Screenplays By Quentin Tarantino

"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."

"[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."

"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."

"It's mercy, compassion and forgiveness I lack. Not rationality."

"[To Sofie] One more thing Sofie, is she aware her daughter is still alive?"

"[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."

"[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."

"[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."

"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."

"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."

"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."

"Funny. You like samurai swords; I like baseball. [throws a ball at the Bride, who slices it in midair]"

"Thought that was pretty fucking funny, didn't you? Word of advice, shithead: don't you ever wake up."

"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."

"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."

"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."

"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'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 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!"

"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."

""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."

"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."

"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."

"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."

"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."

"On October 10, speak softly and carry a big sword."

"In 2003, Uma Thurman will Kill Bill."

"Here comes the bride."

"Budd: [on The Bride] That woman...deserves her revenge. And we...deserve to die."

"Sofie: Guessing won't be necessary. She informed me."

"Revenge is a dish best served cold."

"Sofie: [in French] Burn in hell, you stupid, stupid blonde! I'll tell you nothing!"

"Buck: My name is Buck, and I'm here to fuck."