I haven’t seen Django Unchained yet (though I want to, and I loved Inglorious Basterds), but I found this insight into Tarantino’s process very interesting. From a New York Times interview with the director:
I have a writer’s journey going on and a filmmaker’s journey going on, and obviously they’re symbiotic, but they also are separate. When I write my scripts it’s not really about the movie per se, it is about the page. It’s supposed to be literature. I write stuff that’s never going to make it in the movie and stuff that I know wouldn’t even be right for the movie, but I’ll put it in the screenplay. We’ll decide later do we shoot it, do we not shoot it, whatever, but it’s important for the written work.
I think about this at Percolate sometimes and always err on the side of over-documentation. I like the idea of building a narrative around something that extends far beyond what’s necessary, as the additional context creates an important background for decisions. In Tarantino’s case, I have to imagine part of the reason he gets such good performances out of the actors in his films is that they’re given such a rich text to work with.