In addition to his well-known talents as a writer and director, one of Quentin Tarantino‘s biggest strengths is his casting. Tarantino famously helped revive John Travolta‘s career with Pulp Fiction, and then gave Pam Grier a leading role in Jackie Brown because of his love for the blaxploitation movies she used to star in. One of his most inspired casting choices came in the Kill Bill movies, which featured Japanese martial arts star Sonny Chiba in a supporting role. Michael Parks, a television star from the 1970s, was a regular collaborator of Tarantino over the years. But the filmmaker first showed a penchant for casting his childhood favorites in Reservoir Dogs, his first feature film. It was a decision that he later came to regret.
The movie features Harvey Keitel, Tim Roth, Steve Buscemi, Michael Madsen, and Tarantino himself as a gang of burglars. But their boss is played by Lawrence Tierney, the star of 1945’s gangster movie Dillinger. The movie was based on the real-life bank robber John Dillinger, who was later played by Johnny Depp in Michael Mann‘s 2009 film Public Enemies. The 1945 version was essentially a B-movie that became a word-of-mouth hit against all odds.
Collider Exclusive · Oscar Best Picture Quiz Which Oscar Best Picture Is Your Perfect Movie? Parasite · Everything Everywhere · Oppenheimer · Birdman · No Country
Five Oscar Best Picture winners. Five completely different visions of what cinema can be — and what it can do to you. One of them is the film that was made for the way your mind works. Ten questions will figure out which one.
🪜Parasite
🌀Everything Everywhere
☢️Oppenheimer
🐦Birdman
🪙No Country for Old Men
01
What kind of film experience do you actually want? The best movies don’t just entertain — they leave something behind.
02
Which idea grabs you most in a film? Great films are driven by a central obsession. What’s yours?
03
How do you like your story told? Form is content. The way a story is shaped changes what it means.
04
What makes a truly great antagonist? The opposition defines the protagonist. What kind of opposition fascinates you?
05
What do you want from a film’s ending? The final note is the one that lingers. What do you want it to sound like?
06
Which setting pulls you in most? Where a film takes place shapes everything — mood, stakes, what’s even possible.
07
What cinematic craft impresses you most? Every great film has a signature — a technical or artistic element that makes it unmistakable.
08
What kind of main character do you root for? The protagonist is the lens. Who you choose to follow says something about you.
09
How do you feel about a film that takes its time? Pace is a choice. Some films sprint; others let tension accumulate slowly, deliberately.
10
What do you want to feel walking out of the cinema? The best films leave a mark. What kind of mark do you want?
The Academy Has Decided Your Perfect Film Is…
Your answers have pointed to one Oscar Best Picture winner above all others. This is the film that was made for the way your mind works.
Parasite
You are drawn to films that operate on multiple levels simultaneously — that begin in one genre and quietly, brilliantly migrate into another. Bong Joon-ho’s Parasite is a film about class, desire, and the architecture of inequality that manages to be darkly funny, deeply suspenseful, and genuinely shocking across a single extraordinary running time. Your instinct is for cinema that hides its true intentions until the moment it’s ready to reveal them. Parasite is exactly that — a film that rewards close attention and punishes assumptions, right up to its devastating final image.
Everything Everywhere All at Once
You want it all — and this film gives you all of it. The Daniels’ Everything Everywhere All at Once is one of the most maximalist films ever made: action comedy, multiverse sci-fi, family drama, existential crisis, and a genuinely earned emotional core that sneaks up on you amid the chaos. You are someone who responds to ambition, who doesn’t want cinema to choose between being entertaining and being meaningful. This film refuses that choice entirely. It is overwhelming by design, and its overwhelming nature is precisely the point — because the feeling of being crushed by infinite possibility is exactly what it’s about.
Oppenheimer
You are drawn to cinema on a grand scale — films that understand history not as a backdrop but as a force, and that place their characters inside that force and watch what happens. Christopher Nolan’s Oppenheimer is a film about the terrifying gap between what we can do and what we should do, told with the full weight of one of the most consequential moments in human history behind it. You want your films to feel important without feeling self-important — to earn their ambition through sheer craft and the gravity of their subject. Oppenheimer does exactly that. It is enormous, complicated, and refuses easy comfort.
Birdman
You are drawn to films that foreground their own construction — that make the how of the filmmaking part of the what it’s about. Alejandro González Iñárritu’s Birdman, shot to appear as a single continuous take, is cinema examining itself through the cracked mirror of a fading actor’s ego. You respond to formal daring, to the feeling that a film is doing something that probably shouldn’t be possible. Michael Keaton’s performance and Emmanuel Lubezki’s restless camera create something genuinely unlike anything else — a film that is simultaneously about creativity, relevance, self-destruction, and the impossibility of ever truly knowing if your work means anything at all.
No Country for Old Men
You are drawn to cinema that trusts silence, that refuses to explain itself, and that treats dread as a form of meaning. The Coen Brothers’ No Country for Old Men is a film about the arrival of a new kind of evil — implacable, arbitrary, and utterly indifferent to the moral frameworks we use to make sense of the world. It is one of the most formally controlled films ever made, and its controlled restraint is what makes it so terrifying. You want your films to haunt you, not comfort you. You are not interested in resolution if resolution would be dishonest. No Country for Old Men is honest in a way that most cinema never dares to be.
Quentin Tarantino Was Shoved on Set by Lawrence Tierney
Following the death of Madsen, Tarantino hosted a tribute screening of Reservoir Dogs and recounted, among other stories, an anecdote about the terror Tierney caused on set.
“I had never directed a movie before. And Lawrence Tierney was a f—ing nightmare. He was completely insane. He was so crazy, and I’d never directed before, so I’m dealing with a crazy man Monday through Saturday. All the other actors and the crew can’t stand him. And all of a sudden, he yells at me, does something disrespectful. And so, I fired him at the breakfast table. The crew breaks into applause.”
In an earlier interview, Tarantino shared more details of what went down. He said that it was the last 20 minutes of the first week of shooting when Tierney walked away from him mid-conversation, which prompted Tarantino to grab a hold of his arm. Tierney didn’t like that one bit, and shoved the filmmaker. Tarantino said that he yelled at him and fired him in front of the crew. They later made up and completed the movie, but Tarantino declined an invitation to go drinking with Tierney. You can watch Tierney’s Dillinger on HBO Max, but it will be removed from the platform on August 1. Stay tuned to Collider for more updates.
