Top 37 Django Quotes & Sayings

I liked the idea of creating a new pop-culture, folkloric hero character that I created with 'Django' that I think's gonna last for a long time. And I think as the generations go on and everything, you know, my hope is it can be a rite of passage for black fathers and their sons. Like, when are they old enough to watch 'Django Unchained'?

I had always been a jazz fan - Django Reinhardt, Kenny Burrell, Wes Montgomery, Joe Pass, the early George Benson. And I come from the Hank Marvin melodic upbringing. So blues, I loved, but I also liked jazz. Therefore, my style was more lyrical.

While 'Django Unchained' presents a morally stark universe, where people do and say evil things with no remorse, it also luxuriates in the license that such evil provides.

A script arrived, and on the front cover - scrawled really big, as if it were a book report - is 'Django Unchained, written by Quentin Tarantino.' And I thought, 'Well, no art department came up with this; this is Quentin's writing.'

I grew up listening to Ravel, Debussy, Bartok and jazz like Charlie Parker, Dizzy Gillespie, Cannonball Adderley, Charlie Christian and Django Reinhart. It was incredibly inspiring! And I was given a guitar and I said 'What the hell is this?!'

... by far the most astonishing guitar player ever has got to be Django Reinhardt ... Django was quite superhuman, There's nothing normal about him as a person or a player.

I saw Quentin Tarantino's 'Django Unchained,' and you could say a lot of things against it, but it was incredible fun. I don't like blood and gore, and I am very squeamish about violence, but Tarantino's violence is actually funny.

Tarantino's 'Django' amused me very much. It is as made by an adult that was still a child.

I didn't have a knee-jerk reaction like some people did to the language and the violence. My stepfather was a history teacher at Lincoln High School in Dallas. So, I was already familiar with the N-word and the brutality of slavery. What I was drawn to was the love story between Django and Broomhilda and how he defends and gets the girl in the end. I thought it was just an amazing and courageous project.

I cut the scene out, but there was a moment where Christoph Waltz plays the piano in 'Django [Unchained]' - Jamie [Foxx] is a magnificent piano-player but there's never a moment where Django plays the piano.

I learned mainly by listening to Andres Segovia and that was a great inspiration. And also the gypsy jazz guitarist Django Reinhardt.

There were many, many other 'Django' films following mine, with other actors and directors, but there is only one 'Django.'

Anything by Gonzalez Rubalcaba is unbelievable. I've been listening to the best of Django Reinhardt.

I was into all sorts of music as a kid. I was very curious about ethnic music and different styles. I loved Django Reinhardt. I loved Ella Fitzgerald. I was also influenced by all the crooners of the day, like Johnny Ray, Frankie Lane.

Perhaps, despite my objections, the success of films like: 'The Help,' 'Django,' 'The Butler,' or '12 Years a Slave,' will further persuade Hollywood to widen its view and edit its erroneous perception of what a commercial black film can look like.

With 'Django Unchained,' when you're dealing with slavery, it's like a gymnastics routine with the highest amount of difficulty. Quentin Tarantino is not going to do a movie that's just going to lay there and be safe. There's going to be twists and flips.

Charlie Christian had no more impact on my playing than Django Reinhardt or Lonnie Johnson. I just wanted to play like him. I wanted to play like all of them. All of these people were important to me. I couldn't play like any of them, though.

I listen to anything anyone gives me. I always go back to a few basic favorites. I can always listen to Django Reinhardt and hear something I haven't heard before. I like to listen to Art Tatum and Coltrane and Charlie Parker. Those are guys who never seem to run out of ideas.

The film [Django] really has a lot of ups and downs, and taps into a lot of different emotions. To me, the trick was balancing all those emotions, so that I could get you where I wanted you to be by the very end. I wanted the audience cheering in triumph at the end.

I feel like I barely survived Django (Unchained) emotionally - the violence, hearing the N-word every day. It cost me a lot psychologically, but it was worth it to tell that story.

I saw Quentin Tarantino's 'Django Unchained,' and you could say a lot of things against it, but it was incredible fun. I don't like blood and gore and I am very squeamish about violence, but Tarantino's violence is actually funny.

Listen to the great guitarists of the Fifties. They didn't do that nasty sort of industrial distortion. They played musical compositions as solos - Scotty Moore, Cliff Gallup, Django Reinhardt. There wasn't a bad note in any of those solos. I listened to that and stayed with those rules.

Usually, no one quite knew where Django Reinhardt was going to be, but I met his brother and about an hour later in walks Django with an entourage of friends. He always traveled with a large group-carried his own admirers with him, the most sinister-looking bunch of hoodlums you've ever seen. I walked up and offered to buy him a drink. That seemed to be the right thing to do... he was the first really brilliant solo guitarist I ever became aware of, I had records of his when I was 10 years old. It just blew my mind that anyone could play a guitar like that. Still does.

I was writing a film criticism book on Sergio Corbucci, the director who did the original Django. So, I was kind of getting immersed in his world. Towards the end of the Inglourious Basterds press tour I was in Japan. Spaghetti Westerns are really popular there, so I picked up a bunch of soundtracks and spent my day off listening to all these scores. And all of a sudden the opening scene just came to me.

Now Tarantino is making DJANGO UNCHAINED. Everybody is telling me I am in the movie but I've not been asked by Tarantino officially. Not yet. There were many, many other Django films following mine, with other actors and directors, but there is only one Django.

I would've written this story [Django] if [Barack] Obama were president or if he never existed. For one, I think it's time to tell a story that deals with this subject America has avoided for so long. Most countries have been forced to deal with the atrocities of their past that still affect them to this day. But America has been pretty slippery in the way that it has avoided looking slavery in the eye. I believe that's a problem.

Every June, Gypsies come in caravans from all over Europe to honor Django Reinhardt at a festival in Samois-sur-Seine. When I was little, I started hanging out with them. They fascinated me - they really, literally, live in the moment. They take every day as if it's their last.

I am black, and I loved 'Django.'

Frankly, Django is an American story that needs to be told, when you think of slavery existing in this country for 245 years. In slave narratives there were all types of tales and drama and heroism and pain and love that happened during that time. That's rich material for drama! Everyone complains that there are no new stories left to tell. Not true, there are a whole bunch of them, and they're all American with a capital A.

'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'm quite reflective - I listen to music, I read, I walk with Django.

I'd describe 'Psych' as 'Real Genius' meets 'Django Unchained.'

I had so much fun doing Django, and I love westerns so much that after I taught myself how to make one, it's like, 'OK, now let me make another one now that I know what I'm doing.'

I'm influenced by Django Reinhardt, Stephane Grappelly, Roland Kirk, John Coltrane, B.B. King, and then by bluegrass. But when I was 16, bluegrass wasn't cool. We was rock n' rollers then: Chuck Berry, Jerry Lee Lewis.

With Django Unchained, when you're dealing with slavery, it's like a gymnastics routine with the highest amount of difficulty. Quentin Tarantino is not going to do a movie that's just going to lay there and be safe. There's going to be twists and flips.

My favorite country blues player was Big Bill Broonzy. City blues was Freddie King, but I liked them all - Muddy Waters, John Lee Hooker, Ralph Willis, Lonnie Johnson, Brownie McGhee and the three Kings, B.B., Albert and Freddie. Jazz-wise, I listened to Django, Barney Kessel and Wes Montgomery.

When I lived in Louisiana, 'Django Unchained' was shot at my neighbor's house. They shot a Sly Stallone movie in my gym.