Additionally an article with discussion and 18 video clips.
Quentin Tarantino makes one hell of a first impression. His debut film Reservoir Dogs begins with his own voice on the soundtrack, delivering a well-thought-out, colorfully profane analysis of the Madonna song “Like a Virgin.” For the next seven minutes, Tarantino — along with his cinematographer Andrzej Sekula and the editor Sally Menke — explore the dynamics of a diner table, populated by well-dressed mob goons, all bullshitting about ’70s pop songs and the pros and cons of tipping waitresses. The Reservoir Dogs intro is funny and cinematically vibrant, and it has the ring of truth. The conversation sounds like what folks really talk about … whether or not they’re about to go rob a bank. Back in 1992, by the time that scene ended, a lot of viewers were eager to follow these characters — and this moviemaker — wherever they might go.
Tarantino is an action-film savant, who after a lifetime of watching kung fu matinees and spaghetti Westerns has absorbed the best ways to orchestrate shootouts, chases, and fight scenes so that they play like the grindhouse’s greatest hits. Tarantino also has the ear of a playwright and can pen pages upon pages of entertaining dialogue and monologues, developing stories and characters through what initially seems like idle chitchat. In all the films he’s written and/or directed (including his latest, Once Upon a Time in Hollywood, which just opened this past weekend), he parcels out plot via set pieces. It’s not uncommon for Tarantino to stick with one conversation or conflict for 10, 15, 20 minutes, or more.
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