|ONCE UPON A TIME IN HOLLYWOODONCE UPON A TIMEHOLLYWOODFLEABAG|
“Once Upon a Time in Hollywood” might be a getting a novelization courtesy of Quentin Tarantino. The director revealed on the latest “Pure Cinema Podcast” episode that he’s currently eyeing a novel adaptation of his 10-time Oscar nominee. Tarantino said to the podcast hosts, “I hadn’t thought about that until recently. But now I’m thinking a lot about it. I might be writing a novelization to ‘Once Upon a Time in Hollywood.'” Sony Pictures released “Hollywood” last summer to rave reviews and $374 million worldwide, a big haul for an original adult drama. The film stars Leonardo DiCaprio and Brad Pitt as a television actor and his stuntman struggling to adapt to changing Hollywood in 1969. Margot Robbie appears as Sharon Tate. The film won Oscars for Best Supporting Actor Pitt and Best Production Design.
Whether or not Tarantino moves forward with a novelization of “Once Upon a Time in Hollywood,” it appears likely fans will be getting some kind of supplemental version of his 2019 drama. The director has been vocal about leaving several scenes and characters on the cutting room floor, and he told IndieWire after the film debuted at Cannes that his assembly cut of the film ran over the four-hour mark. Brad Pitt said last September Tarantino was eyeing a miniseries release of “Hollywood” that would put back the deleted scenes.
“Once Upon a Time in Hollywood” marked the ninth feature of Tarantino’s career, making it his penultimate effort should he stick with his current plan to retire from feature filmmaking after his 10th movie. Tarantino has expressed interest in moving to other artistic mediums such as plays and books, so a “Hollywood” novelization would make sense for the director. Tarantino said last fall he was also planning to write a novel about a World War II veteran jaded by Hollywood movies.
“I've got this character who had been in World War II and he saw a lot of bloodshed there and now he's back home, and it's like the '50s, and he doesn't respond to movies anymore,” Tarantino said. “He finds them juvenile after everything that he's been through. As far as he's concerned, Hollywood movies are movies. And so then, all of a sudden, he starts hearing about these foreign movies by Kurosawa and Fellini. And so he's like, 'Well, maybe they might have something more than this phony Hollywood stuff.’”
There’s clearly books in Tarantino’s future. The director has not announced any plans for a follow-up movie to “Once Upon a Time in Hollywood.” The movie is available to watch on VOD and home video.
Welcome to The Quarantine Stream, a new series where the /Film team shares what they’ve been watching while social distancing during the COVID-19 pandemic.
The Show: The Secret History of Hollywood
Where You Can Stream It: The podcasting app of your choice.
The Pitch: The Secret History of Hollywood is the most compelling, immersive, and emotional podcast I’ve ever had the pleasure of listening to. Each season consists of deep dives into a major Hollywood figure, tracing its subject’s rise to prominence and giving incredible insight into their home lives, painting a portrait so captivating and well-rounded that biographies or books on the subjects could only dream to achieve.
Why It’s Essential Quarantine Listening: I’ve been thinking about this podcast a lot since I first stumbled across it several years ago, but I think it’s especially appropriate to recommend it right now because some of its episodes are incredibly lengthy – many clock in around an hour and a half, but some of them stretch to four, six, or even nine hours long. Yes, really. Some of you may scoff, but isn’t being in quarantine the perfect time to give a long-form podcast a chance?
Adam Roche, the voice behind the show, had no background in sound editing or sound production when he got started, but he could have fooled me: the series reminds me of an old-time radio show, complete with sound effects and Roche doing voices as he plays the people in a given scene. I realize that may sound cheesy, and it absolutely would be in less-capable hands. But trust me: Roche’s mellifluous voice and incredibly researched accounts are perfect for this type of storytelling.
The show has brought me to tears multiple times over the years, and I think a huge part of the reason for that is because of the long episode lengths. Like a great TV series you never want to end, you get to spend hours and hours with the subjects of these episodes and build emotional connections to them, so when they they experience hardships, a project goes wrong, or they lose a loved one, the results can be unexpectedly powerful.
The show has earned the attention of Hollywood vets like Peter Ramsey Spider-Man: Into the Spider-Verse and Mark Gatiss Sherlock, Game of Thrones, the latter of whom lends his own terrific voice to introductions of the most recent season, which covers the prolific producer Val Lewton Cat People, The Body Snatcher, The Ghost Ship. I knew nothing about Lewton or his work before I listened to the eleven episode season, but by the end, I feel like not only do I know all about him, but I feel I’ve experienced his highs and lows right alongside him. It’s truly spellbinding stuff, and it comes with my absolute highest recommendation.
I’ve talked about the show a couple...
Quarantined viewers tuned into Saturday’s all-day, virtual ScreenCraft Screenwriting Summit were treated to a special surprise in the evening when filmmaker and TV titan J.J. Abrams crashed the party as the surprise special guest. He arrived just after his fellow “Star Wars” scribe Tony Gilroy “Rogue One” and the upcoming Cassian Andor series finished his conversation about the craft of screenwriting.
Abrams’ Q&A touched on a range of topics, from the origins of 2015’s “The Force Awakens” to scaling “the mountain,” as he called it, of writing a screenplay, and to the Golden Age of television happening now. It’s an era Abrams helped to launch with his ABC mystery series “Lost.” “I know my role in that. I’m not talking as if I had nothing to do with this,” he said.
“It’s the Golden Age of television, as they call it, even though I don’t know what television really is anymore,” Abrams said. “That’s because huge chances are being taken. Talent that might not have gotten the chance otherwise suddenly have the opportunity. For me, when I watch a show like ‘Atlanta,’ which takes the most spectacular risks in point of view, in genre, structure, and character […] every story has been told, it’s kind of all been done before,” remarking that the FX series tells its stories in unique ways.
Abrams also praised the Emmy-winning Prime Video series “Fleabag,” created by and starring Phoebe Waller-Bridge.
“You see ‘Fleabag’ and you’re like, well, yes, the fourth wall has been broken [before], but not like that,” he said, referring to the protagonist’s tendency to face the camera and address the audience. “Yes, there have been amazing love stories, and stories of family, but not like that. What I love is the thing that makes you feel like, ‘Oh my god, this is so amazingly specific.'”
Abrams pivoted to discussing Hollywood’s place in a moment dominated by streaming content with originality that far exceeds what’s being reproduced on the big screen. “Hollywood used to be a place where something would happen, there’d be a movie where people would see it and think ‘Oh my god, that’s amazing. Here’s my answer to that,’ or ‘here’s my version,'” he said.
“Hollywood has become a place where, for the most part, studios say, ‘Oh my god, that’s amazing. Let’s do that literally again.’ And that’s OK, and I think that will continue, but I really hope that all the writers who are here and others in the guild are as excited as I am about this new opportunity with streaming platforms. How many different stories are going to be...