Sunday, Quentin Tarantino, one of the best modern film directors not named Uwe Boll, turns 48 years old. It's hard to believe the beloved hipster director has now been on the public radar for almost 20 years, with his feature-length debut and breakout movie Reservoir Dogs turning the big 2-0 next year.
It's hard to pinpoint what the Tennessee-born, California-living director has cooking next. Rumors have been swirling about a Kill Bill Vol. 1/Vol. 2 unrated super-cut release in the U.S., or perhaps even a third entry in the series. (According to IMDB.com, it's happening.) One thing is sure, though - whatever he decides to pick up next will be a stunner.
His last film, 2009's Inglourious Basterds, is easily our favorite QT flick, edging out Pulp Fiction, but then again we are partial to war movies.
When it comes to using pop music to to bulk up his films, QT is easily the best modern director. Since Dogs, he has been known for packing the musical landscapes with dissonant tunes to counteract the violence onscreen. A Neil Diamond cover to soundtrack an accidental overdose, or a prime Stealers Wheel cut to mesh with cutting off a cop's ear are just two of the best examples of the man expertly reconfiguring pop for his cinematic vision, linking those two songs forever to his oeuvre.
What are some of QT's best uses of pop music? Well...
RESERVOIR DOGS (1992)
Stealers Wheel, "Stuck In The Middle With You":
PULP FICTION (1994)
Urge Overkill, "Girl, You'll Be a Woman Soon":
The perfect mix of dread and squeamishness.
Chuck Berry, "You Never Can Tell":
We still can't get over Vincent and Mia's laconic dancing.
JACKIE BROWN (1997)
Bobby Womack, "Across 110th Street":
Best setting of mood ever.
