Quentin Tarantino Tells Bill Maher About The Film He’s Always Trying To Recreate In His Work

In 2014, Quentin Tarantino proclaimed he’ll stop directing movies after his tenth feature. 2019’s “Once Upon A Time …In Hollywood” makes nine, so one film to go for QT before retirement.

Writing and directing a short is a potential passageway to creating a full-length feature film.

In 2014, Quentin Tarantino proclaimed he’ll stop directing movies after his tenth feature. 2019’s “Once Upon A Time …In Hollywood” makes nine, so one film to go for QT before retirement.

To this day, not only is “Taxi Driver” thought of as one of the best American films of all time, but it’s also one of the most influential. However, most of the discussion about Martin Scorsese’s thriller, written by Paul Schrader, is focused on the performance of Robert De Niro as Travis Bickle.

Bill Maher joined Jimmy Kimmel’s live show to give his thoughts about the midterm elections – urging Democrats and Republicans to come together despite their differences.

It’s hard to imagine a time when director Quentin Tarantino wasn’t putting together favorite lists or telling folks why he loves certain films in various interviews, some well-known and others being obscure gems. The cinephile recently put that love of filmmaking to paper with a new nonfiction novel “Cinema Speculation” that focuses on the films of the 1970s that Tarantino watched as a young moviegoer and had a lasting impact as he eventually tried his own hand at creating his own movies.

While director Quentin Tarantino (“Pulp Fiction”) is one feature film away from retirement—at least if his ten film proclamation stands— he still has many projects in the works. Tarantino’s aim when he retires is to focus on writing books and directing television projects —maybe he’ll finally make that “Bounty Law” spin-off from “Once Upon A Time In Hollywood” he’s been threatening to make.

Once upon a time in Hollywood, Quentin Tarantino nearly directed a “Star Trek” movie. But don’t expect him to sign up for the MCU anytime soon.

We so wish this was the most controversial thing Kanye West had said over the past couple weeks… and as easily discredited.

Quentin Tarantino is setting the record straight on Kanye West’s claims that the director stole his idea for the plot for his Oscar-winning film Django Unchained.

On his latest late-night appearance, Quentin Tarantino set the record straight about Kanye West‘s claims that the idea for the 2012 film “Django Unchained” originated with him. Short answer: West had no part in the film’s concept whatsoever, although he once brainstormed an idea for a music video where played a slave.

American Cinema Editors has announced it will honor The Woman King director Gina Prince-Bythewood with its ACE Golden Eddie Filmmaker of the Year Award at the 73rd annual ACE Eddie Awards, taking place within UCLA’s Royce Hall on March 5, 2023.

Kanye West is dominating the news lately, but definitely not in good ways. His antisemitic remarks on social media, combined with various interviews where he seemingly continues to either double down on the comments and say other inflammatory things have led to boycotts and serious business consequences for the rapper.

Kanye West continues to make the rounds in conservative media circles following his antisemitic comments. The rapper has now landed with Piers Morgan and claims Django Unchained was his idea and had originally pitched the story to director Quentin Tarantino and Jamie Foxx.

EXCLUSIVE: Paul Calderón (Pulp Fiction, Bosch) has joined the cast of the Marvel Studios Disney+ series Ironheart in an undisclosed role, Deadline has learned.

Jessica Kiang 30 years after Japanese moviegoers first heard “The Flower of Carnage,” the theme song of Toshio Fujita’s “Lady Snowblood” sung by star Meiko Kaji, it came to mainstream Western audiences via Quentin Tarantino’s “Kill Bill.” Kaji’s sweet, clear voice sings about a “woman who walks at the brink of life and death,” and Uma Thurman slices the top off Lucy Liu’s head, where three decades before, her song had soundtracked another grievously wounded, kimono-ed beauty whose last breath is captured in full-face close-up before she staggers to her knees in the snow. The trio of Kaji’s films, including “Lady Snowblood,” playing the Lumière Festival this week, invite us to (re)visit this fascinating icon’s work fresh from the source, and find in it a bristling, innovative vitality often absent from the many movies that cite it as an influence.