Mar 31st 2011 By: Chris Sims
Here at ComicsAlliance, we're always on the lookout for artists who put a new spin on some of our favorite things, and not since chocolate and peanut butter have two things come together as nicely as when comic artist Tim Doyle created a set of prints based on the films of Quentin Tarantino
As seen on Slashfilm
, Doyle's prints were produced for an exhibition of pieces inspired by Tarantino and the Coen Brothers caled, appropriately enough, Quentin vs. Coens
. Unable to settle on a favorite, Doyle decided to boil down all seven of Tarantino's features into a single iconic image for each, and they're incredible. Check out the full images, as well as some of Doyle's commentary, after the jump!
"For me, the whole film is about the bond these two characters form- Mr. White and Mr. Orange. The entire caper, and all the character's lives come undone because of the tight honor-bond that White has with Orange. Orange took a bullet in the gut and White is going to see him saved come hell or high water. It's in this car that the seeds of destruction are sown, a pact made in a bloody hand-clasp. And damn, what a car it is. It's a big honking chunk of US steel, and while it's not out of place in the film stylistically, it's a definite conscious decision on the part of the filmmakers."
"For me, the scene where Marsellus is about to get plowed under by Butch's Civic is pure comedy genius. Butch had just come out of what is probably the 2nd most tense scene in the film, and we've had the death of Vic Vega to process. And we all breathed a sigh of relief. He's got his watch, he's on his way out of town, and 'Flowers on the Wall' is playing on the radio. Everything is great. And then Marsellus walks onto the scene and with a simple 'Muther-F--ker' the whole film take a left turn into crazy town culminating in Butch going samurai on Zed and Co. Up until this point, all we'd seen of Marsellus was the back of his head and that mysterious iconic Band-Aid; an image I wanted to echo here."
"I've been sneaking VW Mini-buses into my work for years now, from my comic 'Sally Suckerpunch' back in 2001, through my recent 'King Crab' print- so the opportunity to do the same with this series was too much to resist. Ordell shooting Louis in the front seat is just a great moment- the disgust on Jackson's face at how far Louis had fallen from his former self, and the casual nature with which he blows him away speaks volumes about the character. (Almost as much as his completely disgusting beard/soul patch thing does.) Again, much like my "Full of Grace" Godfather 2 print, this would be just a nice picture at first glance. In some ways, this print is my favorite of the bunch- it took me the longest to come up with an idea for, and I got to throw in 'city junk' and a VW bus- color me happy."
Kill Bill, Vol. 1
"As tempting as it was to depict the actual sword battle between the Bride and the Crazy 88′s or the Bride and Oren, I found this scene to be the most engaging. The transition from the frantic and violent and completely unrealistic (and completely awesome) sword fight inside the House of Blue Leaves to this exterior snow scene is probably my favorite segment in the film. It felt like Dorothy exiting her house into OZ- the stillness and peace and change right then is palpable, almost tactile. The viewer knows that no matter what's just happened, this is something new."
Kill Bill, Vol. 2
"In the film, when the Bride ascends the staircase to Pai Mei's mountaintop home, and we get our first look at Pai Mei- I knew we had just shifted gears into a new genre. While the 'House of Blue Leaves' bit from part 1 had been a Japanese/Yakuza send-up, this was clearly going to be a Chinese-style Shaw Bros. influenced training segment, and I couldn't have been happier. I spent several Sunday afternoons in my youth watching badly dubbed Kung-Fu epics on UHF 27 in Dallas, and Pai Mei was a recurring character in a lot of those films. This was truly a brilliant choice by a very smart nerd- Tarantino does not disappoint."
"Anyone familiar with my work knows that I absolutely LOVE the work of Geoff Darrow, and the way he handles movement and chaos and destruction all with an incredible eye to detail. And his love for BIG old American cars comes screaming off the page of all his comics. Heck, Big Guy (From Darrow's "Big Guy and Rusty the Boy Robot") looks like a 57 Chevy decided to stand up and start fighting Kaiju. This piece is in many ways just as inspired by Darrow's cover to Hard Boiled #1 as it is by Death Proof. I rarely go super-gory with my stuff, but Jungle Julia's severed leg's arterial spray and its subsequent bouncing off the pavement like slow-mo Jello said 'draw this' to me. Of course, it might have been having to suffer through almost an hour of inane, poseur girl-talk that made me rejoice in their complete on-camera evisceration. On further reflection, it might be sentences like the two previous that made my middle-school English teacher suggest I needed counseling."
"This print is the one that I did completely digitally- all the others were hand-drawn. I wanted to make sure I got the tie-fighter-esque window perfectly, and I wanted to be able to noodle around with the composition as much as possible to get it perfect. Also, hiding a 'secret swastika' in wall paper patterns is what Photoshop was made for. (Now, THAT is my favorite insane sentence.) Like my Godfather prints from a couple of years ago, I wanted this print to be what would appear as a 'pretty picture' at a glance, and then you notice a bit of hidden menace- the Nazi flag in through the window, and the gun on the table."
For more of Doyle's commentary and more of the pieces from Quentin vs. Coens
-- which, unsurprisingly, feature an awful lot of art based on The Big Lebowski
-- check out Slashfilm's incredible articles