Movies are not about the weekend that they're released, and in the grand scheme of things, that's probably the most unimportant time of a film's life.

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."

You get to be analytical about the process and now I can watch the movie and see all the different connection things and see all the things that are underneath the surface.

Dogs got personality. Personality goes a long way.

I've always seen in Westerns it described or it's shown very vaguely, but I wanted this - I want us to show what they're doing to them, so you can actually see it. And if you notice in the movie, you know, it goes even beyond just scalping and stuff.

I'm not saying it's a bad thing to do, but when you try to deal with prescient themes in the present, that is what you're doing.

I loved the idea of the fact that the way, like I said, they colored outside of the lines. You know, there was rules that they didn't have to follow. And you got -you got - you could get more of a sensational thrill, all right, with some of these exploitation movies or art films, or you could get something you wouldn't see at the normal cineplex.