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(In Inglese)

- 5 Settembre 2001: Patricia Arquette sostituisce Uma Thurman?!?
- 17 Agosto
2001: Comincia a delinearsi "Kill Bill", ecco la trama
- 14 Agosto 2001: La madre di Tarantino diventa produttrice
- 17 Maggio 2001: Cancellazione del progetto "The Vega Brothers"

Patricia Arquette, sorella di Rosanna e Alexis (che erano nel cast di PulpFiction), ha già partecipato ad altri film con Tarantino, 1993 True Romance e nel 2000 Little Nicky

5 Settembre 2001: Patricia Arquette sostituisce Uma Thurman?!?
fonte: Darkhorizons

Incredibile! In un'intervista rilasciata a Canal Plus, Tarantino afferma che la protagonista femminile sarà Patricia Arquette. Si tratta di un errore o la Thurman ha abbandonato? Comunque il sito stesso (darkhorizons), nel probabile cast ha lasciato il nome della Thurman.
Spero vivamente che sia un'errore.

La splendida Uma Thurman

Warren Beatty
17 Agosto 2001: Comincia a delinearsi Kill Bill, il cast per ora è composto dalla sola Uma Thurman, il protagonista maschile sarà probabilmente Warren Beatty, molto probabilmente ci sarà anche Samuel L. Jackson. Non ci sarà Harvey Keitel, pare che stia ai ferri corti con Tarantino... Stesso discorso per John Travolta, accusato da Quentin di essere un irriconoscente per non accettato una parte in Jackie Brown.
Tarantino afferma che Kill Bill "Sarà uno Shakespeare pop".

La trama di "KILL BILL"(a grandi linee): Una prostituta cammina per strada, viene colpita da un proiettile vagante sparato dal suo protettore e và in coma per dieci anni. Uscita dal coma, decide di dedicare la sua vita alla vendetta.
A proposito della vendetta, Quentin Tarantino in un esclusiva intervista a Luca Fioretti di GQ (www.gq.com) di Giugno dichiara: "La vendetta è una delle spinte più forti che un essere umano può provare. A 13 anni ho letto "il conte di Montecristo" ed è stato uno shock, una rivelazione. Per un sacco di tempo ho costretto amici e famigliari a chiamarmi Edmond Dantes, come l'eroe del romanzo di Dumas. La donna di Kill Bill sarà simile ad Edmond: la segui, parteggi per lei, anche se sai che cerca il male e vuole restituire moltiplicato, il dolore che ha subito".

14 Agosto 2001 La madre di Taratino diventa produttrice
fonte: BBC
Connie Zastoupil, la madre di Tarantino ha annunciato di essere entrata in affari con la "Prague Indies Productions (PIP)" per produrre film indipendenti.

17 Maggio 2001: Tarantino sorprende ancora

fonte: Darkhorizons
Dopo aver dichiarato di voler girare il prequel di "Pulp Fiction" e "Le Iene", incentrato sui fratelli Vincent e Vic Vega (personaggi interpretati rispettivamente da John Travolta in Pulp Fiction e da Micheal Madsen in Le Iene), con titolo provvisorio "The Vega brothers", Tarantino ha annunciato la cancellazione definitiva del progetto.

2000: inizia la pre-produzione di "40 Lashes and none", comincia il casting, Tarantino cerca i luoghi dove girare il film, il sito www.imdb.com (International Movie DataBase) lo annuncia come imminente. Ma le riprese non cominciano. Circolano voci su contrasti sempre più violenti tra Quentin e i produttori. Molte scene sono giudicate troppo violente, temono che il film diventi troppo duro per un pubblico di massa (che garantisca incassi adeguati al budget). Tarantino non molla, e così il film si blocca. Così comincia prima a scrivere "The Bastards", una storia sulla seconda guerra mondiale, poi la accantona e si butta su Kill Bill.

1999: inizia a scrivere 40 Lashes and None (40 frustate e nessuna): è la storia drammatica di un detenuto che combatte ogni giorno tra voglia di evadere, la realtà del carcere e il desiderio di ricominciare una vita tranquilla. Finisce la sceneggiatura e la fà vedere alla produzione, che la accetta.


Playboy - 1994

Jay Leno - 9 Dicembre 1997
(Prima dell'uscita di Jackie Brown)

Lynn Hirschberg - 16 Novembre 1997
"The Two Hollywoods: The Man Who Changed Everything"

Intervista a Quentin e a George Clooney

14 Ottobre 1994

Intervista Radiofonica -
Charlie Rose


Rassegna Stampa
(In Inglese)

Quentin Tarantino: Sick or Sanctified?

Director Quentin Tarantino charged with assault

Tarantino surrenders on assault charge

Quirky Quentin has resurfaced - on Broadway

Tarantino Arrested for Brawl

Quentin Tarantino: Sick or Sanctified?

As the British Press rip Pulp Fiction apart for its violence, crudity and racism Tony Bowden takes a look at the underlying morality behind the pop-culture.


Reservoir Dogs is fast becoming the new Rocky Horror Picture Show. The BBFC's decision to refuse it a video certificate has effectively guaranteed its place as an ultimate cult film, showing to packed late-shows and still managing to perennially turn up at large multiplexes for a week or two. Many fans now go for the whole experience, becoming Mr. Pink or Mr. White for the evening, just as thousands regularly adopt Frank'n Furter or Riff Raff for an evening of Rocky Horror. Both are also renowned for their music, with soundtracks consisting not just of music from the film, but also classic dialogue. And who could ever listen to Stealers Wheel's Stuck In The Middle With You the same way again after viewing Reservoir Dogs? Yet there still remain crucial differences. Whereas much of the fun of a Rocky Horror showing is the audience participation, when an eager fan stood up and started quoting Mr Blonde's lines along with him he was quickly silenced by rest of the viewers. Tarantino fans are much more in awe of his work, preferring to sit silently, constantly on the look-out for further throw-away references to older films - and even to Tarantino's own work (In case you haven't been watching closely Vince Vega is Mr Blonde's brother). And whereas Shock Treatment (the sequel to Rocky Horror) was a dismal flop, which most Rocky Horror fans have never even heard of, the newest Tarantino production, Pulp Fiction, has become one of the year's top films; which, it must be said, is quite surprising for a two and a half hour movie featuring homosexual rape, a drug overdose, an accidental killing, and several deliberate ones, a car crash and a religious conversion. Reactions to the film have been wildly varied. In America, where the press is not particularly known for its liberalism, the critics have been almost overwhelming in their praise. In Britain they have been a little more reserved, and although critics like Barry Norman have described it as "a dazzling piece of work - gloriously funny, unpredictable and original", the wider media has generally hated it. Mary Kenny in the Daily Mirror described it as "disgusting, violent, repellent, dangerous to young and unformed minds, childish, irrational, horrible, agonising, and distressingly like something out of a Nazi nightmare where human beings are subjected to every degradation just for the hell of it." The fact that Pulp Fiction won the Palme D'Or at Cannes - the Big Kahuna of serious film-makers, serves only to show how vacuous cinema has become. Most reviewers accept the film simply as "Pulp" - a cut above the Pulp Novels of the '30s and '40s, but pulp nonetheless. Thus they can ignore the violence and language, and comment on the delightful acting (especially of those like Travolta and Willis who had been left for dead), the wonderfully original dialogue and the movie-buff heaven of many sly references to other films. However, if one looks beyond the multiple killings and gore, there lies a powerful moral message behind both Pulp Fiction and Reservoir Dogs. Both films exhibit a strong belief in a code of honour - honour amongst thieves perhaps, but important nonetheless. Reservoir Dogs is much less a film about a failed jewellery heist than a study of relationships and moral dilemma, mistrust and paranoia. The entire film builds up to the point at the end when Orange finally reveals to White that he is a cop, after White has given up his own life out of trust for him. Pulp Fiction takes this theme forward into redemption and conversion. When Jules, played by Samuel L Jackson, experiences a miracle, he undergoes a transformation by which the film culminates with him paying the price to save another man's life. The melodramatic quote from Ezekiel with which he accompanied his executions, with little other reason than it sounded cool, suddenly took a twist, as he became the shepherd instead of the vengeance. On the other hand, Vincent, his partner, who did not believe in the miracle, putting it down to mere coincidence, consequently finds himself, through another series of coincidences, at the wrong end of another shooting - this time fatal. He learnt neither from his previous mistakes (this was his 3rd time in the bathroom as something major happened), nor the enlightenment of others, and finally paid for it with his life. The other common theme is that of forgiveness. Pulp's central story, The Gold Watch, sees Butch returning to save Marsellus, whom he has just double-crossed, from the attention of two sado-masochistic rapists. The fact that half-an-hour previously each was ready to kill the other is temporarily set aside as Butch steps in to deliver his personal enemy from a common enemy. Butch's choice of a samurai sword as the weapon of vengeance is more than just another of Tarantino's little post-modern film-maker in-jokes. Tarantino is strongly influenced by the moral code of many of the Japanese samurai classics and by forsaking the door to Tennessee to save his enemy he not only receives forgiveness from Marsellus, who would have previously tracked him to the ends of the earth, but also finally earns the right to wear his father's gold watch. Tarantino refuses to paint any of his characters in blacks or whites. Although most of his characters they are crooks they all posses at least one good moral trait or redemptive feature - and generally it is this feature which leads to their ultimate triumph - even in what could be seen as defeat. Everyone is displayed as "real" - talking about everything from the underlying meaning of Like A Virgin, to the French names for various McDonalds products, before getting "into character" for their jobs. Yet they are far from perfect either. Butch's refusal to throw a fight stems not from any moral compulsions, but the prospect of becoming exceptionally rich through a double-cross. And in the end every one of the characters in Pulp Fiction is faced with a crossroads. Whereas in Reservoir Dogs everything builds up to the final "explosion", in Pulp Fiction every scene resolves into forgiveness or compromise. Tarantino feels free to play with the concept of black and white when it comes to race also. The frequent use of "nigger" and classic monologues like Dennis Hopper's "Sicilians are spawned by niggers" speech in True Romance [an early Tarantino script, sold for $30,000 to fund the making of Reservoir Dogs] have led to frequent allegations of racism. However Tarantino claims that by using such a loaded word so frequently and almost randomly (white characters are called niggers almost as often as black ones) he is actually trying to defuse the word of its power. Nigger, he claims, "is probably the most volatile word in the English language. My feeling is that any time a word is that powerful, you should start screaming it from the rooftops, take away that power." And, interestingly, almost every couple in Pulp Fiction is of mixed race or culture. Although his films are generally perceived as being very violent, there is actually very little violence shown in either Reservoir Dogs or Pulp Fiction. There is much more implied than is actually seen, and it the audiences' own imaginations which send them away believing the films to have been much more violent than they actually are. In particular the infamous ear-slicing scene in Reservoir Dogs, whilst not actually shown, was enough to send many people to the exit door, and reports of it were enough to prevent others even making it as far as the entrance. However Tarantino does not apologise for this. "For some people the violence is a mountain they can't climb" he stated on its release. "That's OK. It's not their cup of tea. But I am affecting them. I wanted that scene to be disturbing." Yet even the violence that isn't shown generally has much more realism and effect than the cartoon violence of Home Alone or The A-Team. Here guns kill people, slowly and excruciatingly. There is little glamour in the killings here. The agony of Mr. Orange lying in a pool of his own blood after being shot in the gut is unlikely to make anyone consider a life of violent crime. Where a character in any other film might get blown away and we would see no more of them, the characters here are shown to suffer ... and suffer... and suffer. The violence is disturbing, as violence should be, and it is surely more of a mark of moral sickness when people complain that the violence was too realistic! In one respect it may be this obvious negativising of violence that differentiates Tarantino from Oliver Stone, whose re-write of Tarantino's original script for Natural Born Killers has supposedly spawned a series of copy-cat murders in America and France, and has left the censors in a quandary which has indefinitely delayed the films release in the UK. Travolta, a devout Scientologist, had initial qualms about taking the part in Pulp Fiction when he heard that he was to play a heroin-taking hit-man. "I started 3 or 4 social phenomenons," he commented. "So I'm not going to be the guy who says movies can't influence people." However, after reading the script, he decided that the film was far from glamourising the lifestyles portrayed, and turned in a performance that silenced those who would have originally preferred Tarantino's original choice for the part - Michael Madsen. Perhaps one of the most disturbing, and thus most effective, ways in which Tarantino uses violence is to cover it with a layer of humour. His most violent or shocking scenes almost always draw the audience in, until it suddenly realises what exactly it is laughing at. By the time Vincent and Jules leave their hit with Marvin the audience has already found itself laughing hysterically at Vincent reversing the "stake in the heart of a vampire routine" with an adrenaline injection straight to the heart after Mia over-doses on heroin, believing it to be cocaine; Christopher Walken relating how Butch's father had died of dysentery after hiding a gold watch up his ass for 5 years; and Butch lifting a chainsaw pondering what damage he could do to Zed and Maynard with it. Thus when Vincent accidentally shoots Marvin's head off as their car goes over a bump in the road the audience erupts into laughter, only to suddenly find itself confronted with the reality of what has just happened. The resulting saga of how to clean all the blood and brain off the car and get rid of the body from their friend Jimmy's house before his wife gets home and files for divorce has moments as funny as the rest of the film, but the audience has now seen beyond the film and it proceeds with an underlying wariness. It remains to be seen what direction Tarantino will take next. His next full writing/directing role (beyond his quarter of the Four Rooms project) will be several years away yet, but that time can adequately be filled with repeat watchings of his current body of work, finding more and more themes and images as yet unexplored, and fighting over and over again the battles with those who claim "I wouldn't watch that - it's too violent!".



Friday June 12 12:14 AM EDT

Director Quentin Tarantino charged with assault

NEW YORK (Reuters) - Film director Quentin Tarantino, who is being sued by a fashion stylist after allegedly slugging her in a brawl, now faces criminal charges in the case, police said Thursday. Tarantino surrendered to police in New York's East Village and was charged with assault. He will appear at a later date before a judge at Manhattan Criminal Court, where he will be formally arraigned. If convicted, he faces up to a year in jail. Leila Mwangi, 25, filed a civil lawsuit last month in Manhattan Supreme Court alleging Tarantino hit her May 2 with a blow intended for her photographer boyfriend, Barron Clairborne, at a restaurant in the East Village. The civil suit seeks $5 million in compensatory damages and $10 million in punitive damages. Tarantino's credits as a director include "Reservoir Dogs" and "Pulp Fiction," which won him an Oscar as co-screenwriter. He is starring on Broadway in a revival of the thriller "Wait Until Dark" opposite Marisa Tomei and has received scathing reviews for his performance. Tarantino could not be reached for comment.


Thursday June 11 11:47 PM EDT
Tarantino surrenders on assault charge

NEW YORK, June 11 (UPI) - He hasn't exactly been on the lam like one of the characters in his movies, but director Quentin Tarantino has surrendered to New York City police more than a month after assault charges were filed against him. A New York City woman claims Tarantino attacked her on May 1, while the two were on a date in an East Village bar. She says the director, known for his edgy, violent movies scratched her in the face. Tarantino has been starring in a Broadway revival of ``Wait Until Dark,'' playing the crook who menaces a blind woman in her apartment. A police spokesman said Tarantino surrendered to police at 1 p.m. today at the 9th Precinct, which is around the corner from Three of Cups, the bar where the incident allegedly occurred. The spokesman said Tarantino was charged with third-degree assault and released on a desk appearance ticket. A date for him to appear in court had not been set.



Tuesday, April 28, 1998
Quirky Quentin has resurfaced - on Broadway
By NEAL WATSON -- Express Editor NEW YORK

-- You have to wonder who is giving Quentin Tarantino, not so long ago Hollywood's most happenin' director, career advice these days. What's he up to? Bet you can't guess. Writing another opus about lowlife thugs, you say? Nursing his wounds since the breakup of his relationship with Mira Sorvino? Good answers, but dead wrong. They might make sense. Try this on: Tarantino is living the life of the working stage actor - eight shows a week at the Brooks Atkinson Theatre on West 47 Street, just off Broadway in New York city. The unlikely vehicle for the emerging serious thespian: A decades-old thriller called Wait Until Dark. You may remember the 1967 movie starring Audrey Hepburn and Alan Arkin. It's about a blind woman who is terrorized by a trio of thugs - and it is a somewhat dopey play that doesn't hold up very well. Consider, for example, that at one point one of the thugs disguises himself to fool the blind woman. Why produce Wait Until Dark again at all? The force of celebrity, apparently. The woman is played with considerable skill by Oscar-winner Marisa Tomei, and the cast includes Broadway veteran Stephen Lang. Making not only his Broadway debut - but his first bow on any stage - as another of the lowlifes is Tarantino, determined apparently to establish an acting career. The critics have not been encouraging to the influential filmmaker-famous media celebrity. The Village Voice said that Tarantino, "in a role meant to be scary, has all the menace of a dentist's receptionist.'' The critic for the New York Post, longtime Broadway observer Clive Barnes, was somewhat surprised. "He was far better than I had been led to expect - in fact he was merely terrible.'' Last Saturday's matinee performance in the venerable Atkinson Theatre, which opened in 1926 and has hosted productions starring everyone from Rex Harrison to Gene Hackman and Jackie Mason, was packed. The audience was mixed, obvious theatre regulars side by side with tourists, older people perhaps drawn by the familiarity of the title, and a healthy sprinkling of those attracted by the marquee value of the edgy auteur. Tarantino's first appearance on- stage provoked a ripple of excitement through the house, but high expectations were soon deflated. He is soon all but invisible on-stage, hopelessly overshadowed by the talented Tomei and the superb Lang, whose Tony and Drama Desk nominations speak to his Broadway credentials. Lang's thundering physical energy and trained theatrical voice leave no doubt who is the actor on stage - even if he is not the star of the show. Tarantino's voice, perhaps well-suited for the weasely, conniving characters he writes for himself on- screen, is an embarrassingly inept instrument for the stage. He comes off like the understudy who didn't bone up on the role and still got a shot to play in the big leagues. Perhaps it is just an experiment - or it's for the experience. You have to admire Tarantino's courage while wondering at the same time what the heck he is up to. It was only three years ago that, after Reservoir Dogs and an Oscar for Pulp Fiction, Tarantino had emerged as one of the pre-eminent young directors of his generation. Film fans were committing his words to memory - "I'm gonna get medieval on your a--," as Marsellus tells one of his captors in Pulp Fiction - and the term Tarantino-esque was passing into the lexicon. Then, just as quickly, Tarantino exhausted all the goodwill. He was everywhere, posing with Sorvino, directing an episode of ER and appearing in the sitcom All-American Girl. And there were too many movies - Desperado and From Dusk Till Dawn among them. In the latter, he played George Clooney's brother - talk about requiring suspension of disbelief. After last year's Jackie Brown, the over-exposed Tarantino finally disappeared, re-emerging on Broadway confident as always - a state not unnoticed by the critics. The Post's Barnes wrote of Tarantino's "unfortunate air, probably quite unconscious, of seeming extraordinarily well-satisfied with himself.'' "I'm not afraid of Broadway,'' Tarantino told Sun Media late last year. "It's exhilarating.'' But for those who have to cough up $60 for a ticket to Wait Until Dark, be afraid - very afraid.

by Joal Ryan June 12, 1998, 9:50 a.m. PT

Tarantino Arrested for Brawl

Pulp Fiction pugilist Quentin Tarantino was booked Thursday in New York on charges stemming from a racially tinged scuffle last month. The wannabe actor--currently playing a psycho in the Broadway play Wait Until Dark--turned himself in to police about 1 p.m., said NYPD Officer Valerie St. Rose. (It wasn't clear why Tarantino picked Thursday to surrender.) He was booked on misdemeanor assault charges then released. Arraignment is set for July 13. Tarantino later took the stage, as scheduled, at the theater where his Wait Until Dark run continues. Afterward, he declined to talk to reporters about the charges. "You guys know I can't talk about that," Tarantino said. The mess that landed the filmmaker in hot water took place in the wee, small hours of May 1. Tarantino and cronies retired to Manhattan's Three of Cups restaurant. The conversation turned to race, with Tarantino admittedly blurting out that some black people have "broad" noses. That ticked off a black man in QT's party, name of Barron Claiborne. Words flew between the men and eventually Tarantino tried to go medieval on Claiborne, reports said. Trouble was, Tarantino missed, allegedly clocking Claiborne's girlfriend, Leila Mwangi, 24, with a fist instead. "Leila has a huge gash over her eye," Claiborne told the New York Daily News. She's the one who filed the police complaint. (She followed that up by filing a lawsuit against the director.) On Thursday, Tarantino's lawyer belittled the complaint. "These charges are utterly false and groundless," attorney Paul Callan said. "This is celebrity-stalking of the worst possible kind." Still, Tarantino's fists have landed him in trouble before. He's currently being sued for $5 million by a movie producer he slapped in a Hollywood bistro brawl.