纪录片自媒体解说素材-新闻动态参考-卢卡·雷（Luca Rea）让昆汀·塔伦蒂诺（Quentin Tarantino/Luca Rea on Getting Quentin Tarantino to Spout at Length About Sergio Corbucci’s Westerns in ‘Django & Django’
https://cdn.6867.top:6867/A1A/hddoc/news/2022/07/0505/1050d3s0vcypmvj.jpg卢卡·雷（Luca Rea）让昆汀·塔伦蒂诺（Quentin Tarantino
Luca Rea on Getting Quentin Tarantino to Spout at Length About Sergio Corbucci’s Westerns in ‘Django & Django’
意大利流行文化专家，程序员兼导演卢卡·雷（Luca Rea）在2004年首次与昆汀·塔伦蒂诺（Quentin Tarantino）亲自熟悉，当时他在威尼斯电影节上策划了塔伦蒂诺（Tarantino）“教父”的《威尼斯电影节》的“意大利国王”回顾展。他们打开它并保持联系。因此，当大约一年前，当制片人尼古拉特·埃科尔（Nicoletta Ercole）与Rea接触时，他立即希望能够探索塔伦蒂诺（Tarantino）对已故伟大的意大利导演的见解，他们的意大利人的意大利面条西方人都很喜欢。但是，当然，Rea不确定他是否会在威尼斯竞争之外推出的Doc“ Django＆Django”的Doc“ Django＆Django”。他与综艺节目谈到了他如何发动这场政变以及塔伦蒂诺（Tarantino）的见解所揭示的内容。摘录。我听到塔伦蒂诺（Tarantino）如今非常隐居。让他加入船吗？我第一次与制片人见面时，与Corbucci的妻子Nori接近，我告诉她：‘您必须挖掘像这样的材料现场镜头超级8卷卷轴。我们必须找到一种具有时间机效应的叙事方法。当我第一次写信给Tarantino时，我立即将其用作卖出Corbucci的事实。即使我们没有。 Super 8还没有浮出水面！仅在今年年初，这些卷轴总共包含大约两个小时的镜头 - 从60年代末到现场70年代的70年代开始，他的答复是什么？他回答说：'好吧，我会做的。让我们弄清楚何时何地。 ，但是史蒂夫·德拉·卡萨（Steve Della Casa）（在医生中是合着者）和我在罗马的Skype。但是，在我们完成大约一个月之前，我们就通过电子邮件准备了面试。我们挑出了一些观点，他建议的一些事情源于有关C的书他开始写作但从未完成的Orbucci，因此他的书成为了这本医生。我想到了开头的模拟部分，这使DOC成为“好莱坞曾经的一次”。我想：‘让我们开枪吧，”看看他说的话。在采访的那天，塔伦蒂诺（Tarantino）带着一堆纸上的纸来到达。然后，当然有一些事情在现场出现。但是大部分是事先准备的。采访是如此彻底和充分的准备，以至于自然而然地提供了纪录片的骨干。您如何描述塔伦蒂诺对Corbucci的西方人的看法？塔伦蒂诺的分析得到了最好的描述。我知道他喜欢对自己喜欢的导演进行精心钻探，很难用几句话来总结他对Corbucci的想法。但是，他分解并说明了科布奇的西方人的方式，当您看到电影中的剪辑时，一切都会保持一致。然后我们也有D Corbucci采访了证实塔伦蒂诺的论文。那么塔伦蒂诺的论文是什么？基本的前提是，科布奇的西方人是因为他在法西斯主义期间在意大利成长的个人生活和他对漫画的热情而发芽的。这是产生Sergio Corbucci的西方人的两个要素。小时候，他产生了两种激情：一个是他的政治敏感性，另一个是他对漫画的热情。在法西斯主义期间成长在科尔布奇（Corbucci）的形成性，从他的[左派]政治唯心主义而言，他从未躲过。只是没有人在档案采访中发现了这一点，但他在他说的那样，没有人建立他的政治激情与他的西方人之间的联系。这可以在他的电影中清楚地阅读。在文档中，如果您听到Tarantino谈论这件事，然后看电影的片段，也可以阅读。另一件事是，他的西方人是科布奇（Corbucci）真正的auteur的电影。他做了大约有70部电影，但真正将他定义为Auteur的电影只是他的西方人。那是清晰的。
Italian pop culture expert, programmer and director Luca Rea first became acquainted personally with Quentin Tarantino in 2004 when he curated the "Italian Kings of the B's" retrospective at the Venice Film Festival that Tarantino "godfathered." They hit it off and stayed in touch. So when Rea was approached by producer Nicoletta Ercole about a year ago to make a Sergio Corbucci doc, he immediately hoped to be able to tap into Tarantino's insight about the late great Italian director whose Spaghetti Westerns they both love. But, of course, Rea wasn't sure he would get Tarantino on board for his doc "Django & Django," which launched at Venice out-of-competition. He spoke to Variety about how he pulled off that coup and what Tarantino's insight revealed. Excerpts.
I hear Tarantino is pretty reclusive these days. Was it tough to get him on board?
The first time I met with the producer, who was close to Corbucci's wife Nori, I told her: 'You have to dig up materials like on-set footage Super 8 reels. We have to find a narrative approach with the time machine effect. And when I first wrote to Tarantino, I immediately used as a selling point the fact that we had footage of Corbucci on set. Even though we didn’t have it. The Super 8s hadn’t surfaced yet!
Only at the start of this year, these reels that contain a total of roughly two hours of footage – from the end of 60s to the start of the 70s of Corbucci on set – finally surfaced.
So what was his reply?
He replied saying: 'Okay, I’ll do it. Let’s figure out when and how.' And then at the start of the year, I got an email from an assistant in which he said he could do it at the beginning of April.
How did the interview go?
We had a crew in L.A., but Steve Della Casa (who is co-writer on the doc) and I were in Rome on Skype. But before we did it for roughly a month we prepared the interview on email. We singled out some points and there were things that he suggested that stemmed from the book about Corbucci that he had started to write, but never finished, so in a way his book became this doc. I thought of the mockumentary part at the start, which makes the doc a spin-off of sorts of “Once Upon a Time in Hollywood.” I thought: 'Let’s give that a shot,' and see what he says. On the day of the interview Tarantino arrived with a thick pile of papers on which he’d taken notes. Then of course there were things that came up on the spot. But the bulk of it was prepared in advance. And the interview was so thorough and well prepared that naturally it provided the backbone of the documentary.
How would you describe the gist of Tarantino’s take on Corbucci’s Westerns?
Tarantino’s analysis is best described by him. I know he likes to drill down meticulously on directors that he likes, and it's hard to sum up his thoughts on Corbucci in a few words. But the way in which he breaks down and illustrates Corbucci’s Westerns, it all holds up when you see clips from the films. And then we also found Corbucci interviews that corroborate Tarantino's thesis.
So what's Tarantino's thesis?
The basic premise is that Corbucci's Westerns germinate from a combination of his personal life growing up in Italy during Fascism and his passion for comic books. These are the two elements that generate Sergio Corbucci’s Westerns. As a child he develops two passions: one is his political sensitivity, the other is his passion for comic books.
Growing up during Fascism was formative for Corbucci in terms of his political idealism that he never hid; it's just that nobody had established the connection between his political passion and his Westerns, even though we found proof of this in archive interviews in which he says as much. And this can be read clearly in his films. In the doc, if you hear Tarantino talk about this and then see clips of the films, you can read it as well. The other thing is that his Westerns are the films in which Corbucci was truly an auteur. He made roughly 70 films, but the ones that really define him as an auteur are only his Westerns. That is crystal clear.
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感谢大佬分享。我又来学习了~ 谢谢楼主分享，发现宝藏了。
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