[ SECRET POST #2101 ]

[case]

⌈ 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.

Comments

[(Anonymous)]

Yup, Larry/Freddy... Bill/Beatrix. I love the symmetry of it. Larry shoots Freddy in the head for lying to him about leading a double life. Bill shoots Beatrix in the head for trying to start a new one. Damn, I could write an essay on the themes here... LOL

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.

[segnung]

I definitely see the parallels, now that you point it out. I fully support writing an essay on those themes, as really, QT's films have so much to explore (I seriously don't understand how anyone can consider his work shallow).

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.