>> rose:elcome to the broadcas tonight quentin rantino. he burst on to t scene wi ""pulp fiction"" his newest is ingloriou baster ". >> oh, yes yes, yes, yes. >>t's hard work to go to th blank piece of paper and start from square one, start om scratchvery single, solitary time are you at the bottom mount everest every time and everything you've do before, not only does t the help y, it couldeven like hang over your head. and that is a tough road to hoe. and you make less movies that way. and is aot easier to go anlook at the scripts that are t there and available d you can maybe work with the writ or do a little rewrite or do that kd of thing and you get more movies made. but cut to six years dn the line, and where i that voice. it's gone away. >> rose: tartino,ext.

funding for chaie rose has been provided byhe followin captioning spoored by roseommunications from our studios in new rk city, thiss charlie rose. >>ose: quentin tarantino is here. he bst into the film world in 1992 withis movie, reservoir dogs, his seco effort, "pul fiction" turned him into an icon in the film world.

his movs oft mix sparklg dialogue with sensationalizeviolence. here is a look at some of s work. >> is that supposed to be nny? look, we think this place ain't safe. suppose you tnk -- you should go with us. >> nobods going anywhere. >> you know what they call a quarter pounder wh cheese in par snis. >> they dot cal it a quarter pound we are chee. >> they got the metc cheese, theyon't know what a quarter pounder . >> what do they ca it. >> they call it e royal with dhees. >> royal with cheese. >>hat do thecall a b mac. >> a big mac's a big mac b they call it le b mac >> le big mac. at do they call a whopper. >> d't know. i didn't go into burger king. >> what's in it? >> beauty products. alarm clock. glass case.

control. >> what' that? >> my diet. >> what else is in there? >> here, here, here >> what's ts? >> . >> if you wa to be old hool about it, a you know i all about school, then we coulwait until dawn and slice eh other up at sunri le a couplef real life -- now if you

don't sele down i'm going to have put o in your eecap and i heartell that's a very painful place to get ot in. >> wel pam, which w are you going? leftr right. >> right. >> that's too bad why? >> well, because it was a 50/50 ot on whether u would be going left right. yosee we're bot going left. you could have just as easily bn going left too and ifhat was the case t would have been awhile before you srted gting scared. since you'reoing the other i'm afraid you'r going to have to start getting scaredmmediately. >> tarantino's lates film may beis most ambious yet. inglourious basterds features band of jewish american nazi hunders who ha a plot to end t seco world war. here is a look at the

trailer >> ten hut! i'm putting together a special team. we're going to be doing one thing anone thing only. killing naz. sound good? >> yes, sir! >> i'm going to assume y know who we are. >> everydy in the german army has heard of you. >> you pbably heard we ain't inhe prisoner takin businessment we in t killing nazi busess. and cousin, business is booming. ever want to eat a saar crat sandwich, i will take your finger and point on this -- i want to know. >> i respectfully refus >> hey, dny, got a de man here who wantso die for his country. oblige him. an american sect serve efrt is deep behind enemy lines. see rmans call them the basterds. these yks have been with thdevil. we're all tickled to hear youay that.

>> the germans are -- in attendance will beost of thgerman high command >> you'l rendezvous wi our double age. shell's taket from ere. >> suicide >> what else a we going do, go he? >> what's the plan? >> we punchthose dones out, take tir opinion guns and burst in there blasting. >> is that the plan. >> that's about it. or not. >> something you d't know. hitler is attending the prier. >> getting -- kes this a horse of a different cor. >> we have allur rotten eggs in on basket. the objective of the operatio -- blow up the basket. >> give me a littl something you c't take off. >> you're geing prey good at this.

>> it's all in the han of- my hands, to be exact. >> nien, nirx, en. >> yes, yes, yes. >> i'm pleased to have quentin tarantino bac at this table. welcome. >> is good to be back. th was a fun little ubre. i wa getting off on my own work for a second. >> rose: a body of wk right there. so what is aarantino fill number. >> oh, gosh, i might not be the best person to dcribe it. >> rose: well, i once re where u said i can do fi criticm as good as anybody i've ever read. >> i would agree- probably not -- but short o andrew saras but after that yeah, you kw, you know partf the, one of the thingss, you know, a good wato describe this, like in this movie, for ample, people havasked me estions about, like, wl, were you concernedbout the level humor that is in the world r ii fil there s not been really a lot of humorou world war ii

moes made. were youorried about tha and it was like can't help it. that's just kind ofhat i do, younow. i write these stories and then humor comes out of it. and you know,o if that stufwasn't in there, if thset pieces, if the kd of love of cinema, if the humor f that wasn't in tlk, i would question authorialship,that it wasn't done by me. rose: dialogue is one great thing for you. >> uh-huh. >> rose: some sense, you have always likea camera in motion. >> yeah, yeah, yh. >> rose: it goesround. >> yeah. >> rose: youike -- what else. tell me what are the elements for you, that you want to e in yo films. because ey represent a tarantino signatur >> well, you kno--. >> rose: music is anotr. >> yeah, tha definitely one of them. t i guess when it comes to the actual wting of the piece where it really, real becomes what it is going to become is it's about chacter. the dialogue jus com out of the character.

and i don'teave the character. i le the characters lead m. both as far a who they are. and the conversations and even tcenario itself. i meanike, for instance f i've got a charaer here with this glass and i hav every tention of gting him where that gls is. >> rose: yeah. >> that is a good idea, my part i thi. t once i get them going there they might not -- they might rect thelass and theygo somewre else. and they are the one that know bt. >> rose: when you e writing that, e you thinking of partilar actors in mind. >> you know, it's all differen actually in this movie in particul, almost every body, i dn't have anybody in md at all. and i tually think it's e of the reasons why the aracters becameso vid is it was moreike a novel. i wasn't thinking about actors or their limitations. one of the rsons, the characte the lonel speaks seven languages, i didn't have worry about that, buin the case of kill bilthat was completely desned by uma thurman. >> rose: came from "pulp fiction".

you knew her. >> i'm building the vie arounder. i couldn't dit without her. >> rose:o if i said toou, yohave always wanted to make this mov, what would i be talking about? >> well,you know, it's funny we, you know, i think in particular in this case part of the thinthat i like to do is i likeenre. i like working in genre. and like working very persally in very minutely inside of a fun mie genre. and even like the bgenres inside of genres. so likin the case of ts being a wamovie, it's not just a war mie. it is a bunch of guys on a mission war movie >> rose: rig. >> but you kno that's kind what -- that's kind of what it i do. in anoer movie it cane a stern. >> ros you will do a western, a musical, you try to in a life career span you will touch most genr. >> you know, me or less, yes. i me i startedff with crime films but i didn't want to just go down that road. i mean is beenwhile sie i have done crime

film. i mighgo back and visit it again becausi think now it would beresh. t i do like genres. i do want to make a western. i ke kind of making this half assed westerns that aren't reay officially westerns. but en like when yobring up sicals. th might be one i don't ow if i would do beuse i like the musical aspts in my mov right now. i gein and get out whenever i wt. >>ose: this movie, how long did it take to you write it? >> well, y know, iame up th the idea about ten years ago n 1998. rose: and the ea wa >> the idea s, you know, let me do bunch of gs on a miion war movie. >> ros so this wasdirty don plus. >> yeah, exactly. so thought of the ide, i me up with most of the characters that you e in the moe now. and i ca up with the idea of the chacter all the in played by brad pitt w leads theseewish american soldiers behind enemy nes to basically do an apache resistence against t nazis, so i had that in my head, sorbana, the charact that lanie played. and i had the fit two

chapters written, which i chapter starts,he first two. but i had a different story line in mind. and i was writing that. and it was just too big. it was just, iwouldn't have been a movie. it cld have been a miseries, maybe, but it wasn't a movie. ople were saying that i had writers bck. hi the opposite of writers block. i could not shut my brain f. i couldn't sto writing. and that is also you have remember back in ' this would have been my fst original since "pulp fiction" so i was very -- about the whole thing. so i put it asi and decided to gto kill bil to tame myself, cut to kill bi volume 1 and 2. i had epicitis at that me and en i came back to in in 2008, i relized it s thattory that was jtoo all compassing so i got d of that story and cam up with new story. and the ne story was the whole yld of german ai murphy soldi played by frederick zoller who has done ts wonderful thing for germany right at a bad time ithe war for them. andsojoseph gerbul is

going to me a movie about him and there isoing to be a premier and a missio, and the guns of the navaron moe would be blowing up the premier. >> rose: and the idea, the idea of cinema i this movie is everywhere. >> exactly. >>ose: it takes place at a cinema gerbellovedmovies and you love movies. so tell me wre it all comes together. >> the thing that nd of cracked mep was the a scene early oin the movie where you really are being intruced for the first time fully to the sbana chacter who plays -- it was aewish woman, her whole family was murded by the nazis a four years later she is hiding inside of par. she owns a cinema. and ederick zoller character i lked about is a german soldier who lik movies too and srts talkg to her. chatng her up a litt bit. >> rose: he is going tbe in a movie becae he is a war hero. >> like audi murphy kind of felw but for nazis. anall of a sudden they are talking. and i'm wting the script,

again, i don't know exactly what they are going say. i get them taing and they do it. and so all of a suddethey art having a conversation about ma linder versus charlie chaplin -- chaplin versus pap versus -- t whole ene is over and i put th pen down'm like, man, i go to do a world war ii movie and it ends up being a love lter to cinema. i just cannot not, apparently. t you know, even the whole, i actually was really fascinated once i got the idea of doing the whole ni propagda film as a premier, just the whole idea of dealing with german cinema under ththird like h that has really never been done before. even dealing with joseph gerbold not as the architect of evil which he is aays presente but as the --. >> ros he fancyed himse defd sulnick. >>e considered himself an artistic producer. he made er 800 films and except for the movies of lenny, he d his hand i almostveryingle one of

them. >> rose: nothing to do with hers. >>e wasn't allowed to. he had corol over everybody inhe german film industry with thseoul exceion of lenny. >> rose: bause she was hitler's foriteance they des pieced eachment but she was thone that did not have to cow down to him. but you ow one thing i thought was really intereing. is i read gerbo's diaries eparing for this movie. and head some very, very interesting takes on cinema. and had some very, very interestintakes on propanda itself. like for instance,hen he saw battlespatenkim he thought itas brilliant technique t very bad propaganda. he thought it wasoo hey-handed. he sai if it had been less heavy-nded, softer on th propanda side but just as much technique it cod have accomplished far more. >> rose: i can't imagine s there anybody at was better ppaganda than he was, all it be for evil purpos. >> yes, ectly. well, younow, what he coidered the greatest piece of propaganda of the

war and he spent along time ying to duplicate it was wiiam wyler's mr miniver. that rlly stirred up the home fro. >> rose: so he new cinema too. >> that real boned up the home front. in engla and he spent a loof his career tryingo rereate a mrs. miniver f germany. >> rose: so the cinema idea is there. revenge is there >> yeah. >> rose: the is dir dozen. there st of t cher o key idea whi is we're going go in there, we're going kill them. we're not taking prisoners and 're going toscalp them andeave a mark. >> thedea behind them doing an apache resistanc is the idea that it, you know, they will ambusheven soldiers, say,hey will kill them take their scalps and desecrate the bodies and lee them there for the germans to find. it is the abouthe seven guys they lled, it'sbout th story that is goin to go abo the basterds and how it is going to get into the psyche of th german soldier. >> rose: how did youreate the idea of the german guy who is, in fact, his great,

he was aabsolute. >> yeah, yeah. >> rose: that's exacy what he was. e guy who would find out wherthe jews were. >>is name is colonel hans landa. his nickame that the jews have giv him inrance is the jew hunter. rose: and talk about the exacting in actg in a nute but how did you create the crack. what was it based on oras that out of yourind. >>t, you know,he just flowed out of me. i mean i really, cat really tell you well i did this or i did that. i thinkhe first scene that i wrotin the movieas the opening scene. i alys have to kind of ite in order. the opening scene in the film wre he's interrating the french rmer at the film. >> rose:ut then you believe then that that character is fully ford in your mind becse the dialogue that takeslace, the manrisms th take place ntinue thrgh the film inveryncounter he had. >> he's not really fully formed. ey grow. they teach me whohey are. like to giveou an example, one of the things about his charactethat is one of e most striking things that he is a linguistic

genius i didn't know that when wrote that first scene. i knew he coul speak french bui didn't know he was ch a linguistic genius unl he just kept being able to eak one lanage after another. >> rose: did you have to find an aer who could do that. >> oh,eah, that washe thin that was the big deal. one of the things, when i finished that scpt, i knew that colonel londa was one of the greatest charaers i have ever wrten and one of the greate characteri will ever write. >> rose: played by countries v walsh, a german actor who was not at the height of his career. >> no, no, his a tv actor in gerny. >> rose: and in fact he said ataans, it had been a ve otional moment, that you had given ba his career. anyou said something inresting too. you gave me my movie. >> thais very true. >> ros that dialogue could haly be written. >> yeah, no, no, no. it's a thing, like i s saying before when wrote that script. i just knew that londa was, m aware enough to know one

of my best creatio i've ever written and he waone of the >> rose: let me uerstand th. a great creation has, first of all he's larger-than-life in some way ar he has mannerms that are defining or he has style. >> wl, i guess --. >> rose: theook, he has -- >> i think, you kw, i've been doi this for like7 years now so i dhave a leg rogue's gallery of charactershat are like my characters. and he was just one of the strongest at ever that ha ever come out. and maybe in some way he revealed himself more te as fs alike i really let the characr live. so was really, i discoveredim as i w writg him. >> rose:hat's interesting about him is that he do everything with drama. yeah. >> rose: every set pce. is a dratic piece. whher it is because he diovered a shoe at a scene of massae and he knows where to go find the pson who the shoe bongs to. rather than justaying it a sure shoe, an elabora ritual. >> that's the thing. everything londa does, hes a tective. that is rst and forest

where is am coulding from. he is a detective. and erything he does, his scenes are basically almost all inrrogation scenes. >> ros at a moment he says that. >> that's it, yeah. >> rose: and every scene he does is some vsion of an inrrogation. an every piece of inteogation is piece of theatre, or mind game with the participt. just give you an example. there was alsoelped deribe how me and christh worked on thefilm to give you an ea. in the scrt, in the opening scene whene is interrogating is french faer. the french faer tak out a pi and stas smoking. at some point londa sa can i ta out pie pipe. yes, h pulls out this big gian calabas like a pe like sherlock hmes smokes and it is funny moment when it happens. >> rose: ande drinks milk. >> he is d dairy farmer so he inks milk as opposed to wine. so hhas this pipe, wrote that in the scpt and hi a couple more moments where had londa ke out the pipe

and smoke and think it was londa's pipe. but i started thinking abt it mor andore as preproduction was going on and hidinner with chstoph ani asked him, i go let me ask you a question. in the script, you know, it implies thathis is different londa's pipe and he uses it to think. but let me ask you a question. what if londa doesn't smo a pipe. henowshe farmer smos a pipe. and so at a certa point he brings o this pipe. and what pipe do he bring out, hebrings out the sherlockolmes pipe. onyou can say it's a xual thing because mpipe is bigr than yours. and the other thing, youan say i know you're lying and got you. i've got the sherlock holmes pipe. so maybe he doe't smoke a pipe at all, it's simply just an interrogation technie to throw the farmer, send him more to hell. and so what do you thi, christoph. he goes he doesn't smoke a pipe a all. it is simply an act of theatr >> want to determine wha attribute theerman people

share with the beast. >> it would be the cunning an predatory instinct of a hawk. >> but if e were determe what attributes thejews share with aeast would be that of the rat. if a rat wer to lk in here right now as i'm talkin, would you treat with this a bowl of this licious milk. probably not. >> i didn't think so. you don't like them. you don't really knowhy you don't like them. all you know is yo find th repulsive. consequently, a german soldier concts a search of a house suspected hiding jews. where does the hawk look? he looks in the barn. he lacks in the attic, h looks the cell arhe looks evewhere he would hi. but there ar so manyplaces that woun't occur to a hawk to hide. the reason the fuhre h

ought me out of my hoe in austriand place me in cow country today is becau it does occur to me. beuse i am aware what emendous feats human ings are capable of once they abandon digni. >> rose: he won e caans film festiva for bt actor. >>eservedly. >> re: the other chacters, the two women. >> well, you know, 's nny because the character of soshana. >> rose: brad ll speak for himself. >> the three characterhave been in my md for the last ten years particularly would be bradharacter, hans londa and the character soshana. d in thefilm she is a jesh young girl who saw r family massacred by th nazi and she'been hiding in pari and the thing is, with soana, years ago when wrot the character, i had a much, much more bad ass. and e was kiing nazis an

she had a list of offirs, d joan of arc ofhe jews. nazis om the rooftops of paris. and was --. >>ose: it was a lot of fun and i wrote these really eat action seqnces fo soana and that was the deal. so ynt didn't does. >> i put it away. and i did kill bill and almo everything i liked about sorbana, i gave. >> and sthe bride didll thattuff and the bride is the one with the lis and the bride is one goingown thlist. and so when i come back to it after kill bill go i can't do this ain but what i liked about thatspect was it's actually ebled me to make sorbana more realistic aspposed to being th tough an of ack, she is a survir. made her much more like jackie brown. i think soshana is keeping it together inight situations wre anyone else would umble where aone el wouldelt.

would they plning to down in flames. -what they did was not filmed? >> soshana ishinking she is goi to go up t the theae, can't imagine living through this,t is a suicide missn on her parent part. as far as the was rds are concerne. if the first group were to -they could drop the bombs off. when brad gs in she ar such bumbleing idiots, let's just get us in th building. if we can get in the building we'll let off the bombs. in the case of the other male characters, --. >> rose: who was a german actress. >> she is terrifi >> rose: a real charter. >> well, she is, tre is a lot ofhadow things in this movie where i take a real

life thing a do a shadow version of it. her character to me bed on two characters, one there is a hungarian actress that came to holly. i just kd of based it on -- if he had gone t hollywood dung the debt richt kaz. there was a singer and actress at the time named cza lee der, really the zi poster child. big singer and starringin tons it of musicals. now is is not for se. there is a rumor,t has at kind of she is actually woing for england. wider that she was acally worki for the soviet uni. >> rose: exactly. >> and so again.

>> rose: weren't there two working for the sovi union. >> there was somebody else too. >> that is one of e things that actually --hat gave you the idea. >>t gave me the idea to create this story line. >> when yocreate a back story. >> yeah, exactly. you eate a back storyor thcharacter that one of my thgs, whether or not the audience knows aboutt, i know about the chacters pa. and i juswant the tors to know. the audience doesn't need to know. like for insnce, brad pitt's character aldo raine has arope burn arou his neck. bui never wanted to explain hoit happened. >> rose: i desperately wanted to know. >> you just figuret out, all right. that's up you to supply where that rope bur came from. >> rose:ou figured a little conversation that would refer to i if i wanted you to know, i would have told you. >> rose: but your idea of cinema then is to keep a lot of stuff. you want myery in the fill testimony self. you want us not to ow everything. >> i like the idea, i like the ideahat, okay, if you

contemplate why theris a rope burn there,nd somebody elseontemplates why there is a rope burn there, somebody else contemplat it, three different people come up with tee different reasons why he got a rope burn, thosare three different movies you a saw. and i like that idea. i like the idea that y open up e briefcase in "pulp fiction" i don't tell yo what is in there but it iup to you to figure out what iin there and w that's your mov. d you'll make that decision somewhere down the line. now if tell you at this tae what it is then will you throw that away and i n't want you to throw away. that's your movie. >> re: in the end ts is a movi, it i-- it is a revenge movie, in the end -- >> i go for that. >> rose: didn't rothay it was a - kosher porn >> what did he mean that. >> i think what meant by that i have be waiting to seehis long time. watching js bash the heads in of nazis islmost sexual gratificatio >> rose: scalp them and everything else. >> exactly. >> rose: and he's inhe film. >>e plays the bear jew.

donny done o wits. now there was aory that i read that originally you wanted staone and bruce llis and others, does that have any merit. >> no, i mean those are all terrif actors. i have worked with bruce willis. but as youan see there is not a part for the i don't see them playing ws, all right. but that was just ternet rumors. >> rose: all right. the movie you made is two and a half hours, holong, 2:52. >> no, no no, not that long. 's actuallyshorter than "pulp fiion". two urs an 30 minute >> rose: that is abo right for you. >> no, i think it i paced just fine. i want it to shall did -- i actuly was very, i was more dciplined on the writing ofhe script than hi been a while far as the script was concerne i didn't want it to be a threhour movie. it is the kind of movie that could be someing like that especially the way i write. and then also en the thing is because i wted to make the film festival i didn't have time tomuter about. >> rose: six wks. >> a little nger than that. >> rose: why couldn't you make the festival in 2010.

>> o man that would ju be too far away, man. i nted to --. >> rose: you were convinced you could do it. >> i was cvinced coy do it or aleast give it the old college try. but i know if am going climthat mountain i wl make ibut i also liked the idea of bringg more of a disciplid aspecto the lm in itsf. look, when y get to be a director in my lucky situation that i'm in, you don't make yourself normally less comrtable. you make yourselmore comforble. and that can be all wl and good. but maybe you shouldn't be so comfoable. >> rose: you don believe thatt all that you should beore comfortable. >> no, i don't. but it kd of stas happening though and u know, you don't have -- if y didn't finish the scene ere is always manana. i took away manana. >> ros where is it insi of youome sense of the where the brass ring i i guess at the end of the y, the brass ring, is actually funny i usedo be able to answer at question more but the more i accomplisd i'm satisfiewith what i have done so far tt that brass

ring,it's not that it is getting further away i just kd of feel lik i'm kind of doing . i want to keep itup. >> the brass ring is the filmography. the brass ring is a uvre that you c be proud of a everythings of a certain quality that never gs down from that. and i have to say looking at that ltle clip that you ha of my movies. i wa feeling pretty good about myself. but that -- >> mismissteps atll in your judgement. >> not reall in the case of ke say, i mean not as far as writer director. i mean have done -- my side project. >> an that a mtake. >> yeah. >> was it not? >> well, iearned a l from them. >> you said annteresting thing too. you sa if you want to be a writer, one damn gd thing do is to go be some kind of -- go to actin class. >> i agree with that, definitely. >>hat does it give you? >> wl, you know one, it actually, one, especially if you -- iyou want to b a writerctually learning about acting and everything, actually just, itgives you more of an insig to these aracters. like i can do what i talking about. where i can get the

characters talking to ea other and they can just be. and ey come from me. a lot of that comes frome studying actings opposed writing classes. i studied actg classes. also as a director, it ges you a sense of how to talk to an actor. you understand, u are walking a mile i their shoes and youkind of unrstand it. >> rose:ou understand if you have been an acker. >> that is one of the thin that actor-directors have over most otherirectors who are more technicly directeds they speak actor talk. th know how to elit thingsrom an actor d make them comfoable. i mean if you work, i mean look i actlly believe very ch so that if you could make anybody comfortable enough when they're goin to peorm that anybody could be aeally good actor, it really is you can ke them comfortable. ifou could me a -- you knowif you cou make ybody your uncle ernie f you could make him comforble enough on came rack, he would give a good performance. it all about comfort.

>> rose: cis fov in this film, it's like he ha createin his own mind who this character is whicis what a good acker does. and ad does that with his accent and style >> uhuh. >> rose: andhen inhabits th character. th is not some of bein, at's that about then. you know the character. and so youet iide the character. and you make him become real. >> wl, yea, in thease of actually both christoph and brad, eand, it's rit there on the page. it's right there. and they don't have to go and find somebody that they can ptern the character after. they havme. i know this pers. i can explain who they are. and so if they end up living through the war i n explain them what happened to them afterwards. >> can you really? >> very much so. >> you read film critism. you could ma film criticism, that was what you wanted to do. some people -- telle about some of the criticism it is about what are you doi here. >>eah, yeah. >> i mean first of all, you suffer from this idea that

once you make "pulp fictn" everything would be mpared to "pulp ficti". >> i don't consir that a suffering. >> you said to me en i came on f jackie bro, like, younow, your competition is yoursel >> ectly. >> i wouldt have it any otr way. i means thas a great place to be, all right. and you know, then everne is arguing this is better th "pulp fiction", no, this better than "pu fiction", actually "pp fiction" want soood. therare a whole lot of people, the film mment sight and souncrowd ok at my work a say there is jackie bwn and then there is everythin else. >> ros do they really. >> yeah, yeah, jackie brown haswung completely in the other direction when it comes to theoity-toity seriouamerican critic. >> rose: you and are talking about how much we both lov uma thur mann an you thk kill bill is yo best mie. >> defitely my most personal movie. forever when people woul ask me what my favorite film of mine i almost felt like sack relige to say anything but reservoirogs becae it just changed my li. there will nev be that agai you know. ani actually thi it is

kind of a perfect movie for what it is and actually it habeen 17 years so i can say that now without soding like i'm self-aggrandizinmyself it is jt what it is. but i watched kill bill lume 2 just aut a month ago, i thinkaybe spurred on because david rradine dining. i scrned a pnt at my house and watchedt justy myself and that moment it was actually bame my favore movie i've evedone. i actuall enjoyed it so much. and yo know, i was like joking befe about that masterpiece line when it comes to this,ould i like this to be my masterpiece, yes, would like each new movie to be masrpiece. and this one has got a lot behind it but asar as me judging itit would be, i would need atleast three years of distance actually really see whereit would fit in my uvre. >> rose: a coue criticisms. you once were on this program with se critics who had aice interting discussion about film. this is david -- of "the new yorker". inglorious was terdss to

the boring but it is appallingly sensitive. a louisville slugger tothe head of anybodwho has ever ken the nazis, the warr resistce seriously. not that tarantino intended malice to serious people, articulate monsters with a talent f sadism by king th americans cruel t, he escapes the customary division of good and evil ong national lines but he escapes y sense of moral accountability. as welndnd tarantino moe everyone commits a taositielike all the director's work afte jackie own, the movie bemes pu sensation. >> one thing, ok t is hard to talk about that critism about yourselfithout soding defensive. all right. >> rose: defensives okay. >> but the thing about it is you cod actually say that exact same sentence and put positive spin on it and that woulde actually a positive thingall right. because it is aethod i actually do have a thing where i don't- i actually make it a point not to apy morali toy -- i am not

quentin being this moral judge on my characterany more than an acker can really be a moral judge. >> rose: if are you oking for moral lesso don't come to me. >> i actuall think the are refresngly free of them, all rit. the characters are the characrs. now one of the things is on one hand, i've set up this nice little fantasy -- kind of thing of jews turning the tables on nis. and there is aaspect you can have a lot of fun with that. at the same tim like i've always done in myaracters i try to make tt very, very complicat. like for instance there is a sequence early on where you see brad pitt interrogating a naziergeant and t bear jew comes in the, es whate does. >> rose: it was in the trailer. >> exactly. the thing abouit is yeah, there this -- the is this movie kind of moment about it at would be kind of fun. but at the sameime, that gean sergeant under any criteria of bravery in the

face o ene passes the test. and youcan't help butven kind of admire the german sergnt for his not- his knowing he's ing to die. >> he's operating on a code. his n code. >>xactly. >> well, just a cod a code of braffery that would apply to anybody. >> exactly. a military code. >> an even the chacter of frederick zoller. >> ros you create him to be -- >> is that inour mind. >> it just complices the man it doesn't make it so sy to applaud. you can still applaud. there no whimpering. by i way if he was a cringing could cow ard when nnie the bear jew comes it would be easier to have fun at hxpense. >> rose: right. i agree with you. let me read one her thing from the "new york" magazine. the common view, tarantino as a sko gore freak overlooks hisrue gift which is for lodge and fraught and winding dialogues before the coure erupts wching inglorious was ters you might wish the blood would never come. the payoffs are common but e foreplay is kill kerr. en more than his other

genre mashups this is switchback journey through tarantino's twiste inner landscape where cinemand story, sadm and romt vil collide and spli and rebond in bizarre new hybrids. the movie is an ungaiy passtich yet on me backed out level is all of a piece. prete good. >> that was a lot of adjectes. >> ros that is pretty good. i ke that. >> yeah, i like thatoo. >> rose: but you kw what this is as says that someho you are diffent. >> huh-uh huh. >> ros in terms of filmmakers, u wouldn't ve this conversation or ybe you could, with a lot of othereople. i mean i think of me of the people who he been hereecently. >> well, let's jus for instance onef the most talented filmmaks of my genetion is david fcher. alright. but he's not in the same category as because i'm a writer director and that makes a difference. that makes it a differen thing. you know and i think one of th things is you know one

of the this tha've rely don't, at i have been focused on is there is a lot of writer directs at come out and they make, they write andirect one movie, aecretary movie, a third movie, there a real ice there. a real voice but you know what, it's hard work to go to that bnk piecof paper and sta from square one, start from sctch every single l taree time. you are athe bottom o mountverest every tim and everytng you have done before not only does not help but can hg over your head that ia tough row to hoe and you make less movies that way. and its a lotasier to go and look at the scripts th are out there and availabl and you can maybe work wh the writer or do a lite rewritor do that kind of thing and you get more movi made but cuto six years down the line a where is that voice. it's gone away. >> and i proud of the fact with the exception o-- i loving. >> brown but i don't have an inntion of ever doing more novel things. never y never. >> are you not going to adt anybody else's novel.

>> i don'tee that happening right now. becausto mehe glory in wh i do is e fact that it start with a ank piece of paper. you lo at something like inourious sterds if my mother never met my father that would n exist in any way, shape or form. if my moth hermet my father ere would be no inglouous was tes in anyway. it startedith a pen and a piece paper andow i ha a movie. rose: if you weren't bn, because only youould crea it alough there was a mov of that title. >> it is a fun movie but it is not a reme. >>ose: when was it made. >> 1978. >> rose: why did you do that? >> just an artistic stroke. to aually put it under the microscope. >> rose: ask questns about it. >> to describe imeans i might as welnot have done it it is a was keyate esq uch. >> rose: oh ally? >> why did he take the restaurant check andelmer gl it to his paintings who knows. can you imagine evewanting to do from your own pen a

story of real person, a kind of smart,nnovative, different biopick, let's assume it's someone interesting like van gog or picasso or someone like that ere there is a creative force to be reckoned with? well, i'm going to -- i will say exactly how i fee about at and then i will do a little caveat to i. i don't like bio piks at all. i thk it is my least favorite genre. >> why i actually think there hardly anydy whose story from, you know, beginning t end is very interesting to me -- >> coy not disagree with yo more. >> wl, not for a movie. to me they are -- >> so let's ke one example. i mean maybe this is no what we are talking ab let's assume something le patent >> was that a good movie or not good movie. >> it's okay >> what is the closest story of which maybe ty took literary --. >> iill tell you exactly. like for insnce, i will ve you an example.

don't want to do it but it was someing i thought about for a long timement i would t be interested in dointhe lifestory of elvis presley but coy do a y in the life of elvis presley. the day he decided to wal in to sun records and he changed music. now thatould ben interesting movi i'm t interested in mebody his whole life. butoctually cryallize it to the moment. and even the idea that le the end of the movie is him walking into sun records but what happeneto themthat whe day? now havingaid that, there is one-story that i could be interested in doing. and it would probablbe one the last movies i do. my favorite ro in american -- is john browne. >> exact. >> john brownehe is my favorite american wever lived. >> rose: why is that? >> well,ust --. >> rose: becausef what he did. >>eah, you know. >>ose: what happened to him. >> he bacally, you know, heasicallysingle-handedly stted the road to end slavery and the ct that he killed people do it, you know. heecided okay, we start

spilling white blood, th will start getting t idea. >> how many ople -- how ny movies abou been made about john browne. >> not very ma. >> there is one people were talking about about several years ago. there was, you know, raymond maey played hip a a bad y in a couple of movies and he popped up fm herepp there as little part but ain i wouldn' go the drry, sole historical route that is an exciting story abt him and his sons doing tse raids and freeing slaves and stuff. you know, th would be that coulde a te adventur movie. >> rose: you wouldn't have to make it biographica you could ke it simply continue. >> i would make it true but -- >> y wouldn't have to do his entire life. >> i wouldt. i wouldt -- i just don't like that musty thing. to me those movies are just, they are showcasefor kers but they are not really showcases for storytellers or directo. >> where does this love dialogue come from, is sense of, i mn there is a setup. there a set scene. your movies are famous for

sescenes. >> they e very big, the are set-piec driven. >> tre is a set piece that takes place. d soyou s the competitiothrough words of people sitting at a table like this and one is trying to detecwhether this peon is real or authentic and turns out at his a film criting. >> exactly. >> based on -- green, was a cmando in world war ii. i mean it is glancing off the base o him but was an ia. but you know,to give you an example on that. one of the -- that is a scene th is blt around both dialoe but dialogue as a mechanism for suspen. and i remember after i ca out with "pulp fiion" i had twoovies by that time some criti said sometng to theffectf tarantino will never be a master o suspense because his too far in love with minutia, i ought that was a fair enough criticism back then. so now i wt to do aovie where i actuay indulge in

suspse and gi for it. anmy method of it, to use that scene a the oping scenof the movie as an example, it's like there is the scene aboveground and the scene below ground and the scene aboveground is what is gog on d the alogue and them sitting around the table a talkg. underneath it it's like the suspse is a rubberband d i'm just stretching it and setchingnd strehing it to see how far it can stretch. normally in a situaon when you a mov, you try to make your scenes as cpact as possible so the is not air and you dot wear out your welcome wit the audience. but in this method, as long as at rubber band c stretch, the lger the scene can hold,he more suspenseful it is. that scene is more suspenseful at 22 minutes than it would be a8. so you want to stretch iin the rubber band breaks. david carradine. >> uh-huh. >>t is aid that because he was in kill ll, obvusly, you were terribly fond o him. >> oh, ye. >> moved by hi >> vermuch.

>> and had a hard time adjusting, you know. >> yeah, it's like, you know. >> appreciate davi carradine for us. >> i think hwas one of hollood's great, you know, wilden acting geniu. and he tru had a fantastic life. his autobiraphy endless highway is o of the best autobiographys er read. he had a kensian li, even thwhole thing raised by jo carradine and all the stuff he went throug ere is an aspect that wn he died, to m i look att a lile differently than a loof people. i do think it's sad for him. i think it's sador his ved ones. i thk is sad f us who miss him andwon't have him around any more. that guy lived the lif of ve people, man. he put a lointo that life. and heived it his w. and every way shape and form anthat is almost like, i mean he led a kerr o back efer. he died an old man and so i an he went out as f as i'm concerned no regrets

living a good li. it'sot sad for him. 's sad for us. it's sad for uwho know him because he's not around any more. >>h-huh. >> when yo look at your ture, what will be the greatest impedimen to being able to achieve the things that you wt to do? >> are you your own worst enemy orill it be somethg else? i hope t. i think the rudder of my boat i pretty good, you know. and finitely so far so good. and anything, i have learned not to get distcted by side things which are the things that -- my failures. >> rose: tngs of normal life. a little bit. a little bit, aittleit. i mean ok, just fo instance you know, i'm not married. don't have kids. and i've got nothing ainst that and you know about four years ago, you know, within thosfour years, i had a couplef situations tha if they had word out in a different way maybe i would be maied now. maybe i would have kids.

and that would have been fine. but i wouldn't be sitting hear at this tle talking about inglourious bastes. >> rose: i don't uerstand why. why can't you ve kids. >> i wouldn't sitting here right now talng about it. but those little tngs could have made very, very, very different. and truth be told, as much as -- i d haveaby fever r a wile but got over it. and truth be tolte look, i wouldather -- i d't wt anytng to be more important thany movie right now. i don't want th other ing out there that is -- that is more iortant than my movie. i mean i look at it -- the metaor i keep using and it is a whipped met a for is i keep usg mntain climbing met a force. this is my time in le to imb mount everest. and there are other times to hang out in the chalet and other time to you know, mow e lawn. but this is the time to climb unt everest. and i don't intend to clim mountains fover. i want to -- you know, i

don't want to ben old man director. so i intend,who knows what is goingo happe exactly. bui want to retire, want toang up the mega phone at 60. and then that wille my last movie, tt will b my last filmand then i will become a man of letters. then i will write the novel its i want to write. and i will ite cinema bos and even b mor o a -- more of a professor on cinema. >> rose: but right now you don't want to do anything. >> i d't think i can serve two sters right now. >> re: give me the best arment you know forhe power of cinema. >> oh, sh, you know, yo know one of the thingsbout cinema that i just fd very movig, why it is my favote art form, and there are a lot of things, a lot of -- people have much different aesthetics about what it is they like about cine, to me, what gets me is when you go to a mie and you see a certain sequenceand if there

realcinematic powernd cinematic flare, there are these -- there are certain filmmakers o there that you el were touched by god to make movies. and it would be a combination of editing and sound and som-- usually it's like visual iges connected with mic or something. but when ose things work and they really connect, an you know, an example could be the final gun fight sequencen the goo, the bad and the ug, like a sequence i can't ever imine topping, the one sequence i can't ever imagine doinanything that good, is just like you forg to breathe. you are really transported to aifferent place and music doesn't quite do that on its own. and nels don't quite do it and aainting doesn't quite do it. they do it their way bu in cinema, especially if are you in aheatre andou are sharing theexperience with a bunch of other peopl so it this mass thick goin on, it is just truly, tru

thrilling. anthat the movie is mor than tha if there is lot underneath. if there is more there tre and you go outnd youave a pie of pie and coffee and talk aboutt and find there is more to talk about. i mean o of the things that is actually fun is you with somebody a they don't lika movie and you do and you start lking about it. and yet they start digging eper and deeper, you are not really talking about a movie, it doesn't sound like you dot like it you realizing theris a lot the. i love, that is one of the things i like abo film criticism whent is really good is justhe digging de. and just t give you a idea about how th affects me as far as my work thod is concerned, i never dl with subtt when i'm writing. ev, ever, ever. i ep it about the text. i keep it out the scenario because i know there is a lot there. but i don't want to ow it ght now. i don't want to hit that nail hard. i really not about hitting thingsn the head. i'about glancing blows. and i tst that it'sfull. i trust that it's full. and i try to be very you

know -- i'm a very analytical guy. i try to be very unanalytical when it com to both writing and directg. now one of t things that is nice about this process right nois it allows me to be analytil and i start see wag its i've de. >> this process athis table. >> yeah this process at th table this talking abo the movie. d now it done and i have seen it w a few tim. i'm starting to s what the subtext is, i'm starng to sewhat's underneath. >> that is t interesting rt is whether you know at the time what all the subtext is or how it is somehow there and y act necessarily, not necsarily consciously t subconsciously >>hen i went to the sundance workshop to work on a scene from rervoir dogs before i shot it, i shot a scene and then i got together with the resource directors and they go wel have y done your subtext work. i go what's thatnd they go see, yourote it so you think you know everythg but you don't ow erything am you need do-to-doour subtext wor i never thought out that before. so let me give it a shot.

took the keen where mr. white brings in mr. oran to the hospital and mr. orange wants to take hitoy a ho. ems like a obvious scene. i took a piece of paper and say what doe mr. whi want from this scene. and what does mr. onge want fm the scene. and what do i want the audience to take awafrom this scene. now the very bac things from where mr. orange is cong from, i'm dyi and nt to go to the hospital. but ju in writing those words, jt allhis stuff just started pouring out. and at was when i rlized it was a father son story going on. and all these weird coections thathappened ter, just little thgs in the case oeservoir dogs it, say m white keep saying wait until joe gets there,oe is mr. white's version of a fher and all this kind stuff. so i finished it all. writing this subtext thing about th one scene andgi wow there is lot there. at was a very ieresting ercise. now i never need to dohat ever again. i don'want to know these

things. i don't know want to know is a father son story. i want to keep it up top, about the scenario. becae now i knowt's there but i n't want to know it's ther when i'm directing. i don't want to hit tha nail hard. >> rose: great tyou have here >> it's always great to here. i look forward to it every, the writing stage i look rward to cominging to this table and talkin to you u. >> re: quentin tarantino, theilm whichpens on friday, august 21st i inglourious basterds, bra pitt and others. thank you r jning us. see you next time captioning sponsed by roseommunications caioned by mediaccess group at wgbh access.wgbh.org