There are several interview topics more sincere, unpredictable and clean fun than Quentin Tarantino. As for filmmakers, it exists on a salty rarified plane with a top of the trash Supreme Orson Wells. He may be brazen, awkward and brazen, but as is probably the most influential director of his generation, he has at least earned the right to sound to all Chinese things. And while I don't always agree with him (there were passages of His book "Cinema Speculation" That made me see the red, especially his dismissal of Peter Yates' "Friends of Eddie Cohle), I appreciate his opinions coming from a fiercely sincere and deeply known place.

While I enjoy the dirt of Tarantino, I think he is at best when he goes to the mattress for underestimated film artists. Shortly after breaking up with "Tank Dogs" in 1992 and established himself as an open Cinefil, he represented Brian De Palma's films. This was not a good time to sing the director's praise, as he only hit the sliders commercially and critically with the trio of "victims of war", the "fire of vanities" and "Cain cultivation". For the vocal contingent of mainstream reviewers who have long separated De Palma as an artist for Rip-off, this felt like sweet justification. For those of us who were enrolled by De Palma's "Sui Generalis Cinema", where the director has clearly worked ecstatic variations on well -known topics, as so many great classical music composers have made them for centuries, aside from "fire", he actually worked in the amount of his powers (his powers ("Victims of War" is the best American film for the Vietnam war so far).

So, it was exciting to see a young bombs launcher like Tarantino calling on De Palma's ignorant hatred, and not only holding the director, but called him "the greatest director of his generation." Remember, this is a generation involving Steven Spielberg, Martin Scorsese and Francis Ford Coppola. Also, I warn you: Tarantino is 100% accurate.

There are many other cases when Tarantino talks about a living film legend when they needed an incentive, and, aside from his Kinduube words for De Palma, I don't think he was once a more correctional place since he preached the Walter Hill Gospel.

In an interview in 2003 With Buffalo News going to the announcement of "Kill Bill, Volume 1", Tarantino asked if there were US directors that we should be "harder to seriously from us". After noticing that three of his enormous talented peers (David Fincher, Paul Thomas Anderson and Robert Rodriguez) received the Loveube Coat, he descended on the hill.

For Tarantino:

"A mainstream director who had his time as much as he was, but I think he has been ignored lately and does not deserve it is Walter Hill. I think he has had a great resurrection in creativity in the last 10 years. I think he lost his way for some time in the 1980s.

Hill's western EP in 1993 for the wars of Apache and the leadership of Geronimo's lecture in 1886 was positioned as the main candidate for awards that year and had a good job for it. The artist was again hot thanks to the winners of the best "dance dances" and "unforgivable" paintings, coincided with the renewed interest in the crimes visited by the indigenous population in the United States, as the Earth's Earth chased its manifested fate. Although Hill was not a commercial banking director at the moment of his career, he was considered a top craftsman. He was also widely respected, which helped him round out a killer involving Wes Study in the title role and, and, Like his US military rivals, ein HackmanRobert Duval, Asoneyson Patrick and Incoming-Freelance Up and Chambers Named Matt Damon.

In classic hilly fashion, "Geronimo: American Legend" is difficult and difficult. Although the exhibition exposure director has to deal with more backsters than he probably once worked in a movie, he does it elegant. This is the hill of his character defined by the best (and the reminder that Patrick had/has things to be great for all time), a non -confident saga aimed at assuring.

Tarantino also spoke in defense of Hill's "Wild Account", an elegant 1995 Western classic that deserves way More Loveube (and is a must -see If you are a fan of "Deadwood"). Unfortunately, the first -class hills were given mixed examinations. Both films had their supporters, but their smell could not exceed the reaction to their colleagues. "Geronimo: American Legend" has a 50% fresh rating of rotten tomatoes, while "Wild Account" Lags a little behind 46% fresh, which I think is an accurate reflection of how they were considered during their release.

Interestingly, Tarantino did not mention the incredibly satisfying satisfaction of the 2002 prison boxer "undeniable" in that interview, because it is a film that still needs a critical review. I would also say Hill has turned into another western bone pleasure three years ago with "Dead for Dolar" (starring Christoph Waltz, Willem Dapho and Rachel Brosnahan). Hill still got it at 83. Let's bring our man back to the saddle, Mr Tarantino!