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    suicideblonde:

INGLOURIOUS BASTERDS Fits Perfectly into Quentin Tarantino’s Movie Universe and Influences the Entire Filmography
By now, most Quentin Tarantino fans are aware of the connections interlaced throughout all of his films. John Travolta’s Vincent Vega in Pulp Fiction is the brother of Michael Madsen’s Vic Vega in Reservoir Dogs, Harvey Keitel’s Mr. White worked with Alabama from True Romance, the plot basis for Kill Bill is described as the synopsis for a TV series in Pulp Fiction, etc.
Now the epiphany that Eli Roth’s character of Donny Donowitz aka “The Bear Jew” in Inglourious Basterds is the father of the movie producer Lee Donowitz in True Romance has inspired a truly mind-blowing theory that the rest of the films (chronologically speaking) in Tarantino’s filmography take place in a world where [Inglorious Basterds spoiler] World War II came to an end when Adolf Hitler was brutally murdered in a movie theater by the Basterds.
This initial connection was brought up in an article on Cracked, but a poster on Reddit (via David Chen’s Twitter) has more eloquently summed up what this means for Tarantino’s movieverse:
As it turns out, Donny Donowitz, ‘The Bear Jew’, is the father of movie producer Lee Donowitz from True Romance – which means that, in Tarantino’s universe, everybody grew up learning about how a bunch of commando Jews machine gunned Hitler to death in a burning movie theater, as opposed to quietly killing himself in a bunker. Because World War 2 ended in a movie theater, everybody lends greater significance to pop culture, hence why seemingly everybody has Abed-level knowledge of movies and TV. Likewise, because America won World War 2 in one concentrated act of hyperviolent slaughter, Americans as a whole are more desensitized to that sort of thing. Hence why Butch is unfazed by killing two people, Mr. White and Mr. Pink take a pragmatic approach to killing in their line of work, Esmerelda the cab driver is obsessed with death, etc. You can extrapolate this further when you realize that Tarantino’s movies are technically two universes – he’s gone on record as saying that Kill Bill and From Dusk ‘Til Dawn take place in a ‘movie movie universe’; that is, they’re movies that characters from the Pulp Fiction, Reservoir Dogs, True Romance, and Death Proof universe would go to see in theaters. (Kill Bill, after all, is basically Fox Force Five, right on down to Mia Wallace playing the title role.) What immediately springs to mind about Kill Bill and From Dusk ‘Til Dawn? That they’re crazy violent, even by Tarantino standards. These are the movies produced in a world where America’s crowning victory was locking a bunch of people in a movie theater and blowing it to bits – and keep in mind, Lee Donowitz, son of one of the people on the suicide mission to kill Hitler, is a very successful movie producer. Basically, it turns every Tarantino movie into alternate reality sci fi. I love it so hard.

    suicideblonde:

    INGLOURIOUS BASTERDS Fits Perfectly into Quentin Tarantino’s Movie Universe and Influences the Entire Filmography

    By now, most Quentin Tarantino fans are aware of the connections interlaced throughout all of his films. John Travolta’s Vincent Vega in Pulp Fiction is the brother of Michael Madsen’s Vic Vega in Reservoir Dogs, Harvey Keitel’s Mr. White worked with Alabama from True Romance, the plot basis for Kill Bill is described as the synopsis for a TV series in Pulp Fiction, etc.

    Now the epiphany that Eli Roth’s character of Donny Donowitz aka “The Bear Jew” in Inglourious Basterds is the father of the movie producer Lee Donowitz in True Romance has inspired a truly mind-blowing theory that the rest of the films (chronologically speaking) in Tarantino’s filmography take place in a world where [Inglorious Basterds spoiler] World War II came to an end when Adolf Hitler was brutally murdered in a movie theater by the Basterds.

    This initial connection was brought up in an article on Cracked, but a poster on Reddit (via David Chen’s Twitter) has more eloquently summed up what this means for Tarantino’s movieverse:

    As it turns out, Donny Donowitz, ‘The Bear Jew’, is the father of movie producer Lee Donowitz from True Romance – which means that, in Tarantino’s universe, everybody grew up learning about how a bunch of commando Jews machine gunned Hitler to death in a burning movie theater, as opposed to quietly killing himself in a bunker. Because World War 2 ended in a movie theater, everybody lends greater significance to pop culture, hence why seemingly everybody has Abed-level knowledge of movies and TV. Likewise, because America won World War 2 in one concentrated act of hyperviolent slaughter, Americans as a whole are more desensitized to that sort of thing. Hence why Butch is unfazed by killing two people, Mr. White and Mr. Pink take a pragmatic approach to killing in their line of work, Esmerelda the cab driver is obsessed with death, etc. You can extrapolate this further when you realize that Tarantino’s movies are technically two universes – he’s gone on record as saying that Kill Bill and From Dusk ‘Til Dawn take place in a ‘movie movie universe’; that is, they’re movies that characters from the Pulp Fiction, Reservoir Dogs, True Romance, and Death Proof universe would go to see in theaters. (Kill Bill, after all, is basically Fox Force Five, right on down to Mia Wallace playing the title role.) What immediately springs to mind about Kill Bill and From Dusk ‘Til Dawn? That they’re crazy violent, even by Tarantino standards. These are the movies produced in a world where America’s crowning victory was locking a bunch of people in a movie theater and blowing it to bits – and keep in mind, Lee Donowitz, son of one of the people on the suicide mission to kill Hitler, is a very successful movie producer. Basically, it turns every Tarantino movie into alternate reality sci fi. I love it so hard.

    — 2 days ago with 10118 notes
    "No one is ever really alone. You are part of everything alive."
    William S. Burroughs, Queer (via honeyforthehomeless)
    — 4 days ago with 662 notes

    theatlantic:

    8 Bits of Wisdom From Neil Gaiman on Being a Creator

    This is a fantastic speech by Neil Gaiman, addressing the 2012 graduating class of the University of the Arts in Philadelphia. Gaiman himself never graduated from college—in fact, he never even enrolled in college—yet he earned his place in literary culture as one of the most celebrated and prolific writers working today. Here, he imparts several pieces of life wisdom on young people beginning a career in the arts.

    1. Say “no” to projects that take you further from rather than closer to your own creative goals, however flattering or lucrative.
    2. Approach your creative labor with joy, or else it becomes work.
    3. Embrace your fear of failure. Make peace with the impostor syndrome that comes with success. Don’t be afraid of being wrong.
    4. When things get tough, make good art.

    Read the rest. [via Brain Pickings]

    — 5 days ago with 244 notes
    "Malia and Sasha and a bunch of my friends and Michelle had sort of like a roast, a little private roast, each one of them read something and Malia and Sasha had written out why I am such a wonderful dad. And they had this list, it was so sweet, and one of the items on Malia’s list was, ‘You are just the right amount of embarrassing.’"
    — 1 week ago with 2104 notes
    "You must be able to feel greatly while maintaining an ironic distance — you must be able to be in the place where the mountain both is and is not. You cannot create an effect on the page if you are a victim of the feeling you are trying to recreate. This does not mean that you do not feel this feeling; rather, this means that you write as a schizophrenic, or as a lusty lover, a lover who sincerely pleads, `Oh, baby, please, you are everything to me, you are my joie de vivre and my r aison d’etre,’ while at the same time thinking, `One more line like that and I’ll have the pants peeled right off this babe.’ While you are writing you learn, as a dancer dancing dances learns, to make the precise moves necessary to generate an effect which you do not feel in the moment, though of course it lives in your heart and you know you are creating it and what it feels like. The only reality for you in creating is the will to create; the will to do your best, phoneme by phoneme; the will to power on the page. You don’t have it and somebody else does? Tough shit. You don’t make the canon. You don’t become immortal even as would be and befit a god. Great effect will live in your writing if all you feel is desire to be great as a writer. That’s all — seduce and subdue, that’s all."

    Gordon Lish

    “The Gordon Lish Notes” by Tetman Callis

     

    (via loudsoundsaccumulated)

    — 3 weeks ago with 3 notes
    #gordon lish  #writing  #prose  #lit  #fiction