Tarantino and Rodriguez: Who's the Man?


And it was about three years ago that I thought about doing a double feature, because I had a lot of leftover film ideas for stories that I thought, "I'm never going to get around to making all these movies. Maybe I should start doubling them up or something and make an experience." I had just done a 3-D movie. So I thought something else that would be a great theatrical experience for an audience to do a double feature.

But, then, I went and did "Sin City." And, after "Sin City," I brought the idea to Quentin, because I saw a double-feature poster laying on the floor that was just like the one I had at home that I was using as inspiration. It was a double-feature poster for "Rock All Night" and "Dragster Girl," an AIP double-feature poster. I said, "I had an idea for a double feature…" He goes, "Oh, I love double features."

I said, "But I was going to direct them both, but you should do one and I'll do the other…" And he just got ecstatic. He said, "We got to call it 'Grindhouse' Let's call it 'Grindhouse. We've got to put fake trailers in between.' And within five minutes, we came up with the idea for this whole movie.

With the concept of "ruining" the prints on purpose as part of that from the beginning?

Yes, that was the biggest choice on our part. Because, you know, it really looks pretty good now, the way they do all these general negatives and everything. You know, you almost can't make a movie look bad in today's Hollywood. And we just realized that it would just feel antiseptic, like we were trying too hard. If it had this nice clean look, it just wouldn't be right.

And Robert just really kind of like led the way so much in the case of "Sin City" by picking an aesthetic and picking a look and just going all the way with it. And even the look that we're using in this, I experimented a little bit with one of the -- the Kung-Foo section of "Kill Bill." So we knew it would work. So we just decided to go all the way with it and just make it -- that's part of the experience.

A lot of the prints he has collected, some of them are from different places. Some of them have played the Grindhouse circuit. So they are very ripped up. And that would add a texture to the movie that -- I would watch a movie and really enjoy it and go, "I think I actually have this movie on DVD. I'm going to go watch it at home and see if it is as good as this. I don't remember it being that good."

And you'd put it on, and it would be so clean it took away a lot of its character. So I knew that part of the character of this movie had to be that it felt like some movie that we made 10 years ago or 20 years ago that just go resurrected and just found, discovered, and have it be all ripped up like that.

I have been doing that for about 10 years now, taking double features and trailers and playing them in festivals and creating my own festival.

And the thing that's cool is there is this neat aspect that happens in the audience when they're watching these kind of prints. There's almost like an intrigue about, "Is it going to break? All right. Did I miss something?"

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