It’s a good moment to discuss one of the industry’s pioneers because the Oscars recently aired, with one of the major topics celebrating great films and producers.
Obscenely Regressive Vision Of The 1960s
Without a doubt, Martin Scorsese ranks among the most well-known, significant, and revered film directors in history.
Beginning in the 1960s, he produced a successful stream of movies that have influenced virtually every aspect of the filmmaking process.
Everyone must begin somewhere, and Quentin Tarantino is no different. Contrary to popular belief, Tarantino did not make Reservoir Dogs his debut feature when he first entered the independent film scene.
You should view Tarantino’s debut short film, “My Best Friend’s Birthday,” which was an unreleased feature picture, before going to see any of his movies.
Craig Hamann and Quentin Tarantino collaborated on the black-and-white amateur movie “My Best Friend’s Birthday.” Additionally, this was the first movie that Quentin Tarantino directed.
It was recorded while he was employed by the sadly shuttered indie film mecca Video Archives in Manhattan Beach, California.
Quentin Tarantino has earned his reputation as a master of the needle-drop cue ever since he used the kitsch-folk classic “Stuck in the Middle with You” by Stealers Wheel to score the severing of a police officer’s ear.
Over the past 30 years, he has strengthened this reputation with his clever, frequently illogical choices for everything from “Pulp Fiction” to “Once Upon a Time… in Hollywood.”
In “Death Proof,” he introduced viewers to obscure songs like Dave Dee, Dozy, Beaky, Mick & Tich’s “Hold Tight!” and gave radio classics like Jim Croce’s “I Got a Name” a thrilling new lease of life.
There is no wrong answer when it comes to our fave Tarantino needle drops, unless you count his weird appropriation of Pino Donaggio’s “Sally and Jack” cue from Brian De Palma’s “Blow Out” as one.
The explanation is more shocking than the response. When Tarantino included Tomoyasu Hotei’s upbeat score for “New Battles Without Honor and Humanity,” a drab remake of Kinji Fukasaku’s classic “Battle Without Honor and Humanity,” in the 2002 teaser for “Kill Bill” (before the movie’s Harvey Weinstein-mandated halving in 2003), it shot to the top of every cinephile’s playlist.
It jolts the audience out of Okinawa’s sword-making doldrums and prepares them for an epic confrontation at the House of Blue Leaves.
That in and of itself justifies calling it one of Tarantino’s films’ best cues. However, Tarantino prefers it because, well, the second Shrek sequel utilized it.
Along with fellow Video Archives staffers Rand Vossler and Pulp Fiction co-writer and eventual Oscar winner Roger Avary, who also served as the movie’s cinematographer, Tarantino was a member of the team.
It is Quentin Tarantino’s most obviously humorous film to date.
The final reel, which was roughly 70 minutes long in the original cut but was lost in a lab fire that started while editing, was destroyed.
A number of film festivals across the world have screened the remaining 36 minutes of the movie. It has never been declared to be available.
You can see the beginnings of Quentin Tarantino’s brilliance for dialogue and character in this short. All wannabe filmmakers should see it since it’s entertaining. Enjoy the unusual independent movie “My Best Friend’s Birthday. “