The I must be King Kong.
No words.
So, Larry King had as a guest Sharon Tate's sister to talk about the Roman Polanski thing. Here's what transpired.
KING: Have you ever talked to Roman Polanski?
TATE: I have.
KING: How can you have a civil conversation with someone who so brutally murdered your sister?
TATE: Roman didn't murder my sister.
WOW. Larry? Remember the Manson family? THEY murdered Sharon Tate. He tried to act like he was talking about how Roman "let this thing happen to Sharon" (which is like, what was he supposed to do? he was in London) but WOW, Larry. I'm no fan of Roman Polanski the pedophile, by any means...although he does make some awesome movies...but he isn't a murderer.
Speaking of murder, I finally saw "Inglourious Basterds" last night. It was pretty freaking awesome, although not quite up to "Pulp Fiction" imho.
First of all, two words: Christoph Waltz. This man carried this movie. This was HIS MOVIE from start to finish. Brad who? Quentin has said that it wasn't until he found Waltz that he felt the movie would be good, because he had to have that character (Landa is really the main character, he's got the most screen time of anyone and crosses all the subplots) be effective and nuanced and he was afraid it was unplayable. Well, this guy played the SHIT out of that part. He was perfect. So charming, so subtle, so sinister, so self-serving, you were just never sure what he really meant or what he was really like. It was in a way so shocking when he brutally strangled Diane Kruger, and then he was so shocked himself and so hurt looking when Raine shot Herrman. He was smart and savvy and appealing in a grotesque way. That strudel scene when he and Shoshanna are talking was excruciating because even though there's really no way on earth he could know that was her, you somehow believe in his omniscience to the degree that you half expect him to know it's her.
This movie was something different for Quentin. It still had his hallmarks on it. The 1970s style credits that looked just like Kill Bill's credits, the spaghetti-western soundtrack, the intricate monologues that practically beat you into submission with words. But it felt more mature, more subtle, more planned. It wasn't frenetic and headstrong in the way his early films were. It took its time, it allowed things to unfold, it allowed the story to take place behind the dialogue and made you suffer through torturous suspense scenes like in that basement cafe, when you were just waiting for Hickox to give himself away and then we he DID you had to wait for the Gestapo agent to reveal that he knew. It also kept up Quentin's love of revealing character through totally irrelevant-seeming dialogue. He did in famously in Reservoir Dogs with that breakfast table conversation that opens the film, in Pulp Fiction with Jules and Vincent's argument about foot massages, and he did it here in that guess-who-I-am game in that cafe.
A couple things bugged me. What, Mike Myers, the hell? And I would have liked to have seen more of the actual basterds. I love that the script pitted Aldo Raine, a total caricature of a character, against Landa, a multilayered and subtle character if ever there was one.
More Eli Roth would not have gone amiss, either.
I found myself impressed with the complexity of the Zollner character, too. When he first approaches Shoshanna you think okay, it's that stock Nazi character that's really just a sweet boy at heart and doesn't have a choice but to be a Nazi soldier and will she accept him? then in this next scene suddenly you see that he's not so ordinary nor so innocent, and in the scene with Goebbels and Shoshanna at the restaurant you see that he has totally bought into the superiority of the Reich...but is it to further his own career and believe his own hype, or because he really believes it? His distress at seeing his own exploits on screen was an interesting touch, too.
So, Larry King had as a guest Sharon Tate's sister to talk about the Roman Polanski thing. Here's what transpired.
KING: Have you ever talked to Roman Polanski?
TATE: I have.
KING: How can you have a civil conversation with someone who so brutally murdered your sister?
TATE: Roman didn't murder my sister.
WOW. Larry? Remember the Manson family? THEY murdered Sharon Tate. He tried to act like he was talking about how Roman "let this thing happen to Sharon" (which is like, what was he supposed to do? he was in London) but WOW, Larry. I'm no fan of Roman Polanski the pedophile, by any means...although he does make some awesome movies...but he isn't a murderer.
Speaking of murder, I finally saw "Inglourious Basterds" last night. It was pretty freaking awesome, although not quite up to "Pulp Fiction" imho.
First of all, two words: Christoph Waltz. This man carried this movie. This was HIS MOVIE from start to finish. Brad who? Quentin has said that it wasn't until he found Waltz that he felt the movie would be good, because he had to have that character (Landa is really the main character, he's got the most screen time of anyone and crosses all the subplots) be effective and nuanced and he was afraid it was unplayable. Well, this guy played the SHIT out of that part. He was perfect. So charming, so subtle, so sinister, so self-serving, you were just never sure what he really meant or what he was really like. It was in a way so shocking when he brutally strangled Diane Kruger, and then he was so shocked himself and so hurt looking when Raine shot Herrman. He was smart and savvy and appealing in a grotesque way. That strudel scene when he and Shoshanna are talking was excruciating because even though there's really no way on earth he could know that was her, you somehow believe in his omniscience to the degree that you half expect him to know it's her.
This movie was something different for Quentin. It still had his hallmarks on it. The 1970s style credits that looked just like Kill Bill's credits, the spaghetti-western soundtrack, the intricate monologues that practically beat you into submission with words. But it felt more mature, more subtle, more planned. It wasn't frenetic and headstrong in the way his early films were. It took its time, it allowed things to unfold, it allowed the story to take place behind the dialogue and made you suffer through torturous suspense scenes like in that basement cafe, when you were just waiting for Hickox to give himself away and then we he DID you had to wait for the Gestapo agent to reveal that he knew. It also kept up Quentin's love of revealing character through totally irrelevant-seeming dialogue. He did in famously in Reservoir Dogs with that breakfast table conversation that opens the film, in Pulp Fiction with Jules and Vincent's argument about foot massages, and he did it here in that guess-who-I-am game in that cafe.
A couple things bugged me. What, Mike Myers, the hell? And I would have liked to have seen more of the actual basterds. I love that the script pitted Aldo Raine, a total caricature of a character, against Landa, a multilayered and subtle character if ever there was one.
More Eli Roth would not have gone amiss, either.
I found myself impressed with the complexity of the Zollner character, too. When he first approaches Shoshanna you think okay, it's that stock Nazi character that's really just a sweet boy at heart and doesn't have a choice but to be a Nazi soldier and will she accept him? then in this next scene suddenly you see that he's not so ordinary nor so innocent, and in the scene with Goebbels and Shoshanna at the restaurant you see that he has totally bought into the superiority of the Reich...but is it to further his own career and believe his own hype, or because he really believes it? His distress at seeing his own exploits on screen was an interesting touch, too.