Reilly storyline, Tom Cruise, the Gator storyline) but I think the bad is equal to the good (Aimee Mann soundtrack - WTF with the middle of the film's singalong, William H. I think there are good things about it (John C. I find it extremely self-indulgent, bloated, and kind of disappointing as a film. As for the PTA one, it seems I'm going to be tarred and feathered for this, but I agree with Smith on Magnolia as well. That said, Burton is also one of my favorite filmmakers (of course, anything he made since 1999 is kinda not good, but during the 90s. I'd say Smith didn't throw the first punch with Tim Burton and deserved to give that sweet retort he walked into. I actually find a lot of human expression in pictures like Barry Lyndon or The Killing or even 2001: A Space Odyssey. Kubrick, especially, I do not understand why there is constantly a complaint that his films are too cold or emotionless. Rivette's films are fantastic (like Out 1 and Celine and Julie Go Boating), but I don't agree with a word he says about Cameron or Kubrick (Spielberg may very well be an asshole - I wouldn't know. Earlier in time, I would have disagreed with Spike on Tarantino (Spike has no problem with his idols Scorsese and Coppola also incorporating blatant racism in their characters), but the more interviews I watch of QT the more I am certain that Spike was prophetic with pointing out how Tarantino wants to be an honorary black man. Tarantino's sure got pocketfuls of them, but he carries more than that and it's why he's still kicking - even if none of his films have been as good as Pulp Fiction.
HARMONY KORINE VINCENT GALLO FULL
However, I'm very much not a fan of Korine's work and I think his observations about Tarantino being solely flat pop culture references is full of shit. Godard and the French New Wave was never going anywhere any time soon and the more casual admirers of Tarantino's films were never going to be interested in Godard's stuff.
I think it gives Tarantino more credit than due to say he turned a new generation onto Godard's pictures. Herzog's quote about Godard is undoubtably a Herzog thing to say. But it hurts (especially since Welles is perhaps my number two). That's ok, Bergman - you can hate on the majority of my favorite directors (Welles, Godard, Antonioni), you're still my number one. First off, it's really amusing to see all these directors I admire actually don't care much for their peers' work, but that's fine.
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