Quentin Tarantino has never been shy about sharing his opinions, and it doesn’t look like things have changed all that much as he’s gotten older. In an expansive new interview with New York Magazine, the 52-year-old director opened up about a wealth of topics – including his thoughts on Barack Obama, why he doesn’t love “these Cate Blanchett movies,” and the phenomenon of True Detective. The full chat can be found at the New York website. Ahead, our five favorite moments.
He likes Barack Obama: “I think he’s fantastic. He’s my favorite president, hands down, of my lifetime. He’s been awesome this past year. Especially the rapid, one-after-another-after-another-after-another aspect of it. It’s almost like take no prisoners. His he-doesn’t-give-a-sh– attitude has just been so cool. Everyone always talks about these lame-duck presidents. I’ve never seen anybody end with this kind of ending. All the people who supported him along the way that questioned this or that and the other? All of their questions are being answered now.”
He’s probably not that excited about Carol: “The movies that used to be treated as independent movies, like the Sundance movies of the ’90s – those are the movies that are up for Oscars now. Stuff like The Kids Are All Right and The Fighter. They’re the mid-budget movies now, they just have bigger stars and bigger budgets. They’re good, but I don’t know if they have the staying power that some of the movies of the ’90s and the ’70s did. I don’t know if we’re going to be talking about The Town or The Kids Are All Right or An Education 20 or 30 years from now. Notes on a Scandal is another one. Philomena. Half of these Cate Blanchett movies – they’re all just like these arty things. I’m not saying they’re bad movies, but I don’t think most of them have a shelf life. But The Fighter or American Hustle – those will be watched in 30 years.”
He has put a lot of thought into what makes The Fighter better thanThe Town: “I really liked The Town, which also came out in 2010. It was a good crime film. However, next to The Fighter, it just couldn’t hold up, because everybody in The Town is beyond gorgeous. Ben Affleck is the one who gets away with it, because his Boston accent is so good. But the crook is absolutely gorgeous. The bank teller is absolutely gorgeous. The FBI guy is absolutely gorgeous. The town whore, Blake Lively, is absolutely gorgeous. Jeremy Renner is the least gorgeous guy, and he’s pretty f—ing good-looking. Then, if you look at The Fighter, and you look at those sisters, they’re just so magnificent. When you see David O. Russell cast those sisters, and you see Ben Affleck cast Blake Lively, you can’t compare the two movies. One just shows how phony the other is.
He can use Jay Z lyrics to underline a filmmaker diss: “The last time that I felt competitive was when I was doing Kill Bill and my competition was The Matrix Reloaded. That was the sword of Damocles hanging over our heads. I saw Matrix Reloaded at the Chinese Theatre the day it opened, and I walked out of the cinema singing that Jay Z song: “S-dot-Carter / Y’all must try harder / Competition is nada.” I was like, Bring it the f— on. I was worried about that? Ho-ly sh–.”
And he’s happy to mock True Detective just like everyone else: “I tried to watch the first episode of season one, and I didn’t get into it at all. I thought it was really boring. And season two looks awful. Just the trailer – all these handsome actors trying to not be handsome and walking around looking like the weight of the world is on their shoulders. It’s so serious, and they’re so tortured, trying to look miserable with their mustaches and grungy clothes.”
The Interview, 2014 The James Franco-Seth Rogen movie hadn’t even been released when it made its greatest impact. The Interview, about two Americans on a mission to kill Kim Jong-un, has sparked conversations about the tastefulness -- or not -- of depicting the killing of a foreign head of state. But it also is widely seen as having sparked the Sony hacking scandal, as the hackers, known as the Guardians of Peace, have urged Sony not to release the film. The ripple effect of the email hack saw off-color remarks about Angelina Jolie, Aaron Sorkin, and President Obama between Sony executives go public.ColumbiaBirth of a Nation, 1915 Birth of a Nation is held in high esteem as one of the most ambitious and innovative early films. It has also, in the near-century since its release, been derided for its use of blackface to depict black men as sexually rapacious and its characterization of the KKK as heroes. Is it possible to admire a film’s technical excellence while acknowledging that its content is deeply offensive? Many film scholars, who point to Birth of a Nation as part of the foundation of modern film, believe so.Hulton Archive/Getty ImagesThe Great Dictator, 1940 Charlie Chaplin’s lampooning of Hitler came before the U.S. was necessarily ready to hear it -- the country hadn’t yet entered World War II yet. The Great Dictator was controversial both for its advancement of anti-Hitler rhetoric and, at the same time, its turning Hitler into a figure of comedy.
United Artists/Getty ImagesThe Lost Weekend, 1945 Billy Wilder’s frank depiction of alcoholism, anchored with a tragic performance from Ray Milland, was startling for its time. Though it won several Oscars and the Palme d’Or, it had been, before its release, far from a sure thing. The success of The Lost Weekend allowed for fuller depictions of social issues on film, even though it could be uncomfortable.Paramount/Getty ImagesLolita, 1962 This film was perhaps the first of director Stanley Kubrick’s to directly court controversy; the poster famously asked “How did they ever make a movie of Lolita?” and the question was very much worth asking. Lolita, the novel, is a strange and surreal look at an older man’s obsession with “nymphets,” or young girls; the film manages to carry across the same subject matter, though Lolita herself was aged up to avoid outright banning.MGM/Getty ImagesBonnie and Clyde, 1967 Arthur Penn’s depiction of the short, glamorous lives of two bank robbers kicked off the New Hollywood era and scandalized audiences with its over-the-top violence. Bonnie and Clyde made its subjects look like, well, movie stars -- and then killed them in a brutal, seemingly endless hail of gunfire.
Silver Screen Collection/Getty ImagesA Clockwork Orange, 1971 Stanley Kubrick’s adaptation of Anthony Burgess’s dystopian drama features shocking sex and violence, to the degree that the film was restricted within the U.K. for decades. Its central notion, of behavioral therapy as a force for evil, has also provoked debate since the film’s release.Michael Ochs Archives/Getty ImagesKramer vs. Kramer, 1979 This domestic drama, starring Dustin Hoffman and Meryl Streep as a couple whose marriage ends, was upfront about the challenges of raising children and the degree to which married life could be fundamentally unsatisfying.Columbia/Getty ImagesBasic Instinct, 1992 This film made Sharon Stone, for a brief time, one of the most compelling movie stars on Earth. Her role as the voracious novelist and serial killer Catherine Tramell outraged gay audiences who viewed her as a homophobic stereotype, and spooked some men who were unaccustomed to Stone’s forthright sexuality. Either way, no one could stop talking about Catherine, or about Stone.TriStar/Getty ImagesEyes Wide Shut, 1999 Stanley Kubrick’s final film was perfectly in keeping with his careerlong interest in provocation. Eyes Wide Shut depicts a seamy New York underworld in which just about everyone is looking for sex, power, or both. Though the film’s graphic sexuality (including a scene at an orgy) was shocking, it was its depiction of the act of love as a transaction that really unsettled audiences.Warner Brothers/Getty ImagesRequiem for a Dream, 2000 Darren Aronofsky’s breakthrough film, based on the work of Hubert Selby, Jr., was unabashed in its depiction of drugs’ effects. Each of the four principal characters suffers, brutally, for his or her addiction, culminating in one character’s psychotic break, another’s amputated arm, and a third’s descent into prostitution. The film’s miserabilist outlook, graphic sex, and body-horror imagery are as effective an antidrug campaign as exists.
Artisan EntertainmentFahrenheit 9/11, 2004 The 2004 presidential election was ugly to an unprecedented degree, with attacks on John Kerry’s service from the right’s Swift Boat Veterans for truth and this documentary-length Molotov cocktail tossed at George W. Bush from director Michael Moore. Moore, who’d previously been booed at the 2003 Oscars for an anti-Bush speech, mixed together insinuations about voter fraud in Florida and ties between the Bush and bin Laden families into an antiwar statement. In its sheer provocation and palpable anger, it was the perfect film for its polarized time; the fact that it was received very differently by audiences of different political persuasions seemed somehow apt.LionsgateThe Passion of the Christ, 2004 This film, depicting the torture and eventual death of Jesus, was one of the biggest hits of all time. But it hadn’t necessarily had a clear path to acclaim; pre-release, the film was pilloried for perceived anti-Semitism. As audiences flocked over the weeks preceding Easter, some criticized director Mel Gibson for an excessively violent and sadistic vision of Jesus’s death.NewmarketBorat, 2006 Sacha Baron Cohen’s depiction of a Kazakh immigrant interacting with real people stateside showed America in a terrible light; it was hilarious, painful viewing. But for months after the film’s release, questions over just how fair Borat had been to its participants persisted. And Baron Cohen’s career continued to push boundaries of taste, with subsequent movies lampooning gay men (Bruno) and Sub-Saharan African heads of state (The Dictator).20th Century Fox
