True Romance [antikvár]

INTRODUCTION Quentin Tarantino on: beginnings The first script I ever did was True Romarwe. I wrote it to do the way the Coen brothers did Blood Simple, and I almost dkected it. Me and a friend, Roger Avary, were going to raise about $1.2 million, form a limited partnership and then go off and make the movie. We worked on it for three years, trying to get it off the ground like that, and it never worked. I then wrote Natural Bom Killers, again hoping to direct it myself, this time for half a million dollars -1 was shooting lower and lower. After a year and a half I was no further along than at the beginning. It was then, out of frustration, that I wrote Reservoir Dogs. I was going to go really guerrilla-style with it, like the way Nick Gomez did Laws of Gravity. I'd lost faith in anyone giving me money - and then that's when I got the money. After Reservoir Dogs I was offered both of them to direct. The producers who had Natural Bom Killers - before Oliver Stone acquired it - tried like hell to talk me into directing it. Tony Scott and Bill Unger had True Romance. I had convinced Tony to direct it, but Bill was saying, 'Look, Quentin, would you be interested in doing this as a follow-up to Reservoir Dogs}' And my answer was no. I didn't want to do either one of them because they were both written to be my first film and by then I'd made my first film. I didn't want to go backwards and do old stuff. I think of them as old girlfriends: I loved them, but I didn't want to marry them any more. The thing that I am happiest about is that the first film of mine produced was one that I directed. structure True Romance had a complicated structure to start with, but when the producers bought the script, they cut-and-pasted it into a linear form. The original structure was also an answers-first, questions-later structure, XHkt Reservoir Dogs. Tony Scott actually started putting it together that way in the editing room, but he said it didn't work for him. I guess what I'm always trying to do is use these structures that I see in novels and apply them to cinema. A novelist thinks nothing of starting in the middle of a story. I thought that if vii