Quentin Tarantino is getting into the NFT game | Little White Lies

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Quentin Taran­ti­no is get­ting into the NFT game

02 Nov 2021

Words by Charles Bramesco

Two men in suits, one with a curly afro, having a conversation.
Two men in suits, one with a curly afro, having a conversation.
The direc­tor is set to auc­tion off nev­er-before-seen scenes from Pulp Fic­tion, con­tain­ing secret’ content.

Sure­ly some­one, some­where knows what NFTs are beyond the equal­ly inscrutable descrip­tor of non-fun­gi­ble token’, but every attempt to explain this boom­ing new com­mod­i­ty inevitably cre­ates more ques­tions than it answers. They’re basi­cal­ly dig­i­tal assets you pur­chase with a lot of mon­ey – except they’re spe­cial in some way, and their code may con­tain secret good­ies. Blockchain and cryp­tocur­ren­cy are also some­how involved in this.

What­ev­er an NFT may or may not be, what we do know is that Quentin Taran­ti­no is get­ting into this prof­itable new enter­prise. A report from Bloomberg notes that the acclaimed film­mak­er will auc­tion off sev­en nev­er-before-seen Pulp Fic­tion scenes in the form of NFTs, sure to cost their even­tu­al buy­er an eye­brow-rais­ing price point to rival the five-dol­lar shake.

Each unit will have a vir­tu­al cov­er” embla­zoned with orig­i­nal art per­tain­ing to the film, but the col­lec­tors are real­ly pay­ing for what’s under the hood. Hid­den con­tent embed­ded in the NFT file will include scanned pages of the orig­i­nal hand­writ­ten script, still cov­ered in Tarantino’s asides, notes, doo­dles, and cross-outs as the ulti­mate cre­ator com­men­tary track.

The action will take place online in a dig­i­tal mar­ket­place called OpenSea, sup­port­ed by the pri­va­cy-ori­ent­ed blockchain known as Secret Net­work. There’s some mea­sure of con­tro­ver­sy attached to this, that a secret launch” goes against the prin­ci­ples of open access on which blockchain was found­ed, a debate in which the glut of Taran­ti­no fans will glad­ly remain uninvolved.

But the ques­tion of pub­li­ca­tion does fig­ure sig­nif­i­cant­ly here, recall­ing the case of the one-of-a-king Wu-Tang Clan album now pri­vate­ly owned by a cap­i­tal group. Will they share their trea­sure with the world, hoard it for them­selves, or in all like­li­hood, charge a sig­nif­i­cant fee for the priv­i­lege of down­load­ing it? This same quandary now applies to what could be a rev­e­la­to­ry glimpse into the ear­ly years of a major film artist.

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