To really get to know people and discover humanity, which is what I truly think writers and actors do, you've got to be interested in other human beings, you have to be interested in humanity in general, and you have to do some discovering of humanity and different people.

Novelists have always had complete freedom to pretty much tell their story any way they saw fit. And that's what I'm trying to do.

I actually thought that the idea of doing a World War II movie in the guise of a spaghetti western would just be an interesting way to tackle it. Just even the way that the spaghetti westerns tackled the history of the Old West, I thought it could be a neat thing to do that with World War II, but just as opposed to using cowboy iconography, using World War II iconography as kind of the jumping-off point.

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.

I surprised myself, that I was in the tissue of the character enough, that I could actually come up with something that I didn't actually feel or didn't believe.

I don't judge my characters, and that's my job not to judge them. It's my job to treat them with respect and to just look at it from their point of view.

I mean, there's an aspect I've always said that is - it's, you know, it's not poetry but it's kind of like it. It's not song lyrics but it's kind of like song lyrics. It's not rap but it's kind of like rap. And it's not stand-up comedy but it is kind of like stand-up comedy. It's all those things together.