I stayed up last night to finish reading the screenplay for the forthcoming movie. Its the first time I’ve read a Tarantino script, and like I mentioned on The Daily Planet, I kind of collect scripts. I have The Big Lebowski, The Usual Suspects, Shane Black’s Kiss Kiss, Bang Bang and Joss Whedon’s Serenity. So, I’m taking some notes while reading this thing mostly for my own pleasure, but also to save my notes rather than losing yet another legal pad full of my illegible scrawl. So:
- There are frequent typos. The Weinsteins must not have editors for their line of books, or Little Brown doesn’t offer their own as part of the distribution deal.
- You get a great sense of the oft-mentioned “knowledge of cinema past” that is always referenced re: Tarantino. Its one thing to hear about that all the time, and see it on film, but when you actually read it, it became finally clear to me. Ref: pg. 45.
- For a nice change, every bit of dialogue is not pointless filler. To say the least, that cannot be said in Death Proof, or in the two volumes of Kill Bill. (Except, clearly, the very end of vol.2 with Bill). Every line in this script is rooted in character, and true to previous form.
- Its a gloriously fun read, and like I said before, there are frequent typos but I attribute that now less to the lack of an editor but Tarantino’s excitement. Because everyone knows he’s kind of an excitable guy.
- Very little directorial notations in this script, almost none. Considering its a piece of writing from a person intending to direct it himself you would think he would put notes to himself on how the shots would be laid down but there are hardly any in the first two acts.