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I guess you missed Il Boss, La Mala ordina and Milano Calibro 9. Dialogue was original, I agree, but definately not structure.
If you know Jean-Pierre Melville and are well familar with Di Leo you will see where this type of structure originates from.



I have not seen the three films you mentioned above but you have definitely gotten my attention now. I know that QT is a huge fan of Di Leo, often showcasing his films at various sit-ins and stuff, but I'd never heard that he borrowed his film structure from him. QT often attributes that to the books he's read. Interesting.

Melville, and especially his film Le Samourai, were a big influence on Quentin, right down to his copying of the three-way stand-off in Reservoir Dogs. In fact much of the French new wave had an influence on Quentin -- as did Hong Kong cinema.

Funny, films from Di Leo and Melville are a little hard to come by where I live, so any opportunity I get to see anything from them is a real treat. I definitely have to seek these out though.


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I wonder why they didn't mention Robert Rodriguez in that article though. He doesn't make the best movies in the world, but I definately respect him more for quiting the DGA so he could direct Sin City. If there is one thing I cannot stand, its a bloody union (especially if you are a filmmaker). And if there is anything worth fighting for, its final cut.




Robert's decision to resign from the DGA so he could bring Frank Miller in as co-director was admirable, but some of his other scraps with the union weren't, in my opinion.

Back in 95, Robert didn't want to relinquish control of any of the six job titles he was working under, much to the dismay of the union. I think that had a lot do with his over-sized ego. Clearly somebody should have told Robert that he wasn't shooting a 7000 dollar movie anymore.

As for him as a filmmaker, I used to think Robert was fantastic. El Mariachi was a great film, however, as the years pass, I think he's becoming a hack of epic porportions.

Once Upon A Time In Mexico ranks only behind Romeo And Juliet as the worst film I've ever seen. This Spy Kids junk is beneath him, and I have no desire whatsoever to see Sin City. When did blue screens become cool? Give me a fucking real background to a digital backlot anyday.