It’s all about contrast, I thought the car was beige or something and then we se that it’s yellow with 2 black lines.
everybody laughed in the movie theater
The film stock was black and white because sometimes Grindhouse films had B&W reels. The reason was the filmmakers had to use B&W when they ran out of money for color film.
Death Proof is supposed to be made up of diff celluloid prints. Some in bad shape, some in good shape.
This is gonna sound retarded but:
Could it be a nod to kevin smith? You’ve got Rosario Dawson in front of a convenience store…smith did the B/W thing too in Clerks 2
It could be. I guess only QT knows for sure. Thats a question someone could ask him sometime.
[quote=“PutneySwope”]
The film stock was black and white because sometimes Grindhouse films had B&W reels. The reason was the filmmakers had to use B&W when they ran out of money for color film.
[/quote]
not exactly. If you take some exploitation film from japan for instance. Some directors shot most of the film in black and white except for a few key moments (usually sex scenes or, for Koji Wakamatsu twisted and bloody scenes) that were shot in color. but it was some kind of a system for low budget directors more than a back up plan if they happened to ran out of money in the middle of the shoot.
Qt explains the b&w sequence by using the argument: “frequently there were a black and white reel in during the films I saw in grindhouses”. nobody will ever question this statement because 99,99% of the audience or film critics never put a foot inside a grindhouse theater in their life. i don’t buy that, if this ever happened it was one in a million. QT did the b&w scene for other reasons. IMO he just kept working on the b&w/color stuff he started (masterfully, I might add) experimenting in Kill Bill. i saw smg like 200 exploitation films in theaters and this NEVER happened. and only ONCE in my life i did see a black and white print of an old film that was supposed to be in color.
[quote=“tonyanthony”]
not exactly. If you take some exploitation film from japan for instance. Some directors shot most of the film in black and white except for a few key moments (usually sex scenes or, for Koji Wakamatsu twisted and bloody scenes) that were shot in color. but it was some kind of a system for low budget directors more than a back up plan if they happened to ran out of money in the middle of the shoot.
Qt explains the b&w sequence by using the argument: “frequently there were a black and white reel in during the films I saw in grindhouses”. nobody will ever question this statement because 99,99% of the audience or film critics never put a foot inside a grindhouse theater in their life. i don’t buy that, if this ever happened it was one in a million. QT did the b&w scene for other reasons. IMO he just kept working on the b&w/color stuff he started (masterfully, I might add) experimenting in Kill Bill. i saw smg like 200 exploitation films in theaters and this NEVER happened. and only ONCE in my life i did see a black and white print of an old film that was supposed to be in color.
[/quote]
I dont know because Ive never seen it happen myself. That was QTs words not mine. I wasnt old enough to watch 70s grindhouse films in the theaters when they were released.
He did say Death Proof is supposed to be a Frankenstein print. A mixture of reels, some in good shape, some in bad.
I have seen some black and white sequences in exploitation films but usually they are for flashbacks.
no i know, i know. my guess is that this explanation is some kind of a trick. at the end of the day, for me, it is in b&w because going fm color to b&w and again to color is smg qt already did a lot in kill bill. it is part of his signature now (ad far as i’m concerned at least…)
I just remembered, QT also said that when violent bloody sequences in kung fu films were shown on TV, the stations would turn them to black and white. Thats why the color HOBL sequence was changed to black and white in the script.
The B&W Chapter 6 sequence in Kill Bill may have been patterned after the same idea as DP. That was a Grindhouse film too and he did point out that each chapter was made to look like it took place in diff genres/ diff looking film prints.
I really love B&W myself too. I was watching the Dylan documentary Don’t Look Back recently and damn is it beautiful looking.
Yes it does. In kill bill, this is also a nod to the film noir from the 40s (cf. the ending credits in 40s-ish black and white style)
The B&W HOBL sequence reminded me visually of the fight in Raging Bull between Sugar Ray and Jake too.
The Black and White worked really well. It worked in the exploitation way that Pete mentioned before (running out of money for colour film), but as I think as been mentioned before, it it insane when it switches back to colour. You see these beautiful yellows and reds, amazing colours (in contrast to the black and white). It’s almost blinding for a second.
So is QT like a real big fan of big red (soft drink). There’s a lot of big red shots too.