I’m a big fan of action and violence in
cinema I always said that almost as if
it was one of the reasons Thomas Edison
invented the camera was to some violence
I write because it’s so good you don’t
have to go to school you don’t have to
know a lens you know a 40 and a 50 you
know Gaulish crossing the line and then
my that’s important I want to make
movies that people will watch them and
that will make them want to make movies
hello believe nation I’m Evan Carmichael
my one word is believe and I believe
that entrepreneurs are going to solve
all of the major problems of the world
so to help you on your journey today
we’re going to learn from American
writer director and actor Quentin
Tarantino and my take on his top ten
rules for success volume 2 rule number 5
is my personal favorite and I’d love to
know which one you guys like the best
and as always guys as you’re watching if
you hear something that really resonates
with you please leave it down in the
comments below put quotes around it so
other people can be inspired and when
you write it down it’s much more likely
to stick for yourself as well enjoy
I would have actually got first credit
position on Natural Born Killers if I
had allowed it but I was so pissed off
that they rewrote my work I believe in
integrity and I did not want my I didn’t
care about the the residuals or any of
that stuff God forbid anyone thought
that that was my screenplay and you feel
you made that clear that was obviously
well and then not only that oh I
attacked all they were stoned in the
press how dare you rewrite my well
that’s standard hollywood practice
probably would practice you don’t do
that to me you know and but the whole
point you know we’ve actually made it up
since then but the whole point though
for a long time all right we got drunk
together and it was fine all right but
you know but the point I wanted all of
Hollywood to know do not buy Quentin
script unless you’re gonna do it if you
bring another writer I’m gonna attack
you you don’t have to know how to make a
movie if you truly love cinema with all
your heart and with enough passion you
can’t help but make a good movie
you don’t have to go to school you don’t
have to know a lens you know a 40 and a
50 you know relish
crossing the line and then my that’s
important if you just truly love cinema
with enough passion and you really love
it then you can’t help but make a good
movie I was just adding up the money you
generated for a lot of important people
in Hollywood Clinton that my brother
guesstimate is about 1.1 billion four
hundred million dollars go over there
over that Wow
yeah that’s gross and that’s you know
and what I actually what I’m the
proudest of about that is I don’t do
commercial movies per se with the right
quotes around and I just do my own thing
yeah that interests me and then ended up
end up developing a following the people
actually supported so the fact that I
actually do a bit out of these crazy
little ideas that I have write down is
is it’s pretty cool I’m a big fan of
action and violence in cinema I always
said that almost as if it was one of the
reasons Thomas Edison invented the
camera was to some violence i Reich is
so good and and the genres that I am
attracted to tend to be genres that deal
freely and that kind of stuff and that
has to be done well because if you don’t
do it well then it actually has no
effect what I’m about is playing the
audience like I feel like I’m an
orchestra conductor and the audience’s
reaction are my orchestra and you’re the
sounds you make or my instruments and
your feelings are my instruments and so
it’s like I want to so it’s like laughs
laughs laughs stop laughing stop
laughing okay I’ll be horrified be
horrified this is horrible this is
horrible
there’s a horrible horrible horrible
laugh and that’s what I want to do
that’s what I list when I get off doing
and to me when when I when someone does
that to me I’ve had a good time at the
movies
before I ever made a movie when I was
thinking about the movies I wanted to
make one of the well I don’t even think
i 100% knew what my aesthetic was then
but I knew I wanted to be part of this
and I wanted to make a contribution and
the closest thing that I knew about what
I wanted to do was I remember thinking I
want to make movies that people will
watch them and that will make them want
to make my face well that that works and
that actually ended up kind of working
and there was this that neat aspect and
I think it started cause you know
coinciding with Mike you know with my
career and the rise of the independent
film movement in general in the 90s that
there was this aspect that I actually
think that young people were in decades
earlier they might have picked up a
guitar and started a garage band they
actually felt that they could express
themselves more by trying to make a
movie yeah and I think that ended up
kind of happening to some degree or
another
you know Sam Jackson is is has appeared
in probably uh in one degree or another
and in more of my movies than any
and there’s really nobody who says my
dialogue the way Sam Jackson does I
think we have one of the most fruitful
and rewarding relationships between
actor and director in cinema as much as
it’s fun to work with him as a director
I really do think it’s the way he
interprets my material as a writer that
really is the key to our relationship
there’s an aspect to my dialogue where
it’s not poetry that there’s the poetic
quality to it it’s not being musical
oh absolutely yeah I thought writing
songs but there is a musical quality to
it it’s not stand-up comedy but there is
a comedic rhythm to it and he gets all
those notes he turns it into the poetry
he turns it into the music he turns it
into the almost Richard Pryor routines
all right that is required of him in a
way that nobody else does how does
Quentin Tarantino direct you when you’re
Quinton is Quinton will come in and
describe the scene to you in terms of
like six different films yeah so it’ll
be well the first part is scene is the
opening shot from the good bad and ugly
and then you get this other thing and
it’s and it’s a days of wine and roses
and then you go from that into the and
then leave that rope runner cartoon
right at the end that rope brother thing
when he’s falling down the cliff he
looks back up that’s the moment that’s
the moment
and then you go aren’t you better and
then right in the middle you’ve seen
Hill left howl out cut and you know you
know or if he’s quiet he’s behind the
camera going
[Applause]
enthusiasm I like jumping off from the
idea of like you take a big John or like
say hey a westerns or you take it on or
like war films and that’s one that’s a
huge genre because and and it’s not just
westerns and not just war films there’s
a bunch of subgenres inside of those and
that’s what I like the most are
subgenres and then bouncing a bunch of
those off of each other and and the
thing is I never want to play them never
playing them straight I always want to
transcend them I just want to use them
as a jumping-off point to do something
else but I want them I don’t want them
to be an art you know some pretentious
artistic art film meditation under genre
I want to go and do it my own way and so
I want to give you the same pleasures
but kind of go to a different drummer
hence you know Reservoir Dogs is a is a
heist film where you never see the heist
in Inglourious Basterds and genre I was
starting off working with was a bunch of
guys on a mission movie and it kind of
is that but it’s beyond that there’s
other things involved
the New York Post has declared a bit of
a print jihad against Quentin Tarantino
apparently the data is that is that
concern you at all is that a badge of
honor metal in New York Post I mean they
can say whatever they whatever they’ve
made it they they’ve made it pretty
clear where they’re coming from it is
yes alright you know so I they can say
they can say whatever they wanted like I
said long as I don’t Google my name then
it’s just you’re mentioning it right now
and I can swap it off if I make myself
read every single article then I’ll get
heartsick the biggest influence that I
was holding on during the writing was I
was always was a big fan and I’ve been a
big fan especially in the last six or
seven years I’ve watched a lot of them
of the Western American Western TV shows
from the 60s and one of the things about
those westerns he’d be like The
Virginian and Bonanza Gunsmoke one of
the things that was interesting about
those shows in particular is the ones
that I like to watch are usually ones
that have guest stars that I’m a big fan
of but the thing that was interesting
about these guest stars like Vic Morrow
or James Coburn or
any of these fellas when they would show
up Charles Bronson is these guest stars
would show up the story would be about
them and they were always there was an
unknown quality about them we didn’t
know who they were they weren’t just the
blacksmith in the town they were always
entering the town and then at some point
in the first act you would learn
something about their past they had an
interesting shady controversial past of
some kind and you didn’t know how true
the story was that you heard or not true
the story was you heard but you didn’t
really know about them and usually it
was a situation the whole second half of
the story was are they a protagonist or
are they an antagonist is Michael Landon
gonna end up being his friend and help
him buy the variant or as Michael Landon
gonna end up killing him at the end
because he’s a bad guy that concept of a
character became very very interesting
to me and I thought about what if I
could take eight of those characters and
trap them in a room during a three-day
blizzard where if they try to leave
certain death so they have to deal with
each other they all have a backstory
we can’t trust a thing they say and we
can’t trust anything that they say they
are and we just have to figure it out as
we watch the story yet there is no Doug
McClure there is no James Arness there
is no Michael Landon there is no moral
Center there is no hero that you can
gravitate towards there only is these
guest stars
no one could trust anybody else and the
paranoia amongst the characters was so
strong and it’s trapped in that
enclosure for so long that the paranoia
just bounced off all the walls until it
had nowhere to go but the fourth wall
out into the audience and that was what
I was trying to achieve with hateful
eight was to bounce that paranoia around
until it has nowhere to go out but here
I’ll sing the exactly okay I will do the
Roy Orbison song listen to me people try
and understand you may be your soldier
woman child of man but there won’t be
many coming home no there won’t be many
coming home there may be 20 maybe 10
maybe none but there won’t be many
coming home whoa let’s Star Wars beat
that yeah
thank you guys so much for watching I
hope you enjoyed if you want to get your
pick of who I should profile next in the
top tens check out the link in the
description and go and cast your votes I
also want to give a quick shout out to
Paul Benoit do Fozzie from entrepreneurs
100 calm Paul thank you so much for
picking up a copy of my book your one
word I really appreciate the support
Maine and I hope you’re enjoying the
read so thank you guys again for
watching I believe in you I hope you
continue to believe in yourself and
whatever your one where it is
much love I’ll see you soon
you have films though though I feel that
way about Jackie Brown for me you know
it’s Reservoir Dogs and Pulp Fiction and
glorious bastards that sit with me that
I still feel this er I mean I like them
all yet I still feel this really as much
as I love Jackie Brown and as much as I
invested in it and I think the
investment paid off with the waiting on
the characters and stuff and how great
it was to do an Elmore Leonard
adaptation and in a way that I was proud
of I wasn’t put on the earth to make
Jackie Brown no no no that’s right yeah
what I obviously I was put on the earth
to do what I’m doing right there to make
a voice and the most influential piece
of film criticism I’ve ever read up my
aesthetic the applied to me very young I
remember reading it at that Felipe’s
that French sandwich plays I write I had
one of Pauline Cales books and I’m
reading her review of a Band of
Outsiders also known as Banda par which
I named my company after she’s reviewing
guitars movie and she says it says if a
couple of movie crazy young French young
Frenchmen or in a coffee coffee house
all right
and they’ve taken a banal American crime
novel and they’re making a movie out of
it based not on the novel but on the
poetry that they read between the lines
and when I read that I was like that’s
my aesthetic that’s what I want to do
that is what I want to achieve was I
knew what my I wanted my movies to look
like I knew the ones that I wanted them
to look like I wanted them to look like
Blood Simple or something comparable to
that but I didn’t know how to do that I
didn’t know how to not do this make it
crappy amateurish I didn’t know how to
do that and so that was this sword of
Damocles hanging over my head during all
might
all my aspirations of being a director
is would my stuff look pathetic or would
it look beyond professional but would it
look good and I didn’t because I had no
technical knowledge I didn’t know how to
do that so there were always was this
sword of Damocles I mean I figured
everybody who spent time on a movie set
tried to make their movies look good the
worst ones I’d ever seen I’m sure they
worked really hard on them what could
stop me from being different from them I
wrote a script called Reservoir Dogs and
we got the money to make the movie and
when I was in pre-production
I sent the script to the Sundance lab
for the directors program and I got
accepted into it and that was a
tremendous opportunity and part of the
thing of the Sundance lab is they have
all these really wonderful professionals
come in and and talk to you and talk
about your film and you get they watch
the stuff that you did and they give you
advice and you could ask them questions
and we’re there for like three weeks and
so uh one week a whole group of
professionals have come in and you spend
the whole week with them the Nate fo and
then another group would come in and
then spend another week with them and
the Nate fo and then somebody else would
come in and the second week group of
resource people was Terry Gilliam at the
height of his fame on the first day he
was there they put me together with
Terry Gilliam and we had a little lunch
by the picnic tables there and he’d read
the script and he liked it and so we
were talking so while I was there
talking to him well this is a visual
director this is a visual director when
he did Brazil he didn’t capture
lightning in the bottle he he knew what
he was doing and he he executed it and
then he executed it again and in Baron
Munchausen and he continued to executed
so he knew what he was doing in this
regards so he was the guy to ask this
question to the way I asked it was
well Terry um you have a vision you have
a direct cinematic vision in your movies
and it goes from movie to movie to movie
and you can see that how do you do that
and he goes well a cretin maybe because
you’ve never really been on a movie set
before maybe you don’t have to
understand exactly how it works so let
me explain it to you a little bit
Quentin it’s not your job to create your
vision it’s your job to have a vision
and then it’s your job to hire talented
individuals hire talented artists who
understand your vision and you
articulate it to them and then they take
your vision and they create it and by
them creating it you be part you part
back a little bit you add a little bit
to it but your vision is still a
2-dimensional vision they will take the
different elements of your vision and
make it three-dimensional and then
you’ll get back more than you gave them
and then you’ll know even more what
you’re talking about and what you’re
seeing and then the vision will get
filled in you think you have to do
everything and you don’t you don’t need
to know anything about sewing to have
wonderful costumes in your films you
just need to express what you want to
the costume designers you don’t need to
have an engine a degree in engineering
to have magnificent sets in your pieces
you need to describe what it is you
you don’t need to know how to take a
bunch of different light stands and put
them together to create a specific
lighting effect that’s not your job
you don’t need to know any of that what
you need to know is you need to have a
vision and you need to know how to
express it and then you let the other
people take it and do it for you the
most important work ever if you had to
think of one word that’s most important
to you or that sums you Apple
so it would be collect a little beacon
pay believe nation if you want to know
what the most important one word is for
Tony Robbins Gary Vaynerchuk Oprah
Winfrey will.i.am and Howard Schultz I
have a very special secret video for you
check the description for details
[Music]
cinema I always said that almost as if
it was one of the reasons Thomas Edison
invented the camera was to some violence
I write because it’s so good you don’t
have to go to school you don’t have to
know a lens you know a 40 and a 50 you
know Gaulish crossing the line and then
my that’s important I want to make
movies that people will watch them and
that will make them want to make movies
hello believe nation I’m Evan Carmichael
my one word is believe and I believe
that entrepreneurs are going to solve
all of the major problems of the world
so to help you on your journey today
we’re going to learn from American
writer director and actor Quentin
Tarantino and my take on his top ten
rules for success volume 2 rule number 5
is my personal favorite and I’d love to
know which one you guys like the best
and as always guys as you’re watching if
you hear something that really resonates
with you please leave it down in the
comments below put quotes around it so
other people can be inspired and when
you write it down it’s much more likely
to stick for yourself as well enjoy
I would have actually got first credit
position on Natural Born Killers if I
had allowed it but I was so pissed off
that they rewrote my work I believe in
integrity and I did not want my I didn’t
care about the the residuals or any of
that stuff God forbid anyone thought
that that was my screenplay and you feel
you made that clear that was obviously
well and then not only that oh I
attacked all they were stoned in the
press how dare you rewrite my well
that’s standard hollywood practice
probably would practice you don’t do
that to me you know and but the whole
point you know we’ve actually made it up
since then but the whole point though
for a long time all right we got drunk
together and it was fine all right but
you know but the point I wanted all of
Hollywood to know do not buy Quentin
script unless you’re gonna do it if you
bring another writer I’m gonna attack
you you don’t have to know how to make a
movie if you truly love cinema with all
your heart and with enough passion you
can’t help but make a good movie
you don’t have to go to school you don’t
have to know a lens you know a 40 and a
50 you know relish
crossing the line and then my that’s
important if you just truly love cinema
with enough passion and you really love
it then you can’t help but make a good
movie I was just adding up the money you
generated for a lot of important people
in Hollywood Clinton that my brother
guesstimate is about 1.1 billion four
hundred million dollars go over there
over that Wow
yeah that’s gross and that’s you know
and what I actually what I’m the
proudest of about that is I don’t do
commercial movies per se with the right
quotes around and I just do my own thing
yeah that interests me and then ended up
end up developing a following the people
actually supported so the fact that I
actually do a bit out of these crazy
little ideas that I have write down is
is it’s pretty cool I’m a big fan of
action and violence in cinema I always
said that almost as if it was one of the
reasons Thomas Edison invented the
camera was to some violence i Reich is
so good and and the genres that I am
attracted to tend to be genres that deal
freely and that kind of stuff and that
has to be done well because if you don’t
do it well then it actually has no
effect what I’m about is playing the
audience like I feel like I’m an
orchestra conductor and the audience’s
reaction are my orchestra and you’re the
sounds you make or my instruments and
your feelings are my instruments and so
it’s like I want to so it’s like laughs
laughs laughs stop laughing stop
laughing okay I’ll be horrified be
horrified this is horrible this is
horrible
there’s a horrible horrible horrible
laugh and that’s what I want to do
that’s what I list when I get off doing
and to me when when I when someone does
that to me I’ve had a good time at the
movies
before I ever made a movie when I was
thinking about the movies I wanted to
make one of the well I don’t even think
i 100% knew what my aesthetic was then
but I knew I wanted to be part of this
and I wanted to make a contribution and
the closest thing that I knew about what
I wanted to do was I remember thinking I
want to make movies that people will
watch them and that will make them want
to make my face well that that works and
that actually ended up kind of working
and there was this that neat aspect and
I think it started cause you know
coinciding with Mike you know with my
career and the rise of the independent
film movement in general in the 90s that
there was this aspect that I actually
think that young people were in decades
earlier they might have picked up a
guitar and started a garage band they
actually felt that they could express
themselves more by trying to make a
movie yeah and I think that ended up
kind of happening to some degree or
another
you know Sam Jackson is is has appeared
in probably uh in one degree or another
and in more of my movies than any
and there’s really nobody who says my
dialogue the way Sam Jackson does I
think we have one of the most fruitful
and rewarding relationships between
actor and director in cinema as much as
it’s fun to work with him as a director
I really do think it’s the way he
interprets my material as a writer that
really is the key to our relationship
there’s an aspect to my dialogue where
it’s not poetry that there’s the poetic
quality to it it’s not being musical
oh absolutely yeah I thought writing
songs but there is a musical quality to
it it’s not stand-up comedy but there is
a comedic rhythm to it and he gets all
those notes he turns it into the poetry
he turns it into the music he turns it
into the almost Richard Pryor routines
all right that is required of him in a
way that nobody else does how does
Quentin Tarantino direct you when you’re
Quinton is Quinton will come in and
describe the scene to you in terms of
like six different films yeah so it’ll
be well the first part is scene is the
opening shot from the good bad and ugly
and then you get this other thing and
it’s and it’s a days of wine and roses
and then you go from that into the and
then leave that rope runner cartoon
right at the end that rope brother thing
when he’s falling down the cliff he
looks back up that’s the moment that’s
the moment
and then you go aren’t you better and
then right in the middle you’ve seen
Hill left howl out cut and you know you
know or if he’s quiet he’s behind the
camera going
[Applause]
enthusiasm I like jumping off from the
idea of like you take a big John or like
say hey a westerns or you take it on or
like war films and that’s one that’s a
huge genre because and and it’s not just
westerns and not just war films there’s
a bunch of subgenres inside of those and
that’s what I like the most are
subgenres and then bouncing a bunch of
those off of each other and and the
thing is I never want to play them never
playing them straight I always want to
transcend them I just want to use them
as a jumping-off point to do something
else but I want them I don’t want them
to be an art you know some pretentious
artistic art film meditation under genre
I want to go and do it my own way and so
I want to give you the same pleasures
but kind of go to a different drummer
hence you know Reservoir Dogs is a is a
heist film where you never see the heist
in Inglourious Basterds and genre I was
starting off working with was a bunch of
guys on a mission movie and it kind of
is that but it’s beyond that there’s
other things involved
the New York Post has declared a bit of
a print jihad against Quentin Tarantino
apparently the data is that is that
concern you at all is that a badge of
honor metal in New York Post I mean they
can say whatever they whatever they’ve
made it they they’ve made it pretty
clear where they’re coming from it is
yes alright you know so I they can say
they can say whatever they wanted like I
said long as I don’t Google my name then
it’s just you’re mentioning it right now
and I can swap it off if I make myself
read every single article then I’ll get
heartsick the biggest influence that I
was holding on during the writing was I
was always was a big fan and I’ve been a
big fan especially in the last six or
seven years I’ve watched a lot of them
of the Western American Western TV shows
from the 60s and one of the things about
those westerns he’d be like The
Virginian and Bonanza Gunsmoke one of
the things that was interesting about
those shows in particular is the ones
that I like to watch are usually ones
that have guest stars that I’m a big fan
of but the thing that was interesting
about these guest stars like Vic Morrow
or James Coburn or
any of these fellas when they would show
up Charles Bronson is these guest stars
would show up the story would be about
them and they were always there was an
unknown quality about them we didn’t
know who they were they weren’t just the
blacksmith in the town they were always
entering the town and then at some point
in the first act you would learn
something about their past they had an
interesting shady controversial past of
some kind and you didn’t know how true
the story was that you heard or not true
the story was you heard but you didn’t
really know about them and usually it
was a situation the whole second half of
the story was are they a protagonist or
are they an antagonist is Michael Landon
gonna end up being his friend and help
him buy the variant or as Michael Landon
gonna end up killing him at the end
because he’s a bad guy that concept of a
character became very very interesting
to me and I thought about what if I
could take eight of those characters and
trap them in a room during a three-day
blizzard where if they try to leave
certain death so they have to deal with
each other they all have a backstory
we can’t trust a thing they say and we
can’t trust anything that they say they
are and we just have to figure it out as
we watch the story yet there is no Doug
McClure there is no James Arness there
is no Michael Landon there is no moral
Center there is no hero that you can
gravitate towards there only is these
guest stars
no one could trust anybody else and the
paranoia amongst the characters was so
strong and it’s trapped in that
enclosure for so long that the paranoia
just bounced off all the walls until it
had nowhere to go but the fourth wall
out into the audience and that was what
I was trying to achieve with hateful
eight was to bounce that paranoia around
until it has nowhere to go out but here
I’ll sing the exactly okay I will do the
Roy Orbison song listen to me people try
and understand you may be your soldier
woman child of man but there won’t be
many coming home no there won’t be many
coming home there may be 20 maybe 10
maybe none but there won’t be many
coming home whoa let’s Star Wars beat
that yeah
thank you guys so much for watching I
hope you enjoyed if you want to get your
pick of who I should profile next in the
top tens check out the link in the
description and go and cast your votes I
also want to give a quick shout out to
Paul Benoit do Fozzie from entrepreneurs
100 calm Paul thank you so much for
picking up a copy of my book your one
word I really appreciate the support
Maine and I hope you’re enjoying the
read so thank you guys again for
watching I believe in you I hope you
continue to believe in yourself and
whatever your one where it is
much love I’ll see you soon
you have films though though I feel that
way about Jackie Brown for me you know
it’s Reservoir Dogs and Pulp Fiction and
glorious bastards that sit with me that
I still feel this er I mean I like them
all yet I still feel this really as much
as I love Jackie Brown and as much as I
invested in it and I think the
investment paid off with the waiting on
the characters and stuff and how great
it was to do an Elmore Leonard
adaptation and in a way that I was proud
of I wasn’t put on the earth to make
Jackie Brown no no no that’s right yeah
what I obviously I was put on the earth
to do what I’m doing right there to make
a voice and the most influential piece
of film criticism I’ve ever read up my
aesthetic the applied to me very young I
remember reading it at that Felipe’s
that French sandwich plays I write I had
one of Pauline Cales books and I’m
reading her review of a Band of
Outsiders also known as Banda par which
I named my company after she’s reviewing
guitars movie and she says it says if a
couple of movie crazy young French young
Frenchmen or in a coffee coffee house
all right
and they’ve taken a banal American crime
novel and they’re making a movie out of
it based not on the novel but on the
poetry that they read between the lines
and when I read that I was like that’s
my aesthetic that’s what I want to do
that is what I want to achieve was I
knew what my I wanted my movies to look
like I knew the ones that I wanted them
to look like I wanted them to look like
Blood Simple or something comparable to
that but I didn’t know how to do that I
didn’t know how to not do this make it
crappy amateurish I didn’t know how to
do that and so that was this sword of
Damocles hanging over my head during all
might
all my aspirations of being a director
is would my stuff look pathetic or would
it look beyond professional but would it
look good and I didn’t because I had no
technical knowledge I didn’t know how to
do that so there were always was this
sword of Damocles I mean I figured
everybody who spent time on a movie set
tried to make their movies look good the
worst ones I’d ever seen I’m sure they
worked really hard on them what could
stop me from being different from them I
wrote a script called Reservoir Dogs and
we got the money to make the movie and
when I was in pre-production
I sent the script to the Sundance lab
for the directors program and I got
accepted into it and that was a
tremendous opportunity and part of the
thing of the Sundance lab is they have
all these really wonderful professionals
come in and and talk to you and talk
about your film and you get they watch
the stuff that you did and they give you
advice and you could ask them questions
and we’re there for like three weeks and
so uh one week a whole group of
professionals have come in and you spend
the whole week with them the Nate fo and
then another group would come in and
then spend another week with them and
the Nate fo and then somebody else would
come in and the second week group of
resource people was Terry Gilliam at the
height of his fame on the first day he
was there they put me together with
Terry Gilliam and we had a little lunch
by the picnic tables there and he’d read
the script and he liked it and so we
were talking so while I was there
talking to him well this is a visual
director this is a visual director when
he did Brazil he didn’t capture
lightning in the bottle he he knew what
he was doing and he he executed it and
then he executed it again and in Baron
Munchausen and he continued to executed
so he knew what he was doing in this
regards so he was the guy to ask this
question to the way I asked it was
well Terry um you have a vision you have
a direct cinematic vision in your movies
and it goes from movie to movie to movie
and you can see that how do you do that
and he goes well a cretin maybe because
you’ve never really been on a movie set
before maybe you don’t have to
understand exactly how it works so let
me explain it to you a little bit
Quentin it’s not your job to create your
vision it’s your job to have a vision
and then it’s your job to hire talented
individuals hire talented artists who
understand your vision and you
articulate it to them and then they take
your vision and they create it and by
them creating it you be part you part
back a little bit you add a little bit
to it but your vision is still a
2-dimensional vision they will take the
different elements of your vision and
make it three-dimensional and then
you’ll get back more than you gave them
and then you’ll know even more what
you’re talking about and what you’re
seeing and then the vision will get
filled in you think you have to do
everything and you don’t you don’t need
to know anything about sewing to have
wonderful costumes in your films you
just need to express what you want to
the costume designers you don’t need to
have an engine a degree in engineering
to have magnificent sets in your pieces
you need to describe what it is you
you don’t need to know how to take a
bunch of different light stands and put
them together to create a specific
lighting effect that’s not your job
you don’t need to know any of that what
you need to know is you need to have a
vision and you need to know how to
express it and then you let the other
people take it and do it for you the
most important work ever if you had to
think of one word that’s most important
to you or that sums you Apple
so it would be collect a little beacon
pay believe nation if you want to know
what the most important one word is for
Tony Robbins Gary Vaynerchuk Oprah
Winfrey will.i.am and Howard Schultz I
have a very special secret video for you
check the description for details
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