I grew up on exploitation movies. I grew up on kung fu movies. I grew up on spaghetti westerns. I grew up on blaxploitation movies. I grew up on all that stuff. And I love all that stuff.
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"I'm a big fan of grindhouse cinema. I think it's a lost art form."
"I wish I had sat him down and gone, 'Harvey you can't do this, you're gonna f*** up everything.' I don't think anybody talked to him about it."
"I steal from every single movie ever made. If people don't like that, then tough tills, don't go and see it, all right? I steal from everything. Great artists steal, they don't do homages."
"I've always been a big fan of dialogue. I think dialogue is the most important part of a movie."
"I think every movie is a genre movie. A John Cassavetes movie is a genre movie—it's a John Cassavetes Movie. That's a genre in and of itself."
American filmmaker (Pulp Fiction, Kill Bill, Inglourious Basterds) whose intertextual genre-collage redefined 1990s independent cinema. Closely associated with Robert Rodriguez (frequent collaborator (From Dusk Till Dawn, Sin City)) and Paul Thomas Anderson (1990s indie-auteur peer). For an intellectual contrast, see Stanley Kubrick, meticulous formalist filmmaker (1928-1999) — Kubrick's films erase influences into singular monolithic vision through year-long shoots and 100-take perfectionism; Tarantino's foreground every reference as a deliberate tribute — the two opposite ways auteurist cinema can be made.
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