by Larry Brody
The Good and the Bad:
As a loyal member of the Writers Guild of America, West, I’ve never let myself get too attached to Quentin Tarantino because for all his brilliance as a writer and director (and I really do think he’s brilliant) he’s also a great danger to all the professional TV and film writers out doing their thing these days.
He’s a danger because he refuses to join the Guild. And, you know, if enough brilliant writers never join or secede from the WGA it’s going to hurt all TV and film writers where we live: In the departments of health care benefits and that very scary “P” word – pensions. It’s a studio contribution problem. If studios hire more and more non-members of the Guild to do their things, employer funds that are the basis of our benefits will dwindle, and you knmow where they can lead.
But in spite of the dood setting such a bad precedent, I decided to sit down and read Christopher Kenworthy’s new book about him. It’s called Shoot Like Tarantino: The Visual Secrets of Dangerous Storytelling, and it’s damned good.
As in helpful.
Kenworthy doesn’t mess around. He analyzes the techniques Tarantino uses as a director and explains how all of us can use them as well. Yes, even as writers because elements like, oh, dialog and characterization, begin on the page. And he does it clearly and concisely, like – well, like a very good teacher, dammit, and not just a worshipping fanboy.
Check this thing out, gang.