You know what the funniest thing about Europe is? It's the little differences.

In polite society, there is such a thing as sensitivity to some issues, as time has gone on. There was a time when we weren't politically correct, at all, and we all wince at moments when we look to the past and see that. I don't really know what the answer is, as far as that is concerned. However, me, as an artist, I don't really think about it, at all. It actually is not my job to think about that, especially in terms of me, as a writer, but also as a filmmaker. I'm not worried about the filmmaking part because, if I'm writing it, that's what I'm going to do.

L.A. is so big that if you don't actually live in Hollywood, you might as well be from a different planet.

I shot the way I wanted to shoot [in The Hateful Eight]. The only real disadvantage I felt at the time, but I don't feel now, was that we weren't able to get a zoom lens, and I had really gotten used to using a zoom lens for that little zoom creep. But it was also a nice thing to be forced to not use all the tools that you've gotten used to, from time to time, and to be able to work in a different way.

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.

To me "King Kong" is a metaphor for America's fear of the black male. And to me that's obvious. All right? So I mean that was one of the first things I said when I was talking to a friend of mine after he saw Peter Jackson's version of "King Kong."

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.