Quotes by: Quentin Tarantino
Tarantino at the 2015 San Diego Comic-Con International promoting The Hateful Eight
||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.