Intro scene of Another 48 Hrs. didn’t make to suspect that Walter Hill did stealing from Once Upon a Time in the West, because they’re different in elements, things and places. Filmmaker touched a style of Sergio Leone’s directing where kept to his individuality. That scene can references as homage. That word is impossible to use to films of Quentin Tarantino, which overview I was doing. There I wrote that he went in plagiarism after nineties in what I wasn’t correct after watching Hong Kong’s film City on Fire (1987) by director Ringo Lam.
Snobs who praises and characterize stylistic cruelty in Tarantino’s films in my thinking was learnt by Tarantino from watching of Hong Kong action films of 80s-90s, a period is calling heroic bloodshed, which significance in unstoppable shooting and brutal images of killings. From that type of movies came directors as aforementioned Ringo Lam, Ronny Yu and John Woo who is associative with that period. City on Fire is creative in staging, meticulously elaborated characters and has decent place in demonstration of heroic bloodshed. Misfire was with a screenplay. Robbers know on police surveillance for one their member, but they go on taking of jewellery store.
I didn’t change my like to Reservoir Dogs after watching City on Fire, because it has much of director’s personality on which I was writing (I didn’t find similar at least.). A different film, which much stole from Ringo Lam’s action flick. Tarantino grabbed a conception on gang of jewellery robbers and embedded undercover policeman. Absolute copy-paste of Hong Kong’s movie was of it’s the last fifteen minutes, which Tarantino stole in shot-by-shot. Merciless shooting of a car with two policemen, undercover cop gets a bullet and shoots an innocent (woman in Reservoir Dogs and law servant in City on Fire.) with same face expression, accurate same pointing on each other guns in final scenes and confession in actual occupation by seriously wounded from that incident with innocent undercover cop. Difference that Chow Yun-fat’s protagonist asks to kill him, but that request doesn’t execute and he dies from wound when angered Harvey Keitel kills Tim Roth’s police agent who doesn’t ask and doesn’t want. Tarantino heavily stole from City on Fire, but he did robbery with other films as color nicknames from classic The Taking of Pelham One Two Three or, as I mentioned, ear cutting from Django. Tarantino does plagiarism since his debut. He many times confessed in that as it did at first time in 1994 “I steal from every single movie ever made”. It’s a long list of films, which elements he is robbing every time. Glowing inside of suitcase in Pulp Fiction was from Kiss Me Deadly, “square” image from The Flinstones or it could be till phrase.
Soundtrack of Tarantino’s films is using old good songs and stealing from other scores. Ennio Morricone should compose for Inglourious Basterds, but he couldn’t due to schedule. Tarantino without his permission stole his eight composer’s tracks. Morricone did rise in anger in how Tarantino embedded his melody for Django Unchained. “I wouldn’t like to work with him again, on anything. He said last year he wanted to work with me again ever since Inglourious Basterds, but I told him I couldn’t, because he didn’t give me enough time. So he just used a song I had written previously,” said a maestro who about Tarantino’s approach described “places music in his films without coherence” and “you can’t do anything with someone like that.” Morricone’s opinion on Django Unchained was “To tell the truth, I didn’t care for it. Too much blood.” After case with that film, the composer did a statement that doesn’t want to work with Tarantino. The last was coaxing, but Morricone retorted that he doesn’t need a composer, because he takes scores from others. The maestro changed his mind by getting an artistic freedom from Tarantino in scoring of Hateful Eight. And that’s one what I can repeat again from there.