Quentin Tarantino Quotes
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Violence is a form of cinematic entertainment. Asking me about violence is like going up to Vincente Minnelli and asking him to justify his musical sequences.
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I want to have more original-screenplay Oscars than anybody who's ever lived! So much, I want to have so many that - four is enough. And do it within ten films, all right, so that when I die, they rename the original-screenplay Oscar 'the Quentin.' And everybody's down with that.
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I remember, like, literally saying - watching some cowboy-and-Indian movie with my mother, and I go, so, if we were back then, we'd be the Indians, right? She goes, yup, that's who we'd be. We wouldn't be those guys in the covered wagons. We'd be the Indians.
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If you love cinema as much as I do, and not many people do, and if you are focused and actually have something to offer, you will get somewhere with it.
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And I will strike down upon thee with great vengeance and furious anger those who attempt to poison and destroy my brothers. And you will know my name is the Lord when I lay my fingers upon thee!
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My writing's like a journey. I'll know some of the stops ahead of time, and I'll make some of those stops and some of them I won't. Some will be a moot point by the time I get there. You know every script will have four to six basic scenes that you're going to do. It's all the scenes where your characters really come from.
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I mean, of course "King Kong" is a metaphor for the slave trade. I'm not saying the makers of "King Kong" meant it to be that way, but that's what, that's the movie that they made - whether they meant to make it or not.
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I don't want to deal with the underneath while I'm, you know, while I'm making it or while I'm writing it or when I'm making it. Because again, I don't want to hit these nails on the head too strongly.
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The other thing is even the Jews in the course - even though metaphorically aligning themselves with Indians, and, you know, you have genocide aligning itself with another genocide.
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I think that's, it's my way of writing, it's my, it's part of you know for lack of a better word, God-given talent that I have that I'm really good at that kind of dialogue.
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Clark Kent is how Superman views us. And what are the characteristics of Clark Kent. He's weak... he's unsure of himself... he's a coward. Clark Kent is Superman's critique on the whole human race.
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There`s only one list that`s more illustrious than the list of directors who won the Palme d`Or. It`s the list of directors who didn`t.
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I've never used High Definition video, never, ever, ever, ever, ever. And I never will. I can't stand that crap.
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You get to be analytical about the process and now I can watch the movie and see all the different connection things and see all the things that are underneath the surface.
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I do like putting scenario and story first, and I actually like masking whatever I want to say in the guise of genre.
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Most, actually, German actors have like some speaking of French. So, the French wasn't the problem. But, I was having a problem with them doing my dialogue in English. And it wasn't a matter of fluency.
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I'm basically like, you know, learned pretty quickly the guy who throws the first punch usually wins, so when people gave me a hard time I just punched them.
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I've always equated the writing process with editing, sort of like when I get through editing the movie, that's like my last draft of the screenplay.
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I just don't feel the whole white guilt and pussy-footing around race issues. I'm completely above all that. I've never worried about what anyone might think of me 'cause I've always believed that the true of heart recognize the true of heart.
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If you want to make a movie, make it. Don't wait for a grant, don't wait for the perfect circumstances, just make it.
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Sometimes things need to get really bad before they can ever get better. Really bad can become untenable if enough people get sick of it. That was a big thing about why I ended up taking part in that rally [against police brutality] and ended up voicing my opinion and declaring what side I was standing on.
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I'm not saying it's a bad thing to do, but when you try to deal with prescient themes in the present, that is what you're doing.
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But the truth of the matter is, that was fairly, fairly early on in Goebbels' 800 movies that he made in Germany. The majority of them, especially once the war got going, you hardly saw Nazi officers in it at all. They were mostly musicals and comedies and melodramas and stories of great German men from the past.
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I think it almost all has to do with coming at writing from an acting perspective, because I didn't, like, study writing. I studied acting.