Tarantino kept the only copy of the third act of the script in a safe to prevent it from being prematurely released. [98] DiCaprio, Robbie, and Pitt were the only other people who read the entire script. [99] [17] In an interview with Adam Sandler, Pitt revealed that the only other copy of the script was burned by Tarantino. [100] Pre-production and casting [ edit ]

Shirey, Paul (January 19, 2022). "Scream 2022's Ending Death Weirdly Mirrors A Brutal Tarantino Kill". Screen Rant. Archived from the original on January 23, 2022 . Retrieved March 1, 2022.In Italy, a 175-minute director's cut features a yellow tint filter, and several scenes were augmented with additional material. This director's cut was available on home video until the early 2000s, and still airs on TV, but more recent home-video releases have used the international cut. During the opening credits of the Japanese anime, Chainsaw Man, the opening scene of the movie has been referenced. [262] See also [ edit ] a b c d e f g h Crow, David (August 17, 2019). "Once Upon a Time in Hollywood Easter Eggs Guide". Den of Geek. Archived from the original on August 31, 2019 . Retrieved August 31, 2019. Beginning with The Good, the Bad and the Ugly, which originally ran for three hours, Leone's films had usually been cut (often quite considerably) for box-office release. Leone was very conscious of the length of Once Upon a Time in the West during filming and subsequently commissioned Sergio Donati, who had worked on several of Leone's other films, to help him refine the screenplay, largely to curb the length of the film toward the end of production. [ citation needed] Style and pacing [ edit ] The Sweetwater Ranch Henry Fonda Talks about his casting in Once Upon A Time in the West". YouTube. 11 July 2007. Archived from the original on 27 April 2021 . Retrieved 27 April 2021.

McMillan, Graeme (July 26, 2019). " 'Once Upon a Time in Hollywood' Actor Zoë Bell on Her Evolution as a Stunt Performer". The Hollywood Reporter. Archived from the original on July 27, 2019 . Retrieved October 16, 2020. a b c Coates, Tyler (March 21, 2019). "The Real-Life People Portrayed in Once Upon a Time in Hollywood". Esquire. Archived from the original on March 22, 2019 . Retrieved March 23, 2019.a b Hedgepeth, Sterling (January 9, 2020). "Once Upon a Time in Hollywood Q&A with Quentin Tarantino". California Film Institute (Interview). Event occurs at 13:00-16:00. Archived from the original on July 8, 2021 . Retrieved July 8, 2021– via YouTube. The film features long, slow scenes with very little dialogue and little happening, broken by brief and sudden violence. Leone was far more interested in the rituals preceding violence than in the violence itself. The tone of the film is consistent with the arid semidesert in which the story unfolds, and imbues it with a feeling of realism that contrasts with the elaborately choreographed gunplay. Smith, Michael (July 26, 2019). "Oklahoma's Clu Gulager talks friendship with Quentin Tarantino, role in 'Once Upon a Time...In Hollywood' ". Tulsa World. Archived from the original on February 4, 2021 . Retrieved October 15, 2021. This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. The music was written by composer Ennio Morricone, Leone's regular collaborator, who wrote the score under Leone's direction before filming began. As in The Good, the Bad and the Ugly, the haunting music contributes to the film's grandeur and, like the music for The Good, the Bad and the Ugly, is considered one of Morricone's greatest compositions.

a b Ali, Lorraine (August 19, 2019). "Commentary: Charles Manson was a white supremacist. Why can't pop culture seem to admit it?". Los Angeles Times. Archived from the original on June 9, 2021 . Retrieved June 27, 2021. a b Swanson, Anna (December 20, 2019). "Did Cliff Booth Kill His Wife? An In-Depth Investigation". Film School Rejects. Archived from the original on February 5, 2020 . Retrieved October 19, 2021. a b c d e Rao, Sonia (July 29, 2019). "How true to life is the 'Once Upon a Time in Hollywood' ending?". The Washington Post. Archived from the original on August 3, 2019 . Retrieved August 22, 2019. Find sources: "Once Upon a Time in the West"– news · newspapers · books · scholar · JSTOR ( October 2014) ( Learn how and when to remove this template message) In Little White Lies, Christopher Hooton described it as "occasionally tedious" but "constantly awe-inspiring", noting it did not seem to be a "love letter to Hollywood" but an "obituary for a moment in culture that looks unlikely to ever be resurrected." [177] Writing for Variety, Owen Gleiberman called it a "heady engrossing collage of a film—but not, in the end, a masterpiece." [178]Once Upon a Time... in Hollywood (2019)". British Board of Film Classification. July 11, 2019. Archived from the original on July 11, 2019 . Retrieved October 14, 2021. Ehrlich, David (October 25, 2019). "The 'Once Upon a Time in Hollywood' Extended Cut Is a Cash Grab That Manages to Add Fun Context". IndieWire. Archived from the original on July 7, 2020 . Retrieved July 21, 2020. Lindsey Romain says the scene is "a Rorschach Test for the audience". She argues that how the viewer interprets the scene changes the interpretation of the ending of the film. If Cliff murdered Billie then he is despicable and the killings he commits at the end are self-serving. However, if he is innocent then he is a hero. Romain writes "either read is accurate, and both feel purposeful." By leaving Billie's death open-ended, Romain believes Tarantino is asking, "Is Once Upon a Time... in Hollywood a touching fable about reclaiming relevance, or a horror story about a business that forgives heinous acts the second righteousness is procured?" Romain concludes that "maybe it's both," and "about art...about violence and how we participate in and consume it." [205] Red Apple ad [ edit ] Theologian David Bentley Hart wrote that Once Upon a Time "exhibit[s] a genuine ethical pathos" for its portrayal of "cosmic justice". Hart wrote how he was a child when the Tate murders occurred and that the Manson Family were "the first monsters who ever truly terrified me and tormented me with nightmares." He remembers how the children at his school would tell the stories of the Manson Family murders. Hart praised the revisionism when "Tarantino's version of the story unexpectedly veered away into some other, dreamlike, better world, where the monsters inadvertently passed through the wrong door and met the end they deserved." Hart states "the artistic masterstroke" comes in the end when Tate is heard "as a disembodied voice... speaking from that alternative reality, that terrestrial paradise that evil could not enter." [196]