quote by David Foster Wallace

Quentin Tarantino is interested in watching somebody's ear getting cut off; David Lynch is interested in the ear.

— David Foster Wallace

Risky Tarantino quotations

Tarantino's stuff in its inception was all about finding a way for him to break into Hollywood.

Sure, Kill Bill is 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.

I like cinematic art that doesn't have to include violence as the main meat of emotion. Now, excellence in cinema is based on murder, guns. Tarantino bores me. Even though he is very appealing and very facile about putting elements of pop culture into his work. But it kinds of dates it, right?

Scorsese, Spielberg, Tarantino, Peter Jackson - all of you: I'm here, I'm ready.

I can do funny faces, I can sing, I can dance. Hire me!


I'm not interested in popular culture.

I hate Quentin Tarantino. I rarely go to movies. I hate rock 'n' roll. I work. I think. I listen to classical music. I brood. I like sports cars.

Tarantino and Jackson is like Scorsese and DeNiro, and their silent communication.

Everybody just asks me 'Are you going to make Hollywood movies now?' First, I don't know. Second, I never dreamed about that; I just dreamed about making movies with Tarantino. So if I can make movies with a lot of amazing directors - yes.

But, Tarantino has seen all of my movies.

He's seen my good stuff, he's seen my bad stuff, he's seen the ones I directed, he's read my autobiography. There's an awful lot of things he knows about me, all of which I think had something to do with his casting.

I saw Quentin Tarantino's 'Django Unchained,' and you could say a lot of things against it, but it was incredible fun. I don't like blood and gore and I am very squeamish about violence, but Tarantino's violence is actually funny.


I'm the anti-Quentin Tarantino.

I'm ready to see that new RZA movie [The Man With The Iron Fists] too, it looks kind of Tarantino-ish.

Music was a big thing for me growing up and Scorsese and Tarantino both use music brilliantly in movies. They're probably two of the best at using music.

Quentin [Tarantino] is a filmmaker who really dives into things very seriously and deeply. And when he does interviews, he really wears his heart on his sleeve and he doesn't hold anything back.

Because I've made a film with such an amazing director as Tarantino, I'm much more conscious of working with good directors from now on, so that's what's important to me. I don't really care about making a big movie - I just want to make good ones.


I like the way Quentin Tarantino creates a scene using a series of close-ups or showing very cool images of a person or people walking on some ordinary street in slow motion. I wish I could achieve that kind of slow-motion effect in manga, but it's rather difficult to draw; the only things we can play with are tones of black and white.

Let it Ride channels Elmore Leonard at the height of his powers, with dialogue Quentin Tarantino would kill for.

Quentin Tarantino asked me to work with him but there is no way I am going to do that while Matthew Vaughn is working in film.

There are no good guys in a Quentin Tarantino movie.

They're all bad guys. And you like us. That's Quentin's big talent.

Quentin Tarantino is here, star of all my sexual nightmares.


Now Tarantino is making DJANGO UNCHAINED.

Everybody is telling me I am in the movie but I've not been asked by Tarantino officially. Not yet. There were many, many other Django films following mine, with other actors and directors, but there is only one Django.

I'll tell you, Quentin Tarantino really writes the most amazing dialogue.

There's no one out there like Quentin Tarantino.

His films have a signature look, and they never just stick to the same kind of story.

There's the generation that made the rules, the generation that codified them.

The generation that broke them - that's mine. The generation that laughed at them - that's Tarantino's. And now there's a generation that doesn't know that there were any.

If you ever get the opportunity to work with Quentin Tarantino, you had better believe that it will be an experience of extremes.


Obviously I would love to work with all these great directors like the Coen Brothers, Tarantino. Robert Rodriguez is a dream director of mine.

Meanwhile, however, what’s most bothersome about Pulp Fiction is its success.

This is not to be mean-spirited about Tarantino himself; may he harvest all the available millions. But the way that this picture has been so widely ravened up and drooled over verges on the disgusting. Pulp Fiction nourishes, abets, cultural slumming.

Quentin Tarantino is controlled insanity, I would say.

He's very loud and fun. I don't think there's anybody on the planet like him that I have ever met.

I consider Tarantino a great director.

I am very fond of my collaboration with him and the relationship we have developed during the time we have spent together. He is courageous and has an enormous personality. I credit Tarantino for being one of the people responsible for getting me an Oscar, which is for sure one of the greatest acknowledgments of my career.

I like Quentin Tarantino, especially the early films, but I'm a big fan of Billy Wilder and Preston Sturges... you know, people were writing great dialogue back then. It's as if people only have the memory of the last 15 years. So, before Tarantino no one was writing witty dialogue? That's ridiculous. Why do we have to keep referring to Tarantino?


I think that no matter whether you're Quentin Tarantino or any other kind of a rebel, or whatever, everyone who makes movies still wants to win an Academy Award, because it's like the Pulitzer Prize or the Congressional Medal Of Honor. It's the best endorsement you could get as a moviemaker.

Just someone trying to shoot in 70mm deserves the nomination, and he[Quentin Tarantino] is shooting interiors, like tight interior shots, for that matter. Obviously [Quentin] is the director and demanding the shots, but all credit for the beauty of that film [Hateful Eight] goes to the director of photography.

Tarantino's movies, I really enjoy, certainly, and when I was 19 and 20, I was really into them.

Then all of a sudden, Quentin Tarantino comes along and puts a song from 40 years ago in one of his films and they've suddenly discovered you. That was a real gift that Quentin gave me.

As soon as I finished film school I was thinking about, how do I get to feature films? It took about eight years, and I'm still working. Feature films was not the end goal. Feature films was one of the stages. Getting to the point of the Coen brothers or Tarantino, where you're writing your own material and have the budget to do it properly, that's the end goal, and I'm close to that.

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