Death Proof | 2007
1997 | JACKIE BROWN | Quentin Tarantino
Reservoir Dogs photo set I made.
"…how do we live with John Ford? Just as a great deal of energy once went into the domestication of The Birth of a Nation—for instance, James Agee’s contention that Griffith “went to almost preposterous lengths to be fair to the Negroes as he understood them, and he understood them as a good type of Southerner does”—so an equal amount has gone into smoothing out Ford, fashioning him as either a drunken-racist-militarist-jingoistic lout with a gift for making pretty pictures or a Brechtian political artist. If I have some sympathy for the latter position (and zero for the former), it still seems like a stretch. But as Raymond Durgnat might have put it, and as Jonathan Rosenbaum argued so eloquently in his 2004 appreciation of The Sun Shines Bright for Rouge, Ford wasn’t a great artist in spite of the contradictory imperatives of his films but because of them. His films don’t live apart from the shifts in American culture and the demands of the film industry, but in dialogue with them. Do those films provide the models of racial enlightenment that we expect today? Of course they don’t. On the other hand, they are far more nuanced and sophisticated in this regard than the streamlined commentaries that one reads about them, behaviorally, historically, and cinematically speaking, and the seeds of Ulzana’s Raid and Dead Man are already growing in Fort Apache and The Searchers. Is Ford’s vision “paternalistic?” I suppose it is (and that includes The Sun Shines Bright and Sergeant Rutledge), but the culture was paternalistic, and holding an artist working in a popular form to the standards of an activist or a statesman and condemning him for failing to escape the boundaries of his own moment is a fool’s game. Maybe it’s time to stop searching for moral perfection in artists.” —Kent Jones’ response to Quentin Tarantino dissing John Ford AKA White Men Argue Over POC Representation
i like the way you die, boy
Zoe Bell explains the disappearance of her mystery “Django” character
“There was backstory and there was to be a fight sequence,” she said. “I don’t know how much Quentin wants me to say, but yes, there was originally more than that.”