On the subject of Polanski, who was recently dragged back into the #MeToo conversation over his statutory rape case in the late 70s, Tarantino was glib in his answers, saying “no” he “didn’t” share or meet with Polanski before making the movie. Polanksi is referred to in the movie by Pitt’s Rick as being “the hottest filmmaker” in town. Tarantino informed another reporter, “I’ve met him (Polanski) a couple of times (in the past) …it’s unfathomable how much money ‘Rosemary’s Baby’ made in its day. Back then, if a film made $8 million, it was like ‘Oh, my, God,’ that made like $35 million or something. I’m a fan of Roman Polanski’s work, but in particular ‘Rosemary‘s Baby,’ I like that a lot.”
A female New York Times reporter in the room asked Tarantino why Margot Robbie’s Sharon Tate has so few lines in the movie. “I just reject your hypothesis,” Tarantino rebutted. Robbie, in answering the question, reiterated her answer from an earlier query at the press conference about her portrayal of Polanski’s slain wife.
“I was trying to understand what purpose the character serves to the story. Why is this character in the story? Quentin said to me she’s the heartbeat of the story. I saw her as a ray of light. That was my job and role to serve in this story,” said Robbie, who watched “everything” about Tate in prepping for the role.
Manson is a supporting character in Tarantino’s love letter to his 1969 Hollywood childhood about a has-been star Rick Dalton (Leonardo DiCaprio) coming to grips with a changing industry.
One reporter asked Tarantino, “You’ve talked about Sharon Tate channeling the light in this movie. There are other women who are channeling very profound darkness, the acolytes of Charlie, can you talk about how you viewed those women? Without giving anything away, they do become targets of extreme rage in the film, and in an age when violence against women, is touchy ground … you’re treading on tricky territory.”
“I can’t really address that much without de facto talking about stuff,” said Tarantino, who launched into the women’s portrayal in the Spahn Ranch scene which was the Manson’s cult homestead. Tarantino didn’t answer the reporter’s question about the violence of women in the film, but rather said, “They’re creepy, no two, three, four ways about it, even though there’s a sinister-ness you see at the Spahn ranch scene, I was trying to show their day-to-day,” and described the sequence of how the Manson members made their money by providing horseback riding.
Said Brad Pitt, who plays the Cliff Booth, the stuntman to DiCaprio’s Rick Dalton about the film’s spotlight on Manson and his massacres in relation to the era, “I don’t see it as a rage against individuals, but a rage against innocence. When the Manson murders occurred, three was a free love movement, there were new ideas out there, and cinemas was being recalibrated. When that event happened — the tragic loss of Sharon and others — what scared many, even today, it was a sobering dark look at the dark side of human nature. That pivotal moment was a real loss of innocence, and that’s what the film addresses.”
Says Tarantino about the media and general public’s long-time fascination with Manson, “How he was able to get these girls and young boys to submit to him, it seems unfathomable. The more you learn, the more concrete it gets, it doesn’t make it clearer, it makes it more obscure the more you know.”
“The unknowingness of it, the possibly to truly understand is what causes frustration,” says the two-time Oscar-winning filmmaker.
At last night’s premiere, Cannes Film Festival scanned roughly 100 Balcony ticket holders and then refused to let them into the “Once Upon a Time” event, overfilling the theater to the gripes of many.