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Quentin Tarantino (written by)
31 May 2007 (Hungary) more
A White-Hot Juggernaut At 200 Miles Per Hour! more
Two separate sets of voluptuous women are stalked at different times by a scarred stuntman who uses his "death proof" cars to execute his murderous plans. full summary | full synopsis
3 nominations more
Kurt Russell: 'Rodriguez is terrific kid'
(From digitalspy. 9 November 2009, 6:19 AM, PST)
Ferrara Exits Game Of Death
(From WENN. 3 November 2009, 12:11 AM, PST)
Probably the most misunderstood film of this decade more (485 total)
Directed by | |||
| Quentin Tarantino | |||
Writing credits | ||
| Quentin Tarantino | (written by) | |
Produced by | |||
| Elizabeth Avellan | .... | producer (as Elizabeth Avellán) | |
| Shannon McIntosh | .... | executive producer | |
| Robert Rodriguez | .... | producer | |
| Pilar Savone | .... | associate producer | |
| Bill Scott | .... | line producer | |
| James W. Skotchdopole | .... | line producer: California | |
| Erica Steinberg | .... | producer | |
| Quentin Tarantino | .... | producer | |
| Bob Weinstein | .... | executive producer | |
| Harvey Weinstein | .... | executive producer | |
Cinematography by | |||
| Quentin Tarantino | (director of photography) | ||
Film Editing by | |||
| Sally Menke | |||
Casting by | |||
| Mary Vernieu | |||
Production Design by | |||
| Steve Joyner | |||
Art Direction by | |||
| Caylah Eddleblute | |||
Set Decoration by | |||
| Jeanette Scott | |||
Costume Design by | |||
| Nina Proctor | |||
Makeup Department | |||
| Jaremy Aiello | .... | special makeup effects painter: K.N.B. EFX Group, Inc. | |
| Jaremy Aiello | .... | special makeup effects sculptor: K.N.B. EFX Group, Inc. | |
| Chad Atkinson | .... | special makeup effects lab technician: K.N.B. EFX Group, Inc. | |
| Howard Berger | .... | special makeup effects designer | |
| Anneliese Boise | .... | special makeup effects crew: hair department, K.N.B. EFX Group, Inc. | |
| Mark Boley | .... | special makeup effects crew: hair department, K.N.B. EFX Group, Inc. | |
| Jack Bricker | .... | special makeup effects crew: hair department, K.N.B. EFX Group, Inc. | |
| Michael Deak | .... | special makeup effects shop supervisor: K.N.B. EFX Group, Inc. (as Mike Deak) | |
| Alex Diaz | .... | special makeup effects on-set tech: K.N.B. EFX Group, Inc. | |
| Jeff Edwards | .... | special makeup effects mechnical department: K.N.B. EFX Group, Inc. | |
| Eric Fiedler | .... | special makeup effects mechnical department: K.N.B. EFX Group, Inc. | |
| Robert Freitas | .... | special makeup effects mold maker: K.N.B. EFX Group, Inc. (as Rob Frietas) | |
| Jake Garber | .... | special makeup effects on-set tech: K.N.B. EFX Group, Inc. | |
| Jamie Grove | .... | special makeup effects painter: K.N.B. EFX Group, Inc. | |
| Jamie Grove | .... | special makeup effects sculptor: K.N.B. EFX Group, Inc. | |
| Steve Hartman | .... | special makeup effects lab technician: K.N.B. EFX Group, Inc. | |
| Tysuela Hill-Scott | .... | makeup department head (as Tysuela Hill) | |
| Jeff Himmel | .... | special makeup effects fabricator: K.N.B. EFX Group, Inc. | |
| Grady Holder | .... | special makeup effects mold maker: K.N.B. EFX Group, Inc. | |
| Akihito Ikeda | .... | special makeup effects painter: K.N.B. EFX Group, Inc. | |
| Akihito Ikeda | .... | special makeup effects sculptor: K.N.B. EFX Group, Inc. | |
| Jim Leonard | .... | special makeup effects mold maker: K.N.B. EFX Group, Inc. (as James Leonard) | |
| Dennis Liddiard | .... | makeup artist: Mr. Russell | |
| Tony Matijevich | .... | special makeup effects lab technician: K.N.B. EFX Group, Inc. (as Anthony Matijevich) | |
| Jake McKinnon | .... | special makeup effects mechnical department: K.N.B. EFX Group, Inc. | |
| Darylin Nagy | .... | key makeup artist | |
| Gregory Nicotero | .... | special makeup effects designer | |
| Christina Presita | .... | special makeup effects lab technician: K.N.B. EFX Group, Inc. (as Christina Prestia) | |
| Joe Rivera | .... | hair stylist | |
| Caleb Schneider | .... | special makeup effects lab technician: K.N.B. EFX Group, Inc. | |
| Andy Schoneberg | .... | special makeup effects supervisor: K.N.B. EFX Group, Inc. | |
| Shannon Shea | .... | special makeup effects shop supervisor: K.N.B. EFX Group, Inc. | |
| Tara Smith | .... | hair department head | |
| Khanh Trance | .... | special makeup effects crew: hair department, K.N.B. EFX Group, Inc. (as Khanh Tran) | |
| David Wogh | .... | special makeup effects mechnical department: K.N.B. EFX Group, Inc. | |
Production Management | |||
| Debbi Bossi | .... | post-production supervisor | |
| Tim Clawson | .... | executive in charge of physical production | |
| Tracey Landon | .... | production supervisor: California | |
| Richard Saperstein | .... | executive in charge of production | |
| Alex G. Scott | .... | assistant production supervisor: California | |
| Bill Scott | .... | unit production manager | |
Second Unit Director or Assistant Director | |||
| Brian Bettwy | .... | first assistant director | |
| Susan Jasso | .... | second second assistant director (as Susana Jasso) | |
| David Rimer | .... | second assistant director | |
Art Department | |||
| David Michael Ableman | .... | scenic artist (as Michael Abelman) | |
| Jeff B. Adams Jr. | .... | set designer (as Jeff B. Adams) | |
| William R. Barrett | .... | labor foreman: California | |
| J.P. Barrow | .... | welder | |
| Richard J. Bell | .... | greens coordinator: California | |
| Edward J. Borasch Jr. | .... | property master (as Ed Borasch, Jr.) | |
| Peter Bret Lennon | .... | propmaker: California (as P. Brett Lennon) | |
| Bart Brown | .... | gang boss | |
| Jennifer Brown | .... | buyer | |
| Rodney Brown | .... | general foreman | |
| Marcia Bruscato-Poss | .... | buyer | |
| Ronald Castro | .... | greens gang boss: California | |
| Debbie Cortez Haber | .... | art department coordinator (as Debbie Haber) | |
| Vincent D'Aquino | .... | greens gang boss: California | |
| Michael Dudash | .... | painter | |
| Mary Duque | .... | art department assistant | |
| Sheila M. Eitson | .... | scenic foreman | |
| David R. Evans | .... | graphic artist (as David Evans) | |
| David Fanderlik | .... | propmaker gang boss: California (as Dave Fanderlik) | |
| Doug Field | .... | greens utility | |
| Steve Gallien | .... | welder | |
| Ken Gaston-Kilgore | .... | set dresser | |
| Douglas Gessaman | .... | propmaker (as Doug Gessaman) | |
| Jammie S. Goodman | .... | painter (as Jimmie S. Goodman) | |
| Juliet Guimont | .... | scenic painter | |
| Mark Gutierrez | .... | utility technician | |
| David Hack | .... | leadman | |
| Steve A. Hagberg | .... | construction coordinator: California (as Steve Hagberg) | |
| Edwin Glen Hill | .... | paint laborer | |
| Thomas Karl Jr. | .... | lead scenic | |
| Gene Kelly | .... | general foreman: California | |
| Garry Kirks | .... | propmaker | |
| Marcus LaPorte | .... | props fabricator | |
| Melody Lloyd | .... | construction medic | |
| Timothy W. Lobdell | .... | propmaker (as Tim Lobdell) | |
| Garcia L. Sonia | .... | scenic painter (as Sonia Garcia) | |
| Kevin Mangan | .... | greens foreman: California | |
| Christopher Martin | .... | lead greensman | |
| Brian T. McCarty | .... | welder (as Brian McCarty) | |
| Andy McCauley | .... | gang boss (as Andrew McCauley) | |
| Joe McCusker | .... | construction coordinator | |
| James Moore | .... | greens utility | |
| Richard M. Moore | .... | propmaker (as Richard Moore) | |
| Steven O'Bannon | .... | labor gang boss: California (as Steven A. O'Bannon) | |
| Desmond O'Regan | .... | propmaker: California (as Desmond P. O'Regan) | |
| Darren Patnode | .... | on-set dresser | |
| Ron Pekkala | .... | construction medic: California | |
| Ron Perkins | .... | construction foreman | |
| Craig Polydoros | .... | toolman: California | |
| Jeff Poss | .... | head prop fabricator | |
| Felix Rosales III | .... | utility technician | |
| Mike Semon | .... | assistant property master | |
| Alan R. Serotta | .... | construction foreman (as Alan Serotta) | |
| John C. Smith Jr. | .... | scenic gang boss | |
| Tyler Smith | .... | property assistant | |
| James Toole | .... | propmaker | |
| Michi Ukawa | .... | graphic artist | |
| Kurt Volk | .... | graphic designer | |
| Mike Walker | .... | scenic artist | |
| Rusty Warne | .... | propmaker foreman: California | |
| Hap Weaver | .... | greensman | |
| Carrin Welch | .... | construction buyer: California | |
| Michael P. Weller | .... | propmaker: California (as Michael Weller) | |
Special Effects by | |||
| Kenneth Bosse | .... | special effects technician: California | |
| Keith Haynes | .... | special effects car shop tech | |
| Richard Landerer | .... | special effects car shop tech | |
| Marcus LaPorte | .... | master mold maker | |
| William P. McGinley | .... | special effects car shop welder (as William McGinley) | |
| John McLeod | .... | special effects coordinator | |
| Andrew Miller | .... | special effects car shop foreman (as Andy Miller) | |
| Antonette J. Miller | .... | special effects car shop buyer (as Toni Miller) | |
| Joe Montenegro | .... | special effects technician: California | |
| Ron Pekkala | .... | special effects medic: California | |
| Elia P. Popov | .... | special effects car shop foreman: California (as Elia Popov) | |
| Frank W. Tarantino | .... | special effects foreman (as Frank Tarantino) | |
| Omar Torres | .... | special effects technician: California | |
| Lindsay Vivian | .... | special effects purchaser | |
| Dick Wood | .... | special effects shop foreman (as Richard Wood) | |
| Daniel Yates | .... | special effects technician | |
| Chris Zega | .... | lab technician: KNB efx | |
Visual Effects by | |||
| Emily Davis | .... | visual effects coordinator | |
| Arin Finger | .... | visual effects producer: The Orphanage, Inc. | |
| Amber Kirsch | .... | visual effects producer | |
| Luke O'Byrne | .... | visual effects executive producer: The Orphanage, Inc. | |
| Marc Sadeghi | .... | visual effects executive producer: The Orphanage, Inc. | |
| Ryan Tudhope | .... | visual effects supervisor: The Orphanage, Inc. | |
| Ken Zorniak | .... | visual effects | |
| Karin Eunson-Ross | .... | visual effects production manager: Frantic Films (uncredited) | |
Stunts | |||
| John Casino | .... | stunts | |
| Clay Cullen | .... | stunts (as Clay Cullens) | |
| Jeffrey J. Dashnaw | .... | stunt coordinator (as Jeff Dashnaw) | |
| Steve M. Davison | .... | stunts (as Steve Davison) | |
| Jef Groff | .... | stunts | |
| Gary Guercio | .... | stunts | |
| Steve Holladay | .... | stunts | |
| Buddy Joe Hooker | .... | stunt driving double: 'Stuntman Mike' | |
| Norman Howell | .... | stunts | |
| Tracy Keehn-Dashnaw | .... | stunt driving double: 'Kim' (as Tracy Keehn Dashnaw) | |
| Oakley Lehman | .... | stunts | |
| Malosi Leonard | .... | stunts | |
| Terry Leonard | .... | stunts | |
| Dina L. Margolin | .... | stunts (as Dina Margolin) | |
| Chris Palermo | .... | stunts | |
| Dana Reed | .... | stunts | |
| James Ryan | .... | stunts | |
| Crystal Santos | .... | stunts | |
| Chrissy Weathersby | .... | stunt driving double: 'Kim' | |
| Zoe Bell | .... | stunts (uncredited) | |
| Ethan Rosenberg | .... | stunts (uncredited) | |
Camera and Electrical Department | |||
| Troy Anderson | .... | rigging electrician | |
| Norman Ash | .... | lamp operator: California | |
| Gary A. Beaird | .... | dolly grip: California (as Gary Beaird) | |
| Kelly Bogdan | .... | second assistant camera: "b" camera | |
| Graham Bremner | .... | company grip | |
| Geraldine Brezca | .... | camera department intern | |
| David Brink | .... | film loader | |
| Derlin Brynford-Jones | .... | technocrane technician: California | |
| Buzzy Burwell | .... | lamp operator: California | |
| Richard L. Carden | .... | best boy grip: California (as Rick Carden) | |
| Scott Conn | .... | company electrician | |
| Andrew Cooper | .... | still photographer | |
| James F. Cornick | .... | best boy electric: California | |
| James F. Cornick | .... | best boy | |
| Bruce Del Castillo | .... | company grip | |
| Gary Dionne | .... | technocrane technician: California | |
| John Eschberger | .... | company electrician | |
| Matt Fliehler | .... | company electrician | |
| Jamie Franta | .... | grip: California | |
| Neil Fraser | .... | rigging grip | |
| Albert Frigone | .... | additional second assistant camera: California | |
| Lamont 'Wiz' Gray | .... | lamp operator: California | |
| Chip Huntington | .... | company grip | |
| Edison Jackson | .... | rigging gaffer | |
| Robert Janecka | .... | company electrician | |
| Tom Kalbfleisch | .... | best boy rigging electrician | |
| April Kelley | .... | second assistant camera: "a" camera | |
| Joseph Kentspeth | .... | company grip (as Joe Kentspeth) | |
| Dan Kneece | .... | Steadicam operator | |
| Kurt Kornemann | .... | best boy grip | |
| Jimmy Lindsey | .... | camera operator | |
| Matthew McGinn | .... | camera production assistant (as Matt McGinn) | |
| Raul Mello | .... | company electrician | |
| P.K. Munson | .... | first assistant camera: "b" camera | |
| Jeff Peterson | .... | company electrician | |
| Jon Philion | .... | libra head technician: California | |
| Rick Pratt | .... | key rigging grip: California | |
| Phillip Renke | .... | best boy rigging grip | |
| Donis Rhoden | .... | company grip | |
| John 'Fest' Sandau | .... | gaffer (as John Sandau) | |
| Mike Sheeren | .... | dolly grip | |
| Jim Shelton | .... | key grip: California (as James Shelton) | |
| Ferrell A. Shinnick | .... | key grip (as Ferrell Shinnick) | |
| Todd Smiley | .... | assistant chief lighting technician (as Todd E. Smiley) | |
| Pete Stockton | .... | key rigging grip | |
| Stefan Tarzan | .... | camera operator: "b" camera | |
| Joe Vasquez | .... | company grip | |
| Sebastian Vega | .... | first assistant camera: "a" camera | |
| Atom Vyvial | .... | company grip (as Aaron Vyvial) | |
| Matthew W. Williams | .... | film loader: California | |
| Harrison Witt | .... | company electrician | |
| Michael Melendez | .... | rigging grip (uncredited) | |
Casting Department | |||
| J.C. Cantu | .... | casting associate | |
| Barbara Harris | .... | adr voice casting | |
| Beth Sepko | .... | extras casting | |
| Beth Sepko | .... | local casting | |
Costume and Wardrobe Department | |||
| Brenda J. Chambers | .... | set costumer (as Brenda Chambers) | |
| Marcia Evers | .... | costume shop supervisor | |
| Crystal Falkner-Paysse | .... | costumer | |
| Janice Janacek | .... | set costumer (as Janice Janecek) | |
| Vanessa Nirode | .... | key set costumer | |
| Jonny Pray | .... | costume supervisor: California | |
| Erin Randall | .... | costumer | |
Editorial Department | |||
| Clark Campbell | .... | assistant editor | |
| Joe D'Augustine | .... | additional editor | |
| Peggy Eghbalian | .... | assistant editor | |
| Ally Garrett | .... | second assistant editor | |
| Mo Henry | .... | negative cutter | |
| Erin Michelle Hopkins | .... | assistant editor (as Erin Hopkins) | |
| Eric Johnson | .... | editorial production assistant | |
| Stephanie Johnson | .... | assistant editor | |
| Nina Kawasaki | .... | first assistant editor | |
| William Starr Mitchell | .... | lab consultant: Deluxe | |
| Matt Morrow | .... | editorial production assistant | |
| Bethany Orlemann | .... | assistant editor | |
| Daniela Ovi | .... | post-production coordinator (as Daniela Catherine Ovi) | |
| Steve Sheridan | .... | color timer: Deluxe | |
Music Department | |||
| Rachel Levy | .... | executive in charge of music | |
| Jack Nitzsche | .... | composer: main titles | |
| Mary Ramos | .... | music supervisor | |
| Jim Schultz | .... | music editor | |
Transportation Department | |||
| Ronnie D. Chambers | .... | transportation captain (as Ronald Chambers) | |
| Cecil D. Evans | .... | transportation coordinator | |
| Dwayne Haevischer | .... | transportation captain | |
| Allan Padelford | .... | driver: camera car (as Allan Kent Padelford) | |
Thanks | |||
| Allison Anders | .... | special thanks | |
| Clifford Antone | .... | special thanks (as Clifford Antone RIP) | |
| Susan Antone | .... | special thanks | |
| Dario Argento | .... | special thanks | |
| Alexis Beauford | .... | special thanks | |
| Andrew Bell | .... | special thanks | |
| Tish Bell | .... | special thanks (as Tish) | |
| John Billings | .... | special thanks | |
| Louis Black | .... | special thanks: The Austin Chronicle | |
| Junior Bonner | .... | special thanks | |
| Barbara Bouchet | .... | special thanks | |
| Katrina Holden Bronson | .... | special thanks (as Katrina Bronson) | |
| Eric Caidin | .... | special thanks: Hollywood Book and Poster | |
| Rebecca Campbell | .... | special thanks | |
| Jesse Carpenter | .... | special thanks: Omlettry | |
| Joani Carpenter | .... | special thanks: Omlettry | |
| Kenny Carpenter | .... | special thanks: Omlettry | |
| Jasmine Yuen Carrucan | .... | special thanks (as Jasmine Yuen-Carrucan) | |
| Emily Clay | .... | special thanks | |
| Roger Corman | .... | special thanks | |
| Mike Curb | .... | special thanks | |
| Ami Davis | .... | special thanks: Omlettry | |
| Karen Davis | .... | special thanks: The Alamo Drafthouse | |
| Brian De Palma | .... | special thanks | |
| Saira Doom | .... | special thanks | |
| Julia Ervin | .... | special thanks (as Jungle Julia Ervin) | |
| Brad Frank | .... | special thanks | |
| Lee Frost | .... | special thanks | |
| Mauricia Grant | .... | special thanks (as Maurcia Grant) | |
| Bob Graves | .... | special thanks | |
| Charles B. Griffith | .... | special thanks | |
| Sammy Hagar | .... | special thanks | |
| Alexandra Hayden | .... | special thanks (as Alex Hayden) | |
| Norma Hermann | .... | special thanks | |
| John Hough | .... | special thanks | |
| John Jarratt | .... | special thanks | |
| Karrie League | .... | special thanks: The Alamo Drafthouse | |
| Tim League | .... | special thanks: The Alamo Drafthouse (as Tim) | |
| Umberto Lenzi | .... | special thanks | |
| Richard Linklater | .... | special thanks (as Rick Linklater) | |
| Cathy Lippincott | .... | special thanks: Guero's | |
| Rob Lippincott | .... | special thanks: Guero's (as Rob) | |
| Cindy Mah | .... | special thanks | |
| Brewster McCracken | .... | special thanks (as Councilman Brewster McCracken) | |
| Russ Meyer | .... | special thanks | |
| Amanda Micheli | .... | special thanks | |
| George Miller | .... | special thanks | |
| Wendy Nelson | .... | special thanks: Headhunters | |
| Arch Nicholson | .... | special thanks | |
| Lars Nilsen | .... | special thanks: The Alamo Drafthouse | |
| Frank Ostini | .... | special thanks: Hitching Post | |
| Sam Peckinpah | .... | special thanks | |
| Sean Penn | .... | special thanks | |
| Anita Perry | .... | special thanks (as First Lady Anita Perry) | |
| Rick Perry | .... | special thanks (as The Honorable Rick Perry Governer of Texas) | |
| Brian Quinn | .... | special thanks: Hollywood Book and Poster | |
| Rie Rasmussen | .... | special thanks | |
| Danielle Renfrew | .... | special thanks | |
| Steve Ricci | .... | special thanks: Headhunters | |
| Joe Rodriguez | .... | special thanks: Texas Chili Parlor | |
| Mickey Rourke | .... | special thanks | |
| Richard Rush | .... | special thanks | |
| Richard C. Sarafian | .... | special thanks | |
| Mike Sherrill | .... | special thanks: The Alamo Drafthouse | |
| Scott Spiegel | .... | special thanks | |
| Shana Stein | .... | special thanks | |
| Lynda Summerset | .... | special thanks: Guero's | |
| Sherman Torgan | .... | special thanks: The New Beverly Cinema | |
| Brian Trenchard-Smith | .... | special thanks | |
| Will Wynn | .... | special thanks (as Mayor Will Wynn) | |
| Patrick Zollo | .... | special thanks: Texas Chili Parlor | |
| Scott 'zoob' Zublin | .... | special thanks: Texas Chili Parlor | |
Grindhouse Presents: Quentin Tarantino's Death Proof (USA) (DVD title)
Grindhouse: Death Proof (International: English title)
Quentin Tarantino's Death Proof (USA) (complete title)
Quentin Tarantino's Thunder Bolt (USA) (informal alternative title)
Quentin Tarantino's Thunder Bolt! (USA) (working title)
Thunder Bolt (USA) (working title)
more
114 min (international version) | Japan:113 min | USA:90 min (edited version)
2.35 : 1 more
Dolby Digital | DTS | SDDS
Norway:15 | Finland:K-18 | Singapore:M18 (cut) | France:-12 | UK:18 | Italy:VM14 | Ireland:18 | Hong Kong:IIB | Australia:MA | Australia:MA (2007) | Portugal:M/16 | Germany:16 | Hungary:18 | Sweden:15 | South Korea:18 | Canada:13+ (Quebec) | Brazil:16 | Japan:R-15 | Philippines:R-13 (MTRCB) | Spain:18 | New Zealand:R16 | USA:R (No. 43396) | Australia:MA (Original rating) | Canada:18A (Canadian Home Video rating) | Netherlands:16 | South Africa:16LV | Argentina:16 | Iceland:16
In an interview with Newsweek, Quentin Tarantino stated he came up with the idea of Death Proof when he was talking to a friend about buying a car. Tarantino wanted to buy a Volvo because he "didn't want to die in some auto accident like the one in Pulp Fiction (1994)". In regards to the safety of the car, his friend had said, "Well, you could take any car and give it to a stunt team, and for $10,000 or $15,000, they can death-proof it for you." The "death proof" phrase had stuck to Tarantino after that. more
Errors made by characters (possibly deliberate errors by the filmmakers): When the girls are at the table in the café eating, Zoë is seen to take a small piece of food on her fork. She then chews it for a second and swallows, then carries on chewing with nothing in her mouth. She then dips the fork back to her plate not lifting anything and putting the fork to her mouth and begins to chew again with nothing in her mouth. more
[first lines]
Arlene:
[shouting to Jungle Julia] Hold on, I gotta come up! I gotta take the world's biggest fuckin' piss!
more
References Gone in 60 Seconds (1974) more
Staggolee more
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| Grindhouse | Sin City | Radar Patrol vs. Spy King | Kill Bill: Vol. 1 | Highwaymen |
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| News articles | IMDb Action section | IMDb USA section |
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Given the vast majority of major criticisms levelled at this film, it would appear that a large percentage of the audience has completely missed the joke, or simply, didn't find it at all amusing. With Death Proof (2007), Tarantino creates such a loving homage to a notoriously cult cinematic sub-culture that many people seem unaware of how to approach it or even how to appreciate the sheer fact that the film purposely goes out of its way to ape the style of late 60's and early 70's exploitation cinema in look, feel and content. The film isn't meant to be taken entirely seriously, but rather, is a parody and/or pastiche of the kind of films that the vast majority of mainstream audiences simply wouldn't want to see. I'm talking about films such as Two-Thousand Maniacs (1964), Ride the Whirlwind (1965), Manos: The Hands of Fate (1966), Satan's Sadists (1968), The Big Bird Cage (1971), Boxcar Bertha (1972), Fight for Your Life (1977) or Satan's Cheerleaders (1977); low-budget films made with often-non-professional actors, little in the way of conventional film logic, and highly controversial in terms of plot, theme and content.
It also sets out to pastiche the "grindhouse" cinema phenomena, with the original idea of two films being shown as a double feature at drive-in movie theatres from state to state, with both films often being re-cut and re-edited, not by the filmmakers, but by the theatre owners themselves. This is evident in the amusing switch in title; with the film opening with the caption 'Quentin Tarantino's Thunderbolt', before awkwardly cutting to an obviously out of place title card with 'Death Proof' crudely emblazoned across the screen. This is also the explanation for the purposeful mistakes in continuity, the sloppy editing and the switch between colour and black and white, as well as the façade of severely deteriorating film stock. It's not sloppy film-making, but rather, a purposeful appropriation of sloppy film-making geared towards appealing to the kind of obsessive movie aficionado who gets the references and can appreciate the joke that Tarantino is attempting to pull.
With this in mind, it seems hard to understand what people are complaining about. Do audiences actual expect this film to keep them enthralled and entertained when the vast majority of them would balk at experiencing many of the low-budget, semi-obscure films that influenced it? Hardly! The accusation here that "nothing happens" is fascicle. The fact that there is film running through the camera is proof enough that something is happening, with the hilariously bland dialog deconstructing the film in much the same way as the purposely amateurish composition, editing and sound all intended to fracture the cinematic language in the same way that Godard did; by reminding the audience that this is the film and the point of the film is to experience the sights and sounds that unfold before us. Added to this the colourful iconography, the music, the characters, the girls in tight t-shirts, the for once entirely justified performance from the man himself, all reminding us that this is a joyous, darkly comic romp in which the point is not "why?" but "why not?".
The effect is reminiscent of Kill Bill (2003), which at times felt superficial or perhaps even too knowing for its own good, but still demonstrated to us the filmmaker's great use of tone, texture, colour and movement, as well as turning many people on to a whole new world of cult Japanese cinema; from the works of highly individual filmmakers like Seijun Suzuki, Kinji Fukasaku and Takashi Miike, to cult performers like Sony Chiba. Death Proof attempts to do something similar with the likes of the American revisionist road movie, the B-cinema of Roger Corman and the femsploitation subgenre of films like The Big Bird Cage (1972), Caged Heat (1975), Day of the Woman (1978) and Ms. 45 (1981); a coolly ironic series of films in which wronged women take bloody revenge in an often elaborate and over the top style, chiefly intended to give a feminist slant to the still rampant degradation and misogyny prevalent in the exploitation genre.
Other reference points are more obvious as they're mentioned explicitly in the film; notably car chase cinema such as Vanishing Point (1971), Two-Lane Blacktop (1971), Dirty Mary, Crazy Larry (1974), Gone in 60 Seconds (1974) and even Spielberg's Duel (1971). Some have complained that the film fails on account of its lack of action and emphasis on dialog and technique, but this seems churlish when you think of the films being referenced; with Vanishing Point featuring a number of cryptic, desert-set sequences in which characters talk and talk and talk, while Two-Lane Blacktop punctuates its scenes of hard driving and drag-racing with much in the way of meandering small-talk. Then we have the fact that films like Reservoir Dogs - which takes place almost entirely within a single setting - and Jackie Brown - which places emphasis entirely on character - use dialog to not only create the characters but to also tell the story.
Regardless of this, Death Proof is meant as a piece of entertainment. There's no real desire here for Tarantino to prove what kind of filmmaker he is because he's already done that with the number of great films that came before. Sure, it can be seen as self-indulgent, but surely those of us familiar with the style of film-making being referenced here will revel in this particular kind of extravagance, loving everything from the continually inane female banter to the awesome scenes of high speed carnage. If you're not a fan cult cinema or exploitation cinema or indeed a devotee of Tarantino's work then this film really isn't going to impress you. There's no shame in that. Some films are made for a niche audience, destined to be a cult in their own right. However, for those who get it, Death Proof has the potential to be a truly exhilarating, one-off piece of film-making.