<\/p>\n
“I couldn’t imagine that something like this was going to happen, that they were going to shoot Bambi’s mother. I didn’t expect it, I didn’t see it coming, hence the shock. I had seen the poster before and I assumed that everything would be happy between little animals and not that it would become that dystopian reality in which Bambi becomes an orphan”, acknowledged the director of contemporary classics such as “Pulp Fiction” or “Kill Bill”.<\/p>\n
And this is because the filmmaker from Knoxville, Tennessee, did not grow up in cotton wool and, as he told the audience at the Teatre Coliseum, his mother allowed him to watch films recommended only for adults from a very young age.<\/p>\n
“Yes, as a child I saw a lot of disturbing images, I suppose. But I enjoyed it. I didn’t really understand what was happening in scenes like rape or torture, but I understood it from the context,” explained Tarantino, whom the general public often associates precisely , with violence.<\/p>\n
In his first non-fiction book, he also reveals that he saw his first two porn movies at the cinema when he was only 14 years old or that his mother’s boyfriend, an African-American, took him to a cinema where he was the only white man and where a man lived. hectic pass of the movie “Black Gunpowder” by Jim Brown.<\/p>\n
“It was possibly the most masculine experience I had ever been a part of,” he recalls in the book, referring to the uproar with which the scenes were celebrated in the stalls, a sensation that he has always wanted to “recreate” for others since his cinema.<\/p>\n
At his only presentation in Spain of “Cinema Meditations”, in which he was not allowed to take photos or record videos, Tarantino arrived on time, wearing a white shirt and socks, sneakers and jeans.<\/p>\n
His intervention, in which he delved into his love and constant reference to the cinema of the seventies, the so-called “New Hollywood”, has been accompanied by the viewing of famous scenes from classics such as “American Graffiti” or “Dirty Harry”.<\/p>\n
In the talk, he did not avoid referring to his controversy over the criticism of the new movies from the Marvel and DC universe and pointed out that, if he was 20 years old, he would have liked to see his comics taken to the big screen, although now they no longer interest him.<\/p>\n
Tarantino explained that if the 70s of the last century changed cinema, it was precisely to treat the viewer as an adult. “The Second World War had already passed and the viewer no longer wanted to be treated like a child, he already knew what life was about,” he said.<\/p>\n
The public, made up of fans of the American willing to pay between 82 and 94 euros for admission, also heard the reading of one of the last chapters of the book from the voice of Tarantino himself.<\/p>\n
In the work, in which he fantasizes about how “Taxi driver” could have been if Brian de Palma had been its director, and in which he also names Spanish titles such as “La residencia” by Narciso Ib\u00e1\u00f1ez Serrador or “Tie me up” by Pedro Almod\u00f3var , Tarantino flirts with both autobiography and film criticism.<\/p>\n
Precisely, his next film, “The movie critic” (The film critic), revolves around that figure.<\/p>\n
“There’s a lot of speculation about who it’s based on. And yes, he’s a real critic, but he’s not known and\u2026 and I’m not going to tell you more,” said Tarantino, who, laughing, added that it won’t be a “story of revenge”.<\/p>\n
The book, which has been number one in The New York Times, focuses especially on the most gritty and limited-budget films from the years of his sentimental upbringing, from “Defense” to “Dirty Harry”, passing through “Taxi Driver “, “The escape from Alcatraz” or “The ex-prisoner of Korea”, the film that has been mentioned the most times in Barcelona.<\/p>\n
“Cinema Speculation”, in its original title, was presented in the US before his short European tour which, prior to Barcelona, \u200b\u200bpassed through London and will also take the director of “Reservoir Dogs” to Berlin next week.<\/p>\n<\/p><\/div>\n