the-absolute-funniest-posts: This scene in Inglourious Bastards, this particular part, was so brilliantly written. The characters are playing a game where you sit in a circle and write a famous person’s name on a card, flip it over, pass the card to the person next to you and stick it to your head without looking. Then you ask everyone questions to figure out who it is. This man- a Nazi commander- asked “Am I American?” (no but..) “Have I visited America?” (yes) “Was my visit fruitious?” (no) “Did I go against my will?” (yes) “Am I from a place you’d call exotic?” (yes) “Am I from the jungle?” (yes) “Did I go by boat?” (yes) “And when I got there was I bound with chains and presented in front of a crowd?” (yes!) “Well then. I know who I am. An African slave. No? Oh then I’m King Kong.” — and in one instance the viewer realizes the metaphor which King Kong was to the African slave trade (a truly Tarantino way of inserting social awareness through dialogue spoken by social oppressors) as well as takes a moment of almost comic relief to a very strange middle ground since we see just how intelligent and foolproof this man is. This is good filmmaking.
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The World’s End isn’t a send-up in any way, in fact, we’ve gone out of our way not to populate the film with references to other movies, in order to avoid that [parody] label.
The theme that will bind the three films together is not parody or even ice cream, it’s a preoccupation with the struggle of the individual against the collective. Shaun vs zombies, Angel vs the NWA, Gary King vs (???).
Thematically, it will all make sense when the three films can be viewed consecutively. This sounds lofty but they form a dialectic sequence, which I hope film students will write essays about.
Shaun of the Dead = evolution; Hot Fuzz = devolution; World’s End = revolution;
Simon Pegg
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fuckyeahdirectors: Jack Lemmon and Billy Wilder on the set of The Apartment (1960)
