Quentin Tarantino Quotes
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I just grew up watching a lot of movies. I'm attracted to this genre and that genre, this type of story, and that type of story. As I watch movies I make some version of it in my head that isn't quite what I'm seeing - taking the things I like and mixing them with stuff I've never seen before.
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L.A. is so big that if you don't actually live in Hollywood, you might as well be from a different planet.
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One of the privileges you have of living the life of an artist and creating your own world and everything is the fact that, in-between times, you can kind of spend them however you want. Because, you know, once you open up your candy store again, you're open for business. And you have to be responsible. You have to be available.
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To me, America is just another market.
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Sergio Leone was a big influence on me because of the spaghetti westerns.
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'Come on boy, get up.'
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I don't think Pulp Fiction is hard to watch at all.
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You don't have to know how to make a movie. If you truly love cinema with all your heart and with enough passion, you can't help but make a good movie.
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If the film is nominated for awards, and even if it wins them, it doesn't make the movie any better, just as if it's ignored that doesn't make the movie any worse.
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I will never do 'Pulp Fiction 2,' but having said that, I could very well do other movies with these characters.
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'Django' was definitely the beginning of my political side, and I think 'Hateful Eight' is the... logical extension and conclusion of that. I mean, when I say conclusion, I'm not saying I'll never be political again, but, I mean, I think it's like, in a weird way, 'Django' was the question, and 'Hateful Eight' is the answer.
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I was kind of excited about going to jail the first time and I learnt some great dialogue.
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A lot of them [Germaqn actors] could come in and we could speak for the next nine hours in English and there would be no problem. It was - but it was - English wasn't the language for them to read poetry in. And there is a - there's a poetic quality to my dialogue.
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It's my job to look at other people's humanity and it's my job to, 24/7, look at my life and listen to everything everyone says, watching their faces, the little idiosyncratic aspects of human beings - it's like a sponge, I take it in.
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I always write these movies that are far too big for any paying customer to sit down and watch from beginning to end, and so I always have this big novel that I have to adapt into a movie as I go.
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I don't really consider myself an American filmmaker like, say, Ron Howard might be considered an American filmmaker. If I'm doing something and it seems to me to be reminiscent of an Italian giallo, I'm gonna to do it like an Italian giallo.
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Novelists have always had complete freedom to pretty much tell their story any way they saw fit. And that's what I'm trying to do.
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I'm definitely not on Twitter. I do have a Facebook page and Facebook friends. It's a lot of fun, especially if you don't just start friending people you don't know.
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In the '50s, audiences accepted a level of artifice that the audiences in 1966 would chuckle at. And the audiences of 1978 would chuckle at what the audience of 1966 said was okay, too. The trick is to try to be way ahead of that curve, so they're not chuckling at your movies 20 years down the line.
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If I wasn't a film-maker, I'd be a film critic. It's the only thing I'd be qualified to do.
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I have a lot of Chinese fans who buy my movies on the street and watch them, and I'm OK with it. I'm not OK with it in other places, but if the government's going to censor me, then I want the people to see it in any way they can.
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All my movies are achingly personal.
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Everything I learned as an actor, I have basically applied to writing.
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I definitely have some colleagues that I respect, and we get together from time to time. But I actually have just like genuine friends. Paul Thomas Anderson is a genuine friend. Robert Rodriguez is a genuine friend. Rick Richard Linklater is a genuine friend. Eli Roth is a genuine friend. And so is Edgar Wright.