![]() He set that project aside to work on others, then considered adapting it as a TV miniseries-an idea he brought up over dinner with friend Luc Besson ( Léon: The Professional, The Fifth Element). … I couldn’t even figure out what the mission was going to be because I just couldn’t stop introducing everybody.” “I just couldn’t shut my brain off, like, a new twist, a new character, a new sub-story to throw in there just kept coming. “I was doing the exact opposite of suffering from writer’s block,” he said. Tarantino started writing it almost like a novel in 1998, crafting hundreds of pages with no ending, just scenes and characters he adored. Inglourious Basterds took a long time to reach the screen. Now it’s this.” …but don’t be afraid to give it focus. “Things have dropped away, and bad ideas have come and gone. “I’ve just learned that by the time I actually get to the middle of the story … it’s become something so completely different than what I could have imagined before I actually started writing,” he said. Planning too much doesn’t work for him, he said, because the story evolves while he’s writing. … It’s the characters who really write the piece.” “I’m trying to get to that place where now the characters are telling me and the characters are exciting me. “I’ll do a little like, ‘This thing goes into this thing goes into this thing,’ maybe for, like, the first half or something, just to get a sense of how I’m starting, and I have an idea where I’m going to go with it,” he said. Tarantino starts writing in longhand without much of a plan because he wants the characters to dictate the action. Listen to the full interview here: Let your story take you where it wants to go… Read on for more excerpts from the podcast, which was sponsored by ScreenCraft. The wide-ranging discussion offers a peek at the creative process of the onetime video-store clerk turned two-time Oscar-winning screenwriter ( Inglourious Basterds, Pulp Fiction). Opening July 26, the movie co-stars Leonardo DiCaprio ( Django Unchained), Brad Pitt ( Inglourious Basterds) and Margot Robbie ( I, Tonya) and focuses on the final years of the film industry’s Golden Age in 1969 Los Angeles. ![]() It now coincides with the ten-year anniversary of Inglourious Basterds in August and the upcoming nationwide release of Tarantino’s latest project, Once Upon a Time … in Hollywood. Goldsmith posted the interview this month, calling it a “lost episode” because it was taped in 2009 during awards season. Have you written the next great action film? Enter the ScreenCraft Action & Adventure Competition here. ![]() I hadn’t applied any kind of anything remotely called discipline to my writing in that regards in a decade.” … Just kind of gauging it like that,” he said. ![]() “I wanted to know how I was doing page-count-wise so I could adjust it as I go. So he referred to the script of his 1994 film Pulp Fiction, checking what the audience and characters would know at different points in each story so he could keep Inglourious Basterds to a reasonable running time of 2 hours and 33 minutes. I kept it a little bit more, you know, to the point.” But it’s just … I didn’t go prose-crazy and get inside their heads and describe to the reader everything that was going on. I didn’t go off on wild tangents-not tangents. I didn’t want to fall in love with a bunch of shit I couldn’t use, and so it just required me to be more disciplined. “I knew I just didn’t have that kind of latitude either as far as money or time or, even more important, running time. “I didn’t want to spend time shooting scenes that I didn’t think were going to make the cut,” he told a live audience on the podcast The Q&A with Jeff Goldsmith about writing his 2009 film Inglourious Basterds. But the writer-director has his own method of dramatic structure: He’s used the script of one of his films to guide him as far as the length and dramatic flow of another. Quentin Tarantino is known for writing drafts of his screenplays in longhand and not outlining plot twists, setups and payoffs.
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