The casting rumors for Quentin Tarantino's Inglorious Bastards just keep circulating -- I'm dying for something to be confirmed, already! Brad Pitt was rumored to be in talks for the key role of Aldo Raine, and given that Tarantino flew all the way to France to meet with him suggests it's more than idle talk.

Now, according to Variety, Tarantino wants Leonardo DiCaprio to play Hans Landa, and is meeting with the actor on Thursday to discuss the part with him. This would be DiCaprio's first time working with Tarantino, and frankly, it would be a nice break from his Martin Scorcese trend. DiCaprio is another one of those actors with a pre-production list a mile long, so a scheduling conflict could manage to keep him out of the movie.

While I was really behind the idea of Pitt, I'm not sure how I feel about DiCaprio. Don't get me wrong, I really like him, but he's becoming the go-to guy for just about every film that's in production. Plus, Tarantino is pretty famous for his inspired and offbeat casting. Hiring two of Hollywood's golden boys (and I mean that in a nice way) seems a little pedestrian. But Tarantino is anything but predictable, and he can coax surprising performances out of all sorts of actors. What looks rather uninspiring from the outside could be one of his best ensembles yet. What do you think?

Sometimes I enjoy films with multi-layered stories and intricate characters, and then there are times when I just want to see people blowing sh*t up. I blame the testosterone. This week we've got five trailers that are all about the action.

Hell Ride
No, he's not directing, but Quentin Tarantino is producing this one which should turn a few heads, as will the fact that this is a red band trailer that earns its crimson hue. Three bad ass biker types played by writer/director Larry Bishop, Michael Madsen, and Eric Balfour are out for revenge against a rival gang for killing one of their bros. Dennis Hopper and David Carradine are in their too. The trailer embraces its b-movie action roots, not even caring that the shot of three figures nonchalantly walking away as a building blows up behind them has become something of a cliche. In his review of the film, Cinematical's Eric Snider makes the point that grindhouse style cinema is a niche market that appeals to a restricted number of people. True enough, though on a purely personal level, I'm a big fan of the old school grindhouse flicks and this looks like it's going to be pretty awesome.

Quentin Tarantino is wasting no time getting Inglorious Bastards into production -- it may make Cannes 2009 after all! He's aiming now for an October shoot, his screenplay is apparently done, it's out to studios for financing, and now all he needs is his cast.

As of yet, there have been no official casting announcements, but according to The Hollywood Reporter, rumors are currently circling Brad Pitt's name. Frankly, the thought fills me with delight! Pitt does his finest work in edgier fare, and an appearance in a Tarantino-helmed movie (remember he played a role in True Romance, off a script written by Tarantino) seems long, long overdue. It would also bring his eerie career synchronicity with George Clooney full circle, wouldn't it?

The biggest question seems to be his schedule, which is jam packed with new babies, movies ( three of which he's starring in, eight that he is producing), publicity obligations, and his charity projects. I mean, he's trying to help rebuild New Orleans! Can he fit Inglorious Bastards in? October is not that far away.

Tarantino standbys Tim Roth and Michael Madsen have long been unofficially attached, and I have no doubt they'll make it legal before too long. I'd would love to see Harvey Keitel make an appearance too. And to have Pitt in the inglorious bunch seems so right.

The most unusual film projects pop up in the most unexpected of places. The quick-eyed gang at /film caught a chat between Billboard and The RZA in which the musican / actor dropped a hint about a movie project he was working on. "RZA has developed a martial arts film with Hollywood pal Eli Roth called The Man with the Iron Fist, which he says has "the blessing" of his 'teacher,' Quentin Tarantino."

The combination of those names with "martial arts film" is what had people buzzing. Or at least, those who were dedicated enough to be online providing movie news over the holiday weekend. (Salute them now.) CHUD's Devin Faraci decided to get to the bottom of the story, and e-mailed Roth to find out what was up. It's even cooler than the Billboard quote would have you believe. The Man with the Iron Fist was written entirely by RZA (and has nothing to do with the Marvel character of a similar moniker), and will be his directorial debut.

Quick, what do H. B. Halicki and Louis B. Mayer have in common? They both went "from junk cars to movie stars" as the poster for The Junkman put it; both were scrap merchants who got into the film business. Wrecking shop owner turned auteur Halicki's homebrewed hit Gone in 60 Seconds led the 1999 remake by Dominic Sena, who reputedly worked on the original The Junkman as a camera man. The Junkman, the follow-up to the original 1974 Gone in 60 Seconds, is an even more extravagant car-cruncher. It's a film that makes Tarantino's great car chase in Death Proof look like an also-ran. (QT refers to this original by having Kurt Russell's character keep a row of sunglasses on his dashboard, just like Halicki did.) The Junkman is an all-out demolition derby with Hoyt Axton providing the vocals, a co-starring role by a pet pig named Farah and a finale with the Goodyear Blimp buzzing the Cinerama Dome. As the price of a gallon of gas reaches the inevitable $5 mark, let us return to this uniquely decadent actioner.

Anyone kind of wish Quentin Tarantino would chill and experiment with actually releasing a single, standalone movie rather than bizarro omnibuses and multi-part sagas? Well, too damn bad. Harry Knowles has a fairly lengthy piece on an interview with Tarantino that will be included for the forthcoming DVD release of the original Enzo Castellari version of Inglorious Bastards, which Tarantino is currently remaking/expanding/tributing. (Remember when he announced that he planned to have it ready for Cannes 2009? That was awesome.) In it, Tarantino discusses his plans for the film, including the fact that while writing the script (which he's still polishing), he did so much research that his story bubbled over into a second movie. In other words: here we go again.

Look, I'm happy to indulge the guy; really, I am. I sit through most movies anyway, and I have no problem sitting through an extra one by a filmmaker as interesting and skilled as Tarantino. He's bursting with ideas; fantastic. But there's a lot to be said for brevity and storytelling efficiency too.

The original Inglorious Bastards will hit DVD in a lavish 3-disc edition -- wait, make that "3-disc explosive edition" -- on July 29th. I note without comment that the Castellari film itself runs 99 minutes.

Quentin Tarantino's been talking up his WWII drama Inglorious Bastards for God knows how long. Last we heard he was buried in the script, with nothing concrete planned in the immediate future. Now, in a Cannes interview (via JoBlo), Tarantino has pronounced that he's finished a draft of the script (that was fast) and "if all goes well, I will be here, in Cannes, in 2009 with Inglorious Bastards."

Now, the only director I know who could take a largely uncast World War II movie from first draft to Cannes-ready cut in the span of 12 months is Steven Soderbergh, and he's busy figuring out what to do with Che. His prediction that he'll have Inglorious Bastards in next year's Cannes was, it seems to me, either hubris, excitement-of-the-moment hyperbole, or a straight-up lie. Still, the fact that he seems to be committed to doing this project -- or any project -- next is exciting in itself. I watched the standalone cut of Death Proof for the first time last week, and it's an astonishing piece of filmmaking. I think his work this century -- particularly Death Proof and Kill Bill Vol. 2 -- has been even more exciting than his legendary 90s stuff.

Inglorious Bastards will be about a group of Allied soldiers who volunteer for a suicide mission as a reprieve from execution for various misdeeds. Tarantino took the title from this 1978 Enzo Castellari film, though he doesn't intend it as a remake.

Quentin Tarantino loves to talk. In Pulp Fiction, he wrote one of the movie's breathlessly furious monologues for himself ("Do you see a sign..."). He's been known to deliver talks at universities and special screenings where he fields questions at a characteristically frenetic pace; it's almost like his crazed love of cinema is fueled as much by a constant supply of caffeine as it is by his authentic passion for the art form.

Today's Variety announces that Tarantino will deliver the highly vetted cinema masterclass lecture at the Cannes Film Festival next month, which certainly gives him a major audience on which to unleash his ideas. Filling a slot taken last year by Martin Scorsese, it's easy to imagine that Tarantino will touch on his wide variety of international influences, his ability to become an iconic filmmaker with only a handful of films, and the changing climate of the independent film scene.

In a new, in-depth interview with British magazine Sight & Sound, Quentin Tarantino, who I had the pleasure of meeting at this year's Sundance, goes into all his upcoming and most of his past projects, and gives a detailed update on exactly where he is with his next feature, a war movie called Inglorious Bastards. "I've got tons of material and a lot of stuff written but now I've figured out what to do, I gotta start from page one, square one," Tarantino says, seemingly putting to rest any notion that this thing will be going before the cameras in the next year or so. "I started just before I came on this trip and brought the stuff with me but I haven't had a chance to continue yet. But maybe on the flight back home I'll come back into it. I love writing in other countries." No further details about the plot or potential casting is given, just that quasi-confirmation that the film is in his cross-hairs at the moment.

Tarantino also talks at length about Grindhouse, admitting to being depressed and disappointed over how the film was received at the box office, but defending his longer, original cut of Death Proof as the definitive one and arguing that it stands on its own quite well. Tarantino also talks about the process of getting involved with the double feature in the first place, and reveals that he first wanted his contribution to be a Candyman-style horror film about the ghost of a slave that terrifies a group of white girls. "The first idea was a bunch of young college history students that were going through a tour of the plantations of the old South. And there's a ghost of an old slave that is part of negro folklore. Jody the Grinder actually went down and bested the devil, by f**king him. And so the devil put him on earth for all eternity to f**k white women."

So why didn't this idea make the cut? "I would probably have had Sam Jackson playing that part," Tarantino continues," and it was really good, but then I didn't have anywhere to go with it, because if you have a story about a killer slave with supermacho powers done in the style of a slasher film, then even if he's doing it today, and even if the white girls are innocent, how can you not be on the slave's side?" Tarantino goes into many other areas in the interview, talking about his writing process, the books he's reading, the British movies he'd like to make one day, and even his plans for eventual retirement.

If you haven't already noticed, today is Quentin Tarantino Day on Cinematical! This is the third time we've written about him -- first because of a scuffle in Park City, then a review of Hell Ride -- and now I bring you this pretty cool short film from Brazil called Tarantino's Mind. It's trippy, and there's tons of little nuggets of info in it, but basically the entire film follows two guys having a Tarantino-inspired conversation in a diner. It runs just over 10 minutes, and you'll need to put your reading glasses on, but it's damn good if I should say so myself.

One of the guys -- a Tarantino fanatic -- has just finished a thesis on the director, and he goes through each of his films pointing out similarities from other films. It's his belief that Tarantino created only one screenplay that "the geek divided into several parts." My favorite moment comes when he presents his theory on the briefcase from Pulp Fiction. Makes a lot of sense, and I can't believe I hadn't thought of that before. Anyway, take a break from whatever you're doing, clock out for ten minutes and check out this short. However, while it's in a foreign language, be aware that foul language is used and those words are displayed on the bottom of the screen. Enjoy!