I loved history because to me, history was like watching a movie.

I couldn't spell anything. I couldn't remember anything, but I could go to a movie and I knew who starred in it, who directed it, everything.

One of the privileges you have of living the life of an artist and creating your own world and everything is the fact that, in-between times, you can kind of spend them however you want. Because, you know, once you open up your candy store again, you're open for business. And you have to be responsible. You have to be available.

If I wasn't a film-maker, I'd be a film critic. It's the only thing I'd be qualified to do.

Something stopped me in school a little bit. Anything that I'm not interested in, I can't even feign interest.

I have loved movies as the number one thing in my life so long that I can't ever remember a time when I didn't.

I'm a historian in my own mind.

I've always considered myself a filmmaker who writes stuff for himself to do.

I like it when somebody tells me a story, and I actually really feel that that's becoming like a lost art in American cinema.

If there is something magic about the collaborations I have with actors it's because I put the character first.

To be a novelist, all I need is a pen and a piece of paper.

My movies are painfully personal, but I'm never trying to let you know how personal they are. It's my job to make it be personal, and also to disguise that so only I or the people who know me know how personal it is. 'Kill Bill' is a very personal movie.

Truth be told, actually, my favorite director of the Movie Brats was not Scorsese. Loved him. But my favorite director of the Movie Brats was Brian de Palma. I actually met De Palma right after I'd done 'Reservoir Dogs,' and I was very beside myself.

I want to have the fun of doing anime and I love anime, but I can't do storyboards because I can't really draw and that's what they live and die on.

Sergio Leone was a big influence on me because of the spaghetti westerns.

My mom took me to see Carnal Knowledge and The Wild Bunch and all these kind of movies when I was a kid.

I am a genre lover - everything from spaghetti western to samurai movie.

I don't think Pulp Fiction is hard to watch at all.

I got into Facebook late, and I think if you get into Facebook late, you tend to use it the right way, as opposed to the people who got into it sooner and friended everybody and now have a thousand friends. I keep it at about 80 or so, and they're all people I know. Just because I do a movie doesn't mean I friend everybody in it.

CGI has fully ruined car crashes. Because how can you be impressed with them now? When you watch them in the '70s, it was real cars, real metal, real blasts. They're really doing it and risking their lives. But I knew CGI was gonna start taking over.

I love Elmore Leonard. To me, True Romance is basically like an Elmore Leonard movie.

I come from a mixed family, where my mother is art house cinema and my father is B-movie genre cinema. They're estranged, and I've been trying to bring them together for all of my career to one degree or another.

'Django' was definitely the beginning of my political side, and I think 'Hateful Eight' is the... logical extension and conclusion of that. I mean, when I say conclusion, I'm not saying I'll never be political again, but, I mean, I think it's like, in a weird way, 'Django' was the question, and 'Hateful Eight' is the answer.

I want to have more original-screenplay Oscars than anybody who's ever lived! So much, I want to have so many that - four is enough. And do it within ten films, all right, so that when I die, they rename the original-screenplay Oscar 'the Quentin.' And everybody's down with that.

I don't believe you should stay onstage until people are begging you to get off. I like the idea of leaving them wanting a bit more.

Whatever's going on with me at the time of writing is going to find its way into the piece. If that doesn't happen, then what the hell am I doing? So if I'm writing 'Inglourious Basterds,' and I'm in love with a girl and we break up, that's going to find its way into the piece.

I actually think one of my strengths is my storytelling.

Novelists have always had complete freedom to pretty much tell their story any way they saw fit. And that's what I'm trying to do.

Digital presentation is just television in public; we're all just getting together and watching TV without pointing the remote control at the screen.

I have a lot of Chinese fans who buy my movies on the street and watch them, and I'm OK with it. I'm not OK with it in other places, but if the government's going to censor me, then I want the people to see it in any way they can.

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.

I wasn't trying to top Pulp Fiction with Jackie Brown. I wanted to go underneath it and make a more modest character study movie.

I always write these movies that are far too big for any paying customer to sit down and watch from beginning to end, and so I always have this big novel that I have to adapt into a movie as I go.

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

My plan is to have a theatre in some small town or something and I'll be manager. Ill be the crazy old movie guy.

It's very important that every movie I do makes money because I want the people that had the faith in me to get their money back.

In the '50s, audiences accepted a level of artifice that the audiences in 1966 would chuckle at. And the audiences of 1978 would chuckle at what the audience of 1966 said was okay, too. The trick is to try to be way ahead of that curve, so they're not chuckling at your movies 20 years down the line.

There is such a thing as my kind of actor, and how well they pull off my dialogue is a very, very important part of it.

I've always wanted to work with Warren Beatty.