Robert Kurtzman is a makeup effects man better known as the K in the high profile KNB EFX Group. (l to r) Brothers Richard and Seth Gecko (Quentin Tarantino and George Clooney) with Salma Hayek background centreįrom Dusk Till Dawn began life as a script that Quentin Tarantino wrote circa 1990, developing out an idea for Robert Kurtzman who was intending to direct the film. The two have frequently worked together since – Rodriguez uncreditedly directed the scenes where Tarantino appears in Pulp Fiction and composed music for the Kill Bill films while Tarantino cameos in Desperado and appears as a Guest Director for Rodriguez in Sin City (2005) the two collaborated on the double-bill Grindhouse (2007) and Tarantino produced Rodriguez’s Machete (2010). This came about with From Dusk Till Dawn. It seemed natural that two such individualistic talents as Tarantino and Rodriguez, both riding the Hollywood outside edge, would not only meet but also strike up a friendship and a collaboration. Desperado (1995), his big-budgeted Hollywood remake-come-sequel, successfully fused El Mariachi with the balletic pyrotechnics of the Hong Kong action film. Rodriguez’s first film El Mariachi (1993), a South of the Border spaghetti Western, was made for $7000 and is perhaps one of the slickest no-budget films ever made. Texan-born Robert Rodriguez is another customer altogether. 2 (2004), Grindhouse (2007) – see Death Proof (2007) – Inglourious Basterds (2009), Django Unchained (2012) and The Hateful Eight (2015). After the disappointing Jackie Brown (1997), which certainly revived the career of Pam Grier but did little else, Tarantino disappeared for a time in the latter half of the 1990s, before making a return to screens with Kill Bill Vol. Plus, the Tarantino-styled thriller with cynically chic underworld, non-linear plots and wry monologues inspired a host of imitators, ranging from the good – The Usual Suspects (1995), Out of Sight (1998), Sexy Beast (2001) – to the amusing – Get Shorty (1995) – the so-so – Things to Do In Denver When You’re Dead (1996) – to the downright awful Killing Zoe (1994). Everywhere else people were reviving old Quentin Tarantino scripts – True Romance (1993), Natural Born Killers (1994) and From Dusk Till Dawn – that were sold but never produced when he was still a videostore clerk. He had only directed two films but had already had two books published about him he directed episodes of ER (1994-2009) cameoed in films like Desperado (1995), Destiny Turns on the Radio (1995), Spike Lee’s Girl 6 (1996), even The Muppets’ Wizard of Oz (2005) for goodness sake became possibly the most over-exposed interviewee around lent his name to friends like Roger Avary and Robert Rodriguez to gain a wide audience for their films and united other fledgling directors in the anthology film Four Rooms (1995) as well as ushered a series of foreign imports and B movie video releases in under his name. Less than a year after Pulp Fiction, Tarantino seemed to have his finger in every pie. He writes laconically naturalistic dialogue and made violence, dashed up with a nihilistic cynicism, ultra hip. Tarantino was the first of the filmmakers to emerge from the video generation – his films come packed with not only quotes but also entire monologues about film, tv and junk culture. Tarantino first emerged on the scene with the brash and brilliant crime thriller Reservoir Dogs (1992) and then slammed it home with the breathtaking Pulp Fiction (1994). Tarantino’s meteoric rise from videostore clerk to the leader of the new brat pack was the stuff of which Hollywood discoveries are made. For a time around the mid-1990s, Quentin Tarantino was the coolest guy in Hollywood.
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