To say this is NSFW is an understatement; it might not be suitable for humanity. After all, once you’ve heard 429 swears in four minutes, does your brain just disintegrate into a pile of filth? Perhaps! See if you can make it through all the curses from Pulp Fiction strewn together in this latest Internet supercut, then stick around for more Buzz Break. Headphones!
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Quentin Tarantino reportedly wants to cast Lady Gaga in one of his upcoming films. The director and singer are both in Cannes this week, where Gaga recently performed for a star-studded crowd that included Tarantino.
A source told U.K. tabloid The Daily Mail, “It’s no secret Quentin’s been eyeing up Gaga for a role in one of his up-and-coming films. And now they’re both in Cannes, he’s keen to show off his movie star credentials.”
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You know what I love? Quentin Tarantino movies. You know what else I love? Minimalist art. How lucky is it then that I found this set of awesome minimalist-style tribute posters for all seven of Tarantino’s movies over at Collider? Using simple bold colors and clever designs, these posters by artist Ibraheem Youssef capture the essence of each one of Tarantino’s films and would look great on any QT fan’s wall.
Scroll down to check out all seven of the posters, which are displayed in chronological order by the year of their release.
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Pretty cool, right? I like that it takes you a couple seconds to get the inspiration behind some of the posters. When the meaning of the designs finally dawns on you, it’s a good feeling (like you’re part of a really cool, but really nerdy inside joke). The best thing about these posters is that Youseff is selling limited edition 11″x18″ prints and 24″ x 36″ posters of them at his website.
A word of warning, though. If you want them, you will have to act fast as it appears that some of the poster-sized prints are already sold out. If I had more wall space, I’d definitely pick one up. Heck, I might anyway. Who needs pictures of family and friends when you’ve got cool movie posters, right?
I like all of these posters so much, I’m having a hard time picking my favorite. Right now, I think it’s a toss-up between Youssef’s clever interpretations of Kill Bill Vol. 1 and Kill Bill Vol. 2. Which one is your favorite? Would you like to see any other director get the minimalist treatment?
Source: Ibraheem Youssef via Collider
Now that Inglourious Basterds is out of the way and headed for almost inevitable Oscar nominations, Quentin Tarantino is planning his next move. What is it? Kill Bill Vol. 3.
Bad Taste caught Tarantino on Italian television where he went out of his way to lure the interviewer into asking him about the possibility of a third Kill Bill and then announced that yes, it’s happening and “The Bride will fight again.”
Of course Tarantino projects never happen quickly and sometimes the stuff he talks about never happens at all. But he seems fairly adamant about getting Kill Bill Vol. 3 done, even if it takes time. He says, “Kill Bill 3 will probably come out, I gotta wait a couple of years, but I want ten years to pass from the second one to the third one.”
So why ten years? Tarantino explains, “Two reasons. One, I think me and Uma needed a ten year break…. And the second one, I loved the character a lot. I think she deserved ten years to relax. She deserved ten years of no fighting, she deserved ten years with her child Bebe, just of peace. I put her through a lot those first two movies, I want her to have a nice, peaceful life for ten years. I want her to set up her store, and have some peace. But after ten years we’ll make her fight again.”
The original Kill Bill Vol. 1 was released in 2003. That could mean Kill Bill Vol. 3 in 2013 except, even though he mentions needing a break from Uma, QT says he only has to wait a couple of years and the ten years he discussed seemed to be related more to the timeline taking place inside the film than the one taking place out here. Kill Bill Vol. 3 could show up at any time.
Watch the full interview on Italian television via the embed below. It’s long, in Italian, and for most of the interview Tarantino seems utterly confused by what’s going around him until, that is, he starts pimping the Bride’s next film.
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Recently, Quentin Tarantino declared that the forgotten Jason Biggs comedy Anything Else was one of the twenty best films he’d seen since he first became a filmmaker. It was a bold statement, to be sure; still, we should have assumed that the perennially over-the-top filmmaker would be capable of going himself one better. Now, by releasing a playlist of songs that inspired him while making Inglourious Basterds, Tarantino may have done just that.
Tarantino debuted the list this weekend on the Sirius channel Little Steven’s Underground Garage, and also used his two-hour special to tell personal anecdotes about each song and, randomly, to bash The Matrix Reloaded. Here’s the lineup:
· Wu Tang Clan - “The Rulez”
· KT Tunstall - “Hold On”
· Bob Dylan - “Political World”
· Barbra Streisand - “Stony End”
· Andy Kim - “Lay A Little Lovin’ On Me”
· Sir Douglas Quintet - “Mendocino”
· David Bowie - “Cat People (Putting Out The Fire)”
· Jay Z - “S. Carter”
· Roy Orbison - “There Won’t Be Many Coming Home”
· Jason Mraz - “I’m Yours (Acoustic)”
· Maroon 5 - “Wake Up Call”
· Steve Poltz - “Waterfalls”
· Britney Spears - “My Prerogative”
Perhaps I shouldn’t be surprised that the noted American Idol superfan carries a torch for the mainstream pop of Spears and Mraz, but to see those selections nestled so close to the Bowie song that actually made it into Basterds conjures up an alternate version of the film to go along with its alternate history: Basterds’ suspenseful, Nazi-killing climax, set to Britney’s yelping remake of Bobby Brown.
· Listen To Quentin Tarantino’s Personal Playlist On Sirius XM [BeatCrave]
We thought it couldn’t get any more revealing than when he shared the fact that his favorite movie of the past 17 years is the underrated Woody Allen gem, American Pie Presents: Little Stifflers, but Quentin Tarantino’s all-access media assault in support of Inglourious Basterds continues, making a stopover yesterday at Howard Stern’s Sirius studios. And in typical Stern style, the disarming radio host coaxed more out of the genre-obsessed auteur than any interviewer to come before. David Carradine’s final gasps; sexual attraction to Kathy Griffin; his thing about feet: they hit it all. We run down the most fascinating for you now, with much help from the Internet’s leading Stern summarizer, marksfriggin.com:
1. How did Eli Roth get a part in a Tarantino movie?
“Howard asked why he cast Eli Roth, who used to sit outside his door on the set of Private Parts, instead of casting him in a part. Quentin told Howard he does a great Boston accent so that’s why he got Eli in there.”
2. For a man so obsessed with death and dying in his films, how well does he handle the subject in his real life?
“Howard asked Quentin about John Travolta and if he called him to talk to him about his son dying. Quentin said that he didn’t hear about it right after it happened. He was over in Germany and he still hasn’t called the guy to talk to him. He said that he’s very immature about that kind of thing.”
3. Did Tarantino really bed America’s most beloved faghag comediennes (not including Joan Rivers)?
“Howard read that Quentin had made out with Kathy Griffin. Quentin said that he didn’t have sex with her but he did make out with her. Howard asked him about Margaret Cho and doing her. Quentin said that she is pretty crazy and she talks a lot about sex. Howard asked if she was the best he had ever had. Quentin said no to that.”
4. How much did Brad Pitt make on Inglourious Basterds?
“He said that he didn’t have a ton of money to pay the guy but he thinks that he paid Brad something like $9 million for this.”
5. Pitt recently told Bill Maher he no longer smokes weed, for the kids’ sake. Was he telling the truth?
“Quentin said that things eventually ended and he went to his hotel. He said that Brad had this big brick of hash and he was going to give him some for the night. He said that Brad whipped out a knife and cut up a big sliver for him and the stuff was pretty good. He said that he asked for a pipe to go with it and Brad handed him a Coke can to use instead. Quentin said that would make for a great scene in a movie and he may have to use that.”
6. What legendary rock album was recorded in a studio on Pitt’s estate?
“Quentin said he and Brad didn’t just talk about the movie. They were all going around the property in a dune buggy type of thing and they all checked out the property. He said that the kids got in it and they had to drive around to see the huge vineyard that they were at. He said that they have a recording studio on the property that was the one where Pink Floyd recorded ”The Wall.’”
7. Why does Lindsay Lohan still refer to Eli as “Ernie” every time she sees him?
“Howard asked about Eli Roth again and talked about how he met him at Lindsay Lohan’s house. Quentin said it wasn’t quite like that. He said that they were at a club and met and Lindsay asked them if they wanted to go back to her house for a party. Quentin said that Lindsay thought that Eli was his assistant so he was telling her that it was actually his younger brother Ernie Tarantino.”
8. So, what are Q.T.’s thoughts on what really killed Bill?
“Quentin said that he has thought about the auto erotic asphyxiation but he has never done it. He said that he brought it up with some girls and they wanted to go through with it. He said he had second thoughts about it after they said yes. Howard asked Quentin if he was shocked that Carradine was into that. Quentin said that he’s not sure that was the case but for the sake of the conversation, he thinks that’s fucking bad ass. He said he went out great as far as he’s concerned. Howard said that he thinks differently. He said that guy was Kill Bill and Kung Fu and he went out like that and it wasn’t cool in his opinion.”
9. And finally, could Tarantino expand on the specifics of his foot fetish? Is it a toe thing? A heel thing? A heel-toe step-ball-change thing?
“Howard asked Quentin about his foot fetish. Quentin said he doesn’t have a fetish but he does like the lower end of the female body. Howard asked if he’s really into feet. Quentin said that he likes feet and legs.”
Critics often praise Quentin Tarantino for his edgy screenplays and directing technique, which is cool and all, but we’ve always respected the guy for casting so many hot women his movies. Seriously, the dude has a resume chock-full of beauties, and his latest flick Inglourious Basterds passes the sexy baton to Diane Kruger . Sure, D.K. is the latest and greatest attractive woman to star in a a Tarantino flick, but how does she stack up to other stunners the filmmaker has casted? Read on for a countdown of the 10 hottest girls from Tarantino films.
#10: Diane Kruger
FILM: Inglourious Basterds
ROLE: Bridget von Hammersmark
• The movie isn’t even out yet, but this German beauty has us copping pre-sale tickets.
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#9: Pam Grier
FILM: Jackie Brown
ROLE: Jackie Brown
• Some say Grier hit her prime in the ’70s, but her snappy attitude, tight stewardess outfit, and our unfulfilled cougar fantasies made us love her in this role. The twos are forever.
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#8: Patricia Arquette
FILM: True Romance
ROLE: Alabama Whitman
• We’d go on a cocaine-fueled run from the mafia with her on our arm any day.
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#7: Vivica A. Fox
FILM: Kill Bill: Vol. 1
ROLE: Vernita Green
• Fox didn’t get much screen time with this role, but seeing her all bloody and sweaty in the opening fight scene brought out our inner sadist. Too weird? Whatevs.
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#6: Lucy Liu
FILM: Kill Bill: Vol. 1
ROLE: O-Ren Ishii
• Ah, our favorite chick from the Deadly Vipers squad. We’d love to stick her with our Hattori Hanzo sword, if you know what we mean.
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#5: Bridget Fonda
FILM: Jackie Brown
ROLE: Melanie Ralston
• She tossed a fuck Robert DeNiro’s way when his character got out of jail only for him to shoot her in a mall parking lot later on for running her mouth too much. Sounds like one of our ex-girlfriends.
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#4: Chiaki Kuriyama
FILM: Kill Bill: Vol. 1
ROLE: Gogo Yubari
• This little assassin will probably merk you after smashing, but we wouldn’t mind going out with a bang.
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#3: Uma Thurman
FILM: Pulp Fiction, Kill Bill
ROLE: Mia Wallace, Beatrix Kiddo
• Tarantino knows how to shoot this woman, because Uma has never looked hotter than she did in these two movies. Period.
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#2: Rosario Dawson
FILM: Death Proof
ROLE: Abernathy
• There’s no movie where Rosario doesn’t look hot, but the potty-mouthed, ass-kicking lady she played in this flick really did it for us.
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#1: Salma Hayek
FILM: From Dusk Till Dawn
ROLE: Santanico Pandemonium
• Tarantino gave Hayek one of her first major looks with this role (which he wrote), and she gave us scenes to masturbate to over a decade later. Win/win.
Quentin Tarantino lists his Top 20 movies since he started to direct in 1992
Battle Royale
Anything Else
Audition
Blade
Boogie Nights
Dazed & Confused
Dogville
Fight Club
Fridays
The Host
The Insider
Joint Security Area
Lost In Translation
The Matrix
Memories of Murder
Police Story 3
Shaun of the Dead
Speed
Team America
Unbreakable
My Father, The Inglourious Basterd
Quentin Tarantino's ultra-violent Nazi revenge movie may have plenty of drama but the real story is even better. Kim Masters on the heroic band of Jewish commandos known as X Troop.
My father was an Inglourious Basterd. Actually, he was the opposite of that. But he was a Jewish commando in the British Army during World War II.
And for my father, this fight was very personal. A native of Vienna, he belonged to a secret unit made up of refugees from the Nazis. They went on reconnaissance missions in enemy territory; they stormed the beaches of Normandy on D-Day; they shot at, blew up, captured, and interrogated German soldiers.
CLICK IMAGE TO VIEW OUR GALLERY OF PETER MASTERS AND X TROOP
They didn’t take scalps or carve swastikas into anybody’s forehead.
Those fanciful elements are present in Inglourious Basterds, Quentin Tarantino’s cartoonish tale of an American death squad made up of Jewish soldiers. Their commander (Brad Pitt) exhorts them to bring him the scalps at least 100 Nazis each. Soon after, the Tarantino violence-porn begins.
The real story is better.
Until he was 16, my father led a sheltered life as a fairly assimilated middle-class boy. He was artistic and could recite German poetry from memory—but he also played soccer and skied. By 1938, however, he was dodging Nazi hooligans in the streets. The millinery business that his aunt and mother owned had been confiscated. There were constant threatening phone calls and every knock at the door was terrifying.
My father’s enterprising aunt Ida made it to London, where she worked tirelessly to arrange for the rest of the family to leave. In the end, my grandmother, my father and his sister took a night train through the heart of Germany to Paris. From there, they went to England, where they found themselves destitute but far more fortunate than many family members who did not escape.
My father was placed as a farmhand in exchange for room and board. It was a big change for a city boy though the hard work would serve him well later. Several months after war broke out in September 1939, the British police appeared to say that my father had to leave the area because he was an “enemy alien.” He returned to London and was promptly arrested, as were many refugees, and sent to an internment camp.
As my father strode down the center of the road, he shouted in German: “Surrender, all of you! Come out! You are completely surrounded and don’t have a chance!”
When the British lowered the age of enlistment to 18, my father volunteered for the only service that was open to him: manual labor. It was dreary and frustrating. Many of these young men from Germany and Austria were keen to fight the Nazis. Finally one day a notice was posted seeking anyone “wishing to volunteer for special and hazardous duty.” When my father reported for an interview, he was asked why he wanted to serve. “I think part of this war belongs to me, sir,” he replied.
All the soldiers accepted for the outfit that Winston Churchill called “X Troop” had to have false British identities. Obviously the hazards to them as men in the field would be greatly multiplied if the Germans knew that some of the commandos were European Jews. My father, Peter Arany, became Pvt. Peter Masters, who had been born in London, was a member of the Church of England, and had volunteered for the commandos from the Queen’s Own Royal West Kent Regiment.
His friend Hans Georg Furth became Tony Firth. Peter Tischler became Peter Terry. All these very English names were attached to men who spoke with strong accents. One whose name was Stein chose to call himself Spencer but pronounced it “Shpencer.”
They were instructed to burn possessions that revealed their true identities. They were not to correspond with people with foreign-sounding names. My father practiced his new signature until he could write it fluently. Then he and his associates started a rigorous training program in Wales. In time the X Troop was trained to rappel and parachute; to use guns, bayonets and knives; and even to kill with bare hands. These were elite soldiers: educated, elegant and in some cases, admittedly conceited.
My father’s first taste of battle didn’t come until June 6, 1944—D-Day. His unit crossed the rough waters of the English Channel and when they approached Sword Beach, some of his comrades were killed even before they could get off the landing craft. My father carried a rucksack, a Tommy gun, lots of spare rounds of ammunition, various grenades and a collapsible bicycle. He also carried a heavy hemp rope to be used in the event that the retreating Germans managed to blow out a bridge that was a key supply route for the advancing Allies. (He was very pleased, when he arrived at Pegasus Bridge, to find it intact. He could finally abandon that rope.)
The commandos were valued not only because they specialized in reconnaissance but because their fluency in German was useful in interrogating captured troops. As my father’s unit moved inland on their bicycles, the man in the lead position was shot through the head. The troops took cover and then the captain told my father to approach the village ahead. He didn’t want my father to take a stealth approach but to walk down the open road. With a sinking feeling, my father understood that his mission was to draw German fire so the captain could see where it was coming from. Realizing that there was no time to do more careful reconnaissance, my father accepted what he saw as a likely death sentence.
“All that training going to waste,” he lamented. Then he remembered having seen Gunga Din in which Cary Grant, surrounded by the enemy, says coolly, “You are all under arrest.” That inspired my father as he strode down the center of the road, shouting in German: “Surrender, all of you! Come out! You are completely surrounded and don’t have a chance!”
For a time all was silent. Then a German soldier popped up from behind a parapet and fired. My father dropped to his knee and fired back. Each missed the other. My father’s gun jammed. The German dove for cover. My father went flat on his stomach to clear his gun. As he prepared to shoot again he heard a noise and there, behind him, his entire troop was charging, bayonets fixed. The soldier in the lead shot two enemy soldiers concealed in a ditch to the left of the road, each with a belt-fed German machine gun.
When my father approached, he saw that both looked “appallingly young.” One was severely wounded; my father interrogated the other, who said they were 17 and 15 years old. The English soldier who had shot them asked my father how to say, “I’m sorry” in German.
In 1997, when he was 75, my father published his memoir: Striking Back: A Jewish Commando’s War Against the Nazis. He did a great deal of public speaking and contributed to historian Stephen Ambrose’s books on the war. He very much wanted the world to know about X Troop, the Jewish commandos who fought heroically and took exceptionally high casualties, to counter the image of Jews being herded to slaughter. (He is also visible in a documentary titled About Face: The Story of the Jewish Refugee Soldiers of World War II. But that film has languished for several years without finding distribution.)
Four years ago, my 83-year-old father’s heart finally gave out in the midst of a tennis match. That was certainly the ending that he had envisioned for himself. I can’t ask him what he thinks of Inglourious Basterds but I have talked to some of his comrades. Of course they haven’t seen the film, which opens later this month, but what they hate is the premise that Jewish soldiers would hunt for scalps or bludgeon prisoners with a baseball bat.
“We killed people elegantly, without that sort of thing,” said Tony Firth, now 90.
“Shocking!” said my father’s friend, Peter Terry, now 85. “I mean—really!”
Like my father, Terry landed in Normandy on D-Day. A day later, he was shot in the leg by a sniper. He recuperated fast enough to be back in action three weeks later. He didn’t stay long. “I was on a terrible patrol and we ran into an ambush,” he says. “I got shot... Then I spent seven months in hospital in England.”
Terry is still haunted by the memory of flushing out a German pillbox. Another soldier tossed in a grenade from the rear while Terry waited on the other side. As a German soldier emerged, Terry fired. “He had his hands up,” Terry says. “I wouldn’t shoot anyone with his hands up. It’s bothered me ever since then.”
He never saw anyone abuse prisoners, whom he describes as a dispirited lot for the most part. “One was on the whole very decent,” he says, adding, “If you saw a dead German, you passed him and you didn’t laugh.”
My father’s book recounts one tale in which a commando confided to him that a colonel had ordered him to use his Tommy gun to shoot three SS prisoners because no one could be spared to guard them. When my father’s friend hesitated, the colonel put a pistol to his head and ordered him to shoot. “I hate the bastard because of what he made me do,” he told my father. My father wrote that this story stayed with him as he asked himself what he would have done. “I like to think that I would have shot the colonel,” he concluded.
Manfred Ganz, who called himself Freddy Gray during the war, has one of the most dramatic stories of all. He was wounded during the Normandy invasion, hit five times, but avoided being evacuated. In the last days of the war, he heard a rumor that his parents might still be alive in the Terezin concentration camp. On May 7, 1945, Manfred set out with a jeep and driver. He had to cross 450 miles through territory held in some places by the Germans and in other by Soviets.
He made his way through his hometown in Northwest Germany and found that his family’s house had been used as Gestapo headquarters. As he drove, he was unaware that on May 8, the Germans had officially surrendered. As Manfred passed through German-held territory, some enemy soldiers asked if he would take them prisoner. He came across a wandering group of British prisoners of war. “Wait ‘til you see what they have done to the Jews,” one told him.
When Manfred arrived at the Terezin camp, prisoners crowded around the jeep. Weak and dispirited, they were too stunned to utter a word. He found an inmate who directed him to his parents—emaciated and indeed hardly recognizable. As his father recounted their experiences, which included a stay in the notorious Belsen camp, his father told him that Jews would never get revenge for what had been done to them. “We cannot be that cruel,” he said.
For a man like Ganz, World War II is neither a distant nor amusing memory. He doesn’t seem likely to be engaged by Tarantino’s comic-book violence. “To me, the reality was brutal enough,” he says. Ganz allows that Tarantino “has the right to express his fantasies.” But he would much prefer that the real story be told.
"I'm a Jew myself,” Tarantino’s longtime producing partner Lawrence Bender told me, when I asked about the film’s ultra-violent premise. “When Quentin gave me the script, I said, ‘I thank you as a fan, I thank you as a producer, I thank you as a member of the tribe.’ I said, ‘This is like a fantasy when you were growing up—what you'd want to do.’
"Quentin's not trying to de-humanize or make less of real people that did fight. This is purely out of his imagination. People that are leading figures in Jewish organizations—I haven't heard one negative from a powerful, opinion-leading person in the Jewish arena."
The Weinstein Company has shown Inglourious Basterds to the Anti-Defamation League, which endorsed the film as “an allegory.” I don’t know if it’s that but certainly the film is not one that can be taken seriously. Except that in the past couple of weeks, I’ve mentioned it to some people—a friend who’s not in the business and a very sophisticated Hollywood producer who hasn’t seen the movie yet. And they both asked the same question: Is it based on a true story?
Kim Masters covers the entertainment business for The Daily Beast. She is also the host of The Business, public radio's weekly program about the business of show business. She is also the author of The Keys to the Kingdom: The Rise of Michael Eisner and the Fall of Everybody Else.
The Weinstein 
The Nation’s Pride trailer, which purports to tell the story of fictional Nazi hero Fredrick Zoller (Daniel Bruhl), is a little odd in that it doesn’t really attempt to look like a German propaganda film at all. It’s also in English, and at one point has a title card that says “crowned in gloury” — a meta-joke about Tarantino’s inability to spell, I presume. Or maybe the entire film takes place in an alternate history, like Watchmen, only in Inglourious Basterds, pretty much everything is the same except that stuff is spelled differently. And Jews are all handsome and cool like Brad Pitt. Yes, those dyslexic Weinstein brothers are sure to love this one, Quentin whispered to his typewriter.
During World War II a group of Jewish-American soldiers known as “The Basterds” are chosen specifically to spread fear throughout the Third Reich by scalping and brutally killing Nazis. The Basterds soon cross paths with a French-Jewish teenage girl who runs a movie theater in Paris which is targeted by the soldiers.
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