PTA Explains the Humanity of Tarantino's 'Once Upon a Time...In Hollywood'
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Two filmmakers talk about the craft.

It's been a year since we all saw It Once … in Hollywood and since then Tarantino and Paul Thomas Anderson have come on stage in parallel and defined a large part of independent cinema in the 1990s. Since then, their careers have grown and expanded. So has the scope of their dreams and the stories they carry out.

One of the coolest things about these guys is that they never feel competitive. Both are rooted for the other and seem to enjoy seeing each other's work. Check out how they chat in this The Film Stage podcast and let's look at some of PTA's comments.

I would give my left arm to get an idea of ​​my ideas from one of these guys, so I would hear them rave about Tarantino's latest

PTA starts with this jewel: "This is the greatest movie. I have seen it four and a half times now. One of the things I love about this movie is how much fun it is. Only pure joy and your films always have it Pleasure to make the film and that they're always filled with it, but there's something else going on in this film that you haven't had before. I can't say for sure, but it's like the world's expert has a film about what he knows most, namely the films, this city and the humanity of it. "

I think that humanity is at the center of this film Tarantino in its most emotional form. It is fitting that it is a film about films, because we know that Tarantino really cares about the stories and actors who never got their second shot. Not only the little western players, but also the Sharon Tate of the world.

People whose voices were sniffed by the inhumanity of the world.

Tarantino says that he was particularly careful when making Sharon Tate. He was aware that she was a real person, but he also wanted to make sure that she was present. "I tried not to turn Sharon into a Quentin Tarantino character. Rick is a Quentin Tarantino character. Cliff is a Quentin Tarantino character. Even McQueen is a little Quentin Tarantino character.

In a way, I didn't want Sharon to be a character. I wanted her to be the person she is. Now it's just my interpretation of the person from what I've learned, and I've definitely leaned into the bride's light, but that really seems to be who she is. If there are other aspects of her out there, I couldn't find her. But it wasn't about being a character, it was about the real person. It should be almost normal in the matter. It has no conspiracy to do. We watch her live her life because that was stolen from her.

The fact that she is a person who for the most part in history is completely and completely shaped by her tragic death. And in the past four weeks, people have seen Margot [Robbie] play that person, and they have seen that she was more than that. She was a lovable person, and you get a feel for her mind and you get a feel for her life, and you actually watch her do things that people do in one life – watching errands, driving a car, just things out of life, and you even got it to see how real Sharon faces this. And now I actually think that people will think about them differently than before.

It is not the beginning and the end of Sharon. There is more to learn about her and everything, but I think to save her from her tombstone, the film did it to a small extent, but I think to a significant extent. "

Both admire Di Caprio, one of the stars in the center of the film. He is also said to be in OTA's new film. PTA says: "Leo is consistently – if he chooses – the damn funniest actor in Hollywood. Right? If he flips this switch …"

Tarantino replied: But really what's so funny about him is that he doesn't play it funny. He plays it so damn seriously. And that's so ridiculous. "

PTA followed with: "Absolutely. His full commitment to this & # 39; sexy hamlet & # 39 ;."

These kinds of things are so fun. Two of our greatest labor directors talk about stories and character development.

And they also started making the film. PTA's favorite sequence was the montage. He really dug how it changed his view of Los Angeles. "F * cking Quentin took care of the neon signs in LA. As if you stopped a minute to even care about what's going on in the city … it's a wonderful moment when that happens when the sun goes down and the lights come on and [The Rolling] Stones "Out of Time ". plays. I leaned over to you [and said]: my heart is breaking. It absolutely breaks my heart because you feel that the inevitability comes when this song comes.""

What were your favorite parts of the film? The conversation between these two great filmmakers? Let us know in the comments.

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