Sometimes the best among us are living in such a euphoric imagination-enriched mental state that, when it comes to a point in our writing when it seems we might be copying, we don't erase. We continue. And we have our reasons, and perhaps with nobody alive are those reasons more articulated, then with Quentin Tarantino.

Tarantino must have realized early on that other people out there thought they were going to be big deals in this lifetime by taking a bunch of already existing ideas out there, and simply fancying themselves innovators by how much they could filter the real good ideas from the bad ones. Tools lives are simply pistaches of plans that they didn't come up with on their own, statements that they simply heard spoken. And Tarantino was going to go out there, take the tools down, and give us a nice open sky for actual innovators to be comfortable to attempt their crafts even in the face of 0% peer influence. That['s the magic of Tarantino. In the end, after the whole big fantastic show he puts on, remember -- he's making a deliberately bad movie. You should FEEL inspired enough that you can make a better movie. Tarantino deliberately wants you to feel the way he felt when HE used to watch these bad movies.

Women's Camp 119? Oh these movies are TERRIBLE.

He was born in Knoxville, Tennessee on March 27, 1963. He lived in a very ethnically mixed community where everyone got along very well with one another. I don't remember what his father situation was, but when Quentin was very young, his mom moved the two of them out to Torrence, California and QT had a new step-father. It is estimated that his entire artistic influence, is a result of his step-dad.

Which kind of is saying alot.

For his step-dad was, if anything, a huge huge huge fan of music and had millions of records and CDs. He might have tried to cut a few albums and write songs, but in the very least, he had the genetic gift to love artistic material so much that he would become a voluntary expert, garnering an absolutely encyclopedic volume of records. Sounds like anyone we know but the film version?

Tarantino grew up very familiar with those wacky hosts of science fiction and horror programs that would appear on UHF television if you had the proper rabbit-ears. Stuff today like Swengoolie was being replacing things like Science Fiction Theatre and Tales From the Darkside. And like Masterpiece Theatre and Tales from the Crypt, Tarantino dug the possibility of becoming an eccentric host of his own storytelling hour. For you see, there were icons in these days that didn't look like the typical Adonis, and this was a PREREQUISITE for them being cool. And when you're in a structured athletic setting around cheesedicks, you really like the idea of people who aren't like this being into your art.

When Tarantino was 15, he dropped out of high school. He did alot of hanging out from time to time. His friends were all people who had always reminded Quentin of Marvel Comics, which served as the most macho reminder from the 1960s that guys who can bench 400 pounds and stand for truth and justice and the American way can sometimes be just a bunch of lame ass squares. Tarantino was fascinated by the special differences that Marvel had over DC -- Marvel had villians that would always end up villains due to some very very understandable circumstances, subconsciously making one understand that the writer of these comics, when coming up with a villain for his tale, and going by his own unspoken perversions the way every author does to develop the villain's character, instead of blowing up hospitals and taking over the world, they are trying to live a life though almost killed in the Holocaust for being different, trying to get money for their dying sick daughter, trying to generate free electricity for anyone, or trying to keep control of a company that he built that everybody seems intent on taking away. They employed ethnicity in their comics in a way deemed revolutionary at the time (today a black 8-foot tall bodybuillder would never be able to get drawn). Add to all this, Marvel was routinely doing things where it was obvious the inspiration had come from a prior comic, and nobody seemed to care -- instead Marvel would get praised for being a kids comic strip that took the time to know its' art history. This is how Marvel can get acclaim and not a lawsuit and even legitimization...off a story about a nerd who has secret super powers and works at a newspaper and whose dad/uncle dies and he blames himself...

In 1984, Tarantino was 22, taking one of his many pulp novels, rolling it up, placing it in his back pocket, and going to work at a video store in Torrence.

Today, due to the above sentence, this store is located on wikipedia...

end of part 1

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