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Watch A “Whiplash”-Tempo Supercut Showing Quentin Tarantino’s Use Of Profiles

Watch A “Whiplash”-Tempo Supercut Showing Quentin Tarantino’s Use Of Profiles

Supercut master Rishi Kaneria, who has featured the striking color palettes of Stanley Kubrick, Pixar, and Wes Anderson, is back with a new take on cinematic mashups. This time, Kaneria collated dozens of profile shots from the films of Quentin Tarantino, drawing from Reservoir Dogs, Kill Bill, and Django Unchained, among others, and created a cut that escalates in tempo to the track “Snare Liftoff” from Whiplash.

What’s revealed is the director’s interest in standoffs between the characters, both literal and figurative. Even from the side, the intensity in the eyes of Uma, Samuel, Jamie, and Christoph are unmistakably clear.

It’s a testament to Tarantino’s directorial prowess, since the profile “provides the least amount of information about a character while still showing their face,” says Kaneria. “By not having direct eye contact with the character, their emotions are somewhat distanced.”

For this supercut, Kaneria used a technique called “match cutting,” ordering the profiles to create the “seamless fluid illusion” of switching “from one face to another.” This required him to find shots that were similar in terms of their composition, focal length, and character profile. In fact, as the supercut speeds up, the faces seem to blend together into one continuously morphing visage. “In many ways, this piece is a supercut in its purest sense,” Kaneria says. “It’s the act of placing similar visual motifs alongside each other to make a point about a filmmaker’s use of that motif, while also taking the time to evaluate all the motifs as one continuous whole.”


Kaneria has been working on the Tarantino supercut for about a month now, spending five to six hours a week on the project. He describes his fascination with the supercut as an “obsessive compulsion.”

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