I'm never bothered that people say I don't make films 'from life' and that I have 'nothing to say.' I don't try to say anything but to create characters and to tell stories out of which meaning can appear. What's more, I think I make films about life since I make films about me, about what interests me.
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"I'm not a fan of CGI. I like practical effects."
"I didn't force her into the car… She got into the car because she trusted me, she believed me. (Seeing that crash) it was heartbreaking, just horrible… the biggest regret of my life."
"I'm a big believer in the power of music in movies."
"I like movies that are a little bit dangerous."
"I get a kick out of violence in movies. I don't get a kick out of badly done violence or action scenes in movies. It's like, 'How far is too far?' Well, if they do it well, there shouldn't be, 'How fa…"
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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