They go back down, and then almost as if on purpose as far as suspense is concerned, right at the height of the movie there’s a power outage and all the power goes out. “It gets to the final climax and all of the sudden the lights come up. The problems only escalated from there, he said. They didn’t have a scope lens for the projector and it’s a scope movie and I let them show it anyway. In contrast, Tarantino said of the film’s premiere at Sundance in 1992, “the first time we screened it was a disaster. The screening was a jewel of this year’s Tribeca lineup. “If I could do it all again, I’d do it slightly differently.” “I knew this was going to work out - making movies in general, not just Reservoir Dogs.“There are so many things about this movie where I didn’t know anything,” Tarantino said, onstage at the Beacon Theatre in New York. “I got in my car to drive from Malibu to Glendale down Sunset Boulevard, and that was the happiest moment in my life,” he said. During that dinner, he saw how well the actors took to the material his only job would be to keep the camera in focus.
One night, he drove from his mom’s house in Glendale to join the cast for dinner at Keitel’s home in Malibu. Reservoir Dogs also gave Tarantino the happiest moment of his life, he told the Tribeca crowd. It just popped into my head, and that’s what I decided to do.” Blonde dances maniacally around the cop.’ What does that mean? Then I suddenly recalled a dance that I saw James Cagney do in a movie - I can’t remember which one. “I heard that music and I thought, Oh fuck, I better do something,” Madsen growled. The first time Michael Madsen danced to Stealers Wheel’s “Stuck in the Middle With You” was on the day they filmed the infamous torture scene, which sees his character groove around a cop before slicing his ear off. (They rehearsed for two weeks, with five weeks for filming.) The speed of the production meant one of the film’s most iconic moments went unrehearsed. “The guy who did Last House on the Left walked out of my movie! I guess it was too tough for him.”įor a while, Keitel remembered, Tarantino had floated the idea of doing the movie as a play, too, if only to give the men more time to rehearse. “Wes Craven walked out of my movie,” Tarantino said, getting laughs from the crowd.
Only five people walked out of the movie’s screening during the Sitges Film Festival, but the director said there was one he’d never forget. (The most during a single screening was 33). Tarantino described the movie’s press tour, where he counted how many people walked out of each screening. “He said, ‘Script’s great … it’s poetry.’” “He actually gave me one of the first profound compliments, other than Harvey,” Tarantino remembered. Tom Waits read for a role at one point, Tarantino told Hirschberg and the crowd. On a gamble like this, other big names were attached and unattached to what everyone agreed was a terrific script. Keitel - whose last name Tarantino still laughs about constantly mispronouncing - was the linchpin for Reservoir Dogs, before it was a ferocious, zeitgeisty touchstone, and was just a first feature from a little-known director. Only Keitel, an executive producer on the movie, knew he’d be Mr. Pink, but he wasn’t the only one interested in switching up his casting during the cast’s post-screening chat with writer Lynn Hirschberg, both Roth and Buscemi said they had initially imagined taking on different roles than the ones they would make famous. During his audition, Madsen had briefly read for Mr. Blonde, or you’re not in the movie.’” Sitting onstage after the Tribeca Film Festival’s retrospective screening of Tarantino’s own 35 mm print, Madsen, Harvey Keitel, Steve Buscemi, and Tim Roth remembered making Tarantino’s first feature. Pink,’” Michael Madsen recalled Quentin Tarantino saying to him during his audition for Reservoir Dogs.
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