10 greatest shots from Quentin Tarantino’s filmography
Once described as “the most influential filmmaker of our generation”, American author Quentin Tarantino has changed the way we think about cinema. Ranging from cult classics including pulp Fiction and recent gems like Once upon a time in hollywood, Tarantino has proven to the world that he always has what it takes to operate at the top of his field. However, the seasoned director is finally thinking of retiring after his tenth and final project.
“Most directors have horrible latest movies,” Tarantino said. “Usually their worst movies are their last movies. This is the case for most of the Golden Age directors who ended up making their last films in the late 60s and 70s and then it ended up being the case for most directors. from New Hollywood who made their last films in the late ’80s and’ 90s. So ending your career on a decent film is rare. Finally, for example, a good movie is a bit phenomenal. I mean, most directors’ latest movies really suck.
He had also discussed the retreat before, saying: “I kind of think it’s time for the third act. [of my life] lean a little more into the literature, which would be great as a new dad, as a new husband. […] I wouldn’t want to grab my family and take them to Germany or Sri Lanka or wherever the next story takes place. I can be a little more of a homebody, and become a little more of a man of letters.
While discussions about retirement will continue until we get a glimpse of his immediate plans, let’s pay tribute to Quentin Tarantino’s enduring cinematic legacy.
Here we take a look at some of the most iconic shots from his illustrious filmography.
10 greatest shots of Quentin Tarantino:
‘The door’ – Inglorious Basterds (2009)
The opening sequence of Inglorious Basterds is a cinematic storytelling lesson, showing how to maintain narrative tension. One particularly memorable part is the use of a frame within a frame in the scene where Shoshanna escapes “The Jew Hunter” (Christopher Waltz) and runs away. It is inspired by John Ford, who used similar techniques in films like Researchers.
Tarantino said, “On that movie there’s a real big roadblock, and that’s the story itself. And I expected to honor that roadblock. But then at some point, deeply, deep, deep in the writing it hit me. I thought, wait a minute: my characters don’t. know they are part of history. They are in the now, they are in the here, they are in the now, it is event. “
9. “trunk blow” – Tank dogs (1992)
While the Trunk Shot is a signature item Tarantino has used repeatedly throughout his career, his most iconic iteration is certainly in Tank dogs. Taking inspiration from Anthony Mann who first used the technique, Tarantino successfully introduced it to popular culture.
The director commented: “One of the things that excites me Reservoir dogs is that he’s playing with theatrical elements in cinematic form – it’s contained, the tension isn’t dissipated, it’s supposed to build, the characters can’t go, and the whole movie is definitely performance-oriented. … Almost cut to the rhythm of the performance.
8. “Aperture shot” – Jackie Brown (1997)
Jackie Brown manages to grab the public’s attention early on, blowing up Bobby Womack’s “Across 110th Street” as Pam Grier slides down a moving catwalk. The shot is fluidly transgressive, prompting viewers to confront the nature of the medium itself.
“This whole film takes place in places that everyone has a visual relationship with, like a shopping center and an airport,” said cinematographer Guillermo Navarro. “There is no interpretation that can cut through the everyday view of these places, so I had to take a very realistic approach.”
Adding: “But being on location can be very difficult because you don’t have any of the advantages you would have on a soundstage, where you can make lighting and production design decisions, you’re just stuck with it. space. As the story is very dialogue, it has become complicated to execute some shots [in a visually interesting way]. “
7. “Dome of the cinema” – Once upon a time in hollywood (2019)
Tarantino’s most recent project, Once upon a time in hollywood, has certainly been a critical and commercial success. Robert Richardson’s cinematography incorporates neo-noir elements as the film paints a nostalgic portrayal of a lost Hollywood, signifying the existence of multiple timelines.
Cinematographer Robert Richardson said: “The aim was to evoke the past and the present. Quentin and I wanted to have a look that was here and now, but also stepped back in time a bit. We didn’t talk about it, but in my mind I thought, “Let’s do something about the past, present and future.”
6. ‘Blood on the cotton’ – Django Unchained (2012)
While it’s well known that Tarantino has an uncontrollable penchant for cinematic violence, this scene ranks among Tarantino’s best works. The powerful imagery of blood splattering on white cotton plants contains political and philosophical implications that cannot be ignored.
“What happened in the days of slavery is a thousand times worse than [what] I show, ”argued Tarantino. “So if I had to show it a thousand times worse, for me it wouldn’t be exploitation, it would be like that. If you can’t take it, you can’t take it.
5. “The briefcase” – pulp Fiction (1994)
Many fans have tried to guess what was in the briefcase Vincent Vega opens, with some claiming it contains the soul of Marsellus Wallace. The beauty of the shot is that it says so much with so little, still sparking the imagination of the public today.
The filmmaker explained: “When I write a movie, I hear laughter. People talk about violence. What about comedy? pulp Fiction has such a comedic spirit, even with all the weird things that are happening. For me, the most tortured thing in the world … [is] to watch it with an audience that doesn’t know it’s supposed to be laughing.
4. ‘Widescreen’ – The Hateful Eight (2015)
The Hateful Eight is Tarantino’s cinematic tribute to a genre he has always loved – the iconic western. Shot on 70mm film with Ultra Panavision lenses, the film perfectly captures the nuanced landscape of Colorado. While the narrative isn’t as compelling as Tarantino’s other films, the cinematography is compelling.
Tarantino revealed: “The thing that wasn’t a sure thing was not the idea of turning it in 70mm. This, we thought it would be fine. Other people have already done it. Using the lenses we used – those Ultra Panavision lenses from the late 50’s, early 60’s – this was the thing that wasn’t a sure thing. We did tests on them and everything. So we knew they were working.
3. “Fight of the blue silhouette” – Kill Bill (2003)
Kill Bill remains one of Tarantino’s finest achievements, a perfect example of grindhouse cinema. This particular shot is an unforgettable moment from the action film, featuring a skillfully choreographed fight between the bride and the Yakuza that is meant to be a reference to Nakano Hiroyuki’s film. Samurai fiction.
The producers insisted, “He’s one of the greatest filmmakers in the world, what’s it going to hurt to sit down and eat Thai food with him?” Said Tarantino. “So we got together and started talking, and I told him that I had already hired two other guys. And we talked and we talked and basically, I fell in love and let these guys go. two guys.
2. “The Mexican impasse” – Reservoir dogs (1992)
Tarantino’s directorial debut is replete with several iconic sequences, but none of them can surpass the mastery of the author’s own version of the legendary Mexican Standoff. It’s visceral, violent and morbid, highlighting the absurdity of life and the chaotic nature of human existence.
“I’m always trying to figure out what’s going on in a director’s head, so we talked very vaguely about the project,” cinematographer Andrzej Sekuła said. “Quentin and I also watched a few movies, like The slaughter and Breathless. When we got together on set, we really understood each other. “
1. “The dance” – pulp Fiction (1994)
Although many people have accused Tarantino of stealing Federico Fellini’s dance sequence 8½, Travolta claimed that this scene was completely improvised. It’s emblematic of how two characters from very different backgrounds can experience momentary freedom by shedding restrictions on their social roles.
“It was a bit improvised,” Travolta said. The daily beast. “I actually told Quentin about the dances I grew up with. The Twist was what he wanted, but I said, ‘There were other fun dances from that era! The Spin, The Batman, The Hitchhiker.
“You can extend that without having to just include The Twist. And he said, ‘Okay.’ So I said, ‘Why don’t you film it, and you name it? We’ll start with The Twist, and then when you’re bored with The Twist, throw in something else. So he was behind the camera saying ‘The Swim! The Batman! ‘ He would mix and match. We shot it during part of the day, and there weren’t a lot of takes.