![]() ![]() Rose McGowan: We’re not quite as precious as most people. I can’t figure out how he knows how we talk to each other when men aren’t around. How did you girls work your dialogue and what made you allow him in? That’s always been the staple of that genre and here there isn’t one final girl, its three, and they all play it chipperly but it still follows the basic rules of the genre.Ībout the girls: I had no idea they talk that way when they were among themselves, and especially not in a man’s presence. There’s always a final girl that stands up and has the moral fortitude to beat the boogeyman. There was in Japan, there was in Hong Kong, and there was in the last act of every slasher film. You just brought up blaxsploitaiton and there was no A-list, white, Hollywood equivalent of Pam Grier in the 1970s. People are asking me, “Is this a revenge film?” or “Is this a feminist film? Because the film empowers women and that’s not like the exploitation movies you took this from.” And I say, “That’s not 100 percent correct.” Actually, exploitation movies dealt with female empowerment in violent genres in ways that Hollywood never did. But I still kind of liked that genre, so I tried to do a completely different thing and use the structure of a slasher. I thought if I did that, it’d be too self-reflective and would be too outside of the experience. I thought that fit in really well with the whole idea, but when I started thinking about the slasher film, that genre is so rigid. My starting off point was that I wanted to do a slasher film. What was your inspiration this time around? ![]() You’ve done blaxploitation, action movies, and martial arts. ![]() The cinema of the 1970s is something of an artistic inspiration for you. Quentin Tarantino, Kurt Russell, and Rosario Dawson at Cannes. At a press conference at Cannes, the Death Proof gang, which included Tarantino, stars Kurt Russell, Rosario Dawson, Rose McGowan, Tracie Thoms, and Zoë Bell, as well as executive producer Harvey Weinstein, talked about the differences between the stand-alone version and the Grindhouse cut, as well as Tarantino’s influences, his ability to write for female characters, and what’s going on with his World War II flick, Inglorious Bastards. The tale of a group of young women terrorized by an aging stuntman in a killer automobile, Death Proof is an homage to 1970s road movies like Vanishing Point, as well as Tarantino’s twisted take on the slasher genre.īy itself, Death Proof fared pretty well with the critics, notching a 71 percent on the Tomatometer ( check out RT’s take here) still, it’s a cut below Grindhouse‘s 82 percent. Quentin Tarantino‘s Death Proof hits DVD shelves this week as a stand-alone from Grindhouse, his two-for-the-price-of-one collaboration with Robert Rodriguez. ![]()
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