Quentin Tarantino Quotes

The easiest way to kill a cult is to make that cult accessible.

I shot the way I wanted to shoot [in The Hateful Eight]. The only real disadvantage I felt at the time, but I don't feel now, was that we weren't able to get a zoom lens, and I had really gotten used to using a zoom lens for that little zoom creep. But it was also a nice thing to be forced to not use all the tools that you've gotten used to, from time to time, and to be able to work in a different way.

Hamburgers! The corner-stone of any nutritious breakfast.

Spaghetti Westerns are really brutal and operatic with a surreal quality to the violence.

If the film isn't suspenseful, i.e. the pressure cooker situation of what's going on in the movie, if that's not part of it, if the threat of violence and the temperature isn't always going up a notch every scene or so, then the movie is going to be boring. It's not going to work.

To me, America is just another market.

I hope to give you at least 15 more years of movies. I`m not going to be this old guy that keeps cranking them out. My plan is to have a theater by that time in some small town and I will be the manager this crazy old movie guy.

The way I write is really like putting one foot in front of the other. I really let the characters do most of the work, they start talking and they just lead the way.

A writer should have this little voice inside of you saying, Tell the truth. Reveal a few secrets here.

He musta thought it was white boy day. It ain't white boy day, is it?

One can be inclined to just say, "F this political correctness! I don't have time for that!"

If you're trying to drop ten pages from a screenplay, it hurts like hell, but if you just put it away for a month and then take it out, you can do it just like that!

To call Clive Barker a 'horror novelist' would be like calling the Beatles a 'garage band'... He is the great imaginer of our time. He knows not only our greatest fears, but also what delights us, what turns us on, and what is truly holy in the world. Haunting, bizarre, beautiful.

You know, the art films would usually be more, I mean the exploitation movies would usually be more lurid, but not that much more. I mean, actually back in those days that was what foreign films had. They had sex, they were selling Laura Antonelli.

If you love cinema as much as I do, and not many people do, and if you are focused and actually have something to offer, you will get somewhere with it.

I liked the Hollywood stuff. But I also liked the fact that in both, you know, I guess in the, like, the auteur, the art film auteur at that time was Lina Wertmuller. So, you go see "Swept Away" or you go see a movie she did "Blood Feud" with Sophia Loren and Giancarlo Giannini. And I remember "Wifemistress" was a big movie at that time, really liked it, Laura Antonelli.

And by banning [smartphones] from the set, the whole crew tends to work tighter with each other. And then it just becomes a thing where people kind of fall in love with the idea, 'This is the film-industry that I signed up for! This is really wonderful.' But then they go back to another set and everybody's on their cellphone, everyone's in their own little box, and they get depressed about it.

I've always wanted to work with Warren Beatty.

Sergio Leone was a big influence on me because of the spaghetti westerns.

"Dukes of Hazzard" or something you could, you know that, your work is going to be made up of that - episodic television shows. Not that I got many of them, but that was where I - but actually oddly enough though, they were teaching camera terminology at the same time in this acting class, so I actually was able to understand what rack focus and whip pan and all that stuff meant.

I'm basically like, you know, learned pretty quickly the guy who throws the first punch usually wins, so when people gave me a hard time I just punched them.

You're not going to have the police force representing the black and brown community, if they've spent the last 30 years busting every son and daughter and father and mother for every piddling drug offense that they've ever done, thus creating a mistrust in the community. But at the same time, you should be able to talk about abuses of power, and you should be able to talk about police brutality and what, in some cases, is as far as I'm concerned, outright murder and outright loss of justice without the police organization targeting you in the way that they have done me.

Just because I was at an anti-police brutality protest, doesn't mean I'm anti-police. We want justice, but stop shooting unarmed people.

I like a much more Japanese style of blood, where it's red and it almost has a paint kind of quality to it. You can put it on metal, and it has this vividness. Because, normally, what they use in Hollywood is this stuff that looks like strawberry pancake syrup or raspberry pancake syrup.

Sure, Kill Bill is a violent movie. But it's a Tarantino movie. You don't go to see Metallica and ask the fuckers to turn the music down.

But the truth of the matter is, that was fairly, fairly early on in Goebbels' 800 movies that he made in Germany. The majority of them, especially once the war got going, you hardly saw Nazi officers in it at all. They were mostly musicals and comedies and melodramas and stories of great German men from the past.

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.

I appreciate the female foot, but I've never said that I have a foot fetish. But I am a lower track guy. I like legs' I like booties'. I have a black male sexuality.

When I make a movie, I want it to be everything to me; like I would die for it.

I'll write for a while and then I'll find an appropriate song and in a weird way the music will keep me in the mood. I find music to define the mood of the movie, the rhythm the movie is going to play in.

There was that last blast of Westerns that came out in the Seventies, those Vietnam/Watergate Westerns where everything was about demystification. And I like that about those movies.

Batman is not a very interesting character. For any actor. There is simply not much to play. I think Michael Keaton did it the best, and I wish good luck to Ben Affleck. But, you know who would have made a great Batman? Alec Baldwin in the '80s.

I live in the Hollywood Hills. When I see a cop driving around there, I actually assume that he has my best interests at heart and that he has the best interests of my property at heart. I think if you'd go to Pasadena, they'd say the same thing. And I think if you knocked on doors in Glendale and asked them, they'd say the same thing.

I've always said Thomas Edison invented the movie camera to show people killing and kissing.

If I'm on an airplane, a Kate Hudson movie is what I'm looking for. I'll sit there and I'll cry. I think it's the altitude or something like that.

I have loved movies as the number one thing in my life so long that I can't ever remember a time when I didn't.

Sometimes things need to get really bad before they can ever get better. Really bad can become untenable if enough people get sick of it. That was a big thing about why I ended up taking part in that rally [against police brutality] and ended up voicing my opinion and declaring what side I was standing on.

You get to be analytical about the process and now I can watch the movie and see all the different connection things and see all the things that are underneath the surface.

I won't even think about acting in a role where I didn't do a back story for a character.

Sure, and that's the cool thing about DVD: you can pack stuff on the disc that would've been too much for the big screen because actually it would've only interested yourself and a bunch of fanboys, who wanna know everything.

I always wanted to do a movie that deals with America's horrific past with slavery, but the way I wanted to deal with it is - as opposed to doing it as a huge historical movie with a capital H - I thought it could be better if it was wrapped up in genre.

I just realized that I need to be a director - for two reasons. One, directors were already my heroes at this point. I wanted to; when I wanted to be an actor I wanted to work with this director. Not work with this actor, I wanted to work for this director.

My plan is to have a theatre in some small town or something and I'll be manager. Ill be the crazy old movie guy.

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.

You know what the funniest thing about Europe is? It's the little differences.

Unfortunately, every time I have somebody play an instrument, it's always like, they don't know how to do it.

I don't have to play the song all the way to the very end - I use it while it's good and while it's cool and while it's exciting, and then I get out.

If I really considered myself a writer, I wouldn't be writing screenplays. I'd be writing novels.