If you've made money being a critic in black culture in the last 20 years you have to deal with me. You must have an opinion of me. You must deal with what I'm saying and deal with the consequences.
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"Violence is one of the most fun things to watch."
"I'm a big fan of film noir. It's my favorite genre."
"The flaw is Paul Dano. Obviously, it's supposed to be a two-hander, and it's also so drastically obvious that it's not a two-hander. … He is weak sauce, man. He's a weak sister."
"Violence in real life is terrible; violence in movies can be cool. It's just another colour to work with."
"I don't believe in happy endings. I believe in interesting endings."
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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