
English: 
Previously in Steroids...
"Conceived and executed as
a true manifesto for Exploitation Cinema"
"navigating from one genre to the other"
"using every element of the movie language"
"Quentin Tarantino allows himself
absolutely everything."
This is Steroids, the web show
that put the brains on the muscles!

French: 
Précédemment, dans Steroids...
Pensé et exécuté comme un véritable manifeste du cinéma d'exploitation,
en passant justement d'un genre à l'autre
Tous les éléments du langage cinématographique...
que Quentin Tarantino se permet absolument tout.
Bienvenue dans Steroids, l'émission qui
fait l'exégèse des gros bras.

English: 
Previously in Steroids...
"Conceived and executed as
a true manifesto for Exploitation Cinema"
"navigating from one genre to the other"
"using every element of the movie language"
"Quentin Tarantino allows himself
absolutely everything."
This is Steroids, the web show
that put the brains on the muscles!

English: 
Previously in Steroids...
"Conceived and executed as
a true manifesto for Exploitation Cinema"
"navigating from one genre to the other"
"using every element of the movie language"
"Quentin Tarantino allows himself
absolutely everything."
This is Steroids, the web show
that put the brains on the muscles!

English: 
Previously in Steroids...
"Conceived and executed as a true
manifesto for Exploitation Cinema"
"navigating from one genre to the other"
"using every element of the movie language"
"Quentin Tarantino allows himself
absolutely everything."
This is Steroids, the web show
that put the brains on the muscles!

English: 
Previously in Steroids...
"Conceived and executed as
a true manifesto for Exploitation Cinema"
"navigating from one genre to the other"
"using every element of the movie language"
"Quentin Tarantino allows himself
absolutely everything."
This is Steroids, the web show
that put the brains on the muscles!

English: 
Quentin Tarantino has always claimed
how central cinema was to his movies.
True Romance lovers Clarence and Alabama
meet for the first time in a local cinema.
In Pulp Fiction, Mia Wallace and Vincent Vega
are having a date in a diner
full of Exploitation cinema posters
and Marilyn Monroe or Jane Mansfield
look-alike waitresses.
In "Death Proof", evil Stuntman Mike
uses his custom car
to commit his crimes with complete impunity.
Finally in "Inglourious Basterds"
Shosanna and the basterds
burn a mythical parisian movie theater,
to trap nazis and purge absolute evil from Europe.
These scenes come from the imagination
of a film buff
totally assuming this passion
has been nurturing his work.
But in the previous examples, cinema remains
a secondary element of the screenplay,
a simple way of emphasizing
the author's personality through films.

English: 
Quentin Tarantino has always claimed
how central cinema was to his movies.
True Romance lovers Clarence and Alabama
meet for the first time in a local cinema.
In Pulp Fiction, Mia Wallace and Vincent Vega
are having a date in a diner
full of Exploitation cinema posters
and Marilyn Monroe or Jane Mansfield
look-alike waitresses.
In "Death Proof", evil Stuntman Mike
uses his custom car
to commit his crimes with complete impunity.
Finally in "Inglourious Basterds"
Shosanna and the basterds
burn a mythical parisian movie theater,
to trap nazis and purge absolute evil from Europe.
These scenes come from the imagination
of a film buff
totally assuming this passion
has been nurturing his work.
But in the previous examples,
cinema remains a secondary element of the screenplay,
a simple way of emphasizing
the author's personality through films.

French: 
Depuis ses débuts, Quentin Tarantino a
régulièrement revendiqué l'importance du cinéma
au sein même de ses œuvres.
Dans True Romance, les amoureux Clarence et Alabama
se rencontrent pour la première
fois dans un cinéma de quartier.
Dans Pulp Fiction, le diner qui sert de rencard
à Mia Wallace et Vincent Vega
regorge de posters
de films d'exploitation
et de serveuses au look de
Marilyn Monroe et Jane Mansfield.
Dans "Boulevard de la mort" le
diabolique cascadeur Stuntman Mike
utilise son véhicule de tournage customisé
pour commettre ses crimes en toute impunité.
Enfin, dans "Inglourious Basterds"
Shosanna et le commando des Bâtards
font brûler une mythique salle de cinéma parisienne
pour piéger les nazis et purger le mal absolu.
Ces passages sortent de l'imagination
d'un cinéphile averti
qui se réclame ouvertement de
sa passion pour nourrir son propre travail.
Mais dans ces exemples,
le cinéma est un élément périphérique au récit,
une simple façon d'appuyer
la personnalité de l'auteur, derrière ses films.

English: 
Quentin Tarantino has always claimed
how central cinema was to his movies.
True Romance lovers Clarence and Alabama
meet for the first time in a local cinema.
In Pulp Fiction, Mia Wallace and Vincent Vega
are having a date in a diner
full of Exploitation cinema posters
and Marilyn Monroe or Jane Mansfield
look-alike waitresses.
In "Death Proof", evil Stuntman Mike
uses his custom car
to commit his crimes with complete impunity.
Finally in "Inglourious Basterds"
Shosanna and the basterds
burn a mythical parisian movie theater,
to trap nazis and purge absolute evil from Europe.
These scenes come from the imagination
of a film buff
totally assuming this passion
has been nurturing his work.
But in the previous examples,
cinema remains a secondary element of the screenplay,
a simple way of emphasizing
the author's personality through films.

English: 
Quentin Tarantino has always claimed
how central cinema was to his movies.
True Romance lovers Clarence and Alabama
meet for the first time in a local cinema.
In Pulp Fiction, Mia Wallace and Vincent Vega
are having a date in a diner
full of Exploitation cinema posters
and Marilyn Monroe or Jane Mansfield
look-alike waitresses.
In "Death Proof", evil Stuntman Mike
uses his custom car
to commit his crimes with complete impunity.
Finally in "Inglourious Basterds"
Shosanna and the basterds
burn a mythical parisian movie theater,
to trap nazis and purge absolute evil from Europe.
These scenes come from the imagination
of a film buff
totally assuming this passion
has been nurturing his work.
But in the previous examples,
cinema remains a secondary element of the screenplay,
a simple way of emphasizing
the author's personality through films.

English: 
Quentin Tarantino has always claimed
how central cinema was to his movies.
True Romance lovers Clarence and Alabama
meet for the first time in a local cinema.
In Pulp Fiction, Mia Wallace and Vincent Vega
are having a date in a diner
full of Exploitation cinema posters
and Marilyn Monroe or Jane Mansfield
look-alike waitresses.
In "Death Proof", evil Stuntman Mike
uses his custom car
to commit his crimes with complete impunity.
Finally in "Inglourious Basterds"
Shosanna and the basterds
burn a mythical parisian movie theater,
to trap nazis and purge absolute evil from Europe.
These scenes come from the imagination
of a film buff
totally assuming this passion
has been nurturing his work.
But in the previous examples,
cinema remains a secondary element of the screenplay,
a simple way of emphasizing
the author's personality through films.

English: 
For his ninth feature film,
Quentin Tarantino goes straight to the point.
As the title says,
"Once upon a time in Hollywood"
is a movie about cinema,
both as a main subject and a backdrop.
The narrative construction
along three specific days of 1969
allows the director to follow
three protagonists in their everyday routine.
First Rick Dalton, a television star
trying a comeback
for lack of a successful transition
to the big screen...
Then Cliff Booth,
his entourage and longtime stand-in...
Finally, rising young actress Sharon Tate
who's definitely gonna be a star.
The first two characters
are purely fictional,
nonetheless inspired by different figures of the times.
The third is an existing starlet
who became a legend in Hollywood
because of her tragic fate.

English: 
For his ninth feature film,
Quentin Tarantino goes straight to the point.
As the title says,
"Once upon a time in Hollywood"
is a movie about cinema,
both as a main subject and a backdrop.
The narrative construction
along three specific days of 1969
allows the director to follow
three protagonists in their everyday routine.
First Rick Dalton, a television star
trying a comeback
for lack of a successful transition
to the big screen...
Then Cliff Booth,
his entourage and longtime stand-in...
Finally, rising young actress Sharon Tate
who's definitely gonna be a star.
The first two characters
are purely fictional,
nonetheless inspired by different figures of the times.
The third is an existing starlet
who became a legend in Hollywood
because of her tragic fate.

English: 
For his ninth feature film,
Quentin Tarantino goes straight to the point.
As the title says,
"Once upon a time in Hollywood"
is a movie about cinema,
both as a main subject and a backdrop.
The narrative construction
along three specific days of 1969
allows the director to follow
three protagonists in their everyday routine.
First Rick Dalton, a television star
trying a comeback
for lack of a successful transition
to the big screen...
Then Cliff Booth,
his entourage and longtime stand-in...
Finally, rising young actress Sharon Tate
who's definitely gonna be a star.
The first two characters
are purely fictional,
nonetheless inspired by different figures of the times.
The third is an existing starlet
who became a legend in Hollywood
because of her tragic fate.

French: 
Pour son neuvième long métrage,
Quentin Tarantino aborde cette fois
le sujet de manière frontale.
Comme son titre l'indique,
"Once upon a time in Hollywood"
est un film sur le cinéma,
puisque c'est à la fois le sujet principal
et la toile de fond.
La construction du récit
sur trois jours spécifique de l'année 1969
permet au réalisateur de suivre
trois personnages principaux dans leur quotidien.
Il y a d'abord Rick Dalton, une
vedette de série télé sur le retour
qui n'a pas encore réussi sa transition
sur grand écran...
Il y a ensuite Cliff Booth,
son éternel acolyte cascadeur qui lui sert d'entourage...
Enfin, Sharon Tate est
une jeune comédienne pleine d'avenir
avec un véritable potentiel de star en devenir.
Les deux premiers protagonistes
sont totalement fictifs,
mais s'inspirent de différentes figures de l'époque.
La troisième est une starlette qui a véritablement existé
et qui est d'ailleurs devenue
une légende hollywoodienne
en raison de son funeste destin.

English: 
For his ninth feature film,
Quentin Tarantino goes straight to the point.
As the title says,
"Once upon a time in Hollywood"
is a movie about cinema,
both as a main subject and a backdrop.
The narrative construction
along three specific days of 1969
allows the director to follow
three protagonists in their everyday routine.
First Rick Dalton, a television star
trying a comeback
for lack of a successful transition
to the big screen...
Then Cliff Booth,
his entourage and longtime stand-in...
Finally, rising young actress Sharon Tate
who's definitely gonna be a star.
The first two characters
are purely fictional,
nonetheless inspired by different figures of the times.
The third is an existing starlet
who became a legend in Hollywood
because of her tragic fate.

English: 
For his ninth feature film,
Quentin Tarantino goes straight to the point.
As the title says,
"Once upon a time in Hollywood"
is a movie about cinema,
both as a main subject and a backdrop.
The narrative construction
along three specific days of 1969
allows the director to follow
three protagonists in their everyday routine.
First Rick Dalton, a television star
trying a comeback
for lack of a successful transition
to the big screen...
Then Cliff Booth,
his entourage and longtime stand-in...
Finally, rising young actress Sharon Tate
who's definitely gonna be a star.
The first two characters
are purely fictional,
nonetheless inspired by different figures of the times.
The third is an existing starlet
who became a legend in Hollywood
because of her tragic fate.

English: 
This said, such background also allows Tarantino
to pepper their different routes
with authentic Hollywood anecdotes
adapted as he pleases.
More than in any other of his films,
the fact that "Once upon a time in Hollywood"
is set in the Mecca of cinema
allows the director to practice one of his favorite sports:
tinkering with fiction and reality.
Tarantino has always enjoyed
confronting his own view on cinema
with the viewer's,
particulary through archetypes.
Wondering what Pulp Fiction's iconic hitmen
do in between two jobs,
he decides to show their everyday life,
talking about the sensual impact
of a foot massage
or how Europeans eat French fries.

English: 
This said, such background also allows Tarantino
to pepper their different routes
with authentic Hollywood anecdotes
adapted as he pleases.
More than in any other of his films,
the fact that "Once upon a time in Hollywood"
is set in the Mecca of cinema
allows the director to practice one of his favorite sports:
tinkering with fiction and reality.
Tarantino has always enjoyed
confronting his own view on cinema
with the viewer's,
particulary through archetypes.
Wondering what Pulp Fiction's iconic hitmen
do in between two jobs,
he decides to show their everyday life,
talking about the sensual impact
of a foot massage
or how Europeans eat French fries.

English: 
This said, such background also allows Tarantino
to pepper their different routes
with authentic Hollywood anecdotes
adapted as he pleases.
More than in any other of his films,
the fact that "Once upon a time in Hollywood"
is set in the Mecca of cinema
allows the director to practice one of his favorite sports:
tinkering with fiction and reality.
Tarantino has always enjoyed
confronting his own view on cinema
with the viewer's,
particulary through archetypes.
Wondering what Pulp Fiction's iconic hitmen
do in between two jobs,
he decides to show their everyday life,
talking about the sensual impact
of a foot massage
or how Europeans eat French fries.

English: 
This said, such background also allows Tarantino
to pepper their different routes
with authentic Hollywood anecdotes
adapted as he pleases.
More than in any other of his films,
the fact that "Once upon a time in Hollywood"
is set in the Mecca of cinema
allows the director to practice one of his favorite sports:
tinkering with fiction and reality.
Tarantino has always enjoyed
confronting his own view on cinema
with the viewer's,
particulary through archetypes.
Wondering what Pulp Fiction's iconic hitmen
do in between two jobs,
he decides to show their everyday life,
talking about the sensual impact
of a foot massage
or how Europeans eat French fries.

French: 
Ceci posé, le cadre permet également
à Quentin Tarantino
de truffer ses différents parcours
de véritables anecdotes hollywoodiennes
qu'il adapte à sa guise.
Plus que sur n'importe quel autre de ses films,
le fait de situer "Once upon a time in Hollywood"
au cœur de la Mecque du cinéma
permet à Quentin Tarantino de
s'adonner à l'un de ses exercices favoris,
à savoir jouer du rapport entre
la réalité et la fiction.
Depuis toujours, le réalisateur s'amuse constamment
à confronter son regard de cinéaste
avec celui du spectateur,
notamment à travers l'emploi
de certains archétypes cinématographiques.
C'est ainsi qu'il se pose la question de ce que les tueurs à gages iconiques de Pulp Fiction
peuvent bien faire entre deux contrats,
décidant de les montrer au quotidien
à digresser sur le portée sensuelle
des massages de pieds
ou la façon de manger des frites en Europe.

English: 
This said, such background also allows Tarantino
to pepper their different routes
with authentic Hollywood anecdotes
adapted as he pleases.
More than in any other of his films,
the fact that "Once upon a time in Hollywood"
is set in the Mecca of cinema
allows the director to practice one of his favorite sports:
tinkering with fiction and reality.
Tarantino has always enjoyed
confronting his own view on cinema
with the viewer's,
particulary through archetypes.
Wondering what Pulp Fiction's iconic hitmen
do in between two jobs,
he decides to show their everyday life,
talking about the sensual impact
of a foot massage
or how Europeans eat French fries.

English: 
This specific approach is the core of this ninth film.
Thanks to a bunch of
anecdotal sequences at first sight,
Tarantino thus interrogates the viewer's relationship
with cinema as a whole.
Let's have a look at the altercation
between Bruce Lee and Cliff Booth.
The scene is supposed to show
Cliff is strong enough
to stand up to one of the best fighters on screen.
Using Bruce Lee's mythical status
to narrative ends,
Tarantino interrogates his legitimacy
without however challenging it.

English: 
This specific approach is the core of this ninth film.
Thanks to a bunch of
anecdotal sequences at first sight,
Tarantino thus interrogates the viewer's relationship
with cinema as a whole.
Let's have a look at the altercation
between Bruce Lee and Cliff Booth.
The scene is supposed to show
Cliff is strong enough
to stand up to one of the best fighters on screen.
Using Bruce Lee's mythical status
to narrative ends,
Tarantino interrogates his legitimacy
without however challenging it.

English: 
This specific approach is the core of this ninth film.
Thanks to a bunch of
anecdotal sequences at first sight,
Tarantino thus interrogates the viewer's relationship
with cinema as a whole.
Let's have a look at the altercation
between Bruce Lee and Cliff Booth.
The scene is supposed to show
Cliff is strong enough
to stand up to one of the best fighters on screen.
Using Bruce Lee's mythical status
to narrative ends,
Tarantino interrogates his legitimacy
without however challenging it.

English: 
This specific approach is the core of this ninth film.
Thanks to a bunch of
anecdotal sequences at first sight,
Tarantino thus interrogates the viewer's relationship
with cinema as a whole.
Let's have a look at the altercation
between Bruce Lee and Cliff Booth.
The scene is supposed to show
Cliff is strong enough
to stand up to one of the best fighters on screen.
Using Bruce Lee's mythical status
to narrative ends,
Tarantino interrogates his legitimacy
without however challenging it.

French: 
Cette approche est au centre de ce neuvième film
et à travers certaines séquences
qui peuvent paraître anecdotiques au premier abord,
Tarantino questionne ainsi le rapport du spectateur
au cinéma dans son ensemble.
Prenons la fameuse altercation
entre Bruce Lee et Cliff Booth par exemple.
Sur le papier, la scène démontre
que Cliff est suffisamment balèze
pour tenir tête à l'un des plus grands combattants
jamais vu sur grand écran.
En prenant ainsi en compte
le statut mythique de Bruce Lee
pour s'en servir à des fins narratives,
Quentin Tarantino questionne sa légitimité
sans forcément la remettre en question pour autant.

English: 
This specific approach is the core of this ninth film.
Thanks to a bunch of
anecdotal sequences at first sight,
Tarantino thus interrogates the viewer's relationship
with cinema as a whole.
Let's have a look at the altercation
between Bruce Lee and Cliff Booth.
The scene is supposed to show
Cliff is strong enough
to stand up to one of the best fighters on screen.
Using Bruce Lee's mythical status
to narrative ends,
Tarantino interrogates his legitimacy
without however challenging it.

English: 
The film-maker has been accused
of depicting Bruce Lee as arrogant,
although it is one of his characteristics on screen,
as you can see in raging sequences of
"The Big Boss" or "Enter the Dragon".
Moreover, Lee's works shall not remain unquestioned,
since most of his movies wouldn't be that memorable
without him acting in.
Reading between the lines, it seems obvious
Tarantino is actually asking
something more relevant:
Would Bruce Lee still be as revered today,
if his premature end didn't
list him among movie icons?
This controversial sequence in the movie
is all the more surprising
since it totally comes
within the scope of the main themes.
Many other seemingly lightweight sequences

English: 
The film-maker has been accused
of depicting Bruce Lee as arrogant,
although it is one of his characteristics on screen,
as you can see in raging sequences of
"The Big Boss" or "Enter the Dragon".
Moreover, Lee's works shall not remain unquestioned,
since most of his movies wouldn't be that memorable
without him acting in.
Reading between the lines, it seems obvious
Tarantino is actually asking
something more relevant:
Would Bruce Lee still be as revered today,
if his premature end didn't
list him among movie icons?
This controversial sequence in the movie
is all the more surprising
since it totally comes
within the scope of the main themes.
Many other seemingly lightweight sequences

French: 
Nombreux sont ceux qui ont reproché au cinéaste
de le dépeindre comme une personne arrogante
alors qu'il s'agit pourtant
d'une de ses caractéristiques à l'écran,
comme le démontrent certains passages rageurs
de "Big Boss" ou "Opération dragon".
De plus, la question de la pérennité
de l'oeuvre de Bruce Lee mérite d'être posée,
étant donné que la plupart de ces
films ne seraient pas si mémorables
sans la présence de Bruce Lee.
En lisant entre les lignes, il semble alors évident
que Tarantino pose en réalité
une question plus pertinente :
Est-ce que Bruce Lee aurait vraiment
obtenu cette aura aujourd'hui,
si sa disparition prématurée ne l'avait pas
inscrit au panthéon des icônes cinématographiques ?
La controverse suscitée par cette séquence du film
est d'autant plus étonnante
qu'elle s'inscrit totalement
dans les thématiques principales du film.
Comme c'est le cas d'ailleurs de
plusieurs autres séquences,

English: 
The film-maker has been accused
of depicting Bruce Lee as arrogant,
although it is one of his characteristics on screen,
as you can see in raging sequences of
"The Big Boss" or "Enter the Dragon".
Moreover, Lee's works shall not remain unquestioned,
since most of his movies wouldn't be that memorable
without him acting in.
Reading between the lines, it seems obvious
Tarantino is actually asking
something more relevant:
Would Bruce Lee still be as revered today,
if his premature end didn't
list him among movie icons?
This controversial sequence in the movie
is all the more surprising
since it totally comes
within the scope of the main themes.
Many other seemingly lightweight sequences

English: 
The film-maker has been accused
of depicting Bruce Lee as arrogant,
although it is one of his characteristics on screen,
as you can see in raging sequences of
"The Big Boss" or "Enter the Dragon".
Moreover, Lee's works shall not remain unquestioned,
since most of his movies wouldn't be that memorable
without him acting in.
Reading between the lines, it seems obvious
Tarantino is actually asking
something more relevant:
Would Bruce Lee still be as revered today,
if his premature end didn't
list him among movie icons?
This controversial sequence in the movie
is all the more surprising
since it totally comes
within the scope of the main themes.
Many other seemingly lightweight sequences

English: 
The filmmaker has been accused
of depicting Bruce Lee as arrogant,
although it is one of his characteristics on screen,
as you can see in raging sequences of
"The Big Boss" or "Enter the Dragon".
Moreover, Lee's works shall not remain unquestioned,
since most of his movies wouldn't be that memorable
without him acting in.
Reading between the lines, it seems obvious
Tarantino is actually asking
something more relevant:
Would Bruce Lee still be as revered today,
if his premature end didn't
list him among movie icons?
This controversial sequence in the movie
is all the more surprising
since it totally comes
within the scope of the main themes.
Many other seemingly lightweight sequences

English: 
are in fact meaningful too.
Tackling "Once upon a time in Hollywood"
as a chronicle
and dealing with the characters daily lives
allows Tarantino to play with Hollywood politics
and create really specific stakes.
Through Rick Dalton's itinerary,
he interrogates career longevity in Hollywood
Is this character a good actor?
Does he deserve a second chance?
Tarantino progressively distills an answer
through stage direction
particularly in the long sequence
showing how Rick behaves on set,
discussing with his different partners.
First playing with a pure actor fantasy,
with a fake flashback
swapping Steve McQueen for Rick Dalton
in a scene of "The Great Escape",
Tarantino even more unsettles the audience
with long western scenes
regularly disrupted by reality.

English: 
are in fact meaningful too.
Tackling "Once upon a time in Hollywood"
as a chronicle
and dealing with the characters daily lives
allows Tarantino to play with Hollywood politics
and create really specific stakes.
Through Rick Dalton's itinerary,
he interrogates career longevity in Hollywood
Is this character a good actor?
Does he deserve a second chance?
Tarantino progressively distills an answer
through stage direction
particularly in the long sequence
showing how Rick behaves on set,
discussing with his different partners.
First playing with a pure actor fantasy,
with a fake flashback
swapping Steve McQueen for Rick Dalton
in a scene of "The Great Escape",
Tarantino even more unsettles the audience
with long western scenes
regularly disrupted by reality.

French: 
en apparence légères et pourtant pleines de sens.
Aborder "Once upon a time in Hollywood"
sous l'angle de la chronique
pour évoquer le quotidien de ces personnages,
permet en effet à Quentin Tarantino
de jouer sur la politique hollywoodienne
et créer des enjeux résolument spécifiques.
À travers le parcours de Rick Dalton,
le cinéaste questionne ainsi la longévité
dans son propre milieu.
Celui ci est-il vraiment bon comédien ?
Mérite-t-il une seconde chance ?
C'est à travers sa mise en scène
qu'il va progressivement
donner la réponse au spectateur,
notamment dans le long passage
qui montre comment Rick évolue
sur un plateau de cinéma
en discutant avec ses divers partenaires de jeu.
Jouant d'abord sur un pur fantasme d'acteur,
à travers un faux flash-back
qui troque Steve McQueen pour Rick Dalton
dans une séquence de "La grande évasion",
Tarantino déstabilise encore plus son audience
à travers des longues scènes de western

English: 
are in fact meaningful too.
Tackling "Once upon a time in Hollywood"
as a chronicle
and dealing with the characters daily lives
allows Tarantino to play with Hollywood politics
and create really specific stakes.
Through Rick Dalton's itinerary,
he interrogates career longevity in Hollywood
Is this character a good actor?
Does he deserve a second chance?
Tarantino progressively distills an answer
through stage direction
particularly in the long sequence
showing how Rick behaves on set,
discussing with his different partners.
First playing with a pure actor fantasy,
with a fake flashback
swapping Steve McQueen for Rick Dalton
in a scene of "The Great Escape",
Tarantino even more unsettles the audience
with long western scenes
regularly disrupted by reality.

English: 
are in fact meaningful too.
Tackling "Once upon a time in Hollywood"
as a chronicle
and dealing with the characters daily lives
allows Tarantino to play with Hollywood politics
and create really specific stakes.
Through Rick Dalton's itinerary,
he interrogates career longevity in Hollywood
Is this character a good actor?
Does he deserve a second chance?
Tarantino progressively distills an answer
through stage direction
particularly in the long sequence
showing how Rick behaves on set,
discussing with his different partners.
First playing with a pure actor fantasy,
with a fake flashback
swapping Steve McQueen for Rick Dalton
in a scene of "The Great Escape",
Tarantino even more unsettles the audience
with long western scenes
regularly disrupted by reality.

English: 
are in fact meaningful too.
Tackling "Once upon a time in Hollywood"
as a chronicle
and dealing with the characters daily lives
allows Tarantino to play with Hollywood politics
and create really specific stakes.
Through Rick Dalton's itinerary,
he interrogates career longevity in Hollywood
Is this character a good actor?
Does he deserve a second chance?
Tarantino progressively distills an answer
through stage direction
particularly in the long sequence
showing how Rick behaves on set,
discussing with his different partners.
First playing with a pure actor fantasy,
with a fake flashback
swapping Steve McQueen for Rick Dalton
in a scene of "The Great Escape",
Tarantino even more unsettles the audience
with long western scenes
regularly disrupted by reality.

English: 
With this metatextual approach
that has become Tarantino's brand,
the director dissects the filmmaking process
to express the torments of an actor
always on the look out for a close-up
that will eventually make him a good actor
in everybody's eyes.
Tarantino uses this constant play of mirrors
on each and every of his main protagonists,
with varying technical processes and stakes.
Cliff Booth is for example said
to have killed his wife
although he has been acquitted.
But the mere information is disturbing for the viewer,
since it somehow besmirches this touching character,
who's at the same time banned from Hollywood.

English: 
With this metatextual approach
that has become Tarantino's brand,
the director dissects the filmmaking process
to express the torments of an actor
always on the look out for a close-up
that will eventually make him a good actor
in everybody's eyes.
Tarantino uses this constant play of mirrors
on each and every of his main protagonists,
with varying technical processes and stakes.
Cliff Booth is for example said
to have killed his wife
although he has been acquitted.
But the mere information is disturbing for the viewer,
since it somehow besmirches this touching character,
who's at the same time banned from Hollywood.

English: 
With this metatextual approach
that has become Tarantino's brand,
the director dissects the filmmaking process
to express the torments of an actor
always on the look out for a close-up
that will eventually make him a good actor
in everybody's eyes.
Tarantino uses this constant play of mirrors
on each and every of his main protagonists,
with varying technical processes and stakes.
Cliff Booth is for example said
to have killed his wife
although he has been acquitted.
But the mere information is disturbing for the viewer,
since it somehow besmirches this touching character,
who's at the same time banned from Hollywood.

French: 
régulièrement perturbées par un élément disruptif.
Fort de cette approche métatextuelle
caractéristiques de son cinéma,
Quentin Tarantino décortique le processus cinématographique
pour exprimer les affres du métier de comédien,
toujours à la recherche de son fameux gros plan,
celui qui va le consacrer
comme un grand acteur aux yeux du public.
Ce jeu de miroirs constant,
Quentin Tarantino l'applique
à chacun de ses protagonistes principaux
même si le procédé et les enjeux
diffèrent à chaque instance.
Cliff Booth par exemple, est au centre
d'une rumeur qui prétend qu'il a tué sa femme,
même s'il a été reconnu innocent.
L'information a ceci de perturbant pour le spectateur,
qu'elle teinte l'aura de ce personnage
relativement affable et attachant,
malgré le fait qu'il soit tricard à Hollywood.

English: 
With this metatextual approach
that has become Tarantino's brand,
the director dissects the filmmaking process
to express the torments of an actor
always on the look out for a close-up
that will eventually make him a good actor
in everybody's eyes.
Tarantino uses this constant play of mirrors
on each and every of his main protagonists,
with varying technical processes and stakes.
Cliff Booth is for example said
to have killed his wife
although he has been acquitted.
But the mere information is disturbing for the viewer,
since it somehow besmirches this touching character,
who's at the same time banned from Hollywood.

English: 
With this metatextual approach
that has become Tarantino's brand,
the director dissects the filmmaking process
to express the torments of an actor
always on the look out for a close-up
that will eventually make him a good actor
in everybody's eyes.
Tarantino uses this constant play of mirrors
on each and every of his main protagonists,
with varying technical processes and stakes.
Cliff Booth is for example said
to have killed his wife
although he has been acquitted.
But the mere information is disturbing for the viewer,
since it somehow besmirches this touching character,
who's at the same time banned from Hollywood.

English: 
But Tarantino consciously refuses
to give a hint on Cliff's potential guiltiness,
letting the viewer be the judge
of the character's actions:
for example how he reacts
to the young hippie flirting with him.
The underlying idea here is not
to drive the viewer to question their own morals,
but rather encourage them to consider 
fiction as an absolute.
Sharon Tate's case is even more obvious
since Tarantino is directly interpellating the viewer,
when confronting Tate to Margot Robbie,
in a splendid movie scene.
At a subconscious level,
the viewer perceives an alternate reality
with two incarnations of Sharon Tate on screen.

English: 
But Tarantino consciously refuses
to give a hint on Cliff's potential guiltiness,
letting the viewer be the judge
of the character's actions:
for example how he reacts
to the young hippie flirting with him.
The underlying idea here is not
to drive the viewer to question their own morals,
but rather encourage them to consider 
fiction as an absolute.
Sharon Tate's case is even more obvious
since Tarantino is directly interpellating the viewer,
when confronting Tate to Margot Robbie,
in a splendid movie scene.
At a subconscious level,
the viewer perceives an alternate reality
with two incarnations of Sharon Tate on screen.

English: 
But Tarantino consciously refuses
to give a hint on Cliff's potential guiltiness,
letting the viewer be the judge
of the character's actions:
for example how he reacts
to the young hippie flirting with him.
The underlying idea here is not
to drive the viewer to question their own morals,
but rather encourage them to consider 
fiction as an absolute.
Sharon Tate's case is even more obvious
since Tarantino is directly interpellating the viewer,
when confronting Tate to Margot Robbie,
in a splendid movie scene.
At a subconscious level,
the viewer perceives an alternate reality
with two incarnations of Sharon Tate on screen.

French: 
Pourtant, et de manière consciente,
Quentin Tarantino refuse
de donner la réponse sur la culpabilité de Cliff
laissant au contraire le spectateur juger ou pas
le personnage selon ses actions dans le film
et notamment sur sa manière de réagir aux avances
de la jeune hippie qu'il prend en stop.
Cette approche ne consiste pas seulement dans l'idée
de renvoyer le public a son propre jugement moral,
mais de l'inviter à accepter le cadre de la
fiction comme une forme d'absolu.
Le cas de Sharon Tate est encore plus flagrant,
car Tarantino interpelle directement
le point de vue du spectateur,
en confrontant la véritable vedette
à son interprète Margot Robbie
dans une très belle scène de cinéma,
au sens littéral
comme au sens cinématographique du terme
À un niveau inconscient, c'est une réalité alternative
qui se dessine pour le spectateur,
qui perçoit deux incarnations différentes
de Sharon Tate sur grand écran.

English: 
But Tarantino consciously refuses
to give a hint on Cliff's potential guiltiness,
letting the viewer be the judge
of the character's actions:
for example how he reacts
to the young hippie flirting with him.
The underlying idea here is not
to drive the viewer to question their own morals,
but rather encourage them to consider 
fiction as an absolute.
Sharon Tate's case is even more obvious
since Tarantino is directly interpellating the viewer,
when confronting Tate to Margot Robbie,
in a splendid movie scene.
At a subconscious level,
the viewer perceives an alternate reality
with two incarnations of Sharon Tate on screen.

English: 
But Tarantino consciously refuses
to give a hint on Cliff's potential guiltiness,
letting the viewer be the judge
of the character's actions:
for example how he reacts
to the young hippie flirting with him.
The underlying idea here is not
to drive the viewer to question their own morals,
but rather encourage them to consider 
fiction as an absolute.
Sharon Tate's case is even more obvious
since Tarantino is directly interpellating the viewer,
when confronting Tate to Margot Robbie,
in a splendid movie scene.
At a subconscious level,
the viewer perceives an alternate reality
with two incarnations of Sharon Tate on screen.

English: 
Playing with this duality
the director is already
preparing the audience
for the disconcerting
and controversial climax.
Quentin Tarantino has made himself clear about it:
"Once upon a time in Hollywood" doesn't deal with
Sharon Tate's assassination
or the Manson's murders.
The proof is he's once again distorting history
and changing it into another controversial uchronia.
Here, members of the Manson Family
do not knock at Sharon Tate's door
but at Rick Dalton's, their childhood cowboy
they hold liable for their lust for violence.
The final uninhibited massacre scene
demonstrates that fiction overrides reality,
and with Tarantino, fiction is always the winner.

English: 
Playing with this duality
the director is already
preparing the audience
for the disconcerting and controversial climax.
Quentin Tarantino has made himself clear about it:
"Once upon a time in Hollywood" doesn't deal with
Sharon Tate's assassination
or the Manson's murders.
The proof is he's once again distorting history
and changing it into another controversial uchronia.
Here, members of the Manson Family
do not knock at Sharon Tate's door
but at Rick Dalton's, their childhood cowboy
they hold liable for their lust for violence.
The final uninhibited massacre scene
demonstrates that fiction overrides reality,
and with Tarantino, fiction is always the winner.

English: 
Playing with this duality
the director is already
preparing the audience
for the disconcerting and controversial climax.
Quentin Tarantino has made himself clear about it:
"Once upon a time in Hollywood" doesn't deal with
Sharon Tate's assassination
or the Manson's murders.
The proof is he's once again distorting history
and changing it into another controversial uchronia.
Here, members of the Manson Family
do not knock at Sharon Tate's door
but at Rick Dalton's, their childhood cowboy
they hold liable for their lust for violence.
The final uninhibited massacre scene
demonstrates that fiction overrides reality,
and with Tarantino, fiction is always the winner.

English: 
Playing with this duality
the director is already
preparing the audience
for the disconcerting and controversial climax.
Quentin Tarantino has made himself clear about it:
"Once upon a time in Hollywood" doesn't deal with
Sharon Tate's assassination
or the Manson's murders.
The proof is he's once again distorting history
and changing it into another controversial uchronia.
Here, members of the Manson Family
do not knock at Sharon Tate's door
but at Rick Dalton's, their childhood cowboy
they hold liable for their lust for violence.
The final uninhibited massacre scene
demonstrates that fiction overrides reality,
and with Tarantino, fiction is always the winner.

English: 
Playing with this duality
the director is already
preparing the audience
for the disconcerting and controversial climax.
Quentin Tarantino has made himself clear about it:
"Once upon a time in Hollywood" doesn't deal with
Sharon Tate's assassination
or the Manson's murders.
The proof is he's once again distorting history
and changing it into another controversial uchronia.
Here, members of the Manson Family
do not knock at Sharon Tate's door
but at Rick Dalton's, their childhood cowboy
they hold liable for their lust for violence.
The final uninhibited massacre scene
demonstrates that fiction overrides reality,
and with Tarantino, fiction is always the winner.

French: 
En jouant de cette dualité spécifiquement
cinématographique,
le réalisateur est déjà en train de
préparer son audience au climax,
aussi déroutant que controversé, du film.
Quentin Tarantino a été assez clair sur le sujet :
"Once upon a time in Hollywood" n'est pas un film
sur le meurtre de Sharon Tate
et l'affaire Charles Manson.
Preuve en est qu'il détourne
une fois de plus la réalité historique
pour proposer une autre uchronie sujette à controverse.
Ici, les membres de la famille Manson
ne frappent pas à la porte de Sharon Tate,
mais à celle de Rick Dalton, le cow-boy de leur enfance
qu'ils tiennent pour responsable
dans leur désir de violence.
La scène de massacre final a ceci de décomplexé
qu'elle démontre alors que la fiction
reprend ses droits sur la réalité,
mais chez Quentin Tarantino,
c'est surtout elle qui gagne.

English: 
Using their right of self-defense,
Booth and Dalton violently get rid of their attackers.
They even finish off the work
with an authentic movie prop
namely the flamethrower
Rick got from a shooting.
Often accused of making violence appealing
so as to encourage the audience to act,
Quentin Tarantino retorts
with "Once upon a time in Hollywood"
that his own movies
smash the face of true criminals.
Each of Tarantino's film is a manifesto,
a declaration of love
to the cinema genres he is truly fond of.

English: 
Using their right of self-defense,
Booth and Dalton violently get rid of their attackers.
They even finish off the work
with an authentic movie prop
namely the flamethrower Rick got from a shooting.
Often accused of making violence appealing
so as to encourage the audience to act,
Quentin Tarantino retorts
with "Once upon a time in Hollywood"
that his own movies
smash the face of true criminals.
Each of Tarantino's film is a manifesto,
a declaration of love
to the cinema genres he is truly fond of.

English: 
Using their right of self-defense,
Booth and Dalton violently get rid of their attackers.
They even finish off the work
with an authentic movie prop
namely the flamethrower Rick got from a shooting.
Often accused of making violence appealing
so as to encourage the audience to act,
Quentin Tarantino retorts
with "Once upon a time in Hollywood"
that his own movies
smash the face of true criminals.
Each of Tarantino's film is a manifesto,
a declaration of love
to the cinema genres he is truly fond of.

English: 
Using their right of self-defense,
Booth and Dalton violently get rid of their attackers.
They even finish off the work
with an authentic movie prop
namely the flamethrower Rick got from a shooting.
Often accused of making violence appealing
so as to encourage the audience to act,
Quentin Tarantino retorts
with "Once upon a time in Hollywood"
that his own movies
smash the face of true criminals.
Each of Tarantino's film is a manifesto,
a declaration of love
to the cinema genres he is truly fond of.

English: 
Using their right of self-defense,
Booth and Dalton violently get rid of their attackers.
They even finish off the work
with an authentic movie prop
namely the flamethrower Rick got from a shooting.
Often accused of making violence appealing
so as to encourage the audience to act,
Quentin Tarantino retorts
with "Once upon a time in Hollywood"
that his own movies
smash the face of true criminals.
Each of Tarantino's film is a manifesto,
a declaration of love
to the cinema genres he is truly fond of.

French: 
En usant de leur droit à la légitime défense,
Cliff Booth et Rick Dalton se débarrassent
violemment de leurs assaillants
allant même jusqu'à utiliser un
véritable accessoire de cinéma
pour finir le travail,
à savoir un lance-flammes
récupéré sur le tournage d'un film.
Souvent accusé de rendre la violence
suffisamment séduisante
pour inciter les spectateurs à passer à l'acte,
Quentin Tarantino rétorque
avec "Once upon a time in Hollywood"
que c'est bel et bien son cinéma
qui pète la gueule aux véritables criminels.
On l'a dit, Quentin Tarantino pense chacun
de ses films comme des manifestes cinéphiliques
qui sonnent comme autant de déclarations d'amour
au cinéma qu'il affectionne par-dessus tout.

French: 
Mais cette fois, "Once upon a time in Hollywood"
se présente avant tout
comme un manifeste de son propre cinéma.
Tout y est :
l'emploi de la radio
comme élément narratif intra diégétique
à la manière de "Reservoir dogs"
l'uchronie controversée
à la façon du climax enragé de "Inglorious Basterds",
ou encore la réhabilitation
des comédiens considérés comme has been
à la façon de John Travolta,
du regretté Robert Forster
ou encore de Pam Grear.
En surface, cette lettre d'amour à LA
résonne en effet comme un chant du cygne.
Mais une chose est certaine,
derrière le vernis de la nostalgie
d'une époque et d'un lieu
que la plupart des spectateurs n'ont pas connus,
ce neuvième film fait écho à l'impasse artistique
que traverse actuellement Hollywood.
Quentin Tarantino songe-t-il à
l'hégémonie actuelle d'un grand studio hollywoodien

English: 
But "Once upon a time in Hollywood"
seems above all
to be a manifesto of his own cinema.
All the ingredients are here:
the radio as an intradiegetic narrative element
already seen in "Reservoir dogs",
a controversial uchronia
seen in the climax of "Inglorious Basterds",
or even hiring actors considered as has been
like John Travolta,
the late Robert Forster
or even Pam Grear.
On the surface, this love letter to L.A.
may sound like a swan song.
But one thing is for sure,
behind an apparent nostalgia
for a period and a place
most viewers haven't experienced,
this ninth feature echoes the artistic dead end
Hollywood is currently in.
Is Tarantino thinking about
the current hegemony of a major film studio

English: 
But "Once upon a time in Hollywood"
seems above all
to be a manifesto of his own cinema.
All the ingredients are here:
the radio as an intradiegetic narrative element
already seen in "Reservoir dogs",
a controversial uchronia
seen in the climax of "Inglorious Basterds",
or even hiring actors considered as has been
like John Travolta,
the late Robert Forster
or even Pam Grear.
On the surface, this love letter to L.A.
may sound like a swan song.
But one thing is for sure,
behind an apparent nostalgia
for a period and a place
most viewers haven't experienced,
this ninth feature echoes the artistic dead end
Hollywood is currently in.
Is Tarantino thinking about
the current hegemony of a major film studio

English: 
But "Once upon a time in...
Hollywood" seems above all
to be a manifesto of his own cinema.
All the ingredients are here:
the radio as an intradiegetic narrative element
already seen in "Reservoir dogs",
a controversial uchronia
seen in the climax of "Inglorious Basterds",
or even hiring actors considered as has been
like John Travolta,
the late Robert Forster
or even Pam Grear.
On the surface, this love letter to L.A.
may sound like a swan song.
But one thing is for sure,
behind an apparent nostalgia
for a period and a place
most viewers haven't experienced,
this ninth feature echoes the artistic dead end
Hollywood is currently in.
Is Tarantino thinking about
the current hegemony of a major film studio

English: 
But "Once upon a time in Hollywood"
seems above all
to be a manifesto of his own cinema.
All the ingredients are here:
the radio as an intradiegetic narrative element
already seen in "Reservoir dogs",
a controversial uchronia
seen in the climax of "Inglorious Basterds",
or even hiring actors considered as has been
like John Travolta,
the late Robert Forster
or even Pam Grear.
On the surface, this love letter to L.A.
may sound like a swan song.
But one thing is for sure,
behind an apparent nostalgia
for a period and a place
most viewers haven't experienced,
this ninth feature echoes the artistic dead end
Hollywood is currently in.
Is Tarantino thinking about
the current hegemony of a major film studio

English: 
But "Once upon a time in Hollywood"
seems above all
to be a manifesto of his own cinema.
All the ingredients are here:
the radio as an intradiegetic narrative element
already seen in "Reservoir dogs",
a controversial uchronia
seen in the climax of "Inglorious Basterds",
or even hiring actors considered as has been
like John Travolta,
the late Robert Forster
or even Pam Grear.
On the surface, this love letter to L.A.
may sound like a swan song.
But one thing is for sure,
behind an apparent nostalgia
for a period and a place
most viewers haven't experienced,
this ninth feature echoes the artistic dead end
Hollywood is currently in.
Is Tarantino thinking about
the current hegemony of a major film studio

English: 
when evoking Walt Disney's absolute genius
in a memorable scene?
Does he imply #Metoo
with the rumor around Brad Pitt's character?
Would he be suggesting the ideal
of an alternate Hollywood
in the harrowing final
when Rick Dalton enters Sharon Tate's property
to pay her a friendly visit?
Does he simply suggest the possibility
of a new era of innocence
after the current transition period?
Quite obviously,
"Once upon a time in Hollywood"
is asking all these questions to nowadays film buffs.
And the answers are simply between the lines,
for those who know how to decode film language
that very one language Hollywood has stopped using,

English: 
when evoking Walt Disney's absolute genius
in a memorable scene?
Does he imply #Metoo
with the rumor around Brad Pitt's character?
Would he be suggesting the ideal
of an alternate Hollywood
in the harrowing final
when Rick Dalton enters Sharon Tate's property
to pay her a friendly visit?
Does he simply suggest the possibility
of a new era of innocence
after the current transition period?
Quite obviously,
"Once upon a time in Hollywood"
is asking all these questions to nowadays film buffs.
And the answers are simply between the lines,
for those who know how to decode film language
that very one language Hollywood has stopped using,

English: 
when evoking Walt Disney's absolute genius
in a memorable scene?
Does he imply #Metoo
with the rumor around Brad Pitt's character?
Would he be suggesting the ideal
of an alternate Hollywood
in the harrowing final
when Rick Dalton enters Sharon Tate's property
to pay her a friendly visit?
Does he simply suggest the possibility
of a new era of innocence
after the current transition period?
Quite obviously,
"Once upon a time in Hollywood"
is asking all these questions to nowadays film buffs.
And the answers are simply between the lines,
for those who know how to decode film language
that very one language Hollywood has stopped using,

French: 
lorsqu'il évoque le génie absolu de Walt Disney
au détour d'une scène marquante.
Pense-t-il au #Metoo
en évoquant la rumeur
qui concerne le personnage de Brad Pitt ?
Est-il en train de suggérer l'idéal
d'un Hollywood alternatif
dans sa poignante conclusion
quand Rick Dalton traverse le portail de Sharon Tate
pour lui rendre une visite de courtoisie ?
Suggère-t-il tout simplement la possibilité
d'une nouvelle ère d'innocence cinématographique
après la période de transition actuelle ?
De toute évidence,
"Once upon a time in Hollywood"
pose toutes ces questions aux cinéphiles
d'aujourd'hui, et bien d'autres encore.
Et les réponses sont là, entre les lignes,
pour quiconque s'amuse à décoder
le langage propre au cinéma
celui qui fait désormais tant défaut à Hollywood,

English: 
when evoking Walt Disney's absolute genius
in a memorable scene?
Does he imply #Metoo
with the rumor around Brad Pitt's character?
Would he be suggesting the ideal
of an alternate Hollywood
in the harrowing final
when Rick Dalton enters Sharon Tate's property
to pay her a friendly visit?
Does he simply suggest the possibility
of a new era of innocence
after the current transition period?
Quite obviously,
"Once upon a time in Hollywood"
is asking all these questions to nowadays film buffs.
And the answers are simply between the lines,
for those who know how to decode film language
that very one language Hollywood has stopped using,

English: 
when evoking Walt Disney's absolute genius
in a memorable scene?
Does he imply #Metoo
with the rumor around Brad Pitt's character?
Would he be suggesting the ideal
of an alternate Hollywood
in the harrowing final
when Rick Dalton enters Sharon Tate's property
to pay her a friendly visit?
Does he simply suggest the possibility
of a new era of innocence
after the current transition period?
Quite obviously,
"Once upon a time in Hollywood"
is asking all these questions to nowadays film buffs.
And the answers are simply between the lines,
for those who know how to decode film language
that very one language Hollywood has stopped using,

English: 
but which Tarantino has always mastered
to establish it.
Subscribe!
And don't cry in front of Mexicans.

French: 
mais que le cinéaste
est toujours parvenu à s'approprier
pour mieux le consacrer.
Abonnez-vous !
Et puis, évitez de pleurer devant les Mexicains.

English: 
but which Tarantino has always mastered
to establish it.
Subscribe!
And don't cry in front of Mexicans.

English: 
but which Tarantino has always mastered
to establish it.
Subscribe!
And don't cry in front of Mexicans.

English: 
but which Tarantino has always mastered
to establish it.
Subscribe!
And don't cry in front of Mexicans.

English: 
but which Tarantino has always mastered
to establish it.
Subscribe!
And don't cry in front of Mexicans.
