Quentin Tarantino Quotes
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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 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've always been passionate about these different (film) genres. Kung fu movies, samurai movies, Japanese movies, all this kind of stuff, and my love for it, and just trying to present it in a way that other people can love it as much as I do.
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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 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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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 don't judge my characters, and that's my job not to judge them. It's my job to treat them with respect and to just look at it from their point of view.
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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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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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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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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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I don't have any one way to tell a story. I don't have any rule book of how it's supposed to be done. But I've always said that if a story would be more emotionally involving told, beginning, middle, and end, I'll tell it that way. I won't jigsaw it, just to show what a clever boy I am. I don't do anything in my script just to be clever.
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I felt no obligation to bow to any 21st Century political correctness. What I did feel an obligation to do was to take the 21stCentury viewers and physically transport them back to the ante bellum South in 1858, in Mississippi, and have them look at America for what it was back then. And I wanted it to be shocking.
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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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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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Leni Riefenstahl was the one person Goebbels had no control over in the filmmaking community of Nazi Germany, and they despised each other. But because she was Hitler's favorite, she could do what she wanted. She was the only filmmaker that did not have to cow down to Joseph Goebbels.
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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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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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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 live in the Hollywood Hills. When I see a cop driving around there, I actually assume that he has my best interests at heart and that he has the best interests of my property at heart. I think if you'd go to Pasadena, they'd say the same thing. And I think if you knocked on doors in Glendale and asked them, they'd say the same thing.
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To me, truth is the big thing. Constantly you're writing something and you get to a place where your characters could go this way or that and I just can't lie. The characters have gotta be true to themselves.
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You can do all these kinds of things that are up close and personal, but you really have to bring your strength, and really - you have to really be committed to actually strangle the life out of somebody, to crush their larynx and just squeeze every drop of life out of them.
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Don't write what you think people want to read. Find your voice and write about what's in your heart.