Quentin Tarantino, Brad Pitt and Christoph Waltz will attend the opening gala on Sept. 18 of the 57th San Sebastian International Film Festival, as they present “Inglourious Basterds,” running in the Zabaltegi-Pearls Section.

Source/discuss. Thanks Asanty.

Would really want to read the fan’s personal reviews so please share yours @ the Forum (not in the comments please)

When you first heard Brad Pitt’s accent for [Aldo] Raine, what do you think? Your characters, their encounter at the end, it’s a very strange relationship. His accent seems incredibly risky to me, but I think it works in the end. Your opinion?

Christoph Waltz: Well, I read the words on the script, and in a way, when I heard Brad Pitt speak like that, it was 100% congruent with the words. Right now, I can’t separate one from the other. Even when I go back to the written word, I hear Brad say it. So, apparently, that is how it was written. And when we worked together, I learned something from Brad, something that I really admire in him, how generous he is. And I really learned how generosity on a set, how it can actually change…how generosity has an influence on everyone who is there and working on the film. Everyone who is around him. And he has a professional calmness and he’s just such a cool guy. He’s not impersonal, and he’s immensely generous. And this generosity allowed me to rise to the occasion, I feel.

Source/discuss. Thanks Gabriella.

The folks over at Weinstein Co. must be breathing a big sigh of relief. Friday’s box office numbers suggest their gamble on in-house auteur Quentin Tarantino has paid off: His WWII drama Inglourious Basterds took in an estimated $14.3 million, putting it on track to win the weekend with what could be an impressive $36 million.

1. Inglourious Basterds–$14.3 million

2. District 9–$5.5 million

3. G.I. Joe–$3.6 million

4. The Time Traveler’s Wife–$3.3 million

5. Julie & Julia–$2.6 million

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In part one, we found out how the duo met and how “Basterds” came to be. In part two of the conversation, they spoke about rewriting history. Now, in the final part of this sit-down with two Hollywood icons, they discuss making a WWII movie that even Germans can love.
On the movie’s five-chapter structure:

Quentin Tarantino: To me, ["Basterds"] is structured in an interesting way. It’s structured around three characters. The first chapter is the introduction of [Christoph Waltz as Colonel Hans] Landa. The second chapter is the introduction of [Brad Pitt as Lieutenant] Aldo [Raine] and the Basterds. And the third chapter is — not the introduction of [Melanie Laurent as] Shosanna [Dreyfus] but setting her up. So they are three lead characters, and they have three separate stories going on. From chapter four to chapter five, now it’s the adventure film, and it just goes all the way. The characters start overlapping, and this happens and that happens. I am basically structuring the whole first half of the movie with a chapter each for my three leads — and then it’s just watching them comingle.

Brad Pitt: I was really intrigued by that structure. We’re used to the normal screenplay, which works in three acts and is usually in succession of events, and they’re all connected in some way. This worked more like a novel, in the sense that it was five distinct chapters, and one chapter would immensely focus on the detail of a moment and let that moment breathe and study it. And then we would jump through time — there’d be big gaps in time — and we’d move on to the next section. It’s like when a painter paints just the bends in a figure, but when it’s all together, the whole figure is there. I was really intrigued that it could work in that kind of structure — it was much more interesting that way. I mean big jumps in time, but yet, when we did get somewhere, there was minute focus on detail. And I’m exhilarated by it still.

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On Wednesday, we found out how the duo met and how “Basterds” came to be. In part two of the conversation, they talk about the battle between today and 10 years ago, the Nazi rewrite that made Brad scratch his head and how Quentin himself nearly played Brad’s character. Stay tuned Friday for part three.

On coming around to Tarantino’s historical rewrite:

Quentin Tarantino: I loved it when you were on the “Charlie Rose” show talking about “Benjamin Button” and Charlie Rose goes: “So, I hear you’re doing a movie about World War II.” Well, it takes place during World War II, but I don’t know if this is really about World War II.

Brad Pitt: To me, this is the cap on the Nazi-focused films. It’s just like [the Nazi film] to end all films. Where else are you gonna go after this?

Tarantino: That’s one of the things ["Basterds" star] Christoph [Waltz] said. He goes: “I think Quentin has killed the German Nazi film for all time.”

Pitt: Seal it. It’s done.

Tarantino: [Pitt] was very sweet when we had our big discussion about the movie, because he didn’t quite know about the ending. He had questions.

Pitt: Yeah, absolutely I did. [Laughs.] Are you kidding me?

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‘A Tarantino character — we all want to get one of those,’ Pitt says as he and Quentin Tarantino sit down with MTV News for a chat.

If you want a big movie star, you can’t get much more A-list than Brad Pitt. If you want a great director, good luck finding a living one with more passion, creativity and talent than Quentin Tarantino. And if you want an instant classic of a film, look no further than this weekend’s “Inglourious Basterds.”

Recently, the two men who’ve separately blessed us with everything from “Pulp Fiction” to “Fight Club,” “Kill Bill” to “Se7en,” “Mr. and Mrs. Smith” to “Reservoir Dogs” sat down together for a truly unique conversation. MTV News is proud to be the exclusive home for this chat, which explores everything from the juiciness of landing a Tarantino character to why Brad’s agent kept Quentin away, to why Pitt is Hollywood’s first choice when it comes to playing a hillbilly.

On how “Basterds” came to be:

Brad Pitt: This thing was a gift. It landed in my lap and six weeks later we were shooting; you don’t want to change a thing. I compare it to working with a Coen brothers script, because the dialogue is so spot on. And there’s a music to it — if you take one step off the trail, you just muck up the whole thing. And so you stay on course. It was really so defined and laid-out — I’m gonna get a lot more credit for this one than I should.

Read more/discuss/video. Thanks Intothegrinder.

For only the third time in the magazine’s history, PLAYBOY has teamed with a feature film director to bring a comic adaptation of a scene from their film onto the printed page. Following Woody Allen’s EVERYTHING YOU ALWAYS WANTED TO KNOW ABOUT SEX BUT WERE AFRAID TO ASK in 1972 and Gene Wilder’s YOUNG FRANKENSTEIN in 1974, film-based comics return to PLAYBOY after 35 years with a scene from Quentin Tarantino’s INGLOURIOUS BASTERDS.

The ‘Bunny gave Fango a pair of preview pages from the spread, which hit’s stands this Friday, and can also be viewed online at this location.

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