I always thought it was a B.S. thing that they didn't show it [scalping] in other Westerns, but especially if you're going to really go with the idea that we're desecrating the bodies, and the idea is to strike fear in the hearts of other German soldiers, then we had to see what they're talking about.

When I was on The View, Barbara Walters was asking me about the blood and stuff, and I said, 'Well, you know, that's a staple of Japanese cinema.' And then she came back, 'But this is America.' And I go, 'I don't make movies for America. I make movies for planet Earth.'

I'm not saying it's a bad thing to do, but when you try to deal with prescient themes in the present, that is what you're doing.

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.

Movies are my religion and God is my patron. I'm lucky enough to be in the position where I don't make movies to pay for my pool. When I make a movie, I want it to be everything to me; like I would die for it.

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 don't want to deal with the underneath while I'm, you know, while I'm making it or while I'm writing it or when I'm making it. Because again, I don't want to hit these nails on the head too strongly.