The film [Django] really has a lot of ups and downs, and taps into a lot of different emotions. To me, the trick was balancing all those emotions, so that I could get you where I wanted you to be by the very end. I wanted the audience cheering in triumph at the end.

When I make a movie, I want it to be everything to me; like I would die for it.

One can be inclined to just say, "F this political correctness! I don't have time for that!"

American Indians would, you know, scalp them and desecrate the bodies, you know, tie them to cactuses or bury them in anthills or things like that, and you know, cut up the bodies and stuff. And then the other enemy soldiers would come across and find their comrades laying there, ripped apart, and they would be sickened by it and it would scare them.

I was kind of excited about going to jail the first time and I learnt some great dialogue.

As a viewer, the minute I start getting confused, I check out of the movie. Emotionally, I'm severed.

If I've made it a little easier for artists to work in violence, great! I've accomplished something.