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.

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

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 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.

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

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

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

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

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.

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.

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.

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

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

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.

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

I'm a historian in my own mind.

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.

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

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

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.

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.

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

All my movies are achingly personal.

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.