Tarantino at the 2015 San Diego Comic-Con International promoting The Hateful Eight
|Born||Quentin Jerome Tarantino
March 27, 1963
Knoxville, Tennessee, U.S
I want to have the fun of doing anime and I love anime, but I can't do storyboards because I can't really draw and that's what they live and die on.
I'm a big collector of vinyl – I have a record room in my house – and I've always had a huge soundtrack album collection. So what I do, as I'm writing a movie, is go through all those songs, trying to find good songs for fights, or good pieces of music to layer into the film.
I love Elmore Leonard. To me, True Romance is basically like an Elmore Leonard movie.
Australian genre films were a lot of fun because they were legitimate genre movies. They were real genre films, and they dealt, in a way like the Italians did, with the excess of genre, and that has been an influence on me.
I actually want to do a theatrical adaptation of 'Hateful Eight' because I actually like the idea of other actors having a chance to play my characters and see what happens from that.
Digital presentation is just television in public; we're all just getting together and watching TV without pointing the remote control at the screen.
Movies are not about the weekend that they're released, and in the grand scheme of things, that's probably the most unimportant time of a film's life.
'Django' was definitely the beginning of my political side, and I think 'Hateful Eight' is the… logical extension and conclusion of that. I mean, when I say conclusion, I'm not saying I'll never be political again, but, I mean, I think it's like, in a weird way, 'Django' was the question, and 'Hateful Eight' is the answer.
Reservoir Dogs is a small film, and part of its charm was that it was a small film. I'd probably make it for $3 million now so I'd have more breathing room.
Whatever's going on with me at the time of writing is going to find its way into the piece. If that doesn't happen, then what the hell am I doing? So if I'm writing 'Inglourious Basterds,' and I'm in love with a girl and we break up, that's going to find its way into the piece.
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 come from a mixed family, where my mother is art house cinema and my father is B-movie genre cinema. They're estranged, and I've been trying to bring them together for all of my career to one degree or another.
In the '50s, audiences accepted a level of artifice that the audiences in 1966 would chuckle at. And the audiences of 1978 would chuckle at what the audience of 1966 said was okay, too. The trick is to try to be way ahead of that curve, so they're not chuckling at your movies 20 years down the line.
I've always considered myself a filmmaker who writes stuff for himself to do.
I'm not a Hollywood basher because enough good movies come out of the Hollywood system every year to justify its existence, without any apologies.
I liked the idea of creating a new pop-culture, folkloric hero character that I created with 'Django' that I think's gonna last for a long time. And I think as the generations go on and everything, you know, my hope is it can be a rite of passage for black fathers and their sons. Like, when are they old enough to watch 'Django Unchained'?
Truth be told, actually, my favorite director of the Movie Brats was not Scorsese. Loved him. But my favorite director of the Movie Brats was Brian de Palma. I actually met De Palma right after I'd done 'Reservoir Dogs,' and I was very beside myself.
I just grew up watching a lot of movies. I'm attracted to this genre and that genre, this type of story, and that type of story. As I watch movies I make some version of it in my head that isn't quite what I'm seeing – taking the things I like and mixing them with stuff I've never seen before.
A writer should have this little voice inside of you saying, Tell the truth. Reveal a few secrets here.
None of my costume designers have ever been nominated for an Oscar 'cause I don't do period movies that have ball scenes with a hundred extras in them.
There is such a thing as my kind of actor, and how well they pull off my dialogue is a very, very important part of it.
I've always thought John Travolta is one of the greatest movie stars Hollywood has ever produced.
I think we spent 60-something million on 'Hateful Eight,' which is actually more than I wanted to spend, but we had weather problems. And I wanted to make it good.
I have a lot of Chinese fans who buy my movies on the street and watch them, and I'm OK with it. I'm not OK with it in other places, but if the government's going to censor me, then I want the people to see it in any way they can.
When I'm writing something, I try not to get analytical about it as I'm doing it, as I'm writing it.
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.
My parents said, Oh, he's going to be a director someday. I wanted to be an actor.
I do feel that I need to do at least one more Western – I think you need to make three Westerns to call yourself a Western director.
I like it when somebody tells me a story, and I actually really feel that that's becoming like a lost art in American cinema.
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.
I don't believe you should stay onstage until people are begging you to get off. I like the idea of leaving them wanting a bit more.
If I wasn't a film-maker, I'd be a film critic. It's the only thing I'd be qualified to do.
I had so much fun doing Django, and I love westerns so much that after I taught myself how to make one, it's like, 'OK, now let me make another one now that I know what I'm doing.'
As a viewer, the minute I start getting confused, I check out of the movie. Emotionally, I'm severed.
Movies are my religion and God is my patron. I'm lucky enough to be in the position where I don't make movies to pay for my pool. When I make a movie, I want it to be everything to me; like I would die for it.
I want do a Mandarin language movie. It'll probably be the next movie I do after the one I do next.
I wasn't trying to top Pulp Fiction with Jackie Brown. I wanted to go underneath it and make a more modest character study movie.
When people ask me if I went to film school I tell them, 'no, I went to films.'
I want to have more original-screenplay Oscars than anybody who's ever lived! So much, I want to have so many that – four is enough. And do it within ten films, all right, so that when I die, they rename the original-screenplay Oscar 'the Quentin.' And everybody's down with that.
Something stopped me in school a little bit. Anything that I'm not interested in, I can't even feign interest.
It's a standard staple in Japanese cinema to cut somebody's arm off and have red water hoses for veins, spraying blood everywhere.
Trying to make a feature film yourself with no money is the best film school you can do.
L.A. is so big that if you don't actually live in Hollywood, you might as well be from a different planet.
I couldn't spell anything. I couldn't remember anything, but I could go to a movie and I knew who starred in it, who directed it, everything.
If I really considered myself a writer, I wouldn't be writing screenplays. I'd be writing novels.
My movies are painfully personal, but I'm never trying to let you know how personal they are. It's my job to make it be personal, and also to disguise that so only I or the people who know me know how personal it is. 'Kill Bill' is a very personal movie.
When I make a film, I am hoping to reinvent the genre a little bit. I just do it my way. I make my own little Quentin versions of them… I consider myself a student of cinema. It's almost like I am going for my professorship in cinema, and the day I die is the day I graduate. It is a lifelong study.
I have an idea for a Godzilla movie that I've always wanted to do. The whole idea of Godzilla's role in Tokyo, where he's always battling these other monsters, saving humanity time and again – wouldn't Godzilla become God? It would be called 'Living Under the Rule of Godzilla.'
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 always do an all-night horror marathon on Saturdays where we start at seven and go until five in the morning.
'The Grand Budapest Hotel' is not really my thing, but I kind of loved it.
I'm very happy with the way I write. I think I do it good. But I've never really considered myself a writer.
If there is something magic about the collaborations I have with actors it's because I put the character first.
I got into Facebook late, and I think if you get into Facebook late, you tend to use it the right way, as opposed to the people who got into it sooner and friended everybody and now have a thousand friends. I keep it at about 80 or so, and they're all people I know. Just because I do a movie doesn't mean I friend everybody in it.
I'm definitely not on Twitter. I do have a Facebook page and Facebook friends. It's a lot of fun, especially if you don't just start friending people you don't know.
I'm probably only going to make 10 movies, so I'm already planning on what I'm going to do after that. That's why I'm counting them. I have two more left. I want to stop at a certain point. What I want to do, basically, is I want to write novels, and I want to write theatre, and I want to direct theatre.
I don't really know if I'm writing the kind of roles that Meryl Streep and Julianne Moore would play. Jessica Lange on 'American Horror Story' is a little bit more my cup of tea.
I will never do 'Pulp Fiction 2,' but having said that, I could very well do other movies with these characters.
If you go out and see a lot of movies in a given year, it's really hard to come up with a top ten, because you saw a lot of stuff that you liked. A top 20 is easier. You probably get one masterpiece a year, and I don't think you should expect more than one masterpiece a year, except in a really great year.
I always write these movies that are far too big for any paying customer to sit down and watch from beginning to end, and so I always have this big novel that I have to adapt into a movie as I go.
I was kind of excited about going to jail the first time and I learnt some great dialogue.
It's very important that every movie I do makes money because I want the people that had the faith in me to get their money back.
One of the privileges you have of living the life of an artist and creating your own world and everything is the fact that, in-between times, you can kind of spend them however you want. Because, you know, once you open up your candy store again, you're open for business. And you have to be responsible. You have to be available.
I don't believe in elitism. I don't think the audience is this dumb person lower than me. I am the audience.
When I'm doing a movie, I'm not doing anything else. It's all about the movie. I don't have a wife. I don't have a kid. Nothing can get in my way… I've made a choice, so far, to go on this road alone. Because this is my time. This is my time to make movies.
Novelists have always had complete freedom to pretty much tell their story any way they saw fit. And that's what I'm trying to do.
CGI has fully ruined car crashes. Because how can you be impressed with them now? When you watch them in the '70s, it was real cars, real metal, real blasts. They're really doing it and risking their lives. But I knew CGI was gonna start taking over.
I cannot get myself interested in video games. I've been given video game players and they just sit there connected to my TVs gathering dust until eventually I unplug them so I can put in another special-region DVD player.
To me, movies and music go hand in hand. When I'm writing a script, one of the first things I do is find the music I'm going to play for the opening sequence.
My mom took me to see Carnal Knowledge and The Wild Bunch and all these kind of movies when I was a kid.