"Every person who... chooses the service of God as his life's work has something in common. I don't care if you're a preacher, a priest, a nun, a rabbi or a Buddhist monk. Many, many times during your life you will look at your reflection in a mirror and ask yourself: am I a fool? I'm not going through a lapse; what I've experienced is closer to awakening."

"[on his impending vampirization] I'll be a lap dog of Satan."

"Alright, pussy, pussy, pussy! Come on in Pussy lovers! Here at the Titty Twister we’re slashing pussy in half! Give us an offer on our vast selection of pussy, this is a pussy blow out! Alright, we got white pussy, black pussy, Spanish pussy, yellow pussy. We got hot pussy, cold pussy. We got wet pussy. We got smelly pussy. We got hairy pussy, bloody pussy. We got snapping pussy. We got silk pussy, velvet pussy, naugahyde pussy. We even got horse pussy, dog pussy, chicken pussy. C'mon, you want pussy, come on in Pussy Lovers! If we don't got it, you don't want it! Come on in Pussy lovers!"

"Attention pussy shoppers! Take advantage of our penny pussy sale! If you buy one piece of pussy at the regular price, you get another piece of pussy of equal or lesser value for only a penny! Try and beat pussy for a penny! If you can find cheaper pussy anywhere, fuck it!"

"[As a vampire] You know what they say about me? I suck!"

"Earl McGraw: Jesus H. Christ, Pete. When you gonna learn that microwave food'll kill you faster than a bullet? I mean, them damn burritos ain't good for nothing but a hippie, when he's high on weed."

"Sex Machine: Now let's kill that fuckin' band."

"I had to work with Harvey Keitel, and my character was supposed to dominate him. Now, nobody but nobody dominates Harvey on screen. I did my best, but when I look at the result, I can see him throw in a gesture, raise an eyebrow, or even take a pause, and he takes focus. That's why he's Harvey Keitel, and I'm just a lucky guy with the best job in the world."

"Do you know what it was like to dance with that snake in a bikini? That's probably the biggest challenge I have ever encountered."

"A terrifying evil has been unleashed. And five strangers are our only hope to stop it."

"Vampires. No Interviews."

"From Quentin Tarantino. From Robert Rodriguez. From Dusk Till Dawn."

"The Showdown is on."

"One night is all that stands between them and freedom. But it's going to be one hell of a night."

"How far can Too Far go?"

"Harvey Keitel - Jacob Fuller"

"George Clooney - Seth Gecko"

"Quentin Tarantino - Richard Gecko"

"Juliette Lewis - Kate Fuller"

"Ernest Liu - Scott Fuller"

"Salma Hayek - Santanico Pandemonium"

"Cheech Marin - Border Guard/Chet Pussy/Carlos"

"Danny Trejo - Razor Charlie"

"Tom Savini - Sex Machine"

"Fred Williamson - Frost"

"Michael Parks - Texas Ranger Earl McGraw"

"O: Do you think of Bill as a sympathetic character?"

"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."

"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.)"

"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."

"Q: That trailer of Budd's would seem like an unlikely location for a couple of monumental showdowns."

"A: Actually, I do use the word 'gargantuan,' I like the word 'gargantuan,' it's a fun word to say."

"Q: What side of Elle do we see in VOLUME 2?"

"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."

"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."

"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 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 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."

"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."

"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."

"The whole thrilling tale is revealed."

"Back with a vengeance."

"Kill is love."

"The bride is back for the final cut"

"Revenge is a dish best served cold."