Quentin Tarantino Quotes
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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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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 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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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 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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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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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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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'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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My writing's like a journey. I'll know some of the stops ahead of time, and I'll make some of those stops and some of them I won't. Some will be a moot point by the time I get there. You know every script will have four to six basic scenes that you're going to do. It's all the scenes where your characters really come from.
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I'll write for a while and then I'll find an appropriate song and in a weird way the music will keep me in the mood. I find music to define the mood of the movie, the rhythm the movie is going to play in.
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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 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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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 you want to make a movie, make it. Don't wait for a grant, don't wait for the perfect circumstances, just make it.
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And when I first started writing, it was literally in acting classes. And what would happen is now it's really easy to get scripts and stuff but back then, you know, oftentimes you'd buy the novelization to a movie if you wanted to get an idea of what the scene, you know what happened in the scene.
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To call Clive Barker a 'horror novelist' would be like calling the Beatles a 'garage band'... He is the great imaginer of our time. He knows not only our greatest fears, but also what delights us, what turns us on, and what is truly holy in the world. Haunting, bizarre, beautiful.
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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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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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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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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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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.