The worst part of Tarantino's flicks is his insistence on stepping in front of the camera.
He SUCKS as an actor ... worse than Nicolas Cage ...
Write, Direct and let the PROFESSIONALS do the acting, Quentin.
By Stephanie Zacharek
By Simon Abrams
By Michelle Orange
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By The Invisible Woman
By I Used to Be Darker
Because Tarantino tends to write his scripts in a linear fashion, starting at the beginning of the film and finishing with the end, opening scenes are an important part of the process. "I usually want my first scenes to be pretty good, if for no reason other than to keep people excited when they read the script," he says. "And to keep me excited — 'Oh, hey, this is a good idea.' "
He saw the character of Django as an "uber-masculine black male figure of folklore," kind of a black Paul Bunyan or Pecos Bill, whose adventures would have been disseminated (and exaggerated) through "spoken history passed down by slaves, about this one guy, throughout the course of time." The film is a superhero origin story, explaining how a chain-gang slave becomes a free man legally employed to "kill white people and get paid for it," grows into the "fastest gun in the South," rescues his wife from bondage, and ultimately evolves into a kind of angel of vengeance, wiping out anyone and everyone — white, black, male, female — who endorses, enforces, enables and/or is economically enriched by the institution of slavery.
Tarantino says his initial impulse was to get that transformation out of the way at the beginning of the film, and then "cut to years later, like, way after the Civil War." But he liked Django's origin story — and he also liked the idea of breaking from the "mosaic" storytelling style he's associated with, thanks to the out-of-order chapter structures of movies like Pulp Fiction and Basterds.
"I've done that," Tarantino says.
With Django, he became excited about "investing in a through-line character, who actually goes through one situation from beginning to end, and follow it and not do my normal tricks of having a separate chapter that takes you somewhere else entirely. I didn't want that in this one. It's really Django's story, from beginning to end."
Armed with that first scene, and the bounty of spaghetti Western soundtracks he bought in Japan, Tarantino returned to Los Angeles. He used to write in restaurants, bars, Amsterdam coffeehouses — always in public, and anywhere but home. "As time goes on," he says, his process has become more "professional." Django was mostly written on the balcony off the bedroom of his Hollywood Hills mansion.
"I have a little speaker out there, so I can make tapes and play them. So I get up, around 10 or 11 I mosey out there, and I start writing the next scene." He puts in a full workday — six, eight hours. Then, at night, "I'll get in the pool and I'll swim around and think about what I've done. If I know I'm really not done with a scene, I think, 'Okay, what do I want to do, how can I make it better?' If I am done with it, then I'm in the pool doing the same thing: 'What next? What happens next?'
"And I've got to tell you, it's as close to bliss as I've ever achieved, in that space, doing that."
Tarantino was in that space, doing that, until April 26, 2011 — the precise date the script was finished. Shooting began the last week of November 2011 and wrapped July 24, 2012. (That these dates are all included in the film's official press notes suggests that the breakneck schedule is being posited as something of a selling point.)
Was Django's schedule unusually compressed? "It was, for sure," Tarantino acknowledges. "[But] I've been heading here for a long time. My post [production] schedules just keep getting shorter and shorter and shorter and shorter, because there's always something I'm making it for, some event. Like for Inglourious Basterds, it was finishing it in time for the Cannes Film Festival.... It just kept going in that direction, and we kept rising to the occasion. In this case, it wasn't supposed to be this short; I just went really long on shooting. Went a little over."
Ultimately, Tarantino says, he had to negotiate with the Weinstein Company in order to get the three extra weeks he needed to shoot a final sequence. In exchange, Tarantino agreed to forgo a chunk of his profit participation. "If the movie does really well, I'll do really, really, really, really, really well," he says. But, "I don't kick in for a while. I have to pay back the extra money I spent before my thing kicks in."
The four-month post-production period on Django was further complicated by the fact that, for the first time, Tarantino was finishing a movie without Sally Menke, who'd edited each of his previous features. By all accounts, Tarantino and Menke had a symbiotic relationship similar to that of Martin Scorsese and his longtime editor, Thelma Schoonmaker. Tarantino has called Menke "my only true, gen-u-ine collaborator," likening her contribution in the editing room to that of a co-writer.
On a sweltering day in September 2010, Menke went on a hike with her dog in Griffith Park and never returned; her body was found the next day at the foot of a Beachwood Canyon ravine. (No official cause of death has been reported.)
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