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I mean, of course King Kong is a metaphor for the slave trade. I'm not saying the makers of King Kong meant it to be that way, but that's what, that's the movie that they made - whether they meant to make it or not.

Quentin Tarantino

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Quentin Tarantino
Age: 61
Born: 1963
Born: March 27
Actor
Director
Film Actor
Film Director
Film Editor
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Screenwriter
Television Actor
Writer
Knoxville
Tennessee
Tarantino
Quentin Jerome Tarantino
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Kong

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I've always said Thomas Edison invented the movie camera to show people killing and kissing.
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I always do an all-night horror marathon on Saturdays where we start at seven and go until five in the morning.
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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.
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If there is something magic about the collaborations I have with actors it's because I put the character first.
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The next movie will be in Mandarin. I enjoyed shooting all the Japanese stuff in Kill Bill so much that this whole film will be entirely in Mandarin.
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You're an actor, you want to do a scene in class. But one of the things I've always had is I've always had a really good memory. So I would go and watch a movie and then I would see a scene in the movie and I go, hey I'd like to do that in class this Wednesday.
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I like my song-sequences in my movies, but one of the things I like about them, is I get in and I get out.
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If I've made it a little easier for artists to work in violence, great! I've accomplished something.
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I definitely have some colleagues that I respect, and we get together from time to time. But I actually have just like genuine friends. Paul Thomas Anderson is a genuine friend. Robert Rodriguez is a genuine friend. Rick Richard Linklater is a genuine friend. Eli Roth is a genuine friend. And so is Edgar Wright.
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I write movies about mavericks, about people who break rules, and I don't like movies about people who are pulverised for being mavericks.
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I don't think there's anything to be afraid of. Failure brings great rewards - in the life of an artist.
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Spaghetti Westerns are really brutal and operatic with a surreal quality to the violence.
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I look at 'Death Proof' and realize I had too much time.
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I felt no obligation to bow to any 21st Century political correctness. What I did feel an obligation to do was to take the 21stCentury viewers and physically transport them back to the ante bellum South in 1858, in Mississippi, and have them look at America for what it was back then. And I wanted it to be shocking.
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If I really considered myself a writer, I wouldn't be writing screenplays. I'd be writing novels.
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If my answers frighten you then you should cease asking scary questions.
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If you love cinema as much as I do, and not many people do, and if you are focused and actually have something to offer, you will get somewhere with it.
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My writing's like a journey. I'll know some of the stops ahead of time, and I'll make some of those stops and some of them I won't. Some will be a moot point by the time I get there. You know every script will have four to six basic scenes that you're going to do. It's all the scenes where your characters really come from.
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I surprised myself, that I was in the tissue of the character enough, that I could actually come up with something that I didn't actually feel or didn't believe.
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There was that last blast of Westerns that came out in the Seventies, those Vietnam/Watergate Westerns where everything was about demystification. And I like that about those movies.
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