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Author Topic: Quentin Tarantino's Inglourious Basterds (2009)  (Read 18644 times)

Offline Masa

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Re: Quentin Tarantino's Inglorious Basterds (2009)
« Reply #20 on: February 20, 2009, 05:34:33 PM »






Fucking badass! :yep:

Offline Masa

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Re: Quentin Tarantino's Inglorious Basterds (2009)
« Reply #21 on: April 02, 2009, 10:59:19 PM »
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Tarantino's Inglourious Basterds Confirmed for Cannes!

At the Cannes Film Festival last year, Quentin Tarantino boldly stated that he would be back "next year" with Inglourious Basterds in hand. Of course, we all took that statement as his word that he would actually make the movie, which did happen. But I always thought that was a bit of a crazy thing to say, unless he had someone inside that had already guaranteed him his admittance before he had even shot the film or finished the script. Whether it was actually BS or not, Variety has confirmed that Inglourious Basterds did indeed make it into Cannes, and will be premiering "in competition" during the fest.

Tarantino won a Palme d'Or at Cannes in 1994 for Pulp Fiction, but hasn't won any awards since then, however he has been invited back as a member of the jury multiple times. Pixar's Up was announced was the opening night film a few weeks ago. The remainder of this year's Cannes line-up will be announced on April 23rd. I have been confirmed and will be attending Cannes in May. This makes me quite excited, as two of my most anticipated movies are now premiering there, so look forward to my reviews. Universal and The Weinstein Company will debut Inglourious Basterds in theaters officially in the US on August 21st.
http://www.firstshowing.net/2009/04/02/tarantinos-inglourious-basterds-confirmed-for-cannes/

Offline Masa

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Offline arun.yothin

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Re: Quentin Tarantino's Inglorious Basterds (2009)
« Reply #26 on: May 05, 2009, 12:53:11 AM »
I saw a trailer for this yesterday. I didn't pay much attention before, but now I wanna check this out.

Offline Masa

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Re: Quentin Tarantino's Inglorious Basterds (2009)
« Reply #27 on: May 07, 2009, 08:27:02 AM »

Offline Masa

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Re: Quentin Tarantino's Inglourious Basterds (2009)
« Reply #28 on: May 12, 2009, 06:22:48 AM »
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Does Tarantino Have More Basterds Tricks Up His Sleeves?

With Inglourious Basterds premiering on May 20th at Cannes next week, more mainstream press coverage has been starting to appear all over the place. Over at the NY Times in particular, they've got a set visit feature, delving further into the production and Quentin Tarantino's crazy mind. But at the very end, they say something very interesting. It reads: "Not to mention a shelved subplot about African-American soldiers stuck behind enemy lines. 'I have a half-written prequel ready to go if this movie's a smash,' he said." Whoa, wait a minute, Tarantino's got a prequel already ready to go? What exactly is this all about?

Thanks to our friends at The Playlist for first pointing this out. They also did some research and found an old 2007 interview with Tarantino at the UK's Telegraph where it was mentioned "Tarantino is also planning a new genre, a form of spaghetti western set in America's Deep South which he calls 'a southern.'" I doubt that's the same Inglourious Basterds prequel that was mentioned above, but it's at least a connection of sorts. We already know that Tarantino likes to talk about prequels a lot (he keeps saying he wants to make that Kill Bill prequel soon, too) so maybe this is just more of that madness.

We also know that it took a very long time for Inglourious Basterds to finally get made (there's a great article over on TotalFilm.com about that). In fact, even though he's been talking about Basterds since the start of this decade, he only ever finished the script last year. So how could he even have a prequel already half-written? As crazy as Tarantino is, I doubt this is just a joke. Which is why I'm curious if he has some more tricks up his sleeves? Who knows what he's up to. Though we will find out in the next few weeks if Inglourious Basterds is all that it's cracked up to be. So stay tuned for plenty more from Tarantino soon.
http://www.firstshowing.net/2009/05/10/does-tarantino-have-more-basterds-tricks-up-his-sleeves/

Quote
‘Bunch of Guys on a Mission Movie’

“THIS ain’t your daddy’s World War II movie,” Quentin Tarantino said with a grin, standing on a street corner here that had been scrubbed of 21st-century signposts to become the set of “Inglourious Basterds,” his new film about a band of Jewish-American soldiers on a scalp-hunting revenge quest against the Nazis.

Although it was mostly shot at Studio Babelsberg in Potsdam, Germany, the movie’s subtitle is “Once Upon a Time in Nazi-Occupied France.” So on a three-day sojourn in Paris in December, Mr. Tarantino and his bi-continental moviemaking coalition commandeered a 1904 bistro with peeling paint, Art Deco stained glass and a wall of windows overlooking an intersection of identifiably Parisian streets in the 18th Arrondissement.

 “We had to have a scene to sell the audience that we’re in France,” Mr. Tarantino said. “This is it.”

“Inglourious Basterds,” which is to have its premiere at the Cannes Film Festival on May 20, is Mr. Tarantino’s first movie since “Death Proof,” half of “Grindhouse,” a double feature and box-office flop that he directed with Robert Rodriguez, and his first solo feature since “Kill Bill Vol. 2” in 2004.

Mr. Tarantino calls “Inglourious Basterds” his “bunch of guys on a mission movie.” Judging by the script, it should have the crackling dialogue, irreverent humor and stylized violence that are hallmarks of his work.

“You’ve got to make a movie about something, and I’m a film guy, so I think in terms of genres,” he said. “So you get a good idea, and it just moves forward and then usually by the time you’re finished, it doesn’t resemble anything of what might have been the inspiration. It’s simply the spark that starts the fire.”

The spark that led to “Inglourious Basterds,” starring Brad Pitt, Diane Kruger, Mike Myers, Eli Roth and a large international cast, can be traced to Mr. Tarantino’s storied days as a video-store clerk in Manhattan Beach, Calif. (The inspiration for “Reservoir Dogs,” “Jackie Brown” and other Tarantino movies can also be traced to that time.)

“The guys at Video Archives were like, ‘Quentin, maybe one of these days you’ll make your ‘Inglorious Bastards,’ ” Mr. Tarantino said, referring to the (conventionally spelled) 1978 Enzo G. Castellari film. “But they hadn’t even seen the movie, all right, it was just a great title. I love the movie, don’t get me wrong, but it’s not a remake,” he said, of his version.

“It will be in the original category at the Oscars,” he added optimistically.

Lawrence Bender, who has produced all but one Tarantino movie, said he was surprised when Mr. Tarantino called last summer to announce he had finalized the long-gestating “Basterds” script and wanted to finish the movie in time for Cannes. Mr. Tarantino won the top prize there, the Palme d’Or, in 1994 for “Pulp Fiction.”

“He’s read me all kinds of stuff over the years,” Mr. Bender said, “but I always assumed it was something he was going to have and never do.” (Mr. Tarantino is known for taking plenty of detours on the way from one movie to the next. He has directed episodes of television shows, including “CSI,” acted in and produced other people’s movies, and has been a guest judge and “mentor” on “American Idol.”)

A six-month research period for “Basterds” several years ago “paralyzed my writing for a while,” Mr. Tarantino said. He thought of making a World War II documentary or teaching a college course and even plotted out a 12-hour mini-series. Then in January 2008 he said he decided to “take one more crack at seeing if I could make this a movie,” he said. “I wasn’t out to teach a history lesson. You can turn on the History Channel — which might as well be called the Hitler Channel. I just wanted to tell my story and have the same freedom I would have telling any story. I want the act of writing to be so fulfilling that I have to question do I want to even make the movie.”

Mr. Tarantino’s unedited script was circulating online within days after he completed it. “This was so personal to me, misspellings and all,” he said, mentioning that he had typed it with one finger on the same 1987 Smith Corona word processor that he used to produce “Reservoir Dogs” and “Pulp Fiction.” “I mean I’ll proofread it when we publish it.”

Not that he’ll change the title. “Basterds should be spelled with an e,” he said. “It sounds like it has an e.” He shouted, “Basterds! Basterds!” in what sounded like a Boston accent: more “BAS-tids” than “BAS-terds.” (As for the spelling of “Inglourious,” Mr. Tarantino said: “I can’t tell you stuff like that. It’s a movie thing.”)

A man with a walkie-talkie tugged on Mr. Tarantino’s arm. “Sorry, I’m getting the vaudeville hook,” he said, and went inside the bistro to shoot a scene in which Shosanna (the French actress Mélanie Laurent), a young Jewish woman in hiding and running a Paris cinema, sits across a café table from an unsuspecting Nazi soldier and matinee idol (the German actor Daniel Brühl) trying to win her affections. Mr. Tarantino watched the actors like a patron spying on a couple across the room, barely glancing at the nearby monitor.

“I’m looking through the viewfinder when I set up a shot,” he said between takes, “but I watch the performance and listen to it. Otherwise the monitor is directing the movie.”

Like 70 percent of “Inglourious Basterds” this scene was being performed in French and German, which is just one of the reasons this isn’t your daddy’s World War II movie. “When you see the Germans speaking English with a German accent or sounding like British thespians, it just seems very quaint,” Mr. Tarantino said. “That’s one thing I don’t want this film to have. If Spielberg hadn’t made ‘Schindler’s List’ yet, I joke, I like to think that after our movie he’d be shamed into doing it in German.”

(Executives at the Weinstein Company said the heavy use of subtitles did not give them pause. “Tarantino is a universal language,” said Tom Ortenberg, president of theatrical films.)

Mr. Brühl said it was the director’s non-sacred approach to Germany’s painful history that attracted him to the role.

“I’m curious to see how it’s going to be received in Germany,” Mr. Brühl, 30, said, placing the movie in the tradition of Ernst Lubitsch’s “To Be or Not To Be” (1942) and Charlie Chaplin’s “Great Dictator” (1940). “If a comedy is intelligent and has depth, it’s a very legitimate way to talk about Fascism in Nazi Germany, which was also a big show — and if you think about it, very ridiculous.”

The screenplay is loaded with movie references and jokes, and intrigues involving actors and film premieres. Hitler’s minister of propaganda, Joseph Goebbels, is portrayed as a typical studio chief. (“People write about the horrible anti-Semitic films,” Mr. Tarantino said, “but most of the 800 movies he made were comedies and musicals.”) And it is safe to say, without spoiling the history-bending penultimate scene, that cinema saves the world.

The production designer David Wasco, who has worked on all but one of Mr. Tarantino’s films, said that while they had labored to reproduce the period using original photographs and documents, “pretty much 90 percent is based on movie references.”

“It’s a Quentin period world,” he added. “That’s what we’re helping him do here.”

Mr. Tarantino said: “All that movie stuff just kind of organically happens. It’s just what I am interested in.”

Late in the day bottles of Champagne appeared on the sidewalk, and Mr. Tarantino called for a toast to honor the 800th roll of film. He circulated, clinking plastic glasses as evening fell over the city, with a word and a smile for everyone.

The Basterds — the film’s Jewish soldiers, given their nickname by the Nazis — hadn’t made the trip to Paris, but their presence could be felt in the grown-out “basterd haircut” (short on the sides and in back, long on top) that Mr. Tarantino was sporting. “The Basterds don’t have the luxury of being soldiers,” he said. “They have the duty to be warriors, because they’re fighting an enemy that’s trying to wipe them off the face of the earth.”

Mr. Tarantino, who was born in Tennessee, said his childhood revenge fantasies centered more on the Ku Klux Klan. “But it’s all the same,” he said. “Once the Basterds get through with Europe, they could go to the South and do it to the Kluxers in the ’50s. That’s another story you could tell.”

Not to mention a shelved subplot about African-American soldiers stuck behind enemy lines. “I have a half-written prequel ready to go if this movie’s a smash,” he said.
http://www.nytimes.com/2009/05/10/movies/10hoha.html?pagewanted=1&_r=4
« Last Edit: May 12, 2009, 06:29:09 AM by Masa »

Offline Masa

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Re: Quentin Tarantino's Inglourious Basterds (2009)
« Reply #29 on: May 14, 2009, 06:43:20 AM »




Offline Masa

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Re: Quentin Tarantino's Inglourious Basterds (2009)
« Reply #30 on: May 19, 2009, 04:06:53 PM »




Quote
What Inglourious Music Will The Basterds Be Put To?

So far, what we’ve gotten from Quentin Tarantino’s upcoming Inglourious Basterds film have been numerous posters, images and actual footage (including a wicked first trailer). Well, those are all really cool, but one thing we haven’t gotten to know up until this point is the soundtrack for the film - a trademark of Tarantino’s movies in and of itself. Today, thanks to AICN, we have a soundtrack listing for Inglourious Basterds, something any Tarantino fan should be excited to see. The list is from a press release at Cannes, so logically it’s in French. However, the song titles and artists can be read okay, check out the list below:

    * The Green Leaves of Summer
      (d’après le film ALAMO)
      De Dimitri Tiomkin

    * The Verdict
      (Dopo la condanna)
      D’Ennio Morricone
      Interprété par
      Ennio Morricone

    * L’incontro con la figlia
      D’Ennio Morricone

    * White Lightning
      (Chanson principale du film LES BOOTLEGGERS)
      De Charles Bernstein
      Interprété par Charles Bernstein

    * Il mercenario (ripresa)
      D’Ennio Morricone
      Interprété par Ennio Morricone

    * Slaughter
      De Billy Preston
      Interprété par Billy Preston

    * Algeri: 1 novembre 1954
      (LA BATAILLE D’ALGER)
      D’Ennio Morricone,Gillo Pontecorvo
      Interprété par Ennio Morricone,Gillo Pontecorvo

    * The Surrender
      ( La resa )
      D’Ennio Morricone
      Interprété par Ennio Morricone

    * One Silver Dollar
      (Un Dollaro Bucato)
      De Gianni Ferrio

    * Bath Attack
      (d’après le film L’EMPRISE) (The Entity?)
      De Charles Bernstein
      Interprété par Charles Bernstein

    * Davon Geht Die
      Welt Nicht Unter
      De Bruno Balz,Michael Jary
      Interprété par Zarah Leander

    * The Man With The Big Sombrero
      De Phil Boutelje,Foster Carling
      Interprété par Sam Shelton and the Michael Andrew Orchestra

    * Ich Wollt Ich
      Waer Ein Huhn
      De Hans-Fritz Beckmann, Peter Kreuder
      Interprété par Lilian Harvey, Willy Fritsch, Paul Kemp

    * Cat People
      (Putting Out The Fire)
      De David Bowie, Giorgio Moroder

    * Mystic and Severe
      D’Ennio Morricone
      Interprété par Ennio Morricone

    * The Devil’s Rumble
      (d’après le film DEVIL’S ANGELS)
      De Mike Curb
      Interprété par The Arrows

    * What I’d Say
      Zulus
      D’Elmer Bernstein

    * Un Amico
      D’Ennio Morricone
      Interprété parEnnio Morricone

    * Tiger Tank
      De Lalo Schifrin

    * Eastern Condors
      Rabbia e Tarantella
      D’Ennio Morricone
      Interprété par Ennio Morricone

Talk about diverse: David Bowie and Ennio Morricone in the same film? I’m there! Inglourious Basterds wouldn’t be a genuine Tarantino movie if it didn’t have a diverse and eclectic soundtrack to go alongside the dialogue and the characters. He has said in interviews before that before he even has word one of a script written he goes into his record collection room and hunts through his thousands of records for music that “feels right.”

Just shows you how important music is to him and his movies... What Tarantino also does beyond just simply choosing music is he manages to take songs that were either forgotten or not known to most people and makes them iconic. With Reservoir Dogs it was Stealer’s Wheel’s “Stuck In The Middle With You” during the infamous ear scene, in Pulp Fiction it was “Misirlou” that played over the opening credits, “Across 110th Street” in Jackie Brown, for Kill Bill it was “Bang Bang (You Shot Me Down)” during its opening credits… I could go on forever.

Beyond the fact that this music info is in French, the songs are pretty obscure and therefore hard to find. The “Green Leaves of Summer” and “Cat People” are easy to hunt down so if they are the only two you are able to find, it gives at least a taste as to the musical thinking Tarantino had when shooting the movie.

I can’t wait for this film. What do you think about the Basterd music chosen by Tarantino? Are you familiar with any of the songs? Inglourious Basterds is premiering at Cannes next week and is set to open theatrically on August 21, 2009.
http://screenrant.com/what-inglourious-music-will-the-basterds-be-put-to-ross-8626/

Morricone :thumbsup

Offline Masa

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Offline Masa

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Re: Quentin Tarantino's Inglourious Basterds (2009)
« Reply #32 on: May 24, 2009, 07:21:18 AM »
Quote
Tarantino Heading Back into the Editing Room with Basterds

Apparently the Cannes reaction wasn't good enough for Universal. Anne Thompson over at Variety published an update from Cannes a few days ago mentioning that Universal is urging Quentin Tarantino to make some changes to Inglourious Basterds before it officially hits theaters in late August. Tarantino has consistently worked with The Weinstein Company for most of his recent films, but Basterds was co-financed and co-produced by TWC and Universal, meaning that the studio has as much say as Harvey Weinstein this time around. And apparently they're not too happy with the feedback from Cannes.

Before its premiere last Wednesday, the running time was one of the most talked about aspects of the film. It was listed in the Cannes guide at 2 hours, 40 minutes, but it actually only played roughly 2 hours, 28 minutes. Most people are instantly assuming that some of the negative criticism stems from its length and are saying that Tarantino needs to trim it down. On the contrary, though, it felt like it was missing a few key scenes (or so I thought). Thompson confirms that Universal wants Tarantino to return "to the editing room post-Cannes to make some trims edits that might include adding a scene, says Tarantino."

He also reminds us that the current run time is "well under his contractual final cut length of 2 hours, 48 minutes." I think I would've preferred seeing the 2 hour, 40 minute version, but I'm sure Universal is getting nervous, since long films don't exactly fare too well at the box office (although there are exceptions). It's also been the on-going theme here at Cannes that films are almost always way too long. Though with Basterds, there were so many different characters and stories, that I felt as if a few weren't developed enough, and that there could have been more. I'll be looking forward to seeing his final cut in August.
http://www.firstshowing.net/2009/05/23/tarantino-heading-back-into-the-editing-room-with-inglourious-basterds/

Offline Rina the Robot

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Re: Quentin Tarantino's Inglourious Basterds (2009)
« Reply #33 on: May 24, 2009, 08:26:22 AM »
I saw the trailer before the Terminator yesterday. I am looking forward to the extreme violence, Tarantino will never let me down  :bow:
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Offline Yankii Heart

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Re: Quentin Tarantino's Inglourious Basterds (2009)
« Reply #34 on: May 27, 2009, 06:40:09 AM »
I saw the trailer before the Terminator yesterday. I am looking forward to the extreme violence, Tarantino will never let me down  :bow:

When has he let down the public???

Tarantino is GOD  :bow: :bow: :bow: :bow:


Offline Rina the Robot

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Re: Quentin Tarantino's Inglourious Basterds (2009)
« Reply #35 on: June 07, 2009, 06:46:32 PM »
GUESS WHAT I SAW LAST WEDNESDAY  :heart: :heart: :heart:

I've been in LA for the past week and by some amazing fluke, I got tickets to a pre-screening of the movie. It was amazing and everything you would want from a WWII movie directed by God himself, but more importantly:

HE WATCHED THE MOVIE WITH US

That's right, I breathed the same air as my favorite person in the entire world for three whole hours. It was magical and he's such a sweet, genuine person.

Forgetting the way I embarrassingly started crying when he came out and greeted the audience, I'll just say that the movie is well worth your time  :twothumbs
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Offline cool_kickin_dude

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Re: Quentin Tarantino's Inglourious Basterds (2009)
« Reply #36 on: June 07, 2009, 11:02:13 PM »
^ wait, who did you see? Pitt or Tarentino?

Offline Rina the Robot

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Re: Quentin Tarantino's Inglourious Basterds (2009)
« Reply #37 on: June 08, 2009, 01:10:22 AM »
^ Tarantino  :inlove:
rina ♥ mini

Offline shadowstar

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Re: Quentin Tarantino's Inglourious Basterds (2009)
« Reply #38 on: June 08, 2009, 06:04:11 AM »
Tarantino is just an overall really cool guy. I remember when he visited here, he told the news how much he likes the country and Filipinos and you could tell he's always honest.

Saw the trailer for this last week, I can't wait!

Offline Masa

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Re: Quentin Tarantino's Inglourious Basterds (2009)
« Reply #39 on: June 10, 2009, 08:49:28 AM »
Quote
Harvey Weinstein Wants to Cut 40 Minutes from Inglourious Basterds?!

If you haven't been following industry news recently, The Weinstein Company is in a lot of financial trouble. Similar to New Line a few years ago, their survival is somewhat dependent on the performance of three big movies this fall: Inglourious Basterds, H2: Halloween 2, and Rob Marshall's Nine. This wouldn't matter much, except that Harvey Weinstein is attempting to get his hands on Quentin Tarantino's Inglourious Basterds and cut out 40 minutes of it, according to The Wrap. There have been numerous industry pieces on the TWC situation, but Sharon Waxman's article is the only one that mentions this rumor specifically.

Here's the excerpt from Waxman's piece at The Wrap where it specifically mentions the 40 minute cut.

But here's what we know: the company needs a big hit, and soon. Quentin Tarantino's Inglourious Basterds premiered to mixed reviews at the Cannes Festival. Weinstein and co-producer Universal are both trying to convince Tarantino to cut it by 40 minutes. (It's now 2'40", and considered too long a sit, especially for American audiences.)

Waxman actually got the running time wrong, as the version I saw in Cannes ran 2 hours, 28 minutes. This isn't the first time we've heard that Tarantino would be making some changes from the version he showed in France. At the end of the fest, Tarantino started telling press that he would be going back into the editing room for Basterds, potentially adding a new scene before the infamous bar scene in the middle of the movie. All of this is happening because the reaction in Cannes wasn't as positive as they (meaning Tarantino and Harvey Weinstein) had hoped it would be. But they better not cut out 40 minutes of it!

Inglourious Basterds is a very long film for good reason; no one should be expecting to see Tarantino's take on Saving Private Ryan. Thankfully I'm not the only one who is opposed to this. Ben Kenigsberg at Time Out Chicago wrote a piece titled "Don't cut Inglourious Basterds, you basterds!" Here's an excerpt:

All I can say—as someone who thought Basterds was the unquestionable highlight of this year's Cannes competition—is that cutting won't remove what's strange about the film; it'll just ruin its pacing and structure—and probably outrage QT's sizable fanbase. The charge against the movie is that it's "talky" and that too much of it is subtitled to appeal to a mass audience. But if any contemporary filmmaker has proven that large swaths of dialogue can be compelling, even profitable, it's Tarantino.

I couldn't agree more with what Kenigsberg says above. Screw what Harvey Weinstein thinks, I say stick with your gut, Tarantino! Even if Basterds doesn't turn out to be a huge hit in the end because it's so long (and becomes the first nail in TWC's coffin), who cares, in the end everyone will be much more appreciative that Tarantino stuck with his cut and kept true to his vision. I fear that cutting out 40 minutes would ruin the movie, not improve it or bring in a bigger audience. And if that's all that TWC cares about in regards to Basterds, then Tarantino definitely shouldn't be listening to anything they say.
http://www.firstshowing.net/2009/06/09/harvey-weinstein-wants-to-cut-40-minutes-from-inglourious-basterds/

Harvey Weinstein :thumbdown:

GUESS WHAT I SAW LAST WEDNESDAY  :heart: :heart: :heart:
HOLY SHIT! That's epic! :w00t:

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