Quentin Tarantino Quotes
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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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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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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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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'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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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 cut the scene out, but there was a moment where Christoph Waltz plays the piano in 'Django [Unchained]' - Jamie [Foxx] is a magnificent piano-player but there's never a moment where Django plays the piano.
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Apache have the strongest nation in the world behind them. So we're going to inflict pain where our European aunts and uncles had to endure it. And so the fact that you could actually get Nazis scared of a band of Jews, that's - again, that's a gigantic psychological thing.
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I'm not writing novels, the screenplays are my novels, so I'm gonna write it the best that I can. If the movie never gets made, it'd almost be okay because I did it. It's there on the page.
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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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I don't have to play the song all the way to the very end - I use it while it's good and while it's cool and while it's exciting, and then I get out.
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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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I loved the idea of the fact that the way, like I said, they colored outside of the lines. You know, there was rules that they didn't have to follow. And you got -you got - you could get more of a sensational thrill, all right, with some of these exploitation movies or art films, or you could get something you wouldn't see at the normal cineplex.
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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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What I would do is I would just remember the scene and I'd go home and I'd write out the scene from memory. And anything I didn't remember I would just fill in the blanks myself and then go and give it to a classmate and then we'd do it.
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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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Critics don't want to see directors they like make too much of a left turn. That's good for criticism.
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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.
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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 appreciate the female foot, but I've never said that I have a foot fetish. But I am a lower track guy. I like legs' I like booties'. I have a black male sexuality.
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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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ou know, if you want to see jackbooting Nazis in movies, you've got to watch American movies made at that time.
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The way I write is really like putting one foot in front of the other. I really let the characters do most of the work, they start talking and they just lead the way.
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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.