millimeter print of it right and I remember me and a buddy of mine Alex Rockwell was a filmmaker we went and saw it and we just had a really good time and one of the things that Alex was talking about is we were like having tacos or something after the movie was over it was um I liked how old everybody was though I liked their sagging bellies and their sagging tits yeah and the big city of the steam scene all right and you know they're just these old bags are just carrying through nark my guys aren't quite like that but I mean I think you need that kind of especially for like that legitimacy both to actually handle the material and to actually every carrot that movie has to suggest at least four other movies that they lived that's before they ended up being at Minnie's haberdashery that's a really great way to put um yeah I mean I I read you did a and to go back to one of those articles to refer to it I think it was the New York Magazine piece which is really interesting uh but you talked about like a couple movies I guess from I think 2010 maybe have the years Robbie talk about the fighter and the town both movies that you like to get right but while one Ben Affleck's movie other one they were us but that the town long-term will suffer from being this really interesting story about criminals in this compelling Belene you're into it you're races along uh but everybody so beautiful that it's yeah yeah yeah he gets a little yeah be just said to some and I'm not trying to I actually really like though I got yeah you liked it yeah uh but I mean the fact that everybody's gorgeous for the FB i-- guy is gorgeous the bank tellers gorgeous I mean Kathy Bates couldn't play the bank teller I mean I mean I think she's gorgeous in her own way but I know you get um but then but then you compare it to the Vita if if the fighter hadn't have come out the same year and took place in the same area right I don't know if I would have I got you but I don't know if I would have been so harsh on my retrospect on the on the town but those sisters right you know in the fighter are just there all day let me made that movie credible in a different way which I think will make it last long absolutely absolutely I mean the others but even but even the movie stars Christian Bale he look perfect but sure can help um so uh but you could have cast you know uh you could have cast a young star in this movie I mean I want to betray me there's what there is a young star in the movie but you could have made one of those three leads uh somebody young and hot well you know I I mean hot in the career hot yeah yeah well it was like one of those things where that was an interesting character in particularly Daisy Dom regu because um that's Jennifer Jason Leigh that's a character Jennifer Jason Leigh plays most of the other characters in the piece that I wrote I knew who those characters were and I had a really good eye for the most part I wrote oswaldo for Tim Roth yeah I wrote Joe gage for Michael Madsen I wrote major Warren for Sam Jackson I for the most part I wrote John Ruth for her Russell so they have many more pleasures that they will give me during the course of them investing the material but for the most part I have an idea yeah what I'm going to get um in the case of Daisy Don raghu's she kind of became one of the most interesting characters because she's on the page but she's not on the page an actress literally needs to invest in playing that character from beginning to end to actually get to where she needs to get in in the last chapter you can't just jump to that last chapter they have to actually do that whole movie and then they're ready for the last chapter right and exactly what you're going to see when you get there you don't know because you can't jump to that you have to just experience it so it really was a situation of giving it to an actress to interpret that I had to really trust and I had to really invest and I knew it had to be it had to be an actress that you liked her as a performer you enjoyed watching her character work and so one of the things is when Jennifer came in Jennifer had come in and a couple of other actresses that come in they were all kind of more or less era specific they're auditioning yeah they're auditioning and the thing is I realized what most of these guys are from the 90s and I'm from the 90s then this movie almost seems like a throwback to the nineties there's a bit of a Western Reservoir Dogs vibe to it totally yeah so the the gal should be from the 90s and then um and the Jennifer came in and was very impressive in the reading but what really got me was I just started watching a bunch of her movies over again so I watched mrs. Parker in the vicious circle I watched George I had a whole Jennifer Jason Leigh Film Festival I watch about like eight movies and I watch one and I couldn't wait to put the next one in I just really enjoyed her performances so much and she was such an entertaining actress and especially about that time in the 90s and eXistenZ and especially in mrs. Parker it's like the movies were built around her it's like the performance her performance was the center of the movie and everything was built around that and that's actually kind of what I needed for Daisy down we go you do like having a John Ford like sort of stable of actors is that does that feel cool because it seems like it would feel cool oh yeah well it's like well it is cool and it is fun and it's good to work with people that you enjoy spending time with and you enjoy going out to the bar with after the shoots over you enjoy working with them all the time but there also is an aspect of you know my material isn't for every actor right you know it's like you really have to know how to say the dialogue you have to understand it you have to get get its rhythms you have to see the sense of humor inside of it you have to sell my jokes even though they're not officially jokes but they kind of are jokes and you need to get it you and you need to be you know you need to just get it and that's not for everybody not everybody has a mouth that's made to say my dialogue will be these these people are these people do say it very well so that's one of the pluses of working with them I imagine it's the same thing that a writer like Aaron Sorkin thinks like there there's some good actors but there's only certain kind of actor that can say the things that I write I would agree with that I'm sure that's probably I'm sure that's probably definitely the case you know for him where it's like I'm in the thing that means it's really interesting I've met with really interesting actors but you know they don't they don't speak quinton talking it gets caught in the throat a little bit what dub if you were going to assess a person who's what would you think of a person whose favorite film of yours was Jackie Brown what does that mean about that person what does that mean okay if I'm gonna be snotty it's like oh you don't like my movies that's the one that's like the least like my movie so that's the one you like alright I'll gonna be snotty about it um you know it's my most sober movie it's the one movie that doesn't take place in this kind of Quentin world right it takes place in the real world and the Rupe world is almost realer than real is that the idea of it all and you know and it's a it's my one movie that exists in that world and that kind of framework and so I just think you're somebody who like it appreciates that just appreciates that aspect of cinema yeah that may be more than say Kill Bill well that's interesting because that person is me but I love your move yes I mean and and uh and I think why I love it is because I now know who you love as a writer but to me it's you know that starts with Elmore Leonard now starts with my love of Elmore Leonard about lost Milo that goes on the one well that more that really makes sense because you know you know where I was coming from even before I made movies was well I want to do an Elmore Leonard movie some do a movie of an Elmore Leonard book someday but really capture those rhythms that Elmore had that movies felt they had to change right when they did it and I think I did that pretty well all I mean well you know look there's been some great adaptations of of of Leonard books it actually had you know there has been a free 10-day Yuma but but but also I mean just you know whatever get shorty in and out of sight but but Leonard and thought that that one was the best and that's that saying some no it's a no that's a no I'm really really proud of it I mean the thing about it was Timmy the fun part about that movie is that would be exactly the kind of movie you could ignore --ml scenario of a director in his career that would be the movie I'd be doing now that's right that's right that's really yeah the 52 year old guy right who he's been messing around with all the other stuff now all right you know now I do Jackie Brown and like and then the critic ah okay now he's getting into his autumn years and this is what comes out all right that says about me but I'm but I'm most but I'm very proud that I did exactly that movie in my 30s right I mean but I'm real proud of that I got you know and but that would exactly be the movie you'd expect but then the you know but today like so that's the movie of yours that that I like yeah I don't like who knows what's right word is that's the movie that I can watch the most times although I'm not even sure that's true and I loved it I didn't really buy that though yeah I mean I well I think one of the things you might mean by that when you say the movie you could watch the most times is and his was always meant to be this way it was a hangout movie that's right that's right there are certain movies where it's once you get to know the characters right you just you enjoy their company right and so and then it's not that plot driven just enough right keep you going but you actually just enjoy their company so five years from now you put on Jackie Brown you sit there while watch 17 minute so that's why watch them talk to each other is that the yeah you're having screwdrivers with ordell and you're drinking white wine with Jackie totally I can bong hits with Melanie and uh a little isn't boma you're making a huge mistake shut up shut up shut up but but that said that you have films though though I feel that way about Jackie Brown for me you know it's Reservoir Dogs and Pulp Fiction and glorious bastards that sit with me that I still feel this I mean I like them all yet I still feel this really as much as I love Jackie Brown and as much as I invested in it and I think the investment paid off with waiting on the characters and stuff and how great it was to do an um well honored adaptation in a way that I was proud of um I wasn't put on the earth to make Jackie Brown no no no that's right you know what I was I was put on the earth to do what I'm doing right there to make April yeah and with your movies and this do you are you aware of this you must be but that like you know I'll review hateful eight and I'll give it a great review and almost everybody's gonna give it a great review and we'll talk about it but but what's more interesting will be to talk about it in 18 months well I've seen it maybe two more times yeah uh because that is almost what's happened with every movie of yours that I liked it a lot and then I saw it again I was I got it yeah doesn't that like but that doesn't happen with every movie in fact the opposite happens with many movies as I think I had such a great time seeing this why why was that why did I have such a great time seeing this and the exact opposite happens with you not that you didn't have a great time seeing it but this no I know but I mean that's I mean well that's the goal and that's the goal for a filmography that's meant to last that's the goal for a career that is meant to be meaningful yeah is yeah you there almost is the aspect I felt that way about Brian DePalma's work you know in his heyday where it was um I loved that opening you know first show first day when it opened that 10:30 or 11 o'clock in the afternoon show of Scarface or blowout or whatever it was um but there also was this getting the story out of the way right right right you know though if the film was good um the midnight show was always better because I would say I would see the first show first day and then I see the midnight show that day and the midnight show now I know the story and I knew the suspense bits and now I could just sit down and watch it and he rebel into and be with those character exactly yeah and then the you and again it was backed up by yet and yeah and yeah the way I felt about Scarface 12 weeks later something was it you know it's it's a classic it's it's built on a stone right right I could all you maybe feel better um okay so you know after Django you there was that criticism which you've dealt with again and again uh about the forget the violence but about the the language and you dealt with it I thought in a very interesting way and and I'll paraphrase a little bit you'll correct me if I get a wrong but that mostly like hey you want to criticize the language great this is America you can criticize it but the notion that you weren't entitled to write that language because of your race that bothered you that uh and and you were very vocal about that and stood your ground and then clearly you felt it because now we've made now you've made April 8 and it's gonna be exact don't you expect much of the same thing to happen again uh well we'll see they'll see what the deal is I mean you know at a certain point it becomes a broken record but you know um you know it's you know there are definitely a school of critics and prognosticators out there that really aren't gonna like my stuff I never really have any chance of winning winning them over but I cheekily I actually think that I can win their kids over and I can win their grandkids over and so the thing about it is people who are really mr. no III really see you know if you take you know Armand white or somebody like somebody who despises me who truly hates me and I love Li think it's a big club of people he despises yeah yeah yeah exactly uh but even like somebody who doesn't despise me per se but like Jen and I a cop or somebody like that new regs think pieces about me I love the idea of him being a grandfather and sitting at Thanksgiving and then his grandkids are at Thanksgiving and they're taking a course on me in college and it's like their favorite course and it just sticks a weed right up his butt and I really get a kick out of about that so I'm not trying to get John a cop I'm trying to get his grandkids all right but that but that actually goes to the point of I can't be deterred by social critics social critics of the day are there waves on the beach they come and they go when they come in and they go out and and movies are forever movies are not about necessarily the time that they come out they are about the time that they come out they definitely are this this movie in particular is about the time it comes out but it's also about the time it's going to exist on that shelf all right for hopefully in the next 50 or 60 years I don't want to ask you to put words in other people's mouths but isn't it and I get the criticism and people get to I suppose they get you know I mean the the you know the the N word is used a lot so that's gonna make some people uncomfortable you know that's probably why you write it uh and but isn't it a little disrespectful of critics to suggest that it's inappropriate for you to write that way when Sam Jackson and Jamie Foxx are embracing it the way that they do I mean these are those are grown men able to make their own decisions oh that's what that's well that's that's true a bit but the other thing about it though is in particularly when it comes to that issue though use certain buzzwords to attack me well though they'll say something like I'm using I'm doing a racial ventriloquism all right so I'm creating black characters that can spout all this stuff because that's okay if I put it in the mouth black characters well that probably sounds good in their little think piece but isn't that what a writer does alright I never heard F scott Fitzgerald being considered a woman ventriloquist right there you know Michael Woods is great for wrote wrote wrote women but I never considered him I never Joseph Mack was being a female ventriloquist when he wrote All About Eve right all right he's a writer it's a writer's job right to to write characters that are like yourself and other characters that aren't yourself in different races and different different sexes and different ages and to be other people so regarding now there's social criticism only related the movie because your involvement in that protest uh in New York uh and what you said and I'll paraphrase it also here uh that you know essentially you wanted to call what you saw what it was call the murdered murdered and call the murderers murderers it's basically a right now and that turned into now uh allegedly I doubt this gets pulled off a boycott omit easy to say you're having a boycott the that doesn't necessarily mean people reckon that we may be following gonna follow it and not go uh various police unions in in various cities because you wrote cops an apology as far as I can tell you you haven't given an apology uh uh normally that's what uh people on the Left is they apologize I just I just um I only clarified what I said never in a walking back kind of way but only had to clarify it something because they were slandering about what I said they were misrepresenting what I said and so I just so I just clarified it a little bit more than and then you let it go you're capable of just let it go move on and even though day after day they'll be stuff written about you you know you're not nothing you don't care but you're gonna force yourself not to be bothered on what you know it's like I mean frankly uh well it's a lot easier when it seems like the tide has turned in your direction right all right which actually right now feels like the tide has turned in my direction I mean the way the the way the cop mouthpieces for the work for the different police unions the the language they've used right to basically threaten me not that I'm really afraid of them not because I think I'm such a badass but simply because I at the end of the day I don't feel that the police are this sinister organization that are actually trying to target no citizens to hurt me and they're just actually trying to embarrass me but yet they're using this language that makes them sound like bad guys in an 80s action movie and um and then people have a lot of people have a lot of publications have supported both what I said and uh and uh and decried how they've treated me you're a Hollywood filmmaker why was it important to you to show up at that rally while I was talking about this important what in your life your experience has made your voice vital or necessary to this movement if for the last year and a half you have been sitting at home and watching seemingly one incident after another of black and brown people unarmed being shot by the police in extremely questionable ways and not having the the patrol officers for the most part facing anything other than internal tribunals yeah and and you know the prosecutors are not represent you know the press the prosecutor that was involved in the case did not represent Tamir rice right he represented the cop who shot that's right and that's just not okay and and you know what's going on in Chicago right now is when you look at that video that's come out in the last few days and it's Oprah / tipping the Chicago a governmental system like an apple cart yeah and as disturbing as the shooting is in its own way as equally disturbing is there must been eight or nine cops on the scene right there and none of them said anything none of them did anything none of them change their stories for none of them they just shut up and they just let this thing cover-up happen for a for a year now I guess those eight cops on the scene who didn't real apparently didn't do anything you know and that's the way that I felt during Rodney King when you see that you want to understand why one cop isn't putting his hand on and saying Larry we got him that's it you know and and so well it goes against it goes against the whole bad apple all right Gus it makes this institutional yeah it's like yeah what it is institutional and it's institutional in its institutional racism but it's also institutional brutality on the side of the police force at institutional cover-ups going on this blue wall that they're protecting and the police courts have to be better than you know Fox News every time there is a mass shooting certainly after the horrors of Paris there's that expectation not everybody there but the company line will be among many on the right is where are the UH Muslims moderate Muslim standing up and condemning this even though that happens with enormous regularity doesn't matter yet when we see brutality exhibited by a certain percentage whatever that as a police officers we see no one is demanding hey we're the good cops saying hey maybe don't shoot somebody after they're cuffed and taste yeah why what is it I mean you're a storyteller so what is it about that thin blue line that makes clearly many thousands and thousands of decent people who signed up see the same video and think but I can't say I mean every time we see one of those VIP pictures they are making the job of good cops much harder oh I mean I absolutely agree you know it's like well okay if it's a case of bad apples well the guy who shot the young man he's a bad apple then of the nine other ones bad apples is the Chief of Police it was just fired is he a bad apple is Rahm Emanuel a bad apple is the prosecutor that didn't push the case are they a bad apple well III can go with the bad apple theory if everybody is the bad apple in you talk about those eighties movies he and some fifties movies - I mean you know was so easy wewe instinctively we all buy into it because you know internal affairs those are the bad guys right the rats yeah but it but maybe we made a mistake having those guys yeah the bad guys in movie after movie I mean it's um yeah I feel the police have to they lost trust with the public and it's because of this type of cover-up it's because of that incident happened and then the head of the Union put out this big statement and I've watched him make the statement about no it was self-defense and this is what it was and of course the victim was criminalized a post mortem and then they saw the video with maybe a day or so later and none of that was ever changed for an entire year and now when he was a known the head of that Union in Chicago they bring up well you said this and you said that well I mean I wasn't there it was hearsay and now he's walking backwards well he's not wasn't walking backwards on that day right and you know it's it's um the police have to make this right we have to trust the police this is untenable we need to trust the police we need to have faith in them now um you know something that can really change about that is if an area that has a big black population like California if if marijuana is legalized what that would do to so many young black men that would never be arrested they never get in the city I never get that they would never get that first arrest right I mean because the thing is look I live in the Hollywood Hills when see a police officer patrolling Mulholland and driving around Mulholland I do actually feel that he's looking out for my best interests but you feel protected I do and I'm sure if you've knocked on a bunch of doors and Pasadena and you're not going to bunch of doors in Glendale and you go to Staines landing in New York and not knock on a bunch of doors there they all say the same thing you go down a century Boulevard in Inglewood and start knocking on doors they're not going to say the same thing and one of the reasons is because the police force for the last 30 years have been literally busting all their sons and daughters and and and husbands and fathers for peddling drug offenses right but the last thirty years they've been doing that so that's they're not protecting the community they're making it hard on the community they're criminalizing the community that has to that has to stop and I really do think that it has to be a situation that if if there is a questionable shooting going on and there's a lot of things that you know we don't know this and that and the other about a lot of stuff but if there's a questionable shooting I don't think it should be done in a department I think a prosecutor should be a should be assigned who is representing the victim or at least the dead person sure the way the way is supposed to be the way is a really good yeah exactly it's understandable the prosecutors need the cops and so they're used to working with them so you understand how this can then one of the way it is doesn't need them it's a symbiotic relationship they don't they they're their teammates the other teammates but you know you know but you know but we need to have a judge representing law and we need to have 12 citizens judging these things and looking at them you know and even in a case where that happens I don't know I guess I think you talked about it very briefly with Bill Maher uh the the victim was David kassick a guy near 60 in suburbs somewhere suburban Pennsylvania uh uh tased on the ground and then I guess reek put his hands underneath while being tased maybe that grabbed his heart yeah who the hell knows he didn't have a weapon and she shot him twice on the ground she was and killed him and she was acquitted this week um so even when it goes to the jury the standard is so low she felt threatened so yeah I mean the standard is so I mean by the way it was funny because I was on him Real Time with Bill Maher and he showed that clip yeah it yeah and I hadn't seen it yeah I was like did you just show me a murder that's what I just I just watched a death I didn't know I was gonna watch a death when I was on your show and I don't know how it's gonna turn out for her but she was acquitted and I read this morning that she's anxious to uh go back to work and you know she's but on leaf I guess you know while she stood trial and I just mean okay I got it the standard is what it is in the jury based on that standard and the judges very specific instructions in that case acquitted her but she wants to go back to work I mean that would I would fire her like I got it okay look congratulations you were acquitted yeah you know like you you failed in your most critical moment you can't be a police officer anymore yeah I absolutely agree I mean you know the thing is I mean like for instance one of the things we watched you probably watch the press conference at ron emmanuel rahm emanuel gave at the same time because of this controversy of this going on the reforms that they're talking about in the chicago police force because of this don't sound like nothing that's right that's remember they actually sound meaningful yeah that actually is good news that is definitely a step in the right direction and some of the and some of the journalists that kind of helped break the case actually said the same thing ago we know if this happens that would be very meaningful and there's a there's a law on the books right now that they're not in the books there's all the trying to get there's a thing they're trying to get turned into a lock of the law enforcement integrity and Trust Act that is fantastic if that were made the law of the land it would actually go a long long way to restoring a literally trust between this between the public and the law enforcement again as a storyteller does it interest you about the thin blue line that they had the idea of of you know maybe if some of a group of cops broken a group of got good cops who all just merely said it we can't we can't behave this way they're cuffed they're down it's over yeah that's it um that that might change things I mean that just always strikes me is what I know III think that would really release things I mean you know I mean as far as I'm concerned the judge that allowed that the video to be shown is a hero yeah we need the and I'm sure he's hated by the cops in Chicago today probably yeah because of that and you know it just makes you ask the question well whose side are you on but you could have chosen a lot of sides I mean you you didn't have to involve yourself in this I was just curious what made that what made you fly to New York and I think it's just got reached a point and is you know if you've been watching it and you've been getting sick by it you got to say what cider you want you can't be silent anymore about it you can't you know if this is if you feel that this is what it is then you need to stand out against it and I've never really been political before I've never talked about a stuff like this before I was always really proud of the fact that in Team America I wasn't one of the people that they were big um and I still want to hold on to my dadís to that degree well to one way or another um however I've been on but I'm actually I'm I'm I'm sick of this it actually is sickening and it's reached a point that it just must stop and if I have a and I have to have my voice be be counted amongst the people who were saying stop it and part of it though was going to that rally wasn't just walking down the streets and and saying hell no we won't go alright it was a meeting the families yeah that this happened to and hearing in their own words in their own stories what happened to their loved ones and once you hear that and you meet with these people and you walk with these people they're really kind of is no going back anymore and of course well again you've been criticized and condemned by some police officers you've been praised by families of people who I'm outlining very and I'm very I'm trying to let that go to my head but I'm very proud about that and does it the New York Post has declared a bit of a print jihad against Quentin Tarantino apparently yeah the data is that does that concern you at all is that a badge of honor metal in New York Post they can say whatever they whatever they've made it they they've made it pretty clear where they're coming from it is yes all right you know so I they can say they can say whatever they wanted like I said long as I don't google my name then it's just your mentioning it right now and I can swap it off if I make myself read every single article then I'll get heartsick do you want me to tell you what they said are you I care I I think they're there they're calling me a liar right they say you didn't spend eight days in jail okay nineteen eighties and what I okay there I was in jail three different times the last time was for eight days so more than eight days total no no I was like three days one time today is another time and then eight days the last time um basically put it like this I don't want to help them out in this regard right all right but they're just really bad journalists it would be so easy for them to look it up but they're actually not doing the work that it takes to look it up and you know as I and as I'm looking at it and I see who is really yeah the only reason that law reason they're doing it the only reason they're looking into it is because they want to print the picture my father but my father uh always told me that you could always frequently judge people by their friends and it's really true like who you stand with right and so I look at that article and who's picked up that article who's run with it Stormfront yeah right uh Breitbart news max that's it yeah like and so these your friends this is I didn't know what Breitbart was until they started hating me right congratulation um so let me get back to the movie for sec because I read I think also in that New York magazine piece really interesting obviously coming from my background at ECM I thought this was interesting that you think the Western is sort of the genre that best manifests the specific best reflects a specific decade and yeah that the westerns from the thirties were very much of that time of the probe the depression uh and the West is the fifties were very eisenhower eiq yeah yeah and then the sort of the rebellious Western to the late sixties and seventies Butch and Sundance and then and oh by the Wild Bunch um so this movie talks that we've been talking about police and obviously you talked about police today you're talking about race in America this movie set what 10 years more or less after the Civil War it's not it's not clear it's in the script I wrote it takes place either six or eight or ten years after specific woman wrote that's not clear yeah yeah even though it's your world you read yeah just what I don't want to make it specific is where one of those three uses which women when I'm early eighteen seventy years ago uh and this is a very much about race and about sort of America and Americans figuring out what that war was about and you know we got Walton Goggins who again is you I think pointed out feels like he was created you know to deliver Tarantino glory might say yeah uh uh you know uh I think by the way I wonder whether at any point he'll be able to play a non race yeah nice to see that guys getting tragically typecast such a good actor but is there um but you managed to give him a couple of speeches that he has in there where he really talks about his father and his father defending uh a group of men and losing with dignity where I thought I I believe this guy believed that this is most important to him hating black people is not most important to uh like it gave him uh it gave him much more humanity than he'd had that I'd presumed he'd had to that point in the film well I got to say it I mean you point that out that was probably one of my most relevant ory moments in writing the script because I feel about the Confederate cause as if there are Nazis right you do yes I do absolutely I always have yeah and um you know America is catching up with me about how I've always felt about the rebel flag right sure um however I'm not judgmental about my characters right I it's my job to try to not be judgmental about them and let them be who they are and let them think what they think and express the selves the way they express themselves and I'm writing that debate in the stagecoach yeah and then all of a sudden Chris Mannix the character well Goggins plays pulls out a very stirring defense for his dad who's basically a Quantrell Raider type guy right but why his dad did what he did and it's a very eloquent defense and it actually makes sense and I shocked myself that uh that that came out of me but it didn't come out of me it came out of him and it came out of me opening myself up to him but but it's probably the thing I'm the most proudest about because that would not be where I would be coming from but you wrote it write it he didn't that's not I mean that's all you're something Walt I'm saying that when I say he I mean Chris Mannix Derrick caracter okay yeah I mean but that's my that's my that's my job that's what it goes back to what we were saying about uh talking about before about being a ventriloquist when it comes to black characters or female characters or anybody else is I'm not them I'm I mean I'm not me I'm them I am I'm my art is open and I'm connected and I'm not trying to move things along I am just open to who these people are and then the things that they say literally come out of them it's part of a writer's ability to cut themselves off to some degree or another and be other people I thought that that that moment his sort of defense and I think the natural inclination to have sympathy with him as an audience member at that moment uh comes and maybe this maybe this is just for me but comes in part from it being the son like I would have had less sympathy for that defense if it was from Chris maddoxes fob well no they did it well that makes sense I'm in the very I've been the very fact that he's not wanted right shows you that while he might have been a captain he didn't engage in in the wholesale robbery or murders that quantrell's Raiders did that he was probably just a little too young for that or that he I mean there wouldn't be a wanded that would be a wanted poster on if he was a dyed-in-the-wool right Maddox Mehran right so but also isn't it true though that maybe you don't but I would have some people want to believe their dad's stories yeah right you know and so his dad paints this picture of nobility and he's like well as my dad so I buy that alone oh I buy that soon but frankly though I do buy the dignity and defeat argument yes no also totally I agree yeah is this reflective of the times was that an intent when you had been obviously this is as everybody who's followed it on Google knows this is you've you've had this property yeah for some time and been working on it for some time the world didn't appear to be as racially explosive when you started working on this as it is now that's the weird part about it was I mean it's it's bizarre how almost opportunistic the movie seems to be about our time right now when that really that it really wasn't the case when I was putting pen to paper on you know and the one good thing about that first draft coming out there and now that whoo-ha-ha what it was the fact that it's on record that I wrote the first draft or this true before all this stuff started popping off into such a way that makes it actually pertinent I mean there's actually um and I've never had to do this before there's actually one line I took out of the movie because it was just too pertinent to things that have happened really there was a line that Chris Mannix said where he goes a right after he says all that stuff and Warren says you know uh you know when Warren is Samuel Jack Sammons acting is when it comes to black towns how many how many did you sack in your fight for dignity and defeat and goes oh my fair share and it goes uh when black folks are scared that's when white folks are safe you ask the people of South Carolina they feel safe well I took that out at that out that's a great line that when black folks are scared that's all like you feel safe that that is a hugely resonant line today yeah um what dumb it must be incredibly gratifying that you know many of our editors out here or enormously talented people in there they're aspiring filmmakers and and and many they gotta be thousands there may be tens of thousands maybe more of of young filmmakers who are in this business because the the Quentin Tarantino movies reached them that's a real infull thing to say thank you um it's uh I can't tell you how gratifying it is I mean you know feels like you know um make me feel like I'm Hemingway and there's a group of young writers all right who are waiting for the new galleys of the the new article or the new book or something and you know uh before I ever made a movie when I was thinking about the movies I wanted to make one of the well I don't even think i 100% knew what my aesthetic was then but i knew i wanted to be part of this and i wanted to make a contribution and the closest thing that i knew about what i wanted to do was I remember thinking I want to make movies that people will watch them and that will make them want to make movies well that that worked and that actually ended up kind of working and there was this that neat aspect and I think it started cause you know coinciding with Mike ADA with my career and the rise of the independent film movement in general in the 90s that there was this aspect that I actually think that young people were in decades earlier they might have picked up a guitar and started a garage band they actually felt that they could express themselves more by trying to make a movie yeah and I think that ended up kind of happening to some degree or another is it a loss to the movie industry that I think it's probably fair to say that overall the the best writing is happening on television um you know a lot of it obviously not yeah I don't know if I agree with that what I do think is going on on television I mean yeah me neither screenwriter is Aaron Sorkin so I guess you could say that because he does this movie this year and he did a newsroom the last three years all right I reviewed the newsroom we had a love-hate relationship with it you just loved it I loved I loved I was the only that was the only show that I watched every episode three times but I loved the new stuff I had trouble with the the personal stuff in it well I I had I had more problems with some of the personal interconnections the next two seasons yeah because actually felt they didn't follow through on some of the setup that they did in the first season um but I mean look we watched and reviewed every episodes now so me read this in some way but nobody ended up no by literally like I watched like the I'd watch one episode like literally the seven o'clock at night when they would come on on Sunday then I watched it again just to hear the dialogue real like right afterwards I watch it again just to hear the dialogue and then I would invariably watch it once or one more time during the week while it showed what when it aired whenever it happened to be on really yeah I was really taken with that dialogue and but at the story construction everything even the home you didn't know what event no you know what real-life event would would pop up all of a sudden like in the third actors anything I thought that was terrific but you think that what about my point yeah but television now especially because because it's become so see relized has that has that luxury that novels have if they can take their time totally yeah and you can immerse yourself in character and you can immerse yourself in my new show and so I love minutiae yeah and me too and so there's a whole resonance can happen over the course of six or seven episodes right that movie would be very hard-pressed to try to accomplish but that's never what movies were supposed to be that's much to my chagrin right I'm trying to make it as long as I can all right um um but that's what that you know uh so you know uh in one regards you say that yes they can do that but you know frankly that's easier it's easy to do it on television yeah well it's easy yeah if you if you have that no limit right all right of telling your story and exploring your characters yeah that's easier you know then trying to squeeze everything you're trying to say in a two two-and-a-half hour time period for a long that actually Lily's that when that and when there's an end it's an end but for a long time television didn't take advantage of that of what they had in front of them only in the last and and some would say influenced in part by Quentin Tarantino movies that you know if you want to say that that that Tony Soprano was was was born out of Pulp Fiction and there's you know that's I'm sure you've heard that before it's entirely entirely possible but if Tony Soprano was the was the was the first there now so many of these wonderful complicated evil heroes flawed heroes at that no no I mean look I mean look one of the things about you know and glorious bastards was um I started writing inglorious basterds after Jackie Brown and I wrote on it for a year and a half people thought because there was like six years before between Jackie Brown and Kill Bill people thought I had writer's block right I had the opposite of writers like I couldn't stop writing and um and it was like oh Jesus Christ I've got this huge [ __ ] novel that but how what I well I'm yeah movies are too small for me is that what is that where I'm coming from it would appear to be that was where I was coming from I had to put it away I had to put it away because I just couldn't tame it it was just like this big book now if that exact scenario were happening now I would just do it as a miniseries would you ever do that oh I'll be happy to do something like that but understand that there's going to be those be trade-offs on that alright yes the good part would be I could write something that was four hours long or six hours long and there would actually be a market for it there would actually be a way a tenable way to do it to digest the material and not only that sounds like something that people might like yeah people could really appreciate that yeah that literally would be Quentin Unchained right if I could actually do something that was four or six hours long right um but the reality would be are probably working with the budget if not less maybe the same that I would be using on one of my movies except I'm trying to shoot six hours worth of material right with it and I would never do it in its kind of thing where I like they do in most shows where they have a writers room and then maybe they have three episodes down but then after that they're just making it up as they go along no I don't want to write the whole thing you'd be and direct the whole thing but in that scenario as opposed to say hateful eight or as opposed to saying glorious bastards or Django Unchained I'm just shooting the material right I'm just trying to get it done and then you'll and you know there wouldn't be the grandiose Ness of the filmmaking there wouldn't be the luxuriousness of the filmmaking because I would just have far too much material that I had to get done every day and that is the difference between cinema and TV but maybe it's a trade-off you'd make if the circumstances were right but it would be it would be a very nice thing about it is it would be wonderful and I would be happy to do it and it would be a very invigorating experience um but everyone's just don't going down this TV is so great Road and I'm only simply pointing out that there is there is a difference between the two of them yeah I mean I like that I'm part of the TV is so great ro but with with some regrets I mean I wish that there were I wish that that some of those I think clearly talented writers were but I get their frustration they must have fell I'm sure many those guys are in movies and they're just sitting there right and they're not made yeah yeah it's like a UH and look and I love doing tea I was nominated for an Emmy for a two-hour CSI low-res you did this agood that I did and that was great that's just crazy that you did a CSI well I will end but but but that was actually a fun that was an interesting thing because I don't know if I'll do this anymore but for awhile I would do episodes of a TV show that I really liked a lot mmm and it was just my way to kind of throw my hat in the ring because I had I'd seen every CSI episode was a big fan of a William Peterson's character Gus Grissom I thought he was like a modern-day Sherlock Holmes yeah and so I wanted to do a Grissom centric episode and that was my episode but what was really nice was after having shot Kill Bill for almost here when I did the CSI episode we turned it into two into a two-parter the trick was to do this little movie - CSI movie because about two hours long with commercials uh but with not one more day than they would normally spend on the under schedule right so like you know if they have so we did it in 14 days because they were like they shoot eight days per episode now if I had had a fifteen days or sixteen days that would have counted right right right that wonderful countess oh that so it was actually invigorating for me to know that after I spending a year on Kill Bill that I could actually do something that quickly and be proud of it uh we got to go but you mentioned Kill Bill I've read so a possibility of a third Kill Bill no there definitely is a possibility it's like stop short of saying a probability all right that could be it could be uh for one reason in particular well one it would just be uh me and boomer would have a really good time working together again and um and I wanted the character to have I put that character not luma I put her through a lot too but I put the character of Beatrix kiddo through a lot and so I wanted her to have this much time to for peace right you know I wanted to have some time with her daughter and actually just being that have to be on the genre machine she could actually enjoy her life for a while um so if it were to happen it would likely be set now this whole absolutely wouldn't pick up is not picking up three years later on the whole idea was yeah everyone would be as old as they are right um but the other thing though is um you know I think Kill Bill is pretty much hands-down probably my most visionary movie and so far as I really went beyond the pulp fiction stuff to really create this world that really doesn't exist where they actually have Samurai holders on airplanes all right in the cup where the cup holder would be and that's all good right and everyone extend everyone accepts just how idiot all right um you know fourteen-year-old Japanese girls gotta hang out on bubblegum bars and invest rate men and get away with it um so the thing about it was um that is probably my most visionary cinematic contribution now since then my work has taken the turn towards the literary and it's gotten denser and denser with this one probably being the densest hateful a of the group so there would be and that seems to be where I'm going to be going eventually to is like writing novels or writing plays and theater and stuff eventually so it would be nice to go back to just a visceral world that's not about the words and if you stop making movies you're going to write plays that's kind of the idea yeah really well right uh we got to go they got to set up for the main show thank you you're the best thank you so much my pleasure Quentin Tarantino everybody thanks

Channel: What The Flick?!

Views: 797,974

Keywords: quentin tarantino interview, quentin tarantino angry, quentin tarantino movies, quentin tarantino police, quentin tarantino hateful eight, quentin tarantino jail, jimmy kimmel, police brutality, pulp fiction, kill bill, jackie brown, reservoir dogs, Ben Mankiewicz (TV Personality), what the flick, wtf, what the flick show, the young turks, tyt, film maker, director, oscars, television

Id: qgTh422WDEk

Length: 60min 40sec (3640 seconds)

Published: Fri Dec 04 2015