The Wachowskis' Ninja Assassin
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rashad
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James McTeigue & Rain -Ninja Assassin - Korean Beacon Interview
Music Video 'Legacy' by Raekwon, Xzibit & Murs (includes new scenes from film)
http://blogs.myspace.com/index.cfm?...endId=171184815&blogId=518340106&swapped=true
Music Video 'Legacy' by Raekwon, Xzibit & Murs (includes new scenes from film)
http://blogs.myspace.com/index.cfm?...endId=171184815&blogId=518340106&swapped=true
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Ninja Assassin Exclusive Part 2: The Vicious Chain Weaponry Invented for Its Fight Phenom Star, and How He Wielded It Six Stories Above a Berlin Street
source: http://30ninjas.com/blog/exclusive-ninja-assassin-rain-chad-stahelski-ninja-weapons
You gotta love a martial arts movie that’s custom built for its star because of his talent, not past glory. Ninja Assassin, the Wachowski Brothers-produced fight extravaganza that opens Nov. 25th, does not merely star the prodigiously gifted Korean pop star Rain — it owes its very existence to him. Rain so dazzled the stunt coordinators with his natural martial arts ability on the Wachowskis’ 2008 film Speed Racer that the filmmakers gave him a fight film of his own. During the shooting of Ninja Assassin, Rain delivered on that promise, so impressing the film’s fight gurus with his fearlessness and skill that they let him execute precarious free-running stunts six stories above the street in a Berlin power station, fleeing some of the world’s most seasoned parkour performers.
In Part 2 of our exclusive interview, Ninja Assassin stunt coordinator and 2nd unit director Chad Stahelski tells 30 Ninjas Editor-in-Chief Julina Tatlock how the filmmakers developed new weaponry and new visual techniques to highlight their new star’s talents, from the invented ninja knife on a chain to the “Crazy Horse camera rig,” whose three cameras on one circular dolly allowed for longer takes and stylized changes of perspective around the fights.
How Do You Top the Fighting in the Matrix Trilogy?
30 NINJAS: You worked on all three Matrix films, and the fight effects were obviously considered a groundbreaking moment in special effects and fight choreography. To what degree in this movie were you looking to use the same techniques and to what degree were you trying to make a break from those techniques and discover something new?
CHAD STAHELSKI: It went in both directions on this one, I think. Ninja has got a little bit of juxtaposition in that some of the shots were derived in a graphic novel sense, in a comic book sense, with some of the perspective changes; when Raizo is swinging his bladed chain weapon around, you can see that he becomes a little anime in look. And then there’s other times where some of the visual effects, you can’t tell that we did sword extensions and some CG weaponry, [because] the blending of the CGI nowadays is nearly 100 percent realistic, so I think we just picked our moments to hide the visual effects, and then other moments we kinda punched them out so that you could see them, making it look like he was part of a different world, which is a bigger excuse to use some of the martial arts techniques that we use. You know, we tried to not be too serious with ourselves, like ”this is real.” [But] I think some of our wire work and some of the safety things we did during the free-running sequences in the abandoned warehouses, you really couldn’t tell we were using any kind of what I call stunt trickery. I think there’s a lot of the special effects in the movie that we used, and it kept a lot of our secrets, which is cool.
There’s one thing we owe Zack Snyder, [the director of] 300, a bit of a credit for, though. While we were doing the movie 300, we used something we call the Crazy Horse camera rig. Dave and I thought it was really cool, and Zack taught us how it worked, and we really used it well in one scene in 300. So we kinda took that and expanded on it. Zack had used it on a straight dolly, and we used it on a circular dolly in the scene in the safe house, where Raizo fights about a dozen ninjas. It’s a very cool digital zoom-in and digital zoom-out sequence that we are very happy with, and the reason we did that was to show off Rain. It was our cool way to punch in without editing, so we zoomed in and zoomed out, because with the technique of using three cameras we didn’t have to [call] ‘Cut’ in between [takes]. It’s just another way to highlight Rain as being Rain. There weren’t any stunt doubles in that sequence; Rain did it all himself. That was pretty cool. So we used visual effects to highlight how good Rain was.
30 NINJAS: Why is it called the Crazy Horse camera rig?
CS: Actually, it’s because it was first used back in the late ’70s on a movie called Crazy Horse. And what it is, is just a low-angle prism. And we use three cameras through on low angle prism to match the same camera position. So we use these three cameras at once to get the exact same angle.
The Un-Safe House Scene
30 NINJAS: You are also working in some insanely dangerous scenarios. What was the most frightening sequence, the most challenging sequence, that you did?
CS: I think that logistically, safety-wise and performance wise, I’d have to say the Safe House, the scene where Rain’s character, Raizo, has been captured by Interpol security force. He is chained up in an old, old power station in Berlin. And the ninjas infiltrate that, and they kill all the Interpol soldiers, and Rain makes his breakout. It really was a dilapidated old power station and at some points, it was six stories straight to the floor. It took us almost three weeks to put in all the safety riggings in the ceiling for all the free-running sequences in it and to make sure that the crew could not fall through the holes. Stunt-wise, doing all the rigging, we had with us some of the best stunt riggers in the business for months at a time. And they did an outstanding job of making everything safe, and it really enhanced the performances of all our guys. The most challenging part is whenever you put your lead cast member in. You know, we got Rain, and he is [several] stories off the ground, doing his own jumps and his own free running. Granted, he’s on safety cables and certain systems that enhance his performance, but if Rain misses or falls, he still falls. We catch him, but there are a lot of stunt performers out there that don’t like heights, believe it or not — let alone you have your 25-year-old, many-millions-a-year pop star [up there] in a harness, being chased by some of the best free runners in the world, who are dressed up as ninjas. And Rain held his own performing at the same height, and at the same level of danger as the [professional stuntmen did]. You know, that’s always the most nerve-wracking thing for us. You know, the stuntmen you trust because you’ve gotten the best in the world. If we have not gone through basically five months of training with Rain — and really, really know what he has inside his heart, how brave and how professional he is — we would never have put him up [there]. But after spending so much time with him, we saw the kind of gusto he has, and we put him in the same sequences as the pros. We can’t say everyone does their own stunts, but Rain did as much as we asked of him, which was quite a bit more than most.
The Ultimate Fantasy: Inventing a Bladed Chain Weapon and the Techniques to Use It
30 NINJAS: In the trailer, Rain is carrying a weapon which is like a knife on a chain, and there were a lot of other knives and throwing stars and other sharp metal objects flying around. Can you tell me a little bit about these weapons? Which weapon is Rain carrying and does it give him an edge during the film?
CS: Larry and Andy [Wachowski] had come to us very, very early on in the project conception, and they said, “How do you want to do the fights?” Literally, they came with a blank piece of paper and handed it over to David and I and said, “You guys give us your best ideas with the sequences, and we’ll take the four or five best ones.” Well, we’d already trained Rain to fight with a sword, so we wanted to do a bunch of sword stuff because Rain picked it up quicker than anybody. We wanted to do a small to medium amount of empty hands [when a ninja fights with just hands against an opponent who’s holding a weapon], and we knew we were going to do some specific combative stuff with that. And we could have done nunchucks, and all this other stuff. All these different things are being thrown on the table between [director] James [McTeigue], Larry and Andy, and us. And we went back and spent a week playing with every weapon we knew how to use. And then we decided, you know, something that people don’t use that well is a flexible weapon. You know like numchucks or a three-sectional staff or something like a chain weapons. We decided we didn’t like the whip, we didn’t like the whip chain, and we didn’t like the rope dart. They did not have that finality, and it did not look lethal enough for us. [So] we kind of make up our own. We took a rubber knife, put it out on the end of a length of rope and started playing around with it. We started liking some of the results we were getting. We could do close quarter, we could do medium range, we could do long range. We can hang from it, we can throw it, and we can retrieve it. We were like, that’s great. But you can’t block a sword with a rope, so we made it in a chain. And then we started researching all the different martial arts and different styles that use flexible weapons. We got three or four of the best guys together and pretty much made up our own martial art with it. And once we had something we liked, we’d show it to everybody. And everybody thought it was awesome. It was great and visually stylistic. Larry and Andy ran with it and took it back to their storyboarders, who began to realize all the cool visuals you can do with the length of the chain, and the visual effects guys liked it. It’s also something that none of the other ninjas used, [so] it’s also something that made Rain stand out in the fight sequences. It kept a lot of the bad guys at a distance — Rain could whip it around and keep everyone away, and it became a little bit easier to believe that he could take on more than one or two ninjas at a time. So it did matter, both story-wise and visually.
30 NINJAS: That’s exactly what it looks like, that it’d be very effective at keeping everyone at a certain diameter away from you.
CS: That’s the great thing about Larry and Andy: If it doesn’t exist, they really tease your creative abilities to come up with something that would be very interesting or would be effective, so everyone put their heads together and came up with something that was pretty great.
source: http://30ninjas.com/blog/exclusive-ninja-assassin-rain-chad-stahelski-ninja-weapons
You gotta love a martial arts movie that’s custom built for its star because of his talent, not past glory. Ninja Assassin, the Wachowski Brothers-produced fight extravaganza that opens Nov. 25th, does not merely star the prodigiously gifted Korean pop star Rain — it owes its very existence to him. Rain so dazzled the stunt coordinators with his natural martial arts ability on the Wachowskis’ 2008 film Speed Racer that the filmmakers gave him a fight film of his own. During the shooting of Ninja Assassin, Rain delivered on that promise, so impressing the film’s fight gurus with his fearlessness and skill that they let him execute precarious free-running stunts six stories above the street in a Berlin power station, fleeing some of the world’s most seasoned parkour performers.
In Part 2 of our exclusive interview, Ninja Assassin stunt coordinator and 2nd unit director Chad Stahelski tells 30 Ninjas Editor-in-Chief Julina Tatlock how the filmmakers developed new weaponry and new visual techniques to highlight their new star’s talents, from the invented ninja knife on a chain to the “Crazy Horse camera rig,” whose three cameras on one circular dolly allowed for longer takes and stylized changes of perspective around the fights.
How Do You Top the Fighting in the Matrix Trilogy?
30 NINJAS: You worked on all three Matrix films, and the fight effects were obviously considered a groundbreaking moment in special effects and fight choreography. To what degree in this movie were you looking to use the same techniques and to what degree were you trying to make a break from those techniques and discover something new?
CHAD STAHELSKI: It went in both directions on this one, I think. Ninja has got a little bit of juxtaposition in that some of the shots were derived in a graphic novel sense, in a comic book sense, with some of the perspective changes; when Raizo is swinging his bladed chain weapon around, you can see that he becomes a little anime in look. And then there’s other times where some of the visual effects, you can’t tell that we did sword extensions and some CG weaponry, [because] the blending of the CGI nowadays is nearly 100 percent realistic, so I think we just picked our moments to hide the visual effects, and then other moments we kinda punched them out so that you could see them, making it look like he was part of a different world, which is a bigger excuse to use some of the martial arts techniques that we use. You know, we tried to not be too serious with ourselves, like ”this is real.” [But] I think some of our wire work and some of the safety things we did during the free-running sequences in the abandoned warehouses, you really couldn’t tell we were using any kind of what I call stunt trickery. I think there’s a lot of the special effects in the movie that we used, and it kept a lot of our secrets, which is cool.
There’s one thing we owe Zack Snyder, [the director of] 300, a bit of a credit for, though. While we were doing the movie 300, we used something we call the Crazy Horse camera rig. Dave and I thought it was really cool, and Zack taught us how it worked, and we really used it well in one scene in 300. So we kinda took that and expanded on it. Zack had used it on a straight dolly, and we used it on a circular dolly in the scene in the safe house, where Raizo fights about a dozen ninjas. It’s a very cool digital zoom-in and digital zoom-out sequence that we are very happy with, and the reason we did that was to show off Rain. It was our cool way to punch in without editing, so we zoomed in and zoomed out, because with the technique of using three cameras we didn’t have to [call] ‘Cut’ in between [takes]. It’s just another way to highlight Rain as being Rain. There weren’t any stunt doubles in that sequence; Rain did it all himself. That was pretty cool. So we used visual effects to highlight how good Rain was.
30 NINJAS: Why is it called the Crazy Horse camera rig?
CS: Actually, it’s because it was first used back in the late ’70s on a movie called Crazy Horse. And what it is, is just a low-angle prism. And we use three cameras through on low angle prism to match the same camera position. So we use these three cameras at once to get the exact same angle.
The Un-Safe House Scene
30 NINJAS: You are also working in some insanely dangerous scenarios. What was the most frightening sequence, the most challenging sequence, that you did?
CS: I think that logistically, safety-wise and performance wise, I’d have to say the Safe House, the scene where Rain’s character, Raizo, has been captured by Interpol security force. He is chained up in an old, old power station in Berlin. And the ninjas infiltrate that, and they kill all the Interpol soldiers, and Rain makes his breakout. It really was a dilapidated old power station and at some points, it was six stories straight to the floor. It took us almost three weeks to put in all the safety riggings in the ceiling for all the free-running sequences in it and to make sure that the crew could not fall through the holes. Stunt-wise, doing all the rigging, we had with us some of the best stunt riggers in the business for months at a time. And they did an outstanding job of making everything safe, and it really enhanced the performances of all our guys. The most challenging part is whenever you put your lead cast member in. You know, we got Rain, and he is [several] stories off the ground, doing his own jumps and his own free running. Granted, he’s on safety cables and certain systems that enhance his performance, but if Rain misses or falls, he still falls. We catch him, but there are a lot of stunt performers out there that don’t like heights, believe it or not — let alone you have your 25-year-old, many-millions-a-year pop star [up there] in a harness, being chased by some of the best free runners in the world, who are dressed up as ninjas. And Rain held his own performing at the same height, and at the same level of danger as the [professional stuntmen did]. You know, that’s always the most nerve-wracking thing for us. You know, the stuntmen you trust because you’ve gotten the best in the world. If we have not gone through basically five months of training with Rain — and really, really know what he has inside his heart, how brave and how professional he is — we would never have put him up [there]. But after spending so much time with him, we saw the kind of gusto he has, and we put him in the same sequences as the pros. We can’t say everyone does their own stunts, but Rain did as much as we asked of him, which was quite a bit more than most.
The Ultimate Fantasy: Inventing a Bladed Chain Weapon and the Techniques to Use It
30 NINJAS: In the trailer, Rain is carrying a weapon which is like a knife on a chain, and there were a lot of other knives and throwing stars and other sharp metal objects flying around. Can you tell me a little bit about these weapons? Which weapon is Rain carrying and does it give him an edge during the film?
CS: Larry and Andy [Wachowski] had come to us very, very early on in the project conception, and they said, “How do you want to do the fights?” Literally, they came with a blank piece of paper and handed it over to David and I and said, “You guys give us your best ideas with the sequences, and we’ll take the four or five best ones.” Well, we’d already trained Rain to fight with a sword, so we wanted to do a bunch of sword stuff because Rain picked it up quicker than anybody. We wanted to do a small to medium amount of empty hands [when a ninja fights with just hands against an opponent who’s holding a weapon], and we knew we were going to do some specific combative stuff with that. And we could have done nunchucks, and all this other stuff. All these different things are being thrown on the table between [director] James [McTeigue], Larry and Andy, and us. And we went back and spent a week playing with every weapon we knew how to use. And then we decided, you know, something that people don’t use that well is a flexible weapon. You know like numchucks or a three-sectional staff or something like a chain weapons. We decided we didn’t like the whip, we didn’t like the whip chain, and we didn’t like the rope dart. They did not have that finality, and it did not look lethal enough for us. [So] we kind of make up our own. We took a rubber knife, put it out on the end of a length of rope and started playing around with it. We started liking some of the results we were getting. We could do close quarter, we could do medium range, we could do long range. We can hang from it, we can throw it, and we can retrieve it. We were like, that’s great. But you can’t block a sword with a rope, so we made it in a chain. And then we started researching all the different martial arts and different styles that use flexible weapons. We got three or four of the best guys together and pretty much made up our own martial art with it. And once we had something we liked, we’d show it to everybody. And everybody thought it was awesome. It was great and visually stylistic. Larry and Andy ran with it and took it back to their storyboarders, who began to realize all the cool visuals you can do with the length of the chain, and the visual effects guys liked it. It’s also something that none of the other ninjas used, [so] it’s also something that made Rain stand out in the fight sequences. It kept a lot of the bad guys at a distance — Rain could whip it around and keep everyone away, and it became a little bit easier to believe that he could take on more than one or two ninjas at a time. So it did matter, both story-wise and visually.
30 NINJAS: That’s exactly what it looks like, that it’d be very effective at keeping everyone at a certain diameter away from you.
CS: That’s the great thing about Larry and Andy: If it doesn’t exist, they really tease your creative abilities to come up with something that would be very interesting or would be effective, so everyone put their heads together and came up with something that was pretty great.
Last edited:
ninjaracer
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new hongkong TV spot
http://www.facebook.com/video/video.php?v=197879821843
http://www.facebook.com/video/video.php?v=197879821843
ninjaracer
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Genre made mainstream in Ninja Assassin
source:http://www.metronews.ca/ottawa/entertainment/article/371277--genre-made-mainstream-in-ninja-assassin
What’s old becomes new again in a modern-day ninja story that bends the realm of reality with anime style in Ninja Assassin, the latest by Australian director James McTeigue, who brought us the comic-based cult hit V for Vendetta and collaborated with the Wachowski brothers in The Matrix trilogy.
Metro sat down with McTeigue recently in Vancouver, who talked about his love for ninja movies, some Japanese TV influences growing up in Australia, and his take on the visual styles of B-movies of old.
“I’m a big fan of ninja movies. In Australia where I grew up, we used to get a lot of Japanese TV series, one of them called Shintaro, and Phantom Agents was another one,” he said.
“My favourite anime was Ninja Scroll. I really liked that so I wanted the aesthetic and some of the visual motifs in the film to be a cross between anime and game play.”
With Andy and Larry Wachowski onboard the production team, Ninja Assassin is an action-packed ode to martial arts films with stylized graphics and blood-spitting fight sequences, starring Korean superstar Rain as protagonist Raizo, a trained killer of the powerful Ozuno Clan of ninjas.
The graphic quality in the film like the blood splattering in the fight scenes or the shadowy figures that flash across buildings often look like it came out of anime or a game, and McTeigue says he achieved the aesthetic digitally.
“I wasn’t really interested in doing like the homages that (Quentin) Tarantino did to some of the Japanese movies,” McTeigue said. “I wasn’t really interested in doing a remake of ninja films.
“I wanted to do something that took elements from those films and craft it into a new story. So into that ninja genre, I was interested in putting in elements of film noir because it has a great use of negative space and graphic and light.
“And I think if you have ninjas resolving out of darkness all the time you can add little bits of horror in there,” he said. “And also because it is an action movie, I wanted to have mixed martial arts in there but also elements of parkour or free-running and acrobatics. So it was trying to mold all those things into the genre of the ninja movie.”
McTeigue says that what was once a subculture that belonged in the realm of nerds like comics, games and graphic novels, are now definitely part of the mainstream culture through generational changes. His next film is The Raven, an adaptation of the macabre poem by Edgar Allan Poe, a fictionalized last five days of the writer’s life. “There’s a serial killer loose in Baltimore killing people in the manner that Poe uses in his stories.”
source:http://www.metronews.ca/ottawa/entertainment/article/371277--genre-made-mainstream-in-ninja-assassin
What’s old becomes new again in a modern-day ninja story that bends the realm of reality with anime style in Ninja Assassin, the latest by Australian director James McTeigue, who brought us the comic-based cult hit V for Vendetta and collaborated with the Wachowski brothers in The Matrix trilogy.
Metro sat down with McTeigue recently in Vancouver, who talked about his love for ninja movies, some Japanese TV influences growing up in Australia, and his take on the visual styles of B-movies of old.
“I’m a big fan of ninja movies. In Australia where I grew up, we used to get a lot of Japanese TV series, one of them called Shintaro, and Phantom Agents was another one,” he said.
“My favourite anime was Ninja Scroll. I really liked that so I wanted the aesthetic and some of the visual motifs in the film to be a cross between anime and game play.”
With Andy and Larry Wachowski onboard the production team, Ninja Assassin is an action-packed ode to martial arts films with stylized graphics and blood-spitting fight sequences, starring Korean superstar Rain as protagonist Raizo, a trained killer of the powerful Ozuno Clan of ninjas.
The graphic quality in the film like the blood splattering in the fight scenes or the shadowy figures that flash across buildings often look like it came out of anime or a game, and McTeigue says he achieved the aesthetic digitally.
“I wasn’t really interested in doing like the homages that (Quentin) Tarantino did to some of the Japanese movies,” McTeigue said. “I wasn’t really interested in doing a remake of ninja films.
“I wanted to do something that took elements from those films and craft it into a new story. So into that ninja genre, I was interested in putting in elements of film noir because it has a great use of negative space and graphic and light.
“And I think if you have ninjas resolving out of darkness all the time you can add little bits of horror in there,” he said. “And also because it is an action movie, I wanted to have mixed martial arts in there but also elements of parkour or free-running and acrobatics. So it was trying to mold all those things into the genre of the ninja movie.”
McTeigue says that what was once a subculture that belonged in the realm of nerds like comics, games and graphic novels, are now definitely part of the mainstream culture through generational changes. His next film is The Raven, an adaptation of the macabre poem by Edgar Allan Poe, a fictionalized last five days of the writer’s life. “There’s a serial killer loose in Baltimore killing people in the manner that Poe uses in his stories.”
t: "looks like he belongs in a boyband.."
xwolverine2
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lmao...
rashad
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Soundtrack Preview
[YT]i_rBpyIPopo[/YT]
Ninja Assasin - Ilan Eshkeri
The MC Remix - Ryuzo
Training - Ilan Eshkeri
First Kill- Ilan Eshkeri
Being Boiled - The Human League
Soldiers Attack - Ilan Eshkeri
Raizo vs Ozuno/Freedom - Ilan Eshkeri
Shazam! - Spiderbait
Healing - Ilan Eshkeri
Mika's Apartment - Ilan Eshkeri
'Heroes'/'Helden' - David Bowie
Kiriko Runs - Ilan Eshkeri
Skyscraper Rain - Ilan Eshkeri
Escape From Safehouse - Ilan Eshkeri
Legacy - Raekwon feat. Xzibit & Murs
[YT]i_rBpyIPopo[/YT]
Ninja Assasin - Ilan Eshkeri
The MC Remix - Ryuzo
Training - Ilan Eshkeri
First Kill- Ilan Eshkeri
Being Boiled - The Human League
Soldiers Attack - Ilan Eshkeri
Raizo vs Ozuno/Freedom - Ilan Eshkeri
Shazam! - Spiderbait
Healing - Ilan Eshkeri
Mika's Apartment - Ilan Eshkeri
'Heroes'/'Helden' - David Bowie
Kiriko Runs - Ilan Eshkeri
Skyscraper Rain - Ilan Eshkeri
Escape From Safehouse - Ilan Eshkeri
Legacy - Raekwon feat. Xzibit & Murs
Last edited:
Ace of Knaves
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soundtrack sucks so far.. imo
There should be more metal tracks and off course the Pendulum track from the trailer.. hope its not the whole soundtrack
Metal?! **** that.
And yea RZA would be great for this.
The Wachowski's get a lot of stick from the so called "high brow" critics and wannabe critics, but I feel them and their teams are pioneers of stunt work and martial arts in blockbuster movies and they deserve a **** load of respect.
matrix_ghost
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Thank god for guys like McTeigue who realise that you need to evolve and not rip off scenes like that ****ing hack of Tarantino.
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Ace of Knaves
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Tarantino ain't a hack. He's just a fanboy who gets to make movies.
Some who writes the script to True Romance and writes and directs the likes of Pulp Fiction and Jackie Brown is far from a hack.
Some who writes the script to True Romance and writes and directs the likes of Pulp Fiction and Jackie Brown is far from a hack.
Dark Victory
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Tarantino, a hack? The man who gave us Reservoir Dogs, Pulp Fiction, Kill Bill, and Inglorious Basterds?
What!?!?!
Ace of Knaves
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Yea but his characters curse too much DV. And that is bad...
matrix_ghost
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yes i consider him a worthless hack.
I like his movies up till Pulp Fiction and even Jackie Brown is okay. After that ,i have hated every movie he's ever made.
And yes that includes crap like Kill Bill and Deathproof.
The onl thing i like in bastards was Landa .
Dark Victory
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Yea but his characters curse too much DV. And that is bad...
He writes some of the most urban -- lack of a better term -- and plausible dialect -- at least in his films' over-the-top/far fetched context. Not to mention he also uses it to build tension and executes it perfectly. The bar scene from Inglorious Basterds and Samuel Jackson's speech -- or pretty much that whole scene -- come to mind.
Ace of Knaves
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Why is Kill Bill crap though? It's just a straight up revenge movie with great characters and homages to old school kung fu flicks. What's the problem?
Ace of Knaves
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I totally agree. I was being sarcy
I mean when people say his characters swear to much I laugh at their ignorance and naivity. People in the worlds Tarantino portrays REALLY do speak like that.
Dark Victory
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I totally agree. I was being sarcy
I mean when people say his characters swear to much I laugh at their ignorance and naivity. People in the worlds Tarantino portrays REALLY do speak like that.
I knew you were; I was just adding on to why Tarantino is such a beast.
I completely agree with your last statement, too.
Ace of Knaves
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Cool. My favourite Tarantino flick though is True Romance. Even though it isn't his flick, but the screenplay he wrote for it is flawless.
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I haven't seen it in over three years, but I remember enjoying it significantly. Talk about a great ensemble cast...
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