As Quentin Tarantino prepares to release his newest film Once Upon a Time in Hollywood, we explore some of the films he considers to be the greatest of all time.
Tarantino, whose now iconic style has been characterised by his unique storyline exploration and depiction of violence, revealed his admiration for the likes of Francis Ford Coppola, Brian de Palma, Martin Scorsese and more.
The inclusion of ‘New Hollywood’ films such as Apocalypse Now and Taxi Driver should come as little surprise, Tarantino himself admitting to heavy admiration for the aforementioned films.
Despite previously stating that Kinji Fukasaku’s super violent film Battle Royale was his favourite film released since he became a director in 1992, Tarantino chose note to include it in the list he compiled for the Sight & Sound poll a few years ago, instead voting for the following:
Quentin Tarantino’s 12 greatest films off all time:
1. Apocalypse Now – Francis Ford Coppola, 1979.
2. The Bad News Bears – Michael Ritchie, 1976.
3. Carrie – Brian de Palma, 1976.
4. Dazed and Confused – Richard Linklater, 1993.
5. The Good, the Bad, and the Ugly – Sergio Leone, 1966.
6. The Great Escape – John Sturges, 1963.
7. His Girl Friday – Howard Hawks, 1939.
8. Jaws – Steven Spielberg, 1975.
9. Pretty Maids All in a Row – Roger Vadim, 1971.
10. Rolling Thunder – John Flynn, 1977.
11. Sorcerer – William Friedkin, 1977.
12. Taxi Driver – Martin Scorsese, 1976.
Tarantino’s knowledge and fandom for cinema knows no bounds, his directional style has been heavily influenced by the feature films that have dominated his youth. When discussing Tarantino’s love for cinema, actor Danny Strong once described Tarantino as “such a movie buff,” before explaining that “he had so much knowledge of films that he would try to get people to watch really cool movies.”
When learning about cinema, Tarantino once said: [My] head is a sponge. I listen to what everyone says, I watch little idiosyncratic behavior, people tell me a joke and I remember it. People tell me an interesting story in their life and I remember it,” in reference to the small details he likes to focus on when creating a new picture. “When I go and write my new characters, my pen is like an antenna, it gets that information, and all of a sudden these characters come out more or less fully formed. I don’t write their dialogue, I get them talking to each other.”
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