Inspired by her work as Uma Thurman’s stunt double on the Kill Bill films, Tarantino cast Zoë Bell as one of the stars of Death Proof, his contribution to the double-feature Grindhouse, an homage to the low-budget exploitation films of his youth. It’s not all about words in Tarantino movies, however. Similarly, the “Like a Virgin” monologue establishes the profane world of the film while doubling as a mission statement for the filmmaker delivering it: What you’re about to see may look familiar, be it a gangster film, a World War II action movie, or a Western, but don’t expect it to work in the ways you’ve grown accustomed to. In interviews, Tarantino has long been a vocal, passionate advocate for these sources, framing his appreciation with his own personal takes on what they mean.
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Tarantino’s work acknowledges the pop-culture sources that inspire it - from Jean-Luc Godard to half-forgotten ’70s TV shows - while offering a charged reinterpretation of them. Brown offers a radical reinterpretation of Madonna’s “Like a Virgin.” It set the table not just for the rest of Reservoir Dogs but for all the films that followed. His one undeniably great moment in one of his own films, however, occurs in the opening scene of his debut, Reservoir Dogs, in which his Mr. The only problem: Tarantino’s acting work was met with less praise than his work as a writer and director. After breaking through, he cast himself in a key role in Pulp Fiction, co-starred with George Clooney in From Dusk ’Til Dawn (which he scripted), appeared in the little-loved Destiny Turns on the Radio, and even tried his hand at Broadway opposite Marisa Tomei in a 1998 revival of Wait Until Dark. Coltrane on The Dukes of Hazzard, and can be seen as an Elvis impersonator in an episode of The Golden Girls. He studied at the James Best Theatre Company, a school run by the esteemed character actor now best known for playing the incompetent Roscoe P.
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Tarantino once thought acting would be a bigger part of his professional portfolio. With that out of the way, let’s start, appropriately enough, where it all began. Also we’re counting Kill Bill as one film because Tarantino does that’s a debatable point, but that debate can rage somewhere else. That doesn’t mean, say, that Jackson isn’t great in Jackie Brown (he is) but that the list chooses to honor an even more remarkable performance. But that stock-company approach has forced us to lay down some ground rules for this list of his films’ greatest performances - no actor appears here more than once. Tarantino has a habit of working with the same actors again and again with good reason: They do great work for him. But it’s Jackson’s cadence, and the look in his eyes, that makes the scene unforgettable. Jackson’s Jules Winnfield, it sounds like some cold-blooded shit to say to a motherfucker before one pops a cap in his ass. Consider the famous faux-biblical passage of Ezekiel 25:17 from Pulp Fiction. He writes scripts filled with distinctive dialogue that sounds like it was written with the actors in mind (and sometimes it is). Though filled with action and dynamic set pieces, Tarantino’s movies are driven by their characters, and the director loves to give his cast room in which to work. All might have been great, but casting them would have changed the films on a genetic level. Jennifer Lawrence as Daisy Domergue in The Hateful Eight instead of Jennifer Jason Leigh. Leonardo DiCaprio as Hans Landa in Inglourious Basterds instead of Christoph Waltz. Kill Bill with Warren Beatty as Bill instead of David Carradine. Imagine, if you can, what key parts might have looked like if someone else had played them: Daniel Day-Lewis as Vincent Vega in Pulp Fiction instead of John Travolta. It takes only a thought exercise to realize how central certain performances are to Quentin Tarantino’s films.