Quentin Tarantino

"I steal from every single movie ever made. If people don't like that, then tough tills, don't go and see it, all right? I steal from everything. Great artists steal, they don't do homages."

"I've got so many movies I would like to make. I've got my western, my World War II bunch of guys on a mission, my spaghetti western, my horror film. But since I know I won't live long enough to do all the movies I want to do, with every movie the goal is to wipe out as many as I can."

"To me, torture would be watching sports on television."

"But can I tell the genuine-article Italian from the poseur Italian? No. To me they all seem like poseurs."

"I am a genre lover – everything from spaghetti western to samurai movie. . Sure, and that's the cool thing about DVD: you can pack stuff on the disc that would've been too much for the big screen because actually it would've only interested yourself and a bunch of fanboys, who wanna know everything."

"I've always thought my soundtracks do pretty good, because they're basically professional equivalents of a mix tape I'd make for you at home. Violence is a form of cinematic entertainment."

"I don’t consider him a rapist. He didn’t rape a 13-year-old, it was statutory rape, all right? That’s not quite the same thing, all right? That’s statutory rape, you know, he had sex with a, with a minor, all right? That’s not rape. To me, when you use the word rape … … You’re talking about violent, throwing them down, it’s like one of the most violent crimes in the world. You can’t throw, you know, throwing the word rape around is like throwing the word racist around, all right? You know, it just doesn’t apply to everything that people use it for, all right? You know, he was, he’s guilty of having sex with a minor. She wanted to have it, and dated … dated, dated the guy … … and found out—well, yeah, by the way, we’re talking about America’s morals, we’re not talking about the morals in Europe and everything, all right? Look. She was down with it. And she’s talked about it, she’s talked about it. Now, now that she’s an adult. I’m, I’m right. She’s talked about it since, about, “No, he didn’t really do anything to me, it was a technicality from being 13.” The transcripts are like, now she’s trying to take care of her mom, who’s pissed off at her, so now she’s saying this, she’s saying that, now that she’s an adult— her mom is now on her, she has to say, “He did this, he did that.” Now that she’s an adult, she’s got a whole different story. Now, if you were going to really do equal time, you’d have his book, Roman by Polanski, and read his chapter about what he says happens, all right? the situation was not that she was against all this. She was down to party with Roman. And they partied. let’s talk about it the way it is. She was down with a party. He was down with a party we’re not talking about rape anymore, or we’re not talking about doing it against her will it’s just, it’s a minor situation … … it’s a situation that she’s a minor. Is it against the law? You’re right. in this book, though, do you know what happened? In his book, he talks about why he slipped. I have a little bit of information on this, all right, as opposed to just popping off on this and that and the other. Look, okay, I don’t believe that’s rape, I believe it’s against the law, all right? I don’t believe it’s rape. I mean, not at 13. Not for these 13-year-old party girls."

"I write movies about mavericks, about people who break rules, and I don't like movies about people who are pulverised for being mavericks."

"I look at Death Proof and realize I had too much time."

"Watch the movie closely, and you’ll see how personal it is. Here’s a film in which cinema brings down the Nazi regime, metaphorically and literally. What could possibly be better than that? In this story, cinema changes the world, and I fucking love that idea!"

"The harshest censorship is self-censorship."

"...that fucking wasteland of a decade..."

"Sure, Kill Bills a violent movie. But it's a Tarantino movie. You don't go to see Metallica and ask the fuckers to turn the music down."

"Once a lonely caterpillar sat and cried, To a sympathetic beetle by his side. "I've got nobody to hug, I'm such an ugly bug." Then a spider and a dragon fly replied, "If you're serious and want to win a bride, Come along with us, To the glorious Annual ugly bug ball." Come on let's crawl Gotta crawl, gotta crawl To the ugly bug ball To the ball, to the ball And a happy time we'll have there One and all At the ugly bug ball While the crickets clicked their tricky melodies All the ants were fancy-dancing with the fleas Then up from under the ground The worms came squirming around Oh they danced until there legs were nearly lame Every little crawling creature you could name Everyone was glad What a time they had They were so happy they came Everyone was glad! What a time they had! They were so happy they came! Come on let's crawl Gotta crawl, gotta crawl To the ugly bug ball To the ball, to the ball And a happy time we'll have there One and all! At the ugly bug ball. Then our caterpillar saw a pretty queen She was beautiful in yellow, black and green He said, "Would you care to dance?" Their dancing led to romance. And she sat upon his caterpillar knees And he gave his caterpillar queen a squeeze Soon they'll honeymoon Build a big cocoon Thanks to the ugly bug ball Come on let's crawl Gotta crawl, gotta crawl, To the ugly bug ball To the ball, to the ball And a happy time we'll have there One and all! At the ugly bug ball!"

"Filmmaker Quentin Tarantino also spoke briefly at the rally. "What am I doing here? I'm here because I am a human being with a conscience. And when I see murder, I cannot stand by, and I have to call the murdered the murdered, and I have to call the murderers the murderers." In response to Tarantino's comments branding some police murderers, police organizations in New York, New Jersey, Pennsylvania, Los Angeles, and elsewhere called for a boycott of Tarantino's films, and said they would refuse to provide security for his projects."

"He is a person full of humanity. His scenes may seem a little dreadful, but try to do this: when you look at them, try to focus not on the murderer but on the victim. In the victim's eye you can see all the sensitivity of Tarantino."

"I think Disney were the first studio to realise that home video changed the nature of the films they were putting out. They weren’t doing it in a narrative sense, but they started layering the animation more and more, because they knew that kids would watch these films again and again. So, there’s also a visual density that comes in right about then – at the same time, Ridley Scott was making Blade Runner and stuffing the frame with all these different things; there’s too much to take in on one viewing. Then when Tarantino comes in in the early 90s, you start getting that same density in narrative. And a lot of that is because you can now own a film in the way you own a piece of music, you can control it in a way; it doesn’t just pass across you the way it does on television. That’s a big reason why, when I started in films with Following and Memento, it was still seen as radical or unusual not to tell the story chronologically, which has never been the case in literature. You go back to The Odyssey, it’s never been the case that you’re supposed to tell a story from beginning to end. That’s been the exception in every other narrative medium, it’s really only in movies that that was for a time demanded, and I don’t think it is any more."