Join SBIFF for an in-depth discussion in this video Embracing the limelight, part of 2010 SBIFF Directors' Panel: On Directing.
(Music playing.) Peter Bart: Quentin, I always think of you when I'm with you. You have such an amazing body of knowledge and information about film. Did you ever think that at some point in your life you're going to sit back, and you're going to teach filmmakers, and just enjoy yourself, be a guru at large? Quentin Tarantino: Yeah, I wouldn't teach filmmaking. I would teach film appreciation. I would teach the history of film, and show movies and follow other director's work through cinema, and I look forward to the time when I retire from directing.
Where I can like, I say just write monographs and books on other director's careers, or genres or whatever strikes my fancy at that moment. And then maybe you know, own a little theater and I can afford to keep it open. Nobody ever shows up but that's okay. I'll be the cool old guy in the town that shows the movies and introduces each and every one of them, and that sounds like a pretty good pastorial life at the end.
Peter Bart: But you once told me that once you're past 60, you don't want to direct a film. What was your reasoning? Quentin Tarantino: Well, where I'm coming from like who knows, all right, you know what's going to happen. If I like if want to do a movie at 62, and I can, I will. I'm not going to say, well, I was on that panel. I did tell Peter Bart. (Laughter.) But I think that's a really good time to get out of the game. All right, and become a man of letters.
That's my time to write novels and film literature, basically because to me, what I'm looking for, what I'm going for in particularly, is I'm going for the filmography. I'm going that everyone is a banger, and if some kid 30 years from now, he's not born yet, some girl, some boy is watching whatever they're watching at that time period, TV or whatever, and just like the way I discovered Howard Hawks, they watch, they do not know who the hell I am, they'll watch some of them and then go, "wow, that was something." "What else did that guy do?" Now they don't know the filmography.
They don't know which one came first, which one came later, at what point in the career it was. They just want to see something else by me to see if they get that same taste, to see if I'm, you know, that they'll still like it. And I want them to be able to literally close their eyes and just grab in that filmography, and they're going to get the same thing. I want every one of my movies to have some sort of a connection to "Reservoir Dogs." The day that that-- well I'll never let that day happen, but if it's going to happen, it's going to happen in your 60s, in your 70s.
I don't want to make Billy Wilder's Buddy Buddy, at all. I don't want to make Cheyenne Autumn. I don't want to make Rio Lobo. (Laughter.) Peter Bart: See he is the only person I know who annotates every sentence. He's just amazing for us. So Kathryn, I am going to be kicked around if I don't ask you this question. My wife and I are very fond of you. We do notice that you don't particularly like being the center of attention at every moment, and this is really what your life has become. You are the person of the week, the man of the year, the whatever. How has this experience, this unique experience affected if at all you personally? Kathryn Bigelow: Well no, I'm not, it's sort of a...
I suppose it makes me somewhat uncomfortable, but you know, I'm kind of enjoying it, surprisingly enough to myself. You know, I thought I would just like run in horror, but I'm kind of enjoying it. I don't know, maybe that's not a good thing to admit necessarily, but -- Peter Bart: Well, when you are on the set as the director, the focus is on you. You call the shots, right? Kathryn Bigelow: No, you're invisible. You're completely invisible. I'm the person in the back in the corner who can kind of be the architect of everything.
So it's the antithesis of this, there is no light on you. Peter Bart: Got it. And Jim? Kathryn Bigelow: I need shadows, exactly. What? Peter Bart: But similar to that, at one moment when Avatar opened, you had been in a more quiet state for a few years, and suddenly the world's stoplight is on you. I mean you kicked ass. Everybody was saying, God! Cameron did it again. Was there a moment where you just felt, boy, this is overwhelming? Or did you just say cool? James Cameron: I think both.
You know, I mean it's obviously cool. I mean, you make film to communicate, and when a film is financially successful, that is a metric that says you sold X number of tickets, those are all people that you communicated with, and because we know a lot of the film's business is predicated on repeat viewing, those repeat views are all good reviews, every one of them. So you know your film is working, and you know that all the effort that we went through-- And I say "we" very advisedly, because it's such a team process.
All movies are a team process, but probably Avatar was closer almost to what you do than to what Lee did in the terms of a team working from long period of time on movie. And I'm so proud of them in a way that these accolades and this success in communication is an acknowledgment of what they manage to do.