Quentin Tarantino Quotes

      Often, simple physical conflicts are used to develop characters and to increase the suspense and action between them. In J.D. Salinger's The Catcher in the Rye, Holden Caulfield the 16-year-old narrator and protagonist claims to be a pacifist. Holden views the world as an evil and corrupt place where there is no peace. As a sincere person living amongst phonies, he views others as completely immoral and unscrupulous. In the novel violence is used to further develop Holden's character. This is shown through his physical conflict with Stradlater, his conflict with Maurice, and the suicide of James Castle.

What would you do if you had the chance to get back at someone who has wronged you? Would you do something that could ruin their life or would you turn the other cheek and forgive them and not do anything? In the novel Johnny Tremain, Johnny, a fourteen year-old prideful boy, is an apprentice for a silversmith. He is a hard worker, gifted and clever in the work that he does and holds it over the heads of the two other apprentices. He bosses them around constantly, is always getting on to them for the work they do, do not do, or do not do well enough, and never says a kind word even if they did finally do something right. All in all, Johnny was not pleasant to be around most of the time. When Johnny’s hand is burned, he is forced to find a new way to

“If a man has not discovered something that he will die for, he isn't fit to live.” This quote was said by Dr. Martin Luther King, Jr. James Earl Ray was the man in charge of taking the life of this amazing man. King states that he will die for what he believes in and he did exactly that. He died for the right of equality for all human beings. The murder of an American patriot, Martin Luther King Jr., caused James Earl Ray to leave a legacy of hatred, which has left disgrace upon his name.

In Raiders of The Lost Ark, the violence is abundant from beginning to end, - a death tally of 63 (allouttabubblegum) -- but we accept it because it is always the “bad guy” getting hurt -- a greedy guide is skewered by a bed of nails, a relentless thug is chopped by a plane propeller, and numerous Nazis meet their comeuppance by having their faces melt off (Raiders). The violence is often gory and realistic. According to the study,

     Another example of violence transpiring for more than a sole purpose, is through the character of Jonathan Harker. Jonathan is struggling with an inner conflict, and one of the supernatural; man versus himself and man versus the supernatural. His inner conflict is due to the fact that in his mind, he is a prisoner in Castle Dracula, and there are no means of escape. Therefore, the struggle within himself is one of keeping his sanity and rational way of thinking, since he is such a rational, business-minded man. However, the most obvious conflict derives from the physical and mental struggle with Count Dracula. The novel sets a tone of good versus evil or the supernatural, which is directly related to the conflict. Accordingly, on June 29, the Count tells Jonathan that this is his last day when he stated, "To-morrow, my friend, we must part"(pg.51). After the Count led him to the door where the wolves were howling, he

We all know that there are different types of movies. Some prefer comedy, others prefer action, and there are those who enjoy being scared out of their wits while watching a horror movie. If you're one of those who enjoy horror movies, you may know that there could be a slight debate to which horror movie or scary character reins superior. If someone had to choose, I'd say it'd be a close tie between Freddie Krueger from the Nightmare on Elm Street series, and Michael Myers from the Halloween series. Overall Michael Myers should be the head horror movie/scary character there is, over Freddie Krueger.

Godzilla Godzilla’s appearance has changed gradually over the years, but its general shape and iconic figure. Godzilla was actually inspired by the Rhedosaurus which is a fictional being created by Ray Harryhausen from The Beast from 20,000 Fathoms. Godzilla’s design was interpreted as an amphibious reptile. Godzilla is a bipedal creature in which Akira Watanabe combined aspects of the T-Rex, Iguanodon, Stegosaurus, and alligator. Godzilla’s specific origins vary, but the common theme is that it was awakened from the sea and empowered by nuclear radiation.

An “Alice in Wonderland meets machine guns” is how Zack Snyder’s 2011 film, Sucker Punch can best be described. The story revolves around the story of a girl named Baby Doll who opens the film and sets the “Ordinary World” in Joseph Campbell’s Hero’s Journey. In the first 10 minutes of the film, the ordinary world gets explored in which we see the background and receive some knowledge into Baby Doll’s world. Baby Doll’s mother passed away which sends her stepfather into a fury after finding that her mother’s last will and testament left everything to her two daughters and nothing for him. In his fury, the stepfather attempts to assault Baby Doll but realizes that in order to truly get at Baby Doll, he switches his intentions onto Baby Doll’s younger sister. After realizing

Many film noirs have a stereotypical tough guy as the male protagonist, which is repetitive, but adds to the quality of the film as a whole. Most of the time, these protagonists are able to knock out whole gangs of men with their fists alone. There are guns used occasionally, but gun scenes are not as entertaining as watching one man dodge punches and use brute force to knock someone unconscious, or even kill them. At the same time, the enemies are usually equally strong or smart men, which makes the protagonist look that much better. In Murder My Sweet, Marlowe is drugged and wakes up, still feeling not completely himself. However, he is not afraid to attempt to physically fight back in order to escape the house he is trapped in. No matter the situation, these film noir main characters know how to deal with anyone

Otherwise, pivotal in expanding technique which proceeds with other artists in their chosen medium to build upon. Encompassing a specific style is simple when attaching a tag, but it’s complexities are the intricate layers it takes to reach what many desire as an artist, numerous realize, and some standout. One astounding mannerism of endurance in refining his style overtime, while blatantly dismissing mainstream education, and he did not allow his shortcomings to barricade his pursuit of happiness. In a televised interview with PBS TV host and journalist, Charlie Rose; referring to Quentin’s early years on dropping out of high school, his poor writing and tunnel-vision for movies, Quentin said, “I couldn’t spell, I couldn’t remember anything, but I could go to the movies, I knew who starred, directed, who wrote it. Everything… [because of films] I was getting A’s in history, failing miserably in other things” (Tarrantino). Amazing. Inspirational, for many with the hurdles limitation, and the wants of creating something atypical. Structure in this business of writing is imperative, and of course it is founded. Quentin has also reminded one: What necessitates success is the value in tackling perseverance, despite adversities because opposition should not intrude with artistic vision and stylistic vibe. Quentin’s film

The journey of taking Film 1 has been very eye opening when it comes to analyzing film. I myself have always been a very harsh movie critic, however through taking Film I have been exposed to many different art styles of film. Resulting in me being more appreciative of different genres of film. Although my knowledge and criticism of films have matured throughout taking this course, there is still one director that I find to be a level above the rest. With knowing Tarantino has worked on a film , the audience can be rest assured that they will be in for a treat. Quentin Tarantino has consistently proven that he is in the top echelon of film making. Spanning from the start of his director career to now, Tarantino has released the highest tier of films to date. Films like Pulp Fiction, Reservoir Dogs, Django Unchained, and my personal favorite Kill Bill 1 and 2.

It seems that in recent years movie villains have been reduced to bland, superficial scare-machines. The golden age of dynamic villains has come and gone, and action movies everywhere are all hype and no substance. In contrast to modern horror films, the 1990s brought us some of the greatest movie villains of all time. Villains who were uncomfortably relatable, undeniably cunning, and extremely frightening all at the same time dominated the box office. Dr. Hannibal Lecter (played by Anthony Hopkins) in the 1991 film directed by Jonathan Demme and adopted from a novel by Thomas Harris, The Silence of the Lambs, is a perfect example of a sinister villain who is both compelling and complex, and his performance set the standard for villains to

Violence plays a major role in the history of cinema. Both Alfred Hitchcock and Quentin Tarantino have produced a litany of films that have imagery or plots that include violent acts. However, their different directorial visions and styles make it so that Hitchcock and Tarantino films are nothing alike. This is because Hitchcock's objective was to make the audience feel afraid, tense, and anxious for the protagonist, whereas Tarantino's objective is to illustrate the absurdity of violence by elevating the macabre to the level of humor. Both Hitchcock and Tarantino are brilliant directors who use violence in their films to achieve a desired effect.

Though the human lot he portrays is grim, his actions show a human decency that somehow softens our sense of what it means to be human

Just because a good psychological thriller does not necessarily require violence to be intense and suspenseful does not mean that violence is always an indication of trashy cinema. What discriminates between the instances where film violence is powerful and where it is just so much bloody fluff is the accompanying moral and emotional context. A journalist quotes author and film critic Stephen Prince as saying, “nearly all filmmakers are concentrating on the visual, physical aspects of violence and not on the emotional or spiritual dimensions of it” (Harris 2). A good question to determine the value of a particular instance of violence might be, “Is the violence a part of the story, or does the story exist merely for the purpose of exhibiting violence?” Most often, if the content is critically integrated into the story, the “emotional or spiritual dimensions” are being addressed to a far greater extent than if the story is simply a backdrop for cheap eye-candy.