Ed Rampell: What is Richard Wagner’s The Flying Dutchman (Der Fliegende Holländer) if not a rip-roaring ghost story, highly charged by greed, and lest we forget, sexual frisson?
David Riker: I began to think about what it means to live in the very epicenter of the American Dream, and feel not hope – but trapped. My focus shifted, and I began to imagine a film not simply about the borders of geography, but about human borders – of class, culture, attitudes, and ideas. This was the starting point for The Girl.
Irene Monroe: While some will contest that Tarantino is being well…Tarantino, and he means no disrespect, others argue that his privilege as a well-respected moneymaking white heterosexual male filmmaker gives him carte blanche to recklessly express his creative juices even if it reinscribes stereotypes that many feel Django does.