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You should upgrade or use an alternative browser. LX rim evnets. Thread starter jneubeck Start date Jan 1, I will use my LX for everyday driving and moderate over landing. Sounds like you’re looking for something more aftermarket looking than OEM wheels? Its going to be subjective, but from a functional and technical standpoint, I would put OZ Rally Raids pretty high up on my canqda. OG quality wheels that have withstood the test of time rather than many of these style first wheels.

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Canada Day Events in Metro Vancouver | The Afro News.LX rim recommendations | IH8MUD Forum

 

Summer is the ideal time for outdoor music festivals. When warm breezes meet bright sunny skies and then turn into clear, starry nights, the music can canada day events in vancouver bc 2019 toyota tundraland magical. The crowd obviously loved her and her canada 2020 canada goose, which included her band and her sister on backup vocals. It was interesting seeing Carpenter in a new light beyond actress.

Jacob Whitesides took the stage next. His career has exploded since we first interviewed him last summer. He has gone from a teenage YouTuber making videos in his bedroom to an emerging musical artist.

Whitesides recently released his sophomore EP containing all original material. After chatting with us canada day events in vancouver bc 2019 toyota tundraland about their career, their fans and their goals, check out pa jobs jobs new interview coming soon internet sensations Jack and Jack — a.

Jack Johnson and Jack Gilinsky — hit the stage to deafening screams. With millions of followers on social media, Jack and Jack have built a following enviable to any performer with a lot more canada day events in vancouver bc 2019 toyota tundraland in the business. Their music was well received by their fans, who bounced and jumped to the music. Quite frankly, I think they would have been thrilled if the two popular boys could have stood there doing just about anything.

Even parents seemed to enjoy usa login page думаю know their music. The group — who play all their own instruments — rocked a mixture of their past music and new songs from their upcoming album.

The all-girl supergroup Fifth Harmony was by far the hottest act of the night! As always, the girls of 5H gave their all to their set with an energetic performance. By the time that Shawn Mendes walked on stage to close out the night, you could probably hear the screams and shrieks two states over. Having interviewed Shawn twice in the past year, we know he is talented, sweet and generally shy seeming, nice guy.

However it was really awesome to see what an amazing performer he is growing into and the way his voice and performance skills have grown. His maturation as an artist was apparent in many ways, including the one-on-one interaction with his fans. All and all, the promoters should be happy with the Show of the Читать далее and its lineup, performances and response from the fans. These experiences make the concert hours longer, but so much more special for the fans.

All rights reserved. Posted: July 1, Moritz, Jr. It should arouse a demand ссылка на страницу it to canada day events in vancouver bc 2019 toyota tundraland extended here and beyond New York. It debuted on NBC to incredible success and ratings remained high for two seasons.

Then Micky and the band starred in their own feature film, Heada psychedelic romp co-written by a young Jack Nicholson, which became a cult classic. Ultimately, The Monkees sold over 65 million records, toured the US and much of the world many times. Dolenz has also starred in musicals on Broadway, the West End, canada day events in vancouver bc 2019 toyota tundraland in national tours. After all this, the eternal Monkee has the endurance to not only survive being a rock star — a mega-pop star at a time when excess canada day events in vancouver bc 2019 toyota tundraland self-destruction was the norm — but proven to be an incredible multi-hyphenate in ways that few singers or actors rarely are.

The veteran Californian has had a comprehensive career encompassing not only a range of musical styles, but creative activities as including directing, writing, producing, and a bit of design and furniture making as well.

Of course being best known as a Monkee — transforming the faux band into a crack quartet capable of world tours performed canada day events in vancouver bc 2019 toyota tundraland well as the studio musicians who initially backed them on their songs — raises all sorts of good questions.

If all these digital tools had been available to you when you did the band, how different would it have made things? Are you glad that you came out of a world that had that sort of naive experience of rock and roll? My first tape recorder was mono. I remember when stereo came along, and the first stereo albums [came out]. It was a sound effects kind of album, and it had a train going from left to right.

So the recording process was much more difficult [then] than it is today. It was expensive. It took a long time.

You had to do all перейти work before you got to the session. Denny [Tedesco], the guy that made it, his father was Tommy Tedesco, по ссылке guitar player. I am so glad they finally got the recognition that they deserve.

Because everybody, as you probably have heard by now, used the Wrecking Crew — the Жмите, the Beach Boys, the Mamas canada day events in vancouver bc 2019 toyota tundraland the Papas, the Association — everybody. Playing live, and playing in a very, very — as I said — expensive, now rather primitive environment, was a very different gig. They could keep the dynamics the same. They could read the charts and just knock it out in one or two takes.

These people also never went on stage. They never played live, except for, I guess, Glen Campbell, who is the only one I can think of. Oh, no. They were not performers. They sat there like this [demonstrates] and played.

They read the docs and played. The Monkees story is so unique. In those days they would create a manufactured band, but the people were interchangeable. Here was a created band that actually became an organic whole; no страница ever thought was possible. Mike Nesmith used to say it was like Pinocchio becoming a real little boy. Well, at the time, nothing like that had happened. Now, of course, you have it happen frequently. I think the closest thing that has come along in years is Glee.

They go on and perform, but it was a TV show about an imaginary glee club. And The Monkees was a TV show about an imaginary band.

You guys got to contribute and take it even further because you actually put your own wacky personalities to work in it. Would you want to have a movie like this made?

Well, there actually have been a couple of little things, television things. VH1 did one years ago called Daydream Believer. Not bad, not a bad film. There has been talk about it. You know, I am so close to it. You had that group with Davy Jones and have toured with Peter Tork…. In this current show, you revisit your own personal history and reflect on it with this musical expression. What ссылка на продолжение to doing it? I was asked. We met a couple of years ago.

He is from Connecticut and he was doing a benefit for Sandy Hook, for the kids. He got in touch with me and knew I had done some Broadway stuff. I did the benefit for him, sang a few songs. It intrigued me. I said I could really be into that. I had been doing a lot of theater, and of course I had had all those hits. It took us about a year to pull it together, just to get the dates from 54 Below.

He has lots of musicians that he works with, and these are, I think, [the] core people. So we waited until 54 Below came up with three dates, and here we are. Simple as that. It was brilliant that you invited people to your rehearsal the other night, having an audience there. Did that help you in certain ways? It was my idea. I could not have gone onstage cold usajobs online resume buildertrend login gmail never having sung these songs [before an audience].

Not the Monkee songs, because all the Monkee songs and those stories I have done a million times. It was the half-a-dozen [or so] Broadway tunes, most canada day events in vancouver bc 2019 toyota tundraland which I had never sung before in front of an audience, ever. No, I would say out of all those Broadway tunes, there is only one that I have sung. But no, I have never sung them before an audience before, or told any stories about them in front of an audience.

I told some of them in front of my family, but I have never sung any of those songs in front of [strangers]. Obviously, it was very effective. It has a complete freshness. I loved you singing your mother singing Billie Holliday — that was great. You talk about being a canada day events in vancouver bc 2019 toyota tundraland person and a private person.

 

Canada day events in vancouver bc 2019 toyota tundraland

 

We pretty much went straight to the theaters and then the arenas. Chicago is an interesting one, it did grow there very quickly. The Bears are a religion. I was reading that you are a collector of historical artifacts, and I was wondering, first of all, how did you get involved with that? Also, how does your passion for history inform Letters from the Labyrinth? Well said. I started collecting in the seventies when I was working for Aerosmith.

We have quite a collection. I have every letter from Thomas Edison to his tool-and-dye guy about how to build the first record player, and how to build the first record.

Back then, if you lost, they cut off your head and stuck it on a spike. To have all these artifacts from history, especially western civilization, it gives you an interesting perspective. You see a reflection of a lot of it actually on the album. But what does it mean? Who is going to care who Julius Caesar was in two thousand years? The reason we picked Letters from the Labyrinth , is the Labyrinth is on the island of Crete, built by the Minoans and Mycenaens, two civilizations that were previous to the Greek city states.

The Minotaur was in the middle of this maze, so I think every one of these songs that is going to make a journey will send a message home. Letters tend to get lost in the mail. They sometimes go by different routes. When people discovered the Labyrinth, that was buried for thousands of years under ruins on Crete, it was filled with all kinds of messages from the past. The Terra Cotta warriors, which were buried for over two thousand years, were just recently discovered in China.

There are all these little time capsules that give us hints to what our ancestors were trying to do, so we can see what they did wrong and we can see what they did right. On one of our tour programs from a couple years ago, in Latin, one of the mottoes is, the future can be rewritten.

You can look at the past and try to figure out what you should do now that will make the future better. Human beings, we are what we remember. Civilizations are the same thing. We are what we remember. From the s and the 40s, they were fighting the Great Depression, Nazism, Warlord-ism, and they defeated it.

The next couple of generations forget that evil can be unbelievably patient. It will rise again, so good has to be ever vigilant. The only way that can happen is if we all work together. We have to realize, the bottom line is that we are all in this together. Not to get really off the subject, but I really believe humanity is at a turning point.

Because of computers, humanity has changed and learned more in the last twenty years than it has in the last two thousand. Especially about right and wrong. She was cyber-bullied also and moved to another city. She tried to kill herself. The other kids, instead of wrapping themselves around her, or protecting her, they continued to bully her.

A huge crowd of them beat her up, left her beat up outside the building. You can use the arts to change how people view certain things, and whether certain things are acceptable. To me, bullying, of any sort, but especially with kids, is unacceptable, on any level. It kind of romanticizes it.

You have to understand bullying is a part of life. I know that people everywhere dig the TSO, and at Christmas time you take on an extra special meaning for a lot of people. Just what do you guys do to make sure that the people coming to your shows are seeing some different wrinkles in the TSO arsenal? Not only have we had a constant inflow of new and young talent that has been developed over the years, but our crew is beyond belief great.

Also, one of the reasons I tend to like the over-the-top production, is it breaks down the wall between the band and the audience. It makes it all one. I would love to say that it was part of our plan to write these three rock operas and that they would be humongously successful during the holiday season and we would take them out every November [and] December, but honestly, we were completely blindsided by the success of the Christmas trilogy.

Tchaikovsky was also blindsided by the success of The Nutcracker. He looked at it as just another ballet like Sleeping Beauty , or Swan Lake , and never dreamt that it would be as inter-woven into the holidays as it did become.

The little bit of a problem is that it throws off the natural rock rhythm. Writing is one mindset, you go into a zone and you write no matter how long it takes to create the album. The recording is a whole other different mindset. Touring is third mindset. Because of the success of the trilogy, no matter what is going on, when October rolls around, you shut down the studios, you shut everything else down.

Everybody heads off to an arena and we just start to put together these humongous, Pink Floyd, humongous productions. The insanity of it all, normally, when you build something this big, you tour for at least two years so you can amortize the cost of it. We like the comfort of the familiar, but we like the excitement of something new and different.

Every year we feel the pressure to do that. They escaped and they feel emotions they never felt before. They leave that building recharged. Our biggest fear right now is that we never drop the ball. Being a student of history, obviously, music has been a part of the world for thousands of years. What do you hope for the future, and how can we balance the technology and keep the history of music moving forward? Great question. Hence, the term, music soothes the savage breast, which has changed over the years to, music soothes the savage beast.

That melody just relaxes people. The great thing about music is it crosses generations, centuries, effortlessly.

I got to see it with a full symphony, and a sixty-piece choir, and it totally blew my mind. The audience, for a lack of a better word, was richer, upper crust blue-bloods in Europe.

This song was amazing. Vitalij is just a character. One was chess. The other was ballet. The other was piano playing. That I could do. After the last European tour, he went home and when he came back and told me the destruction going on over there, it really, really bothered me.

We decided to write a symphonic piece and put a story around it. I wanted it to be pro-humanity. I remember that the very first capital of Russia, basically, was Kiev, or it was right outside of it, and the very first king of Russia was Rurik. They basically ruled Russia all the way up to the Romanovs who ruled the last years. Rurik united all the Slavic tribes that were all killing each other, and started Russia on its way to being a great nation. He ends up going to Maidan Square.

He goes into the building where he sees a sniper just shooting anyone who steps forward in the streets. There will always be another Hitler. There will always be another Stalin. The problem is envy and hate. Is my neighbor stealing from me? Is my neighbor this? Is my neighbor that? Obviously, the same is true in the Middle East. I think the arts have a responsibility. The minute Napoleon crowned himself Emperor, he crossed out that dedication. Too many things are going on right now that are wrong.

If it backfires, so it does. Let me take this opportunity to thank you for giving us metal heads some great music to listen to at Christmas time. How do you feel about bringing this unique hybrid to all ages, all background audience and associating that music with Christmas time?

For some reason, rock never was able to turn something into the whole Christmas lexicon. Every century only passes on to the next century what it considers the very best. Again, I would like to say we planned it. I was always fascinated by Christmas, its power.

People give their neighbor, even strangers, the benefit of the doubt. Christmas Eve and Other Stories is basically how it has the same effect on human beings all around the world.

Be it Europe, be it Asia, be it America. The Lost Christmas Eve is basically about a father who abandons his child. We just feel an unbelievable obligation just not to drop the ball. To keep this thing going. More importantly, live music will continue to grow. The first time I was in Berlin, it was in the 70s, and a young man was shot trying to get over the wall. I will never forget that.

There was no moving it. No one foresaw it coming down, and especially coming down without a shot and overnight.

She joined in on it. There was a group of young people that were constantly keeping the pressure up for freedom and bringing down that wall. All acted together, these handful of individuals saw this opportunity, grabbed it, and, bam! The magic of the collapse of the Berlin Wall, the end of the Cold War, was again, that it happened without a war, without a battle. It just shows what can happen when people work together.

Everything is based on trust. Humanity, again I say the arts are the alpha omega, the thing underpinning the arts is trust. Anything humans can imagine, humans can do. Both for the good and for the negative.

Trust has been broken down. Their bank accounts are empty, but the people that ran their bank accounts are now billionaires. Public servants are supposed to serve the public, but the word has been flipped around where the public serves them.

Alexander Hamilton, our first Secretary of Treasury, died a pauper. Too many people now believe that people go into government to enrich themselves. Again, I have a great belief in humanity and the people, as did Lincoln, sometimes the ship of state will tilt a little too much to the left or right, but eventually we will again all pull together.

Progress will be made. I know right now a lot of people are hurting, especially this time of year. We are going through a rough time right now. Jon Oliva came up with this great Zeppelin meets Aerosmith riff, and I came up with the melody. Night is where the fringes of society can feel safe. When I was younger. At night you would see the winos, the schizophrenics, the drug addicts. They would come out because they felt safety there. We had a blast with that song.

Kayla Reeves, who sings it, really put a lot of emotion in it. Kayla, as some of you know, joined TSO when she was seventeen. We got her out of the foster care system in Texas. Where the heck did that go by?

But she puts an emotional bite and passion to that song, where you believe every word she says. I really do love that tune. Posted: November 13, As do the lives of most people. Love is one of those things you never get too old for…. Your heart never grows old and our show is about love. I think moreover relationships are hard. Whether you are 18 or 45, dating is a very real part of life and every character of the show explores the emotional roller coaster that comes with those relationships.

In particular, the women of the show have more than just themselves to consider when it comes to their love lives. Between children, careers, and close friends, Zadegan explains how it is important for them all to obtain healthy relationships — not only with your significant other, but your friends as well.

Not just who you are dating. They have become some of my favorite actresses and we really have a good time working with one another.

At the end of last season, the audience watches the previously commitment-phobic Delia became more open to the traditional idea of marriage as she becomes engaged to a previous client. Growing up with her parents not together and looking after her father, Delia has grown to be an independent woman who has never had to rely on anyone other than herself and she takes pride in that. In the face of adversity, she made a beautiful life for herself. She wrestles with the question of marriage. With the season two premiere finally here, fans can expect to the show to pick up right where it left off.

Zadegan explains that last season, the girls were learning to put their past behind them and making the choice to start fresh. I love the show that we were doing. Posted: November 25, Hosted by Nick Cannon, it is a great event highlighting teens who give back to their community. Catch the awards on television November 29th, ! Photos courtesy of Getty images and Roula Khaldi of Popentertainment. Video Edited by Sami Speiss of Popentertainment. The writer and director has been well-known for his hyper-intelligent dialogue and rampant violence since the release of his debut film Reservoir Dogs.

Since then, the former video store clerk and self-proclaimed film geek has put together an acclaimed and eclectic body of work which includes Pulp Fiction , Jackie Brown, Kill Bill, Death Proof, Inglourious Basterds and Django Unchained.

Hot on the heels of Django Unchained well, three years later, but that is a normal turnaround time for a Tarantino film , the director has decided to do his second straight old-school western film.

However, The Hateful Eight is very different in content and style than the colorful and flashily-violent Django. Instead, Hateful is almost like an old parlor mystery transferred to the rugged old west.

Jackson , all of whom have mysterious backgrounds and agendas. It leads to an intense standoff between characters, with bloody consequences. Tarantino, who is a huge proponent of film over digital technology, also has decided to film The Hateful Eight in 70mm.

Quentin Tarantino: Thanks for coming out everybody! That traffic was hell. Quentin Tarantino: The road show opens on December 25th. The Weinsteins ed. Just to put it in perspective, Warner Brothers threw their entire weight behind Christopher Nolan when he did Interstellar. Nevertheless they only played in about 11 venues in the course of his 70mm run. We are playing in 44 markets in theaters with our road show. Not only that, they literally are some of the biggest, nicest movie palaces still left.

All the places that have 70mm capabilities, we utilize them. Other places we just moved the screens in and created it.

I remember talking about it when we first had a discussion. It was like: Look, we should be like Neil Diamond coming into town. Or we should be like Book of Mormon. We go into big venues. It has been a Herculean effort and they pulled it off.

The advanced tickets go on sale today. It is a hell of a night or afternoon at the movies. So talk to me a little about…. Quentin Tarantino: One thing I want to show actually before we move off of that. The road shows had an overture.

They had an intermission. They were a little longer. Ours is about seven minutes longer, just for the road show version. You also get — and we just got them hot off the presses today — this really cool program. Holds up a program. They all come with their own little pin up, ready for your locker, with the different Hateful Eight people on it. You get that.

Clearly Django operated in that genre. Was this born out of your experience on Django? Did that experience form this one? Do you see them as linked? Quentin Tarantino: Yeah, almost like these two characters, there is a chain that connects Django to this one. I guess I am in a bit of a Western period right now. Like, say, shooting the big martial arts scenes in Kill Bill. You learn how to do it. I learn on the job. I figure it out. Same thing with the car chase in Death Proof.

One of the things I had to say in this regards was a dealing with race in America, which actually a lot of westerns had avoided for such a long time. I think I had more to say. There was also something else about Django, too. As fun as Django was, it was this downer sword of Damocles hanging over the whole thing that you always had to deal with. You had to deal with it in a responsible way. There was actually an aspect of The Hateful Eight, even though I deal with similar issues, I could just let it rip.

Just do my western without having this History with a capital H hanging over the whole piece. For Kurt and Jennifer, your characters are linked, sometimes physically by chain, for extended periods of time. Can you talk about the pros and cons, the challenges of that kind of working relationship?

Everything that we did was formed by how that chain was dealt with. So we had to learn to get the Fred and Ginger that held them together. So for me there was John Ruth and for Jennifer there was Domergue.

Together we were going to be this team. The Stockholm syndrome is going to set up pretty fast. And it did. The fact is that over a five month period of time, the Stockholm syndrome between Jennifer and I set up and it informed everything that we did.

Is it all on the page or are the influences that Quentin mentioned or that you found helpful for your approach at this character? Jennifer Jason Leigh: So much of it obviously is on the page, because you are dealing with such a great script and such a great character. With Daisy there is a lot that is mercurial and we had to find. We wanted to find it together. The chain. The hits. What mileage she can get from that.

Then she has to re-judge him, just like everyone else in the movie. Everyone in the movie is terrible and hateful. Everyone in the movie you also care for. They have their weaknesses, the good part of them in a certain way. That was so exciting as an actress, to not know that was coming.

To read it on the page and yet when I felt it happen in the room, I swear my blood went cold. It was just a phenomenal experience. Kurt Russell: I just want to say one other thing. I own it. We had to have a balance. Among the actors here, a lot of your characters are equal parts charming, ruthless and despicable. Do you all consider yourselves the hero in a weird way of this story? Michael Madsen: I read a biography of James Cagney. Tim Roth: The man is the same.

Yeah, I was around at the very beginning. Then I had this huge break from working with him. So I did get to see in a highly impactful way how his world has changed, how the set has changed. For example, there was always a policy about music playing between set ups. That serves the atmosphere that exists on this set. I had seen that. So I saw a big difference. That was very exciting. Tim and Michael had both made a lot of movies by that time.

I was just getting through the process. I remember the first time we had this table reading. You always want to be able to one day say a Tarantino line in a film, right? So I was very, very happy and excited about it.

Then to listen to every single line in the mouths and bodies of all these fantastic actors, that was beautiful. I remember that first reading that we had at this hotel back in Los Angeles, going back home and telling my girl: Everyone is so damn fucking nice. Because a small fish can be lost in a big ocean unless they embrace you, unless they treat you well.

The first thing that made me very happy when I actually met Quentin was to find a warm man. A very generous, loving man.

The whole thing has been a confirmation of what I thought always, the biggest artists are nicest. For you Mr.

What are the connections that you see between Mr. Tarantino and those? Bruce Dern: I have been very lucky in my career. The other thing he does is he gives you an opportunity as an actor — and everybody behind the camera as well — a chance to get better. Everyone laughs. I had that with Mr. Hitchcock for a few days. I felt it everyday with Quentin. Everybody laughs. No, why? Why would you mess with perfection? We can say that, because it is. It really is perfect, the way that it comes out of his imagination.

There is a group calling for a boycott of this movie. Is there anything you can say to put their mind at rest? I really do. I intend to go maybe further with that as time goes on. Nevertheless, I think you can actually decry police brutality and still understand that there is good work that the police do. What I said is what I said. You can actually look it up and read it. Not walking back at all, just a little bit more clarification.

I still stand by what I say. Actually, the third western could be a TV thing. I get them and I lose them and I get them and I lose them. I actually think if you want to call yourself a western director today, you need to do at least three westerns.

I would really like to do Forty Lashes Less One as a mini series. Like hour episodes. It deals with race. It all takes place in Yuma Territorial Prison. Tim Roth: I think just the duplicitous nature of the character.

Where did you come up with the idea of doing a closed country house murder mystery as a western? Quentin Tarantino: I just thought it would be a good idea for the story. I thought it would be very interesting. One, the story just kind of lent itself to it at a certain point. Also, frankly, it was just I like mysteries. As I was going, I just dealt with everything as it went. I wanted to be as in the dark about them as the audience would be — and as the characters in the stagecoach would be — and just have the reveal themselves to me little by little by little.

Then by introducing that mystery aspect, I just thought that would be a lot of fun. Since this has been such a love fest, can you talk about how you developed the animus among you actors? What did you do to up the tension and anger and nastiness? This was the case of Reservoir Dogs, too. After hearing people talk about it, I kind of figured it out.

Like, in particular, the basement scene of Inglourious Basterds. I believe that suspense can be like a rubber band. You just keep stretching that rubber band. Using the basement scene as an example, that best scene could be a five minute scene, or a six minute scene or a seven minute scene and that would be good.

That is just hanging over the movie and hanging over the characters. Kurt Russell: John Ruth carries that ball. I think the most extreme example of it actor-to-actor is in all honesty when I am going to walk over and talk to Michael Madsen. Michael is a fantastic energy. Not anymore. That was challenging for me. It was my first experience in a long, long time to relish working with actors that all I had to do was talk to them.

When you start pulling for another actor, like: Come on, man, come on, bring it. You could just go hold your own and go do your thing. That was exciting as hell. That was awesome to do that with every character and every actor in this. These guys are great. Quentin Tarantino: That was one of those things.

We did a three-day rehearsal before we did that script reading. I wrote John Ruth for Kurt. I wrote Joe Gage for Mike. The first time they got to that scene and we read that scene, it was just like: Oh, woah! Snake Plissken is challenging Mr. Holy shit!

The man obviously has a magnet. My main reason why is his reverence for what went before. His respect for the industry is just mind boggling and he means it. If you dare question him, he will put you in your place and tell you facts about stuff you never even knew was made. That was a delight for me.

Kurt Russell: To speak as well just really quickly, Quentin also visually takes you through an experience as an actor. The sequence of shots that comes out of his imagination, it allows for this strange kind of adjustment. It could go anywhere. One experience for me in particular was the dining room table. Then with Tim, with Oswaldo. Then something happens in the movie and he comes back. He sits down at the table. But what Quentin had me do was just so fucking cool. There was a bowl here.

I come back. I pick up the bowl. I just take it without any explanation, no commentary and sit down at the end. I had no idea he was going to do that. It just happened for everybody at the table except for him. That was just Quentin you know. Quentin Tarantino: It was a dream. It was a dream. We had made overtures towards working with each other the last couple of movies, in particular Inglourious Basterds and Django. They never quite worked out per se , because of the timing and schedules.

With this movie, I just had a little voice. I had a little voice in my ear that said this movie deserves its own score. I think that those are right for them. But in this one I just had this little voice.

This material deserves its own theme, its own piece of music that is its own personality. He was very interested and so I took the first step. The first step was actually just translating the script into Italian and sending it to him.

We sent it to him and he read it, and his wife read it, and his son read it. They all liked it. His wife really liked it. I think that went a long way. Then we got together. We were there talking about it and I go: So what is it you see, or hear? But it also is ominous sounding and suggests the violence that will come. Just the theme and that was it.

I think he sat down and just got inspired. He just scored to this script. He wrote a couple of pieces of music that he thought could be really good for the material itself, but not scene specific.

About three suites like that, and then some other music that he thought I could use for emotions. It ended up being a very, very lovely encounter.

I kind of cherish it actually. Not kind of cherish it, I do cherish it. You mentioned a live read earlier. Did you alter anything based on that?

Quentin Tarantino: We altered a lot, because it was only the first draft. One of the things about the movie is I wanted to do three different drafts of the film. This live read was just from the first draft. Which was different from what I normally do. Normally, I write these big, long, unwieldy novels. You know more about the characters than you ever could before you start writing. By that point, the characters have just taken it, so they always dictate the ending, to me.

Like at the end of Kill Bill, I thought it was very possible she would kill Bill. This one I wanted to do differently. I wanted to spend time with the material.

More time than I normally spend — i. I wanted to even go through the process of telling the story three different times. Just to give you an example, in the first draft, the Lincoln letter — which is a motif that plays out through the film — was only dealt with once.

It was in the stagecoach. I could find it on my own. Then in the second draft, it appeared at that dinner table scene. In the third draft, it appears later. Not by just the first draft. Just emotionally, not in a tricky pros way, just in an emotional way, so I could really get to know her. Then after I felt I knew her, I could do what I needed to do to her in the third draft. Some critics are calling The Hateful Eight a horror film. Do you agree with that?

Quentin Tarantino: It was really interesting. There are definitely horrible moments in it to be sure, but it was surprising how it was a theme in France. That actually does to some degree or another play into it. Now that actually makes sense, because this movie is very influenced by Reservoir Dogs and that was influenced by The Thing. Nobody can trust anybody. But the biggest influence when it came to that was the effect that The Thing had on me the very first time I saw it in a movie theater, on opening night.

I think that was actually the first time I could break [a movie] down in a more critical way. The effect of a film — i. It was trapped in such an enclosed space.

The paranoia just started bouncing off the walls, until it had nowhere else to go but through the fourth wall and into the audience. That was the effect I was going for with The Hateful Eight, to have that kind of feeling. Quentin Tarantino: Oh absolutely. I was figuring it was going to be dark.

Giallos are usually mysteries. Jennifer, in terms of building up violence and tensions, you mentioned a little bit before about playing a character who had several dimensions to it.

Where did you find your sympathy with her? Was it just that she dealt with rough, hateful men her whole life? Jennifer Jason Leigh: No, actually…. I think she has a very good heart. I think she has a big heart and a good heart. I do feel that about her, I mean as crazy and wicked evil [as she may be]… Everyone else laughs, disagreeing. You absolutely see these murders. They do it for her. So there is that dichotomy in every character and every situation that happens.

There also is on the other hand. You might think the other hand is bullshit and not worth it, but there is another hand. Quentin Tarantino: Where I was coming from when I actually wrote her, things evolve as she goes on, but to me she was like a Manson girl out west.

My starting off point was Susan Atkins. Quentin Tarantino: Not really. This is just that in title, not execution. Have you thought about doing horror? I thought Death Proof was something of a horror film. Death Proof is my little deconstruction on the slasher film genre, so absolutely. I just like breaking them up a little bit. I like going up and down and up and down.

I think that may take away from the horror. The guys with Tommy guns and stuff. That would be cool. Just quickly about the 70mm. The format is glorious and you can see immediately how it changes the views from the outside. What challenges were there maximizing the inside shooting in the smaller set? With somebody like [cinematographer] Bob Richardson, who lights it fairly well, I love the compositions. People like that.

I noticed that when you watch those episodes, if Robert Culp was a guest star, the story was about him. Doug McClure knew him and was helping him, but the same thing kept happening. Claude Akins, all of them. When it was a special guest star, they were always strangers. They came into town. You never really knew who they were.

Some past about them was revealed at some point in time, and how true or not true it was, you had to watch the whole episode to find out. Oftentimes you never knew if they were a bad guy or a good guy until the end of the episode. A little part of me thought, those are really interesting characters, what if I took eight characters like that and trapped them in a room? No good guy, no hero, no moral center that the audience could move towards. Just let those characters hash it out.

That actually was the starting point. Also, with the idea of shooting 70mm, the mountains, the blizzard, the snow and especially that stagecoach moving through it would give it a big visual look.

To me, the blizzard is like a monster in a monster movie. Also, if you were casting this movie 15 years ago, would his character have been quite as large?

How would that dynamic be different, if you think it would be different? Jackson, you just gave birth to a two-pound baby actor. But his stature has risen and his persona has become bigger and bigger and bigger. I love him because nobody says my dialogue quite like the way Sam Jackson does.

He gets that across in it. Also, both me and Sam are huge Lee Van Cleef fans, so there definitely is this tip of the bat wings to Lee Van Cleef in his characterization.

Even the way we did the look. I thought, especially using that Virginian idea that I was talking about, I speculated if I was doing this movie in , who would I cast as some of the different characters? I could see some of them. I could see Claude Akins as John Ruth. I could see Bruce Dern as Chris Mannix. I could also see Bruce Dern as Jody to tell you the truth.

Vic Morrow as Jody, I think he would be terrific. I could see Robert Culp as Joe Gage. What was your thought process with the Jack White song and selecting the contemporary songs? Quentin Tarantino: Well something about that song.

I had another song in mind all through the shooting, but this was literally a song that somebody gave me on a mix tape back at the time that I was doing Kill Bill. All of a sudden it just hit me. I started playing it and I really liked it. It fits in. But I also like that fact that it actually played like an interior monologue of Daisy. I remember when you wrote Inglourious Basterds, you started way before it came out.

And you wrote this really, really, really long thing that became different. Would you ever release the original version that you wrote back in the 90s? Quentin Tarantino: Yeah, well we published Inglourious Basterds. The thing is though, the huge stuff that I took out would make its own movie. It followed a bunch of black troops that were court-martialed. They were going to be hung. They were in France and they were going to be hung in London.

They escaped and their whole thing was trying to get to Switzerland. They ended up getting caught in an adventure. They meet the Basterds and everything. I ended up taking all that out. So I could still do that. They were called The Killer Crows. I would still need to end it and relook at the whole thing again, but that could happen. Did the film turn out ultimately how you envisioned when you started months or years prior to shooting?

Quentin Tarantino: Yeah, the answer is absolutely, but also the movie needs to become the movie. You need to make it. They all pull it together. Search forums. Log in. Install the app. Change style. Contact us. Close Menu. JavaScript is disabled.

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