As I mentioned in the original review of the UK version, I frankly didn't notice the (relatively slight) difference in aspect ratio between the old Warner I was impressed with the older supplements when they originally appeared on Warner’s two-disc special edition and I’m still pleased with them here. Arrow then adds some excellent new material (the Pinchot audio interview being the stand-out) that rounds out what is the best collection of material yet for the film. Closing Biskind, Peter (March 31, 2007). "An American Family". Vanity Fair. Archived from the original on January 15, 2016 . Retrieved August 19, 2012. While Quentin Tarantino gets a lot of due credit for his writing of True Romance, Tony Scott deserves a lot of the credit for his time in the director’s chair. This is one of those films where I feel Tarantino was the better writer than he would have been a director. Scott had a style and flair with his movies that allowed for some impressive visuals but kept a close intimacy with the characters. Take the interrogation scene between Dennis Hopper and Christopher Walken. Scott works from a wide shot gradually cutting closer and closer into a closeup adding tension to each dialog exchange, but it also gives the actors room to work the scene. Walken gradually gets funnier while Hopper becomes more solemn. It's this unique energy Scott brings to the script that I don’t think Tarantino would have been able to pull off at that time in his career. Amid the Chaos of the Day (HD; 11:59) is an interview with composers Mark Mancina and John Van Tongeren.

Both the Theatrical Edition and Director’s Cut arrive on the same disc via seamless branching with a 2.39:1 aspect ratio in 2160p with Dolby Vision HDR (HDR10 is of course included). With any Tony Scott movie you have to take the man’s kinetic gritty filmmaking style with the substance. The man loved his film grain and he loved his smokey interiors resulting in a movie that’s probably best described as “beautifully ugly” but true to the film. Over the years I’ve gotten to see film prints screened several times and this is the best I’ve seen this film look. Maslin, Janet (September 10, 1993). "True Romance: Desperadoes, Young at Heart With Gun in Hand". The New York Times. Archived from the original on April 16, 2012 . Retrieved January 17, 2011. Four feature audio commentaries: Tony Scott, Quentin Tarantino, Christian Slater & Patricia Arquette, Tim Lucas

True Romance 4K Audio

Viewing True Romance is like watching the contents of screenwriter Quentin Tarantino’s pop culture-rich cauldron being poured into the mold of director Tony Scott’s ultra-stylish sensibility. There’s a complex synergy at work between the two auteurs. Among the changes that Scott imposed on the material were unkinking the nonlinear storyline, imbuing the proceedings with an almost whimsical fairy-tale vibe, and giving the film a far more upbeat ending. with a lgut of other interesting information and data is included, as is a double sided poster featuring original and newly commissioned artowrk by The new recordings featuring Rubinek and Pinchot end up being the best ones even though they’re more standard phone interviewsthan “commentaries”; the two areclearly not watching the film. Rubinek’s ends up being funny because it sounds as though he got the role because Scott thought he was doing a spot-on impersonation of producer Joel Silver, whom Rubinek was not at all familiar with. Pinchot’s piece ends up being the most endearing one, the actor excitedly talking about what he was able to contribute to the film, like the vomit (which is also shown in one of the production featurettes elsewhere). Pinchot also talks about the casting process where he suspects Scott was maybe a little annoyed with him since Pinchot had refused to return for Beverly Hills Cop II, which Scott had directed. Despite that he found the experience working with him rewarding and he mentions how devastated he was when he learned of Scott’s death. This ends up being the best new contribution and based on the original listing of supplements (for the 2021 UK edition) it looks like it was added last minute. It was well worth it. A concise example of QT-style dialogue — Scott Frank out of Elmore Leonard — occurs in Get Shorty, when some thugs in a barbershop pause to debate the proper usage of “i.e.” and “e.g.” In that instance the chat is obviously cute filler — killers discussing grammar ha ha. When Quentin Tarantino uses this kind of patter it’s always vital to the show at that particular moment — even if the speakers are debating something completely, hilariously obscene. For all of the idiosyncratic dialogue, quirky characters, and over-the-top violence, True Romance is indeed just that: a romance. The relationship between Clarence and Alabama is the engine that holds everything else together, and the chemistry between Slater and Arquette provides the fuel. Clarence is clearly a stand-in for Tarantino in terms of autobiographical details, but also as a form of wish fulfillment. He’s a pop culture nerd like Tarantino, but he’s better looking, tougher, and a far cooler customer. Alabama is wish fulfillment as well; she’s a male fantasy made flesh, conveniently dropped into the lap of Tarantino’s doppelganger. The two characters don’t feel authentic, yet fifteen minutes after their awkward meet-cute and the revelations that follow, their implausible relationship seems utterly believable. True Romance may be a fairy tale, but the love at its core feels real. Had Tarantino personally directed the film, it may not have worked as well as it does, and it certainly would have ended differently. Thankfully, Scott embraced the fantasy and fell in love with the characters, enough so that he changed Tarantino’s ending. He made the right call, and it’s one reason why the film endures.

UHD Blu-ray presentation in Dolby Vision (HDR10 compatible) and High Definition (1080p) Blu-ray presentation of both cuts As a Tony Scott film through and through - at least visually - True Romance must have been one hell of a challenge to render in a way that is at once faithful to the original perceived intentions of the director and the look he gave it, replete with smoky, shadow-strewn rooms and blue light, but Arrow have done a stand-up job. Coming to the film for the very first time and some viewers may not get what the fuss is about at all, enjoying a few undeniably stylish moments for sure, but also wondering why some of it is a little more raw and gritty, and why there's so much damn smoke everywhere. But those familiar with True Romance will love this presentation, lapping up the fine texture, the skin details and the fabulous colour tones, as well as the fact that, hell, it'll make you feel like you're watching it projected in the cinema, with gorgeously restored, cleaned-up image but one that's also utterly, utterly filmic.

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The film was a breakthrough for Tarantino. Released after Reservoir Dogs, it was his first screenplay for a major motion picture, and Tarantino contends that it is his most autobiographical film to date. He had hoped to direct the film, but lost interest in directing and sold the script. According to Tarantino's audio commentary on the DVD release, he was happy with the way it turned out. Apart from changing the nonlinear narrative he wrote to a more conventional linear structure, it was largely faithful to his original screenplay. He initially opposed director Tony Scott's decision to change the ending (which Scott maintained was of his own volition, not the studio's, saying "I just fell in love with these two characters and didn't want to see them die"). When seeing the completed film, he realized Scott's happy ending was more appropriate to the film as Scott directed it. [13] The film's first act, as well as some fragments of dialogue, were repurposed from Tarantino's 1987 amateur film My Best Friend's Birthday. [14] probably be downright easy to find two people who disagree more virulently than Ken and Lucas do, Ken confesses who started a whole festival celebrating the film which has attracted participants from all around the globe. version, notably (again) in some of the darker moments, which tend to highlight blues and greens a bit more prominently to my eyes than in the