Quentin Tarantino's been hitting headlines this week thanks to his unconventional decision to dump his latest project, The Hateful Eight , thanks to the script being leaked (see below).
The shocking decision to entirely shelve the project is just the latest in a string of controversies that Tarantino has been at the centre of over his 20-year career.
We take a look at five of the most memorable...
Shelving The Hateful Eight
Having successfully tackled the Western genre with
, Tarantino seemed primed to take on another one with
The Hateful Eight
Then the script leaked online and Tarantino announced the “betrayal” meant he was going to shelve the film for the foreseeable future. “I give it out to six people, and if I can’t trust them to that degree, then I have no desire to make it,” he said. “I’ll publish it. I’m done. I’ll move on to the next thing. I’ve got 10 more where that came from.”
Why We Still Love Him: Though it’s disappointing to discover that all of Tarantino’s hard work on the Hateful Eight script was now all for nothing, we can’t help admiring the director for sticking to his guns (so to speak).
In a world of spoilers and script leaks, this is the one director we can think of who would ever yank an entire movie because the script got out. Tarantino, we salute you.
Arguing On Air
Tarantino is interviewed on air by an American film critic in what looks like a rodeo outfit and a bizarre hat.
As the interview progresses, however, it quickly becomes clear that this journo is no Tarantino fan and has come armed with her own anti-movie-violence agenda, which she confronts the director with in no uncertain terms.
Why We Still Love Him: We don’t agree that Kill Bill is suitable for 12 year olds (one of Tarantino’s points), but Tarantino deals with the fuming journo in the only way he can – by sinking to her level. And why the hell not?
“Jan, you’re getting all messed up because you’re talking about real life and I’m talking about the movie!”
The Shock: Around the release of Django Unchained , Tarantino sat down with Channel 4 News' Krishnan Guru-Murthy to talk about the film. Except when Guru-Murthy continually prods the director about his love for making violent movies, Tarantino's not having any of it.
"I'm shutting your butt down!" he cries when his interviewer starts down the 'does movie violence equal real life violence?' route. "It's none of your damn business what I think about that. I'm saying, 'no.' If anyone cares what I have to say about it, they can Google me."
Why We Still Love Him: Despite getting a bit worked up, Tarantino also makes a good point – why doesn't Judd Apatow get asked why he makes comedies in every single interview?
And it's understandable that he gets edgy about the subject of real-life violence - it's something that's followed him around for nigh on 20 years.
Enjoying a coffee in snowy Utah during the Sundance Film Festival, Tarantino is set upon by a gang of paparazzi. “What’s going on here?” demands the director. When the cameraman suddenly becomes mute, Tarantino’s frustration becomes clear and he reaches round to clip the guy.
After retreating, the cameraman sets upon the director once more, demanding that he punch him…
Why We Still Love Him: Despite looking like a volcano about to erupt, Tarantino manages to keep his cool and, though the paparazzi goad him incessantly, he refuses to be drawn into a fight. Good man.
The Shock: Tarantino burst onto the movie scene all of 22 years ago with this little crime drama, a film so bloody and so violent that the BBFC initially refused to give it a ratings certificate, which meant it wasn't given a video release until three years after its cinema debut.
The blood-soaked opera of Tarantino's Reservoir Dogs crime world was so affecting (ear scene and all) that is incited a haze of salacious tabloid headlines, and Tarantino's STILL being dragged into discussions about the possible link between real world and movie violence.
Why We Still Love Him: Yes, it's violent and by god, yes, it's bloody, but Tarantino's debut is also so undeniably smart and knowing that it's impossible to lump it in with the more lug-headed violent flicks of its genre.
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