By the time I was doing "Kill Bill," it was so much filled with prose that, you know, I start seeing why people write a screenplay and make it more like a blueprint, because basically I had written - in "Kill Bill," I had basically written a novel, and basically every day I was adapting my novel to the screen on the fly, you know, on my feet.

The next movie will be in Mandarin. I enjoyed shooting all the Japanese stuff in Kill Bill so much that this whole film will be entirely in Mandarin.

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.

I think it almost all has to do with coming at writing from an acting perspective, because I didn't, like, study writing. I studied acting.

And by banning [smartphones] from the set, the whole crew tends to work tighter with each other. And then it just becomes a thing where people kind of fall in love with the idea, 'This is the film-industry that I signed up for! This is really wonderful.' But then they go back to another set and everybody's on their cellphone, everyone's in their own little box, and they get depressed about it.

There`s only one list that`s more illustrious than the list of directors who won the Palme d`Or. It`s the list of directors who didn`t.

I love Elmore Leonard. To me, True Romance is basically like an Elmore Leonard movie.