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."

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.

You don't have to know how to make a movie. If you truly love cinema with all your heart and with enough passion, you can't help but make a good movie.

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.

In polite society, there is such a thing as sensitivity to some issues, as time has gone on. There was a time when we weren't politically correct, at all, and we all wince at moments when we look to the past and see that. I don't really know what the answer is, as far as that is concerned. However, me, as an artist, I don't really think about it, at all. It actually is not my job to think about that, especially in terms of me, as a writer, but also as a filmmaker. I'm not worried about the filmmaking part because, if I'm writing it, that's what I'm going to do.

You're an actor, you want to do a scene in class. But one of the things I've always had is I've always had a really good memory. So I would go and watch a movie and then I would see a scene in the movie and I go, hey I'd like to do that in class this Wednesday.

You know, the art films would usually be more, I mean the exploitation movies would usually be more lurid, but not that much more. I mean, actually back in those days that was what foreign films had. They had sex, they were selling Laura Antonelli.