Quentin Tarantino on Jean-Pierre Melville

oh no let's go I like the way certain directors approached genre and tried to kind of mythologize it and make it their own and if you went to France and you looked at the the gangster films that Jean Pierre M did which were kind of very similar even though he was going about it in a French way um it's very similar to what I was trying to do where he was like he'd take genre stories from one Brothers Heyday and then kind of do it in his French style and you have a take place in pagal as opposed to Hell's Kitchen but again he had a a sense of style for his characters with their snap Rim fedoras and their uh Tren and their trench coachs and the raincoats yeah Bogart wore that kind of stuff but man when you see Bel Mond wear it and when you see Elon Delon wear it wow okay it has a specific look and that became the suit of armor for his characters it's more like no that's just my style my guys wear black suits and you know it's like and it's like Melville's trench coat Melville I haven't grown up Melville is the guar I haven't grown out of all right I love mil Melville's take on genre I think Melville along with Sergio Leone is probably the greatest uh uh Reconstructionist of genre and really delivering completely in his own way all right you know he you know he he knows the rules of of gangster films and he was in love with the gangster films of like you know the 30 of the 30s and 40s the film Awards of the 40s and the gangster films of the 30s and like he took very the same similar lots and took Bal american crime novels and did them but did them his own way and really not in the my way or El more Leonard way but in his own way had real life intrud upon them all right in really great ways but another critic said this about um Melville's work and boy it is so true and it is again one of the things I held on to is Melville was a was probably one of the major French influences on the new wave the French New Wave was battling what they considered the boring [ __ ] up Bourgeois Cinema of France at its time Melville was the only older guy doing Cinema that was inspirational to them and if you look at um if you look at Le Doos or Bob flamur or Le um not Le um um what's that one second bre second breath or something like that uh uh and then uh um uh Le Samurai you do get a sense there's like an aesthetic working in millville's work that you get a sense that you don't have to know how to make a movie if you truly love Cinema with all your heart and with enough passion you can't help but make a good movie you don't have to go to school you don't have to know a lens you know a 40 and a 50 and a [ __ ] all that [ __ ] crossing the line none of that shit's important if you just truly love Cinema with enough passion and you really love it then you can't help but make a good movie The other thing also is there's a French director named Jean Pier Melville who came out in the 50s and basically started doing a whole series and he was like a total like entertainment director he did a whole series of uh of crime films always like sit in Paris or Marseilles or something that were basically the Warner Brothers Bogart Kagney films all right but completely set to this like French Parisian Rhythm and they're great and they work very much in the same way that like Sergio Leon's films do where they take a genre that like we know Left Right forwards up and down and backwards but they do it with a whole different style and a whole different perspective and here they basically reinvented the genre they've created something new that didn't exist before now that's what I'm always kind of trying to do with my genre films I don't know if I'm succeeding or not but that's the attempt to take something you've seen before I love it I respect it and I'm going to going to deliver the goods I'm not just going to be some Ry guy going off you know but I'm delivering the goods but I'm also trying to do it in a much different way you've ever seen before I love Jean Pierre Melville it's just so much fun with the way he takes off on these icons what he will do is he would take these you know Bogart Kagney gangster films that he loves so much take them from like from one of brothers and basically almost redo them verbatim but he would set them in Paris and Marseilles and font and blue and that changed everything it everything and and and all of a sudden the gangsters they had this American uh uh uh code and American ethics but they also had this weird kind of poetic you know frenchness about them and and you Romanticism that the French had what milville did that was so exciting to me is he throws in these like left turns constantly as far as the plot is concerned and and takes the rules understands the rules and loves the rules but creates rules of his own almost reinvents the r

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Length: 5min 0sec (300 seconds)

Published: Sun Feb 11 2024