In one of the intermittent revealing moments in “QT8: Quentin Tarantino, The First Eight,” a documentary about the films of Quentin Tarantino that’s like a familiar but tasty sundae for…
that’s like a familiar but tasty sundae for Quentin fans, we see Tarantino on the set of “Pulp Fiction,” shooting the iconic dance contest at Jack Rabbit Slim’s. As John Travolta and Uma Thurman gyrate to “You Never Can Tell,” staring each other down as they do the twist with that two-fingers-across-the-eyes gesture that I first saw Adam West do, in full cowl and costume, on an episode of “Batman,” Tarantino stands next to the camera, a few feet from his actors, and he’s dancing, too.
As seen in “QT8,” the Quentin sets are hard-working movie parties where the director’s control mingles with an atmosphere of discovery. Tarantino is always next to the camera, with no video playback apparatus, cracking up at the funny bits in his scenes. Cell phones are banned — his way of joining everyone in the same immersion. And the casts become families.
Like the fact that Quentin, directing his first feature by using the $20,000 in residuals he made as one of a chorus of Elvis impersonators on an episode of “The Golden Girls” , told everyone to show up on the set of “Reservoir Dogs” dressed in black suits and white shirts. “They gave us the ties,” recalls Michael Madsen. “That was about it. But if you watch the movie, Steve Buscemi has blackon.
That said, one of the strongest elements of “QT8” is the film’s evocation of the indelible female characters Tarantino has given us. Not just women who kick ass, but women who burn with a serious fire, like Pam Grier’s Jackie Brown or Uma Thurman’s yearning moll in “Pulp Fiction” or Thurman’s dynamo of vengeance in the “Kill Bill” films or the take-no-guff vixens who, in the first half of “Death Proof,” do nothing but drive and talk, magnetizing us the whole while.
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