When it came to a lot of these German actors with the English, they just couldn't do it. They couldn't get the poetry out of it. They couldn't own it and make it their own. And then Christoph [Waltz] came in, and I didn't know who Christoph was.

I want to risk hitting my head on the ceiling of my talent. I want to really test it out and say: O.K., you're not that good. You just reached the level here. I don't ever want to fail, but I want to risk failure every time out of the gate.

If you want to make a movie, make it. Don't wait for a grant, don't wait for the perfect circumstances, just make it.

I couldn't spell anything. I couldn't remember anything, but I could go to a movie and I knew who starred in it, who directed it, everything.

Oh gosh, well, you know, growing up in the '70s being a young boy there, you know, there were still exploitation movies, where, you know, were, you know, still opened up every week and, you know, played - sometimes they would play it at the local, you know, mall theater.

I am doing what I'm doing, and if you don't like it, don't go see it.

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.