Page 37 - The Hollywood Reporter (January 2020)

perfect light and goal for Rick and
so many methods for content,
and so many of us still really
love the cinematic experience of
going to the theater and seeing
the movie with a collective group.
We’re lucky that filmmakers like
Quentin can still do that. So it
is a changing time. And then
obviously the world … it does feel
appropriate for the time now, how
we all look at what’s happening
with our lives and take stock of
what’s important.
The film incorporates many archival
elements to re-create the world
of 1969 Los Angeles. How did you
assemble all of those elements for
the film?
When we were location scouting
around Los Angeles, we would
play the air checks [recordings of
radio programming] that we had
gotten from [Los Angeles sta-
tion] KHJ. It has such a presence
and is a character within the
movie. Quentin remembered the
different commercials and the
songs that were playing as he was
[riding around L.A. and] looking
around at all the buildings and
marquees. KHJ adds to the tap-
estry of what’s really special to
Quentin about his childhood, and
that makes it so personal.
There was a treasure chest
of [film, TV and radio clips] we
thought could never be found. We
transferred so many film formats
for this movie, from 8mm to
¾-inch, to different sound for-
mats. We were constantly calling
people [and asking], “Do you have
these machines? Can you actu-
ally help us transfer this?” All of
these different clips created the
tapestry of the movie, and people
for what he wanted. She lights up
the screen in whatever she does —
and I think she lights up the screen
[in this film] in a way that we
haven’t seen before. Many people
have tried to do a Sharon Tate
movie, and some have [succeeded].
What was really special about
this is that [Sharon’s sister] Debra
Tate became our partner. When
she first heard about it, she wasn’t
too happy. We reached out and
embraced her — we wanted her to
know that [the film’s goal was to
portray] her life, not her gruesome
death. Margot’s performance, her
lightness and sweetness, is exactly
how we want to remember Sharon
Tate. And Debra could not be more
thankful for how we can now think
of Sharon. It’s easy to be a hater, to
say she should have had more dia-
logue, but that wasn’t really what
the movie was supposed to be.
Is there anything new you learned
about Quentin Tarantino while mak-
ing this film?
“Quentin is like a little kid on Christmas
every single day on set, so he matches
your enthusiasm.” MARGARET QUALLEY
moved heaven and earth so we It’s been wonderful watch-
could get these things into it. ing Quentin on this journey,
because [while in production]
There was some controversy about he got married, he’s now expect-
the limited dialogue Margot Robbie ing a child, he’s going through
had to work with to play Sharon these next steps in life. He’s
Tate. What about her performance always been a loving person, but
do you think transcended the num- now that he’s entering father-
ber of lines she got to say? hood, I think it’s all hitting
Thank goodness we could get him. This is his once-upon-a-
Margot Robbie with her schedule. time fairy tale, and it brings me
The movie is about Rick and Cliff; to tears every time I see it. You
Sharon is the next-door neigh- wish this is how it could have
bor to Rick, and Margot was that happened, and you’re also so
happy for Rick Dalton and Sharon
From left:
Quentin Tate and the hope Quentin has
Tarantino, given them at the end of the
actress Julia
Butters, movie. Maybe that’s new for
and producers
Shannon fans of Quentin Tarantino. He’s
McIntosh and really an emotional person like
David Heyman
at the Jan. 12 the rest of us. I already knew
Critics’ Choice that part of him, but now maybe
Awards,
where Once the rest of the world knows
Upon a Time in
Hollywood won that, too.
best picture.
Interview edited for length
and clarity.