Case (![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
case) wrote in ![[community profile]](https://www.dreamwidth.org/img/silk/identity/community.png)
fandomsecrets2012-10-03 05:42 pm
case) wrote in fandomsecrets2012-10-03 05:42 pm
[ SECRET POST #2101 ]
⌈ Secret Post #2101 ⌋
Warning: Some secrets are NOT worksafe and may contain SPOILERS.
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Notes:
Secrets Left to Post: 02 pages, 040 secrets from Secret Submission Post #300.
Secrets Not Posted: [ 0 - broken links ], [ 0 - not!secrets ], [ 1 2 - not!fandom ], [ 1 - too big ], [ 0 - repeat ], [ 1 2 - take it to comments ].
Current Secret Submissions Post: here.
Suggestions, comments, and concerns should go here.
no subject
Quentin just adores all of his film relationships/romances to be tragic and I love him for it.
no subject
(Anonymous) 2012-10-04 12:30 am (UTC)(link)no subject
Every time I rewatch it (which has been waaay too many times), I still have a bit hope that they'll make it and just. fjkfjkgh.
no subject
(Anonymous) 2012-10-04 12:59 pm (UTC)(link)THIS. Plus, the teacher/student and age-difference dynamics that existed between Mr. White and Mr. Orange were mirrored in Bill and Beatrix. I've said it so many times; if Orange had had breasts, no one would have doubted the nature of the relationship.
no subject
Omg how have I not noticed this before? I've already been planning a rewatch of QT's filmography so I can write about his use of bare feet, but now you've given me something else to look out for!
I've said it so many times; if Orange had had breasts, no one would have doubted the nature of the relationship.
Definitely. Quentin has said he doesn't consciously write the subtext in his work - he only realizes until after the film is made. I think the whole White/Orange dynamic is from that; he had said that while writing it, that he could see them as father-son, but with the finished film, it's plain to me that he ended up creating much more than that.
no subject
(Anonymous) 2012-10-04 04:01 pm (UTC)(link)And it's very interesting that Quentin wrote the Orange/White relationship as father-son, considering that he originally wanted James Woods for the role of Orange, and James is much closer in age to Keitel than Roth is (the only reason Woods didn't get the role is that his agent failed to inform him of Tarantino's offer).
Oh, and speaking of actors, I definitely think that Roth and Keitel both had a major hand in ramping up the homoerotic subtext in their on-screen dynamic. I mean, that final scene. Sweet Jesus.
no subject
Yes! I always loved that story about Woods and Reservoir Dogs; it makes me wonder just how many actors don't get offered certain roles just because of their agents.
Definitely. Something I've noticed, in comparison from his scripts to screen, is that when QT recognizes that kind of chemistry between actors, he really encourages it and even makes changes to accommodate it. He's talked about how if he didn't have certain actors for certain roles, his films wouldn't have worked, and Keitel and Roth are a great example of that.