The worst thing about movies is, no matter how far you can go, when it comes to violence you are wearing a pair of handcuffs that novelists... don't wear.
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"People can uh absolutely positively uh accuse my movies of being bloodthirsty. and they might very well be right and if that is not your cup of tea. then you should drink another cup of tea."
"I like the way blood looks in black and white. It's like a Rorschach test."
"I never went to film school. I went to films."
"I don't believe in happy endings. I believe in interesting endings."
"Insects too. Unless I'm paying to see some bizarro documentary, I'm not paying to see real death. Part of the way that this all works is that it's all just make believe. That's why I can stand the vio…"
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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