What in the hell? QT injured his back? What was he doing? A Triple Lindy off the hotel’s pool diving board? That doesnt sound like the QT we know. He was actually making people cry?! LMAO!!
Is this Tiffany girl QTs fiancee? Will we finally see QT get hitched?!!
Stay Tuned True Believers!!!
I just checked out Tiffany’s Myspace and saw this article, thought Id post it:
"B-movies were made quickly, cheaply, and with a guarantee to shock you. Can Hollywood successfully replicate the formula?
By Natalie Guevara
The Fast and the Furious
There was once a boy named Quentin who would venture to the Orpheum Theatre in downtown Los Angeles for an afternoon of European sex comedies and kung fu movie marathons. There he would sit for hours on end, entranced by the grainy footage riddled with cracks, hisses, and bad dubbing. The content was violent and overtly sexual. Subtlety was not the films’ specialty nor was it the priority of the seedy revival houses advertising such eye-popping titles as Satan’s Sadists and They Call Her One Eye. The cheaper and gorier, little Quentin thought, the better.
That boy grew up to become Quentin Tarantino, the fast-talking auteur behind the frenetic '90s masterpiece Pulp Fiction. When he had both the capital and the reputation, Tarantino made his own venture into B-movie territory, most notably with the Pam Grier vehicle, Jackie Brown, his ode to blaxploitation pictures, and the two-parter, Kill Bill, which featured Uma Thurman kicking ass in a yellow motorcycle jumpsuit reminiscent of Bruce Lee.
His latest, Grindhouse, is a blood-soaked love letter to double features that has the director at the helm of one film and frequent collaborator Robert Rodriguez (Sin City) in charge of the other. The film, shot last summer for $53 million, may not boast the dirt-cheap budget or speedy production schedule of a real B-movie, but what it lacks in authenticity it certainly makes up for in experience.
“We want Grindhouse to be a ride,” Tarantino said to Entertainment Weekly. "Two movies! Trailers! Bad prints! And hey, if a little bit of gang violence breaks out in the theater, all the better."
Rodriguez’s “Planet Terror,” a zombie extravaganza made in the style of George A. Romero (Dawn of the Dead), features a B-list cast of rising talents (Freddy Rodriguez, Rose McGowan), while Tarantino’s slasher-meets-women’s-revenge film, “Death Proof,” has a weathered Kurt Russell (Escape from New York) reliving his bad-ass glory days, this time with a slick muscle car that stalks and slaughters. Sandwiched between the two features is a trio of faux-trailers by Eli Roth (Hostel), Edgar Wright (Shaun of the Dead), and Rob Zombie (The Devil’s Rejects), all pitching equally ridiculous but nonetheless tantalizing concepts: A cheerleader “gets served” at a Thanksgiving Day parade! Nicolas Cage takes on Fu Manchu!
While Grindhouse and similar exploitation flicks are turbulent rollercoasters, the thrills are not for everyone. In Premiere magazine, writer Tom Roston zeroed in on the “torture porn” shock tactics adopted by modern cinema. “From Halloween to The Blair Witch Project, horror movies have tended to use fear to freak out audiences. Saw was about cruelty. There was a new level of sadism on display.” Audiences found the mix of guts and gore irresistible, partly because they knew they wouldn’t see anything like it anywhere else.
Shattering taboos is perhaps the biggest appeal of B-movies. Legendary cult filmmaker John Waters, whom was once proclaimed “The Pope of Trash” by William S. Burroughs and cites Russ Meyer sexploitation comedies as his biggest influences, summed up their sensationalism in a 1998 interview with the Guardian Unlimited. “The fun was watching these really bad movies that really pushed the envelope and were really the only way that radical filmmakers could make movies at that time,” he said.
Tarantino seemed to agree, describing his ideal film experience as a surreal one. “You question yourself, ‘Am I even watching what I’m watching?’ That’s always been where cinema can go for me.” Echoing both directors is actress and writer Tiffany Limos, who starred in Larry Clark’s recent send-up of Roger Corman’s 1958 sci-fi flick Teenage Caveman (which was christened “the worst film ever made” by lead actor Robert Vaughn). “I was raised on B-movies like Cirio H. Santiago’s Death Force,” Limos said. “They are funny and willing to show things others aren’t. Most of them, content-wise, are pretty good! The budgets just weren’t there.” It was precisely their low-budgets that allowed such movies to (literally) get away with murder, Rodriguez told Premiere. "In those days, exploitation films couldn’t afford stars, they didn’t have big budgets, so they had 'exploitable elements’â€“things the other movies didn’t have: the subject matter, the sex, or the action."
In an age when exploitation films are million-dollar deals seen by impressionable audiences, however, should such ultraviolence run rampant? “We’re at war right now,” Rodriguez told Fangoria magazine, "so let’s take advantage of that. Scare people with things that are happening overseas."
Columbia professor David McKenna, who currently teaches an auteur studies class on notable B-movie alum Clint Eastwood, argues that the draw of films like Saw is that they “go for the audience’s jugular,” with the horror genre in particular acting as a projection of the collective unconscious. “We have to remember horror films rose to prominence around World War I,” he says. The theory would certainly explain why, as Roston illustrated, the 1950s and '60sâ€“the age of the Red Scareâ€“were flooded with alien invasion flicks, or why Vietnam War-era horror films explored the disintegration of the family unit. B-films, as scary-movie maestro Wes Craven tells Roston, don’t just radiate the sociopolitical climateâ€“they "deflect it and reflect it."
Because films reflect the times they were made in, even nostalgia pieces like Grindhouse are characterized by a knowing attitude that is decidedly modern: they are B-movies for a new generation. While Tarantino is often accused of being a mere collage artist, McKenna opts for a hip-hop “remix” comparison instead. “Tarantino skillfully plays around with genre conventions, making old ideas new again,” he says. "De Palma was regularly accused of ripping off Hitchcock. While I personally prefer original storytellers, as long as the spin is entertaining, the movies have accomplished their ultimate goal.“
And as David Garrett, a student in Columbia’s graduate film school and an MFA candidate, pointed out, B-movie plots have been entertaining mainstream audiences for years, only they’ve been disguised in big-budget clothing. “A-list movies such as Star Wars and Lord of the Rings have B-movie roots, as do directors like [Spider-Man’s] Sam Raimi, who did the Evil Dead films,” he says. After all, what is Jaws if not an old-fashioned Godzilla flickâ€“except with a $12 million budget and an underwater setting?”