That's how it always is with me: the thing that sets me down to start writing is usually not what I end up doing. Because, as much as I love genre, and I try to deliver the goods, I go off from it. I go do my own thing.

"Dukes of Hazzard" or something you could, you know that, your work is going to be made up of that - episodic television shows. Not that I got many of them, but that was where I - but actually oddly enough though, they were teaching camera terminology at the same time in this acting class, so I actually was able to understand what rack focus and whip pan and all that stuff meant.

I was writing a film criticism book on Sergio Corbucci, the director who did the original Django. So, I was kind of getting immersed in his world. Towards the end of the Inglourious Basterds press tour I was in Japan. Spaghetti Westerns are really popular there, so I picked up a bunch of soundtracks and spent my day off listening to all these scores. And all of a sudden the opening scene just came to me.

When I'm writing something, I try not to get analytical about it as I'm doing it, as I'm writing it.

When I was on The View, Barbara Walters was asking me about the blood and stuff, and I said, 'Well, you know, that's a staple of Japanese cinema.' And then she came back, 'But this is America.' And I go, 'I don't make movies for America. I make movies for planet Earth.'

All my movies are achingly personal.

I look at 'Death Proof' and realize I had too much time.