Violence was like another character in the room. It hung over the proceedings. You kept waiting for every conversation to break out into it. So even if it was funny, the audience might have laughed, but when they get out of the theater, they don't remember laughing.
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"I'm a big fan of movies that are morally ambiguous."
"I'm not a big fan of sequels."
"I'm not a fan of political correctness."
"When a man of principle battles a scoundrel, the scoundrel always at first has the upper hand. Because there are some things the man of principle won't do."
"I've never been interested in making a movie that everybody likes. I'm interested in making movies that I like."
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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