The problem lies that many here are blind. It’s good to realize Tarantino is fallible and, as an auteur, must receive criticisms that aren’t totally bullshit.
Would Tarantino be able to write so brilliantly without crutching on references and other outside ideas? hmmm… That’s his style, I think, and more or less he reinvents everything he includes in his work.
SO what is the difference between De Palma and Tarantino? De Palma uses Battleship Potemkin, noir and of course, Hitchcock constantly…
[quote]The problem lies that many here are blind. It’s good to realize Tarantino is fallible and, as an auteur, must receive criticisms that aren’t totally bullshit.
Would Tarantino be able to write so brilliantly without crutching on references and other outside ideas? hmmm… That’s his style, I think, and more or less he reinvents everything he includes in his work.
SO what is the difference between De Palma and Tarantino? De Palma uses Battleship Potemkin, noir and of course, Hitchcock constantly…[/quote]
Spinster, what I was saying was that all the pop culture stuff and the similar movie themes IS what makes QT, QT. Thats why hes been copied so many times. I think he could definitely write a script without using the pop culture stuff. All you have to do is read his scripts, he could do it if he had to. But, we dont want him to because it wouldnt be him without it.
You never know, Glorious Bastards may be our first non-pop culture Tarantino script. Im just speculating but, it just might be.
DePalma and Tarantino as directors:
I think if you look at DePalma and Tarantino’s films you’ll see lots of similarities.
For instance for DePalma’s film Crime Conspiracy film Blow Out (1981), he took the basic story of that film from Antonioni’s crime/suspense film Blow Up (1966). Both of the main characters record a murder unknowingly. In Blow Up it was on film, and in Blow Out it was on tape. DePalma took that idea and added his own ideas and personality to it and created his best film (As voted by his fans).
Look at Reservoir Dogs and City On Fire, thats the same kind of connection they have. But like DePalma, QT brought his own ideas and personality (cant forget the great 70s music) to the mix and made one of the best heist films out there.
Also Tarantino seems to employ alot of the same camera styles as DePalma. The long Steadicam shots (Pulp, Jackie Brown, Kill Bill), the split screen (Jackie Brown), the crane shots (Jackie Brown, Kill Bill), the deep focus shots (Dogs, Pulp, Jackie), the bloody humorous violence (All of em), the 360 circling camera shot (Jackie Brown).
Also like Tarantino and his taking ideas from other films, DePalma was considered a blatant Hitchcock rip off artist. But years later, critics have come to realize that DePalma was jumping off from Hitch’s films, adding his own ideas and style to them and in essence creating something totally new from those original ideas.
I agree with you about DePalma (Dressed to Kill, Angie Dickinson-- Psycho, Janet Eligh; cross dressing)…
and I hope you’re right about Glorious Bastards-- would be great for Tarantino. Lets just see that cast, QT!
has avary got a chip on his shoulder or a reason to be unhappy?
heres what he says on his website
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Q: You were a writer on “True Romance”?
A: I’m not credited as a writer on “True Romance”, but I consider the movie to be partially mine. The script branched out of an 80 page script I had written called “The Open Road”. Quentin went away with it and months later came back with a hand written tome of notebook papers cut and pasted together. I read it (and if you’ve ever seen Quentin’s writing you know that it’s like reading phonetic glyphs) and cried at how beautiful it was. Quentin is without question a genius. But the thing was a structural mess. I sat down with Quentin over the following year and weeded through the thing as we typed it into WordStar on my old Zenith 8086 kit computer (dot commands – ugh!). During that process we made changes, edited, added, and acted out every single scene in it. Of the scenes I specifically wrote were two that found their way eventually into “Pulp Fiction”: the bullets mystically not hitting their targets (originally it was Drexel); and the gun going off in the car (again, Drexel). The script had many bits that came and went into other scripts – like so many info-kernals that would eventually find their way into “Natural Born Killers”, “Pulp Fiction”, and probably several other, as yet unproduced, Quentin Tarantino films. By the way, I have every single draft of “True Romance” ever generated on disk. I’ve often thought that I should post them all here on the Internet along with the legal documents and partnership papers. Maybe I will when I find the time.
Q: Where can I get a copy of “The Open Road”?
A: You can’t, unless you can get it from Quentin. I won’t post it on the Internet because it still has a lot of material in it that I could plunder. Someday, when I’ve sucked its marrow dry, I’ll post it on Avary’s Domain.
Q: How come you only have a story by credit on “Pulp Fiction”?
A: Good question. I’m still asking myself that.
Q: What about the “Top Gun” speech in “Sleep With Me”? Did you write it?
A: I did, but not for “Sleep With Me”. That’s what you get for trying out your material with other writers.
Q: What did you write in “Natural Born Killers”?
A: Quentin was trying to get financing for “Natural Born Killers” back in the day when he was going to direct it. One source of money was from the Paul Brothers, these two body builder/actor types – but he had to include them in the film. He told me that he just couldn’t brink himself to write it, so he turned to me. As a favor to Quentin, I wrote a scene. This came at a low point in my career, but I wrote it with every ounce of energy I had – and I believe it to be the finest scene I’ve ever written…and it pulled me out of a slump. The next thing I know people are telling Quentin that the scene is the best thing in the script (Oliver Stone told me that it was his favorite scene, and his reason for doing the movie)…but Quentin would just nod when they told him how good it was, and he never told them I wrote it. That caused a bit of a rift in our friendship, because I thought it was kind of low of him. Whatever…it’s water under the bridge. I’m sure he had his reasons. The irony is that Stone ended up cutting the scene, saying that he “beep it up.”
Q: What about the radio dialog in “Reservoir Dogs”?
A: I didn’t have anything to do with the Stephen Wright stuff. Quentin asked Craig Hamman and I to knock off some stuff to be used in the deep background of scenes. I couldn’t even tell you what I wrote. Just blather…
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also i i heard they were lovers once
More retards to add to this forum! 
I wonder if Tarantino and Avary will be seen as the Orson Welles-Herman J. Mankiewicz of the ‘90s. Mankiewicz wrote the screenplay for “Citizen Kane” and would bitch till the end of his life about Welles screwing him out of credit. Of course, Welles’ genius shone in many other movies without the same writer, while Mankiewicz’s screenplays not directed by Welles are insignificant. I use the same method to differentiate between Tarantino and Avary – Tarantino made great flicks like “Jackie Brown” and “Kill Bill” without Avary, while Avary on his own could only come up with what? “Mr. Stitch” and “Rules of Attraction”? Please.
I was asking this myself a long time because you don’t see them together. Not even at premieres of quentin’s movies.
Are they still friends or is it like “i’m rich and famous now, i don’t give a fuck about him”?
anyone knows more about that?
they are still friends and talk occasionally. they just dont work together anymore and are no longer “close friends”. they’ve gone seperate paths now, thats all.
roger avary loved kill bill. i dont know how QT thought about Rules of attraction
In my opinion, if i was roger avary, i wouldn’t talk to qt, qt, while being a very interesting director is just a collage artist for the most part, he just cuts and pastes his favorite scenes from obscure movies. I feel kind of bad for roger avary, because they both came out around the same time and they both have oscars for pulp but its unfortunate that a lot of people don’t know roger avary.
You’ve got a point there
[quote=“stormshadow_99”]
In my opinion, if i was roger avary, i wouldn’t talk to qt, qt, while being a very interesting director is just a collage artist for the most part, he just cuts and pastes his favorite scenes from obscure movies. I feel kind of bad for roger avary, because they both came out around the same time and they both have oscars for pulp but its unfortunate that a lot of people don’t know roger avary.
[/quote]
I think Roger’s time will come. He is a good director, yet he still has to come up with some sort of breakthrough movie. pulp and killing zoe was just not enough for him to lift him out of QT’s shadow… but I trust Roger…
I read a biogrpahie on QT called King Pulp: The Wild World of Quentin Tarantino and it describes the realtionship between Avary and QT to pretty hectic. In the book it describes a lot about how QT never credtied any of Avarys work on Pulp Fiction or True Romance. It kinda makes QT sound like an asshole.
Good luck to Roger is all i can say! I’m sure we’re gonna see great things from him, and i can’t wait!
I wish they both would get together and make a film again. I think Avary is the better Story Writer, and QT is the better at directing and writing dialogue. Both of their talents combined would make a fucking brilliant film (see Pulp Fiction for proof!!).
yeah it wuld be great 2 see a collaboration between them after IB. Another crime movie, it would be nice to see Q go back to his roots…
I hope they never work together again. Otherwise Avary would spend the next 10 years of his life bitching on what ideas were stolen from him in QT’s new movie. Fucking crybaby. Besides, he’s even lazier than the man himself when it comes to making movies so that’s quite an impossibility.
i dont get it, why do you all hate avary??
if i wrote some stuff i didnt get credit for, hell yeah i would bitch about it, i would fucking sue, i would say fuck quentin, give me my money
if he DID wrote some stuff, quentin SHOULD give him credit, thats that
I didn’t say I hate Avary. I’m just saying that he had 10 years at his disposal to show us that he’s a talented filmmaker, but instead he spent a decade crying on the usual shit on his website. He wrote the radio dialogue in Dogs. Ok, we get it. Big fucking deal. He also publicly shared the Pulp Fiction oscar with QT, if you don’t call that recognition I don’t know what is. Besides, he shamelessly used the tagline “From the guy who brought you Pulp Fiction” for the promotion of “Rules of Attraction”, as if he wrote AND directed the whole damn thing. But I guess Avary feels like the victim only when it suits him.
hmm intresting point
[quote=“Scarface is on strike”]Besides, he shamelessly used the tagline “From the guy who brought you Pulp Fiction” for the promotion of “Rules of Attraction”, as if he wrote AND directed the whole damn thing.
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i think that was the marketing department. directors usually dont make the covers for their dvds