No adrenaline-pumping Tarantino film is complete without at least a few shots of the camera making cinematic love to a (preferably classic) automobile. Jakob T. Swinney, the editor who showed us the poetry of films' first and final frames and the meaning of fading to white, just released the third installment of a four-part series on Quentin Tarantino, Tarantno: The Driving Shots. In it, he explores the life-and-death drama, casual conversations, and awkward silences the iconic filmmaker uses to move narratives forward—ideally at 60+ mph, on four wheels, and down a long and lonely highway.
"Tarantino is a rather popular topic for supercuts and video essays, so a ton of patterns were already put to good use—pop culture references, trunk shots, low angle shots, deaths, etc," Swinney explains to The Creators Project. "Re-watching QT's films, I realized that many of my favorite scenes take place in a car. Not only does Tarantino conduct crucial narrative movement inside of vehicles (Mr. Orange being shot, Jules 'retiring,' Butch running over Marsellus, etc.), but he shoots them using a large variety of interesting angles that resurface in each film."
He encourages viewers to make sure they watch the supercut all the way through: "My favorite part of the process was coming up with a way to end the video," he says. "I had a lot of fun playing with some different ways, and I'm really happy with the ending I chose." With the teaser for Tarantino's upcoming antebellum bloodfest, The Hateful Eight, now out on the web, we've got visions of galloping horses and exploding carriages—à la Django Unchained—dancing in our heads.
See more of Jakob T. Swinney's work on his Vimeo page and in our coverage below.
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[Video Link] "Excerpt from a bizarre early stop-motion animation piece featuring Charley Bowers and a metal-eating bird. The creature devours junk from an auto scrapyard, then lays an egg that hatches and grows into a brand new car! Very impressive FX and way before CGI. Directed by Harold L. Muller." (Via Magic Transistor)