Tarantino trucho

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  • MILHOUSE
    Registered User
    • 26-10-2008
    • 2836

    #1

    Tarantino trucho

    The Killers
    by Ernest Hemingway

    The door of Henry’s lunchroom opened and two men came in. They sat down at the counter.

    “What’s yours?” George asked them.

    “I don’t know,” one of the men said. “What do you want to eat, Al?”

    “I don’t know,” said Al. “I don’t know what I want to eat.”

    Outside it was getting dark. The streetlight came on outside the window. The two men at the counter read the menu. From the other end of the counter Nick Adams watched them. He had been talking to George when they came in.

    “I’ll have a roast pork tenderloin with apple sauce and mashed potatoes,” the first man said.

    “It isn’t ready yet.”

    “What the hell do you put it on the card for?”

    “That’s the dinner,” George explained. “You can get that at six o’clock.”

    George looked at the clock on the wall behind the counter.

    “It’s five o’clock.”

    “The clock says twenty minutes past five,” the second man said.

    “It’s twenty minutes fast.”

    “Oh, to hell with the clock,” the first man said. “What have you got to eat?”

    “I can give you any kind of sandwiches,” George said. “You can have ham and eggs, bacon and eggs, liver and bacon, or a steak.”

    “Give me chicken croquettes with green peas and cream sauce and mashed potatoes.”

    “That’s the dinner.”

    “Everything we want’s the dinner, eh? That’s the way you work it.”

    “I can give you ham and eggs, bacon and eggs, liver—”

    “I’ll take ham and eggs,” the man called Al said. He wore a derby hat and a black overcoat buttoned across the chest. His face was small and white and he had tight lips. He wore a silk muffler and gloves.

    “Give me bacon and eggs,” said the other man. He was about the same size as Al. Their faces were different, but they were dressed like twins. Both wore overcoats too tight for them. They sat leaning forward, their elbows on the counter.

    “Got anything to drink?” Al asked.

    “Silver beer, bevo, ginger-ale,” George said.

    “I mean you got anything to drink?”

    “Just those I said.”

    “This is a hot town,” said the other. “What do they call it?”

    “Summit.”

    “Ever hear of it?” Al asked his friend.

    “No,” said the friend.

    “What do they do here nights?” Al asked.

    “They eat the dinner,” his friend said. “They all come here and eat the big dinner.”

    “That’s right,” George said.

    “So you think that’s right?” Al asked George.

    “Sure.”

    “You’re a pretty bright boy, aren’t you?”

    “Sure,” said George.

    “Well, you’re not,” said the other little man. “Is he, Al?”

    “He’s dumb,” said Al. He turned to Nick. “What’s your name?”

    “Adams.”

    “Another bright boy,” Al said. “Ain’t he a bright boy, Max?”

    “The town’s full of bright boys,” Max said.

    George put the two platters, one of ham and eggs, the other of bacon and eggs, on the counter. He set down two side dishes of fried potatoes and closed the wicket into the kitchen.

    “Which is yours?” he asked Al.

    “Don’t you remember?”

    “Ham and eggs.”

    “Just a bright boy,” Max said. He leaned forward and took the ham and eggs. Both men ate with their gloves on. George watched them eat.

    “What are you looking at?” Max looked at George.

    “Nothing.”

    “The hell you were. You were looking at me.”

    “Maybe the boy meant it for a joke, Max,” Al said.

    George laughed.

    “You don’t have to laugh,” Max said to him. “You don’t have to laugh at all, see?’

    “All right,” said George.

    “So he thinks it’s all right.” Max turned to Al. “He thinks it’s all right. That’s a good one.”

    “Oh, he’s a thinker,” Al said. They went on eating.

    “What’s the bright boy’s name down the counter?” Al asked Max.

    “Hey, bright boy,” Max said to Nick. “You go around on the other side of the counter with your boy friend.”

    “What’s the idea?” Nick asked.

    “There isn’t any idea.”

    “You better go around, bright boy,” Al said. Nick went around behind the counter.

    “What’s the idea?” George asked.

    “None of your damned business,” Al said. “Who’s out in the kitchen?”

    “The nigger.”

    “What do you mean the nigger?”

    “The nigger that cooks.”

    “Tell him to come in.”

    “What’s the idea?”

    “Tell him to come in.”

    “Where do you think you are?”

    “We know damn well where we are,” the man called Max said. “Do we look silly?”

    “You talk silly,” A1 said to him. “What the hell do you argue with this kid for? Listen,” he said to George, “tell the nigger to come out here.”

    “What are you going to do to him?”

    “Nothing. Use your head, bright boy. What would we do to a nigger?”

    George opened the slit that Opened back into the kitchen. “Sam,” he called. “Come in here a minute.”

    The door to the kitchen opened and the nigger came in. “What was it?” he asked. The two men at the counter took a look at him.

    “All right, nigger. You stand right there,” Al said.

    Sam, the nigger, standing in his apron, looked at the two men sitting at the counter. “Yes, sir,” he said. Al got down from his stool.

    “I’m going back to the kitchen with the nigger and bright boy,” he said. “Go on back to the kitchen, nigger. You go with him, bright boy.” The little man walked after Nick and Sam, the cook, back into the kitchen. The door shut after them. The man called Max sat at the counter opposite George. He didn’t look at George but looked in the mirror that ran along back of the counter. Henry’s had been made over from a saloon into a lunch counter.

    “Well, bright boy,” Max said, looking into the mirror, “why don’t you say something?”

    “What’s it all about?”

    “Hey, Al,” Max called, “bright boy wants to know what it’s all about.”

    “Why don’t you tell him?” Al’s voice came from the kitchen.

    “What do you think it’s all about?”

    “I don’t know.”

    “What do you think?”

    Max looked into the mirror all the time he was talking.

    “I wouldn’t say.”

    “Hey, Al, bright boy says he wouldn’t say what he thinks it’s all about.”

    “I can hear you, all right,” Al said from the kitchen. He had propped open the slit that dishes passed through into the kitchen with a catsup bottle. “Listen, bright boy,” he said from the kitchen to George. “Stand a little further along the bar. You move a little to the left, Max.” He was like a photographer arranging for a group picture.

    “Talk to me, bright boy,” Max said. “What do you think’s going to happen?”

    George did not say anything.

    “I’ll tell you,” Max said. “We’re going to kill a Swede. Do you know a big Swede named Ole Anderson?”

    “Yes.”

    “He comes here to eat every night, don’t he?”

    “Sometimes he comes here.”

    “He comes here at six o’clock, don’t he?”

    “If he comes.”

    “We know all that, bright boy,” Max said. “Talk about something else. Ever go to the movies?”

    “Once in a while.”

    “You ought to go to the movies more. The movies are fine for a bright boy like you.”

    “What are you going to kill Ole Anderson for? What did he ever do to you?”

    “He never had a chance to do anything to us. He never even seen us.”

    And he’s only going to see us once,” Al said from the kitchen:

    “What are you going to kill him for, then?” George asked.

    “We’re killing him for a friend. Just to oblige a friend, bright boy.”

    “Shut up,” said Al from the kitchen. “You talk too goddamn much.”

    “Well, I got to keep bright boy amused. Don’t I, bright boy?”

    “You talk too damn much,” Al said. “The nigger and my bright boy are amused by themselves. I got them tied up like a couple of girl friends in the convent.”

    “I suppose you were in a convent.”

    “You never know.”

    “You were in a kosher convent. That’s where you were.”

    George looked up at the clock.

    “If anybody comes in you tell them the cook is off, and if they keep after it, you tell them you’ll go back and cook yourself. Do you get that, bright boy?”

    “All right,” George said. “What you going to do with us afterward?”

    “That’ll depend,” Max said. “That’s one of those things you never know at the time.”

    George looked up at the dock. It was a quarter past six. The door from the street opened. A streetcar motorman came in.

    “Hello, George,” he said. “Can I get supper?”

    “Sam’s gone out,” George said. “He’ll be back in about half an hour.”

    “I’d better go up the street,” the motorman said. George looked at the clock. It was twenty minutes, past six.

    “That was nice, bright boy,” Max said. “You’re a regular little gentleman.”

    “He knew I’d blow his head off,” Al said from the kitchen.

    “No,” said Max. “It ain’t that. Bright boy is nice. He’s a nice boy. I like him.”

    At six-fifty-five George said: “He’s not coming.”

    Two other people had been in the lunchroom. Once George had gone out to the kitchen and made a ham-and-egg sandwich “to go” that a man wanted to take with him. Inside the kitchen he saw Al, his derby hat tipped back, sitting on a stool beside the wicket with the muzzle of a sawed-off shotgun resting on the ledge. Nick and the cook were back to back in the corner, a towel tied in each of their mouths. George had cooked the sandwich, wrapped it up in oiled paper, put it in a bag, brought it in, and the man had paid for it and gone out.

    “Bright boy can do everything,” Max said. “He can cook and everything. You’d make some girl a nice wife, bright boy.”

    “Yes?” George said, “Your friend, Ole Anderson, isn’t going to come.”

    “We’ll give him ten minutes,” Max said.

    Max watched the mirror and the clock. The hands of the clock marked seven o’clock, and then five minutes past seven.

    “Come on, Al,” said Max. “We better go. He’s not coming.”

    “Better give him five minutes,” Al said from the kitchen.

    In the five minutes a man came in, and George explained that the cook was sick.

    “Why the hell don’t you get another cook?” the man asked. “Aren’t you running a lunch-counter?” He went out.

    “Come on, Al,” Max said.

    “What about the two bright boys and the nigger?”

    “They’re all right.”

    “You think so?”

    “Sure. We’re through with it.”

    “I don’t like it,” said Al. “It’s sloppy. You talk too much.”

    “Oh, what the hell,” said Max. “We got to keep amused, haven’t we?”

    “You talk too much, all the same,” Al said. He came out from the kitchen. The cut-off barrels of the shotgun made a slight bulge under the waist of his too tight-fitting overcoat. He straightened his coat with his gloved hands.

    “So long, bright boy,” he said to George. “You got a lot of luck.”

    “That’s the truth,” Max said. “You ought to play the races, bright boy.”

    The two of them went out the door. George watched them, through the window, pass under the arc-light and across the street. In their tight overcoats and derby hats they looked like a vaudeville team. George went back through the swinging door into the kitchen and untied Nick and the cook.

    “I don’t want any more of that,” said Sam, the cook. “I don’t want any more of that.”

    Nick stood up. He had never had a towel in his mouth before.

    “Say,” he said. “What the hell?” He was trying to swagger it off.

    “They were going to kill Ole Anderson,” George said. “They were going to shoot him when he came in to eat.”

    “Ole Anderson?”

    “Sure.”

    The cook felt the corners of his mouth with his thumbs.

    “They all gone?” he asked.

    “Yeah,” said George. “They’re gone now.”

    “I don’t like it,” said the cook. “I don’t like any of it at all”

    “Listen,” George said to Nick. “You better go see Ole Anderson.”

    “All right.”

    “You better not have anything to do with it at all,” Sam, the cook, said. “You better stay way out of it.”

    “Don’t go if you don’t want to,” George said.

    “Mixing up in this ain’t going to get you anywhere,” the cook said. “You stay out of it.”

    “I’ll go see him,” Nick said to George. “Where does he live?”

    The cook turned away.

    “Little boys always know what they want to do,” he said.

    “He lives up at Hirsch’s rooming-house,” George said to Nick.

    “I’ll go up there.”

    Outside the arc-light shone through the bare branches of a tree. Nick walked up the street beside the car-tracks and turned at the next arc-light down a side-street. Three houses up the street was Hirsch’s rooming-house. Nick walked up the two steps and pushed the bell. A woman came to the door.

    “Is Ole Anderson here?”

    “Do you want to see him?”

    “Yes, if he’s in.”

    Nick followed the woman up a flight of stairs and back to the end of a corridor. She knocked on the door.

    “Who is it?”

    “It’s somebody to see you, Mr. Anderson,” the woman said.

    “It’s Nick Adams.”

    “Come in.”

    Nick opened the door and went into the room. Ole Anderson was lying on the bed with all his clothes on. He had been a heavyweight prizefighter and he was too long for the bed. He lay with his head on two pillows. He did not look at Nick.

    “What was it?” he asked.

    “I was up at Henry’s,” Nick said, “and two fellows came in and tied up me and the cook, and they said they were going to kill you.”

    It sounded silly when he said it. Ole Anderson said nothing.

    “They put us out in the kitchen,” Nick went on. “They were going to shoot you when you came in to supper.”

    Ole Anderson looked at the wall and did not say anything.

    “George thought I better come and tell you about it.”

    “There isn’t anything I can do about it,” Ole Anderson said.

    “I’ll tell you what they were like.”

    “I don’t want to know what they were like,” Ole Anderson said. He looked at the wall. “Thanks for coming to tell me about it.”

    “That’s all right.”

    Nick looked at the big man lying on the bed.

    “Don’t you want me to go and see the police?”

    “No,” Ole Anderson said. “That wouldn’t do any good.”

    “Isn’t there something I could do?”

    “No. There ain’t anything to do.”

    “Maybe it was just a bluff.”

    “No. It ain’t just a bluff.”

    Ole Anderson rolled over toward the wall.

    “The only thing is,” he said, talking toward the wall, “I just can’t make up my mind to go out. I been here all day.”

    “Couldn’t you get out of town?”

    “No,” Ole Anderson said. “I’m through with all that running around.”

    He looked at the wall.

    “There ain’t anything to do now.”

    “Couldn’t you fix it up some way?”

    “No. I got in wrong.” He talked in the same flat voice. “There ain’t anything to do. After a while I’ll make up my mind to go out.”

    “I better go back and see George,” Nick said.

    “So long,” said Ole Anderson. He did not look toward Nick. “Thanks for coming around.”

    Nick went out. As he shut the door he saw Ole Anderson with all his clothes on, lying on the bed looking at the wall.

    “He’s been in his room all day,” the landlady said downstairs. “I guess he don’t feel well. I said to him: ‘Mr. Anderson, you ought to go out and take a walk on a nice fall day like this,’ but he didn’t feel like it.”

    “He doesn’t want to go out.”

    “I’m sorry he don’t feel well,” the woman said. “He’s an awfully nice man. He was in the ring, you know.”

    “I know it.”

    “You’d never know it except from the way his face is,” the woman said.

    They stood talking just inside the street door. “He’s just as gentle.”

    “Well, good night, Mrs. Hirsch,’ Nick said.

    “I’m not Mrs. Hirsch,” the woman said. “She owns the place. I just look after it for her. I’m Mrs. Bell.”

    “Well, good night, Mrs. Bell,” Nick said.

    “Good night,” the woman said.

    Nick walked up the dark street to the corner under the arc-light, and then along the car-tracks to Henry’s eating-house. George was inside, back of the counter.

    “Did you see Ole?”

    “Yes,” said Nick. “He’s in his room and he won’t go out.”

    The cook opened the door from the kitchen when he heard Nick’s voice.

    “I don’t even listen to it,” he said and shut the door.

    “Did you tell him about it?” George asked.

    “Sure. I told him but he knows what it’s all about.”

    “What’s he going to do?”

    “Nothing.”

    “They’ll kill him.”

    “I guess they will.”

    “He must have got mixed up in something in Chicago.”

    “I guess so,” said Nick.

    “It’s a hell of a thing!”

    “It’s an awful thing,” Nick said.

    They did not say anything. George reached down for a towel and wiped the counter.

    “I wonder what he did?” Nick said.

    “Double-crossed somebody. That’s what they kill them for.”

    “I’m going to get out of this town,” Nick said.

    “Yes,” said George. “That’s a good thing to do.”

    “I can’t stand to think about him waiting in the room and knowing he’s going to get it. It’s too damned awful.”

    “Well,” said George, “you better not think about it.”

    En español
  • rod
    wat?
    • 07-01-2004
    • 14536

    #2
    y la del encendedor y el dedo en 4 rooms? ;D

    -bouch!-

    Comentario

    • semen!
      EN BARRA
      • 11-12-2007
      • 28137

      #3
      lucuma posteas otra vez asi y voy a tu casa y te rompo el ano sin saliva

      diwa says: "la gente se muere, la familia llora, y a vos te chupa un huevo"

      Comentario

      • Elrom
        jevimayingan!
        • 27-04-2005
        • 11273

        #4
        tl;dr

        Comentario

        • Linus
          Judío
          • 18-03-2006
          • 10637

          #5
          Great artists steal, they don't do homages. -Quentin Tarantino.
          Akira Yamaoka.

          Comentario

          • Liqu1d
            Alto Egel
            • 06-11-2004
            • 1898

            #6
            Qué relato de mierda.
            Tiene el encanto adicional de ese frío aire distante propio de la gente que ha abandonado la pelea.
            http://afila-sin-miedo.blogspot.com/

            Comentario

            • Johnny M
              Agente especial de INADI
              • 09-12-2004
              • 9348

              #7
              Originalmente publicado por Liqu1d
              Qué relato de mierda.
              Sep, pero en la película queda muchísimo mejor.
              Veiller & Siodmak

              Comentario

              • Liqu1d
                Alto Egel
                • 06-11-2004
                • 1898

                #8
                Lucuma, el relato lo leí tiempo atrás, hoy tomé la precaución de no volver a hacerlo. En tu rep negativa decís que si me hubiera aburrido, perfectamente podía dejar de leer. En su momento lo leí en su totalidad porque es perfectamente leíble de principio a fin, y tengo la costumbre de leer las cosas antes de opinar sobre ellas. Pero, entonces, te pregunto: ¿Para vos la tensión (tensión es que se siga leyendo, no necesariamente que genere ese estado en el lector) es el único elemento que determinada si una obra es mala o buena? Mejor seguí leyendo cosas de política, te falta un poquito para otras cosas.
                Igualmente te dejo un regalo: http://www.geocities.com/roland557/f.../babilonia.htm
                Editado por última vez por Liqu1d; 23-06-2009, 09:38 PM.
                Tiene el encanto adicional de ese frío aire distante propio de la gente que ha abandonado la pelea.
                http://afila-sin-miedo.blogspot.com/

                Comentario

                • MILHOUSE
                  Registered User
                  • 26-10-2008
                  • 2836

                  #9
                  Originalmente publicado por Liqu1d
                  Lucuma, el relato lo leí tiempo atrás, hoy tomé la precaución de no volver a hacerlo. En tu rep negativa decís que si me hubiera aburrido, perfectamente podía dejar de leer. En su momento lo leí en su totalidad porque es perfectamente leíble de principio a fin, y tengo la costumbre de leer las cosas antes de opinar sobre ellas. Pero, entonces, te pregunto: ¿Para vos la tensión (tensión es que se siga leyendo, no necesariamente que genere ese estado en el lector) es el único elemento que determinada si una obra es mala o buena? Mejor seguí leyendo cosas de política, te falta un poquito.
                  Cual es la necesidad de ventilar las reps, para eso lo hubiera puesto en el th .
                  Cosas de política? Que carajsisisismo tiene que ver? :/

                  Comentario

                  • Liqu1d
                    Alto Egel
                    • 06-11-2004
                    • 1898

                    #10
                    "Ventilé" la rep porque no fue una bardeada ni nada, simplemente me diste una opinión que creo que perfectamente pudiste haberme dado por acá, ya que se puede desprender un discusión. En todo caso lo que no se entiende es la necesidad tuya de haberme dicho eso por rep, aunque seguro que tu intención era que me lo tomara como una bardeada y no que creyera que de tu opinión podía desprenderse algo de lo que hablar. Perdón, error mío, por defecto tengo cierta esperanza que no la mayoría de las personas, y entonces acabo confiando en el cerebro de quienes no lo tienen.
                    Cosas de política lo digo por lo que citaste en tus últimos post del thread sobre qué estás leyendo en este momento.
                    Tiene el encanto adicional de ese frío aire distante propio de la gente que ha abandonado la pelea.
                    http://afila-sin-miedo.blogspot.com/

                    Comentario

                    • MILHOUSE
                      Registered User
                      • 26-10-2008
                      • 2836

                      #11
                      Originalmente publicado por Liqu1d
                      "Ventilé" la rep porque no fue una bardeada ni nada, simplemente me diste una opinión que creo que perfectamente pudiste haberme dado por acá, ya que se puede desprender un discusión. En todo caso lo que no se entiende es la necesidad tuya de haberme dicho eso por rep, aunque seguro que tu intención era que me lo tomara como una bardeada y no que creyera que de tu opinión podía desprenderse algo de lo que hablar. Perdón, error mío, por defecto tengo cierta esperanza que no la mayoría de las personas, y entonces acabo confiando en el cerebro de quienes no lo tienen.
                      Cosas de política lo digo por lo que citaste en tus últimos post del thread sobre qué estás leyendo en este momento.
                      En realidad no pense mucho loq ue puse, fue loq ue se me ocurrió en el momento y me gusta enredarme poniendo cualquiera. Perdoname vos.

                      Comentario

                      • Borgia
                        OOP I did it again =o
                        • 06-08-2007
                        • 5779

                        #12
                        Quentin Tarantino
                        De Wikipedia, la enciclopedia libre
                        Saltar a navegación, búsqueda
                        Quentin Tarantino

                        Nombre real Quentin Jerome Tarantino
                        Nacimiento 23 de marzo de 1963 (46 años)
                        Bandera de los Estados Unidos Knoxville, Tennessee, Estados Unidos
                        Ficha en IMDb
                        [mostrar]Premios ganados
                        Premios Óscar
                        Mejor guión original
                        1994 Pulp Fiction (con Roger Avary)
                        Globos de Oro
                        Mejor guión
                        1995 Pulp Fiction
                        Premios BAFTA
                        Mejor guión original
                        1994 Pulp Fiction (con Roger Avary)

                        Quentin Tarantino (23 de marzo de 1963, Knoxville, Tennessee) es un guionista, director y actor estadounidense ganador del Premio Óscar.
                        Contenido
                        [ocultar]

                        * 1 Biografía
                        o 1.1 Vida y obra
                        o 1.2 Curiosidades
                        * 2 Colaboradores habituales
                        * 3 Filmografía
                        o 3.1 Como productor
                        o 3.2 Como director
                        o 3.3 Como guionista
                        o 3.4 Como actor
                        * 4 Premios
                        o 4.1 Óscar
                        o 4.2 Globos de Oro
                        o 4.3 Cannes
                        * 5 Enlaces externos

                        Biografía [editar]

                        Se hizo muy popular durante la década de 1990 como guionista que trajo nueva vida incluso a los arquetipos más estereotipados de los Estados Unidos. A pesar de su corta carrera, se le considera como uno de los iconos del cine independiente estadounidense y sus películas se han movido entre la polémica.

                        Vida y obra [editar]

                        Tarantino se dio a conocer gracias a True Romance (traducida como Amor a quemarropa en España y La fuga en México), guión en el que colaboró algo Roger Avary que Tony Scott acabó por dirigir con Patricia Arquette y Christian Slater en los papeles principales. También escribió el guión genuino de Natural Born Killers (Asesinos natos). El estreno de True Romance (1993) le dio a Tarantino la oportunidad de trabar amistad con el productor Lawrence Bender, que le animó a dirigir Reservoir Dogs (estrenada en 1992) y Pulp Fiction (estrenada en 1994). Pulp Fiction se hizo con la Palma de Oro en el Festival de Cannes de 1994. La siguiente película de Tarantino, Jackie Brown (1997), estaba basada en una novela de Elmore Leonard y contaba con Pam Grier en el papel protagonista. Estreno Kill Bill en dos partes separadas, el 2003 y 2004. Su última película estrenada es Grindhouse (2007), creada en colaboración con Robert Rodríguez, Tarantino dirige el segmento Death Proof. También escribió el guión y protagonizo ( como casi siempre en sus películas) una de las habitaciones de "Four Rooms", comedia en la que 4 directores dirigen las peripecias de un botones que se queda como único encargado de un hotel de Hollywood, y cada uno cuenta la historia de una habitación distinta.

                        Tarantino, ha colaborado con Robert Rodríguez en algunas escenas de Sin City (2005) y ha sido productor de la película de terror del subgénero gore Hostel (2005), dirigida por Eli Roth, que cuenta con sangrientas e impactantes escenas de tortura, y que le ha ganado críticas por su escaso nivel artístico y su chocante sadismo además de la fantasmal aparición de Takashi Miike casi al final del film.

                        Curiosidades [editar]

                        * El orden cronológico suele estar alterado en sus películas, mostrándose al comienzo de las mismas hechos adelantados en el futuro, para mostrar como se ha llegado a esos hechos (pasado) a medida que avanza la película. Esta estructura cronológica la encontramos en películas como Pulp Fiction, Reservoir Dogs, Kill Bill...
                        * Es frecuente que en sus películas haya un escena de "enfrentamiento mexicano", en la que 3 o mas personajes se apuntan mutuamente con pistolas al mismo tiempo.
                        * Los personajes de casi todas sus peliculas tienen un alias. Por ejemplo, todo el equipo de Reservoir Dogs, los personajes de Kill Bill, o Honey Bunny y Ringo en Pulp Fiction.
                        * Sus angulos de camara son otra seña caracteristica de su estilo. En sus peliculas es frecuente ver planos de gente abriendo y cerrando puertas, primeros planos muy cercanos de la cara de actores mientras esta hablando otra persona fuera de camara (Butch mientras habla Marcellus en Pulp Fiction o La Novia mientras habla Bill), tomas desde detras de los actores o tomas muy cercanas de las manos de los personajes realizando cualquier accion ( por ejemplo, Jules cogiendo una hamburguesa en Pulp Fiction)
                        * Una de las marcas de Tarantino son los característicos planos desde el interior de un maletero que aparecen en todas y cada una de sus películas.
                        * Fetichista de los pies: Es normal en sus filmes que las actrices exhiban sus pies descalzos y en ocasiones en primer plano.
                        * Otra curiosidad es el Zippo que aparece también en todas sus películas.
                        * En una escena de Death Proof, se puede apreciar que el Ringtone del móvil de una de las chicas es la canción Twisted Nerve de Bernard Herrmann, la famosa canción del silbido de Kill Bill.
                        * Como personajes secundarios de Death Proof aparecen el "Sheriff" e "Hijo Número 1" de Kill Bill, además del personaje que pacta con Buck una sección de prostitución con el cuerpo de trx.
                        * Normalmente hay giros y comentarios discriminatorios hacia negros y judíos, aunque ese no es el tema central de los diálogos
                        * La película "Grind House" la dirigió junto al director Robert Rodríguez. Cada director escribe y dirige su propio guión de una hora y media de duración.
                        * Una de sus características principales son las tomas de larga duración que suele incluir.
                        * Incluye además en los personajes el consumo de cigarrillos Red Apple, o bien aparecen anunciados o como parte de la escenografía.
                        * En una entrevista en la revista Playboy habló sobre el consumo de cannabis y éxtasis durante el rodaje de Kill Bill.

                        Colaboradores habituales [editar]

                        Tarantino frecuentemente utiliza actores con los que ha trabajado previamente, el actor con el que más ha trabajado es Samuel L. Jackson.
                        Actor Reservoir Dogs Pulp Fiction Jackie Brown Kill Bill Death Proof Inglourious Basterds
                        Steve Buscemi ✘ ✘
                        Julie Dreyfus ✘ ✘
                        Samuel L. Jackson ✘ ✘ ✘ ✘
                        Harvey Keitel ✘ ✘
                        Michael Madsen ✘ ✘
                        Michael Parks ✘ ✘
                        Eli Roth ✘ ✘
                        Tim Roth ✘ ✘
                        Uma Thurman ✘ ✘
                        Escritores
                        Roger Avary ✘ ✘
                        Productores
                        Lawrence Bender ✘ ✘ ✘ ✘ ✘ ✘
                        Directores de fotografía
                        Robert Richardson ✘ ✘
                        Andrzej Sekula ✘ ✘
                        Montadores
                        Sally Menke ✘ ✘ ✘ ✘ ✘ ✘

                        Filmografía [editar]

                        Como productor [editar]

                        * Hell Ride (2008)
                        * Hostel 2 (2007)
                        * Hostel (2006)
                        * Curdled (1996)

                        Como director [editar]

                        * Inglorious Bastards (2009)
                        * Grind House: Death Proof (2007)
                        * Sin City (Director invitado) (2005)
                        * Peligro sepulcral (episodio de CSI: Crime Scene Investigation (2005))
                        * Kill Bill Vol.2 (2004)
                        * Kill Bill Vol.1 (2003)
                        * Jackie Brown (1997)
                        * Four Rooms (1995)
                        * Motherhood, episodio de ER (1995)
                        * Pulp Fiction (Tiempos Violentos) (1994)
                        * Reservoir dogs (Los perros de la calle)(1992)
                        * My Best Friend's Birthday (1987)

                        Como guionista [editar]

                        * Inglorious Basterds (2009)
                        * Grind House: Death Proof (2007)
                        * Peligro sepulcral (episodio de CSI: Crime Scene Investigation (2005))
                        * Kill Bill Vol.2 (2004)
                        * Kill Bill Vol.1 (2003)
                        * Jackie Brown (1997)
                        * From Dusk Till Dawn (Abierto hasta el amanecer) (1996)
                        * Four Rooms (1995)
                        * Motherhood. Episodio de Sala de Urgencias (1995)
                        * Asesinos Natos (1994)
                        * Pulp Fiction (Tiempos Violentos) (1994)
                        * Amor a quemarropa (1993)
                        * Reservoir Dogs (Los perros de la calle) (1992)
                        * My Best Friend's Birthday (1987)

                        Como actor [editar]

                        * Sukiyaki Western: Django : Dirigida por: Takashi Miike (2007)
                        * Grind House: Planet Terror (de Robert Rodríguez) y Death Proof (de Quentin Tarantino) (2007)
                        * Revelación total (voz) (Alias) (2003)
                        * Después de las seis (Alias) (2087)
                        * La Caja. Doble Episodio de Alias (2671)
                        * Little Nicky (2000)
                        * Jackie Brown (1997) (voz)
                        * Girl 6 (1996)
                        * From Dusk Till Dawn (Abierto hasta el amanecer) (1996)
                        * Dance Me to the End of Love (1994)
                        * Desperado (1995)
                        * Four Rooms (1995)
                        * Destiny Turns on the Radio (1995)
                        * Sleep With Me (Duerme conmigo) (1994)
                        * Somebody to Love (Alguien a quien amar) (1994)
                        * Pulp Fiction (Tiempos Violentos) (1994)
                        * Reservoir Dogs (Los perros de la calle) (1992)
                        * Eddie Presley (1992)
                        * My Best Friend's Birthday (1987)
                        * Kill Bill Vol.1 (2003) (como uno de los 88 maníacos)
                        * Planet terror (2009)

                        Premios [editar]

                        Óscar [editar]
                        Año Categoría Película Resultado
                        1994 Óscar a la mejor película Pulp Fiction Candidato
                        1994 Óscar a la mejor dirección Pulp Fiction Candidato
                        1994 Óscar al mejor guión original Pulp Fiction Ganador

                        Globos de Oro [editar]
                        Año Categoría Película Resultado
                        1995 Globo de Oro al mejor director Pulp Fiction Candidato

                        Cannes [editar]

                        Palma de Oro (Ganador)

                        Enlaces externos [editar]

                        * Quentin Tarantino en Internet Movie Database (en inglés)
                        * Quentin Tarantino Movie Forums (en inglés)
                        * Los 10 Magníficos: monográfico sobre Tarantino en TCM
                        * Todo sobre Q.T.

                        Obtenido de "http://es.wikipedia.org/wiki/Quentin_Tarantino"
                        Categorías: Nacidos en 1963 | Actores de Alias | Actores de cin

                        Comentario

                        • MILHOUSE
                          Registered User
                          • 26-10-2008
                          • 2836

                          #13
                          queres que te baneen como a kkkkkk jajauajuaja romeo y julieta

                          Comentario

                          • Linus
                            Judío
                            • 18-03-2006
                            • 10637

                            #14
                            Che repito, no es novedad lo de Tarantino.

                            En 1994 ya se le acusó de trucho y ya respondió que le encanta ser truchísimo y que es su gran talento.

                            Y obvio que Borgia quiere llenar su añeja vagina de semen de kkkkkk.

                            Y obvio que lucuma también.
                            Akira Yamaoka.

                            Comentario

                            • MILHOUSE
                              Registered User
                              • 26-10-2008
                              • 2836

                              #15
                              Originalmente publicado por Linus
                              Che repito, no es novedad lo de Tarantino.

                              En 1994 ya se le acusó de trucho y ya respondió que le encanta ser truchísimo y que es su gran talento.

                              Y obvio que Borgia quiere llenar su añeja vagina de semen de kkkkkk.

                              Y obvio que lucuma también.
                              Ya se que no descubrí america , o acaso las noticias que postean aca son creadas por los users? Es como si hiciera un post osbre la posible ( mito urbano) sincronia entre El Mago de oz y Dark SIde of the moon... es solo para debatir sobre eso no para decir "oh miren"

                              Comentario

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