Quentin Tarantino — "I have a big thing about killing animals in movies. That's a bridge I can't cros…"
I have a big thing about killing animals in movies. That's a bridge I can't cross.
I have a big thing about killing animals in movies. That's a bridge I can't cross.
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"You wouldn't think the colour of a writer's skin should have any effect on the words themselves. In a lot of the more ugly pieces, my motives were really brought to bear in the most negative way. It's…"
"I actually really try to um have morality not even be an issue at all all right when it comes to my characters. That's so interesting i mean you know I don't want that to have any play whatsoever. i T…"
"I was kind of excited to go to jail for the first time and I learnt some great dialogue."
"My philosophy forever has been it doesn't matter what you're like as long as you're interesting. Interest is everything."
"To me they're all living inside of this one universe. And it isn't [pointing out the window] out there. Well, it's a little bit out there, and it's also there, too [points at his TV], in the movies, a…"
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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