292 quotes found
"Revenge is a dish best served cold."
"[To The Bride] Do you find me sadistic? You know, I'll bet I could fry an egg on your head right now if I wanted to. No, Kiddo, I'd like to believe you're aware enough, even now, to know there's nothing sadistic in my actions. Maybe towards those other jokers, but not you. No, Kiddo, this moment, this is me at my most ... masochistic."
"[To Sofie] One more thing Sofie, is she aware her daughter is still alive?"
"It's mercy, compassion and forgiveness I lack. Not rationality."
"Just because I have no wish to murder you before the eyes of your daughter does not mean parading her around in front of me is going to inspire sympathy. You and I have unfinished business. And not a goddamn fucking thing you've done in the subsequent four years, including getting knocked up, is going to change that."
"[to Nikki, Vernita Green's daughter, after killing Vernita] It was not my intention to do this in front of you. For that, I'm sorry. But you can take my word for it, your mother had it coming. When you grow up, if you still feel raw about it, I'll be waiting."
"When fortune smiles on something as violent and ugly as revenge, it seems proof like no other that not only does God exist, you're doing his will."
"[about O-Ren] O-Ren Ishii was born on an American military base in Tokyo, Japan. The half-Japanese, half-Chinese American army brat made her first acquaintance with death at the age of 9. It was that age she witnessed the death of her parents at the hands of Japan's most ruthless Yakuza boss, Boss Matsumoto. She swore revenge. Luckily, for her, Boss Matsumoto was a pedophile. At 11, she got her revenge. By 20, she was one of the top female assassins in the world. At 25, she did her part in the killing of 9 innocent people, including my unborn daughter, in a small wedding chapel in El Paso, Texas. But on that day, four years ago, she made one big mistake. She should've killed 10."
"So, O-Ren... Any more subordinates for me to kill?"
"[punctuating each word by spanking a boy with the flat side of her sword] This - is what - you get - for fucking - around - with Yakuzas! Go home to your mother!"
"[in Japanese] Those of you lucky enough to still have your lives, take them with you! But leave the limbs you have lost. They belong to me now. [to Sofie, in English] Except you, Sofie! You stay right where you are!"
"O-REN ISHII! Shoubu wa mada tsuicha inai yo! [calling out O-Ren in Japanese: "You and I have unfinished business!"]"
"[to Sofie] I am gonna ask you questions. And every time you don't give me answers, I'm gonna cut something off. And I promise you, they will be things you will miss. Give me your other arm!"
"As I said before, I've allowed you to keep your wicked life for two reasons. And the second reason is so you can tell him [Bill] in person everything that happened here tonight. I want him to witness the extent of my mercy by witnessing your deformed body. I want you to tell him all the information you just told me. I want him to know what I know. I want him to know I want him to know. And I want them all to know they'll all soon be as dead as O-Ren."
"I might never have liked you. Point in fact, I despised you. But that shouldn't suggest that I don't respect you. Dying in our sleep is a luxury that our kind is rarely afforded. My gift to you."
"Thought that was pretty fucking funny, didn't you? Word of advice, shithead: don't you ever wake up."
"Funny. You like samurai swords; I like baseball. [throws a ball at the Bride, who slices it in midair]"
"I've done what I swore an oath to God twenty-eight years ago to never do again. I've created "something that kills people". And in that purpose, I was a success. I've done this because, philosophically, I'm sympathetic to your aim. I can tell you, with no ego, this is my finest sword. If, on your journey, should you encounter God, God will be cut."
"For those regarded as warriors, when engaged in combat, the vanquishing of thine enemy can be the warrior's only concern. Suppress all human emotion and compassion. Kill whoever stands in thy way, even if that be Lord God or Buddha himself. This truth lies at the heart of the art of combat."
"Revenge is never a straight line. It's a forest, and like a forest it's easy to lose your way ... to get lost ... to forget where you came in."
"[after she cuts off Boss Tanaka's head, in Japanese] So that you understand how serious I am.... I'm going to say this in English. [puts her sword down and says to her councilmen in English while Sofie translates] As your leader, I encourage you, from time to time and always in a respectful manner, to question my logic. If you're unconvinced a particular plan of action I've decided is the wisest, tell me so! But allow me to convince you. And I promise you, right here and now, no subject will ever be taboo ... except, of course, the subject that was just under discussion. The price you pay for bringing up either my Chinese or American heritage as a negative is – I collect your fucking head. [holds up Tanaka's head] Just like this fucker here. Now, if any of you sons of bitches got [raises her voice] ANYTHING ELSE TO SAY, NOW'S THE FUCKING TIME!!! [pause, in a calm voice] I didn't think so. [drops Tanaka's head on the table and says to her councilmen in Japanese] Gentlemen, this meeting is adjourned."
"[in Japanese] Swords, however, never get tired. I hope you saved your energy. If you haven't... You may not last five minutes. But as last looks go, you could do worse."
"Silly Caucasian girl likes to play with samurai swords. You might not be able to fight like a samurai, but you can at least die like a samurai."
"That really was a Hattori Hanzo sword. [falls dead, the top of her head slashed off]"
"Vernita Green: Black Mamba. I should have been motherfucking Black Mamba."
"Buck: My name is Buck, and I'm here to fuck."
"Sofie: [in French] Burn in hell, you stupid, stupid blonde! I'll tell you nothing!"
"Sofie: Guessing won't be necessary. She informed me."
"Budd: [on The Bride] That woman...deserves her revenge. And we...deserve to die."
"Here comes the bride."
"In 2003, Uma Thurman will Kill Bill."
"On October 10, speak softly and carry a big sword."
"During the 1970s there was a queasy urban myth that, in New York cinemas, drug dealers were skulking down the aisles at midnight shows jabbing innocent moviegoers with needles, so instantly enslaving them to heroin. After one single viewing of Kill Bill Volume 1, starring Uma Thurman - Quentin Tarantino's first movie for six years - I felt like the director himself had cacklingly jammed his hypodermic into my throbbing arm. Really, no one delivers that sheer, aneurism-inducing rush with the same intravenous efficiency as Tarantino. It may not be the best film of the year, nor the best Tarantino film. But it's sure as hell got to be the best way, the only way, to mainline pure adrenaline in the cinema. Whether this results in euphoria or nausea depends on the needle-user. Brutally bloody and thrillingly callous from first to last, Kill Bill covers its action in a kind of delirium-glaze. Its storyline rolls out in a simulacrum universe, a place which looks and sounds like planet Earth in the early 21st century, but isn't. It's a martial- arts movie universe where the normal laws of economics, police work, physiology and gravity do not apply: a world composed of a brilliantly allusive tissue of spaghetti western and Asian martial-arts genres, on which the director's own, instantly identifiable presence is mounted as a superstructure."
"Blood doesn't just flow in Quentin Tarantino's "Kill Bill-Vol. 1"—it splatters and spurts and rises in fountains so baroque and luxuriant that there are moments when it seems as if it were raining red. It isn't, but only because there's little in this private fetish of a movie that relates to the natural world. Despite the occasional glimpse of the not-so-great outdoors, the first half of Tarantino's two-part anti-epic isn't about life—it's about movie-made death in all its spectacular and foolish excess."
"A blood-soaked valentine to movies, "Vol. 1" is the ultimate film-geek freakout, a compendium of 1960s and 1970s cine-references from blaxploitation to Japanese yakuza, classic chopsocky and spaghetti westerns. But this is no ordinary movie love. From the moment that the logo "ShawScope" flashes in the opening credits (a nod at the legendary Hong Kong studio), it's apparent that Tarantino is striving for more than an off-the-rack mash note or a pastiche of golden oldies. It is, rather, his homage to movies shot in celluloid and wide, wide, wide, wide screen—an ode to the time right before movies were radically secularized, before they were slabs of plastic to be rented, slapped into a home-video player, tossed and forgotten in the backseat of a car. Back to the moment when moviegoing was our great collective ritual."
"There's something sweet about Tarantino—it's his old-time religion. In "Vol. 1" he uses snatches of music from one type of movie—say, a snippet from one of Ennio Morricone's scores for a Sergio Leone western—and lays it over a bit of Japanese-flavored mayhem. Sampling movies like a D.J., Tarantino uses other artists' beats and images to scratch out his own tune. This sort of playful mix-master technique has its seductions, but there are dangers to getting hooked on other people's genius. The penultimate battle royale in a Japanese nightclub has moments of great graphic beauty amid the spurting severed limbs, yet the scene's most stunning tableau—a silhouette of the Bride squaring off against some heavies—is borrowed from Seijun Suzuki, an eccentric master of the yakuza film. This kind of mad movie love explains Tarantino's approach and ambitions, and it also points to his limitations as a filmmaker. His multiple references are inescapably entertaining—it's like watching a movie programmer strut his cool stuff—but there can be something distracting about them as well."
""Kill Bill, Volume 1" shows Quentin Tarantino so effortlessly and brilliantly in command of his technique that he reminds me of a virtuoso violinist racing through "Flight of the Bumble Bee"—or maybe an accordion prodigy setting a speed record for "Lady of Spain." I mean that as a sincere compliment. The movie is not about anything at all except the skill and humor of its making. It's kind of brilliant."
"The movie is all storytelling and no story. The motivations have no psychological depth or resonance, but are simply plot markers. The characters consist of their characteristics. Lurking beneath everything, as it did with "Pulp Fiction," is the suggestion of a parallel universe in which all of this makes sense in the same way that a superhero's origin story makes sense. There is a sequence here (well, it's more like a third of the movie) where The Bride single-handedly wipes out O-Ren and her entire team, including the Crazy 88 Fighters, and we are reminded of Neo fighting the clones of Agent Smith in "The Matrix Reloaded," except the Crazy 88 Fighters are individual human beings, I think. Do they get their name from the Crazy 88 blackjack games on the Web, or from Episode 88 of the action anime "Tokyo Crazy Paradise", or should I seek help? The Bride defeats the 88 superb fighters (plus various bodyguards and specialists) despite her weakened state and recently paralyzed legs because she is a better fighter than all of the others put together. Is that because of the level of her skill, the power of her focus, or the depth of her need for vengeance? Skill, focus and need have nothing to do with it: She wins because she kills everybody without getting killed herself. You can sense Tarantino grinning a little as each fresh victim, filled with foolish bravado, steps forward to be slaughtered. Someone has to win in a fight to the finish, and as far as the martial arts genre is concerned, it might as well be the heroine. (All of the major characters except Bill are women, the men having been emasculated right out of the picture.) "Kill Bill, Volume 1" is not the kind of movie that inspires discussion of the acting, but what Thurman, Fox and Liu accomplish here is arguably more difficult than playing the nuanced heroine of a Sundance thumb-sucker. There must be presence, physical grace, strength, personality and the ability to look serious while doing ridiculous things. The tone is set in an opening scene, where The Bride lies near death and a hand rubs at the blood on her cheek, which will not come off because it is clearly congealed makeup. This scene further benefits from being shot in black and white; for QT, all shots in a sense are references to other shots—not particular shots from other movies, but archetypal shots in our collective moviegoing memories."
"There's B&W in the movie, and slo-mo, and a name that's bleeped entirely for effect, and even an extended sequence in anime. The animated sequence, which gets us to Tokyo and supplies the backstory of O-Ren, is sneaky in the way it allows Tarantino to deal with material that might, in live action, seem too real for his stylized universe. It deals with a Mafia kingpin's pedophilia. The scene works in animated long shot; in live action closeup, it would get the movie an NC-17."
"To see O-Ren's God-slicer and Go-Go's mace clashing in a field of dead and dying men is to understand how women have taken over for men in action movies. Strange, since women are not nearly as good at killing as men are. Maybe they're cast because the liberal media wants to see them succeed. The movie's women warriors reminds me of Ruby Rich's defense of Russ Meyer as a feminist filmmaker (his women initiate all the sex and do all the killing)."
"There were a lot of close calls. [Uma] biffed her knee really hard on the couch trying to go over [it]. I got cut with a little bit of glass, landing on that table. I think that that was the one day I wanted to choke Quentin because he didn't realize how hard the table was... I wanted to put a mat down there so I could warm up. And he was like, 'Just get up there and do it.' And I was like, 'Do you know how hard that table is?' So, that was the only day that there was a little bit of grief. And that table, when I landed on it, I landed so hard that my jaw snapped. There were times when you kind of missed or nicked each other, when Uma cocked it a little bit too hard. We filmed it for four days, the fight scene, and I was just covered with bruises and my shoulders were really tired."
"We went out to Kushiyu on Ventura in Tarzana. At dinner, he told me his plan for the film: There would be no quick cuts or getting away with special effects to make us look like real warriors. I had to commit to six months of training, and all of the actors needed to become experts in martial arts to make his vision real on the screen."
"For three months, Uma Thurman, Lucy Liu, Daryl Hannah, David Carradine, and I spent eight hours a day studying martial arts at a gym they put together in Culver City. It was nine to five, Monday through Friday. If you didn't walk in the door between 8:55 and 8:59, you were in trouble at 9:01. I thought I was in the damn Olympics or something."
"Compared to Q.T.'s slice 'em, dice 'em deli, the much-hyped Neo versus 100 Agent Smiths showdown appears unforgivably gutless and soulless. Moral guardians may be outraged but, after a build that most audiences will find slow, it is the bloody geysers Tarantino uncorks here that will have them joining the queue for the very next showing."
"I actually didn't think she was tough. I didn't, I thought she was a really cool character to play because she was a survivor, you know what I mean? She had so many reasons why she had become what she was. She had to continue fighting all her life to basically stay alive, from the moment that her parents were killed. He (Tarantino) pretty much lays it out for you... O-Ren Ishii wasn't the type of person who was ever gonna die peacefully in her bed, you know what I mean? She was going to die fighting and that was how it was gonna be. She died the best way that she could have ever imagined, with the Hattori Hanzo sword. So ultimately, it was a very respectful death, and I think her character is more of a survivor than someone who's tough, you know?"
"It's a really important moment... I didn't think it was gory, because it wasn't a lot of blood, it was just the head was gone, at the end. I just feel like it represents how important it was for her to go to Japan and get that sword made by Sonny Chiba's character, Hattori Hanzo. Hattori Hanzo's sword is in itself its own individual character in the movie. And to have that payoff in the end, with how strong it was, it could just slice her head off like that, through a skull, which is very difficult to do. It really takes, it comes all the way back around for why she went to get that sword and why it was important, and how for her character, she had always wanted one of those swords. To die by that sword is really the only way that she could have died with respect. I think the Bride knew that. So they sort of allow each other the respect that they deserved... You'd have to think that if you do something that's not such a great thing, even though she was taking orders from Bill, that it's going to come back at you, and you have to take responsibility for that moment. I think that she probably knew at some point that that was going to happen."
"In an interview following the release of Reservoir Dogs in 1992, Tim Roth ventured that "I honestly think you could take the same script but reshoot it with women and it would work. It would be the most controversial film ever. ... You could call it Reservoir Bitches." It took more than a decade, but with Kill Bill Volume 1 (out on video this week), Quentin Tarantino finally made his Reservoir Bitches. And while it's not the most controversial film ever (nor even of the past twelve months), that was clearly the director's aspiration. Originally conceived as a single film but split into two "volumes" due to its length (Volume 2 opens in theaters on Friday), Kill Bill is, by most accounts, the most violent film ever released by a major studio. If that weren't enough to ensure its notoriety, the vast majority of that violence is performed by officially hot actresses Uma Thurman, Lucy Liu, and Vivica A. Fox."
"The violence is ridiculous, in the literal sense of the word: When a baddie (there are no goodies) is decapitated, the neck-stump sprays blood like an infernal lawn sprinkler. These abattoir antics might amuse in limited doses (though John Cleese's Black Knight proved 30 years ago that the joke is not in the mutilation but in the obliviousness to it). Yet transgressing limits is Tarantino's whole point, and so we get stabbing after stabbing, severed limb after severed limb, arterial spray after arterial spray, until the walls are painted red and the floor piled high with body parts. And though the carnage is composed by famed martial-arts choreographer Yuen Woo-Ping, it lacks both the athletic poetry he brought to Crouching Tiger, Hidden Dragon and the dizzying spatial geometry he presented in The Matrix. Rather, with the exception of a single sequence featuring a ball-and-chain, the fight in the restaurant (which runs to more than 20 minutes) feels like what it is: a long, mostly earthbound slog through bone and sinew. By the end, it's not funny, or beautiful, or even shocking. It's merely tiresome, an hour spent at the Safeway meat counter."
"WITH its relentless bloodshed and scrambled, inconclusive narrative, Quentin Tarantino's long-awaited fourth feature, Kill Bill: Vol. 1, is certain to provoke both awe and revulsion. The film's detractors and its fans are likely to agree, however, that the movie, a densely referential pastiche of B-movie attitudes and situations, is above all an exercise in style."
"In parts of Pulp Fiction (1994) and in his last picture, Jackie Brown (1997), Mr. Tarantino seemed to be using the action-exploitation formulas of which he is so enamored as stepping stones toward an exploration of plausible characters and authentic emotions. Now, it seems, his interests have swung in the opposite direction, and he has immersed himself, his characters and his audience in a highly artificial world, a looking-glass universe that reflects nothing beyond his own cinematic obsessions."
"While being so relentlessly exposed to a filmmaker's idiosyncratic turn-ons can be tedious and off-putting, the undeniable passion that drives Kill Bill is fascinating, even, strange to say it, endearing. Mr. Tarantino is an irrepressible showoff, recklessly flaunting his formal skills as a choreographer of high-concept violence, but he is also an unabashed cinephile, and the sincerity of his enthusiasm gives this messy, uneven spectacle an odd, feverish integrity. Old movies are not the sole focus of his obsession. The most vivid emotional connection in Kill Bill does not take place between any of the characters, but between the director and his star, Uma Thurman. Mr. Tarantino has referred to Ms. Thurman as my actress, and as Marlene Dietrich to his Josef von Sternberg. Accordingly, much of the perverse energy of Kill Bill arises from his near-maniacal fascination with her. She is at once his idol, his alter-ego, his dream lover and his muse, the way Anna Karina was for Jean-Luc Godard in the early 1960's."
"The sordid creepiness that occasionally seeps into Kill Bill makes you wonder what Mr. Tarantino is trying to do, and whether he is entirely in control of his own imagination."
"Q: Kill Bill is an eclectic movie, stitched together from samurai movies, Yakuza movies, spaghetti westerns..."
"I don't like realistic violence. In fact, I don't really like violence full stop. The violence is Quentin's thing. I don't groove with him on it. But I think the way he executes his violence is comic, creative, dramatic and playful, and not titillating in that horrifically realistic way. It's clearly a creative expression. If you look at the House of Blue Leaves sequence in Kill Bill Volume 1, the reason he wanted it to be so operatic and absurdist was because, if it had been less ridiculous, it would be more upsetting."
"Like a dick-swinging flasher, Quentin Tarantino lets all his obsessions hang out in Kill Bill: Vol. 1. Some people may want to kill him for it, and not just because they'll have to pay again to see Vol. 2, set for release on February 20. Kill Bill is an act of indecent exposure. Everything that makes Tarantino tumescent — kung-fu fighting, samurai flicks, spaghetti westerns and babe-on-babe head bashing, preferably with swords — is stuffed into the 110 minutes of Vol. 1. No use hammering Tarantino for raiding the lost ark of 1970s pop culture when his movie is killingly funny, wildly inventive, bloody as a gushing artery and heart-stoppingly beautiful. Tarantino has the talent to show us what's sacred about the profane, even if you didn't enjoy a misspent youth in seedy theaters with floors sticky from God knows what. In Kill Bill, Tarantino brings delicious sin back to movies — the thrill you get from something down, dirty and dangerous."
"For Tarantino, who set aside his skill at dialogue to show he can do pure action, the film is a challenge to his ego. Ads trumpet Kill Bill as “the Fourth Film by Quentin Tarantino.” Talk about hubris. Fellini didn't even start counting till 8 1/2. But moxie is part of Tarantino's DNA. Who else would make his first film in six years a wet kiss to kung fu and pack it with his fetishes for ultraviolence, Uma Thurman's feet and music from Nancy Sinatra to RZA? And who else could pull it off? Kill Bill is damn near as good as Tarantino thinks it is."
"David Carradine – Bill/Snake Charmer"
"Uma Thurman – The Bride/Black Mamba"
"Lucy Liu – O-Ren Ishii/Cottonmouth"
"Sonny Chiba – Hattori Hanzo"
"Chiaki Kuriyama – Gogo Yubari"
"Daryl Hannah – Elle Driver/California Mountain Snake"
"Vivica A. Fox – Vernita Green/Copperhead"
"[to Butch] The night of the fight, you may feel a slight sting. That's pride fucking with you. Fuck pride. Pride only hurts. It never helps. You fight through that shit."
"[to Butch] This business is filled to the brim with unrealistic motherfuckers. Motherfuckers who thought their ass would age like wine. If you mean it turns to vinegar...it does. If you mean it gets better with age... it don't."
"[Putting out a hit on Butch] I'm prepared to scour the earth for that motherfucker. If Butch goes to Indochina, I want a nigga hiding in a bowl of rice ready to pop a cap in his ass."
"[Driving back to his apartment to retrieve his father’s gold watch] Shit! Of all the fucking things she could fucking forget, she forgets my father’s watch! I specifically reminded her; bedside table. On the kangaroo. I said the words “don’t forget my father’s watch”."
"[To young Butch] Hello, little man. Boy, I sure heard a bunch about you. See, I was a good friend of your dad's. We were in that Hanoi pit of hell together over five years. Hopefully, you'll never have to experience this yourself, but when two men are in a situation like me and your dad were for as long as we were, you take on certain responsibilities of the other. If it'd been me who'd - not made it, Major Coolidge would be talking right now to my son Jim. The way it turned out, I'm talking to you. Butch. I got somethin' for ya. [Sits down, holds up a gold wristwatch with no band] This watch I got here was first purchased by your great-grandfather during the First World War. It was bought in a little general store in Knoxville, Tennessee. Made by the first company to ever make wristwatches. Up 'til then, people just carried pocket watches. It was bought by Private Doughboy Erine Coolidge on the day he set sail for Paris. This was your great-grandfather's war watch and he wore it every day he was in that war, and when he'd done his duty, went home to your great-grandmother, took the watch off, put it in an old coffee can, and in that can it stayed until your granddad, Dane Coolidge, was called upon by his country to go overseas and fight the Germans once again. This time they called it World War II."
"Girls like me don't make invitations like this to just anyone!"
"You won't know the facts until you've seen the fiction"
"Zed's dead, baby. Zed's dead."
"John Travolta – Vincent Vega"
"Samuel L. Jackson – Jules Winnfield"
"Tim Roth – Pumpkin (Ringo)"
"Amanda Plummer – Honey Bunny (Yolanda)"
"Ving Rhames – Marsellus Wallace"
"Uma Thurman – Mia Wallace"
"Bruce Willis – Butch Coolidge"
"Christopher Walken – Capt. Koons"
"Frank Whaley – Brett"
"Eric Stoltz – Lance"
"Rosanna Arquette – Jody"
"Steve Buscemi – Buddy Holly"
"Harvey Keitel – Winston Wolfe"
"Maria de Medeiros – Fabienne"
"Quentin Tarantino – Jimmie"
"Phil LaMarr – Marvin"
"Once upon a time in China, some believe around the year one double-ought three, head priest of the White Lotus Clan, Pai Mei, was walking down the road – contemplating whatever it is that a man of Pai Mei's nearly infinite powers would contemplate - which is another way of saying "who knows?" - when a Shaolin monk appeared on the road, traveling in the opposite direction. As the monk and the priest crossed paths, Pai Mei, in a practically unfathomable display of generosity, gave the monk the slightest of nods. The nod was not returned.Now, was it the intention of the Shaolin monk to insult Pai Mei? Or did he just fail to see the generous social gesture? The motives of the monk remain unknown. What is known were the consequences.The next morning Pai Mei appeared at the Shaolin Temple and demanded of the Temple's head abbot that he offer Pai Mei his neck to repay the insult. The Abbot at first tried to console Pai Mei, only to find Pai Mei was … inconsolable.So began the massacre of the Shaolin Temple and all sixty of the monks inside at the fists of the White Lotus. And so began the legend of Pai Mei's five-point-palm-exploding-heart technique."
"Is that not the perfect visual image of life and death? A fish flapping on the carpet, and a fish not flapping on the carpet."
"I suppose the traditional way to conclude this is we cross Hanzo swords. Well, it just so happens this hacienda comes with its very own private beach. And this private beach just so happens to look particularly beautiful bathed in moonlight. And there just so happens to be a full moon out tonight. So, swordfighter, if you want to sword fight, that's where I suggest. But if you wanna be old school about it, and you know I'm all about old school, then we can wait till dawn, and slice each other up at sunrise, like a couple of real-life, honest-to-goodness samurais."
"I'm a killer! I'm a murdering bastard, you know that. And there are consequences to breaking the heart of a murdering bastard."
"Looked dead, didn't I? Well, I wasn't, but it wasn't for lack of trying I can tell you that. Actually, Bill's last bullet put me in a coma, a coma I was to lie in for four years. When I woke up, I went on what the movie advertisements referred to as a roaring rampage of revenge. I roared and I rampaged and I got bloody satisfaction. I've killed a hell of a lot of people to get to this point. But I have only one more. The last one, the one I'm driving to right now. The only one left. And when I arrive at my destination, I am gonna kill Bill."
"My Pussy Wagon died on me."
"[lighting up a cigarette after Budd has collapsed from a black mamba bite] I'm sorry, Budd. That was rude of me, wasn't it? Budd, I'd like you to meet my friend, the black mamba. Black mamba, this is Budd. You know, before I picked that little fella up, I looked it up on the internet. Fascinating creature, the black mamba. Listen to this. [reads from a notepad] "In Africa, the saying goes, 'In the bush an elephant can kill you, a leopard can kill you, and a black mamba can kill you. But only with the mamba' — and this is true in Africa since the dawn of time — 'is death sure. Hence its handle: Death Incarnate.'" Pretty cool, huh? "Its neurotoxic venom is one of nature's most effective poisons, acting on the nervous system, causing paralysis. The venom of a black mamba can kill a human in four hours if, say, bitten on the ankle or the thumb. However, a bite to the face or torso can bring death from paralysis within 20 minutes." Now, you should listen to this, 'cause this concerns you. "The amount of venom that can be delivered from a single bite can be gargantuan." You know, I've always liked that word "gargantuan," and I so rarely have an opportunity to use it in a sentence. "If not treated quickly with anti-venom, 10 to 15 milligrams can be fatal to human beings. However, the black mamba can deliver as much as 100 to 400 milligrams of venom from a single bite." [puts out her cigarette and addresses Budd] Now in these last agonizing minutes of life you have left, let me answer the question you asked earlier more thoroughly. Right at this moment, the biggest "R" I feel is Regret. Regret that maybe the greatest warrior I have ever known met her end at the hands of a bushwhackin', scrub, alky piece of shit like you. That woman deserved better."
"[on the phone with Bill] Let me put it this way: if you ever start feeling sentimental, go to Barstow, California. When you get here, walk into a florist and buy a bunch of flowers. Then you take those flowers to Huntington Cemetery on Fuller and Guadalupe, look for the headstone marked Paula Schultz, then lay them on the grave. Because you will be standing at the final resting place of Beatrix Kiddo."
"[last words before she dies, while screaming] F***ING B**CH!!! [screaming] F***ING B**CH!!! [screaming] I'LL KILL YOU!!! YOU'RE F***ING DEAD!!! [screaming] YOU B**CH!!! YOU B**CH!!! [moaning and screaming] I'LL F***ING KILL YOU, YOU B**CH!!! [hissing and screaming] OH, I'LL GET YOU!!! I'M GONNA... [screaming] WHERE ARE YOU?!?! LEMME F***ING KILLL YOU!!! [continues screaming] WHERE ARE YOU?!?! I'M COMING, YOU F***ING B**CH!!! [screaming] YOU'RE F***ING DEAD!!! YOU'RE DEAD!!! [continues screaming and crying] OH...SH*T!!!!!! [screaming]"
"The bride is back for the final cut"
"Kill is love."
"Back with a vengeance."
"The whole thrilling tale is revealed."
"Once again, with an insouciant blaze of energy and style, Tarantino has seen off the imitators, detractors and condescenders. True, the Kill Bill films do not have the dialogue riffs of his earlier work co-scripted with Roger Avary, apart from one small verbal arabesque here about Superman and Clark Kent. But as any screenplay handbook will tell you, writing for motion pictures is not about penning lines of dialogue; it is about fashioning a narrative and constructing an event. Kill Bill just seems to bypass the rational filters which impede the respectable films and attacks the endorphin centres of the brain."
"O: Do you think of Bill as a sympathetic character?"
"Q: There is a lot of introspection, a lot of character development in VOLUME 2. Tarantino has always described Bill as a pimp of death. But there seems to be more to the man."
"The movie is a distillation of the countless grind house kung-fu movies Tarantino has absorbed, and which he loves beyond all reason. Web sites have already enumerated his inspirations—how a sunset came from this, and a sword from that. He isn't copying, but transcending; there's a kind of urgency in the film, as if he's turning up the heat under his memories."
"The movie opens with a long closeup of The Bride (Uma Thurman) behind the wheel of a car, explaining her mission, which is to kill Bill. There is a lot of explaining in the film; Tarantino writes dialogue with quirky details that suggest the obsessions of his people. That's one of the ways he gives his movies a mythical quality; the characters don't talk in mundane everyday dialogue, but in a kind of elevated geekspeak that lovingly burnishes the details of their legends, methods, beliefs and arcane lore."
"The training with Pai Mei, we learn, prepared The Bride to begin her career with Bill ("jetting around the world making vast sums of money and killing for hire"), and is inserted in this movie at a time and place that makes it function like a classic cliffhanger. In setting up this scene, Tarantino once again pauses for colorful dialogue; The Bride is informed by Bill that Pai Mei hates women, whites and Americans, and much of his legend is described. Such speeches function in Tarantino not as long-winded detours, but as a way of setting up characters and situations with dimensions it would be difficult to establish dramatically."
"The fight with Elle Driver is a virtuoso celebration of fight choreography; although we are aware that all is not as it seems in movie action sequences, Thurman and Hannah must have trained long and hard to even seem to do what they do. Their battle takes place inside Budd's trailer home, which is pretty much demolished in the process, and provides a contrast to the elegant nightclub setting of the fight with O-Ren Ishii; it ends in a squishy way that would be unsettling in another kind of movie, but here all the action is so ironically heightened that we may cringe and laugh at the same time."
"Of the original "Kill Bill," I wrote: "The movie is all storytelling and no story. The motivations have no psychological depth or resonance, but are simply plot markers. The characters consist of their characteristics." True, but one of the achievements of "Volume 2" is that the story is filled in, the characters are developed, and they do begin to resonate, especially during the extraordinary final meeting between The Bride and Bill—which consists not of nonstop action but of more hypnotic dialogue and ends in an event that is like a quiet, deadly punch line."
"Q: What side of Elle do we see in VOLUME 2?"
"A: Actually, I do use the word 'gargantuan,' I like the word 'gargantuan,' it's a fun word to say."
"Q: That trailer of Budd's would seem like an unlikely location for a couple of monumental showdowns."
"The Mexican and American Southwest settings and use of material from Ennio Morricone’s scores rep the obvious ways in which “Vol. 2” derives from Sergio Leone, but equally important is the influence of the Italian master in pushing Tarantino to expand what could have been perfunctory scenes into hugely elaborated set-pieces; latter detailing is what gives “Vol. 2” its special charge for film buffs or anyone who keys into what Tarantino is up to."
"All of the director's musical, film and comic-book loves are on display; he gives much play to the grungy martial-arts melodrama Five Fingers of Death, evoking its use of Quincy Jones's Ironside theme and plucking several of its plot devices. As befits that kind of density, there are more entrances, back stories and origins in Vol. 2 than in the first hundred issues of The Amazing Spider-Man, Leone's Man With No Name trilogy and all the Shogun Assassin movies combined. But unlike the 100-meter-high hurdles of Vol. 1, Vol. 2 feels like a cross-country run, with hills and long stretches of flatland, as it settles into its casual, carnage-laden pace. It has the wily, extended cadences of Leone's movies, with the first 15 or so minutes filmed in loamy, luscious black-and-white and set in what could only be called exploitation-picture Texas. (What the master cinematographer Vittorio Storaro does with shadow, the director of photography Robert Richardson does with light, painting even the interiors with warm, bright flares. His harsh but loving glow permeates this adventure and, like Mr. Storaro's, his signature is instantly recognizable.)"
"Vol. 2 works like a multimedia mix tape, and Mr. Tarantino rides the tempo of his films like a D.J., abetted in the wheel-in-a-wheel trickiness by the deft fingers of his editor Sally Menke. When one of the characters in Vol. 2 makes an offhand remark about undisputed truth, Mr. Tarantino's actual forebear is clear: the R&B producer Norman Whitfield. Mr. Whitfield was the link between Detroit slick (Motown) and funk (Parliament/Funkadelic). While adding a few licks of his own, Mr. Tarantino, like Mr. Whitfield, gets goose flesh from the evil that lurks within."
"Maybe it is progress of a sort—moral if not cinematic—that in KB2 Tarantino largely eschews the hyper-violence that characterized its predecessor. But rather than replace it with, say, clever dialogue, imaginative plotting, or meaningful Character development, he's substituted the cinematic equivalent of dead air. He intends this to be a nod to the stately, deliberate style of Leone, but it's unaccompanied by any of the elements that made that style great—the use of landscape (both facial and geological), the musical crescendos (Tarantino borrows some Morricone tunes in KB2, but seems afraid of using them in anything other than a minor key), the rhythmic interaction of lengthy buildup followed by momentary violence. (Quentin prefers lengthy buildup followed by lengthy violence; it's not the same thing.) Leone was by nature a mythologizer; Tarantino is by nature a demythologizer. His killer-heroes are not silent, stoic types. They're video store clerks with guns, babblers on every subject from Madonna to French cheeseburgers."
"The audience has expanded. We have more women this time than we had on Volume 1. There was less violence in this one, and that came out in the publicity and the reviews, which drove more women into the theater. And the movie really stands by itself; you don't have to see Volume 1 to enjoy Volume 2."
"Vol. 2 makes a compelling case for a more serious interpretation of Tarantino’s talent, and the film justifies the otherwise vapid (and very cool) Vol. 1, which should never have existed as a separate film. The commercial logistics of a four-hour movie aside, Kill Bill would have worked best as a single entity, the second half imbuing the first with a certain weight. Indeed, Tarantino’s lip fetish is itself enough to empower Vol. 2 with far more powerful scenes than Vol. 1: when a tied-up Beatrix must wrap her lips around a flashlight, the degrading image is worth more than any moment in the first volume. Here Tarantino employs the same technique as in Reservoir Dogs, where he subtly focused on his characters’ ears before slicing one off in the end. It’s a cruel trick, but a crafty one—and proof that Tarantino plays more than lip service to the art of film."
"Q: Uma, how was it to shoot the coffin scene, as a claustrophobic person myself it seemed very scary to watch?"
"We try to appeal to her maternal instincts, and suggest that the ending, in which Beatrix is reunited with her four-year-old daughter, makes the film a kind of love story, a family romance. Did she like that about it? "Yeah, I think it takes a tremendous turn where the character is thrown back into life, because if that hadn't happened she might as well have given herself a five-point exploding palm and died."
"Uma Thurman doesn’t get nailed to a cross in Kill Bill Vol. 2, but writer-director Quentin Tarantino runs her battered character, called the Bride, through a gauntlet that is gory enough to make Mel Gibson flinch. No matter. You’ll thrill to the action, savor the tasty dialogue and laugh like bloody hell. Tarantino has done more than continue the revenge tale he started in Vol. 1 — the Bride wants payback after being left for dead in her wedding dress by Bill (David Carradine) and four other killers in his Deadly Viper Assassination Squad, of which she was once queen bee. Vol. 2 ties the events of Vol. 1 together, just like The Return of the King did for The Lord of the Rings trilogy. You watch and think, “I get it now.” Tarantino has made the hottest mix tape in the history of cinema. Like a master DJ, he samples every lowdown, B-movie genre that formed him, from kung fu and samurai flicks to anime and spaghetti westerns, then filters it through his imagination to create something totally Tarantino: a blast of pure movie oxygen."
"Uma Thurman – Beatrix Kiddo/The Bride"
"David Carradine – Bill"
"Gordon Liu – Pai Mei"
"Michael Madsen – Budd"
"Daryl Hannah – Elle Driver"
"Doctor Block: Self preservation comes to mind."
"Doctor Block: I'm gonna eat your brains and gain your knowledge."
"Quentin Tarantino/Rapist: I ain't never seen a one-legged stripper. I've seen a stripper with one breast. I've seen one with twelve toes. But I ain't never seen one with one leg...and I've been to Morocco."
"Question: Can I ask the leg question to get it out of the way?"
"Rose McGowan: The best description I’ve heard of it, I was talking to somebody, and he said, “I have never laughed and dry heaved in the same moment.” And I thought if that could explain the movie in any way, that would be…I think that should be on the…I’m going to talk to Harvey, that really should be on the poster."
"Freddy Rodriguez: It was funny because the first couple days we were shooting… the first couple days you're always still trying to find what you're doing. And Quentin stood up one day and said 'dude, you're like Snake Pliskin! The character's like Snake Plissken!' And we all kind of raised an eye brow and we said, 'really?' Cause he is kind of like Snake Plissken. And so from then on, we just kind of stuck with that. Because the whole film had an old school John Carpenter feel anyway, so we said 'yea yea, he should be like Snake Plissken, ha ha ha.'"
"Incensed at what I heard, I told Rose that she was not blacklisted from MY movies and that Harvey couldn't tell me who to cast. The reason was that Harvey didn't work on my movies, I made movies all those years for Dimension and Bob Weinstein. So I explained that if I cast her in my next film, Harvey couldn't suddenly tell me no, because my first question would be "Oh, really? Why can't I cast her?" And I was sure he would not want to tell me why."
"Robert Rodriguez: I’d gotten this idea, just before Sin City, to do two short features, like, 60 minutes in length, as a double feature, which I was gonna direct myself. I said to Quentin: "You should direct one, I’ll direct the other," and he said: "Oh, let’s call it Grindhouse and make them like those old movies from the '70s and early '80s. But if we do it, we could do Kung Fu or action, but I think horror would be the best way to go." So I thought: "Well, hey, the best thing I’ve got is this zombie movie script, if you wanna just get started right away you can finish writing it, I never finished it." And Quentin goes: "Oh, I love zombie movies - yeah, yeah, send it to me, I’ll read it." But before I could even give it to him, the next day he already had Death Proof in mind. So I went back to the zombie script, and as I wrote it, I started really getting back into it."
"As the outbreak's survivors - including Michael Biehn's gruff cop and Marley Shelton's runaway lesbian doc - band together to fight the toxic zombie hordes, Rodriguez barely stops for breath. Gone is the talky slow-burn of Tarantino's Death Proof; this is utterly, insanely relentless. It probably winks at the audience too often to be mistaken for a real grindhouse effort (Bruce Willis as a slimy mutant monster? C'mon). Still, it (dis)gracefully pays homage to a time when horror movies were shabby, disreputable and much more fun than today's vanilla outings. It's just ironic that Rodriguez has spent millions recreating what exploitation filmmakers like Lucio Fulci and John Hayes used to knock out for peanuts. There's a lesson in there somewhere..."
"In one of the memoir’s most gripping chapters, she recounts her affair with director Robert Rodriguez (“Spy Kids,” “From Dusk till Dawn”), a smooth-talking, sensitive-seeming guy who turned out to be a Svengali. He and Quentin Tarantino were planning a double feature—”Planet Terror” and “Death Proof”—based on pulp movies of the 1970s, and he wanted McGowan to star. McGowan fell hard and fast, trusting Rodriguez enough to tell him about her experience with Weinstein. He proceeded to use the knowledge against her, she claims, as a tool for mind games, starting with a scene in which Tarantino, playing a character in his movie, attacks McGowan’s character. “I was in a backward world,” she writes. “I was losing my grip on sanity.” In what McGowan interpreted as the ultimate act of cruelty, Rodriguez “sold our film to my monster.”"
"Well, ain't you so sweet that you make sugar taste just like salt!"
"Get ready to fly, bitch!"
"[after Arlene turns him down for a lapdance] Well, that's alright. You're still a nice girl, and I still like you. But you know how people say [in a John Wayne drawl] "you're okay in my book" or "in my book that's no good"? Well, I actually have a book. And everybody I ever met goes in this book, and now I've met you, and you're going in the book too. Unfortunately, I'm going to have to file you under chicken...shit."
"The woods are lovely, dark and deep, and I have promises to keep, and miles to go before I sleep. Do you hear me, Butterfly? Miles to go before you sleep."
"Hey! Ladies! That was fun. [laughs] Well... Adios!"
"Q: How much of the time were you actually in the vehicle being chased around and was it as fast as it looks?"
"[Tarantino] had an idea and a complete vision for it right away when he first talked about it. He started to tell me the story and said, 'It's got this death-proof car in it.' I said, 'You have to call it Death Proof.' I helped title the movie, but that's it."
"Q: So how did you decide which way to take it?"
"Q: When did you realise that two groups of girls were going to be the focus of Death Proof?"
"Quentin Tarantino: There’s a wonderful aspect that Kurt has that’s fantastic, and it mirrors Stuntman Mike a lot. He’s a working professional and he’s been in this business for a long time. He’s done all this episodic television – he did all those TV series, The High Chaparrals and the Harry O‘s. And he’s worked with f****g everybody. Literally. So he knows the life that Stuntman Mike’s had. He’s even the same generational age and he knows some of the jumping-off points. Cameron Mitchell would have made a really good Stuntman Mike. So would William Smith, or Ralph Meeker back in his day. Kurt knew all those guys, he worked with them when he was a little kid. But also what’s interesting is that he’s known Stuntman Mikes, and there’s one guy in particular he’s basing it on. And it’s nothing to do with wardrobe or tics. The stunt guys too, they’ve all known guys like Stuntman Mike: he never really actually did a whole lot, but just enough to have a career. To make Stuntman Mike real for me, I worked out his entire career. I actually worked out more about his background than I could ever show in the movie."
"Q: Were you daunted by attempting a car chase?"
"CGI for car stunts doesn't make any sense to me—how is that supposed to be impressive? [...] I don't think there have been any good car chases since I started making films in '92—to me, the last terrific car chase was in Terminator 2. And Final Destination 2 had a magnificent car action piece. In between that, not a lot. Every time a stunt happens, there's twelve cameras and they use every angle for Avid editing, but I don't feel it in my stomach. It's just action. ~ Quentin Tarantino]]"
"Kim is unapologetic about her gun, and Tarantino rewards her and her friends by ending the movie after they’ve killed Stuntman Mike, instead of portraying the consequences of their crime. But other films of the 1960s and ’70s — the B-movies that Death Proof riffs on — are not so eager to justify their female characters’ violent impulses. In The Warriors (1979), the title gang meets an all-female mob called the Lizzies who invite their male counterparts to hang at their apartment. This seduction turns out to be a ruse, and the Lizzies attempt to kill the Warriors. Of course, the women are all lousy shots, so the Warriors get away, but not before the softest and youngest among them is injured. Director Walter Hill doesn’t include one frame of a woman getting in a punch, but there are plenty of shots of the Warriors nimbly defeating their weaker foils. Tarantino allows his female characters to land more than a few blows. You could argue that he does something similar to what Steiner accuses Andrea Dworkin of doing in her 1990 novel, Mercy. That novel tells the story of Andrea, a woman who endures constant physical and sexual violence over her lifetime and eventually attempts to mitigate her agony by killing men. In her critique of the novel in The Scandal of Pleasure, Steiner points to an unresolved contradiction: The violence that men perpetuate turns out to be the only way to alleviate the protagonist’s pain. So Andrea kills men, a twist of events that Steiner calls “intolerant, simplistic, and often just as brutal as what it protests.” Are the women of Death Proof just as brutal as what they protest? Is Tarantino’s fantasy an imagined corrective to gender-based violence, or just another form of it? Feminist critic Ellen Willis, who died in 2006, might have favored the latter interpretation. In a 1977 Village Voice article, “Beginning to See the Light,” Willis writes about her ambivalence toward punk rocker Patti Smith: “I’m also uncomfortable with her androgynous, one-of-the-guys image; its rebelliousness is seductive, but it plays into a kind of misogyny…that consents to distinguish a woman who acts like one of the guys (and is also sexy and conspicuously ‘liberated’) from the general run of stupid girls.” Her description of Smith could certainly apply to the women of Death Proof: Stuntwomen Zoë and Kim are self-proclaimed “gearheads,” berating the other girls for preferring John Hughes’s Pretty in Pink to classic car-chase movies like Vanishing Point."
"If Death Proof is Tarantino’s fantasy of what women talk about when they get together, it’s a pretty great one. Those “long, long, long” conversations take on a loping, aimless rhythm that mirrors the pulse of the film itself. Perhaps they make Bradshaw uneasy in part because these lengthy girl-on-girl chats are not something we see too often in movies. It feels like watching an actual group of women talk about their lives: How far they’re willing to take things with the men they’re dating, their plans for the evening, how they’re going to score pot. (Not through any men: “We don’t score ourselves, we’re gonna be stuck with them all fucking night.”) With the exception of Rose McGowan and Rosario Dawson, Tarantino cast relatively underexposed actresses to play the lead women. It’s hard to place them in the context of other films, which makes their intrepid characters feel both true to life and super-human. They’re tough, quick-witted women who are simultaneously powerful, unapologetic, sexy, fun, angry, and reckless. They do whatever they feel like doing. And they look so cool doing it. The stuntwomen characters in Death Proof aren’t just stand-ins for actresses on a film shoot; they’re surrogates for the female viewer who perform feats of strength and tenacity that ordinary women can only daydream of. This is why it’s so upsetting that people mistook the film for a fetishistic, misogynist screed. That it was mostly women who protested the film is particularly disappointing. After all, art, as Steiner argues, can do things reality can’t. A decade after its release, Death Proof demonstrates that when it comes to gender violence, 2007, or even 2017, can still feel a lot like the 1970s — and in its cartoonish depiction of evil men, it gives those ordinary women license to get angry about the everlasting problem of brutality against women. Watching Death Proof, or any revenge fantasy, is a powerful act of vengeance-by-proxy — one in which everyone gets to keep their limbs."
"And Nicolas Cage...as...Fu Manchu!"
"Fu Manchu: THIS... is my Mecca! [bursts into sinister laughter]"
"If you're gonna hire Machete to kill the bad guy, you better make damn sure the bad guy isn't YOU!"
"He knows the score. He gets the women. And he kills the bad guys."
"They just fucked with the wrong Mexican."
"If you... were thinking... of going... into... this house... DON'T!"
"If you... were thinking... of opening... that door... DON'T!"
"If you... were thinking... of checking out... the basement... DON'T!"
"If you are thinking of seeing this film alone, DON'T! [in a monotonous voice] Don't."
"HOBO WITH A SHOTGUN! He's pissed! And he wants answers!"
"He's cashing in his nickels and dimes for a new way of life."
"This Thanksgiving... prepare... to have the stuffing scared out of you."
"White meat. Dark meat. All will be carved."
"This Thanksgiving... you'll be coming home for the holidays... in a body bag."
"Quentin Tarantino's "Death Proof" and Robert Rodriguez's "Planet Terror" play as if "Night of the Living Dead" (1967) and "Faster, Pussycat! Kill! Kill!" were combined on a double bill under the parentage of the dark sperm of vengeance."
"My own field of expertise in this genre is the cinema of Russ Meyer, and I was happy to see QT's closing homage to the tough girls and the beaten stud in "Faster, Pussycat! Kill! Kill!" (1965), which John Waters has named as the greatest film of all time. One heroine even copies Tura Satana's leather gloves, boots and ponytail. I may have spotted, indeed, the most obscure quotation from Meyer. In an opening montage of his "Beyond the Valley of the Dolls" (1970), there is a brief, inexplicable shot of a boot crushing an egg. Rodriguez uses the same composition to show a boot crushing a testicle. So the Cinema marches on."
"Q: So is the point of Grindhouse for the two of you to make the best ”crappy” movie you can?"
"Tarantino: You’re bringing all the judgment there. That’s your adjective. I never use the term crap. Ever! These are not so-bad-they’re-good movies. I love this stuff! And that’s what we want to re-create. For lack of a better word, we want Grindhouse to be a ride. I think we could both go out with our movies and have them stand on their own. But what’s so good about this is it’s two movies, and trailers, and bad prints, and if a little bit of gang violence breaks out in the theater, all the better! It just makes the whole experience more interactive!"
"Wired: How did you and Tarantino dream up Grindhouse?"
"Well, you don't gotta be Stonewall Jackson to know you don't wanna fight in a basement."
"[after carving a swastika into Landa's forehead] You know somethin', Utivich? I think this just might be my masterpiece."
"Tell me, Aldo. If I were sitting where you're sitting, would you show me mercy?"
"[spliced into the movie after Zoller asks "Who has a message for Germany?"] I have a message for Germany. That you are all going to die. And I want you to look deep into the face of the Jew who's going to do it! Marcel, burn it down! My name is Shosanna Dreyfus, and this is the face of Jewish vengeance!"
"Once upon a time in Nazi occupied France…"
"You haven't seen war until you've seen it through the eyes of Quentin Tarantino."
"If You Need Heroes, Send In The Basterds"
"AN INGLORIOUS, UPROARIOUS THRILL-RIDE OF VENGEANCE"
"A basterd's work is never done."
"There are no crimes behind enemy lines."
"Brad Pitt – Lieutenant Aldo "The Apache" Raine"
"Christoph Waltz – Standartenführer Hans "The Jew Hunter" Landa"
"Mélanie Laurent – Shosanna Dreyfus aka Emmanuelle Mimieux"
"Eli Roth – Staff Sergeant Donny "The Bear Jew" Donowitz"
"Til Schweiger – Oberfeldwebel Hugo Stiglitz"
"Michael Fassbender – Lieutenant Archie Hicox"
"Daniel Brühl – Oberschütze Frederick Zoller"
"Diane Krüger – Bridget von Hammersmark"
"B.J. Novak – Private First Class Smithson "The Little Man" Utivich"
"Gedeon Burkhard – Corporal Wilhelm Wicki"
"Jacky Ido – Marcel"
"August Diehl – Sturmbannführer Dieter Hellstrom"
"Sylvester Groth – Joseph Goebbels"
"Martin Wuttke – Adolf Hitler"
"Mike Myers – General Ed Fenech"
"Omar Doom – Private First Class Omar Ulmer"
"Samm Levine – Private First Class Gerold Hirschberg"
"Paul Rust – Private First Class Andy Kagan"
"Michael Bacall – Private First Class Michael Zimmerman"
"Carlos Fidel – Private First Class Simon Sakowitz"
"Julie Dreyfus – Francesca Mondino"
"Rod Taylor – Winston Churchill (final film role)"
"Samuel L. Jackson – Narrator"
"You want me to play a black slaver? Ain't nothin' lower than the black slaver. A black slaver is lower than the head house nigger, and buddy, that's pretty fuckin' low."
"Gentlemen, you had my curiosity. But now you have my attention."
"Django and his friend in gray here, Dr. Schultz, are customers. And they are our guests, Stephen. And you, you old, decrepit bastard, are to show them every hospitality. You understand that?"
"[Showing Django and Schultz a human skull] This is Ben. He's an old joe that lived around here for a long time, and I do mean a long damn time. Old Ben here took care of my daddy and my daddy's daddy. Till he up and keeled over one day, old Ben took care of me. Growin' up the son of a huge plantation owner in Mississippi puts a white man in contact with a whole lotta black faces. I spent my whole life here, right here in Candyland, surrounded by black faces. Now seein' 'em every day, day in and day out, I only had one question: why don't they kill us? Now right out there on that porch, three times a week for fifty years, old Ben here would shave my daddy with a straight razor. Now, if I was old Ben, I woulda cut my daddy's goddamn throat, an' it wouldn't-a taken me no fifty years of doin' neither. But he never did. Why not? See, the science of phrenology is crucial to understandin' the separation of our two species. [Picking up a hacksaw] And the skull of the African here? The area associated with submissiveness is larger than any human or any other sub-human species on planet Earth. [Saws a piece off the back of the skull, brushes it off, and holds it up] If you examine this piece of skull here you'll notice three distinct dimples. Here, here and here. Now, if I was holdin' the skull of an Issac Newton or a Galileo, these three dimples would be found in the area of the skull most associated with creativity. But this is the skull of old Ben. And in the skull of old Ben, unburdened by genius, these three dimples exist in the area of the skull most associated with servility. [To Django] Now bright boy, I will admit you are pretty clever. But if I took this hammer here, and I bashed in your skull with it, you would have the same three dimples in the same place as old Ben."
"HEYYY! [slams hand on glass, shattering it] Now lay your palm FLAT on that tabletop! If you LIFT THOSE PALMS, OFF THAT TURTLE-SHELL TABLETOP, Mr. Pooch is gonna let loose with both barrels of that sawed-off! There have been A LOT OF LIES, said around this dinner table here tonight, but THAT you can believe!"
"[To slaves that had been chained to Django] Now as to you poor devils. So as I see it, when it comes to the subject of what to do next, you gentlemen have two choices. One, when I'm gone, you lift that horse off the remaining Speck and carry him to the nearest town, which would be at least thirty seven miles back the way you came. Or two, (throws them keys) you unshackle yourselves, take that rifle over there, put a bullet in his head, bury the two of them deep, and make your way to a more enlightened part of the country. The choice is yours. (starts to ride off, stops) Oh, and on the off-chance that there are any astronomy aficionados amongst you, the North Star is that one. Tata."
"Do you know what they're going to call you? The "Fastest Gun in the South"."
"[To Django] Your black ass been all them motherfuckers at the big house could talk about for the last few hours. Seem like white folk ain't never had a bright idea in they life is comin' up with all kinds of ways to kill your ass. Now mind you, most of them ideas had to do with fuckin' with your fun parts. Now that may seem like a good idea, but truth is when you snip a nigga's nuts most of 'em bleed out in oh, about seven minutes. Most of 'em. Well, more than most. Then I says, "Shitfire, the niggers we sells to LeQuint Dickey got it worse than that!" And they still saying, "Let's whip him to death!" or "Throw him to the mandingos! Feed him to Stonesipher's dogs!" I said "What's so special about that? We do that shit all the time. Hell's bells, the niggers we sells to LeQuint Dickey got it worse than that!" Lo and behold! Out of nowhere, Miss Lara come up with the bright idea of givin' your ass to the LeQuint Dickey Mining Company. And as a slave of the LeQuint Dickey Mining Company, henceforth till the day you die, all day, every day, you will be swingin' a sledgehammer, turnin' big rocks into little rocks. Now when you get there, they gonna take away your name, gi'ya a number and a sledgehammer and say, "Get to work!" One word of sass, they cuts out your tongue. They good at it too. You won't bleed out. Oh, they does that real good! They gonna work yout, all day, every day, till your back give out. Then they gonna hitcha in the head with a hammer, and throw your ass down the nigga hole, and that will be the story of you, Django!"
"[Last words] DJANGO! You uppity son of a--"
"Django... Django... Django... You got sand, Django. Boy's got sand! I got no use for a nigger with sand. I want you to burn a runaway "R" right his cheek, and the girl, too. I want you to take them to the Greenville auction and sell 'em. Both of 'em… separately. And this one… you will sell him cheap."
"Life, liberty and the pursuit of vengeance."
"Once upon a time in the south."
"This Christmas, Django is off the chain."
"The D is silent. Payback won't be."
"Jamie Foxx - Django Freeman"
"Christoph Waltz - Dr. King Schultz"
"Leonardo DiCaprio - Calvin J. Candie"
"Kerry Washington - Brunhilde von Shaft"
"Samuel L. Jackson - Stephen"
"Walton Goggins - Billy Crash"
"Dennis Christopher - Leonide Moguy"
"James Remar - Ace Speck/Butch Pooch"
"David Steen - Mr. Stonecipher"
"Dana Michelle Gourrier - Cora"
"Nichole Galicia - Sheba"
"Laura Cayouette - Lara Lee Candie-Fitzwilly"
"Ato Essandoh - D'Artagnan"
"Sammi Rotibi - Rodney"
"Escalante Lundy - Big Fred"
"Miriam F. Glover - Betina"
"Don Johnson - Spencer 'Big Daddy' Bennett"
"James Russo - Dicky Speck"
"Tom Wopat - U.S. Marshal Gill Tatum"
"Don Stroud - Sheriff Bill Sharp"
"Bruce Dern - Old Man Carrucan"
"M. C. Gainey - Big John Brittle"
"Cooper Huckabee - Little Raj Brittle"
"Doc Duhame - Ellis Brittle"
"Jonah Hill - Randy"
"Lee Horsley - Sheriff Gus (Snowy Snow)"
"Franco Nero - Amerigo Vessepi"
"Got room for one more?"
"When the handbill says "dead or alive", the rest of us just shoot you in the back from up on top a perch somewhere and bring you in dead over a saddle. But when John Ruth the Hangman catches you, you don't die from no bullet in the back. When the Hangman catches you... [winks] You hang!"
"Move a little strange, a little sudden, you're gonna get a bullet. Not a warning, not a question... A bullet!"
"Let's slow it down. Let's slow it waaaay down..."
"My theory is you're working with the man who poisoned the coffee. And both of you murdered Minnie and Sweet Dave, and anybody else might'a picked this bad-luck day to visit Minnie's Haberdashery this morning. And your intention was, at some point, to bushwhack John Ruth and free Daisy. But you didn't count the blizzard, and you didn't count the two of us. That's as far as I got. How am I doin'?"
"That's Marco the Mexican? [laughs] Shit. Now that I blowed his face off, Marco ain't worth a peso!"
"[slow motion] You gon' make a deal with this diabolical bitch?"
"Now Daisy, I want us to work out a signal system of communication. When I elbow you real hard in the face, that means "shut up"!"
"Slow like molasses."
"Jesus Christ, that's awful! What did that Mexican fellow do, soak his old socks in the pot?"
"You only need to hang mean bastards, but mean bastards you need to hang..."
"[to Daisy, just before smashing her guitar] Music time's over!"
"[last words] Mannix! The coffee..."
"What do I gotta say? About John Ruth's ravings? He's absolutely right. Me and one of them fellas is in cahoots. We're just waitin' for everybody to go to sleep. That when we're gonna kill y'all."
"Good one, Warren! Talk that sass, nigger, talk that sass!"
"When you get to hell, John, tell them Daisy sent you..."
"Oh. I get it. "Haberdashery." That was a joke, right?"
"Well, cut my legs off and call me Shorty!"
"WHOO HAW! Now we're talkin'!"
"As my first and final act as the Sheriff of Red Rock, I sentence you, Domergue, to hang by the neck until dead!"
"Here's the problem, Daisy. In order for me to be scared of your threats, I have to believe in those fifteen extra gang members, waiting it out in Red Rock! And boy, oh boy, I sure don't. [Warren chuckles] What I believe, is that Joe Gage or Grouch Douglass or whatever the FUCK his name was--poisoned the coffee. And you watched him do it. And you watched me pour a cup and you didn't say shit! And, I believe you are what you have always been, a lyin' bitch, who will do anything to cheat the rope waiting for her in Red Rock, including shittin' out FIFTEEN extra gang members, whenever you need be. And ... I believe, that when it comes to what's left of the Jody DO-min-gre gang ... I'm lookin' at 'em. Right here, right now, deeeeeeeeeeead on this motherfuckin' floor!"
"The man who pulls the lever that breaks your neck will be a dispassionate man. And that dispassion is the very essence of justice. For justice delivered without dispassion is always in danger of not being justice."
"Precautions must be taken because life is too sweet to lose!"
"Gentlemen, Gentlemen, I know Americans aren't apt to let a little thing like an unconditional surrender get in the way of a good war. But I strongly suggest we don't re-stage The Battle of Baton Rouge during a blizzard in Minnie's Haberdashery..."
"You know... looks can be deceiving. Because I definitely am the ... coming-home-for-Christmas-to-spend-time-with-mother ... type."
"A bastard's work is never done."
"I don't know that nigger. But I know he's a nigger. And that's all I need to know."
"I just met these people, I don't give a damn about them! Or you, or your sister. Or any other son of a bitch in Wyoming for that matter."
"Major Marquiss Warren: That's the thing about war, Mannix. People die."
"Eight strangers. One deadly connection."
"No One Comes Up Here Without a Damn Good Reason"
"The 8th film by Quentin Tarantino"
"The bounty hunter. The Hangman. The Confederate. The Sheriff. The Mexican. The little man. The cow puncher. The prisoner."
"No one to trust. Everyone to hate."
"Spend the holidays with someone you hate"
"Samuel L. Jackson - Major Marquis Warren a.k.a. "The Bounty Hunter""
"Kurt Russell - John Ruth a.k.a. "The Hangman""
"Jennifer Jason Leigh - Daisy Domergue a.k.a. "The Prisoner""
"Walton Goggins - Sheriff Chris Mannix a.k.a."The Sheriff""
"Demián Bichir - Bob (Marco the Mexican) a.k.a. "The Mexican""
"Tim Roth - Oswaldo Mobray (English Pete Hicox) a.k.a. "The Little Man""
"Michael Madsen - Joe Gage (Grouch Douglass) a.k.a. "The Cow Puncher""
"Bruce Dern - General Sanford "Sandy" Smithers a.k.a. "The Confederate""
"James Parks - O.B. Jackson"
"Channing Tatum - Jody Domergue"
"Dana Gourrier - Minnie Mink"
"Zoë Bell - Six-Horse Judy"
"Lee Horsley - Ed"
"Gene Jones - Sweet Dave"