Tarantino's the best. He's got the touch beyond talent and flare that makes 'right' look as though pale copy for hacks like Spielberg. I dig the way he's very deliberatively craftsmanlike about taking on no more than he can accomplish without sacrificing one ounce of creative quality. The actual way he structures his plots is like condensing Faulkner into two and a half hours of the most brilliant and acerbic dialogue ever. People criticize the actual violent content of his films because they're idiots. If you look at what goes on in a QT movie in the abstract there is actually a lot less violence there, in terms of body count, gun shots, explosions, etc. than you can see in even one of Our Governor's milder films; what people object to is the objective treatment of graphic violence on film, which the fucking genius makes his trademark—not because he's a twisted fuck with a passion for making people twinge over gore (though I doubt not at all this as the case)—but in order to make the viewer fully aware of the full impact of what violent acts comprise and cause. His treatment of subconscious psychological states is unrivalled in probably almost all of our contemporary authors. Furthermore, the man is intimately acquainted with the entire history of film. I myself personally can not be said to even occupy an awareness in relation to how much just one of his disinterested groupies must know about flicks; all I know is every time I watch a movie made before 1980, I see some shot, angle, scenario—depicted—which looks like everything from some, one of his shows. He makes real movies about things which did not, but could possibly, occur and—according to the Aristotelian definition of what makes a good-ass representation screened on stage—I read that shit in Greek, that makes him badass. Plus he's free from Hollywood, float-heady pretensions about the cultural value's impact of what he's doing: Just does what he feels best from experience and lets the squares and fags (like Pat O'Brien) determine what his work will be called—with what I assume is my own feelings of total irrelevance towards what people call him, self. On the highly unlikely off-chance someone who shovels the foul-mouthed parakeet poop I assume he must pay someone to might see this, I also must neglect to mention the obvious creative and deeply intimate personal affiliation with The Chick Who Played The Bride (a term I employ solely knowing she will/not see this, for she might murder me on the spot and I die happy knowing in truth some abstraction of the American equivalency for the ol' sex-as-death unification) because her role at the end of that film made me want to wound myself and bleed of tears.

So in response to the question if I think Quentin Tarantino's really some kind of special BLANK or just kissing ass for a not-quite movie star per se (for we all know having seen his cameos), I guess I'll just leave at: T-here.