Don’t expect Quentin Tarantino to follow in Martin Scorsese’s footsteps and release a film on streaming (even if Scorsese went the extra mile to get his streaming films theatrical releases). The Kill Bill director recently dug into the streaming landscape and name-dropped one Ryan Reynolds when discussing them.
In a recent interview with Deadline, Tarantino dug into the streaming model and claimed that they’re spending money on films that “don’t exist.”
“I mean, and I’m not picking on anybody, but apparently for Netflix, Ryan Reynolds has made $50 million on this movie and $50 million on that movie and $50 million on the next movie for them. I don’t know what any of those movies are. I’ve never seen them. Have you?” said Tarantino.
He continued, “I haven’t ever talked to Ryan Reynolds’ agent, but his agent is like, ‘Well, it cost $50 million.’ Well, good for him that he’s making so much money. But those movies don’t exist in the zeitgeist. It’s almost like they don’t even exist.”
The films that Tarantino is referring to in these quotes are likely 6 Underground, Red Notice, and The Adam Project — Reynolds’ three collaborations with Netflix in the last half-decade or so. To be fair to Reynolds, Red Notice (364M) and The Adam Project (233M) both rank on Netflix’s Top 10 original films list in terms of hours viewed in the first 28 days available on the streamer. Red Notice actually tops the list, beating out Don’t Look Up — an A-list ensemble film from Adam McKay — and even franchise films like Glass Onion: A Knives Out Mystery (279M) and The Gray Man (253M). The Adam Project ranks sixth on that list, just beating out Extraction (231M).
Lastly, Tarantino doesn’t think he’s being overdramatic on this matter. “Well, I don’t think I’m that negative about it. I think it had been going that way and the pandemic hurried everything along,” he said.
Quentin Tarantino is a legend in the business and is currently in the early stages of developing his final film, The Movie Critic. With a clear love for cinema and the moviegoing experience, it’s not a surprise that he has some resentment with the current streaming landscape.