The films of Quentin Tarantino earn their own documentary, but it is less a deep dive than a movie-by-movie survey, more anecdotal than compulsive.
In one of the intermittent indicating junctures in “QT8: Quentin Tarantino, The Initial Eight,” a short film about the movies of Quentin Tarantino that is like a familiar but delicious sundae for Quentin fans, we discern Tarantino on the pair of “Pulp Fiction,” shooting the iconic prom contest at Jack Rabbit Slim’s.
As John Travolta and Uma Thurman move to “You Never Can Tell,” gazing each other down as they do the curl with that two-fingers-through-the-eyes gesture that I initially saw Adam West do, in entire cowl and costume, on an event of “Batman,” Tarantino sits next to the camera, aa rare feet from his actors, and he is dancing, too.
It is not some big show-offy director stuff. He just seems like aa lush kid (at 30, he still glanced like one), a starstruck bystander who could not help but contribute.
Directors incline to be stern taskmasters, and Tarantino is popular for withstanding no-nonsense on his sets. Yet in “QT8,” seeing him in brief clips during the shooting of his movies, you get a feeling of the diligent passion that pervades a Tarantino set.
The actors surveyed in “QT8” all express tremendous love for him, in no minor part because he asks them to take the characters they are playing and jog with them.
Christoph Waltz remembers how the extraordinary vacancy monologue Tarantino jotted down for Hans Landa, the twinkly Nazi villain of “Inglourious Basterds,” included endless ways to infer it, which were up to the entertainer.
And in the shooting of “Reservoir Dogs,” the article for the ear-torture event said nothing more than “Mr. Blonde accomplishes a maniacal dance.” Michael Madsen, who could not dance, made up his psycho shimmy on the place; he also made up the bit where he chats into the cop’s broken ear.