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

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.

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.

I try not to get analytical in the writing process. I try to just kind of keep the flow from my brain to my hand as far as the pen is concerned and go with the moment and go with my guts.

What the internet has done is destroy film criticism. I would never have guessed that the profession of film criticism would be going the way of the dodo bird.

I've always thought my soundtracks do pretty good, because they're basically professional equivalents of a mix tape I'd make for you at home.

I am a writer, I deal in words. There is no word that should stay in word jail, every word is completely free. There is no word that is worse than another word. It's all language, it's all communication.