You know, anything can be- you can make a joke out of anything. You name me any horrific thing, and I can make a joke out of it, all right, because you know, and a joke is a joke.
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"I didn't start a family until late in life. I've been -- I've always kind of equated -- if you're doing movies on, you know, on the level that I've been doing, actually at the level I've been allowed …"
"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."
"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…"
"I like the way blood looks in black and white. It's like a Rorschach test."
"Social critics don't mean a thing to me. It's really easy to ignore them, because I believe in what I'm doing 100%. So any naysayers for the public good can just fuck off."
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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