The band's second album, The Contino Sessions (1999), marked a slight change in direction with more attention to live instrumentation than their first and the inclusion of guest vocalists (including Dot Allison, Bobby Gillespie, Iggy Pop, and Jim Reid).[1] Although predominantly rock-influenced, the album still retained some electronic elements, in particular the opening track "Dirge" with its drum machine-based rhythm track. "Dirge" was featured on a Levi's jeans commercial, as well as the second instalment of The Blair Witch Project, and was used in the trailer for the 2006 film The Black Dahlia. The song was also used in the trailer for the 2013 film Cheap Thrills and used in the 2002 film 28 Days Later; at the end of the 2009 remake of The Last House on the Left; near the end of the Being Human episode "The Longest Day"; and in the second episode of season two of Misfits. Along with "Aisha" (with vocals from Iggy Pop), "Dirge" helped the band gain more recognition, culminating in a Mercury Music Prize nomination in 2000. "Dirge" was the subject of a lawsuit by the band Five or Six, as it borrowed extensively from their song "Another Reason". The matter was settled with Five or Six receiving a writing credit.

Movie-actor sympathy is QT’s obtuse version of humanism; his hipster notion of relationships rarely goes beyond clichéd cleverness. The behind-the-scene moments in Once Upon a Time don’t seem as authentic as the early-Sixties sex-and-ambition revue in Warren Beatty’s Rules Don’t Apply, or as insightful as the Hollywood-blacklist parodies in the Coen brothers’ Hail, Caesar! An interlude about the vanity of Bruce Lee (played by Mike Moh) gives the impression that QT forgot exactly what movie he was making; like Jackie Brown, it’s not convincing.

In Jackie Brown, QT was so absorbed in fetishizing Blaxploitation lore and his star Pam Grier (whom he called “the queen of women” the first time I met him) that instead of reexamining the era when his obsessions were born, he updated it poorly, and Grier wasn’t actress enough to reclaim her Foxy Brown crown. In Once Upon a Time, QT exults in a period re-created solely through cultural artifacts: pop songs, TV shows, movie posters, theater marquees, and incessant, maddening radio advertisements. The specter of gruesome real-life tragedy underneath all the Hollywood history and pop effluvia gives him something new: poignancy.

Brian De Palma already made this ambivalence poetic in The Black Dahlia — especially the memorable sequence where the audition of tragic Elizabeth Short (Mia Kirschner) as Scarlett O’Hara distilled her all-American drive and pathos. Despite crude technique, QT reveals his awareness of Hollywood desperation, found in society’s changing sexuality, especially when dealing with the Manson girls. Going back to the Sixties hippie era, QT evokes the cultural differences between middle-class California conservatism (embodied by inside-outsiders Rick and Cliff) and Manson’s dangerously radical counterculture.

These tense, lewd scenes (anchored to Margaret Qualley’s Pussycat, a brazen free-love druggie, Dakota Fanning’s fanatical Squeaky Fromme, and Rick’s meeting with a precocious child star, loaded with pedophiliac undertones) suggest more than Manson’s psychotic influence. QT seems to be getting at a modern crisis. Manson’s maenads — dirty, barefoot examples of Dionysian abandon — provide the most fascinating sequences of QT’s career. A plot digression features Bruce Dern as a blind, wizened, weakened victim of his own lusts as well as of female opportunists, a Harvey Weinstein figure.

At the screening I attended, most of the audience went into quiet shock during QT’s finale, an extended sequence of conventional action-movie moral reckoning. It hit them on another level than the earlier, poorly imitated scenes of mock-TV violence (for a cineaste, QT’s images are surprisingly imprecise). In this riposte to #MeToo diabolism, Tarantino finally finds a social context that challenges his audience. And while the Motion Picture Academy previously rewarded QT for disgracing both the Holocaust and slavery, this might be an even hotter topic, and it needs a better follow-through than his slasher-movie tropes. But, admittedly, this display of cheap revenge is his career highpoint.

In 2013, she appeared in a Harvey Weinstein film – One Chance, the true story of Britain’s Got Talent winner Paul Potts. She met the producer but was never alone in a room with him, and has a surprising insight from the shop floor, “Controversially, there's this feeling, when someone who has the power to make careers doesn't really give you a second look, or isn't really bothered about you… it's incredibly annoying. Not that I wanted that kind of attention.

On the first day of filming, she adds, “his PA appeared with a whole load of new costumes and it was all massive high heels, short skirts, basically sexing up the character. I was supposed to be the weird, funny girlfriend… She was sent to do it, to make me feel comfortable about it. If Harvey himself had come along and said, I want you in a miniskirt and high heels, I’d have been, excuse me? Then you hear these awful stories of these girls and because it was probably a woman who said, ‘Harvey really wants to meet with you,’ those women were really sort of complicit in allowing that to happen.”

The moment she found most embarrassing, she says, was when she was cast in Brian De Palma’s 2006 adaptation of James Ellroy’s The Black Dahlia, with Scarlett Johansson. “I got three scenes in a big movie and one of them was a 1930s porn film with another girl. I was 22… I knew that I was probably going to have to be topless… and when we did the porn element, there was a point when Brian was asking if my pants could come off, and I was like, oh my god, what do I do? When you’re doing a small part, you don’t feel like you can just go, ‘hang on, I need to call my agent.’ You want to be amenable. Luckily, he saw I had two tattoos on my back and said, they’ll take too long to cover with make-up. I was so happy. I’ll probably get tattooed underwear now.”

(Thanks to Luu!)

Wayne Kramer, who directed Walker in the excellent Running Scared, as well as this year's Pawn Shop Chronicles, mentioned in a Facebook post Sunday that De Palma had offered Walker a film project some years ago. "It always pained me when critics and internet talkbackers slammed him as an actor," Kramer wrote, "because I knew the truth about the guy: he was fucking awesome in every way. And he was just coming into his own as a strong leading man. I always told Paul that his most exciting years were going to be his 40s and 50s, and even beyond, as a masculine American tough guy in the vein of Steve McQueen, Clint Eastwood and Lee Marvin. We talked about how Paul was going to be my Lee Marvin and we were hungry to make those kind of films that could show Paul in that light. In some alternate reality somewhere, he’s still on that career trajectory and I’d love to be there to see the work because it would be something to experience indeed. For every anonymous internet hater who bagged on him, there were great actors and directors who made a point of letting him know how amazing he was. Kevin Costner was a fan and wanted to do a western with Paul. Vincent D’Onofrio (whom I recently worked with) made a point of telling me how much he dug Paul as an actor. Quentin Tarantino called Paul after seeing Running Scared to tell him how much he loved Paul’s performance. Sylvester Stallone was a fan of Paul in Running Scared. Walter Hill and Brian De Palma offered him projects a few years back. Paul was very discriminating with the films he picked. He chose to make them for personal reasons, regardless of the quality of the finished film or the reputation of the director. And once he signed on, he was there one thousand percent for his directors. We shared the same taste in material. Usually dark and extreme, but with a lot of soul. Closer to the films of the 70s and 80s that they no longer make anymore."