Quentin Tarantino
Quentin Tarantino
Quentin Jerome Tarantinois an American filmmaker and actor. His films are characterized by non-linear storylines, satirical subject matter, an aestheticization of violence and gore, extended scenes of dialogue, utilization of ensemble casts consisting of established and lesser-known performers, references to popular culture, soundtracks primarily containing songs and score pieces from the 1960s to the 1980s, and features of neo-noir film...
NationalityAmerican
ProfessionDirector
Date of Birth27 March 1963
CityKnoxville, TN
CountryUnited States of America
Most, actually, German actors have like some speaking of French. So, the French wasn't the problem. But, I was having a problem with them doing my dialogue in English. And it wasn't a matter of fluency.
L.A. is so big that if you don't actually live in Hollywood, you might as well be from a different planet.
When it came to a lot of these German actors with the English, they just couldn't do it. They couldn't get the poetry out of it. They couldn't own it and make it their own. And they were struggling with it. And then, Christoph [Waltz] came in and I didn't know who Christoph was.
Movies are my religion and God is my patron. I'm lucky enough to be in the position where I don't make movies to pay for my pool. When I make a movie, I want it to be everything to me; like I would die for it.
I don't really consider myself an American filmmaker like, say, Ron Howard might be considered an American filmmaker. If I'm doing something and it seems to me to be reminiscent of an Italian giallo, I'm gonna to do it like an Italian giallo.
The good ideas will survive.
To me "King Kong" is a metaphor for America's fear of the black male and to me that's obvious. All right, so I mean that was one of the first things I said when I was talking to a friend of mine after he saw Peter Jackson's version of "King Kong."
I want to top expectations. I want to blow you away.
In real life there are no bad guys. Everybody just has their own perspective.
I mean, there's an aspect I've always said that is - it's, you know, it's not poetry but it's kind of like it. It's not song lyrics but it's kind of like song lyrics. It's not rap but it's kind of like rap. And it's not stand-up comedy but it is kind of like stand-up comedy. It's all those things together.
I'm not saying it's a bad thing to do, but when you try to deal with prescient themes in the present, that is what you're doing.
I'm a big collector of vinyl - I have a record room in my house - and I've always had a huge soundtrack album collection. So what I do, as I'm writing a movie, is go through all those songs, trying to find good songs for fights, or good pieces of music to layer into the film.
Music is very, very important in my movies. In some ways the most important stage, whether it ends up being in the movie or not, is just when I come up with the idea itself before I have actually sat down and started writing. I go into my record room... I have a big vinyl collection and I have a room kind of set up like a used record store and I just dive into my music, whether it be rock music, or lyric music, or my soundtrack collection. What I'm looking for is the spirit of the movie, the beat that the movie will play with.
And there's wordplay and there's rhythms and you have to be able to get the poetry out of it. You have to be able to sell my jokes. And if you're talking about somebody like Sam Jackson, they do that. Sam Jackson can do that. Sam Jackson can turn it into the spoken word that it was always meant to be and he can sell my jokes. And Christopher Walken can do it and a lot of people can do it, all right.