Last night I interviewed Quentin Tarantino in theater Carré in Amsterdam on the occasion of the Dutch publication of his book ‘Cinema Speculation’.
Richard Brody wrote in The New Yorker about this book:

‘There are three basic kinds of good nonfiction: the kind that results from consummately professional work, featuring thorough research, organizational clarity, analytical insight, wide-ranging knowledge, and writerly style; the kind that represents an outpouring of passionate affinity to the subject matter, a Virgil-like journey into otherwise inaccessible realms; and the kind that delivers the uniqueness of personal experience. “Cinema Speculation” has a foot in all three domains, and, since Tarantino has two feet, it makes for a lot of fancy footwork—which he pulls off, for the most part, with jittery, skittery energy.’

Jittery, skittery energy, these are the words.

We started the evening with Grizzly Man and Timothy Treadwell, because Mr. Tarantino writes in the first chapter of his book: ‘In some ways I was like a child version of Grizzly Man, able to observe grown-ups at night in their natural habitat. It was in my best interest to keep my mouth shut and my eyes and ears open.
This is what adults did when they weren’t around children. This is how adults socialized.
This is what they talked about when they were with each other. This is the shit they liked to do.
This is the shit they found funny.
I don’t know if it was my mother’s intention or not, but they were teaching me how adults socialized with each other.’

A child version of Grizzly Man, that’s a key to the enigma that Mr. Tarantino obviously also is.