A director should be in a position where he is only directing. On the sets, he is only looking at the performances, thinking 'How I am going to shoot this?'

One must always attempt to make good films, even if you fail it is ok. It is a journey, you have both good and bad days.

The pressure is always there to make good films, but that is more from your mindset, either you have it or you don't have it.

There is no good or bad cinema, there are films that connect either less or more with audience.

At the end of the day, you don't remember 'Mother India' or 'Pyaasa' for the business it did, you remember them because they had a good story to tell.

The more you succeed, the more you want people to love your efforts.

While we were filming 'Munna Bhai MBBS,' we didn't think we were doing some kind of mainstream cinema. I only knew that I was doing a different kind of cinema.

I've always wanted to work with Warren Beatty.

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.

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.

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.

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.

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

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 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'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 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.

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

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.

I actually think one of my strengths is my storytelling.

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 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.

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.

'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.