ou know, if you want to see jackbooting Nazis in movies, you've got to watch American movies made at that time.

The good ideas will survive.

You know, my problem with most screenwriting is it is a blueprint. It's like they're afraid to write the damn thing. And I'm a writer. That's what I do. I want it to be written. I want it to work on the page first and foremost. So when I'm writing the script, I'm not thinking about the viewer watching the movie. I'm thinking about the reader reading the script.

I loved the idea of the fact that the way, like I said, they colored outside of the lines. You know, there was rules that they didn't have to follow. And you got -you got - you could get more of a sensational thrill, all right, with some of these exploitation movies or art films, or you could get something you wouldn't see at the normal cineplex.

I definitely have some colleagues that I respect, and we get together from time to time. But I actually have just like genuine friends. Paul Thomas Anderson is a genuine friend. Robert Rodriguez is a genuine friend. Rick Richard Linklater is a genuine friend. Eli Roth is a genuine friend. And so is Edgar Wright.

Some of the inspirations I had as far as following that story would be, like, say, "The Good, The Bad and The Ugly," the way they use the Civil War in that, or even the idea that - the movie that Leone was going to do before he died was going to be a movie about the battle of Stalingrad.

I don't judge my characters, and that's my job not to judge them. It's my job to treat them with respect and to just look at it from their point of view.