You can do all these kinds of things that are up close and personal, but you really have to bring your strength, and really - you have to really be committed to actually strangle the life out of somebody, to crush their larynx and just squeeze every drop of life out of them.

There was that last blast of Westerns that came out in the Seventies, those Vietnam/Watergate Westerns where everything was about demystification. And I like that about those movies.

A movie doesn't have to do everything. A movie just has to do a couple of things. If it does those things well and gives you a cool night at the movies, an emotion, that's good enough.

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."

If I'm on an airplane, a Kate Hudson movie is what I'm looking for. I'll sit there and I'll cry. I think it's the altitude or something like 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 don't really consider myself an American filmmaker like, say, Ron Howard might be considered an American filmmaker. If I'm doing something and it seems to me to be reminiscent of an Italian giallo, I'm gonna to do it like an Italian giallo.