So, when you have issues that invade the threshold of connection with the characters, there’s collaboration to work it out. It’s all about serving the project and realizing the director’s intent. The stereotypical response of “screw sound” or some department being territorially dominant doesn’t apply here. We say, okay, let’s figure out what’s the best solution to have the most beneficial aspects of those elements survive the collision. When there are things that are competing elements, say, in a scene or a shot, something we need for image and something we need for sound and something we need for wardrobe or something we need for sets or whatever and they bump up against each other-it’s not territorial on his set. But over the years, you understand that comes with the caveat that you’re in collaboration and you’re not a non-entity in participation of making the movie. You have to be prepared for that psychologically, that you’re not doing something that’s potentially replaceable or temporary it just isn’t okay. That’s a foundational aspect of working with Quentin. If that’s the take he chooses in post production, he has an unblemished history of not doing replacement dialog for reasons that may be intrusive to the scene. And he has an absolute devotion to that as a director. Well, I’ll admit to a bias here: Quentin has an ethic to use the performance that happens on the day in front of the camera, recorded at that moment, in the movie. In terms of the logistics of the movie, there’s a lot of moving parts and of course, a considerable amount of driving shots. Everyone respected that it was a really nice thing.
He was very interested in keeping that unadulterated for people to see and experience the surprise at the end versus having that revealed and out there.
That was a surprise to the audience as well. It didn’t matter what your status was, head of the studio or an electrician, and that was the ending of the film. This time, one aspect of the film was kept under wraps to everyone. There are meetings and that’s prep and then there’s actual interaction with all the other departments Quentin expects his crew to be fully participating and informed about what he intends to create. I had intermittent prep for about two months and the physical, practical prep/tech scouts and all the rest of that, probably about three weeks, maybe four.
I consider non-technical inclusion to be part of the prep I was asked to participate fifteen months before filming began. How much prep did you have for ‘Once Upon a Time … in Hollywood’? I feel very, very fortunate to have found a good conductor for the orchestra I love playing in, and we enjoy each other’s process, personality, content, and contributions. And that’s where Quentin and I actually really bonded.
The next thing we did together was ‘ Dusk Till Dawn, which he wrote, produced, and acted in. Quentin had an acting cameo and that’s where we met. MARK ULANO: Well, it’s a little bit of a hybrid: the first film I did with him was Desperado, a film Robert Rodriguez directed. How many films have you done with Quentin Tarantino? Margot Robbie, followed by Tom Hartig on Boom and DP Rob Richardson operating the camera on the Chapman crane.
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