Quotes of All Topics . Occasions . Authors
I love movies where you can tell who's directed it even before the credits roll in, like Wes Anderson or Quentin Tarantino. People who make very stylized types of film.
In retrospect, 'Pulp Fiction' isn't just the template for everything Tarantino has done but the yardstick by which everything else he does is measured one way or another.
If Quentin Tarantino is your writer-director then you're going to learn the words and your gonna learn why they're the words. You're gonna learn why they're the best words to say.
I've met a lot of people since I was around four years old, some really big ones along the way, and I don't think I've met anyone who's as generous of spirit as Quentin Tarantino.
If there's one thing that I've learned from both Spike Lee and Tarantino, it's that you can wear your influences on your sleeve but at the same time invoke new energy and new flavor.
Then all of a sudden, Quentin Tarantino comes along and puts a song from 40 years ago in one of his films and they've suddenly discovered you. That was a real gift that Quentin gave me.
The thing that interested me, there are so many filmmakers I admire - like David Lynch and Quentin Tarantino - they have these themes where there's not much going on, but they were suspenseful.
I didn't grow up like Quentin Tarantino, watching esoteric art films at the video store. I'd go to the multiplex and see big, mainstream movies, and I'd go, 'I want to make one of those one day.'
I am going to be an actress. I am going to meet Quentin Tarantino. He will fall in love with me. We will get married. I will be the lead in every single one of his films. He will be like Uma who?
I want to be like, "Look at Postal like Quentin Tarantino did it. Brainwash yourself and convince yourself that Tarantino did it. Forget my name and enjoy the 100 minutes and then write your review."
In the early '90s, when those little art films started coming out, we were introduced to Quentin Tarantino and guys like that, and independent cinema was something that everyone wanted to be a part of.
I enjoy the TV series 'Dexter,' where there's a reason for every kill. Quentin Tarantino is a favourite, and a 'Kill Bill' action-packed movie would be up my street. I'd love to be India's first scream queen!
Maybe when you're alone or no one's looking, you dare to think, "Maybe someday I could get to work with somebody like Quentin Tarantino." For me, it happened. And it didn't just happen once, it's happened twice.
Quentin Tarantino was fantastic. I mean, he can be almost unbearable as a person. At a party, you can't get a word in edgewise for, like, an hour. But as a director, he is so completely open and just... present.
As a movie fan, I remember Quentin Tarantino and Lawrence Bender and the sort of energy around 'Reservoir Dogs,' and the jump from 'Reservoir Dogs' to 'Pulp Fiction,' and how everybody was stoked on Quentin's career.
I'd love to work with Tarantino, Scorsese, Sofia Coppola - all of them! I love thrillers and action movies. I love good horror films. I watched them so much when I was younger that I find it impossible to get scared.
I'm such a horror geek, comic geek and action figure geek. I'm inspired by so much - from Hunter S. Thompson and Quentin Tarantino to 'The Dark Knight' and 'Halloween'. Just show me something that doesn't suck, and I'm happy.
I've featured in some soundtracks in the past, and I would love to do more. I love great soundtracks to movies. Quentin Tarantino always picks amazing soundtracks, so I would like to do something for him or write a song for him.
I saw Quentin Tarantino's 'Django Unchained,' and you could say a lot of things against it, but it was incredible fun. I don't like blood and gore, and I am very squeamish about violence, but Tarantino's violence is actually funny.
A script arrived, and on the front cover - scrawled really big, as if it were a book report - is 'Django Unchained, written by Quentin Tarantino.' And I thought, 'Well, no art department came up with this; this is Quentin's writing.'
I think that no matter whether you're Quentin Tarantino or any other kind of a rebel, or whatever, everyone who makes movies still wants to win an Academy Award, because it's like the Pulitzer Prize or the Congressional Medal of Honor.
Everybody just asks me 'Are you going to make Hollywood movies now?' First, I don't know. Second, I never dreamed about that; I just dreamed about making movies with Tarantino. So if I can make movies with a lot of amazing directors - yes.
I remember watching Quentin Tarantino accept an Academy Award for screenwriting for 'Pulp Fiction.' If I'd known then that 15 years later one of his movies would again be nominated for an Oscar and I'd be in it - that would be pretty crazy.
I'd really love to work with Quentin Tarantino. There's so many people that I'd love to work with, but there's something about Quentin, and one of my all-time favorite films is 'Kill Bill.' Something along those lines would be such a blast.
Because I've made a film with such an amazing director as Tarantino, I'm much more conscious of working with good directors from now on, so that's what's important to me. I don't really care about making a big movie - I just want to make good ones.
I would love to work with Quentin Tarantino - he's my number one. My ultimate. I would love to work with Paul Thomas Anderson, Alexander Payne - Pedro Almodovar wouldn't be too shabby. There are so many good directors, but those are some of my favorites.
With 'Django Unchained,' when you're dealing with slavery, it's like a gymnastics routine with the highest amount of difficulty. Quentin Tarantino is not going to do a movie that's just going to lay there and be safe. There's going to be twists and flips.
But, Tarantino has seen all of my movies. He's seen my good stuff, he's seen my bad stuff, he's seen the ones I directed, he's read my autobiography. There's an awful lot of things he knows about me, all of which I think had something to do with his casting.
One of my favorite Tarantino films is 'Jackie Brown,' and 'Jackie Brown' does it so well, where I'm watching the back half of that movie, and I don't know which side Jackie Brown is playing. I think it's really ingenious for Tarantino to keep us in the dark on that.
Tarantino's movies are smartly intoxicating cocktails of rampage and meditation; they're in-your-face, with a mac-10 machine pistol and a quote from the Old Testament. They blend U.S. and European styles of filmmaking; they bring novelistic devices to the movie mall.
Tarantino is the coolest damn guy; he's just so much fun to work with. He might be the best director I've ever worked with. He just seems to know how to do it and he knows how to make you feel good about it. He's having so much fun you start having fun. You can't help it.
In a weird way, I never wanted - I don't consider myself a very good writer. I consider myself okay; I don't consider myself great. There's Woody Allen and Aaron Sorkin. There's Quentin Tarantino. I'm not ever gonna be on that level. But I do consider myself a good filmmaker.
For me, I can't watch violence when it's too grotesque, and it's just like, that's revolting to watch. I don't enjoy it. But when it's a Tarantino film, I'm lining up outside the door to see it, and I'm expecting to see something really crazy, a lot of blood, and for it to be funny.
Sit down at your computer or open your nearest mobile device and Google these words: 'Directed by.' What's the first predictive text that comes up? Martin Scorsese? Quentin Tarantino? Ingmar Bergman? Chances are the first name Google suggested was Robert B. Weide. That's me. Sort of.
I'm not as successful as Pixar or Dreamworks, and that is disappointing to me, because I think my films are as valid as a Pixar film. I think there's an audience for my films. I know there's a market for someone like Quentin Tarantino, who basically does adult cartoons in live action.
I've noticed, as a comedy fan, that I really like Paul Thomas Anderson or Quentin Tarantino because when they're funny, they're actually funny. It's not like when other dramatic writers have comedy, and I'm just like, 'Well, that's not funny. Why are you even trying to make a joke here?'
I remember when I took Quentin Tarantino with me to a very private screening of the documentary 'Roman Polanski: Wanted and Desired,' which shows some of the legal irregularities of his case. I was involved by the film, and it was an amazing experience to see people weep at the end of it.
One of the reasons I do like 'Cult' is that it plays along the same vibe as the movie 'Seven,' which I absolutely love. There was a period of cinema in the mid-'90s that I was a huge fan of, with 'Heat' and 'Seven' and the Tarantino era. If I've ever been fanatical, it was about those films, back in the day.
My relationship with Christian Slater is like him and Marisa Tomei in 'Untamed Heart.' 'True Romance' was right when I was beginning to become a fan boy of movies. People forget that he's worked with some of the biggest directors in Hollywood. He's worked with Francis Ford Coppola, Quentin Tarantino, John Woo.
Quentin Tarantino is a hip-hop artist. I told him, 'You're hip-hop!' You keep seeing surprises, and a clip here and there, because Quentin is hip-hop. A hip-hop artist will drop a single, leak something over here, and drop something over there 'cause he knows it's hot. He's on the spot with the way he does things.
I've done two motorcycle pictures: I did 'Beyond The Law,' and I did one produced by Tarantino called 'Hell Ride,' with Dennis Hopper and David Carradine and Vinnie Jones. And I just think 'Hell Ride' was a lot more of what a biker movie should be. But the good part of 'Beyond The Law' was that I had a good time with Charlie Sheen.
I'm a big fan of Tarantino's work, and I think I'm fascinated by his evident sense of entitlement to use black characters and black material that he feels not simply comfortable with, but that it's his right and privilege - the apparent ease with which he handles black characters, fully aware that he's been criticized for that, too.
I like the way Quentin Tarantino creates a scene using a series of close-ups or showing very cool images of a person or people walking on some ordinary street in slow motion. I wish I could achieve that kind of slow-motion effect in manga, but it's rather difficult to draw; the only things we can play with are tones of black and white.
In the way in which we are living in a much more explosive and more tension-filled society, a society that is driven with more and more contradictions, it is but unavoidable that some of this will also come into cinema. I would, in fact, argue that a part of it is borrowed from Hollywood. It's as if Quentin Tarantino has come to Mumbai.
I love crosscut parallel storytelling, like we did in Blue Valentine. I love how Alejandro González Iñárritu has done it, and Quentin Tarantino, and Francis Ford Coppola, and all the way back to D.W. Griffith - this parallel editing is an effective way to tell stories. It's like juggling, like keeping a lot of balls in the air and seeing how they come down.