If I'm on an airplane, a Kate Hudson movie is what I'm looking for. I'll sit there and I'll cry. I think it's the altitude or something like that.

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.

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.

I will never do Pulp [Fiction] 2 but having said that, I could very well do other movies with these characters.

I always do an all-night horror marathon on Saturdays where we start at seven and go until five in the morning.

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.

Music is very, very important in my movies. In some ways the most important stage, whether it ends up being in the movie or not, is just when I come up with the idea itself before I have actually sat down and started writing. I go into my record room... I have a big vinyl collection and I have a room kind of set up like a used record store and I just dive into my music, whether it be rock music, or lyric music, or my soundtrack collection. What I'm looking for is the spirit of the movie, the beat that the movie will play with.