I get paid all day, every day, which is almost too much for a sensitive artist.

I don't run around shooting people. Much. I only shoot two people a year. Maybe.

Quentin Tarantino was talking about Ordell a little bit, and I was like, "I'm sure Ordell is one of those people who thought Superfly was the greatest movie ever made." So he cuts his hair and straightens it, but he never has enough money to maintain it perfectly. So it's kind of nappy around the edges, straight and kind of puffed up. That's why he'd always keep it in a ponytail or a braid. We were just having fun and creating a distinctive character.

Jackson doesn't bother to read the scripts anymore. He just checks to make sure he has one loud scene where he gets to shout, then cashes the paycheck.

I understand the rural south because I spent a lot of time in it when I was a kid and my grandfather’s brothers were farmers and I spent time on the farm when I was a kid with them walking through the fields and working and hanging out.

What I remember from [the first meeting with Samuel L. Jackson] was that he was a friendly, animated kind of guy. His screen image is a hard boiled intimidating kind of character. That's what I remembered thinking, 'Boy, this guy seems like a normal guy.'

It's always interesting to play characters who are vulnerable and how you display that vulnerability and what it's going to mean to people who watch it.