Most of it should be subconscious, if the work is coming from a special place. If I'm thinking and maneuvering that pen around, then that's me doing it. I really should let the characters take it. But the characters are different facets of me, or maybe they're not me, but they are coming from me. So when they take it, that's just me letting my subconscious rip.
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"I steal from every single movie ever made. If people don't like that, then tough titty, said the kitty."
"I'm a big fan of actors who are willing to take risks."
"I mean, I'm a big movie geek. I just like movies, and I just like going to the movies. I also like watching movies at home. But I like going to the movies. It's like going to church. It's like going t…"
"I'm a big fan of strong female characters."
"I'm not interested in being a nice guy. I'm interested in being a good filmmaker."
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.
Interview with Village Voice, discussing his creative process.
Date: Approximate, quoted in 2022 article
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