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.

Of course I have dreamed about that - and about showing off the Champions League trophy to the cows back in Liencres.

I am used to working with what I have.

I would like to be the champion by playing La Liga, winning it on the pitch.

The formation is important but not that important. The important thing is the concepts in each position on the pitch. That has to be integrated into the players' heads. The players will develop when they understand it.

I would've coached Barcelona for free. Well, maybe not for free, but in almost any circumstance.

When you don't win games everyone tries to stir the pot but this is the circus we're in.

When I arrive at a club, I always look at it like I'm going to stay all my life. I couldn't work like I do otherwise.

I don't have a lot of time to lose and I would like to win the Champions League or La Liga. If I could win them both, even better.

More time and less pressure would be a lot better, that's true.

What I feel for the ball, what I enjoy, as a player and now as a coach, the satisfaction I feel when I see great players, is the same as in the school playground: seeing moves build, seeing understanding, passes flow, seeing it all fit together. That's what I admire and ultimately, that's what you learn at school.

There is a great part of the professional world that I don't like.

I understand football through the ball. There are others who interpret the game without the ball.

There are coaches who put more or less players in front of the ball; when you put lots of players ahead of the ball, the risk is magnified. There are coaches that won't contemplate that. I respect that.

When I arrived at Lugo, the whole world told me you can't play that football in Segunda B. I said we could, and was there six years.

I'm a romantic, I like the football.

If you play badly and lose, you're left with nothing. If you lose but play well, you still have something. You have something to build on.

I do not agree that the coach has to adapt to the players. There was a time when I thought it, but that was because I did not understand football.

I told Cruyff I'd have given my little finger to have played for his team, but not just to play at Barcelona but for how they played, because I saw how the players enjoyed themselves.

I started to really watch football. To analyze it. To understand what I felt, and what I wanted to put into practice when I became a coach.

I've watched Barcelona all my life.

I don't rule out 3-4-3 or other formations depending on the game.

Of course I would like to coach Neymar one day.

I'm interested in the football; everything outside of that is something I can't control.

All I'm interested in is giving my players the tools they need to win.