I like to research how some creative guys work.

No, come on, not ad guys. I mean painters, comedians, musicians, artists. And most of the time, cinema directors.

I like to study their processes, their challenges, what they had to cut or leave behind, what they had to improvise.

I like to know how Coppola organizes his material, how Woody Allen crafts his characters, simple shots and sharp dialogues, what kind of problems that Scorcese has or what happens inside Pixar.

It’s just a hobby, nothing serious or nerdy: I buy some books, watch some documentaries, sometimes I enter in a seminar and that’s it.

Ok, maybe it is a bit nerdy.

Most recently, I am devouring anything about Inglorious Bastards from Tarantino.

Once again, it is a Tarantino movie full of references. Entire scenes made from other old movies (many of them, with the reference written in the script), charachters carefully built and full of personality. And another Tarantino story about vengeance.

But this time, there is an interesting layer behind, a sub-text about devil’s preferred sins: vanity.

If you saw the movie, it is easy to remember how Zoller, Goebbels and Hitler were vain.

But nothing represents vanity better than this fantastic villain, maybe one of the best of this decade: Colonel Hans Landa, the gentle, polite, genius and charismatic nazi, instead of the Hollywoodish cliché of the bad, cruel, demented evil nazi-genius. From his first appearance to his surpring ending, Landa is a vain brain.

And reading the script, I found out that Tarantino’s first intention was to explore more from other characters like Shoshana and the Bear Jew – who had a new ending in the story, but also had his origin deleted in the movie, but only Landa’s story was left intact. Obviously because of the excelent interpretation of Cristoph Waltz. Excellent choice.

But there is one question left with this non-historical movie from Tarantino: was the “Tarantino’s Code” left behind with the Bastards?

I don’t know if you are familiar with the Tarantino’s Code, a theory developed by two great Brazilian directors, the 300ml, a duo famous by their carreer in advertising.

Did you ever notice that every Tarantino film has something to do with the other?

If you don’t, please take 15 minutes of your time to have fun with this short film that they did last year.

Enjoy:

- Fabio Seidl