Between men and women, all the time there is tension. I feel it. A woman walks down the street, and I'm going back, and suddenly there is this tension. I just walk down the street, we were just on the way. And she thinks I'm a rapist. And now I feel guilty, even though I'm a damn poor did not.

I don't have to play the song all the way to the very end - I use it while it's good and while it's cool and while it's exciting, and then I get out.

I'm very happy with the way I write. I think I do it good. But I've never really considered myself a writer.

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.

I don't think there's anything to be afraid of. Failure brings great rewards - in the life of an artist.

My writing's like a journey. I'll know some of the stops ahead of time, and I'll make some of those stops and some of them I won't. Some will be a moot point by the time I get there. You know every script will have four to six basic scenes that you're going to do. It's all the scenes where your characters really come from.

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.