Quentin Tarantino Quotes
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Then they'd [Nazi] make movies against England, you know, in the same way, to help, you know, feather their nest for what they - their aggressions.
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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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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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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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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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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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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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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 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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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'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 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 see characters lying all the time in a lot of Hollywood movies. They can't do this because it would affect the movie this way or that or this demographic might not like it. To me a character can't do anything good or bad, they can only do something that's true or not.
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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'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 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 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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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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My earliest childhood memories are of watching Abbott & Costello Meet Frankenstein and Frankenstein Must Be Destroyed. I remember not liking Frankenstein then and going, "Who is this bald guy?" But I love it now.
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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'm very much a man of the moment. I can think about an idea for a year, two years, even four years all right, but what ever is going on with me the moment I write is gonna work it's way into the piece.
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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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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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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.