Dogs got personality. Personality goes a long way.

I have an idea for a Godzilla movie that I've always wanted to do. The whole idea of Godzilla's role in Tokyo, where he's always battling these other monsters, saving humanity time and again - wouldn't Godzilla become God? It would be called 'Living Under the Rule of Godzilla.'

The good ideas will survive.

I want to top expectations. I want to blow you away.

I just grew up watching a lot of movies. I'm attracted to this genre and that genre, this type of story, and that type of story. As I watch movies I make some version of it in my head that isn't quite what I'm seeing - taking the things I like and mixing them with stuff I've never seen before.

To me, movies and music go hand in hand. When I'm writing a script, one of the first things I do is find the music I'm going to play for the opening sequence.

A writer should have this little voice inside of you saying, Tell the truth. Reveal a few secrets here.

I steal from every movie ever made.

When I make a film, I am hoping to reinvent the genre a little bit. I just do it my way. I make my own little Quentin versions of them... I consider myself a student of cinema. It's almost like I am going for my professorship in cinema, and the day I die is the day I graduate. It is a lifelong study.

When I'm doing a movie, I'm not doing anything else. It's all about the movie. I don't have a wife. I don't have a kid. Nothing can get in my way... I've made a choice, so far, to go on this road alone. Because this is my time. This is my time to make movies.

Trying to make a feature film yourself with no money is the best film school you can do.

I don't believe in elitism. I don't think the audience is this dumb person lower than me. I am the audience.

I was kind of excited about going to jail the first time and I learnt some great dialogue.

My parents said, Oh, he's going to be a director someday. I wanted to be an actor.

I'm not a Hollywood basher because enough good movies come out of the Hollywood system every year to justify its existence, without any apologies.

All my movies are achingly personal.

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.