GODDAMN I SAID.
goddamn.
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Remember this scene:
To this day I think of it every time someone says “take care” of someone.
On the highway there is a billboard that says something like, “West Oaks Hospice, thank you so much for taking care of my mom. - Julie.”
EVERY. TIME. I drive by I chuckle and be like “take care of her”?
Also soooo glad to see Tim Roth. I he is one of my favorite actors. I dunno what it is, but I just love watching him act.
Finally - how it feels every time you go to the range where people are shooting .22s and 9mm and you bring out something big:
I’ll bet you fewer people die in this movie than the Aurora movie theater shooting (12). Certainly fewer people will be injured (70).
Let’s take this one step further. It’s a 3 hour movie. Statistically, during one showing, 28 people will be non-fatally injured by a gun in the United States. 11 more actual people will actually die from guns. Every 3 god damn hours.
Bonus: every sixth showing, someone will die from an accidental discharge of a gun.
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Hey, sometimes it serves as a convenient warning to the consumer.
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In a veiled threat, the largest police union in the country says it has a “surprise” in store for Quentin Tarantino. Jim Pasco, executive director of the Fraternal Order of Police, would not go into any detail about what is being cooked up for the Hollywood director, but he did tell THR: “We’ll be opportunistic.”
“Tarantino has made a good living out of violence and surprise,” says Pasco. “Our officers make a living trying to stop violence, but surprise is not out of the question.”
The FOP, based in Washington, D.C., consists of more than 330,000 full-time, sworn officers. According to Pasco, the surprise in question is already “in the works,” and will be in addition to the standing boycott of Tarantino’s films, including his upcoming movie The Hateful Eight.
“Something is in the works, but the element of surprise is the most important element,” says Pasco. "Something could happen anytime between now and [the premiere]. And a lot of it is going to be driven by Tarantino, who is nothing if not predictable.“The right time and place will come up and we’ll try to hurt him in the only way that seems to matter to him, and that’s economically,” says Pasco.
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Vindictiveness: What a great tool to promote law enforcement.
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Worse things could happen. His portrayal in that regard is nothing short of amazing.
TV is awesome now days… When I was a kid (jesus, did I just say that) there were 4 channels to choose from for new content each night. A lot of it painful. Then late at night, everyone thought that Johnny Carson was a genius for being on against every other station that went off the air after the news…
That’s…an odd thing to get particularly upset over. I’m assuming he’s done other unpleasant things that have gotten you pissed off, and this is just the one you chose as an example, but it’s a really bad example. Truth be told, I can’t see why it bothers you in the slightest, let alone this much.
How do you feel about “A Spike Lee Joint”?
Good people say dumb shit sometimes. God knows I do. Calling them out on that isn’t the same as dismissing them entirely.
I agree. I mean, it is his movie and he wrote the script (right?) so I’m not sure why it is over the top wankery to do what he did.
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The way it usually works is as follows: the writer’s name appears on the title page of the script. Generally speaking, a shooting script is a production tool that follows a format that was standardized fairly early in the last century, and though certain copyright legalese at the bottom is a relatively recent addition, TV and film script title pages look pretty consistent:
The possessory credit is a topic of some controversy. The DGA has no lock on it; they sometimes point out that if Joe Colostomy the craft service guy can make a compelling case to the studio that a movie should be titled “Joe Colostomy’s Star Warts” then there’s no reason why the studio shouldn’t agree to market the movie thus. As it turns out, certain directors habitually take a possessory credit. John Carpenter is a particular example. Sometimes it doesn’t bug me, especially if the director also wrote the script, but all too often it’s just something that the director’s agent negotiated as part of their deal.*
At any rate, it’s a marketing tool at best, and an ego stroke at worst. Most of the time, it shows up in the marketing materials like movie posters and trailers and such, but within a movie’s credits it usually takes the form of “A Les Mayfield Film” or “A Film by Alan Smithee.” Relatively rarely is it a possessory credit that’s part of the title, the way Shyamalan and Carpenter often do it. But again, it’s a negotiated credit that is actually available to anyone who can make the case for it. The director has no natural automatic claim to it, and neither does the writer. And other than the “Written by” or “Screenplay by” or “Teleplay by” or “Story by” or “Directed by” credit in tasteful 12-pt Courier type on the cover page, it never appears anywhere in the script.
Tarantino knew he’d be directing this script, so he knew that he can put whatever direction he wants in his script without offending the director. (Screenwriters who don’t direct are advised to avoid direction in their scripts where possible. Writers like Harlan Ellison resent and ignore this advice, and I agree with them.) A halfway-normal writer would have ended that opening scene with SMASH CUT TO BLACK. TITLE CARD: KILL BILL. ROLL OPENING CREDITS (or similar), and not felt the need to tell the people reading the script that IT’S HIS MOVIE, BY GOD, HE WROTE IT AND HE DIRECTED IT AND DID YOU KNOW IT WAS HIS FOURTH ONE? before they can continue reading the next scene.
Putting “The 8th Film by Quentin Tarantino” in the trailer is completely appropriate. Putting it in the opening credits of the movie itself is weird. Putting it in the script is, in fact, over-the-top wankery.
* My brother’s first big studio directing job was for a Stephen King movie called “Sleepwalkers.” Since it was the first time King had written a screenplay that wasn’t based on any of his previous novels or stories, it was especially important to Columbia Pictures that they market the movie as “Stephen King’s Sleepwalkers” so the audience would know that King was associated with it. King and my brother had a good time collaborating on that movie, so throughout the next decade they worked together on a few different projects. In 1994, my brother directed “Stephen King’s The Stand” as a miniseries for ABC. Now the DGA doesn’t object to the possessory credit going to the writer, but it insists on getting billing at least equal to what the writer gets, so for radio and TV ads that spoke the title out loud as “Stephen King’s The Stand… airing beginning Monday at 9:00/8:00 Central on ABC,” the ads were required to include “Directed by Mick Garris” spoken aloud, not just as screen text. ABC forgot to do that, and was fined a few grand by the DGA, which money went to my brother. A couple years later, when he directed the miniseries version of “Stephen King’s The Shining,” the exact same thing happened. It didn’t occur to ABC’s On-Air Promo division to include the director’s name spoken out loud (in part because my brother’s name isn’t exactly the household word that King’s is), and so again they got fined by the DGA. My brother didn’t really care (he has a smaller ego than I do, it seems), but he did find it odd that ABC made the same slightly expensive mistake twice.
It just goes to show that the DGA is awfully protective of what it perceives as its territory.
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Wow! Ok then! 
Thanks for taking the time to write that out and explain.
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@Donald_Petersen is the kindest, bravest, warmest, most wonderful human being I’ve ever known in my life.
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What about his brother?
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He has the exquisite bravery of a butterfly flying against the wind.
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He’s much better than that bastard Richard Dawkins, anyway.
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RUSTLER’S RHAPSODY (1985) has a couple of great scenes involving Andy Griffith as the rapacious rancher and his henchmen, and the exact definition of “taking care of” somebody.
I feel better just knowing that the Boys in Blue are standing by, eager to detect any slight upon any of their number, and to take it personally as a group when someone complains about anything individuals of their fraternity has done. Not safer, mind you.
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So, you know… about the actual movie itself: stylish. That trailer is giving me a slight McCabe & Mrs. Miller vibe. Probably nothing but the snow on the hat brim. I don’t see any elegiac qualities, but do see a lot of swagger and mayhem for Xmas.
