Though I’m not particularly in love with his films, I like listening to him during interviews. He’s very dedicated to the filmmaking process and is one of the most knowledgeable people I’ve ever heard speak on his field of expertise. I bet it was a good surprise.
Hell it would be cool to see Fred Williamson on the DVD somewhere just for the hell of it, Hes the HAMMER!
- The scene where we meet the Bear Jew, Donnie there was a whole section the script devoted to a full back story on Donnie, the Bear Jew. It would of shown him in his neighborhood of Boston,Mass getting a haircut from his father and then it goes into how the Jews in his hood are grieving and mourning the loss of some lost ones in Europe due to the monster known as Hitler. Donnie get the idea to get a baseball bat, he is a HUGE Red Sox Fan and I believe that is established more in this flashback sequence. He takes the baseball bat and gets in signed by various Jewish folk who have lost someone in his neighborhood, he rings the door of one feisty old Jewish lady and he has an enlightening conversion with her and then boom it cuts the scene of the Eli Roth the Bear Jew emerging from the cave to go to work on the German officer.
There IS A WHOLE SEQUENCE that was written to be shot in ’French New Wave Black and White"
I believe this sequence is the introduction of Shosana to Madame Mimeux, who was cast and played by an Asian actress I wanna say Michelle Yeoh. I believe this was cut out after it was shown in Cannes.
There La Lousie Tavern sequence was much LONGER and some GREAT dialogue and character rants that was servely trimmed for the sake of pacing, according to Q.T. =(
I remember the third basterd sitting at the table during the shootout, i believe his name was Wikci had dialogue and that whole scene within in the La Lousie tavern sequence was longer and better
I remember there was more dialogue at the table where Shosana is taken to meet Gobbels at the returant.
Also there was to be a scene during the initial test screening at Shosana’s theater, having Gobbells comment on the movie being screened and or the theater, i dont really remember the exact dialogue I just remember when I saw the movie I was like the in the script IT WAS LONGER!
The Omar Doom character was not in the script I read.
There was more scenes with Shosana and the projectionist
I hope some of this was shot and what was shot I hope is released in an extended cut of Inglorious Basterds and while I am talking about Inglorious Basterds, I hope it wins the Oscars this year! Not the winning an Oscar really means what it used to..Precious will probably sweep the awards along with Up In The Air, thats the typical crap the Oscar crowds goes for…If not Q.T than Kat Bigelow and if neither of them wins I will be thro with watching the fucking show. Last year show WAS AN EPIC FLOP and downright horrible to watch..all the actors comming out to give an award? What happend to the sharp edgy jokes poking fun at one another and drunken acceptance speeches?
What where some questions being thrown @ Q.T?
Is there a video of the Q.T @ MoMa and is there a video of past directors Q & A’ ing it up?
I was there for James Toback and I wonder if there is a video for that?
RCpro
There’s a buzz in the theatre. A chattering like a high school auditorium. Everyone’s waiting for the man of the hour.
Quentin Tarantino made a rare New York appearance after a screening of Inglorious Basterds at MoMA last night, in a sit-down with film critic Elvis Mitchell.
Inglorious Basterds is classic Tarantino: a film that overlaps the storylines of Shosanna, Hans Landa, “The Apache” Aldo Raine and the Basterds. Convoluted? It’s a Quentin Tarantino movie—‘nuff said.
Tarantino spoke of Basterds as his first action movie. Exposition is the key to giving an audience a sense of adventure; it’s the call to arms. To avoid the common pitfalls of blatant exposition, Tarantino makes great use of parody, sneaking expository dialogue through to the audience. One example is the scene with Mike Myers and Michael Fassbender, in which the purpose of the mission is stated, but the initial shock of seeing Myers (Austin Powers, anyone?) in a Tarantino flick and the cheeky banter that follows are the spoonful of sugar that helps the medicine go down.
A similar vehicle of diversion is Cristoph Waltz’s genius portrayal of the evil Hans Landa. There is no one more deserving of an award for acting this year. Waltz’s calculated pauses, devilish charm and twisted humor tickle the tension. His performance belongs in the pantheon of cinema villains.
QT spoke of a longer mini-series type script for Basterds, from which the feature was pulled. In the longer script there was an entire silent episode telling the story of Shosanna from when we meet her running from Hans Landa and his henchmen, to when we see her again in Paris. When it came time to cut the script for the motion picture he decided that including this silent movie sequence would be too self-conscious…what? This coming from the guy who dropped anime into Kill Bill to tell the story of O-Ren Ishii. Does this mean Q is maturing? Yes and no. This material will appeal to an older audience more than the car chases of Death Proof or the martial arts of Kill Bill, but Inglorious still has hits non-conformist moments: Samuel Jackson voiceovers and the Hugo Stiglitz intro sequence—classic Tarantino whimsy.
Inglorious Basterds is out on DVD and Blu-Ray now and will surely be an award winner. Enjoy another classic from the Greatest Hollywood Director of Our Generation.
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