Wayne Williams was born on May 27, 1958, and raised in the Dixie Hills neighborhood of southwest Atlanta, Georgia, the son of Homer and Faye Williams. Both of his parents were teachers. Williams graduated from Douglass High School and developed a keen interest in radio and journalism. He constructed his own carrier current radio station and began frequenting stations WIGO and WAOK, where he befriended a number of the announcing crew and began dabbling in becoming a pop music producer and manager.
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. The week of its release, Fandango reported the film was the highest pre-seller of any Tarantino film. 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 holdover The 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%). 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. In its fourth weekend the film made $5 million, bringing its running domestic total to $123.1 million, becoming the second-highest of Tarantino's career behind Django Unchained. In its ninth weekend, its global total earnings reached $329.4 million, surpassing Inglourious Basterds to become Tarantino's second-highest global grosser behind Django Unchained.
More InfoTarantino told cinematographer Robert Richardson, "I want it to feel retro but I want it to be contemporary." Richardson shot in Kodak 35mm with Panavision cameras and lenses, in order to weave time periods. For Bounty Law they shot in black and white, and brief sequences in Super 8 and 16mm Ektachrome. In the film, Lancer was shot on a retrofitted Western Street backlot at Universal Studios, designed by Ling. Richardson crossed Lancer with Alias Smith and Jones for the retro-future look Tarantino wanted. The way they filmed Lancer 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."
More InfoHowever, according to members of the Family, the murders were not committed to start Helter Skelter but as copycat murders of Gary Hinman, to convince police his killer was still at large. Bobby Beausoleil was in jail, charged with the murder. The Family was attempting to get him released. According to Jay Sebring's protege and business partner Jim Markham, the murders were about 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. In his interview with Truman Capote, Beausoleil said, "They burned people on dope deals. Sharon Tate and that gang."
More InfoThe 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." 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." 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". The Chicago 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. Writing for Variety, Owen Gleiberman called it a "heady engrossing collage of a film—but not, in the end, a masterpiece." Peter Bradshaw of The Guardian gave it five out of five stars, praising Pitt and DiCaprio's performances and calling it "Tarantino's dazzling LA redemption song." Steve Pond of TheWrap 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." Peter Travers of Rolling 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."
More InfoOn Rotten Tomatoes, the film holds an approval rating of 85% based on 540 reviews, with an average rating of 7.84/10. The site's critical 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." Metacritic assigned the film a weighted average score of 83 out of 100, based on 62 critics, indicating "universal acclaim." Audiences polled by CinemaScore gave it an average grade of "B" on an A+ to F scale, while those at PostTrak gave it an average of 4 out of 5 stars and a 58% "definite recommend."
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