To me, Godard did to movies what Bob Dylan did to music: they both revolutionized their forms.

I totally have no love for that whole romance for that Antebellum time period.

I actually thought that the idea of doing a World War II movie in the guise of a spaghetti western would just be an interesting way to tackle it. Just even the way that the spaghetti westerns tackled the history of the Old West, I thought it could be a neat thing to do that with World War II, but just as opposed to using cowboy iconography, using World War II iconography as kind of the jumping-off point.

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.

Oddly enough, most of the books written about the subject aren't very good because they just focus on the more hateful movies that they did very early, early on when they were trying to, you know, get Germany into the war, whether it be anti-Semitic movies like "Jud Suss," or "The Eternal Jew," or movies made against the Polish to help, you know, create sympathy for them to invade Poland. You know, there'd be movies where there would be some German girl living in Poland who's raped by the Polish or something.

If the film is nominated for awards, and even if it wins them, it doesn't make the movie any better, just as if it's ignored that doesn't make the movie any worse.

It's nice to get invited to the parties and to be able to hobnob and celebrate a job well done with your colleagues.