Yes, I realize the skepticism induced by starting a sentence with “according to Courtney Love.” Read to hmm more in GQ’s June issue.

City On Fire really “inspired” Reservoir Dogs, but you already know that. The fresh documentary Tarantino: The Disciple Of Hong Kong directed by Jac & Johan hits French TV shortly and TwitchFilm reports that the producers scored Ringo Lam’s first interview on camera in ten years. Snap. Who’s excited?

Related: Kill Bill Homage Montage.

Mix it up! Kudos for keeping Mr. Blonde’s pre-ear-chop shuffle fresh by playing it on a jagged loop. Fess up, how many times did you just watch that?

Related nerd stuff: Kill Bill Homage Montage

There was, thankfully, a hefty serving of inside joke-laden, film reference-dueling art. Here’s some. “Quentin vs. Coen,” Group Show, Apr 7 – Apr 9, Bold Hype Gallery, NYC (Photos: Marina Galperina/ANIMAL New York)

These movie fan art gallery shenanigans usually go down in Los Angeles, but if you’re itching to geek out over Quentin Tarantino and Coen brothers tribute art or pick up girls dressed as Mia Wallace, you’re in luck. Spoke Art is following up on their Wes Anderson Bad Dad extravaganza with a group show 100 artists strong. Judging by this video, it will be fun. “Quentin vs. Coen,” Group Show, Apr 7 – Apr 9, Bold Hype Gallery, NYC

Might be a stretch or two in there, but it’s definitely a fun remix to watch, especially towards the end when it gets all metatextual with Tarantino homages to Tarantino.

The Switch has Ordell Robbie and Louis Gara meeting in prison and, once free, teaming up for a kidnapping heist. And now begins the casting call for young actors to imitate De Niro and Samuel L. Jackson’s seasoned neurosis.

And now, for some highlights of the actual doc (pdf doc). Here’s where Hunter sounds reasonable, when speaking of similarities between his treatment submitted to Miramax and Kill Bill:

…witnessing her mother’s sadistic murder in a cartoon format, the knife through the mother’s abdomen that went inches away from her face with droplets of blood on her face as she gasped for breath, burning the house down while standing next to the small shrine, Ren becoming the head of Yakuza, the collection of Katana swords, the death touch…

Sure, the complaint is supported by linking to illegally posted YouTube movie clips and Tarantino’s Wikipedia quote of “I steal from every movie ever made,” but it’s not entirely unfeasible. So far.

Why hasn’t Hunter pressed charges before and is acting seven years after the fact? Because…

In light of the nature of the business, and pressures of this world, Plaintiff lost faith in his abilities and unfortunately had an encounter with the LAPD Rampart Division on January 11, 2001. As a result the Plaintiff was incarcerated until March 17, 2006 and could not find out about the Tarantino committing the theft until a year and a half later.

Also: Hunter has a way with narrative analysis:

The Plaintiff asserts and alleges Defendant Tarantino due to discrimination based on Race changed the Ren character who is an African/Japanese to a VILLIAN that is a Chinese/Japanese character, while simultaneously switching the attributes of Ren to the Jewish superhero and hiring less than 1% African-Americans for the production of “Kill Bill.” Thereafter, Tarantino had the Jewish character kill my Japanese/Black character Ren and chopped up her body parts / arms and threw her into a ditch to signify cutting off the arms of the Black author, thus amounting to discrimination based on Race compared to similar situated White Males authors. The Plaintiff asserts Tarantino killed off his Black/Japanese character in order to block Hunter from being able to create other plots based on said character, thus equating to Restraint of Trade.

Apparently the Weinstein brothers left Miramax, closed their offices on Beverly Blvd and “suspiciously took the numbers off the side of the building” all because and only because Hunter was coming out of prison around that time and they wanted to flee from the conflict… and that theory alone makes the unfortunate Dannez Hunter look less than rational.

Once a teeny Angelino myself, starved for culture and barf-sick of mall cineplexes, the New Beverly was my well-worn oasis. There were other retrospective cinemas scattered throughout that cement desert, but none as good and none with New Bev’s flavor. The blood red curtains creaked when drawn open, the seats smelled eternally of stale popcorn and $7 would land me inside a miraculous Fellini double feature. This is where I saw Eraserhead for the first time. This was a fun place. Apparently, Tarantino thought so too, and even though I’ve never seen him (how could anyone miss that grandiose troll?), he’s been going there since 1982.

A Torgan family business, the 200-seater has been playing classic, independent and foreign movies for over 30 years. Hosting too many unique events to mention, New Bev also threw bi-monthly Grindhouse-fests. A perfect place for Tarantino to strut benevolence on, the New Bev has been receiving a $5K monthly relief from the director since it’s patriarch, Sherman Torgan, died in 2007, and at the apex of the theater’s recent troubles, Tarantino saw an opportunity too good to miss.

Yes, he saved it from extinction when he purchased the place, but what is the extent of his “occasional input?” Tarantino owns the cinema; the Torgan family runs the daily operations and “do most of the booking” because he “lets” them. Aside from an Inglourious Basterds DVD screening event, Tarantino has already thrown an Angela Mao kung fu night and an “all blood” b-movie crapfest (not that there’s anything wrong with that.) This month, he’s gotten a festival circuit buddy to guest program. And, Tarantino has said “It is cool to have a theater that I can use to show what I like.” So let’s try not to confuse philanthropy with self-interest here.

Troubling to some, sure. But he owns the place and he has the right to do whatever the fuck he wants, even if that’s to turn the New Bev into a continuos survey course of “Movies I Recycle and You All Should Think Are Cool.” He’s determined to be the theater’s curmudgeon guardian angel as long as he’s “alive and rich,” so kudos! But all you peoples who weren’t trolling the New Beverly for guts and swords alone shouldn’t be surprised when Mr Tarantino decides to make the place an extension of his living room, a lot less “cinema” and much more “flick.” Unless he eventually gets bored. 

I hope he gets bored before we do.