Quentin Tarantino's Once Upon a Time in Hollywood

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Exclusive: Quentin Tarantino prepping new movie tackling Manson murders http://thr.cm/WQONmb

uentin Tarantino is quietly starting to put together his latest project, and is talking to A-list actors for what is promising to be a unique take on the Manson Family murders. The project, whose title is unknown, was written by Tarantino who would also direct. Harvey and Bob Weinstein, who have produced and exec produced the previous Tarantino films, are involved, sources tell The Hollywood Reporter.
WME is said to be in the early stages of shopping the project to studios to co-finance and co-distribute the venture. The move apes the way Tarantino and the Weinsteins made the filmmaker’s 2009 movie, Inglourious Basterds, which had Universal Studios as a financial and distributing partner.


Sources say that Tarantino is putting the finishing touches on the script and that Brad Pitt, who worked with the filmmaker on Basterds, and Jennifer Lawrence have been approached. Studios could receive the package after Labor Day, according to one source. The plan is to shoot in 2018, possibly in the summer.


Script details are fuzzy but one of the story's centers is on Sharon Tate, the actress and wife of director Roman Polanski who was murdered by Manson and his followers in 1969.

Manson had ordered a group of his followers to attack the inhabitants of a house in the Benedict Canyon part of Los Angeles, believing it was owned by a record produced who earlier had rejected him.
Over the course of several hours on the night of Aug. 8, the four followers, using guns and knives, brutally killed Tate, who was eight months pregnant, and four other occupants.
In 1971, Manson and certain members of his crew were sentenced to life imprisonment for these and several other murders committed that summer.
If the Manson-Tate project does become Tarantino’s next film, it becomes unique in that it will be his first movie to be based on true events. Tarantino has molded his career into taking his favorite genres such as crime, Westerns and blaxploitation and elevating them to A-list status while also paying homage to them.
And he has proven to be able to create strong and memorable female roles, from Jackie Brown in Jackie Brown to the Bride in Kill Bill to the female characters on display in Death Proof.
Tate could be the latest to join that list.
Any actor involvement is on the early side and one insider said that Lawrence is not considering the Tate role.
 
QT doing something Manson-related? I am snatched bald.
 
Tarantino horror at last?
 
Lawrence isn't rumoured for the Tate role per THR.

Quentin Tarantino Met With Margot Robbie For Sharon Tate: http://deadline.com/2017/07/quentin-tarantino-margot-robbie-sharon-tate-manson-murders-brad-pitt-1202127045/?utm_source=dlvr.it&utm_medium=twitter …

I’ve also heard that Samuel L. Jackson will likely also play a lead in the film, not a surprise since he surface in the film, and a report in THR posited Tarantino’s Inglourious Basterds star Brad Pitt as well as possibly Jennifer Lawrence
 
Huh. He's got my hard earned money.
 
Tarantino spoke about doing a lot of 60s and 70s history of Hollywood research about the time Hateful 8 was coming out. At the time he didn't know if that research was heading towards a book or even something like a podcast. It would seem he found himself heading down a much more specific corridor of that time period. I'm here for it.

I have to say though, as much as the topics of the Manson family and Tate and Polanski have been covered, one of the best takes was by the You Must Remember This podcast. They did a trn part series on all the odd connections Manson generated and the way he was able to work his way into so many branches of 60s California culture. By telling the story of Manson rise of influence not only over his "family" but also rubbing elbows with the Beach Boys and Hollywood executives the podcast is able to make a lot of cogent points about some of the more toxic strains within the counter culture. I can't recommend it enough.
 
Given that the time period and even these specific events are already so well covered by popcultural adaptations, not to mention the extent to which the music of the time was literally folded into the story itself, I almost wish Tarantino will just outright avoid any obvious needledrops on the soundtrack, either go with a score or just do something off the wall to avoid the obvious.
 
Yeah, maybe one not so obvious song like Fincher did with Hurdy Gurdy Man and then maybe Ennio Morricone to score.
 
Just to make this more hnnngh.

Tarantino also apparently met with Dicaprio and Pacino. I hope Kurt Russell gets a part.
 
Quentin Tarantino on getting rejected by Hollywood Readers
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Cinema: Tarantino v Stone
Quentin Curtis said:
At last it can be told. After months of dispute, Tarantino's screenplay of 'Natural Born Killers' has finally been published. Quentin Curtis reports on a battle of Hollywood heavyweights.

"LADEEEES and gen'lemen, take your seats for the main attraction of the evening: The Fight of the Cinematic Century, a no-holds-barred scrap for the title of Middlebrow Champion of Hollywood, over a dozen rounds of litigation. In the (blood) red corner: from Knoxville, Tennessee, Quentin 'The Kid' Tarantino. In the black corner: a native of New York, Ollie 'Prince of Paranoia' Stone."

It is hard not to view the recent legal tussle between Oliver Stone and Quentin Tarantino in pugilistic terms. Ostensibly there was no more at stake than the rights to Tarantino's screenplay, Natural Born Killers, written in his years as a struggling scriptwriter, and now notoriously filmed (and altered) by Stone. Faber and Faber in this country, and Grove Atlantic in the US, had planned to bring out Tarantino's original script in January of this year. But Stone and the producers of NBK objected, arguing that in selling them the rights to the film, Tarantino had surrendered the publishing rights as well. It wasn't until last Monday that Faber was finally able to publish Tarantino's NBK. A common enough legal dispute, but one spiced up by being contended by two of the heaviest hitters in Hollywood, whose styles of film-making - united only in controversy - represent alternative paths of radicalism for US movies.

Faber rushed out NBK within a week of getting the legal green light, having had their operation on stand-by for months. Their haste was understandable. Tarantino is a publishing as well as a film phenomenon. His screenplay sales have expanded a traditionally meagre market. Pulp Fiction has now sold about 100,000 copies; Reservoir Dogs 50,000; True Romance 20,000 (another 90,000 were distributed free with Premiere magazine); 18,000 copies of NBK have been bought by bookshops. That is a total approaching 200,000 - the figure clocked up by Faber's other sales champion, Alan Bennett's Writing Home. Faber's previous most popular screenplay was Dennis Potter's The Singing Detective, which sold 30,000 copies.

Who buys all these scripts? Do amateur dramatic groups put on Goodfellas (15,000 sales) for their Christmas panto? More likely, fans snap up Tarantino's screenplays as much for their souvenir value, wanting a hip sort of holy relic, as for their unique pith and pungency. Faber's use of large mug- shots of Tarantino, in Reservoir Dogs-style dark suit and tie, on the covers of NBK and True Romance, may have been prompted by legal restraints on the use of stills. But it suggests the promotion of a pop star rather than an auteur.

The first point to make about Tarantino's NBK script is that it's not very good; the second is that it's a lot better than Stone's film. In an introduction to the script of True Romance (which Tony Scott directed), Tarantino explains that both it and NBK were written to be his own directorial debut. NBK certainly reads like an apprentice work. If you'd received it to assess as a movie proposition, you'd have recognised the immense promise (you hope), but turned it down. It has the canny dialogue and dark exhilaration of Tarantino's later work, but less control. Yet there's a touching sincerity in the script that is totally absent from the film. Tarantino has said of his decision not to direct NBK and True Romance: "I think of them as old girlfriends: I loved them, but I didn't want to marry them anymore." You can understand, then, his chagrin at NBK getting screwed by Oliver Stone.

NBK (for those lucky enough not to have seen it) is about a pair of serial- killer sweethearts. The movie chronicles their crimes, capture, imprisonment and eventual escape - and the escalation of their perverse celebrity. Stone's argument - proclaimed so loudly and insistently that no viewer could miss it - is that the media are complicit in these crimes, their amoral prurience having destroyed society's sense of reality. Stone makes his point with a pell-mell of shooting styles - film, video, television. But without any logic in their use, the film becomes a promiscuous mess. Tarantino's script is much more disciplined. There are fewer styles of shooting, and each makes dramatic sense (a hold-up in a 7-Eleven store is shot throughout by a security camera, where Stone uses a stylistic kaleidoscope) - while also casting light on our culture of viewing.

Stone has squeezed the subtlety out of Tarantino's script. The script's mercurial tone - now a Tarantino trademark - shifts between humour and horror, romance and savagery, perceptiveness and derangement, wisdom and naivety. Of his killer Tarantino says: "Restrained as he is by the symbols of society (the chains, jail, guards, guns, jumpsuits), he remains a dangerous, intimidating, and fascinating figure." There is insight there, a curiosity about character missing from Stone, even if it is tinged with infatuation. And Tarantino's violence is more complex than Stone's - both appalling and hilarious. In the 7-Eleven shoot-out, Tarantino switches between realism and cartoon knock-about. First: "Mickey shoots a customer who lies on the ground screaming." Then: "Mallory blasts a female customer, holding a Big Gulp. She flies into the comic-book rack." As in Marx's theory of history, the first time is tragedy, the second farce.

Tarantino's Grand Guignol gags lay him open to accusations of anarchy. But his NBK is much more serious and responsible than Stone's. His theme is suggested in a speech cut in the film. A slyly written psychiatrist analyses the authorities' treatment of the killers:

"Well, what they decided to do was to set up a kangaroo medical court that found them crazy. Then they get them transferred to Nystrom Medical Asylum or Lobotomy Bay as it's referred to in psychiatric circles. Put 'em on a strict dope and electric-shock diet, and Mickey and Mallory cease to be a problem to anybody except the orderlies who clean out the bedpans, which, if you want to see them get theirs, is all well and good. But there's something being said here ... What the board is saying is 'We give up'. Mickey and Mallory ran amok in polite society. They were put in an alternative society and they ran amok there, too. All the powers that be can't deal with these two kids. And whatever can't be assimilated has to be terminated."

That last line is very much the approach of Tarantino's detractors to his films - and it should serve as a rebuke to them. Tarantino's subject is extremity, and he has the boldness to look it in the eye - and often laugh at it - while others turn and wish it would go away.

And yet Tarantino isn't a message movie-maker. Where Tarantino hints, Stone bludgeons - the difference between an artist and an egomaniac. "To me the best thing about him is his energy," Tarantino, who claims not to have seen NBK, has said of Stone. "But his biggest problem is that his obviousness cancels out his energy and his energy pumps up his obviousness." Tarantino's wit deflates portentousness, and his acute ear ensures that his wild fantasy is grounded in reality. Some of his dialogue is even more fun on the page than on the screen. Too much of it has been heedlessly cut by Stone, such as a London fan's verdict on the killers: "Their cause is each uvver!"

But Tarantino's virtuosity may carry as many dangers for American film as Stone's crudeness. There are already signs that his parodic style is rendering traditional genres obsolete. And Stone may be the man to redress the balance with his forthcoming Nixon, whose script is said to be both riveting and perceptive. Whatever these two heavyweights go on to produce, it is a shame their recent bout produced a film that is anything but a knock-out.
 
/film December 9th, 2010:
John August’s Coverage of Quentin Tarantino’s ‘Natural Born Killers’

FlavorWire August 25, 2014:
Imagining the Quentin Tarantino-Directed ‘Natural Born Killers’ That Could Have Been


Natural Born Killers: The Tarantino Cut


Read an excerpt from Matt Zoller Seitz's new book "The Oliver Stone Experience."
Oliver Stone Reveals ‘Natural Born Killer’ Secrets, From Working with Tarantino’s Script to Bob Dole’s Angry Reaction


The Cinemaholic August 6, 2016:
‘Natural Born Killers’: The Best Tarantino Film Not Made by Tarantino
 
Pitt's been approached for the role of prosecutor (Bugliosi?) according to Variety's Justin Kroll.
 
I totally thought Pitt would play Terry Melcher.
 
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It looks like the good Tarantino is still stuck in the black lodge.
 

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