It's bits and pieces of Godard, Cassavetes, Altman, and others. Blonde outside to pick up a can of gasoline Tarantino was probably proud that he was being "real", making a radical break from Bruckheimer's Hollywood. The moments of simple banter away from plot, the fooling round with edges of story without showing the main center-piece, bleeding on a floor, following Mr. Another way would be to see that it doesn't work the same way as it did when new because it has all been made ordinary by slavish followers, gobbled up by familiarity. But this just gives us someone, genius or not, who stole from the right places. This has been done to death already, every bit that Tarantino hoped to keep packed or wanted us to find out has been laid out in the open. (It's also one of the three main areas of Buddhist practice) One obvious way to do this would be to take this and note the many influences. This is not to expose anything as little, deconstruction for its sake it's to show them to be doable, that a road leads up to them. A great creative insight is to take things that we think of as separate and contained (like 'art', 'genius', or 'ideas') and realize how they are fluid and inter-dependent, conditioned by factors.
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