ONCE UPON A TIME IN HOLLYWOOD has reinvigorated my love for the cinema. So far, I’ve seen it (3) times (once even on 35 mm film). Each viewing not only reminds me of Tarantino’s love for the movies, but his passion for the film-making process. It’s a picture that makes me want to create something of my own. Although I’ll never shoot a movie, at least I can ponder on the flicks I love and discover new ones to dissect. Hence I feel refreshed and want to start writing again.
Since I’m an Optical Engineer by day, I have a greater appreciation for cinematography: Why was this scene backlit this way? What lens was used for this shot? How come the camera was framed from this perspective? As I ask these questions, I realize comic artists must ask the same things. Between panel layouts, point of views, and depth of focus, these are all tools that coexist in the (2) mediums that I love – Welcome to Tarantino Comics.
Today’s issue was produced all the way back in 2014 at Megacon in Orlando, FL. Depicting a memorable scene from DJANGO UNCHAINED, Rando Dixon replicated this terrifying shot in Tarantino Comics #49:
This scene was all about deception. At first, Calvin Candie was deceived into allowing Django and Schultz to eat at the Big Table. But after discovering their true intentions (to rescue Django’s lovely bride), Candie reveals he cannot be fooled. Armed with a hammer, a broken skull, and a helpless Broomhilda, Calvin Candie truly controls the situation.
Dixon exemplifies the tension of the scene with Candie’s chilling expression – Not only is DiCaprio's likeness spot-on, but we know arrogant triumph is hidden behind that charming grin.
Besides his great illustration, Dixon’s monotoned color palate wonderfully captures the era of this set piece. Film makers often depict historic times with earthy and muted color tones: yellow, orange, and brown. Dixon does the same except for the pop of red flowing across Candie’s hand. As we all know, blood is a common embellishment in Tarantino films and this scene is no exception. However while filming, Leo actually cut his hand from the shattered skull. So whether the blood was intentional or not, the viscous liquid makes a great visual for a climatic scene built with tension and fear.
