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The only other animals that would be in the ballpark to be able to do it would be a gorilla, but it's not going to occur to a gorilla to strangle the life out of somebody. They might rip their head off, all right, but it wouldn't occur to a gorilla to just, I'm going to cut off your air.
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I try not to get analytical in the writing process. I try to just kind of keep the flow from my brain to my hand as far as the pen is concerned and go with the moment and go with my guts.
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I am a writer, I deal in words. There is no word that should stay in word jail, every word is completely free. There is no word that is worse than another word. It's all language, it's all communication.
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I didn't want my script to get too out of control like that. So I actually made it a point not to do stuff like that, to pretty - to keep it more sparse than it's been in the last few years, or the last decade.
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One thing I don't understand is that average American movie-goers cannot watch a movie for three hours, yet they'll watch a stupid, boring, horrific football game for four hours. Now, that is boredom at its most colossal.
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I always knew I wanted to do a Western. And trying to think of what that would be, I always figured that if I did a Western, it would have a lot of the aesthetics of Spaghetti Westerns, because I really like them.
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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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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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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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A movie doesn't have to do everything. A movie just has to do a couple of things. If it does those things well and gives you a cool night at the movies, an emotion, that's good enough.
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I like a much more Japanese style of blood, where it's red and it almost has a paint kind of quality to it. You can put it on metal, and it has this vividness. Because, normally, what they use in Hollywood is this stuff that looks like strawberry pancake syrup or raspberry pancake syrup.
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If I'm doing my job right, then I'm not writing the dialogue; the characters are saying the dialogue, and I'm just jotting it down.
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The children despise their parents until the age of when they suddenly become just like them - thus preserving the system.
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I don't think there's anything to be afraid of. Failure brings great rewards - in the life of an artist.
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Everybody always talks about the science fiction genre, in particular, which always makes me think about people in spaceships. I can appreciate that, but that's not really where I think my dramatist aspect lies.
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I don't feel any 'white guilt,' because I had nothing to do with (slavery) whatsoever. I feel shame for my country that it happened and that's why I feel we need to deal with it.
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When I went to do my big audition with actors for Mr. Blonde, the thing that was very interesting was the first person to actually do the audition with the song, and they kind of actually acted out the whole scene, they weren't so great. It wasn't that they were magnificent, but the song, it was the first -it was all - been in my head.
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I like my song-sequences in my movies, but one of the things I like about them, is I get in and I get out.
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I really become the characters when I'm writing them. I'll become one or two of them more than others, I'm consistent that way.
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With everything I've done from "Jackie Brown" on, I got really into really writing more prose in the - in what you're calling the stage directions, all right, and consequently my scripts have gotten bigger and bigger, and cut to "Kill Bill Volume 1 and 2."
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If you were a U.S. Cavalry guy and you thought you were going to be captured by the Apaches, you might kill yourself. If they were with their wives and they thought they were going to be captured, they would shoot their wives for fear of the Apaches getting them.
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I surprised myself, that I was in the tissue of the character enough, that I could actually come up with something that I didn't actually feel or didn't believe.
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I don’t want to be an old-man filmmaker, making old-man movies, and I don’t want to be the one not to know when to leave the party.
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Particularly as a writer, it is my job to ignore social critics, or the response that social critics might have when it comes to the opinions of my characters, the way they talk, or anything that can happen to them.