Announced in July 2017, it is Tarantino's first film not to involveBob andHarvey Weinstein, as he ended his partnership with the brothers following thesexual abuse allegations against Harvey Weinstein. After a bidding war, the film was distributed by Sony Pictures Releasing, which met Tarantino's demands, includingfinal cut privilege. Pitt, DiCaprio, Robbie,Zoë Bell,Kurt Russell and others joined the cast between January and June 2018.Principal photography lasted from June through November around Los Angeles.Once Upon a Time in Hollywood is the final film to featureLuke Perry, who died on March 4, 2019, and is dedicated to his memory.
In February 1969,Hollywood actor Rick Dalton, a formerWestern TV star, copes with a fading career, his most recent roles beingguest appearances as TV villains. Agent Marvin Schwarz suggests working inspaghetti Westerns in Italy, which Dalton considers inferior. Dalton's best friend,stunt double, personal assistant, and driver is Cliff Booth, aWorld War II special ops veteran living in atrailer with hispit bull Brandy. Booth struggles to find stunt work due to a past altercation withBruce Lee, and rumors that he killed his wife. Although he does not know them personally, Dalton is aware that young actressSharon Tate and her husband, directorRoman Polanski, livenext door. Dalton longs to befriend them, thinking it could reignite his career.
While fixing the TV antenna on Dalton's roof, Booth notices a hippie arriving at the Polanski residence. The man,Charles Manson, asks for music producerTerry Melcher, but Tate's friend,Jay Sebring, says Melcher has moved. Later, Tate watches herself inThe Wrecking Crew at a localfilm theater, and Booth gives hitchhikerPussycat a ride toSpahn Ranch, a former Western film set where Booth did stunt work.
Booth checks onGeorge Spahn, the ranch's nearly blind owner, seeking to make sure thehippies living there are not exploiting him. Booth physically forces ranch hippieClem to change his car tire after it was deliberately punctured. The hippies' leaderTex is summoned to deal with the situation, but he arrives as Booth is driving away.
While filming an episode for the TV seriesLancer, Dalton struggles to deliver his lines, causing him to have an emotional breakdown in his trailer. He later gives a powerful performance during his character's speech, impressing directorSam Wanamaker and his co-star Trudi, boosting his confidence.
Schwarz books Dalton to star in aSergio Corbucci spaghetti Western. Booth accompanies Dalton for the six-month shoot in Italy, where Dalton films three additional films and marries Italian starlet Francesca Capucci. Before returning to the US, Dalton tells Booth that he can no longer afford his salary, which Booth amicably understands.
Returning to Los Angeles on August 8, 1969, Dalton and Booth go drinking to commemorate their time together. Returning to Dalton's house, Booth smokes anacid-laced cigarette and takes Brandy for a walk, while Dalton makesmargaritas. Manson's followers Tex,Sadie,Katie andFlowerchild arrive tomurder the Tate house occupants. Hearing a car's loudmuffler, an enraged Dalton orders the group off the private street. Recognizing him, the family members decide to kill him instead, when Sadie reasons that through shows such as Dalton's, Hollywood has "taught them to murder".
Flowerchild deserts the group, fleeing with their car. Breaking into Dalton's house armed with knives and a gun, the remaining group confronts Capucci and Booth, with Tex announcing that he is “the Devil and here to do the Devil’s business”. Booth recognizes them from Spahn Ranch and orders Brandy to attack. Brandy mauls Tex and bites off his genitals, and Cliff finishes him off by stomping him to death. He is stabbed by Katie, but swiftly beats her to death using random objects around the home. Brandy attacks and disfigures Sadie, who crashes through the back garden and startles Dalton, who has been listening to music and was totally unaware of the fighting inside. As Sadie attempts to shoot him, Dalton retrieves a working stuntflamethrower from a shed and incinerates her with it.
After the police have taken statements and an ambulance brings Booth to hospital, Sebring and Tate invite Dalton to Tate's house for a drink.
Quentin Tarantino portrays the director of Dalton's Red Apples cigarettes commercial[24] and the voice ofBounty Law.[25] MusicianToni Basil appears in the opening credits, during thePan Am scene, dancing with Sharon Tate.[26] Margot Robbie also briefly reprises her role as Laura Cameron, a stewardess from the TV seriesPan Am. Although her face is not seen, she makes and serves a cocktail to Dalton on his flight home from Italy.[27]
An extended cut, released theatrically in October 2019, included an appearance byJames Marsden asBurt Reynolds and a voiceover byWalton Goggins.[29][30]Danny Strong andTim Roth shot scenes that were cut; Strong portrayedDean Martin and Paul Barabuta (based on Rudolph Altobelli), the homeowner of10050 Cielo Drive, while Roth portrayed Raymond,[23]: page 123 Sebring's English butler.[31][32][33] Sebring had a butler in real life named Amos Russell, who was interviewed by the police while investigating theTate murders.[34] Despite being removed from the final theatrical cut of the film, Roth still received credit for acting in the film.
Dalton is an actor who starred in the fictitioustelevision Western seriesBounty Law from 1959 to 1963,[23]: page11 inspired by real-life seriesWanted Dead or Alive, starringSteve McQueen.[35] AfterBounty Law, Dalton began to appear in supporting film roles, leading to a four-picture contract withUniversal Pictures, ending in 1967. His film career never took off, and in 1967 he started to guest star on TV series as villains.[23]: 10–18
Booth, Dalton's stunt double, personal assistant and best friend, is an indestructibleWorld War II hero, specializing inknives and close-quarters combat, and "one of the deadliest guys alive."[36][37] He is a two-timeMedal of Honor recipient, and has killed more Japanese soldiers than any other American soldier.[38] Booth first met Dalton during the third season ofBounty Law in 1961 when he was brought in as his stunt double. A month into the job he saved Dalton's life after he caught on fire while filming an episode.[23]: 48–50 Quentin Tarantino andBrad Pitt modeled Booth afterTom Laughlin's portrayal ofBilly Jack.[39] Booth had performed stunts onThe Born Losers and was paid with thedenim outfit worn by Laughlin as Billy Jack, which is what he wears in the film.[23]: 25–26 Booth is inspired byGary Kent, a stuntman for a film made at theSpahn Ranch while theManson Family lived there,[40] as well as stuntman,professional wrestler and two-time nationaljudo championGene LeBell. LeBell came to work onThe Green Hornet after complaints thatBruce Lee was "kicking the shit out of the stuntmen",[41] though some aspects of LeBell's story have been disputed.[42] Like Booth, LeBell was suspected of murder but never convicted.[43] Pitt channeled Steve McQueen's stunt doubleBud Ekins for his portrayal of Booth.[44] Tarantino also revealed that Booth was inspired by a real stuntman who "was the closest equivalent to Stuntman Mike" (Kurt Russell) fromDeath Proof. He was "absolutely indestructible ... scared everybody ... [and] killed his wife on a boat and got away with it."[45]
Billie Booth is Cliff's wife, whose death in the film—and the ambiguity surrounding it—is a reference toNatalie Wood's,[46] as is Billie's sister's name, Natalie.[47] Unlike the ambiguity of the film, in thenovelization Cliff did in fact murder Billie.[48][49] He shot her with aspeargun, almost tearing her in half, which he immediately regretted.[38] There is a connection between Cliff andRobert Blake, to whom Tarantino dedicates theOnce Upon a Time in Hollywood novel.[50] Also in the novelization, Cliff had murdered three other people, including another stuntman.[23]: 72–73, 268
Trudi Fraser (Julia Butters), the precocious child actor who portrays Mirabella onLancer, is inspired byJodie Foster,[51]: 1:20:00–1:22:00 while Mirabella is inspired by the character Teresa O'Brien from said series, portrayed byElizabeth Baur. The character is older in the real-lifeLancer.[52][53] Fraser goes on to become anAcademy Award–nominated actress. Her third nomination is for Tarantino's 1999 remake ofThe Lady in Red.[23]: 353–54
Some characters, such asZoë Bell's stunt coordinator Janet Lloyd and Heba Thorisdottir's makeup artist Sonya, were portrayed by individuals who performed the same jobs for the film.[57][58]
Randy Lloyd is the stunt coordinator forThe Green Hornet,[46] a position that was held byBennie Dobbins on the series in real life.[41][59]
Sharon Tate was an actress married to film directorRoman Polanski, and is Dalton's neighbor in the film.Margot Robbie did not consult Polanski about playing Tate, but read his 1984 autobiographyRoman by Polanski in preparation for the role.[63] Tate filmed her last movie,The Thirteen Chairs, in Italy in 1969 during her pregnancy,[64] at the same time as Dalton films movies there inOnce Upon a Time in Hollywood.[56]
Jay Sebring was a celebrity hairstylist, Tate's friend and ex-boyfriend, and friend of Bruce Lee (whom he helped get started in Hollywood) and Steve McQueen.[55][66] Sebring and Tate attended a party at Cass Elliot's house whichCharles Manson also attended.[67]
Abigail Folger, heir to theFolgers coffee fortune, and her boyfriend Wojciech Frykowski were Tate's friends.[68]
James Stacy was an actor who played Johnny Madrid Lancer onLancer.[69][70] Stacy is last shown in the film leaving theLancer set on a motorcycle; Stacy was in a motorcycle accident in 1973 that resulted in the death of his passenger and the loss of his arm and leg. His ex-wife, actressConnie Stevens, also portrayed in the film, organized a fundraiser for his recovery.[71][55]
Wayne Maunder, who portrayed Scott Lancer onLancer,[69][70] died during the filming of the movie whileLuke Perry, who plays him in his last film role, died shortly afterwards.[72] Luke's sonJack Perry appears with him in the film.[73]
Sam Wanamaker directed the real pilot ofLancer, as he does in the film. The Land Pirates were characters in the real pilot,[70] who also appear in the pilot within the film.[2] Wanamaker led the recreation ofWilliam Shakespeare'sGlobe Theatre after moving to London whileblacklisted from Hollywood in the 1950s.[69] In the film he likens Rick Dalton's character onLancer to Shakespeare'sHamlet.[55] In a deleted scene Wanamaker says, "You'd be amazed how many Westerns the plot isShakespearean." He goes on to try to convince Dalton to play his character asEdmund from Shakespeare'sKing Lear.[74]
Business Bob Gilbert (Scoot McNairy) is a character onLancer being portrayed byBruce Dern.[23]: page254 (McNairy is playing Dern, playing Business Bob)
Bruce Lee was an actor and martial artist who starred asKato onThe Green Hornet. He taught Tate martial arts forThe Wrecking Crew and also trained Sebring, Polanski and McQueen.[66]
Steve McQueen was an actor and friend of Tate, Sebring, and Lee.[66] On the night of the Tate murders, Sebring invited McQueen over toTate's house, but his date wanted to stay in.[68] After the murders, the police found a Manson Family hit list including McQueen's name.[68]
Mama Cass Elliot andMichelle Phillips were members of the folk bandthe Mamas & the Papas. Thesheet music for their song "Straight Shooter" was found on the piano at the murder scene in the Tate–Polanski residence. The song is also used in the film and teaser trailer.[75][76] Polanski had an affair with Phillips while he was married to Tate. After the Tate murders, Polanski suspected Michelle's husband,John Phillips, of the killings out of revenge for the affair.[75]
Connie (Monica Staggs) and Curt (Mark Warrack)[2] arehorse-riding customers at Spahn Ranch. As one way of earning their keep, the Manson family gave horse-riding tours to people visiting the ranch.[77] Tarantino stated that he thinks his mother and step-father (Connie and Curt) took him horse riding at Spahn Ranch when he was six years old.[78]
Perla Haney-Jardine'shippie girl, who sells theacid-dipped cigarette to Cliff Booth, is based on "Today" Louise Malone, a hippie who appears in the 1968 documentaryRevolution.[79][80] As inOnce Upon a Time in Hollywood, she sells the acid cigarettes at a traffic light. Tarantino said the dialogue in the scene is taken from the documentary.[79]
Allen Kincade (Spencer Garrett) is a celebrity television interviewer who is based onWink Martindale. The character was named Wink Martindale in the screenplay but changed to Allen Kincade shortly before shooting due to clearance issues.[81]
The bookseller at Larry Edmunds Bookshop being portrayed byClu Gulager who sells a copy ofTess of the d'Urbervilles to Sharon Tate is Milton Luboviski, who was the real-life proprietor.[82][83][84]
Harvey "Humble Harve" Miller, portrayed by Rage Stewart,[85] was a Los AngelesKHJ BossRadio DJ who was convicted of killing his wife.[86]
The TV showHullabaloo Rick Dalton appears on in the film was a real-life show, and one of thego-go dancers portrayed isLada St. Edmund, who went on to become the highest paid stuntwoman in Hollywood history.[55]
Charlie isCharles Manson, a convicted felon andcult leader of "the Family" (later dubbed "the Manson family" by the media), ahippie commune based inCalifornia. Members of the Family committed nine murders in the summer of 1969.[88]Damon Herriman, who portrays Manson, also portrays him inDavid Fincher'sNetflix seriesMindhunter.[89] Tarantino revealed that, since the Tate murders never happen in theOnce Upon a Time in Hollywood universe, neither do theLaBianca murders. The Manson Family gets kicked off Spahn Ranch and splits up, with Manson never becoming a familiar name or cult figure.[90]
"Pussycat", aka Debra Jo Hillhouse,[23]: page81 is acomposite character, with her nickname based onKathryn Lutesinger's "Kitty Kat", yet modeled after and most notably based onRuth Ann Moorehouse.[77][91] Manson frequently sent Moorehouse into the city to lure men with money back to Spahn Ranch.[77] Lutesinger met Manson through her boyfriend, Bobby Beausoleil.[92] There was a Manson Family member named Pussycat, who is mentioned byEd Sanders in his bookThe Family: The Story of Charles Manson's Dune Buggy Attack Battalion; according to those interviewed, Pussycat underwent anexorcism with Manson present. The real identity of Pussycat is never revealed.[93] She is also an homage to Myra (Laurie Heineman) fromJohn G. Avildsen'sSave the Tiger.[94]
"Squeaky" wasLynette Fromme's nickname, given to her by Spahn because of the sound she made when he touched her.[95] She was Spahn's main caretaker, tending to his needs, sexual or otherwise.[77]
"Tex" wasCharles Watson's nickname. Spahn gave it to him because of his Texas accent.[96] Within the film's universe the police later theorize that Tex, Sadie, and Katie broke into Rick Dalton's house because they "were frying onacid and were out to perform aSatanic ritual," based on Cliff Booth telling them that Tex said he was "the Devil".[23]: page111
"Sadie" wasSusan Atkins' nickname. Manson gave everyone fake IDs, and the name on Atkins' was "Sadie Mae Glutz".[95] Atkins was called "Sexy Sadie" aftera track onthe Beatles'self-titled album that some of the Family members may have believed was about her.[88]: 241, 252, xv Mikey Madison, who played Sadie, would later portray a similar character in the 2022 filmScream. Like Sadie, her characterAmber Freeman is aknife-wielding psycho killer. Amber decides to murder based on films whereas Sadie does so based on TV. Sadie gets set on fire by Rick Dalton, while Amber is set ablaze byGale Weathers (Courteney Cox).[97][98]
"Flowerchild" is the movie's name forLinda Kasabian, the fourth family member to go to Tate's house.[98] In 1970, Kasabian was described as a "trueflower child".[100]
"Snake" was Dianne Lake's nickname, given to her by Manson because she rolled around in grass pretending to be a snake. At 14 she became the youngest member of the Manson Family after being kicked offWavy Gravy'sHog Farm. Her parents were associates of Manson and her mother had droppedacid with him before Lake joined them.[101]
"Blue" wasSandra Good's nickname. Manson told her, "Woman, you're earth. I'm naming you Blue. Fix the air and the water. It's your job."[95]Kansas Bowling, the actress who plays her, appears in the film with her sister Parker Love Bowling, who plays Family member "Tadpole". Parker previously portrayed a Manson girl in a re-enactment for theCanadian History Channel.[102]
"Gypsy" wasCatherine Share's nickname, which she gave herself after meeting a man named Gypsy, with whom she shared a birthday and believed him to be her cosmic twin.[95]
"Happy Cappy" is based onCatherine Gillies, who was nicknamed "Capistrano" by Spahn because she grew up inSan Juan Capistrano and was later shortened to "Cappy" by the family.[103][104] Josephine Valentina Clark, the actress who plays her, added the "Happy" while working on the character.[103]
"Tophat", portrayed in the film by Ronnie Zappa,[105] was an alias ofBobby Beausoleil. In his 2001 bookTurn Off Your Mind,Gary Lachman mentions that, "Beausoleil had a style; atop hat that set him apart from the usual hippie fare."[106] Beausoleil wrote: "I spied a felt top hat in the window of a... shop... I couldn't afford (it)... but it felt like it had been made for me... I couldn't resist the temptation to buy it." Beausoleil claimed that as soon as he put on the hat, ideas floating in his head came together.[107]
The character of "Sundance" was named by Cassidy Vick Hice, the actress who portrays her. She wrote, "I was asked to name my character by Quentin himself."[108]
Straight Satan David, portrayed in the film byDavid Steen,[2] is a member of the Straight Satans Motorcycle Club, associates of the Family. Manson attempted to recruit them as personal security but, with the exception of club treasurer Danny DeCarlo, was unsuccessful. DeCarlo lived on the ranch as part of the Family.[88]: 77, 89, 102
The screenplay forOnce Upon a Time in Hollywood was developed slowly over several years byQuentin Tarantino. While he knew he wanted it to be titledOnce Upon a Time in Hollywood, evoking the idea of afairy tale, he publicly referred to the project asMagnum opus.[110] The life of the work for the first five years was as anovel,[110] which Tarantino considered to be an exploratory approach to the story, not yet having decided if it would be a screenplay. Tarantino tried other writing approaches: the early scene between Rick Dalton and Marvin Schwarz was originally written as a one-act play.[111]
Tarantino discovered the centerpiece for the work about 10 years previously while filming his 2007 filmDeath Proof withKurt Russell who had been working with the same stunt double, John Casino, for several years. Even though there was only a small bit for Casino to do, Tarantino was asked to use him, and agreed. The relationship fascinated Tarantino and inspired him to make a film about Hollywood.[112][113] Tarantino stated, while Casino may have been a perfect double for Russell years earlier, when he met them, "this was maybe the last or second-to-last thing they'd be doing together".[111]
Tarantino first created stuntman Cliff Booth, giving him a massive backstory. Next, he created actorRick Dalton for whom Booth would stunt double. Tarantino decided to have them beSharon Tate's next-door neighbors in 1969. The first plot point he developed was the ending, moving backwards from there, this being the first time Tarantino had worked this way. He thought of doing anElmore Leonard-type story, but realized he was confident enough in his characters to let them drive the film and let it be aday in the life of Booth, Dalton, and Tate. He would use sequences from Dalton's films for the action, inspired byRichard Rush's 1980 filmThe Stunt Man, which used the scenes from theWWI movie they were making within the film as the action.[114] Further, to get his mind into Dalton, Tarantino wrote five episodes of the fictional television showBounty Law, in which Dalton had starred, having become fascinated with the amount of story crammed into half-hour episodes of 1950s western shows.[32]
Tarantino kept the only copy of the third act of the script in a safe to prevent it from being released prematurely.[115] DiCaprio, Robbie, and Pitt were the only other people who read the entire script.[116][32] In an interview withAdam Sandler, Pitt revealed that the only other copy of the script was burned by Tarantino.[117]
After theHarvey Weinstein sexual abuse allegations, Tarantino cut ties with Weinstein and sought a new distributor, after having worked with Weinstein for his entire career. At this point,Leonardo DiCaprio was revealed to be among a short list of actors Tarantino was considering.[120] A short time later, reports circulated that studios were bidding for the film, and thatDavid Heyman had joined as a producer, along with Tarantino andShannon McIntosh.[121]
Butler auditioned, but was unclear about the role for which he was considered. Tarantino told him it was for a villain or a hero onLancer, when in fact it was forTex Watson. To prepare for her audition,Maya Hawke practiced with her father,Ethan Hawke. She stated, "He (Tarantino) actually organized a really amazing callback process that was unlike anything I've ever been through... except maybe auditioning for drama school." Willis auditioned for two roles, neither of which she got, but was later offered the part ofJoanna Pettet.Sydney Sweeney said everyone she auditioned with did so for the same character, then were told they could do extra credit. Some did artwork, and she wrote a letter in character.Julia Butters says her sitcomAmerican Housewife was on while Tarantino was writing her character, Trudi Fraser. He looked up and said, "Maybe she can try this."[141]
Burt Reynolds was cast asGeorge Spahn in May 2018, but died in September before he was able to film his scenes and was replaced byBruce Dern.[132][87] Reynolds did a rehearsal and script reading, which became his last performance. After Reynolds read the script and learned Pitt would be portraying Booth, Reynolds advised Tarantino: "You gotta have somebody say, 'You're pretty for a stunt guy.'" The line appears in the film, spoken to Booth by Bruce Lee.[142] The last thing Reynolds did before he died was run lines with his assistant forOnce Upon a Time in Hollywood.[143]
Tarantino initially approachedJennifer Lawrence to portray Manson family member Squeaky Fromme, saying, "She was interested but something just didn't work out."[118][144] Tarantino had also spoken toTom Cruise about playing Cliff Booth, who was being considered for the role.[121][145]Charlie Day was offered to audition for the part of Manson, but did not appear as scheduled because he did not want to see himself in that role.[146]Macaulay Culkin auditioned for an undisclosed role, which he later characterized as "a disaster" due in part it being his first audition in eight years.[147] It was also initially reported that frequent Tarantino collaboratorSamuel L. Jackson was in talks for a role as the villain of aBounty Law episode.[119]
Tarantino aimed to portray 1960s Hollywood as seen through the eyes of a child, stating:
the jumping off point was going to be my memory – as a six-year old sitting in the passenger seat of my stepfather'sKarmann Ghia. And even that shot, that kind of looks up at Cliff as he drives by theEarl Scheib, and all those signs, that's pretty much my perspective, being a little kid...[45]
Principal photography began on June 18, 2018, in Los Angeles, California, andwrapped on November 1, 2018.[148] Tarantino's directive was to turn Los Angeles of 2018 into Los Angeles of 1969 withoutcomputer-generated imagery.[83] For this, he tapped into previous collaborators for production: editorFred Raskin, cinematographerRobert Richardson, sound editorWylie Stateman and makeup artist Heba Thorisdottir. He also brought first-time collaborators, production designerBarbara Ling, based on her work recreating historical settings inThe Doors, and costume designerArianne Phillips.[149] Despite Tarantino's intent, the production wound up using more than 75 digital visual effects shots byLuma Pictures andLola VFX, mainly to cover up modern billboards and erasing non-1960s buildings from driving shots.[150]
To film at thePussycat Theater, production designer Barbara Ling and her team coveredthe building'sLED signage and reattached the theater's iconic logo, rebuilding the letters and neon. Ling said the lettering on every marquee in the film is historically accurate. To restoreLarry Edmunds Bookshop, she reproduced the original storefront sign and tracked down period-appropriate merchandise, even recreating book covers. Her team restored theBruin andFox Village theaters, including their marquees, and the storefronts around them. Stan's Donuts, across the street from the Bruin, got a complete makeover.[83]
There was a lengthy negotiation period to secure permission to film at thePlayboy Mansion.
ThePlayboy Mansion scene was shot at the actual mansion.[151] Tarantino was adamant about filming there, but obtaining permission took a while, since the mansion had been sold to a private owner followingHugh Hefner's death. Tarantino and Ling met with the new owner to discuss the parts they wanted to use, but he was reluctant since the property was in the middle of a renovation. After long negotiations, he agreed, and Ling was able to dress the vacant mansion, front courtyard, and backyard for the party scene, evoking as much of the 1960s appearance of the mansion as possible.[151] The dance sequence for the scene was choreographed byToni Basil who knew Sharon Tate and once dated Jay Sebring.[26] She also choreographed Dalton'sHullabaloo scene.[26] Though the film is set in 1969, the mansion was actually not acquired by Playboy until 1971, resulting in an obvious anachronism.
Several important scenes were shot at theMusso & Frank Grill, which was a "must have" location for Tarantino according to Rick Schuler, supervising location manager. "I feel so lucky that there's a place like the Musso & Frank Grill, one that exists now exactly how it has always been," Tarantino said. "It was fantastic being able to shoot at an iconic landmark that is so authentic and connected to Hollywood."[152]
The scenes involving theTate–Polanski house were not filmed at Cielo Drive, the winding street where the 3,200 square-foot house once stood. The house was razed in 1994 and replaced with a mansion nearly six times the size. Scenes involving the house were filmed at three different locations around Los Angeles, one for the interior, one for the exterior, and aUniversal City location for the scenes depicting the iconic cul-de-sac driveway.[153]
Movie poster artistSteven Chorney created the poster forOnce Upon a Time in Hollywood as a reference toThe Mod Squad.[154] He andRenato Casaro created the posters for the movies within the film,Nebraska Jim,Operation Dyn-O-Mite,Uccidimi Subito Ringo Disse il Gringo,Hell-Fire Texas, andComanche Uprising, which was reprinted for Dalton's home parking spot.[154]Mad magazine caricaturistTom Richmond created the covers ofMad andTV Guide featuring Dalton's Jake Cahill modeled after the art ofJack Davis.[155]
Tarantino told Richardson, "I want [it] to feel retro, but I want [it] to be contemporary." Richardson shot inKodak35 mm withPanavision cameras and lenses, to weave time periods. ForBounty Law, they shot in black and white, and brief sequences inSuper 8 and16 mmEktachrome. In the film,Lancer was shot on a retrofitted Western street backlot atUniversal Studios, designed by Ling. Richardson crossedLancer withAlias Smith and Jones for the retro-future look Tarantino wanted. The way they filmedLancer was not possible in 1969, but Tarantino wanted his personal touch on it. Richardson said that filming the movie touched him personally: "The film speaks to all of us... We are all fragile beings with a limited time to achieve whatever it is we desire... that at any moment that place will shift... so take stock in life and have the courage to believe in yourself."[151][156] In order to build theLancer set Ling watched "Enormous amounts of episodes" of the series. She built a western town filled withadobe buildings. ForBounty Law, she went for a dusty, dirty, earlyDeadwood look, to separate it from the "MoneyedLancer world".[151]
Spahn Ranch was recreated in detail over about a three-month period.[151] A wildfire completely destroyed the ranch in 1970, so the scenes for the movie were filmed at nearbyCorriganville Movie Ranch inSimi Valley, which was also amovie ranch at one time.[157] Tarantino made sure to use dogs in the scenes. He said in real life, many dogs lived on the ranch and made it feel alive. He even made sure some dogs were moving around in every shot. He was inspired to use the dogs in this manner from the wayFrancis Ford Coppola used helicopters inApocalypse Now during theRobert Duvall scenes.[158]
To improve the use ofpractical effects, Leonardo DiCaprio was allowed to lightstunt coordinators on fire while shooting scenes with a flamethrower.[159] The exterior of theVan Nuysdrive-in theater scene was filmed at theParamount Drive-in theater, since the Van Nuys Drive-in theater no longer exists.[160] As the camera rises up over the theater, the shot transitions to a miniature set with toy cars.[161]: 36:00–39:00 For some of the driving scenes, theHollywood Freeway andMarina Freeway in Los Angeles were shut down for hours to fill them with vintage cars.[162] The scene depicting Bruce Lee training Jay Sebring was filmed at Sebring's actual house.[45]
The scene in which Rick Dalton flubs his lines inLancer was not in the screenplay, but rather an idea DiCaprio had on set while filming. Afterwards Tarantino came up with the idea for Dalton's "freakout" scene in his trailer, taking inspiration fromRobert De Niro's performance inMartin Scorsese'sTaxi Driver. Tarantino stated, "It's got to be likeTravis Bickle when he's in his apartment by himself." DiCaprio improvised the entire scene.[163]
Once Upon a Time in Hollywood premiered at theCannes Film Festival on May 21, 2019, the 25th anniversary of Tarantino's premiere ofPulp Fiction at the festival.[165] It was released theatrically in the United States on July 26, 2019, bySony Pictures Releasing under itsColumbia Pictures label.[166] The film was originally scheduled for release on August 9, 2019, to coincide with the 50th anniversary of theTate–LaBianca murders.[166]
Once Upon a Time in Hollywood was released through digital retailers on November 22, 2019, and onBlu-ray,4K Ultra HD, andDVD on December 10. The 4K version is available as a regular version and a collector's edition.[170] In April 2020,Media Play News magazine announcedOnce Upon a Time in Hollywood earned Title of the Year and Best Theatrical Home release in the 10th annual Home Media Awards.[171] Both the DVD and Blu-ray contain a deleted scene, in which Charles Manson confronts Paul Barabuta, portrayed byDanny Strong, the homeowner and caretaker of theTate-Polanski residence. Barabuta is based on the home's owner, Rudolph Altobelli, and its caretaker, William Garretson.[33][172]
Once Upon a Time in Hollywood grossed $142.5 million in the United States and Canada, and $249.6 million in other territories, for a worldwide total of $392.1 million.[3] By some estimates, the film needed to gross around $250 million worldwide in order tobreak-even,[173] with others estimating it would need to make $400 million in order to turn a profit.[174]
In the United States and Canada, the film was projected to gross $30–40 million from 3,659 theaters in its opening weekend, with some projections having it as high as $50 million or as low as $25 million.[175][176] The week of its release,Fandango reported the film was the highest pre-seller of any Tarantino film.[177] The film made $16.9 million on its first day, including $5.8 million from Thursday night previews (the highest total of Tarantino's career). It went on to debut to $41.1 million, finishing second behind holdoverThe Lion King and marking Tarantino's largest opening.Comscore reported that 47% of audience members went to see the film because of who the director was (compared to the typical 7%) and 37% went because of the cast (compared to normally 18%).[4] The film grossed $20 million in its second weekend, representing a "nice" drop of just 51% and finishing third, and then made $11.6 million and $7.6 million the subsequent weekends.[178][179][180] In its fifth weekend the film made $5 million, bringing its running domestic total to $123.1 million, becoming the second-highest of Tarantino's career behindDjango Unchained.[181] In its ninth weekend, its global total earnings reached $329.4 million, surpassingInglourious Basterds to become Tarantino's second-highest global grosser behindDjango Unchained.[182]
On thereview aggregator websiteRotten Tomatoes, 86% of 580 critics' reviews are positive. The website's consensus reads: "Thrillingly unrestrained yet solidly crafted,Once Upon a Time in Hollywood tempers Tarantino's provocative impulses with the clarity of a mature filmmaker's vision."[183]Metacritic, which uses aweighted average, assigned the film a score of 84 out of 100, based on 62 critics, indicating "universal acclaim".[184] Audiences polled byCinemaScore gave it an average grade of "B" on an A+ to F scale, while those atPostTrak gave it an average of 4 out of 5 stars and a 58% "definite recommend".[4]
The Hollywood Reporter said critics had "an overall positive view", with some calling it "Tarantino's love letter to '60s L.A.," praising its cast and setting, while others were "divided on its ending."[185] ReelViews'James Berardinelli awarded the film 3.5 stars out of 4, saying it was "made by a movie-lover for movie-lovers. And even those who don't qualify may still enjoy the hell out of it."[186]RogerEbert.com's Brian Tallerico gave it four out of four stars, calling it "layered and ambitious, the product of a confident filmmaker working with collaborators completely in tune with his vision".[187] TheChicago Sun-Times,Richard Roeper described it as "a brilliant and sometimes outrageously fantastic mash-up of real-life events and characters with pure fiction", giving it full marks.[188]
Peter Bradshaw ofThe Guardian gave it five out of five stars, praising Pitt and DiCaprio's performances and calling it "Tarantino's dazzling LA redemption song".[189] Steve Pond ofTheWrap said: "Big, brash, ridiculous, too long, and in the end invigorating, the film is a grand playground for its director to fetishize old pop culture and bring his gleeful perversity to the craft of moviemaking."[190]Peter Travers ofRolling Stone awarded the film 4.5 out of 5 stars, remarking that "All the actors, in roles large and small, bring their A games to the film. Two hours and 40 minutes can feel long for some. I wouldn't change a frame."[191] Katie Rife ofThe A.V. Club gave it a B+, noting "The relationship between Rick and Cliff is at the emotional heart ofOnce Upon A Time... In Hollywood" and calling it Tarantino's "wistful midlife crisis movie".[192]
InLittle 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."[193] Writing forVariety,Owen Gleiberman called it a "heady engrossing collage of a film—but not, in the end, a masterpiece."[194]
Richard Brody ofThe New Yorker called it an "obscenely regressive vision of the sixties" that "celebrates white-male stardom (and behind-the-scenes command) at the expense of everyone else."[195] Caspar Salmon ofThe Guardian took issue with the violence in the film, writing, "Tarantino's filmography reveals a director in search of increasingly gruesome settings to validate his revenge fantasies and...blood-thirst."[196]
Since its release,Once Upon a Time in Hollywood has been regarded as one of thebest films of the 2010s and 21st century.[c] TheWriters Guild of America ranked the film's screenplay the 22nd greatest of the 21st century.[16][17] Tarantino has stated thatOnce Upon a Time in Hollywood is his favorite film of those he has made.[18][19][20] The February 2020 issue ofNew York Magazine listsOnce Upon a Time in Hollywood as among "The Best Movies That LostBest Picture at theOscars."[197]
Dan Schindel ofHyperallergic wrote of the symbolism in the film'snostalgia. He wrote the detail is almost "microscopic", in its use of "hundreds of periodephemera" across various mediums, most of which is unrecognizable to most viewers. Schindel writes that these forgotten memories surround the character of Rick Dalton because he too is a piece of forgotten nostalgia. Schindel also writes about the dynamics between the characters. Dalton and Booth represent theduality of attitudes towards "their seeming impendingobsolescence." Booth being relaxed and accepting it and Dalton being fragile and insecure about it. Critic Raphael Abraham extends this view, noting that Tarantino's use of nostalgia in the film reaches beyond character to reimagine history itself. By turning the tragic Manson murders into a kind of fairytale, Tarantino uses revisionist storytelling to create a "joyride" through the darker moments of Hollywood's past, allowing characters like Dalton to find symbolic redemption amid the backdrop of a reimagined 1969.[206] As Dalton's whole life is about how he is perceived, he is obsessed with how he wishes to be perceived.Sharon Tate, also an actor, is filled with joy when she is able to see herself entertain a theater audience. But, Schindel says, that scene also humanizes her, making her a person, rather than the "victim" she has become. He also expresses that Dalton and Booth representOld Hollywood, while Tate representsNew Hollywood and the future. Schindel states that Tarantino uses darkness, both for Booth and his questionable past as well as in theManson Family. While Booth's possible crimes shade the nostalgia, the Manson clan shades the future. In the end, however, not only are Booth and Dalton able to save the future, but Dalton becomes the hero he always wanted to be.[207]
Travis Woods also wrote of what the three characters represent and how it is demonstrated in the film. He states that the three leads represent the past, present, and future. Dalton is the past, stuck in a fading world and afraid to let go. Booth is the present, always living in the moment, and Tate the promise of a future on the rise. They also represent three class levels of Hollywood with Booth literally living in the shadows of the movie industry. His home is a trailer in the shadows of the Van Nuys Drive-In Theater. Woods also construes how Booth being the stunt double of Dalton is illustrated throughout. Dalton struggles with an emotional arc and change, while Booth clashes with danger and physical obstacles. Woods points out the actor's job is to provide the audience with the emotional arc, while the stuntman's job is to step in for the physicality and danger, as told to us in the first scene. This is shown when Dalton faces hisexistential fears on the set ofLancer by taking on a new acting challenge on a Western set and overcoming his fears and inner struggles. Meanwhile, Booth comes in to handle the dangerous stuff on another Western set where he also triumphs. While they both have their victories, Tate has hers as well by not only simply living her life but also by watching herself in a movie with an audience. Woods writes the finale ties it all together; "How a stunt works, and fantasy is made real: the actor performs a scene all the way up to a threat of violence. There's a cut, and the stunt double enters the scene, stands in for the actor and cheats death." And so, Dalton fearlessly confronts the would-be killers outside of his home. After a cut, "Booth enters the scene... cheats death," and handles the physical danger. At the end, Dalton re-enters and gets the glory. A feat that could not have been achieved by either the actor or stuntman alone, but only together. Woods concludes, this also represents the past and present "uniting to allow for a better future". "The past leads to the present, and the present leads to the future, and all three are required for the narrative to continue."[208]
David G. Hughes wrote of the symbolized fantasy. He noted that Tate is a "symbol ofeffervescent life, unadulterated joy, and graceful innocence,"[209] whileMichael Phillips of theChicago Tribune saw the character as aGoddess.[210] However Hughes was much more interested in what Booth represents. He wrote how Dalton's stress and psychological issues prevent him from being a symbol of fantasy for the audience. Booth is the film's hero and simultaneously works loyally for Dalton from a place of low social standing. Hughes states this could be "aMarxist point about invisible labor and theSubstructure." However, Hughes feels this does not work to engage the audience. He draws onSigmund Freud and hisPsychopathic Characters on the Stage. He says what makes Booth interesting and particularly Brad Pitt's portrayal of him issex appeal. Being handsome, strong, loyal, and courageous makes him desirable. Hughes states that Booth isLaura Mulvey's "...perfect, ...complete, more powerful ideal ego." Tarantino has Booth fightBruce Lee to create themyth of Booth. Hughes also writes that Booth embodies theBuddha's teachings onZen, but also that he is capable of "barbaric violence". These qualities make him the "fantasy of righteous male power". Hughes compares Booth toCharles Manson, saying both are violent outcasts who sit between the worlds of WesternRenaissance andEastern philosophy. However, he says they are theantithesis of each other. While Booth has a code, Manson only serves himself. Manson "is Hollywood's monster from theid [and Booth] is itsego ideal and savior."[209] ALos Angeles Catholic bishop,Robert Barron, praised the character of Cliff Booth as embodying the fourcardinal virtues.[211]
Naomi Fry ofThe New Yorker wrote how the film is about the disposability of people in Hollywood. She sees Dalton and Tate as needing to be seen as their livelihoods depend on it and "an actor onscreen as a conduit for [their] own fantasies and those of others." Dalton feels he is no longer able to do this, and is tortured by the feeling. Booth has also been discarded by Hollywood to the point of Dalton having to beg for him to be used. Fry says of Dalton's career that there is "a sense of the ruthlessness of Hollywood, whose denizens are devastated when the industry almost inevitably turns away its gaze." She also notes how Tarantino "pulls a neat trick by casting DiCaprio and Pitt," two of the biggest movie stars as a has-been and a nobody.[212]
Armond White andKyle Smith ofNational Review, in separate reviews, interpreted and praised the film as being politicallyconservative, with Smith writing that "It mercilessly sends up leftist values. In its foundations, it's so breathtakingly right-wing it could have been made byMel Gibson."[213][214]
TheologianDavid Bentley Hart wrote thatOnce Upon a Time "exhibit[s] a genuine ethicalpathos" 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 thatalternative reality, thatterrestrial paradise that evil could not enter."[215]
Av Sinensky wrote about the ending of the film whenSusan Atkins concludes that the Manson Family members should kill Dalton because he played a character who killed people on TV, he "taught them to kill." Sinensky notes that Tarantino is putting "the words of his critics into the mouth of a Manson murderer," regarding his use offictional gratuitous violence.[216] While David G. Hughes opined that Tarantino is using the scene to say that those who crusade against fictional violence are hypocrites and complicit in real violence. Hughes wrote that by switching the real-life violence by Manson Family members with movie violence instead directed at them, "Tarantino is making a firm distinction between cruel real-world violence and ethical,cathartic fantasy violence."[209]
Priscilla Page identified the mythological narrative of the Manson Family murders as "fram[ing] our understanding of what was happening in America and the world." In the film Spahn Ranch represents the intersection of Hollywood fantasy "and the dark underbelly of Los Angeles."[217] Michael Phillips likened the Manson girls to "strung outSirens,"[210] while Page described the Manson Family as "ghosts haunting Spahn Ranch... Demons to beexorcised." When Booth matchesTex Watson's pointed gun with his pointed finger, justice lies with the fictional violence that purges the mythologized violence. Revenge is furthered as "the film denies Manson a meaningful presence... demythologizes [him], reduces him to a cameo, exposes the Manson Family as inept, and makes Sharon Tate the story's beating heart."[217]
Steven Boone referred to Dalton going to Tate's house as "entering thegates ofCielo Drive's Hollywood heaven." Something his colleague Simon Abrams also alluded to when he commented, "Jay Sebring invites [Dalton] in for a drink like a hipperSt. Peter."[218] Dan Schindel also saw Dalton's walk up Tate's driveway as "anascent to heaven", based on the "rising camera movement".[207] Naomi Fry compared Dalton going through the gates as him entering theGarden of Eden.[212]
Writing in the academic journalAnimation,Jason Barker draws fromAristotle'sPoetics to analyze in detail the film's use of "cartoon violence", speculating that such violence "is more or less inversely related to the film's dramatic content". Barker concludes that: "Through self-indulgent, inane, insane and tyrannical cartoonism,Once Upon a Time. . . in Hollywood presents not so much a measure of contemporary violence, as a measure of indifference to violence: dramatic indifference and, perhaps, social indifference to a cartoon violence that is real in more ways than one."[219]
Several critics interpreted Cliff Booth as anunreliable narrator when it came to him remembering his fight with Bruce Lee. "In the span of seconds" the fight "goes from being viewed by dozens of people to absolutely no one." The crowd just disappears which some believe shows the flashback to be a "false memory". The interpretation is that Booth is only remembering what he wants to and "the purpose of that scene is to show us we can't trust Cliff."[220][221]
Steven Hyden ofUproxx interpreted the ending of the film as a vision of Cliff Booth brought on through his consumption ofLSD. Hyden proposes that when Booth smokes the acid-cigarette and says, "And away we go," it marks the beginning of his vision. He then leaves to take his dog Brandy for a walk, walking by the car of killers down the street who Hyden believes Booth sees in the car and recognizes fromSpahn Ranch. This allows Booth's imagination to run wild thanks to the acid. He imagines the killers in the car talking about his and Dalton's show,Bounty Law. He then imagines a scenario that lets him play out hisviolent fantasies and allows Dalton to be a hero, using a flamethrower from a film he would never actually still own but which occupies a place in Booth's memory. Hyden writes that the ending is Booth'shallucinatory fantasy that allows him to stay employed by Dalton, while also allowing Dalton to be accepted by the New Hollywood elite, Sharon Tate. Also that in this fantasy Tate and members of the Manson Family are fans of Dalton, just as Booth is.[222]
Steven Boone ofThe Hollywood Reporter also commented on the ending feeling like Booth's fantasy. About the ending, he wrote "It's as if stuntman Cliff, a serene Hollywood foot soldier...was the editor here."[218] Kyle Anderson theorized the ending is not only Booth's fantasy but Dalton's as well. He states that Booth's memory of fighting Lee is "his twisted recollection of an event that probably didn't happen." Anderson notes that "Cliff is a completepsychopath" whose life has amounted to menial labor, while "Rick [is] a washed-up loser." The ending is not "just a dream of what might have happened," it is Booth's and Dalton's dream. Booth gets to fulfill his hero fantasy and instead of Dalton losing his house and career he gets to be idolized and accepted by the "cool kids".[223]
Anna Swanson wrote about the death of Billie and how it is used to frame the rest of the film. She writes how Tarantino not showing us what happens is a deliberate decision and also an homage to the death of Marvin (Phil LaMarr) inPulp Fiction and the fact we do not know why Vincent Vega's (John Travolta) gun goes off and shoots Marvin. Within the film one can interpret Billie's death as Cliff's speargun accidentally going off in the same vein as Vincent's gun, or as a cold-blooded murder by Cliff and a cover up, or in a number of other scenarios. Swanson argues that which interpretation the individual viewer has will lead them to view the rest of the film through that lens and have a completely different experience than someone who views it alternatively. She notes we do not even know whose perspective the Billie Booth scene is from. It is a flashback within a flashback and so could be Cliff's memory but as it is told by Randy it could be his perspective based on what he heard. It could be what Cliff is imagining Randy is saying to Rick. It could even be an "omniscient perspective". If one views Cliff as innocent it makes him easier to like, and could be "suggesting an innocent man's life can be ruined by unfortunate circumstances beyond his control." However, if one views Cliff as guilty, "It's a depiction of the extent to which someone can literally get away with murder." In referencing the ending of the film, Swanson asks if Cliff is guilty, "Are we supposed to forgive one death he caused because of the lives he saved?" Swanson concludes that another purpose of the scene is to build up the theme of "Hollywood mythology". Referring to the scene's allusion toNatalie Wood, she writes "the myths last, while the truth is lost in an ocean vaster than the rolling neon streets of the Hollywood of yore."[47]
Lindsey Romain says the scene is "aRorschach 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, "IsOnce Upon a Time... in Hollywood a touchingfable 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."[224]
Writing forThe Washington Post, Sonny Bunch commented on the mid-credits Red Apple cigarettes advertisement scene. He believes it is a commentary of current filmmaking and a "pitch-perfect parody of the films that have dominated box office charts in recent history." Bunch compares the fake ad to the real ones used as mid-credit scenes in theDC,Marvel, andFast & Furious franchises. The scenes in those films are used to advertise the next film in their franchise. He also notes how those ads tie their franchises' universes together just as Red Apple does with the Tarantino universe.[225]
Archive footage from many films is included inOnce Upon a Time in Hollywood, includingC.C. and Company,Lady in Cement,Three in the Attic, andThe Wrecking Crew, in whichSharon Tate appears as Freya Carlson.[229] Three scenes were digitally altered, replacing the original actors with Rick Dalton. One from an episode ofThe F.B.I., entitled "All the Streets Are Silent", in which Dalton appears as the character portrayed byBurt Reynolds in the actual episode.[226] Another from the Sergio Corbucci filmDeath on the Run, with Dalton's face imposed overTy Hardin's.[227] The third is fromThe Great Escape, with Dalton appearing asVirgil Hilts, the role made famous bySteve McQueen.[226] ForTanner, the credits sequence fromAcross a Crooked Sky with Richard Boone is used. ForThe 14 Fists of McCluskey, a World War IIfilm-within-the-film starring Dalton, footage and music fromHell River is used.[230]
Cliff Booth is a reference to Brad Pitt's character in Tarantino'sInglourious Basterds, Lt.Aldo Raine, a special forces WWII veteran who takes the cover of a stuntman.[226] One of Rick Dalton's Italian films in the movie is directed by real-life directorAntonio Margheriti. Antonio Margheriti is also used as an alias for Sgt.Donny Donowitz (Eli Roth) inInglourious Basterds.[226] The scene involving Dalton playing a character who burns Nazis with a flamethrower is similar to the ending ofInglourious Basterds, which ends with Nazi leadership being burned to death.[226][231]
The final scene features Dalton in a commercial for fictional Red Apple cigarettes, which appear in many Tarantino films.[231] Additionally another common Tarantino brandBig Kahuna Burger is advertised on a billboard.[226] When Dalton and Booth get back from Italy they walk by the blue mosaic wall inLAX, the same wall that the title character in Tarantino'sJackie Brown (Pam Grier) moves past in the opening credits of that film.[232] The characters of stunt coordinator husband and wife, Randy (Kurt Russell) and Janet Lloyd (Zoë Bell) are an homage to characters in Tarantino'sDeath Proof; Stuntman Mike McKay (Russell) and Zoë Bell who plays herself, a stunt woman.[46]
In a scene,Sharon Tate goes into Larry Edmunds Bookshop and purchases a copy ofTess of the d'Urbervilles.[46] In real life, Tate gave a copy toRoman Polanski shortly before her death. In 1978 Polanski directed the film adaptation,Tess (1979), dedicating it to Tate.[46]
Tate and Polanski'sYorkie Terrier in the film is named "Dr. Sapirstein",[46] as was Tate's Yorkie in real life, named after the doctor portrayed byRalph Bellamy inRosemary's Baby.[237] The carrier she puts the dog in is the one that Tate actually owned.[237]
TheFox Bruin Theater, which appears in one of the film's key scenes, inspired by a real life experience of the film's director Quentin Tarantino.
In the film, Tate goes to seeThe Wrecking Crew at theFox Bruin Theater. She convinces the theater's employees that she stars in the movie after they fail to recognize her. Tarantino stated the scene came from a personal experience. WhenTrue Romance was released, he saw it at the same theater, where he eventually convinced its employees that he wrote the script.[162]: 39:00–42:00 The outfitMargot Robbie wears in the scene is based on the one Tate wore inEye of the Devil.[46]
On the set ofBatman, for a crossover episode withThe Green Hornet,[238] a fight was scripted withKato (Bruce Lee) losing toDick Grayson'sRobin (Burt Ward). When Lee received the script, he refused to do it, so it was changed to a draw. When the cameras rolled, Lee stalked Ward until Ward backed away. Lee laughed and told him he was "lucky it is a TV show."[239] StuntmanGene LeBell carried Lee around in a Fireman's Carry when he first arrived onThe Green Hornet set in response to Lee being tough on stuntmen.[240] In the film, stuntman Cliff Booth fights Lee on the set ofThe Green Hornet; the fight ends in a draw. Booth refers to Lee as "Kato".[233]
According to Rudolph Altobelli, who rentedthe house to Polanski and Tate, in March 1969,Charles Manson showed up. Polanski's friend, Iranian photographer Shahrokh Hatami (who directed the short documentaryMia and Roman) also said he saw Manson enter the grounds. Hatami approached Manson, asking him what he wanted. He told Hatami he was looking forTerry Melcher. Hatami responded the house was the Polanski residence and perhaps Melcher lived in the guest house. Altobelli told Manson that Melcher no longer lived there.[241] This happens in the film, withJay Sebring in place of Altobelli and Hatami.[242]
On the night of August 8, 1969,Patricia Krenwinkel,Tex Watson, andSusan Atkins broke into Tate's house, murdering her and four others.[88]: 176–180 In the film, they go to Tate's house to commit the murders but instead end up breaking into Dalton's house after he interrupts them.[98]Linda Kasabian went along that night, though she did not murder anyone and stayed outside the whole time as a lookout. In the film, she goes along and does not murder anyone but takes off and does not stay.[98] Watson told his victims, "I'm the Devil, and I'm here to do the Devil's business." In the film, he says it to Cliff Booth.[243]
In the film, Atkins convinces the others to seek revenge by killing Rick Dalton, star of a TV western. Since TV taught them to kill, it is fitting they kill the guy from TV, and "My idea is to kill the people who taught us to kill!"[98][244] In real life,Manson Family memberNancy Pitman said: "We are what you have made us. We were brought up on your TV. We were brought up watchingGunsmoke andHave Gun – Will Travel."[245]Sandra Good said: "You want to talk about devils and demonic and immorals and evil, go to Hollywood. We don't touch the evil of that world. We don't even skim it."[246] In the film when the four Manson Family members who drive to Tate's house are sitting outside in their car, Rick Dalton comes out of his house and yells at them to leave. In real-life the four members stopped at the house of Rudolf Weber, down the street from Tate's house. Weber came out and yelled at them to leave. Weber told the police he was tired of hippies on his street.[247]
Clem Grogan was convicted of the murder of stuntmanDonald Shea on Spahn Ranch, whom he repeatedly beat with a lead pipe.[248] In the film, Grogan is instead beaten by stuntman Cliff Booth.[249] The 1959Ford Galaxie driven by the Manson Family is a detailed replica of the car used in the Tate–LaBianca murders. Car coordinator Steven Butcher found the actual car, but after a meeting with Tarantino, they decided using it would be "too creepy".[235]Boeing 747s are used in several airliner scenes, but were not incommercial use until 1970;[250] the film is set in 1969.[251]
On August 6, 2021, the rock bandTwin Atlantic released aOnce Upon a Time in Hollywood-themedmusic video for their song "Bang On the Gong," with lead singer, Sam McTrusty taking inspiration from Rick Dalton.[252]
During the opening credits of the Japanese anime,Chainsaw Man, the opening scene of the movie has been referenced.[253]
Bruce Lee, portrayed in the film byMike Moh. The film's depiction of him was criticized by some for being offensive and inaccurate.
The film's depiction ofBruce Lee drew criticism. In the film, Lee is asked on a film set whether he could defeatMuhammad Ali in a fight, to which he responds that he would "make him a cripple". Cliff responds with laughter, causing Lee to challenge him to a fight. Although Lee initially kicks Cliff to the ground, Cliff manages to throw Lee into the side of a car. Fans and contemporaries of Lee, including his protégéDan Inosanto, criticized the portrayal.[254][255] Lee's daughterShannon described the depiction as "an arrogant asshole who was full of hot air" and that "they didn't need to treat him in the way white Hollywood did when he was alive."[255] Lee's student and friendKareem Abdul-Jabbar,[256] who starred with Lee inGame of Death, stated that Tarantino's portrayal of Lee was "sloppy and somewhat racist".[257]
Mike Moh, who played Lee, said he was conflicted at first: "Bruce in my mind was literally a god. [He] didn't always have the most affection for stuntmen; he didn't respect all of them."[258] He stated, "Tarantino loves Bruce Lee; he reveres him."[259] Brad Pitt and stunt coordinator Robert Alonzo objected to an extended version of the fight in which Lee loses.[260] According to Lee's friend andThe Green Hornet stuntmanGene LeBell, Lee had a reputation for "kicking the shit out of the stuntmen. They couldn't convince him that he could go easy and it would still look great on film."[41] In the 2018Bruce Lee: A Life, Lee's biographerMatthew Polly wrote, Lee would jump-kick people on the set. According to Lee's co-starVan Williams, it stopped when "He dislocated [a set designer's] jaw." Polly continued, "Bruce insisted on close quarters combat. The stuntmen hated it." Williams said, "[The stuntmen] ... didn't want to work on the show. They were tired of getting hurt." LeBell was tasked with "calming Bruce down."[240]
Tarantino responded, saying Lee was "kind of an arrogant guy," and that Lee's widow,Linda, wrote in her 1975 bookBruce Lee: The Man Only I Knew that he could beat Muhammad Ali.[261] Polly considered this a misquote as Linda only wrote, "Even the most scathing critics admitted that Bruce'sGung fu was sensational. One critic wrote, 'Those who watched him would bet on Lee to render Cassius Clay (Ali) senseless if they were put in a room and told anything goes.'"[262][263] In 1972, Lee himself stated: "Everybody says I must fight Ali some day. ... Look at my hand. That's a little Chinese hand. He'd kill me."[264][262]
Shannon filed a complaint with theChina Film Administration affecting the film's release in China unless alterations were made. After Tarantino refused to remove the scene, China cancelled the release of the film on October 18, 2019, one week before its release date there.[265]
After being contacted over concerns, Tarantino invited a representative ofRoman Polanski,Sharon Tate'swidower, over to his house to read the script and report back to Polanski, to assure him "he didn't have anything to worry about". Tarantino stated: "When it comes to Polanski, we're talking about a tragedy that would be unfathomable for most human beings," and that he did not contact him while writing it, as he did not want to cause him anxiety. Despite this, Polanski's wife,Emmanuelle Seigner, criticized Tarantino for using Polanski's likeness after the film's premiere.[266]
Debra Tate, Sharon's sister, initially opposed the film, saying it was exploitative and perpetuated mistruths: "To celebrate the killers and the darkest portion of society as being sexy or acceptable in any way, shape or form is just perpetuating the worst of our society." After Tarantino contacted her and showed her the script, she withdrew her opposition, saying: "This movie is not what people would expect it to be when you combine the Tarantino and Manson names." She felt that Tarantino was a "very stand-up guy"; after visiting the set, she was impressed by Robbie and lent her some of Sharon's jewelry and perfume to wear in the film.[267]
After the premiere, journalist Farah Nayeri asked Tarantino why Robbie had so few lines. Tarantino responded, "I reject your hypothesis." Robbie elaborated, "I think the moments on screen show those wonderful sides of [Tate] could be adequately done without speaking."[268] Tarantino said, "I thought it would both be touching and pleasurable and also sad and melancholy to just spend a little time with [Tate], just existing... I wanted you to see Sharon a lot."[32]
Charles Manson was convicted of the murders of Tate and four others, despite not being present, due mostly to a theory presented byprosecutorVincent Bugliosi that Manson was trying to instigate anapocalypticrace war, leaving only Black Muslims[88]: 246 and the Family. According to the theory, the Black Muslims[88]: 246 would eventually look to Manson to lead them. According to members of the Family –Paul Watkins,Juan Flynn andBarbara Hoyt – Manson referred to the race war asHelter Skelter, getting the name from thesong of the same name.[88]: 244–247, 334, 361–362 [269]
Musician and filmmakerBoots Riley criticized Tarantino's film for not portraying Bugliosi's Helter Skelter narrative, or depicting the Family aswhite supremacists,[270] as didLorraine Ali of theLos Angeles Times, in which she wrote that portraying the Manson Family as hippies is "a more bankable image than Manson the ignorant white supremacist."[89]
According toJay Sebring's protégé and business partnerJim Markham, who provided original Sebring hair products forOnce Upon a Time in Hollywood, the murders were instigated by a drug deal gone bad, not a race war. He believes Manson was at Tate's house the day before the murders to sell drugs to Sebring and Voytek Frykowski, which resulted in the two beating Manson up.[272] In his interview withTruman Capote, Beausoleil said, "They burned people on dope deals. Sharon Tate and that gang."[273]
OnThe Joe Rogan Experience, Tarantino said he thought Bugliosi's theory was "bullshit". He believes Manson never sent anyone over to Tate's house to murder anyone, and that the murders happened spontaneously.[274]
In November 2020, Tarantino signed a two-book deal withHarperCollins. On June 29, 2021, he published his first novel, an adaptation ofOnce Upon a Time in Hollywood.[275][276] Theaudiobook is narrated byJennifer Jason Leigh who previously starred in Tarantino'sThe Hateful Eight.[275] According to Tarantino, herHateful Eight character Daisy Domergue was "A Manson girl out west, likeSusan Atkins or something."[277]
According to Tarantino, the novel is "a complete rethinking of the entire story," and adds details to various sequences and characters, including several chapters dedicated to the backstory of Cliff Booth.[278] The novel also departs from the film, the film's finale occurs towards the beginning of the novel, and its aftermath includes Rick Dalton earning newfound fame as a regular onThe Tonight Show Starring Johnny Carson.[38] It also focuses onCharles Manson's pursuit of a music career,[38] the "inner worlds" of Sharon Tate and Trudi Fraser,[279] and has a whole chapter focused on actorAldo Ray.[23]: 337–349
In June 2021, Tarantino revealed he wrote and plans to publish a second novel connected toOnce Upon a Time in Hollywood about the films of Rick Dalton.[51]: 45:00–47:00 The book details every film and TV series of Dalton's entire career, some of which are completely fictional but the majority of Dalton's work are real, with Dalton replacing the actors who actually starred in the films.[51]: 46:00–48:00 In it, Cliff Booth writes a film for Dalton featuring a flamethrower, which they produce and Dalton directs.[51]: 47:00–49:00
In April 2025, it was reported thatDavid Fincher had been hired to direct a sequel, withNetflix acquiring the film's screenplay from Tarantino. DiCaprio and Pitt were in talks to reprise their roles as Rick Dalton and Cliff Booth respectively.[280][281][282] It was reported byDeadline Hollywood later that same month that the film would be calledThe Continuing Adventures of Cliff Booth and would follow Booth as a Hollywood studiofixer.Elizabeth Debicki,Scott Caan andYahya Abdul-Mateen II were cast in the film later that year.[283][284][22] The film is scheduled to be released in select theaters and on Netflix in 2026.[285]
On August 5, 2019, it was announced that a four-hour cut of the film may be coming toNetflix.[286] On January 3, 2020,Collider confirmed the statement in an interview with Quentin Tarantino, revealing the extended-cut ofOnce Upon a Time in Hollywood would probably be available in approximately one year.[287] In June 2021 Tarantino said the extended cut would probably be released "in a couple of years." It will be around three hours and 20 minutes and be released theatrically.[288]: 38:00–40:00
Also in 2019, Tarantino expressed interest in creating aBounty Law television series based on five half-hour scripts he wrote in preparation for the film and that he plans on writing three more episodes.[32] Tarantino said he does not know who would play Jake Cahill, the lead but added "if [Leonardo DiCaprio] wants to do it that'd be great."[32] The series would be shot inblack and white and follow the half-hour format ofWestern television shows from the 1950s.[32] Scenes from the episodes already written appear inOnce Upon a Time in Hollywood. Tarantino plans on directing all episodes of the series.[289]
In June 2021 Tarantino announced his plan to produce a stage adaptation ofOnce Upon a Time in Hollywood. He already wrote the play, which takes place inItaly. The entire second act consists of Rick Dalton, Marvin Schwarz, andSergio Corbucci having dinner inRome.[290]
^abKiang, David Fear, Peter Travers, Katie Walsh, Amy Nicholson, Tim Grierson, Jessica (December 18, 2019)."The 50 Best Movies of the 2010s".Rolling Stone. RetrievedMarch 15, 2025.{{cite magazine}}: CS1 maint: multiple names: authors list (link)
^Hirschberg, Lynn (October 12, 2019)."Episode 1: Margot Robbie".W Five Things (Podcast). Event occurs at 6:00-8:00-Robbie confirms this herself.Archived from the original on July 21, 2021. RetrievedJuly 21, 2021 – via Anchor FM.
^Kane, Elric; Saur, Brian; McLean, Julie (February 17, 2020)."Michael Madsen".Pure Cinema (Podcast).The New Bev. Event occurs at 1:24:00-1:25:00.Archived from the original on February 27, 2020. RetrievedAugust 1, 2021.
^O'Connell, Sean; McCarthy, Kevin; Hamilton, Jake; Kovacs, Gabriel (December 29, 2019)."Quentin Tarantino Vol. 2".ReelBlend (Podcast).CinemaBlend. Event occurs at 1:16:00-1:18:00.Archived from the original on July 7, 2021. RetrievedJuly 6, 2021 – via Podbay.fm.
^Dorsey, Michael; Michaels, Scott (August 18, 2019)."Episode 11 - Once Upon a Time in Hollywood".Dearly Departed (Podcast). Event occurs at 1:12:00-1:14:00.Archived from the original on August 1, 2021. RetrievedJuly 31, 2021 – via Listen Notes.
_(cropped_2).jpg)
.jpg)
.jpg)
