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

The way I write is really like putting one foot in front of the other. I really let the characters do most of the work, they start talking and they just lead the way.

Novelists have always had complete freedom to pretty much tell their story any way they saw fit. And that's what I'm trying to do.

I definitely have some colleagues that I respect, and we get together from time to time. But I actually have just like genuine friends.

What if a kid goes to school after seeing Kill Bill and starts slicing up other kids? You know, I'll take that chance! Violent films don't turn children into violent people. They may turn them into violent filmmakers but that's another matter altogether.

I steal from every single movie ever made. I love it - if my work has anything it's that I'm taking this from this and that from that and mixing them together. If people don't like that, then tough titty, don't go and see it, all right? I steal from everything. Great artists steal; they don't do homages.

I was writing a film criticism book on Sergio Corbucci, the director who did the original Django. So, I was kind of getting immersed in his world. Towards the end of the Inglourious Basterds press tour I was in Japan. Spaghetti Westerns are really popular there, so I picked up a bunch of soundtracks and spent my day off listening to all these scores. And all of a sudden the opening scene just came to me.