Quentin Tarantino is a fucking genius

I’ll be honest, I’d never seen "Once Upon a Time in Hollywood." At that exact point, I turned off the young screenwriter’s analysis and decided to watch the whole film for myself to see if Act 2 really had a problem.

And I watched it. The entire movie. I saw something far greater than a mere collection of three acts. Sure, there were some rough spots, but personally, nothing sagged. I caught every single meaning Quentin threaded through the narrative so openly, without hiding a thing. I’ll say just two words—ANIMAL NATURE. Those who know will get it. It’s all hidden right in plain sight. Only now did I realize that Quentin injects those exact subtexts into almost all his films. The parallel lines of the first dog and the second dog—pure genius. The references to filthy pigs with their tails and hooves—fucking genius. Only a true genius could hide things so openly, right in front of everyone. I have never in my life seen anything like it in cinema. Yes, I repeated the word "genius" three times in the previous sentences, and that was no accident. Three times "genius" is the absolute proof of why Quentin Tarantino is a true fucking genius.

After watching the film, I went back to finish that young director's breakdown. He claimed the second act was broken, dead on arrival—a separate storyline clumsily tacked onto the rest of the plot. At first, I had nothing to fire back with; if you look strictly at "classic" structure, it does seem that way. He even called the Sharon Tate storyline pure stupidity, a waste of money and screen time. I went to bed, but a restlessness grew inside me—a fierce rejection of his logic. Because I SAW.

In the morning, a simple realization hit me, explaining why that hack director couldn't grasp Quentin's intent: the man was fundamentally incapable of thinking outside the box, trapped in his own schematics.

Sharon Tate isn't bathed in that golden sunlight and given all that screen time for nothing. In essence, this whole story, the entire film—it's about her. Quentin didn't write from the outside in; he built it from the inside out. The only right way to write. I don't know how it actually happened, I can only guess, but I believe that brutal slaughter of Sharon Tate struck Quentin to the very core. This entire movie is his tribute to HER. Books and films are a separate, living universe. Quentin knows this, and that is why the entire narrative revolves around her. He wanted Sharon Tate to STAY ALIVE. And in his version of reality, she did. She is happy. She will have her baby. Everyone will be fine, and a new life will begin for them all. To anyone who doesn't grasp what I'm talking about—sorry, but I'm not about to spell out such deep things for you right now.

Now, about the second act itself. That director dismissed it as pointless, claiming you could just cut the damn thing and lose next to nothing. But he is dead wrong. He called it—not a direct quote—a mere sequence of frames, a hollow buildup of suspense. What he missed was the most vital anchor of that entire sequence, the very thing Leonardo DiCaprio laid bare so masterfully. He missed the ENORMOUS, HUMAN DRAMA. And that is exactly why literature is written, why people watch films, and what makes all of it real. Forget schematics, suspense, and "scripts"—that’s all just superficial noise. Drama—that is the true heart of any work.

And yes, Quentin is a genius. The tragedy is that so many authors and screenwriters remain blind to such simple truths, even when they're laid out right on the surface. My advice to you: think in meanings, not schematics. Only then will you shatter the mold and start truly grasping something in your craft. Peace to all.