When I went to do my big audition with actors for Mr. Blonde, the thing that was very interesting was the first person to actually do the audition with the song, and they kind of actually acted out the whole scene, they weren't so great. It wasn't that they were magnificent, but the song, it was the first -it was all - been in my head.

I've always seen in Westerns it described or it's shown very vaguely, but I wanted this - I want us to show what they're doing to them, so you can actually see it. And if you notice in the movie, you know, it goes even beyond just scalping and stuff.

Just because I was at an anti-police brutality protest, doesn't mean I'm anti-police. We want justice, but stop shooting unarmed people.

I found this really fantastic used record store in Japan, and I bought all these different records and different 45s, and one of the 45s was just, it had the theme, "Green Leaves of Summer," the theme to "The Alamo" on one side, and then on the flip side was a theme to, the theme to "The Magnificent Seven."

If I've made it a little easier for artists to work in violence, great! I've accomplished something.

You can't write poetry on the computer.

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.