Quentin Tarantino Quotes
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When people ask me if I went to film school I tell them, 'no, I went to films.'
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I love Elmore Leonard. To me, True Romance is basically like an Elmore Leonard movie.
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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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Watch the movie closely, and you’ll see how personal it is. Here’s a film in which cinema brings down the Nazi regime, metaphorically and literally. What could possibly be better than that? In this story, cinema changes the world, and I fucking love that idea!
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There is no other genre that deals with America better, in a subtextual way, than the Westerns being made in the different decades. The '50s Westerns very much put forth an Eisenhower idea of America, whereas the Westerns of the '70s were very cynical about America.
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I'm probably only going to make 10 movies, so I'm already planning on what I'm going to do after that. That's why I'm counting them. I have two more left. I want to stop at a certain point. What I want to do, basically, is I want to write novels, and I want to write theatre, and I want to direct theatre.
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I'm very happy with the way I write. I think I do it good. But I've never really considered myself a writer.
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But can I tell the genuine-article Italian from the poseur Italian? No. To me they all seem like poseurs.
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If the film isn't suspenseful, i.e. the pressure cooker situation of what's going on in the movie, if that's not part of it, if the threat of violence and the temperature isn't always going up a notch every scene or so, then the movie is going to be boring. It's not going to work.
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I hate school at that time. Now, little did I know that actually if I had stayed in school I would've actually really liked college. I wasn't aware enough to know that the junior high I was suffering through would be school at its worst.
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I actually want to do a theatrical adaptation of 'Hateful Eight' because I actually like the idea of other actors having a chance to play my characters and see what happens from that.
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Just because I was at an anti-police brutality protest, doesn't mean I'm anti-police. We want justice, but stop shooting unarmed people.
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Instead of critics reviewing my movies, now what they're really doing is trying to match wits with me. Every time they review my movies, it's like they want to play chess with the mastermind and show off every reference they can find, even when half of it is all of their own making.
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Violence in real life is terrible; violence in movies can be cool. It's just another colour to work with.
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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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I've always seen in Westerns it described or it's shown very vaguely, but I wanted this - I want us to show what they're doing to them, so you can actually see it. And if you notice in the movie, you know, it goes even beyond just scalping and stuff.
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I'm wondering if the crew [from'The Hateful Eight'] had some sort of nickname for me. I am blanking at anything truly funny, so I'll just say, 'No Phone Quentin'.
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If you're trying to drop ten pages from a screenplay, it hurts like hell, but if you just put it away for a month and then take it out, you can do it just like that!
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To me, torture would be watching sports on television.
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Well, it's funny because, "The Green Leaves of Summer" and "The Alamo" theme are the same thing. There's just - the Brothers Four was a different recording of it.
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I come from a mixed family, where my mother is art house cinema and my father is B-movie genre cinema. They're estranged, and I've been trying to bring them together for all of my career to one degree or another.
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When I was on The View, Barbara Walters was asking me about the blood and stuff, and I said, 'Well, you know, that's a staple of Japanese cinema.' And then she came back, 'But this is America.' And I go, 'I don't make movies for America. I make movies for planet Earth.'
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When you gotta go out and make a movie to pay for the kid's private school and for the three ex-wives, don't talk to me about your artistry. It's their job. It's not my job. It's my calling.
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Between men and women, all the time there is tension. I feel it. A woman walks down the street, and I'm going back, and suddenly there is this tension. I just walk down the street, we were just on the way. And she thinks I'm a rapist. And now I feel guilty, even though I'm a damn poor did not.