Vulture asks Cloris Leachman, “did your part really get cut out of Quentin Tarantino’s ‘Inglourious Basterds’?” [uhh, the answer is yes, we saw it at Cannes, but…]
“I have heard that, and I would suspect that that’s true, because it’s very long and my thing isn’t woven into the plot. It would be a very good scene to cut, in the sense that it wouldn’t hurt the picture. It’s a wonderful little scene. I love doing it and he loved it, too, but it’s not going to make or break the film.
I’m an old Jewish woman in Brooklyn — we shot it in Berlin, but it’s supposed to be in Brooklyn — and I open the door and this young man [Eli Roth] is standing there and he asks me to sign his bat. He’s heard about these Germans, what they’re doing to Jews and he asks, “Is there anybody who’s been affected by the Nazis?” and I look at him and start signing my sister’s name. And you know that they’re just going to take the bat and just kill some Nazis. You can’t be upset about these things [getting cut]. It’s part of the business. I always think a better bus will come along that I’ll catch.” — Cloris Leachman, realizes while fun and sharp, a lot of Quentin Tarantino’s writing is superfluous and unnecessary. Also, old people can be so great and chill with their awesome eh, shit happens, wisdom. [Vulture]
