I really become the characters when I'm writing them. I'll become one or two of them more than others, I'm consistent that way.

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.

Reservoir Dogs is a small film, and part of its charm was that it was a small film. I'd probably make it for $3 million now so I'd have more breathing room.

I've always said Thomas Edison invented the movie camera to show people killing and kissing.

The children despise their parents until the age of when they suddenly become just like them - thus preserving the system.

One of the things when you write, well the way I write, is that you are writing your scenario and there are different roads that become available that the characters could go down. Screenwriters will have a habit of putting road blocks up against some of those roads because basically they can't afford to have their characters go down there because they think they are writing a movie or trying to sell a script or something like that. I have never put that kind of imposition on my characters. Wherever they go I follow.

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.