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We hadn’t seen this movie before, so we didn’t know they were going to have the biggest shoot-out in the history of film. Unless referenced otherwise, a sizable amount of the interviews cited here were taken from Gerald Peary’s compendium of Quentin Tarantino interviews - and not to be a shill or anything, but if you’re a fan of Tarantino (or just interested in the way the guy talks about film), it’s a must-read.Ī Better Tomorrow II : John Woo’s 1987 shoot-’em-up movie made a big impression on Tarantino when it came to orchestrating the climaxes of his own films: “I was watching it with a buddy of mine, and it’s all building to this big climax.There’s a huge difference between stated influences and influences derived from film-criticism theorizing, so for the sake of coherence, we’ve stuck to the former and ignored the latter, with very few minor exceptions.Morricone is mentioned in this encyclopedia, but every instance of him has not been catalogued for reasons of length (this list would be twice as long as it already is - and as it is, it’s pretty long). There are a lot of notations regarding which elements of scores from other films have appeared in Tarantino’s films, but one composer whose work has been featured hundreds of times over is Ennio Morricone.We included the two screenplays authored solely by Tarantino - Tony Scott’s True Romance and Robert Rodriguez’s From Dusk Till Dawn - but films that he worked on but didn’t have final credit on, like Oliver Stone’s Natural Born Killers, where he opted for a “story by” credit after his script was rewritten significantly, have been excluded.We’ve put together a comprehensive-as-possible encyclopedia, organized chronologically by film and alphabetically within each (and lumping together both volumes of Kill Bill), of every homage and direct reference to pop culture that Tarantino’s put in his work - as well as an addendum of general influences on his career that he’s acknowledged over the years. In a 1994 Los Angeles Times profile that ran shortly before the release of Pulp Fiction, Tarantino professed an artistic impulse to “steal from every movie I see,” and although the discussion regarding what “stealing” is in relation to his catalogue still rages on today, his giddiness when it comes to expressing his omnivorous taste through film is more than apparent. When these references and influences are considered as a whole, it’s easy to see the connections that exist between stylistically opposite corners of Tarantino’s filmography.
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The weird thing about Tarantino’s influence, though, is that it is derived from his own pop-cultural cherry-picking: Every film he’s directed or written has been loaded with countless homages, lifts, and references to books, movies, TV shows, and music that coalesce into a pop-cultural galaxy of their own. Indie filmmakers of all stripes have surely benefited from the increased exposure that his quick ascension gave to subterranean cinema. Following the one-two punch of 1992’s Reservoir Dogs and 1994’s Pulp Fiction, Hollywood was (and arguably still is) flooded with style-aping films that could be referred to as Tarantino-esque. His gritty, ultraviolent, fast-paced, and impeccably hip writing style and visual eye have made a mark on both underground and mainstream film like no other. Quentin Tarantino is undoubtedly one of the (if not the) most influential American film directors of the last quarter-century.
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