Category Archives: Directing

Christoph Waltz’s German bounty hunter character came “boom!”, flying out of Tarantino’s pen!

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❝Oscar-winning filmmaker Quentin Tarantino says after working with Christoph Waltz on 2009’s “Inglourious Basterds,” he found himself writing a role specifically for the Austrian actor in “Django Unchained.”

“I’ve been wanting to do this story for a long time and there was never a German dentist-bounty hunter in the story. The next thing I know, I sat down and wrote that opening scene, and he just flew right out of the pen, like it was the tenant of God, boom!” Tarantino told reporters in New York while promoting “Django” before its theatrical release late last year.❞

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Ed Wood Jr Discusses Filmmaking with Orson Welles

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☞ The YouTube description for the clip from Tim Burton‘s Ed Wood (1994) indicates that the meeting was between “the world’s greatest filmmaker and the world’s worst filmmaker.” I won’t quarrel with the description of Welles as “the greatest filmmaker”; if he’s not the greatest in everyone’s estimate, he’s up there, among the greatest who’d ever lived. But Ed Wood as “the world’s worst filmmaker” (even though he’s frequently accorded this accolade)? The trouble with Wood is that, his exploration of cinematic badness is so consistent and determined that one wonders about the genuineness of the badness of his movies.

The meeting, as it is depicted above in Tim Burton’s movie, is interesting in the enunciation of the common ground between Wood (Johnny Depp) and Welles (Vincent D’Onofrio) — at least as it was seen from Burton’s perspective, or the perspective of the writers Scott Alexander and Larry Karaszewski, who conceived the movie. In the clip, both Wood and Welles decry the studio control over the films of that time. As we know, Wood’s resort was a complete capitulation from the studio system by making B movies. Welles tried to work within the system, but at arm’s length from its limitations, not always successfully: arguably, less successfully in his subsequent films than in Citizen Kane, where there was no studio control (also mentioned in the clip). Interesting mention by Welles in the clip on the studio’s decision to have Charlton Heston as a Mexican in Touch of Evil: surely a bad decision, with respect to viewers of that time, who knew who Heston was, and would find it hard to associate him with the role he played in the film.