Quentin Tarantino. The post.

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Las tres películas que Quentin Tarantino no puede dejar de ver una y otra vez

El cineasta ha participado en tres episodios del sensacional podcast 'The Rewatchables', dedicado a determinar cuáles de nuestras películas favoritas han resistido mejor el paso del tiempo. La selección de Tarantino no puede ser más ecléctica e interesante: 'Dunkerque', 'Imparable' y 'El rey de...
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Oyendo una entrevista con Tarantino, aparte de decir que Pauline Kael ha influido más en él que cualquier director, hace una tirada bastante alicaída sobre el estado de la crítica:

Just like everybody in the world that wants to make a movie can make a movie now, everybody that wants to talk about movies can talk about movies now. Before, you had to be able to write at least well enough to express your opinion, but now half of podcasts out there of people talking about movies... they don't know shit about film, and I'm surprised at the true level of ignorance they have... Every movie coming out every week, and then when they try to talk about older films, it's ignorance.

And as snarky as I thought a lot of the critics in the 70's and 80's, and, they were snarky!... they had a base of film understanding, and of directors, of Hollywood, of the cinema of Europe and Japan... compared to today they literally would be the Deans of Film School. And I'm talking about critics I don't even like, but even if I didn't agree with their opinion, even if I didn't like their writing style, even if I though they were petty, they had a knowledge of cinema that was what it was, they did understand the art form.

Even in the last decade that's changed. Once upon a time in Hollywood got good reviews, but if I had done it in, say, even 2009, the level of film critics that were at Variety, at Hollywood Reporter, at the different newspapers and everything, they were far more well versed in what I was writing about, what I was doing, that critics now. The critics working for the magazines and the newspapers would have know what was going on in 1969, it wouldn't be this weird nostalgic fetishisting thing, they would actually understand from whence I seek. And they can like it, not like it, think I did a good job, but I would have been speaking their language. But when the film came out I was really realizing, wow, the critics are a lot younger than me and I'm not speaking their language. For a lot of them, when it comes to just the references I'm making, I'm just talking over their head. I think a good 70% of the people doing podcasts or reviewing the movie, when Rick Dalton mentions he was on a list with the "Three Georges"... they don't know who the fuck the Three Georges are, maybe they knew George Peppard from Breakfast at Tiffany's or The A-Team, but Peppard, Maharis and Chakiris? Who the fuck's that?
 
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Muy recomendable el documental sobre Pauline Kael que puede verse en TCM. Donde Tarantino afirma que su estilo nace, en parte, de las críticas que Kael hacía de las adaptaciones de novelas negras hechas por los cineastas franceses de los sesenta.
 
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