Quentin Tarantino Quotes
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A thing when I was writing the movie 'The hateful eight' was, I hate The Confederate cause. I've always felt that they are our Nazis and the rebel flag was our swastika. So I totally have no love for that whole romance for that Antebellum time period.
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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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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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American Indians would, you know, scalp them and desecrate the bodies, you know, tie them to cactuses or bury them in anthills or things like that, and you know, cut up the bodies and stuff. And then the other enemy soldiers would come across and find their comrades laying there, ripped apart, and they would be sickened by it and it would scare 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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By the time I was doing "Kill Bill," it was so much filled with prose that, you know, I start seeing why people write a screenplay and make it more like a blueprint, because basically I had written - in "Kill Bill," I had basically written a novel, and basically every day I was adapting my novel to the screen on the fly, you know, on my feet.
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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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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 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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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 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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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 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 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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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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Don't write what you think people want to read. Find your voice and write about what's in your heart.
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I don't believe in putting in music as a band aid to get you over some rough parts or bad film making. If it's there it's got to add to it or take it to another level.
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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 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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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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Some of the inspirations I had as far as following that story would be, like, say, "The Good, The Bad and The Ugly," the way they use the Civil War in that, or even the idea that - the movie that Leone was going to do before he died was going to be a movie about the battle of Stalingrad.
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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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One of the things about writing a novel is you can do it any way you want. It's your voice that's important and I see absolutely no reason why a screenplay can't be the same. It makes it a hell of a lot easier when you're the writer and the director.
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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.