It's Film Friday again at UPM. And we just ran across this excellent video from HuffPost Live that draws connecting lines to all the character allusions that occurs across Quentin Tarantino's films.
As the video below points out, Tarantino's characters seemingly all exist within the very complex 'Tarantinian universe.' That is, characters from films like Pulp Fiction, Kill Bill, True Romance, Reservoir Dogs and Inglourious Basterds all coexist in the same fictional world.
The video above dovetails nicely with our recent release Quentin Tarantinio Interviews, Revised and Updated. This volume collects interviews that cover the whole of Tarantino's writing and directing career.
In a 1994 Film Comment article included in the book, interviewer Gavin Smith noticed this connection and asked Tarantino about it and his motivation behind it.
Their exchange is below.
As the video below points out, Tarantino's characters seemingly all exist within the very complex 'Tarantinian universe.' That is, characters from films like Pulp Fiction, Kill Bill, True Romance, Reservoir Dogs and Inglourious Basterds all coexist in the same fictional world.
The video above dovetails nicely with our recent release Quentin Tarantinio Interviews, Revised and Updated. This volume collects interviews that cover the whole of Tarantino's writing and directing career. In a 1994 Film Comment article included in the book, interviewer Gavin Smith noticed this connection and asked Tarantino about it and his motivation behind it.
Their exchange is below.
GS: That’s why all your films have references to characters from one another. The characters in Reservoir Dogs refer to Marsellus [Ving Rhames], who is the hub of all the stories in Pulp Fiction.QT: Very much so, like Alabama [Patricia Arquette in True Romance]. To me they’re all living inside of this one universe.GS: And it isn’t out there [pointing out the window].QT: Well, it’s a little bit out there, and it’s also there, too [points at his TV], in the movies, and it’s also in here [points to his head]. It’s all three. I very much believe in that idea of continuing characters. So what I mean when I wrote “Three stories . . . about one story,” when I finished the script I was so happy because you don’t feel like you’ve seen three stories—though I’ve gone out of my way to make them three stories, with a prologue and an epilogue! They all have a beginning and an end. But you feel like you’ve seen one story about a community of characters, like Nashville [Robert Altman,1975] or Short Cuts [Altman, 1993] where the stories are secondary. This is a much different approach—the stories are primary, not secondary, but the effect is the same.
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