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Page ID (page_id) | 0 |
Page namespace (page_namespace) | 0 |
Page title (without namespace) (page_title) | 'Quentin Tarantino Always Has My Curiosity. And My Full Attention.' |
Full page title (page_prefixedtitle) | 'Quentin Tarantino Always Has My Curiosity. And My Full Attention.' |
Action (action) | 'edit' |
Edit summary/reason (summary) | '' |
Old content model (old_content_model) | '' |
New content model (new_content_model) | 'wikitext' |
Old page wikitext, before the edit (old_wikitext) | '' |
New page wikitext, after the edit (new_wikitext) | 'In a interview with The Daily Telegraph, well before filming, in 2007, Quentin Tarantino mentioned the notion of a spaghetti western, which he chose to unfold in America in 1858, many years before the outbreak of the civil war involving the north and south, on the'deep'slave south, Mississippi. Tarantino called this kind of southern western, I guess, spaghetti-'sauzern', and announced he wanted to produce a movie that gazes deeply into one of the most shameful pages of his country's past, slavery in the southern states. But as Quentin Tarantino and not Steven Spielberg, he decided to create these shameful pages of history to the screen in the genre of a spaghetti western rather than a historical large-scale film. Tarantino believed that in a Western, it's possible to honestly realize the shamefulness and vileness of man's possession of a person and poke the viewer along with his face into yesteryear, which in America they do not remember very much, and films with this topic are infrequently put out as a result of sense of shame, and in other countries they bet because they don't think they have the best to do so. It absolutely was as a result of the proven fact that'Django Unchained'or'Django Throwing Chains'was born.<br><br>My general impression of the newest almost three-hour film-making of the restless Tarantino is that what he tried to complete for the Jews in'Untold Bastards ', he does in'Django'for black America'Django'is much like Tarantino,'the white boy ', sees the anger and rage of the ancestors of today's black Americans towards white slave owners and not just towards those that'owned living property ', however in general towards white South America, which is why a black man of any age, from diapers to the shroud was a'boy ', and the woman, the lady, was a living vessel for the administration of certain physiological needs. As in Inglourious Bastard (t) kah, the interest burning, still painful for countless topics, for Tarantino is a chance to share with the viewer his passion for old films and genres that struck him in his youth. This really is a chance to include songs and bits of music that he adores. Invite living legends to participate, whom he admired as a boy, and, needless to say, work with the most effective actors of our time. With someone for the first time (Leonardo DiCaprio, Jamie Foxx), with someone, hopefully, on a regular basis (Christopher Waltz), and with someone, as a talisman, in each of his paintings - Samuel L. Jackson is an exceptionally interesting role. This type of vicious caricature of Mummy, the black nurse, devoted to her white owners, from Gone With the Wind.<br><br>The Academy of Cinema Arts should introduce a new Oscar category to find the best cast and present the very first ever award to not one, but four actors who played the main roles in Quentin Tarantino's'Django Unchained'(Waltz, Fox, DiCaprio, Jackson). This SoB knows how to utilize actors, and they work wonders for him.'Django'is the next CT film to star Christoph Waltz and is phenomenal. How do an actor play so brilliantly twice in a line? And this time his character is the most attractive in the film. The Tarantino screenwriter exploited Waltz's German-speaking origins in a brilliant way, introducing to the film the heroine, a dark slave named Brunhilda von Schaft (what if I lived in this way!), Who, believe it or not, could speak German. Only Tarantino could have develop this, and only in his film could it work, and how. Incidentally, the name Shaft was also not chosen by chance. Here is the name of the hero of the number of films about black detective John Schaft, which marked the beginning of the genre of black exploration in American action films in the late 1960s. And somewhere I read that, according to Tarantino, John Shaft may be the great-great-great-great grandson of Django and Brunhilde. The films about Shaft are Tarantino's favorites.<br><br>As in the earlier CT film, Waltz is the key attraction and you ought to watch Django at the least for his sake. But Tarantino has enough rides for many three hours. Music is one, two and three. Reported by users, the picture is incomparable. The nature and views of America are usually majestic and beautiful. And [https://www2.putlockers.name/ putlocker] often, unlike the folks who populate it. Tarantino's endless and eternal passion for old films, in this case, for spaghetti westerns, runs throughout the film, as does his skill and irrepressible need to shock. The meeting of both Djangos (Fox and Franco Nero, the hero of the first film, in a brief episode) and the exchange of phrases between them is a gift for movie lovers generally speaking and fans of European westerns in particular. The film began at a high level and for 2 hours my grade varied from 10 to 10+, 10 ++, etc. Yes, that's right. The film reached its climax when all main characters were together in the frame and in the plot.<br><br>Then a two made a farewell bow and a bloody massacre (bath) and a burning vengeance began. Even for Tarantino's generous cinematic blood, it was too much. Kill Bill, both of the revenge films in bloody scenes, felt like Comedy del Arto and Kabuki Theater compared to Django's final hour.' |
Unified diff of changes made by edit (edit_diff) | '@@ -1,0 +1,1 @@
+In a interview with The Daily Telegraph, well before filming, in 2007, Quentin Tarantino mentioned the notion of a spaghetti western, which he chose to unfold in America in 1858, many years before the outbreak of the civil war involving the north and south, on the'deep'slave south, Mississippi. Tarantino called this kind of southern western, I guess, spaghetti-'sauzern', and announced he wanted to produce a movie that gazes deeply into one of the most shameful pages of his country's past, slavery in the southern states. But as Quentin Tarantino and not Steven Spielberg, he decided to create these shameful pages of history to the screen in the genre of a spaghetti western rather than a historical large-scale film. Tarantino believed that in a Western, it's possible to honestly realize the shamefulness and vileness of man's possession of a person and poke the viewer along with his face into yesteryear, which in America they do not remember very much, and films with this topic are infrequently put out as a result of sense of shame, and in other countries they bet because they don't think they have the best to do so. It absolutely was as a result of the proven fact that'Django Unchained'or'Django Throwing Chains'was born.<br><br>My general impression of the newest almost three-hour film-making of the restless Tarantino is that what he tried to complete for the Jews in'Untold Bastards ', he does in'Django'for black America'Django'is much like Tarantino,'the white boy ', sees the anger and rage of the ancestors of today's black Americans towards white slave owners and not just towards those that'owned living property ', however in general towards white South America, which is why a black man of any age, from diapers to the shroud was a'boy ', and the woman, the lady, was a living vessel for the administration of certain physiological needs. As in Inglourious Bastard (t) kah, the interest burning, still painful for countless topics, for Tarantino is a chance to share with the viewer his passion for old films and genres that struck him in his youth. This really is a chance to include songs and bits of music that he adores. Invite living legends to participate, whom he admired as a boy, and, needless to say, work with the most effective actors of our time. With someone for the first time (Leonardo DiCaprio, Jamie Foxx), with someone, hopefully, on a regular basis (Christopher Waltz), and with someone, as a talisman, in each of his paintings - Samuel L. Jackson is an exceptionally interesting role. This type of vicious caricature of Mummy, the black nurse, devoted to her white owners, from Gone With the Wind.<br><br>The Academy of Cinema Arts should introduce a new Oscar category to find the best cast and present the very first ever award to not one, but four actors who played the main roles in Quentin Tarantino's'Django Unchained'(Waltz, Fox, DiCaprio, Jackson). This SoB knows how to utilize actors, and they work wonders for him.'Django'is the next CT film to star Christoph Waltz and is phenomenal. How do an actor play so brilliantly twice in a line? And this time his character is the most attractive in the film. The Tarantino screenwriter exploited Waltz's German-speaking origins in a brilliant way, introducing to the film the heroine, a dark slave named Brunhilda von Schaft (what if I lived in this way!), Who, believe it or not, could speak German. Only Tarantino could have develop this, and only in his film could it work, and how. Incidentally, the name Shaft was also not chosen by chance. Here is the name of the hero of the number of films about black detective John Schaft, which marked the beginning of the genre of black exploration in American action films in the late 1960s. And somewhere I read that, according to Tarantino, John Shaft may be the great-great-great-great grandson of Django and Brunhilde. The films about Shaft are Tarantino's favorites.<br><br>As in the earlier CT film, Waltz is the key attraction and you ought to watch Django at the least for his sake. But Tarantino has enough rides for many three hours. Music is one, two and three. Reported by users, the picture is incomparable. The nature and views of America are usually majestic and beautiful. And [https://www2.putlockers.name/ putlocker] often, unlike the folks who populate it. Tarantino's endless and eternal passion for old films, in this case, for spaghetti westerns, runs throughout the film, as does his skill and irrepressible need to shock. The meeting of both Djangos (Fox and Franco Nero, the hero of the first film, in a brief episode) and the exchange of phrases between them is a gift for movie lovers generally speaking and fans of European westerns in particular. The film began at a high level and for 2 hours my grade varied from 10 to 10+, 10 ++, etc. Yes, that's right. The film reached its climax when all main characters were together in the frame and in the plot.<br><br>Then a two made a farewell bow and a bloody massacre (bath) and a burning vengeance began. Even for Tarantino's generous cinematic blood, it was too much. Kill Bill, both of the revenge films in bloody scenes, felt like Comedy del Arto and Kabuki Theater compared to Django's final hour.
' |
New page size (new_size) | 5233 |
Old page size (old_size) | 0 |
Lines added in edit (added_lines) | [
0 => 'In a interview with The Daily Telegraph, well before filming, in 2007, Quentin Tarantino mentioned the notion of a spaghetti western, which he chose to unfold in America in 1858, many years before the outbreak of the civil war involving the north and south, on the'deep'slave south, Mississippi. Tarantino called this kind of southern western, I guess, spaghetti-'sauzern', and announced he wanted to produce a movie that gazes deeply into one of the most shameful pages of his country's past, slavery in the southern states. But as Quentin Tarantino and not Steven Spielberg, he decided to create these shameful pages of history to the screen in the genre of a spaghetti western rather than a historical large-scale film. Tarantino believed that in a Western, it's possible to honestly realize the shamefulness and vileness of man's possession of a person and poke the viewer along with his face into yesteryear, which in America they do not remember very much, and films with this topic are infrequently put out as a result of sense of shame, and in other countries they bet because they don't think they have the best to do so. It absolutely was as a result of the proven fact that'Django Unchained'or'Django Throwing Chains'was born.<br><br>My general impression of the newest almost three-hour film-making of the restless Tarantino is that what he tried to complete for the Jews in'Untold Bastards ', he does in'Django'for black America'Django'is much like Tarantino,'the white boy ', sees the anger and rage of the ancestors of today's black Americans towards white slave owners and not just towards those that'owned living property ', however in general towards white South America, which is why a black man of any age, from diapers to the shroud was a'boy ', and the woman, the lady, was a living vessel for the administration of certain physiological needs. As in Inglourious Bastard (t) kah, the interest burning, still painful for countless topics, for Tarantino is a chance to share with the viewer his passion for old films and genres that struck him in his youth. This really is a chance to include songs and bits of music that he adores. Invite living legends to participate, whom he admired as a boy, and, needless to say, work with the most effective actors of our time. With someone for the first time (Leonardo DiCaprio, Jamie Foxx), with someone, hopefully, on a regular basis (Christopher Waltz), and with someone, as a talisman, in each of his paintings - Samuel L. Jackson is an exceptionally interesting role. This type of vicious caricature of Mummy, the black nurse, devoted to her white owners, from Gone With the Wind.<br><br>The Academy of Cinema Arts should introduce a new Oscar category to find the best cast and present the very first ever award to not one, but four actors who played the main roles in Quentin Tarantino's'Django Unchained'(Waltz, Fox, DiCaprio, Jackson). This SoB knows how to utilize actors, and they work wonders for him.'Django'is the next CT film to star Christoph Waltz and is phenomenal. How do an actor play so brilliantly twice in a line? And this time his character is the most attractive in the film. The Tarantino screenwriter exploited Waltz's German-speaking origins in a brilliant way, introducing to the film the heroine, a dark slave named Brunhilda von Schaft (what if I lived in this way!), Who, believe it or not, could speak German. Only Tarantino could have develop this, and only in his film could it work, and how. Incidentally, the name Shaft was also not chosen by chance. Here is the name of the hero of the number of films about black detective John Schaft, which marked the beginning of the genre of black exploration in American action films in the late 1960s. And somewhere I read that, according to Tarantino, John Shaft may be the great-great-great-great grandson of Django and Brunhilde. The films about Shaft are Tarantino's favorites.<br><br>As in the earlier CT film, Waltz is the key attraction and you ought to watch Django at the least for his sake. But Tarantino has enough rides for many three hours. Music is one, two and three. Reported by users, the picture is incomparable. The nature and views of America are usually majestic and beautiful. And [https://www2.putlockers.name/ putlocker] often, unlike the folks who populate it. Tarantino's endless and eternal passion for old films, in this case, for spaghetti westerns, runs throughout the film, as does his skill and irrepressible need to shock. The meeting of both Djangos (Fox and Franco Nero, the hero of the first film, in a brief episode) and the exchange of phrases between them is a gift for movie lovers generally speaking and fans of European westerns in particular. The film began at a high level and for 2 hours my grade varied from 10 to 10+, 10 ++, etc. Yes, that's right. The film reached its climax when all main characters were together in the frame and in the plot.<br><br>Then a two made a farewell bow and a bloody massacre (bath) and a burning vengeance began. Even for Tarantino's generous cinematic blood, it was too much. Kill Bill, both of the revenge films in bloody scenes, felt like Comedy del Arto and Kabuki Theater compared to Django's final hour.'
] |
Whether or not the change was made through a Tor exit node (tor_exit_node) | false |
Unix timestamp of change (timestamp) | 1620213294 |
