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Filmnews was a monthly newspaper dealing with independent film production, distribution and exhibition in Australia and the federal and state government policies and practices which supported them. It was produced in Sydney but distributed Australia-wide, containing news, reviews, interviews, articles and some gossip on the local film community. It ran from the easrly 1970s to mid 1994.

History[link]

Filmnews was born from the irregular roneoed newsletter of a group of filmmakers struggling to distribute their films at a time when film was still a very marginalised activity; it developed through the life of the Sydney Filmmakers Co-op from a paper mainly concerned with screening information and members' news to a journal that took a vital interest in and a strong position on all the issues that concerned the filmmaker/worker community around the Co-op; and after the demise of the Co-op it further broadened its base to encompass the wide range of cultural and industrial concerns that affect the film, media and communications sector.

Over the nearly twenty years of its existence Filmnews followed the many issues that have contributed to the development of film and media policy, theory, and practice, surveyed the development of individual filmmakers and videographers, of filmmaking practice in all its formats, and of the film community itself. In fact, it charted the change from a struggling, marginalised group of determined individuals to a strong and healthy industry. As the various film and video organisations around Australia came into being, they provided operational bases for a film and video community of plurality, diversity and innovation, and Filmnews documented their histories, recorded their activities and shared their commitment to screen culture. Filmnews gradually developed into a journal that provided an independent, critical perspective on all those issues that affected the production, distribution and exhibition of film and video in Australia, and aimed to supply both information and analysis to a readership that ranged from film practitioners to those working in screen education and film studies, to both teachers and students. And Filmnews was vigilant in continually questioning the practices of the industry, of government in relation to film and funding policies, of the funding bodies, and of screen education and training providers.

Content[link]

The content of Filmnews ranged from major articles and extensive interviews to great photos and other illustrations, and was enlivened by cartoons, poems and other short pieces, and even comic strips, while the news and gossip page, Who’s Doing What, was essential reading. Our reviews, of films, related books, the occasional TV program, ranged from short and snappy to very extensive, and the obituaries of important local and overseas film people became a feature. FilmNews’ coverage of specific subjects or themes - such as government assistance, women's filmmaking, public and community broadcasting, censorship, copyright, new technologies, the various institutions within the film landscape (Film Australia, the AFI, SBS, AFTRS, the state funding bodies, and of course the AFC itself) and changes in documentary practice – featured solid reporting and informed commentary. And although there were some spirited and very lively stoushes over coverage of some of these issues, they never caused real damage. It was probably both the range and diversity of its content and the unusual juxtapositions of issues, events and people that made filmnews so unique, and made its readers so attached to it. And it was a matter of absolute conviction to all involved with producing Filmnews that production, distribution, exhibition and the audience are inseparable, and all are part of an overarching screen culture.

A readership survey in 1986 discovered that the typical reader was involved in film or video production, was male and in his twenties, was relatively poor, and loved the writing of Adrian Martin. He went to the movies at least once a week, bought several other film journals, regularly attended conferences, and spent up to $10,000 a year on film or video production services. Readers loved Filmnews, the only changes they wanted was more of what they were already getting – although one respondent did argue for `more criticism of local independent film and video, but better argued and less righteous.’ And another argued for more obituaries.

For ten years Filmnews was part of the C-op – often, and for most people, the most visible part. Filmnews was involved in all the fights, the campaigns, the lobbying, the victories and the conflicts that were so much part of Co-op life. Filmnews explained and analysed Co-op changes in policy, argued for more attention and funding to be given to the production of independent film and video, and to independent distribution and exhibition. Women’s films and women filmmakers became a strong and important element in Filmnews, including campaigns for training and workshops for women; the theory and the practice, the setting up of and the progress of the Women’s Film Fund and the Women’s film units became a continuing theme. Indigenous film making, films on black Australia, and the need for an Indigenous film unit was another strong campaign.

Then, almost overnight, the Co-op was gone. The cinema had closed down in 1981, when the AFC decided not to fund it any longer; but the AFC supported the Co-op’s move to new premises in Pyrmont, and encouraged more aggressive marketing and distribution policies. But these policies stretched the Co-op’s resources, and the AFC decided that only one government-funded distribution body was to be supported and that was the AFI; the Co-op had to close its doors. After a brief and badly thought out relationship with a commercial proprietor (Encore) selected by the AFC, FilmNews was allowed to become its own entity. Given a home for several years by Metro TV (now Metro Screen) in the Paddington Town Hall complex, and then by UTS, proved fruitful in both cases. New writers, new topics, new ways of looking at issues came out of both relationships, and Filmnews continued and improved its coverage of a growing, developing community that encompassed film and television production, film and media policies, and the institutions and organisations that covered and represented all sorts of different aspects of an increasingly diverse and complex area.

Demise[link]

Filmnews was always funded by the AFC. Small and spasmodic amounts of funding came from the various state bodies, a regular and reasonable advertising revenue was earned, a respectable number of subscriptions sold, both locally and overseas, but the AFC was the major support. They continually tried to have a cover price applied, despite a regular and well argued responses that proved (to our eyes at least) that a free distribution was a far more effective way of getting to the audience, and that trying to compete with other publications in newsagents would probably kill Filmnews off. But they kept the funding at a static level for a number of years, and although they did fund me to go on a research mission to the other states to talk about increasing state input and funding (which looked promising), they suddenly pulled the plug on FilmNews in 1994. There was a brief effort to restart FilmNews in 1995, with a new editor (Paul Kalina), but with all the original support systems cancelled, it was just too hard to reinvigorate publication without the time, money, and resources the AFC was unwilling to provide. So the AFC put their film publication money into RealTime and a little more to Metro, while IF and FILMINK magazines got going.

Quentin Tarantino
Quentin Tarantino at the Berlin Film Festival in February 2009
Born	Quentin Jerome Tarantino (1963-03-27) March 27, 1963 (age 49) Knoxville, Tennessee, U.S.
Occupation	Film director, producer, screenwriter, cinematographer, actor
Years active	1988–present
Notable work(s)	Pulp Fiction, Jackie Brown, Reservoir Dogs, Kill Bill, Inglourious Basterds
Influenced by	Sergio Leone, Brian De Palma, Howard Hawks, John Woo, Jim Jarmusch, Jean-Luc Godard, Elmore Leonard, Samuel Fuller, Steven Spielberg, Martin Scorsese, David Lynch, Sam Peckinpah, Jack Hill, Douglas Sirk, Jean-Pierre Melville, Enzo G. Castellari, Sergio Corbucci[1]

Quentin Jerome Tarantino^[2] (pronunciation: /ˌtærənˈtiːnoʊ/; born March 27, 1963) is an American film director, screenwriter, producer, cinematographer and actor. He has received many industry awards, including an Academy Award, a Golden Globe Award, a BAFTA and the Palme d'Or and had been nominated for an Emmy and Grammy.

Born in Knoxville, Tennessee, Tarantino was an avid film fan. His career began in the late 1980's, when he wrote and directed My Best Friend's Birthday. Its screenplay would form the basis for True Romance. In the early 1990s, he began his career as an independent filmmaker with films employing nonlinear storylines and the aestheticization of violence. His films include Reservoir Dogs (1992), Pulp Fiction (1994), Jackie Brown (1997), Kill Bill (2003, 2004), Death Proof (2007), and Inglourious Basterds (2009).

His movies are generally characterized by stylistic influences from grindhouse, kung fu, and spaghetti western films. Tarantino also frequently collaborates with his friend and fellow filmmaker Robert Rodriguez.

Early life[link]

Tarantino was born in Knoxville, Tennessee, the son of Tony Tarantino, an actor and amateur musician who was born in Queens, New York, and Connie McHugh, a nurse.^[3] Tarantino's father is of Italian descent and his mother is of Irish and Cherokee ancestry.^[4][5][6] He was raised by his mother, as his parents separated before his birth.^[7] When he was two years old, he moved to Torrance, California and later to the Harbor City neighborhood where he went to Fleming Junior High School in Lomita and took drama classes.^[7] He attended Narbonne High School in Harbor City for his freshman year before dropping out of school at age 15, to attend an acting class full time at the James Best Theater Company in Toluca Lake.^[8] Quentin grew bored with the James Best Acting School and quit after two years, although he made a point of keeping in touch with all his acting friends. Then he landed a job which threatened to interfere with his long-term acting ambitions. ^[9]

As an employee of the Video Archives, a now-defunct video rental store in Manhattan Beach, he and fellow movie enthusiasts, including Roger Avary, discussed cinema and customer video recommendations at length. He paid close attention to the types of films people liked to rent and has cited that experience as inspiration for his directorial career.^[10] Tarantino has been quoted as saying, "When people ask me if I went to film school I tell them, 'no, I went to films.'"^[4]

Film career[link]

After Tarantino met Lawrence Bender at a Hollywood party, Bender encouraged him to write a screenplay. Tarantino directed and co-wrote a movie called My Best Friend's Birthday in 1987. The final reel of the film was almost fully destroyed in a lab fire that occurred during editing but its screenplay would form the basis for True Romance. In January 1992, Tarantino's Reservoir Dogs screened at the Sundance Film Festival and was an immediate hit. The film garnered critical acclaim. Reservoir Dogs was a dialogue-driven heist movie that set the tone for his later films. Tarantino wrote the script in three and a half weeks and Bender forwarded it to director Monte Hellman. Hellman helped Tarantino to secure funding from Richard Gladstein at Live Entertainment (which later became Artisan). Harvey Keitel read the script and also contributed to funding, taking a co-producer role, and a part in the movie.^[11]

Tarantino has had a number of collaborations with director Robert Rodriguez.

Tarantino's screenplay True Romance was optioned and eventually released in 1993. The second script that Tarantino sold was Natural Born Killers, which was revised by Dave Veloz, Richard Rutowski and director Oliver Stone. Tarantino was given story credit, and wished the film well.^[12] Following the success of Reservoir Dogs, Tarantino was approached by Hollywood and offered numerous projects, including Speed and Men in Black. He instead retreated to Amsterdam to work on his script for Pulp Fiction. After Pulp Fiction was completed, he then directed Episode Four of Four Rooms, "The Man from Hollywood", a tribute to the Alfred Hitchcock Presents episode that starred Steve McQueen. Four Rooms was a collaborative effort with filmmakers Allison Anders, Alexandre Rockwell, and Robert Rodriguez. The film was very poorly received by critics. He appeared in and wrote the script for Robert Rodriguez's From Dusk Till Dawn, which saw mixed reviews from the critics yet led to two sequels, for which Tarantino and Rodriguez would only serve as executive producers.

Tarantino's third feature film was Jackie Brown (1997), an adaptation of Rum Punch, a novel by Elmore Leonard. A homage to blaxploitation films, it starred Pam Grier, who starred in many of that genre's films of the 1970s. He had then planned to make the war film provisionally titled Inglourious Bastards, but postponed it to write and direct Kill Bill (released as two films, Vol. 1 and Vol. 2), a highly stylized "revenge flick" in the cinematic traditions of Wuxia (Chinese martial arts), Jidaigeki (Japanese period cinema), Spaghetti Westerns and Italian horror. It was based on a character (The Bride) and a plot that he and Kill Bill's lead actress, Uma Thurman, had developed during the making of Pulp Fiction. In 2004, Tarantino returned to Cannes, where he served as President of the Jury. Although Kill Bill was not in competition, Vol. 2 had an evening screening, while it was also shown on the morning of the final day in its original 3-hour-plus version with Quentin himself attending the full screening. Tarantino then went on to be credited as "Special Guest Director" in Robert Rodriguez's 2005 neo-noir film Sin City for his work directing the car sequence featuring Clive Owen and Benicio del Toro.

The next film project was Grindhouse, which he co-directed with Rodriguez. Released in theaters on April 6, 2007, Tarantino's contribution to the Grindhouse project was titled Death Proof. It began as a take on 1970s slasher films,^[13] but evolved dramatically as the project unfolded. Ticket sales were low despite mostly positive reviews.

Among his producing credits are the horror flick Hostel (which included numerous references to his own Pulp Fiction), the adaptation of Elmore Leonard's Killshot (for which Tarantino was credited as an executive producer although Tarantino was no longer associated with the film after its 2009 release.)^[14] and Hell Ride (written and directed by Larry Bishop, who appeared in Kill Bill Vol. 2).

Tarantino's 2009 film Inglourious Basterds is the story of a group of guerrilla U.S. soldiers in Nazi-occupied France during World War II. Filming began in October 2008.^[15] The film opened on August 21, 2009 to very positive reviews^[16] and the #1 spot at the box office worldwide.^[17] It went on to become Tarantino's highest grossing film, both in the United States and worldwide.^[18]

In 2011, production began on Django Unchained, about the revenge of a slave on his former master. The film stemmed from Tarantino's desire to produce a spaghetti western set in America's Deep South; Tarantino has called the proposed style "a southern",^[19] stating that he wanted "to do movies that deal with America's horrible past with slavery and stuff but do them like spaghetti westerns, not like big issue movies. I want to do them like they're genre films, but they deal with everything that America has never dealt with because it's ashamed of it, and other countries don't really deal with because they don't feel they have the right to".^[19] Tarantino finished the script on April 26, 2011, and handed in the final draft to The Weinstein Company.^[20] Agency William Morris Endeavor reported Christoph Waltz was cast to play a German bounty hunter,^[21] with Stacey Sher, Pilar Savone, and Reginald Hudlin producing. Although Will Smith and Idris Elba were heavily rumored to be up for the title role, Jamie Foxx has since been confirmed to play Django.^[22] Tarantino regular Samuel L. Jackson will play Stephen, a house slave. Leonardo DiCaprio has also been officially cast in the role of Calvin Candie, the primary antagonist in the film. Kevin Costner had been cast as Ace Woody, a "vile and sadistic trainer of slaves who are forced to fight in death matches for a plantation owner (DiCaprio)" before he later dropped out due to scheduling conflicts, and has been replaced by Kurt Russell.^[23] Kerry Washington has been cast as Broomhilda, the "long-suffering slave wife of Django."^[24] Other cast members include Dennis Christopher as Candie family lawyer Leonide 'Leo' Moguy, Laura Cayouette as Candie's sister, Lara Lee Candie-Fitzwilly, M.C. Gainey and Tom Savini as Big John and Ellis Brittle, two of the slave owners who separate Django and Broomhilda, Anthony LaPaglia and Joseph Gordon-Levitt as Australian brothers, Jano and an unnamed character, respectively,^[25] who encounter Django while escorting slaves to a fight.^[26][27] However, Gordon-Levitt has not fully committed to the film, due to possible scheduling issues,^{[28][29][30][31]} and Gerald McRaney and Michael K. Williams in unknown roles. Tarantino-collaborator RZA was cast as a slave named Thadeus. According to ReservoirWatchDogs.com, Sacha Baron Cohen was cast in the role as gambler Scotty Harmony who wishes to purchase Django's wife from Calvin Candie.^[32] Reportedly, Tarantino is also interested in including Lady Gaga in the film to some degree.^[33] The film is said to be inspired by the 1966 film Django, directed by Sergio Corbucci. James Remar is also involved in the film. The film is scheduled to be released on December 25, 2012.

Producer[link]

In recent years, Tarantino has used his Hollywood power to give smaller and foreign films more attention than they might have received otherwise. These films are usually labeled "Presented by Quentin Tarantino" or "Quentin Tarantino Presents". The first of these productions was in 2001 with the Hong Kong martial arts film Iron Monkey which made over $14 million in the United States, seven times its budget. In 2004 he brought the Chinese martial arts film Hero to U.S. shores. It ended up having a #1 opening at the box office and making $53.5 million. In 2006, the latest "Quentin Tarantino presents" production, Hostel, opened at #1 at the box office with a $20.1 million opening weekend, good for 8th all time in January. He presented 2006's The Protector, and is a producer of the (2007) film Hostel: Part II. in 2008 he produced the Larry Bishop helmed Hell Ride, a revenge biker film.^[34]

In addition, in 1995 Tarantino formed Rolling Thunder Pictures with Miramax as a vehicle to release or re-release several independent and foreign features. By 1997, Miramax shut down the company due to "lack of interest" in the pictures released. The following films were released by Rolling Thunder Pictures: Chungking Express (1994, dir. Wong Kar-wai), Switchblade Sisters (1975, dir. Jack Hill), Sonatine (1993, dir. Takeshi Kitano), Hard Core Logo (1996, dir. Bruce McDonald), The Mighty Peking Man (1977, dir. Ho Meng-Hua), Detroit 9000 (1973, dir. Arthur Marks), The Beyond (1981, dir. Lucio Fulci) and Curdled (1996, dir. Reb Braddock).

Other potential projects[link]

Before Inglourious Basterds, Quentin Tarantino had considered making The Vega Brothers. The film would have starred Michael Madsen and John Travolta reprising their roles of Vic (Mr. Blonde) from Reservoir Dogs and Vincent from Pulp Fiction. However in 2007, because of the age of the actors and the onscreen deaths of both characters, he claimed that the project (which he intended to call Double V Vega) is "kind of unlikely now".^[35]

In 2009, in an interview for Italian TV, after being asked about the success of the two Kill Bill films, Tarantino said "You haven't asked me about the third one", and implied that he would be making a third Kill Bill film with the words "The Bride will fight again!"^[36] Later that year, at the Morelia International Film Festival,^[37] Tarantino announced that he would like to film Kill Bill: Vol. 3. He explained that he wanted ten years to pass between The Bride's last conflict, in order to give her and her daughter a period of peace.^[38]

Personal life[link]

Tarantino has been romantically linked with American actress Mira Sorvino,^[39] directors Allison Anders and Sofia Coppola, actresses Julie Dreyfus and comedians Kathy Griffin and Margaret Cho.^[40] There have also been rumors about his relationship with Uma Thurman, whom he has referred to as his "muse".^[41] However, Tarantino has stated that their relationship is strictly platonic.^[42] Tarantino stated "I'm not saying that I'll never get married or have a kid before I'm 60. But I've made a choice, so far, to go on this road alone. Because this is my time to make movies."^[43] He also has said that he plans to retire from filmmaking at age 60, to focus on writing novels and film literature. He also is skeptical of the film industry going digital, saying, "If it actually gets to the place where you can't show 35 mm film in theatres anymore and everything is digital projection, I won't even make it to 60."^[44]

On February 18, 2010, it was announced that Tarantino had bought the New Beverly Cinema. Tarantino allowed the current owners to continue operating the theater, but he will be making programming suggestions from time to time. He was quoted as saying: "As long as I'm alive, and as long as I'm rich, the New Beverly will be there, showing films shot on 35mm."^[45]

Influences and style of filmmaking[link]

In an awards ceremony in the Critics Choice Awards celebrating Tarantino, he said he got his start in filmmaking in his 20s. Music is an important part of his filmmaking style. He said he would listen to music in his bedroom and create scenes that correlated to the music playing.^[46]

In the 2002 Sight & Sound Directors' poll, Tarantino revealed his top-twelve films: The Good, the Bad and the Ugly; Rio Bravo; Taxi Driver; His Girl Friday; Rolling Thunder; They All Laughed; The Great Escape; Carrie; Coffy; Dazed and Confused; Five Fingers of Death; and Hi Diddle Diddle.^[47] In 2009, he named Kinji Fukasaku's violent action film Battle Royale as his favorite film released since he became a director in 1992.^[48]

In August 2007, while teaching a four-hour film course during the 9th Cinemanila International Film Festival in Manila, Tarantino cited Filipino directors Cirio Santiago, Eddie Romero, and Gerardo de León as personal icons from the 1970s,^[49] citing De Leon's "soul-shattering, life-extinguishing" movies on vampires and female bondage, particularly Women in Cages. "It is just harsh, harsh, harsh," he said, and described the final shot as one of "devastating despair".^[49] Upon his arrival in the Philippines, Tarantino was quoted in the local newspaper as saying, 'I'm a big fan of RP [Republic of the Philippines] cinema.'

Actor Steve Buscemi has described Tarantino's different style of film making as "bursting with energy" and "focused,"^[50] a style that has earned him many accolades worldwide. According to Tarantino, a recurring hallmark in all his movies is that there is a different sense of humour in all his movies, which gets the audience to laugh at things that aren't funny.^[51] Michael Winner, whilst appearing on an episode of Piers Morgan's Life Stories (an ITV production), stated that Quentin Tarantino was a "big fan" of Death Wish.

Racial epithets in Tarantino's work[link]

Spike Lee questioned Tarantino's use of racial epithets in his films, particularly the racially offensive epithet, "nigger". In a Variety interview discussing Jackie Brown, Lee said: "I'm not against the word... and I use it, but Quentin is infatuated with the word. What does he want? To be made an honorary black man?"^[52] Tarantino responded on Charlie Rose by stating:

As a writer, I demand the right to write any character in the world that I want to write. I demand the right to be them, I demand the right to think them and I demand the right to tell the truth as I see they are, all right? And to say that I can't do that because I'm white, but the Hughes brothers can do that because they're black, that is racist. That is the heart of racism, all right. And I do not accept that ... That is how a segment of the black community that lives in Compton, lives in Inglewood, where Jackie Brown takes place, that lives in Carson, that is how they talk. I'm telling the truth. It would not be questioned if I was black, and I resent the question because I'm white. I have the right to tell the truth. I do not have the right to lie.^[53]

In addition, Tarantino retaliated on The Howard Stern Show by stating Lee would have to "stand on a chair to kiss my ass."^[54] Samuel L. Jackson, who has appeared in both directors' films, defended Tarantino's use of the word. At the Berlin Film Festival, where Jackie Brown was being screened, Jackson responded to Lee's criticism by saying:

I don't think the word is offensive in the context of this film ... Black artists think they are the only ones allowed to use the word. Well, that's bull. Jackie Brown is a wonderful homage to black exploitation films. This is a good film, and Spike hasn't made one of those in a few years.^[55]

Tarantino has defended his use of the word, arguing that black audiences have an appreciation of his blaxploitation-influenced films that eludes some of his critics, and, indeed, that Jackie Brown, another oft-cited example, was primarily made for "black audiences".^[56]

According to a 1995 Premiere magazine article, actor Denzel Washington also confronted Tarantino on his usage of racial slurs in his pictures, but mentioned that Tarantino was a "fine artist."^[57]

Recurring collaborators[link]

Actor	Reservoir Dogs	Pulp Fiction	Four Rooms	Jackie Brown	Kill Bill	Death Proof	Inglourious Basterds	Django Unchained
Michael Bacall						N	N	N
Zoe Bell					N	N	N
Michael Bowen				N	N
Steve Buscemi	N	N
Paul Calderón		N	N
Laura Cayouette					N			N
Omar Doom						N	N
Julie Dreyfus					N		N
Kathy Griffin		N	N
Sid Haig				N	N
Samuel L. Jackson		N		N	N		N	N
Harvey Keitel	N	N					N
Jonathan Loughran					N	N
Michael Madsen	N				N
James Parks					N	N		N
Michael Parks					N	N
Tina Rodriguez						N	N
Eli Roth						N	N
Tim Roth	N	N	N
David Steen	N							N
Bo Svenson					N		N
Uma Thurman		N			N
Christoph Waltz							N	N
Bruce Willis		N	N

Awards[link]

Tarantino in Paris at the César Awards 2011.

• Reservoir Dogs was given the Critic's Award at the 4th Yubari International Fantastic Film Festival in 1993.^[58]

• Pulp Fiction won the Palme d'Or (Golden Palm) at the 1994 Cannes Film Festival.^[59] The film was nominated for seven Oscars, winning one for Best Original Screenplay, which was shared jointly by Tarantino and co-writer Roger Avary.

• In 1996, Tarantino was nominated for a Razzie Award for Worst Supporting Actor in From Dusk till Dawn, but lost against Marlon Brando in The Island of Dr. Moreau.

• In 2005, Quentin Tarantino won the Icon of the Decade Award at the 10th Empire Awards.

• On August 15, 2007, Philippine president Gloria Macapagal-Arroyo presented Tarantino with a lifetime achievement award at the Malacañang Palace in Manila.^[60]

• In 2009, his film Inglourious Basterds was nominated for eight Oscars including Best Picture, Best Director and Best Original Screenplay, winning one for Best Supporting Actor.

• In March 2010, Tarantino was awarded the Order of Merit of the Hungarian Republic along with Lucy Liu and Andy Vajna for producing the 2006 movie Freedom's Fury.^[61]

• In February 2011, Tarantino received an honorary César from the Académie des Arts et Techniques du Cinéma.^[62]

Filmography[link]

Reception[link]

Critical[link]

See also[link]

• Quentin Tarantino Film Festival, a film festival in Austin, Texas hosted by Tarantino.

References[link]

Further reading[link]

• Greene, Richard; Mohammad, K. Silem, eds. (2007). Quentin Tarantino and Philosophy. Chicago: Open Court Books. ISBN 0-8126-9634-4 .
• Waxman, Sharon, ed. (2005). Rebels on the Backlot: Six Maverick Directors and How They Conquered the Hollywood Studio System. HarperEntertainment .

External links[link]

This article's use of external links may not follow Wikipedia's policies or guidelines. Please improve this article by removing excessive or inappropriate external links, and converting useful links where appropriate into footnote references. (August 2011)

Wikiquote has a collection of quotations related to: Quentin Tarantino

Wikimedia Commons has media related to: Quentin Tarantino

Main reference sites[link]

• Quentin Tarantino at the Internet Movie Database
• Quentin Tarantino at Rotten Tomatoes
• ReservoirWatchDogs.com Quentin Tarantino news blog / fan community
• Quentin Tarantino discography at Discogs
• Quentin Tarantino at Last.fm
• Quentin Tarantino on AnyClip

Interviews and essays[link]

• Collection of Quentin Tarantino interviews on YouTube at ReservoirWatchDogs.com
• Anatomy of a Tarantino Film at BrokenProjector
• FilmFocus Interview
• "I call the shots here" by Quentin Tarantino, March 4, 2007
• Remaking History: An Interview with Quentin Tarantino by Rene Rodriguez, August 18, 2009
• Quentin Tarantino: A Life in Pictures, filmed career retrospective by BAFTA, January 11, 2010
• Quentin Tarantino and Robert Rodriguez discuss their double feature, "Grindhouse", on Charlie Rose April 5, 2007
• The Unbearable Lightness of Being Cool: Appropriation and Prospects of Subversion in the Works of Quentin Tarantino
• 7 Stylistic Trademarks by Quentin Tarantino Thorough essay on the essential stylistic trademarks in each of Quentin Tarantino's films

Pawan Kalyan
Born	Konidala Kalyan Babu (1971-09-02) 2 September 1971 (age 40)[1][2] Bapatla, Andhra Pradesh, India [3]
Residence	Hyderabad, Andhra Pradesh, India
Other names	Pawan Kalyan, Power Star[4][5]
Occupation	Actor, Director, Screenwriter, Action Choreographer, Choreography, Playback Singer, Producer
Years active	1996 – present
Spouse	Renu Desai (2009 – present)[6]
Children	Akira Nandan Aadhya
Parents	Venkat Rao Konidala Anjana Devi Konidala
Relatives	Chiranjeevi Konidala (brother) Nagendra Babu Konidala (brother) Ram Charan Teja Konidala (nephew) Arjun Allu (2nd nephew) Aravind Allu (brother-in-law) Rama Lingaiah Allu (father-in-law of brother)

Pawan Kalyan (Telugu: పవన్ కళ్యాణ్; born Konidala Kalyan Babu on 2 September 1971)^[2] is an Indian film actor, director, screenwriter and action choreographer in Telugu cinema. He is the brother of Indian actor Chiranjeevi. He made his acting debut in 1996 with Akkada Ammayi Ikkada Abbayi.

In 1998, he was starred in Tholi Prema which won the National Film Award for Best Feature Film in Telugu for that Year. He is known for his works in other blockbusters like Gokulamlo Seetha, Suswagatham, Thammudu, Badri, Kushi, Jalsa and Gabbar Singh ^[7]

Personal life[link]

Born to Konidela Venkata Rao and Anjana Devi,^[8] Pawan Kalyan is the younger brother of Chiranjeevi and Nagendra Babu.^[9] After his divorce from Nandini,^[10] Pawan Kalyan married Renu Desai on 28 January 2009. She co-starred with him in the films Badri and Johnny^[10] and has worked as costume designer for most of his films. The couple have two children, a son named Akira Nandan born in 2004 and a girl named Aadhya born in 2010. Akira was named after Pawan Kalyan's favorite director Akira Kurosawa.

Kalyan is trained in martial arts.^{[11][12][13][14]} He holds a black belt in karate^[15] and has displayed his skills in several of his films. He publicly performed his martial arts skills at several auditoriums.^[16] He was awarded the title "Pawan", symbolizing Hanuman. From then, Kalyan Babu became popular as Pawan Kalyan.^[17][18][19]

His brother-in-law Allu Aravind is an Indian film producer. Ram Charan Teja Konidala and Allu Arjun are other actors from the family. Pawan Kalyan is a vegetarian. He is highly influenced by Che Guevara, Jiddu Krishnamurti and Swami Vivekananda's philosophy.^[20]

Career[link]

Pawan Kalyan entered the Telugu movie industry with Akkada Ammayi Ikkada Abbayi (1996) as Kalyan Babu in which he performed martial arts action sequences. His second movie was Gokulamlo Seetha (1997), which is a remake of the 1996 Tamil film Gokulathil Seethai. He also starred in Suswagatham, which is also a remake of a Tamil film Love Today (1997).

In 1998, Tholi Prema released and received 6 Nandi Awards and National Award for the Best Feature Film (Telugu).^[21] After Tholi Prema, Pawan acted in Thammudu (1999) playing the role of a kickboxer. Pawan In 2000, he featured in Puri Jagannadh's first directorial venture Badri. Pawan acted in Kushi (2001) directed by S. J. Surya.

After the release of Kushi, Pawan Kalyan took a long gap of two years in his film career. He went to Japan for a brief period to learn a martial art called Aikido. He learnt this stunt to use in his first directorial venture Johnny. His next releases were Gudumba Shankar, Balu ABCDEFG, Bangaram and Annavaram

In 2008, Jalsa directed by Trivikram Srinivas released. His subsequent release Puli arrived on 10 September. The audio sales reached a total of 1.6 lakhs of CDs in the first three days, which is an all-time record in Telugu film history.^{[22][relevant? – discuss]}

Pawan Kalyan first release of 2011 was Theenmaar directed by Jayanth C. Paranjee in which he portrayed the two contrasting characters of present and yesteryear generations. Following this, Pawan Kalyan appeared in a Vishnuvardhan's gangster film Panjaa.This film is now set to release in Tamil.^[23] In September 2011, Pawan began shooting for the movie Gabbar Singh. The movie is being directed by Harish Shankar and produced by Bandla Ganesh. The movie is a remake of the Hindi film Dabangg.^[24] In 2012, Pawan is slated to work in Puri Jagannadh's Cameraman Ganga Tho Rambabu. The film is being produced by D. V. V. Danayya and filming is set to begin in May 2012.^{[25] [26]}

A social networking community on his name in the popular social networking website orkut is the second most active community in india. After orkut 'India' community, orkut 'Power Star Pawan Kalyan' community takes second place in Top 10 orkut National communities.^[27][28]

Filmography[link]

Actor[link]

Action Choreographer[link]

Playback singing[link]

Choreography/Songs Visualization[link]

References[link]