Quentin Tarantino Quotes - Page 9

Leni Riefenstahl was the one person Goebbels had no control over in the filmmaking community of Nazi Germany, and they despised each other. But because she was Hitler's favorite, she could do what she wanted. She was the only filmmaker that did not have to cow down to Joseph Goebbels.

I'm a historian in my own mind.

Critics don't want to see directors they like make too much of a left turn. That's good for criticism.

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.

My mom took me to see Carnal Knowledge and The Wild Bunch and all these kind of movies when I was a kid.

I want do a Mandarin language movie. It'll probably be the next movie I do after the one I do next.

I will never do Pulp [Fiction] 2 but having said that, I could very well do other movies with these characters.

But can I tell the genuine-article Italian from the poseur Italian? No. To me they all seem like poseurs.

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

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.

If you're a film fan, collecting video is sort of like marijuana. Laser discs, they're definitely cocaine. Film prints are heroin, all right? You're shooting smack when you start collecting film prints. So, I kinda got into it in a big way, and I've got a pretty nice collection I'm real proud of.

I was trying to do like a spaghetti western but using World War II iconography.

... Revenge, ... All of a sudden, revenge started brewing in the back of their minds.

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.

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

If you were a U.S. Cavalry guy and you thought you were going to be captured by the Apaches, you might kill yourself. If they were with their wives and they thought they were going to be captured, they would shoot their wives for fear of the Apaches getting them.

Everybody always talks about the science fiction genre, in particular, which always makes me think about people in spaceships. I can appreciate that, but that's not really where I think my dramatist aspect lies.

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.

But the idea of using the Apache resistance, one, it works effective to actually get German soldiers to think of Jews that way. You know, and they're not just any Jews. They're the American Jews. They're Jews with entitlement.

Apache have the strongest nation in the world behind them. So we're going to inflict pain where our European aunts and uncles had to endure it. And so the fact that you could actually get Nazis scared of a band of Jews, that's - again, that's a gigantic psychological thing.

Well, it's funny because, "The Green Leaves of Summer" and "The Alamo" theme are the same thing. There's just - the Brothers Four was a different recording of it.

I've always seen in Westerns it described or it's shown very vaguely, but I wanted this - I want us to show what they're doing to them, so you can actually see it. And if you notice in the movie, you know, it goes even beyond just scalping and stuff.

And when I first started writing, it was literally in acting classes. And what would happen is now it's really easy to get scripts and stuff but back then, you know, oftentimes you'd buy the novelization to a movie if you wanted to get an idea of what the scene, you know what happened in the scene.

A lot of them [Germaqn actors] could come in and we could speak for the next nine hours in English and there would be no problem. It was - but it was - English wasn't the language for them to read poetry in. And there is a - there's a poetic quality to my dialogue.

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.