Title: Death Proof
Date: 2007
Genre: Exploitation/Car chase
Plot Summary: Two separate sets of voluptuous women are stalked at different times by a scarred stuntman who uses his "death proof" cars to execute his murderous plans.
Feel: Dark, Black humour, gore/horror. Carchase, exploitation. 70's Feel. The Introduction to death proof, which actually starts around 20 seconds in. Displaying the use of 70s vintage logos, typefaces and film distortion, Something that could continue well across
Key Characters: Stuntman Mike, Zoe, Jungle Julia, Arlene
Key Scenes + Quotes:
Stuntman Mike: Well, Pam... Which way you going, left or right?
Pam: Right!
Stuntman Mike: Oh, that's too bad...
Pam: Why?
Stuntman Mike: Because it was a fifty fifty shot on wheter you'd be going left or right. You see we're both going left. You could have just as easily been going left, too. And if that was the case... It would have been a while before you started getting scared. But since you're going the other way, I'm afraid you're gonna have to start getting scared... immediately!
Stuntman Mike: [as he drives] Hey, Pam, remember when I said this car was death proof? Well, that wasn't a lie. This car is 100% death proof. Only to get the benefit of it, honey, you REALLY need to be sitting in my seat.
[slams his boot to the brake and sends Pam flying face-first into the dashboard]
Stuntman Mike: [handing Arlene and Jungle Julia beers] Cheers, Butterfly. The woods are lovely, dark, and deep. And I have promises to keep. Miles to go before I sleep. Did you hear me, Butterfly? Miles to go, before you sleep.
Jungle Julia: Sorry, Stuntman Burt...
Stuntman Mike: [angrily interrupting her] Mike.
Jungle Julia: Mike. She already broke off that dance.
Stuntman Mike: Is that true? Did I... miss my chance?
[Arlene doesn't respond]
Stuntman Mike: Do I frighten you?
[Arlene silently nods]
Stuntman Mike: Is it my scar?
Arlene: It's your car.
Tarantino Interview:
'But then the thing I like so much about slasher films are the things that make them limiting. They’re all the same, and that’s actually part of their charm. It’s a perfect genre for subtext. That’s why you can do so much subtextual film criticism on them, because they follow the same pattern. And to f*** with the pattern too much is to f*** with the genre too much. I was like: “OK, that would then make this too self-reflexive.” It would be too much of a reflex exercise to do that. So I thought: “How can I do it my way and get what I want out of it?”
Also, breaking off from the whole slasher film, I realised I’d never really done an exploitation movie before. Even though we spent a lot of time shooting it, I wanted to have that opportunity, as if I was doing this in 1977, on a 20-day schedule. It started reminding me of the kind of movies I could imagine I would have made back in the 70s, something like The Candy Snatcher (1973), an exploitation movie that has all these weird elements.'
Inspirations: Vanishing Point, Gone in 60 Seconds (1974), Bullitt, The Candy Snatcher (1973)
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