Watch: Quentin Tarantino Discusses His Career With Robert Rodriguez In Recent Hour Conversation
We sat down with Quentin Tarantino (Pulp Fiction, Kill Bill) and Robert Rodriguez (Sin City, From Dusk Till Dawn) to talk about their upcoming. Profile: Quentin Tarantino & Robert Rodriguez Similarly, Harvey Weinstein's relationship with Tarantino stretches back to the earliest. Rose McGowan writes about Robert Rodriguez. Rose McGowan Says Robert Rodriguez Made Her Take a Lie Detector Test Over Quentin Tarantino Rose McGowan details her volatile relationship with Robert Rodriguez.
And we love horror movies. I mean, it's always been the fact that horror films have always kind of been under a dark cloud, and the filmmakers couldn't really fulfill their visions.
A lot of them lead to the extreme -- it's that kind of genre. It's like complaining about horses in a Western.Filmmakers Advice (Quentin Tarantino and Robert Rodriguez)
You've got to have some horses. I don't care if you're allergic.
Robert Rodriguez - Wikipedia
But the thing is now, all of a sudden, all those things that are in the horror films -- if you tried to do them before, it was like, "Oh, that's what will make it not commercial. That'll make it just sort of small, little audience, and it'll scare everybody off and freak everybody out. So, to me, it's like a renaissance for horror cinema right now that it's this exciting little thing. And it didn't start here.
It started in Japan. It started six years ago with these violent J-horror movies is what they called them. With directors like Takashi Miike. Per usual, it took Hollywood six years to be infected by it. But what basically happened is these directors now, like Eli Roth and all these guys that they call part of the Splat Pack, they watched these like kind of snuffy Japanese horror movies over the years and they wanted to make their own versions, and that's what we are seeing now.
But do you think it's a good thing? We're responding to what people actually want.
If nobody went to see them, they wouldn't be making more of them. So it's really a matter of, why is the audience's taste like that right now? What is it that makes them want this very extreme escapism? Is it the times that we're in right now? It might be that. Because it does come in waves. There are times when they just don't want anything like that, and then, other times, when it is voraciously taken in.
I personally think it's a very good thing. And the reason I think it's a good thing is, to me, it's just aesthetic. It's not a question of society. There's nothing you can do wrong in a movie. It's like there's nothing you can do wrong in a painting or wrong in a song.
You can do it badly. You can do it well. Violence is green, all right? And I'm a painter, and, you know, musicals are red and something else is blue. And it's one of my colors. Right now, the government is taking a hard look at how movies are marketed to kids, the fact that a lot of horror movies, like the SAW films are getting into the hands of people under the age of 15, through the Internet or DVDs.
Is that a concern to you as filmmakers that the government is taking a look at your work? Well, what does that mean, though?
Quentin Tarantino Vs. Robert Rodriguez: Which Filmmaker Is Best?
They're taking a look at our work, what does that mean? Well, that there is a concern about the marketing of violent movies to kids.
But, in this new era of films and bootlegs and Internet and DVDs, a lot of kids will see these movies. That obviously had an effect on you as a kid. It made you want to be a filmmaker. But certainly not every child who watches these movies is going to end up as successful and talented as you.
But everything that is supposed to be a fate worse than death has actually been fantastic for me, and I had a good time when I was a kid watching these movies. I have a little joke, but it actually is kind of true, that kids who watch violent movies -- again, who like them, not that you force them -- but if the kids will respond to that naturally, it won't make them a violent human being when they grow up, but it could very well make them violent filmmakers when they grow up.
And it's really considered a rite of passage for some kids to watch some of these movies, like, "Can you take it? And some kids don't want to watch that stuff. I mean, I felt I was ready, around 12 years old is when I first saw these movies, and it made me want to be creative.
It didn't make me want to go kill people. It actually made me go, "How did they do that? And they actually see it in the right way. It's not the way everybody's feeling, but my feeling is -- say something like "Grindhouse" is an example, anywhere from 12 up, if the kid wants to see the movie, he could probably handle it.
If he doesn't want to see it, then whatever. But if he actually wants to see it -- or she wants to see it -- they can probably handle it. But that's up to the parent. But the Motion Picture Association says 17 and over. You can take a six-year-old kid to see "Grindhouse," if the parent takes them to the theater. If the parent takes them. No one under 17 admitted without a parent.
Tarantino and Rodriguez: Who's the Man?
And they've started being more strict about that -- when was it? About five, six years ago? They were always strict about that when I was a kid. InAllred, while promoting his comic book, The Golden Plates, announced that a screenplay by George Huang was near completion. In Marchit was announced that production on Sin City: A Dame to Kill For would be postponed. Allred announced at the WonderCon that production would likely commence on Madman the Movie in Huang is actually friends with Rodriguez, who advised him to pursue filmmaking as a career when Rodriguez landed a deal with Columbia Pictures where Huang was an employee.
A Dame to Kill For would be put on hold. She also announced that she would be playing an amazon in the Barbarella film. The deal was closed shortly after Frazetta's death. This has earned him the nickname of "the one-man film crew". He abbreviates his numerous roles in his film credits; Once Upon a Time in Mexicofor instance, is "shot, chopped, and scored by Robert Rodriguez", and Sin City is "shot and cut by Robert Rodriguez".
He calls his style of making movies "Mariachi-style" in reference to his first feature film El Mariachi in which according to the back cover of his book Rebel Without a Crew "Creativity, not money, is used to solve problems. I'd been wanting to write a book for the new breed of digital filmmakers, but now I don't have to.