How Quentin Tarantino Steals From Other Movies

How Quentin Tarantino Steals From Other Movies


♪ Smoking cigarettes and
watching “Captain Kangaroo” ♪ ♪ Tell me I’ve nothing to do ♪ ♪ It’s good to see you I must
go I know I look a fright ♪ – Mother f- Narrator: You don’t
have to be a movie buff. Maybe you don’t even
like movies that much. But everyone has heard of
the name Quentin Tarantino. He is, without a doubt, one of the most celebrated
directors of our time, with each of his eight iconic works making a profound impact
on the history of cinema and inspiring generations of filmmakers with a vastly new style
and approach to filmmaking that can only be described
as Tarantino-esque, which, by the way, is
now an official entry in the Oxford English Dictionary. So, what makes the films of
Quentin Tarantino so special? Many often cite his razor-sharp dialogue. – You gonna bark all day, little doggy? Or are you gonna bite? Narrator: The often graphic,
yet stylized, violence. Or his use of nonlinear
narrative structure. But what truly sets him apart
from every other filmmaker is the way in which he
steals from other movies. And that’s not just a figure of speech. In a 1994 interview with Empire magazine, Tarantino said, “I steal from
every single movie ever made.” Tarantino’s visual references to movies have become his trademark. Some of these references
are merely hinted at. – The D is silent. – I know. Narrator: While others are
almost identical replications. For this reason, he’s been the center of
controversy for many years. For example, in 1997, his
debut film, “Reservoir Dogs,” was under heavy scrutiny after a critic accused Tarantino of plagiarizing the 1987 Hong Kong crime
film “City on Fire.” The final 20 minutes of “City on Fire” is essentially identical to
the plot of “Reservoir Dogs,” and there are shots and
moments scattered throughout that directly resemble each other. Including this famous
Mexican-standoff sequence. (shouting in a foreign language) But it’s not just in this film. Almost all of Tarantino’s eight films have a main source of inspiration. For “Jackie Brown,” it was
the 1974 film “Foxy Brown.” For “Kill Bill,” the 1973
Japanese film “Lady Snowblood.” And his “Inglourious Basterds”
is, in a lot of ways, similar to the 1967 war
film “The Dirty Dozen.” And on top of that, each film
has more visual references to at least another dozen movies. Many consider these similarities homages, a practice as long as the
history of cinema itself, a way for Tarantino to pay respect to the movies he loves. But Tarantino explicitly denies this. In the same interview, he goes on to say, “Great artists steal. They don’t do homages.” It’s a quote that closely
resembles words attributed to another famous artist: Pablo Picasso, who’s often quoted as having said, “Good artists copy, and great artists steal.” To understand why and
how Tarantino steals, it’s important to
understand his background. Tarantino’s career in film
didn’t start in a classroom or even a movie set, but a video store, where he worked as a clerk
and gained a reputation for his almost encyclopedic
knowledge of cinema. In other words, Tarantino was never
taught how to make a film. Instead, he learned how to
make films by watching them, which makes it natural that imitation became his main source
of inspiration and style. In fact, if you take a look at most of Tarantino’s screenplays, they begin with a list of filmmakers whom the stories were
inspired by and dedicated to. I think the reason why
Tarantino is so proud to admit that he is stealing is because he accomplishes
something with it that no other filmmaker
is quite capable of: creating something new. And as paradoxical as it may sound, Tarantino’s movies have a
sense of originality to them, despite their many sources of inspiration. This is why Tarantino is often hailed as one of the quintessential
filmmakers of postmodernism. Postmodernism in film describes an era when filmmakers began questioning the ways in which mainstream
movies are made and told and began making movies that
went directly against it. One of the central tenets of postmodernism is the idea that nothing is new in art; everything is recycled and
reused over and over again. “Reservoir Dogs” might have
stolen the Mexican standoff from “City on Fire,” but
“City on Fire” also stole it from the 1966 film “The
Good, the Bad and the Ugly.” And “Pulp Fiction” is no exception; it’s chock-full of references
to classical movies, especially movies from the
French New Wave movement, one of the most influential movements in the history of cinema, in which young filmmakers
also tried to challenge the traditional method of filmmaking. Its famous dancing sequence
was inspired by this sequence from the 1964 film “Band of Outsiders.” And the choreography
closely resembles this scene from the 1963 film “8 1/2.” But that’s not the only
source it steals from. John Travolta’s dance was inspired by this scene from 1966
adaptation of “Batman,” while Uma Thurman’s dancing resembles that of a cat in the 1970 animated
film “The Aristocats.” And throughout the rest
of the film as well. The mysterious suitcase that
carries the plot of the film is a replication from
the 1955 American film “Kiss Me Deadly.” And, of course, this scene was inspired by Alfred Hitchcock’s “Psycho.” What makes Tarantino so special is that he never steals from one source. He rather steals from multiple
sources spanning decades and then stitches them together
to create something new. It’s a technique known as pastiche, a vital element in postmodernism. Most people are more
familiar with this technique through another medium: music, and especially in the hip-hop genre, where artists use sampling to take part of an existing song to create something new. ♪ You said you’d care for care for me ♪ ♪ Said you’d be there for me ♪ ♪ Care for me ♪ ♪ I know you care for me ♪ ♪ There for me there for me ♪ ♪ Said you’d be there for me ♪ And just like Tarantino, it’s been the subject of
controversy many times. Tarantino’s pastiche works so
well because of two reasons. One is his understanding of
the subject he’s stealing from. More often than not, homages in movies are a shallow and vain attempt at imitating an iconic moment, and they rarely serve a purpose. But Tarantino’s references
are often seamless and easy to miss because
they enhance the scenes and the genre he experiments with. And if you take a look
at Tarantino’s career, each of his eight films is a tribute to a specific genre
and movement in cinema. “Reservoir Dogs” is a pastiche of the gritty Hong Kong crime
films, and “Pulp Fiction” is based on the unconventional
French New Wave movement. “Jackie Brown” basis itself off the ’70s’ controversial
blaxploitation films, while “Kill Bill” is
reminiscent of the classical Japanese samurai and
Chinese kung fu movies. “Death Proof” pays tribute to low-budget exploitation movies, while “Inglourious Basterds”
references World War II cinema. And his two most recent
films, “Django Unchained” and “The Hateful Eight,” are modern takes of the Italian spaghetti Westerns. Tarantino seamlessly
blends all these genres and inspirations through his
unique vision and writing. This is where his razor-sharp
dialogue comes in. – Gentlemen. You had my curiosity, but now you have my attention. Narrator: It’s not an exaggeration to say that Tarantino’s films are essentially readaptations of
classical films and genres that take place in a world of Tarantino, where violence, injustice, sex, and satirical cynicism flourish. Quentin Tarantino perhaps
knows better than anyone that you don’t have to
look far for inspiration. Most of the time, it might be somewhere close and familiar to us. My guess is that, for Tarantino, it’s in the aisles of VHS tapes that he grew up watching as a child. Tarantino proudly plays the role of a masterful thief of cinema. And as long as he continues to make a masterpiece out of them, it’s the kind of thievery I’d
be more than happy to accept. – You know something, Utivich? I think this just might be my masterpiece.

Only registered users can comment.

  1. BEFORE YOU COMMENT: Insider uses the word steal as it is the word Tarantino uses in an interview they reference. So CHILL

  2. In his latest film once upon a time in hollywood Brad Pitt gives off an impression of Robert Redford in Redfords 1969 Little Fauss & Big Halsy.
    Pitt looks and carrys his way like Redford did in his 1969 film from the denim jacket to the Car drive with the girl who puts her feet up on the dashboard of the car to taking his shirt off with shades sunglasses on

  3. What's the problem?
    Look deep enough at other director's and I'm sure u will have similar result's!!!
    How the Frick can u make a movie without ever seeing one???
    If this was the case only very young children never influenced by film are caple of producing a totally original movie.

  4. This happens in the music industry as well. If u grew up loving a song, why can't that influence u when trying to create???
    As long as your not 100% copying and claiming all the credit then let the new generation enjoy ur take on music, movies u watch!!!
    Let's be honest what teenage kid any were in the world is looking up music & film from the 50s, 60s & 70s??? Don't get me wrong there is a percentage but how big.
    Children with parents that love music & Film or have been in the industry will advice there kids to look back at a time that is lost to most of modern society.
    The average kid won't and will look at what's trending!
    What's wrong with people first looking at the new to then discover the old influence that help create it???

  5. Never knew Quentin copied most of his iconic scenes from olden movies. Rip off. But as they say, everyone copies but you need the talent to hide it 😉

  6. Chinese movie didnt steal it from tgtb&tu bullshit. Chinese movie and tarantino movie almost the same. The guys are close to each other in a depot. do not try to clean this robbery up…

  7. By the words of the great George RR Martin… you take one big thing from a source, it's called stealing. You take a whole bunch of things from multiple sources, it's called inspiration.

  8. It doesn't matter one iota that any director borrows a movie nugget or two from older movies. Some people might think it's plagiarism, which of course, it is not. It's all about how Tarantino takes those movie nuggets and works them into his scripts and of course how he executes it within the movie itself. Some nuggets are obvious and some are subtle.

    Honestly… I think Quentin Tarantino is just a very gifted director.

  9. Picasso never had say "good artist copy and great artist steal" but came from W. H. Davenport Adams and it was "The great poet Imate and improve, whereas small one steal and spoil" so total opposite meaning. The first time it was associate to Picasso it was by Steve Job in Australien Herald tribune in 1988…and he repeat it in Triumph of the Nerds: The Rise of Accidental Empires in 1996, from there poeple have start to believe it… Thank to keep the lie alive huh.

  10. Tarantino is a great DJ, he takes little samples in order to create an original story. A good DJ dig so much: Arabic music, new Zealand traditional songs, old Italian soundtracks etc etc. Tarantino does the same with cinema, he tooks both mainstream and obscure movies and then creates his beat.

  11. If you're gonna "steal" pay homage or improve/modernize. DON'T basterdize- which is EXACTLY what this idiot does! The Hitler Reacts to the Hateful 8 Trailer nails it.

  12. That's like saying The Three Amigos and A Bug's Life are the same movie because they're both have entertainers mistaken for heroes.

  13. Quentin Tarantino makes movies like today's rappers make "beats". He takes bits and pieces of other people's work and mixes it up in a different way.

  14. Master of the homage. It's especially trippy for me to discover the movies he lifts from considering I haven't seen 90% of them. Dude is a genius.

  15. I´ve never considered Tarantino as a great director. It is very successful, but I immediately recognize that he is copying too much other people style, but he is not a stealer, he has his own original style, but not at the level of the great directors, and I think is that exactly what he wants.

  16. I'm in the beginning of the video and honestly it's ridiculous. I mean, in two movies we have a person who drives in front of the camera wow damn unbelievable (irony)…… No comments….

  17. city on fire is much better than resevoir dogs imo. i dont mind homages but he basically remade the movie without giving credit

  18. Its curious that in this video the narrator uses the same rhythm as the youtuber Nerdwriter1, and the same way of editing too. On this case i dont know who is stealing who, but talk about stealing…

  19. He doesn't steal you dumb ass,he purposely reminds us give us flash backs and paying homage to movies he enjoyed because he is a cinephile you sound like a bitter ex girlfriend 😆 tarentino is a genius

  20. great video but the "written and directed by QT" is a myth because he CO-WROTE "Pulp Fiction" story and it is quite a controversy

  21. "Death Proof" is – more precisely – a pastiche of various films known as "carsploitation", a subgenre that flourished in the 70s.

  22. Funny how every cultural word you use is come from French language.
    pastiche, tarantinesque, hommage, etc etc

  23. there's a difference between theft and forgery and facsimillie. With the former you can take it somewhere. Therein lies the difference and also the reason that, to my mind, Tarantino will never be a great, not that he has to be to make entertaining films. You cannot legitimise forgery through misinterpreting Picasso quotes.

  24. Wow what fucked up title you have there.

    Quentin has never shied away from his source material and has always given credit to directors. Also every director takes from one another it just depends on how well you hide it.

  25. Hollywood inbred have no original thought.

    I saw whole scenes in TV shows acted out in other shows- dialigue, movement, even blocking was 100% copied. So lame. Like the fakes they are.

  26. It's not stealing, it's tribute, asshole. If Tarantino wouldn't refer to these old movies, who would ? Nobody. It's a chance that somebody refers to it nowadays, so we can go see these movies by curiosity. Tarantino is an historian of cinema.

  27. nothing new. he even puts his soundtracks together from older soundtracks, and the lemmings go crazy and celebrate him for that …

  28. It is not true that everything was already done. It is our civilisation's imagination run out, and also we too much restricted by things we grew up with.

  29. lamb was hanged infront widow's hou'se
    every day since then in the place withouth name was disapearing husband and replaced by goat killed
    shown true cpesial camera that all of them men.

Leave a Reply

Your email address will not be published. Required fields are marked *