I don't really consider myself an American filmmaker like, say, Ron Howard might be considered an American filmmaker. If I'm doing something and it seems to me to be reminiscent of an Italian giallo, I'm gonna to do it like an Italian giallo.

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.

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.

Clark Kent is how Superman views us. And what are the characteristics of Clark Kent. He's weak... he's unsure of himself... he's a coward. Clark Kent is Superman's critique on the whole human race.

I'm very happy with the way I write. I think I do it good. But I've never really considered myself a writer.

I hate The Confederate cause. I've always felt that they are our Nazis and the rebel flag was our swastika.

I like it when somebody tells me a story, and I actually really feel that that's becoming like a lost art in American cinema.