“Most films these days are men’s stories. Women are for add-on romance. That’s very hard.”
Uma Thurman
(Source: isuggestyoutryvichy)
![Eight Times Tarantino Proved that he is the King of Intense Interactions
The Bride: You know, five years ago, if I had to make a list of impossible things that would never happen, you performing a coup de grace on me, by busting a cap in my crown, would have been right at the top of the list. But I’d be wrong, wouldn’t I? Bill: [slightly drunk] … I’m sorry, was that a question? Of impossible things that could never happen, in this case, yes, you would have been wrong. The Bride: Well? Bill: When you didn’t come back, I naturally assumed that Lisa Wong or somebody else had killed you. Oh, and for the record, letting someone think that someone they love is dead when they’re not is quite cruel. I mourned you for three months. And in the third month of mourning you, I tracked you down. Now, I wasn’t trying to track you down. I was trying to track down the fucking assholes who I thought killed you. So, I find you. And what do I find? Not only are you not dead, you’re getting married, to some fucking jerk, and you’re pregnant. I… overreacted. [long pause] The Bride: You overreacted?
It all led up to this moment and I think it’s different to what people might have expected. There’s still a lot of love between the two which really makes this reunion bittersweet, especially after she finds out that her daughter (whom she thought dead) is actually alive. Her daughter, Bill’s daughter… The Bride knows she has to kill him, this vengeful rampage has been all about getting to Bill and finishing him off, but in the end it’s less triumphant and more regretful. The whole sequence, from the moment she enters his house, to when she kills him, is done so perfectly and you’re wondering what might happen next throughout.](http://25.media.tumblr.com/tumblr_lcr7ndAQM41qaqvheo1_500.jpg)
Eight Times Tarantino Proved that he is the King of Intense Interactions
The Bride: You know, five years ago, if I had to make a list of impossible things that would never happen, you performing a coup de grace on me, by busting a cap in my crown, would have been right at the top of the list. But I’d be wrong, wouldn’t I?
Bill: [slightly drunk] … I’m sorry, was that a question? Of impossible things that could never happen, in this case, yes, you would have been wrong.
The Bride: Well?
Bill: When you didn’t come back, I naturally assumed that Lisa Wong or somebody else had killed you. Oh, and for the record, letting someone think that someone they love is dead when they’re not is quite cruel. I mourned you for three months. And in the third month of mourning you, I tracked you down. Now, I wasn’t trying to track you down. I was trying to track down the fucking assholes who I thought killed you. So, I find you. And what do I find? Not only are you not dead, you’re getting married, to some fucking jerk, and you’re pregnant. I… overreacted.
[long pause]
The Bride: You overreacted?
It all led up to this moment and I think it’s different to what people might have expected. There’s still a lot of love between the two which really makes this reunion bittersweet, especially after she finds out that her daughter (whom she thought dead) is actually alive. Her daughter, Bill’s daughter… The Bride knows she has to kill him, this vengeful rampage has been all about getting to Bill and finishing him off, but in the end it’s less triumphant and more regretful. The whole sequence, from the moment she enters his house, to when she kills him, is done so perfectly and you’re wondering what might happen next throughout.
Six Favourite Screencaps from Tarantino Movies
Kill Bill: Vol 2
Why Quentin Tarantino should be celebrated by women.
One of the reasons I like Tarantino more than I used to is that his women’s roles have been getting stronger. One can’t expect adolescent fanboys to get excited about this - they prefer girls to be seen and not heard, preferably dressed in punk-stripper outfits - but it works for me. Reservoir Dogs was notably oestrogen-free, and while there was a little more chick-activity in Pulp Fiction, it was the boys who got all the best lines. But, surprisingly for a director whose early screenplays reduced women to walk-ons and prostitutes (yes, True Romance, I’m looking at you) and whose imitators continue to plough that furrow (yes, Guy Ritchie, I’m looking at you), Tarantino has since shown himself to be one of those rare directors who film actresses so they appear like real people rather than airbrushed fantasy objects.
Jackie Brown, of course, was a welcome showcase for the glory that is Pam Grier. I’m not a fan of Uma Thurman, but she’s magnificent in Kill Bill, where Tarantino encourages her to be ugly, at the unkempt extremes of physical endurance, in a way that only makes her more attractive. As for Death Proof, if you haven’t seen the version with Vanessa Ferlito’s lapdance, you’ve missed out; it’s the opposite of demeaning, and a celebration of the female physique with a proper belly and bottom. Only a director who really likes women could film them like this.
Hell yes. Tarantino writes the best roles for women. They’re not just eye candy and they’re not walking cliches. They are real people in unreal situations and that’s where he excels. He has created some of the fiercest female characters in the history of film.
“The thing with Tarantino is the mix-and-match … Our style is to mimic, not homage, but it’s all about recontextualising the film language to make it fresh within the new genre.”
Sally Menke on working with Quentin Tarantino.
