Italian pop culture expert, programmer and director Luca Rhea first personally met Quentin Tarantino in 2004 when he preceded the “Italian Kings of the Bee” at the Venice Film Festival, calling Tarantino “godly”. They turn it off and stay in touch. So when Rhea was approached by producer Nicoletta Ercole about a year ago to create the Sergio Carbucci Doc, she hoped she would be able to instantly tap into Tarantino’s insights about the late great Italian director whose spaghetti westerns both like. But, of course, Rhea wasn’t sure if she would get Tarantino on board for her doctor’s “Django and Django”, which was launched out of competition in Venice. He spoke Diversity How he withdrew that coup and what Tarantino’s insights revealed. Quotes.
I hear Tarantino is pretty annoying these days. Was it hard to keep him on board?
The first time I met the producer, who was close to Korbuchi’s wife Nori, I told him: ‘You have to dig up material like the on-set footage Super 8 reels. We need to find a descriptive method with time machine effect. And when I first wrote Tarantino, I immediately used as a selling point that we had footage of Karbuki on our set. We didn’t have that though. Super 8s not released yet!
Only earlier this year, these reels contained a total of about two hours of footage – from the late 60s to the early 70s set Korbuki – was finally released.
So what was his answer?
He replied: ‘All right, I’ll do it. Let’s find out when and how. ‘And then at the beginning of the year, I got an email from an assistant saying he could do it in early April.
How was the interview?
We had a crew in LA, but Steve Della Casa (who co-authored Doc) and I were in Rome on Skype. But we prepared the interview by email before we did it for about a month. We figured out some points and there were some things that he suggested he derived from the book about Korbuki that he started writing, but never finished, so somehow his book became this dock. I initially thought of the ghost part, which makes Doc look like “Once Upon a Time in Hollywood”. I thought: ‘Let’s give it a shot,’ and see what he said. On the day of the interview, Tarantino came with a pile of thick paper, where he took notes. Then of course there were things that came up on the scene. But most of it was already ready. And the interview was so thorough and well-prepared that naturally it provided the backbone of the documentary.
How would you describe the essence of Tarantino’s adoption of the Westerners of Korucci?
Tarantino’s analysis is best described by him. I know he likes to drill carefully on the directors he likes, and it’s hard to summarize his thoughts on Karbuchi in a few words. But the way he breaks down and paints a picture of Korbuki’s westerns, it’s all static when you look at the clips of the film. And then we also got an interview with Korbucci that supports Tarantino’s thesis.
So what is Tarantino’s thesis?
The basic premise is that Karbuki’s Westerners grew out of the combination of his personal life and his passion for comic books that grew up in Italy during fascism. These are the two ingredients that make up the westerners of Sergio Carbucci. As a child he developed two passions: one was his political sensitivity, the other was his passion for comic books.
Growing up during fascism was constructive from his point of view for Karbuchi [leftist] Political idealism which he never concealed; It’s just that no one has made a connection between his political passion and his Western, although we found evidence of this in archival interviews where he said a lot. And this is clearly read in his films. In the document, if you hear Tarantino talk about this and then watch movie clips, you can read this too. Another thing is that his western hall is a film where Karbuchi was a real writer. He made about 100 films, but the ones that really defined him as a writer were his western ones. It is crystal clear.