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 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."

The film [Django] really has a lot of ups and downs, and taps into a lot of different emotions. To me, the trick was balancing all those emotions, so that I could get you where I wanted you to be by the very end. I wanted the audience cheering in triumph at the end.

L.A. is so big that if you don't actually live in Hollywood, you might as well be from a different planet.

Critics don't want to see directors they like make too much of a left turn. That's good for criticism.

When people ask me if I went to film school I tell them, 'no, I went to films.'

In real life there are no bad guys. Everybody just has their own perspective.