Creative Screenwriting Magazine

Don’t Miss This Great Interview With Quentin Tarantino On Inglourious Basterds


Quentin Tarantino on the set of Inglourious BasterdsIn what may be one of the most fascinating articles you will ever read about how a the creative decisions were made in a script, Creative Screenwriting’s Jeff Goldsmith opens a window into the soul of cinematic artist writer-director Quentin Tarantino in our exclusive interview.

Subscribe to Creative Screenwriting for just $29.95 by June 17, and you’ll receive the July-August issue with this amazing interview.  To subscribe, click this tinyurl:  http://tinyurl.com/tarantino-interview *

If you subscribe after June 17, or if you want only this issue, you can order this issue at the single-issue price of $6.95 plus $2.41 postage and 75 cents handling fee (total $10.11) for as long as our supplies of extra copies lasts.  Click here to add this issue only to your shopping cart, then click here to go directly to your cart and complete your purchase.

Here are some excerpts from this remarkable interview:

“It’s not this thing that I’ve been working on forever,” insists writer-director Quentin Tarantino about his own Inglourious Basterds. Pretty much the only thing that’s left in the script from what I started back in ’98 are the first two chapters.” I never finished it. Literally, the story and everything else, I did in 2008.” As for what happened to Inglourious during the interim decade, Tarantino recalls…(in the interview)

Also learn what he says about getting what could be called “reverse writer’s block.”  Here’s a partial excerpt from  what Tarantino said about his first attempt to write this script back in 1998:

“I couldn’t stop writing. It was going to be my first original since Pulp Fiction. I wanted it to be great, and I couldn’t turn my brain off. I kept stopping myself from starting the actual story.”

Uma Thurman Stops The War Picture

Learn how a chance meeting with Uma Thurman at a party delayed completion of Inglourious Basterds.

You’ll read about the tug-of-war between ego and necessity, between the writer and the director in him, between artist and box office.  Learn how his Kill Bill and Grindhouse experiences had a positive effect on the making of Inglourious Basterds.

When to Write A Scene, When To Stop

Brad Pitt in Inglourious BasterdsNeed writing advice from a master?  He says –

“Overwrite — get it all out. I would know I was done because …”

In this interview, he also tells his secrets about….
again for years – and how the outcome of that meeting caused him to change the very nature of Shoshanna Dreyfus, a key character.

  • Outlines.  (You’ll probably be surprised by the answer.)
  • Which screenwriting software he personally uses.  (Hint: our advertisers are going to hate us for this…Sorry!)
  • How he does his rewrites.
  • How he approaches creating characters:   “I didn’t study writing. I studied acting. So in all my writing I’m not outside — I’m inside.” As he explains, he nearly becomes one of the characters during his process.   He tells which character does he become in Inglourious Basterds.

After Filmmaking…Then What?

And at the end of the interview, learn what Quentin Tarantino wants to do when he grows up.  It’s completely different from, but in a way, exactly like, what he already does.  Hint: It’s what he brought onto the set of Kill Bill.

This is an amazing interview.  Tarantino’s honesty and self-reflection give you a portrait of the artist you’ve never seen before.  And the only way to read this interview is to get the July-August issue of Creative Screenwriting.

It will be on sale in early July.  It’s an exclusive — no other screenwriting magazine will have an interview with Tarantino at this time.  So the only way to read it is to subscribe to Creative Screenwriting right away for $29.95, or wait for it to hit your local newsstand.  To subscribe, this URL will take your straight to the Creative Screenwriting subscription page:  http://tinyurl.com/tarantino-interview *

Or, click here to add this issue only to your shopping cart for $6.95 plus postage and handling (total $10.11), then click here to go directly to your cart and complete your purchase.

Sincerely,
Bill Donovan

Editor and Publisher
Creative Screenwring Magazine

P.S.  Our marketing exec, Danny, will also be shooting you an email telling you what else you can find in this issue, but here’s the July-August Table of Contents, in case you miss it:

In The July-August Issue Of Creative Screenwriting Magazine


Features

Quentin Tarantino’s Glorious Inglourious Return To The Screen
Quentin Tarantino’s glorious return to the screen is explained by none other than the maestro himself. By Jeff Goldsmith

Judd Apatow Interview On Funny People
(Still being written as this page is created.)  By Jeff Goldsmith.

In the Public Eye
Screenwriters Ronan Bennett, Ann Biderman, and writer-director Michael Mann each did time with John Dillinger, one of America’s most well-known — and well-liked — criminals, to create the script for Public Enemies. By Peter Clines

An American Writer in Bollywood
From Michigan to Mumbai

Supriya Kelkar may be the only American writer ever to go straight from college to writing for Bollywood. Here’s what the journey has been like so far. By Supriya Kelkar

Did Anyone See the Original?
Direct-to-DVD Horror Sequels to Movies That Didn’t Fly

They’re a sub-niche of a niche. Because even failed horror films develop a brand identity, their sequels work financially. That makes them a market in which a writer can make a living. By Paul Doro

People & News

The Buzz
Why does everyone rave about the Nashville Screenwriters Conference? Just think music, great food and stellar guests —and every year it gets better!

People
Writer-director Kyle Rankin thought Project Greenlight would be his ticket to the big time, but then he discovered his work was just starting.

People
Anthony Jaswinski tells tales of his dozen thrilling years as a writer-for-hire in the industry.

Anatomy of a Spec Sale
Longing for a good thriller, creative executive Marc Haimes decided to try his hand at writing one. The result was Hidden and a new career as a screenwriter.

Why I Write
Comedian-turned-writer-director Bobcat Goldthwait is serious about perfecting his craft, and his latest effort, World’s Greatest Dad, proves he’s more than just a stand-up guy.

Legal Brief
So you’ve finally gotten a manager. You’re all set, right? Not so fast. Make sure you address these seven questions as you enter into a management contract.  By attorney Lee Rudnicki

Lost Scenes: Reservoir Dogs
Luckily Quentin Tarantino didn’t learn any lessons the hard way on his nearly immaculate film Reservoir Dogs because the first-time writer-director was smart enough to chop out any redundant scenes that got in the way of his narrative’s strong momentum.

Last Words
A group of Jewish-American soldiers hunt down Nazis during WWII in Inglorious Basterds by Quentin Tarantino.

Columns

Agent’s Hot Sheet: I Feel the Earth Move Under My Feet
With the recent merger of rival agencies WMA and Endeavor, the landscape of Hollywood has irrevocably changed. We explain whether it’s good news or bad (and for whom) and what this all means to the emerging writer. By Jim Cirile

Our Craft: The Six Stages To The “Eureka!” Moment
That instant of inspiration is usually a lengthy process. By Karl Iglesias

Now Playing

(500) Days of Summer
When two screenwriters combined their tales of heart-wrenching breakups they wound up creating a top-notch romantic comedy. By Peter Clines

Adam
A mild obsession with Asperger’s syndrome turned into a heartfelt romance for writer-director Max Mayer.. By Peter Clines

Away We Go
Having a baby was just part of the inspiration for married novelists David Eggers and Vendela Vida to sit down and write a quirky comedy about pregnancy and parenthood. By Peter Clines

G.I. Joe: The Rise of Cobra
It took three screenwriters and five years to bring a “real American hero” to the big screen. By David Michael Wharton

The Hurt Locker
Journalist Mark Boal shows audiences a new side of combat in his first produced screenplay as he takes us inside The Hurt Locker. BY Adam Stovall

Humpday
Writer-director Lynn Shelton takes a story of two old friends reconnecting and uses it to question ideas of sexual boundaries, marriage and ultimately friendship. By Adam Stovall

I Hate Valentine’s Day
Nia Vardalos does it all — writing, acting and directing — in her return to the big screen after a long hiatus during which she did nothing but, well, write. By Danny Munso

I Love You, Beth Cooper
Larry Doyle takes us down the long and twisted path of adapting his own novel into a screenplay. BY Adam Stovall

In the Loop
A large team of writers collaborates so much on a comedy that by the end of the process few can remember which lines and ideas they actually contributed. By Peter Debruge

Julie & Julia
Writer-director Nora Ephron wasn’t inspired by the story of food blogger Julie Powell until it was paralleled with the story of Powell’s inspiration — Julia Child. By Peter Clines

Orphan
Writer-director David Leslie Johnson started out learning at the feet of a screenwriting giant before putting his own unique spin on a horror standard. By Peter Clines

The Time Traveler’s Wife
The co-writer of The Last Mimzy got a second chance at a time travel movie — with first-class results. By Peter Clines

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