Quentin Tarantino | there are traces of movies all over his room.

Quentin Tarantino | there are traces of movies all over his room.

Always love, always be in it.

2003 is the sixth year of dangerous relationships when Playboy interviewed Quentin Tarantino (Quentin Tarantino). At that time, Tarantino was preparing to launch the film "Kill Bill," and at the same time, there was a question about Quentin: can the weird director, who completely revolutionized crime movies with "underdog" and the Oscar-winning "vulgar novel", be able to maintain his momentum?

when seeing Uma Thurman (Uma Thurman) killing on the screen to avenge the bloody wedding, it is clear that Tarantino did it. Nine years later, no one doubts Tarantino's ability to survive in the film industry. He has his unique routine: reshaping existing movie genres, drawing on his encyclopedic film knowledge, writing screenplays that attract big stars, and injecting his unique emotions and distinctive worldview into unpredictable plots. Coupled with his flamboyant personality, all this has created the present Tarantino, making him one of the few directors with great influence at the box office. He can decide the final editing of the film, he can get most of the film revenue, and he has the autonomy to make a film, which is what other directors dream of. Tarantino wrote his film teachings. Except for torture, a B-rated tribute film co-produced with "Kill the Dawn" co-produced with Robert Rodriguez (Robert Rodriguez), all of his films have made a lot of money at the box office.

after Kill Bill, Tarantino even subverted history, killing Hitler and his Third Reich cronies in the violent and paranoid film Shameless Bastards. The film won eight Oscar nominations (Christopher Waltz (Christoph Waltz) won best supporting actor for it), making it Tarantino's highest-grossing film to date, grossing $32.1 million at the global box office. Today, Tarantino is making a comeback with the liberated Django. Just as he wanted to turn "shameless bastards" into a "Twelve King Kong"-style mission movie, Quentin's original goal of writing "liberated Django" was to make a spaghetti western. But he sets his background in the American South before the Civil War, and the protagonist is a black slave (Jamie Fox (Jamie Foxx)), who is liberated and learns bounty hunting with the help of a dental bounty hunter (Waltz). Django clashes with the farmer to free his wife, Blomsida (Kelly Washington Kerry Washington), who is detained as a sex slave by the farmer (Leonardo DiCaprio (Leonardo DiCaprio)). The film's description of female slaves forced to become sex slaves and the life-and-death struggle between men does cause a lot of controversies, but being reserved has never been Tarantino's style.

our journalist Michael Fleming (Michael Fleming) ('s recent Tom Cruise (Tom Cruise) interview and the 2003 Tarantino interview were both written by him) and were sent to interview the director who wrote his screenplay. The 49-year-old Quentin is no longer the man who was ecstatic about climbing the Great Wall while filming Kill Bill, Fleming said in the report. he is no longer the filmmaker who tells the noisy story of arguing with a taxi driver. We agreed to have an interview at his home in Los Angeles, which is located on a high mountain with a panoramic view of Los Angeles. The first thing I saw as I drove up the hill was the brightly colored cat car, the yellow Chevrolet Uma Thurman drove in Kill Bill. If you go on up, you will see the sign of the drive-in cinema, which is the prop in the torture room.

there are traces of movies all over his room. There are posters of unexpected movies on the wall, such as "Children can't play with ghosts". I think I also saw the hand of the Hulk. From all this you can see that Tarantino is still single, so you can satisfy your desire to immerse yourself in the movie. Because no wife can put up with all this strange stuff. "

Playboy: Is that the "cat car" driven by the bride in "Kill Bill" in the driveway?

Tarantino:  Well, yes.

Playboy: do you usually drive it?

Tarantino:  I don't drive it much. Sometimes I go out to shoot a movie and come back for a long time, and it's always there unattended and dirty. We have to clean it up again.

Playboy: as a precaution, this car may not be suitable for you to drive out.

Tarantino:  No, sometimes it's fun to drive out. When I go for a drive, I open the window and make a big circle around Malibu, and people say, "look, that's Quentin." This is interesting.

Playboy: in "shameless bastards," you arranged for the Jewish soldiers to scalp off the Nazis and assassinate Hitler. In the liberated Django, you tell the story of liberated slaves turning into bounty hunters and confronting slave owners who turned their wives into prostitutes. From Alice in Wonderland to the Wizard of Oz, Hollywood repeats these fairy tales over and over again. In those historical stories that you have skillfully rewritten, let the suffering in the black historical events victim turned over and became the master. Are these versions of yours more creative?

Tarantino:  it's up to the audience to judge whether it's creative or not, but that's what I'm fighting for. Part of the reason I wrote this film is that I want to see such a type of film myself. You open the movie and find that the plot of most movies can guess the end from the beginning. Occasionally there will be unconventional movies, the development of the plot of the film will not see-through at a glance, then you will feel very fresh. Although most of these stories are caused by coincidences, it is as if they had rushed into a prohibited zone that they had not expected to reach. But this kind of movie will make people feel fresh. So I thought, what if these stories were told in my way? Tell a story in my way that is full of difficulties and obstacles but has a happy ending.

Playboy: Which movie gave you this inspiration?

Tarantino:  "shameless bastards" was inspired by a 1942 short film called Hitler's Life or death. The story takes place when the United States first declared war on Germany when a rich man offered a reward of millions of dollars for Hitler's life. So three bandits planned to kill Hitler. They parachuted into Berlin and came to Hitler's residence despite all risks. This is a very strange film, serious at the beginning and funny at the end. The bandits caught Hitler and beat him up, looking very happy. They shaved his beard, cut off his hair, and stripped off his head suit so that he looked like an ordinary person. Then the Nazis appeared, and Hitler shouted, "Hey!" It's me! " But he had changed, and the Nazis beat him half to death. I thought: wow, this movie is so whimsical.

Playboy: when viewers see the ending of "shameless bastards," their reaction is usually "wait, can Tarantino tamper with history like this?"

Tarantino:  that's not why I wrote this story, and I didn't think of it before I started writing the screenplay. I was writing all day, thinking about my next day's work. I paced back and forth while listening to the music, and suddenly grabbed a pen and wrote, "you might as well kill him." I put this note on my bedside table so that I could see it when I woke up the next day and then decide whether the idea would work. The next day I saw it, thought about it, and told myself, "Let's do it," and then I went back to the balcony to continue writing the screenplay. In this way, Hitler was "killed" by me. (laughter)

Playboy: in the liberated Django, you mix fiction with real history. Have you ever studied movies or history documenting life in the American South before the Civil War?

Tarantino:  it's useful to watch World War II movies if you just want to retell the audience the same old plots that they already know by ear. There are very few movies about the life of slaves. To me, this is a western set in the south. What interests me most about slavery is the part about its commercial transactions: how people are traded as commodities, how the price of slaves is set, how many slaves are owned by an ordinary person in Mississippi, how the auction house operates, and what is the internal class division in the plantation.

Playboy: how do you understand that?

Tarantino:  in liberated Django, farmer Calvin Candy (Calvin Candie), played by Leonardo DiCaprio, is a 65-square-mile planter, like Ben Cartwright (Ben Cartwright) in the TV series "The Rich Belt" (Bonanza), a rare Mississippi cotton plantation family, except he is in the south. He was like the king of the region, and all poor whites and black slaves were his subjects. He has everything he can see. And the farm is well-equipped, like a money printer. Candy was born in a family like this. He didn't have to do anything. Everything was arranged. This is a strange misinterpretation of the European aristocratic system. The whole story and the description of how Candy spends his time unfold from this perspective.

Playboy: the movie is full of scenes in which slaves are ravaged and men fight like bulls. In the production of "dangerous relationships" and "vulgar novels", people have criticized you for the discriminatory language that is widely used in them. There are many such languages in this film. Don't you think you are sitting on a bucket of explosives, causing people to spit at each other at any time?

Tarantino:  I'm imagining myself sitting on a bucket of explosives, like Bugs Bunny. I think this question remains to be seen. If this is the case, I do not mean to incite everyone's emotions. I'm just telling the story in my way. I present the film in the form of macaroni westerns, highlighting the surreal elements of the film theme. I use a mythical and dramatic approach to highlight the theme, wrapping violent and scary scenes in the form of black humor. This is the essence of macaroni westerns, and I frame the plot of the film in history so that it will be more bizarre, weird, cruel, and with a grotesque comedy color from a certain point of view. These elements are integrated and complementary to each other.

Playboy: but put this idea that some slaves were described as prostitutes.

Tarantino:  they are not pure prostitutes. Cleopatra Club in the film is not a brothel, it is a men's club, similar to some places that can "bring their drinks", this is a place where you can "bring your partner". You can bring your girl and have dinner with her.

Playboy: does a girl mean a beautiful slave girl?

Tarantino:  Yes.

Playboy: is such a thing real?

Tarantino:  of course. I think it is the cornerstone of slavery or one of the reasons that underpin its operation. In addition to the demand for labor, slave owners also have some sexual needs. Once one person has ownership of another, we know very well that it includes sexual services. Not only did this happen in the past, but it still happens in Bangkok, Thailand. In the Cleopatra Club, you can take your favorite female slaves to dinner and socialize. If you just want to have fun in town and take your chick for the night, that's fine. Suit yourself. But there is also this situation: you do love this girl, in a sense, she is your wife, then it is a good place to broaden her horizons.

Playboy: at first you wanted will Smith (Will Smith) to play Django. Have you had any contact with him?

Tarantino:  he was filming Man in Black 3 in New York, and we talked for a long weekend. I showed him the script and told him what I thought. It was nice talking to him. This guy is not only cool but also smart. We said we were talking about movies, but in fact, we spent a large part of our time going out for entertainment. At that time, I had just finished my script, and it was nice to talk to someone outspoken about his ideas.

Playboy: what does he think of your play?

Tarantino:  this is a private conversation between us, and it is not convenient to disclose. But he certainly didn't say anything offensive.

Playboy: he is an absolute African-American star and a world-class star. Because of his identity, he had to choose the theme of the film carefully.

Tarantino:  Yes, I understand that. However, it was not because of his scruples about the subject matter that he did not pick up the film.

Playboy: Why is that?

Tarantino:  there is always something inappropriate between him and this role, and we don't have time to make changes to the character. When I left, I left a message: "I'll tell you what, I'll find someone else to try." "I'll feel it," he said. If you can't find the right person, come back to me. " Then I found the right person.

Playboy: why Jimmy Fox?

Tarantino:  there are many reasons, but the most important one is that he is a cowboy himself. I interviewed a total of six actors and had in-depth interviews with them, and I carefully studied all their works.

Playboy: who else?

Tarantino:  Reitucker (Chris Tucker), Terrence Howard (Terrence Howard), and M.K. After Idris Elba (Idris Elba), William (M.K. Williams) was interviewed together.

Playboy: the M.K., who starred in "Line of Fire" and "Atlantic Empire". Williams?

Tarantino:  Yes, I talked to Tyrese (Tyrese). They all responded well to the script, and I was going to set up a test for them to compete with each other to see if they were suitable for the role, but then when I met Jamie, I knew I didn't have to do that. Jamie knows the subject very well, mainly because he used to be a cowboy. Forget the fact that he has his horse. Yes, the horse in the movie is his. He's from Texas, and he knows what a cowboy should look like. As we sat chatting, I thought: if this were the 1960s, I would be filming a western TV show by Django. Jamie must be one of the popular black western stars at that time. That's the kind of feeling I'm looking for, Clint Eastwood (Clint Eastwood) of Quentin Tarantino.

Playboy: we interviewed Fox a few years ago about his growing up in Texas. Although he is the star quarterback of the football team, people often give him racist nicknames and bully him. How did this experience affect his performance?

Tarantino:  he understands the feeling of being ostracized. Even if he is one of the stars of the football team, everyone freaks out when he dates a beautiful white girl at school. He also knows exactly what it's like to be a pianist in a white Texas restaurant. The black pianist at the cocktail party is only regarded as an ornament. You won't talk to anyone, and no one will talk to you. They won't even look at you, they will say anything they think of in front of you, because they only treat you as a device.

Playboy: so they can say something racist in front of him.

Tarantino:  that's true.

Playboy: others think he doesn't exist at all.

Tarantino:  that's right. He told me a lot of such stories. When the lady at the party tipped him, she would say, "look, I'm sorry for what my husband and the guests said. They didn't mean to say that. The money will be given to you as compensation for offending you." He told me that once he was at a party and the people stopped him and said, "Hey, you have to wear a decent jacket to get in here." He replied, "Oh if someone had told me in advance, I would have bought one." They said, "well, we have an extra one here. I'll get it for you." They gave him a jacket. When the work was over, he said to them before he left, "here are your jackets back." They said, "Oh, man, now it's yours. We don't want it." That's how they said it to his face.

Playboy: what would you do if an actor asked you to rewrite the script?

Tarantino:  Well, if someone really has some good ideas and comes up with them neatly, "Hey, what if that happens?" Then I would say, "Oh, that's a really good idea. Let me think about it." People give me a lot of good ideas, but not the kind I show them scripts and then they write notes for feedback. I usually get some feedback when editing a movie, but if someone questions the script, I don't think we can work together. The studio that produced "liberated Django" was the same as the one that produced "shameless bastards", and we had a great time together. There has never been a dispute over the subtitles of the movie, and no one said, "Let's try the English version." They know that these demands are impossible. People who worked with me from day one knew that we were always shooting according to the progress of the script. I may modify some details a little, but if you finish reading the script and like it, I'm sure you'll like this movie, too.

Playboy: How did the locals react when you made such a slave movie in the south?

Tarantino:  from a sociological point of view, the most interesting thing happened at Bennett Manor, the plantation held by Don Johnson (Don Johnson) 's character. He has a cotton field there, in which there are all kinds of cotton pickers: male, female, old, and young. He also has his chicks. He sells those pretty girls. This is his biggest business: being a pimp. People came from all over to buy his pretty girl. We hired a lot of extras from St. John's Baptist Parish, and it was cool to reshape that period of history through these native black southerners. They know what happened at that time. Then the problem of social division between the characters in the film unexpectedly appeared among these extras. These pretty girls look down on the extras who play the slaves of cotton pickers, and they think they are superior to them. The actors who acted as waiters looked down on those who played cotton pickers. The cotton picker thinks those chicks and waiters are just arrogant bitches. Then this discrimination also exists between dark-skinned and light-skinned blacks. Not everyone is involved in these contradictions, and it's not a big deal, but these details are worth paying attention to. After a few weeks on the farm, they reflect on the social situation of their role.

Playboy: how do local whites react? Did they express any dissatisfaction?

Tarantino:  to be honest, there aren't too many whites in our set. We do have some local staff. But white people have no reason to hang around there.

Playboy: Hans Landa (Hans Landa) in "shameless bastards" won an Academy Award for Christopher Waltz. I heard that you wanted Leonardo DiCaprio to play the role at first. Now he's your new villain.

Tarantino:  Leo and I didn't get together to talk about "shameless bastards". He is very interested in the character, but I think I need someone who can speak many languages. Although he speaks Leodan very well, Landa speaks French more often in the movie. So I didn't ask Leo to play in the end. But I've known Leo for 15 years, and he likes my work, and every time I finish writing a screenplay, I give him a copy to see if there's a role for him. Now he's got the part of Calvin Candy, and he loves it.

Playboy: did he call you?

Tarantino:  Yes.

Playboy: When you wrote about Candy, did you ever think about who you wanted to play?

Tarantino:  I did think about it, but I don't want to say who it is. When I finished the script, I found that they were a little older than the characters I described. That's the problem I faced at the time: I had to think about who should play it and ignore the list of actors I wanted to work with 20 years ago. Leo was younger than the character I wrote, but I read the script again and thought the character could have been younger. Having decided on the idea of recreating the European aristocracy of the southern United States in a "write-as-you-write" amateur way, I found it cool to make Candy a young ruler. His parents are engaged in the cotton industry, and after several generations of assets have accumulated, he no longer needs to work. Everything was settled, he could be a brutal ruler, his interest was not in the cotton industry, but in the fight between blacks.

Playboy: is he a typical Tarantino villain?

Tarantino:  of all the villains I've written, this is the first one I hate. I hate Candy. I usually like the villains I write, no matter how bad they are. I will look at things from their standpoint. I also looked at things from Candy's point of view, but I found that I hated his guts. For the first time in all my years as a screenwriter, I hate a character so much.

Playboy: why?

Tarantino:  he was at the top of slavery, and it was my disdain that prompted me to write this work. He is the root of all this. So I thought: Oh, I found Leo to play, and he didn't know how much I hated the role and what a jerk he was going to play. But working with Leo, we finally made this character as successful as any other character. The idea of a young tyrant became clearer by comparison with his parents on the plantation. Leo plays a new role, and he is never shy about what he wants to interpret. I want the audience to have an idea of the development of the historical era after watching this film. Leo is very cooperative, and he interprets this sense of age very well in his role. Leo has a great monologue about watching his father oppress blacks and growing up among blacks as a boy. Why did he become like this? Because this is where he grew up. No one in his situation would refuse to inherit the estate of his parents. I would still condemn him, but I knew he had no choice.

Playboy: you've written a lot of great villains. Who is the best villain in your mind?

Tarantino:  Lee Van Cliff (Lee Van Cleef) is one of my favorite actors. I love his performance in "Golden three darts".

Playboy: what should a successful villain look like?

Tarantino:  Ralph Fiennes (Ralph Fiennes) in Schindler's List, Javier Baden (Javier Bardem) in No Country for Old Men, and Christopher Waltz in Shameless bastards have all created successful villains. The villain who moved me the most in the last movie I saw was Alan Rickman (Alan Rickman) in "Daredevil". His performance affects the development of the whole plot of the film. It must be interesting to write such a character. But even when I first wrote "drowning Dog," the type of villain I wanted to write was the kind of villain who put aside his abominable deeds in the movie, and you can't help falling in love with them. I hope to make my audience laugh.

Playboy: the last time you interviewed us, you said that a woman seduced you by sending a photo or something via email. What's going on now?

Tarantino:  If it's a film festival, hanging out, or clubbing, I can talk to a girl, which is not bad. I didn't read those emails again. I was the chairman of the jury at the Venice Film Festival, and everyone's eyes were on me. I couldn't do anything out of line. It's nice to go to the bar and have a drink with the other members of the jury, but it always makes a splash in the bar.

Playboy: while filming Kill Bill, you climb the Great Wall and cheer to relieve your stress. How do you release the pressure by shooting such a tense slave drama in the south?

Tarantino:  the shooting of this movie is very hard, as far as the shooting comparison of "Kill Bill" is concerned. I mean, well, I'm not going to relieve stress like that again. We stop filming on weekends, sometimes I spend the whole Saturday on Rest, and we often go out for big meals.

Playboy: you tell Howard Stern (  Howard Stern  ) that you and BradPeter (Brad Pitt) gave you some marijuana when he was talking about "shameless bastards". Did you get into any trouble with Brad or Angelina Jolie (Angelina Jolie)?

Tarantino:  No, I'm not in any trouble. He said it himself at the press conference. I mentioned it earlier, but he brought it out himself. Maybe he didn't realize that he was the first to say it in public, but it was. But it doesn't matter, it's just that there are countless websites with the headline "Brad got high before agreeing to Quentin & lt; shameless bastard & gt;", and then there are 996 news links at the bottom. (laughter)

Playboy: does marijuana help you write plays or direct movies?

Tarantino:  frankly, no. I won't do these things that are not good for my health when I make a movie. I'm not usually that high when writing a screenplay, but writing musicals is another matter. Smoke a cigarette, put on some music, and listen to the inspiration. Or smoke a bag at the end of the day, relax, and you will have a clear picture of the day's work in your mind. Maybe you can come up with a good idea, or maybe it's just because you're too high to wake up and think it's a good idea, but you can write it down and look at it the next day. Sometimes those ideas are great. I don't need marijuana when I write a screenplay, but it's cool. It's really hard to make this movie. I just want to smoke and have a rest on weekends. I don't want to think about work anymore. My inspiration always erupts on Friday night when filming "liberated Django". When I was in New Orleans, I would go clubbing with the crew. There are many bars there, some of which are crazy. We won't come out until six or seven in the morning, then sleep all day on Sunday, regain our strength, watch a movie, and go back to work on Monday.

Playboy: do you have a prescription for medicinal marijuana? The kind of marijuana that everyone can get legally in Hollywood?

Tarantino:  I think I'm probably the only one who doesn't have such a thing.

Playboy: you will be 50 next year. Have you ever thought about getting married and having children?

Tarantino:  go ahead. I had several relationships before, and at one point I thought I was going to marry her and start a family, but it didn't work out in the end. I am no longer the age to resist marriage. There was a time when I wanted to get married and have children, but it's over.

Playboy: Have you ever made time to play with children?

Tarantino:  No, not really. My movie is my child. But now I am open to marriage or having children, and I am looking forward to what will happen in the future.

Playboy: is it because you have to know your destiny that these changes have taken place?

Tarantino:  I don't think so, and I don't want that to be the case. You are the first person to hold on to my age. (laughter) I am still 49 years old, and it will be some time before I become 50 years old. Are you going to keep talking about 50? This question is not very interesting.

Playboy: does this question annoy you?

Tarantino:  Yes. (laughter) I can go out and meet a nice girl now, live a good life with her, get married to her, and have a baby if all goes well. Let's wait and see.

Playboy: are you going to be the kind of person who chases kids around the house at the age of 65?

Tarantino:  frankly, I have no problem with this at all. I think, maybe I have a little hope in my heart that I will be younger when I have children, but the kid doesn't care how old his father is, does he? And the older you are, the more time you have to spend with them, you don't have to be busy, and those kids don't care whether you're busy or not when they want to play.

Playboy: What are the biggest benefits of being single?

Tarantino:  I'm free to do whatever I want. People with families shoulder too many responsibilities to their families. Of course, there is something wrong with my bohemian life.

Playboy: like what?

Tarantino:  I don't know, everyone says that.

Playboy: you can't imagine that kind of life, can you?

Tarantino:  Yes, if I had a wife, I might be more polite. She will ask me to write all kinds of thank-you notes. When people help me, she will ask me to say something; I would never do such a thing myself to write a thank-you note or call someone. (laugh(this will be the greatest benefit of marriage: I will not become as savage and isolated as a savage. Having said that, in terms of my films and my research, I still like to live a life full of artistic flavor and even academic flavor. I'm better at this. What does it matter if I want to live in Paris for a year? I'll go. I don't need to make any arrangements, just go. If I want to seriously study the work of the actors or directors I am fascinated with recently, I can do so if I want to study the work of the actors or directors I am fascinated with recently in the next 12 days. I think the person who is most suitable for me should have the same hobby as me and can be my playmate.

Playboy: there are still such girls.

Tarantino:  I know, so I say it's not impossible to get married.

Playboy: Maybe we can throw a stone out of your house and date whoever you hit.

Tarantino:  then she must be a legal "playmate". She has to study the film carefully. She has to mend what J. Lee Thompson Film Festival.

Playboy: how do you know if the woman you meet is in love with you or your identity as a filmmaker? Do you care about that?

Tarantino:  I am not an ordinary person. If I were a plumber or a waitress in a fast-food restaurant, it would be unrealistic to expect her to love me the same. Why think so much? I am both me in life and me in art. They are just two parts of me.

Playboy: do you want your wife to be a fan?

Tarantino:  No, I mean if you like my job and respect my profession, it's perfectly conceivable that you will like me when you meet me. In addition to the movie, what attracts you may be my charisma or sexy or something, but these are just bonus points. I can date different girls, but if you want to be a boyfriend and girlfriend with me, it is necessary to know about me, my habits, and my artistic career. My art career is a part of my life. At certain moments, such as when making a movie, art will become the whole focus of my life. So a girl has to have a life of her own.

Playboy: she should understand that you put your art career first.

Tarantino:  Yes.

Playboy: Why did you set such a schedule when you threatened to retire at the age of 60?

Tarantino:  who knows what I will do in the future. I don't want to be a filmmaker with gray hair. I want to end my film career at the right time.

Playboy: why?

Tarantino:  just because directors get older doesn't mean their work will be better. Usually, their worst work is their last four films. I care too much about my work. One bad work can destroy three good works. I don't want a shoddy comedy in my work that makes people think, "Oh, my God, he thought it was 20 years ago." If a director can't keep up with the times, that's not good.

Playboy: Stanley Kubrick (Stanley Kubrick) is still active in his later years, and Scorsese (Scorsese) and Spielberg (Spielberg) have also produced masterpieces at the age of 60, not to mention Woody Allen, who filmed Midnight Paris in his 70s. Don't you want moviegoers to see the way you create movies that change as you get older?

Tarantino:  maybe. If I have a new creative idea, I will do it. I haven't made a public statement yet. I just don't want to be an old filmmaker. I want my art career to have a happy ending instead of having to find another job if I screw up. No matter how long I have to do my art career and how old I am, I will go to this goal. I want to have the best part of my career, and I want everything to be perfect.

Playboy: does it have a lot to do with the fact that a director loses appeal to the audience because he is fat and his life is so comfortable that he loses his spirit and turns a deaf ear to the outside world?

Tarantino:  maybe it is, or it may be because you are older. (laughter) in most cases, the work does not deceive the audience. But I'd like to cite a counterexample. I didn't think about how old Tony Scott (Tony Scott) was when he retired. Then I saw him and thought, "Oh, my God, Tony is almost 70 years old."

Playboy: as a director, how do you know you are no longer qualified for this job?

Tarantino:  II think that's what I need to figure out next.

Playboy: you can't prove this by producing one movie a year. How many more movies do you think you can make?

Tarantino:  it's natural to stop when it's time to stop, but in expectation, I want to make a total of 10 films in my career. I've already made seven films. But if I change my mind, or if I come up with another good story, I will never. But if my work stays at 10, I think it's not bad for a filmmaker.

Playboy: the last time I interviewed you.

Tarantino:  I reread that interview not long ago, and then the next day I was asked, "would you like to do another interview?" The coolest thing about the first interview was that you advertised my "vulgar novel" so well and then helped me promote "Kill Bill". People may ask: is he such a big shot? I think, if "Playboy" comes again, then I must have passed the "big shot" test.

Playboy: you passed the test. Last time, you said you would make a difference if you were an actor. Why is the idea of "being an actor" less important to you now?

Tarantino:  is purely out of interest. My fascination with acting began with two things: first, I was addicted to killing the Dawn, and then I was dating Mila Sorvino (Mira Sorvino). She and her father, Paul (Paul), were both actors. They often talked about acting, and I became interested in acting. And when I was young, I had the desire and dream of being an actor. Now it's just the opposite. if I write about myself, I'll delete every bit of them. The actors say I've surpassed myself and can calm down and make a good movie. When I was filming "Kill Bill", I wanted to play Bai Mei (Pai Mei), but it was too difficult.

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Playboy: is Bai Mei the master who was poisoned by Darryl Hannah (Daryl Hannah)?

Tarantino:  Yes, I was going to play this role, and I had some fighting training. But such a big movie requires me to put my heart and soul into shooting.