But then they get successful, and facing that blank page and starting all over again, every single time from the scratchiest of the scratch, that's hard work.
It's hard to put yourself back at square one every single solitary time. And that is what you do when you write a script from scratch. And, at a certain point, those guys are like, "Forget that, man. Let me go and let me look for a script that I like. Let me find something out there that I want to do."
And then they find something out there, and because they're a writer, they can work with a writer and have them change it or think, "Oh, I'll just do it myself and do a pass," because it's easier.
And that works maybe OK for a while, but the next thing you know, they do three more movies like that, and then you look at all of them together, and what was the strong voice or the real artist trying to do something gets diluted down and diluted down, because the voice is just getting weaker and weaker and weaker. They might be directing the heck out of the movie, but that voice that you heard, that's gone.
Following is a transcript of Jake Tapper's interview with "Grindhouse" star Kurt Russell, star of the Tarantino section of the film, "Death Proof."
doesn't seem like he's actually changed that much since he first came on the scene in '92, except, now, he can do everything he wants to do.
: People like Quentin, they don't change. They are who they are. He's a self-made man. I think he's been who he is since he was probably 12 or 13 years old. We've actually talked some about that. And I understand it, because, you know, I was starting in this business when I was nine years old, too.
He is just a savant when it comes to anything to do with movies. He remembers everything he's ever seen, ever. That's not like an overall statement that's kind of thrown out there. I don't think there's anything he's ever forgotten that he's ever seen.
: He knows your work intimately?
: Everything. Everything. My favorite line from every movie. He remembers everything from "Used Cars" or "Big Trouble in Little China" or any John Carpenter movie I've done, he just knows it, just flat-out knows it, better than I do.
I said to him one day, "Quentin, I've seen 'Escape from New York' three times." I'll see "Grindhouse" twice, maybe in my life. If he sees it once, he doesn't forget it, but, then, he drills it in. Whatever movies he loves, he drills into his head. But what's great about him as a director is he doesn't copy things. He then takes that information, pushes it aside, uses it, because he knows he can, and then he does his own thing. His does his own version of whatever it is he is going to do. Really fun person to work with and be around, too.
: You weren't in any Grindhouse movies in the '70s, but you saw a bunch of them. How close is this to the experience?
: I not only saw them, I interviewed for them. I was making movies at that time. One that I saw that I really liked at that time was "Vanishing Point." I really liked "Vanishing Point." And what is it about them? I don't know. I think that exploitation of sex, violence and extreme subject matter. I think it was like you didn't know what you were going to see.