Top 141 Quentin Quotes & Sayings - Page 3

Quentin [Taranino] will say, "We've got it, but we're gonna do it one more time. Why?" And then, the entire cast and crew chimes in and says, "Because we love making movies!" He is a person who celebrates this form of expression, and it is evident in his movies, his conversations, his extensive knowledge about the history of what we do, and the actors and crew that he assembles.

As a teenager in Brooklyn Quentin had often imagined himself engaged in martial heroics, but after this he knew, as a cold immutable fact, that he would do anything necessary, sacrificing whatever or whomever he had to, to avoid risking exposure to physical violence. Shame never came into it. He embraced his new identity as a coward. He would run in the other direction. He would lie down and cry and put his arms over his head or play dead. It didn't matter what he had to do, he would do it and be glad.

There's a reason why every successful person in Hollywood has like seven or eight projects up in the air at any point. It's like a 90 percent chance for each project that it'll never happen. Every project has about a 10 percent chance of getting made, unless you're like a Quentin Tarantino or somebody who just gets whatever they want to get done. But those are the rare cases.

I like Quentin Tarantino, especially the early films, but I'm a big fan of Billy Wilder and Preston Sturges... you know, people were writing great dialogue back then. It's as if people only have the memory of the last 15 years. So, before Tarantino no one was writing witty dialogue? That's ridiculous. Why do we have to keep referring to Tarantino?

Quentin Tarantino was talking about Ordell a little bit, and I was like, "I'm sure Ordell is one of those people who thought Superfly was the greatest movie ever made." So he cuts his hair and straightens it, but he never has enough money to maintain it perfectly. So it's kind of nappy around the edges, straight and kind of puffed up. That's why he'd always keep it in a ponytail or a braid. We were just having fun and creating a distinctive character.

If Quentin Tarantino is your writer-director then you're going to learn the words and your gonna learn why they're the words. You're gonna learn why they're the best words to say.

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.

Quentin Tarantino is my 15-year-old son's favorite director, and by that I mean no condescension to either Tarantino or my 15-year-old son.

A small-time hoodlum who had spent most of the 1960s at San Quentin State Prison in California, the 30-year-old Bryant claimed that he hijacked Flight 97 under orders from his higher-ups in the Black Panther Party; he said his mission was to arrange for the purchase of bazookas to aid the organization's struggle against oppression.

I'd love to work with Paul Thomas Anderson or Quentin Tarantino, but these are dreams I don't need to rush to achieve. I'll be ready to make those movies when I'm ready to make those movies and they're ready to make them with me, if they ever want to.

I've been fortunate to work with good directors who understand improvisation and understand the way comedians work. Luke Basan let me do my thing like do what you feel and take the character to another level. Quentin Tarrantino was more of an acting coach. He can teach you beats and then hell say go with it but give this feeling. So I've been fortunate to work with good, seasoned directors.

I like the way Quentin Tarantino creates a scene using a series of close-ups or showing very cool images of a person or people walking on some ordinary street in slow motion. I wish I could achieve that kind of slow-motion effect in manga, but it's rather difficult to draw; the only things we can play with are tones of black and white.

I love crosscut parallel storytelling, like we did in Blue Valentine. I love how Alejandro González Iñárritu has done it, and Quentin Tarantino, and Francis Ford Coppola, and all the way back to D.W. Griffith - this parallel editing is an effective way to tell stories. It's like juggling, like keeping a lot of balls in the air and seeing how they come down.

Quentin's [Tarantino] thing is "I don't want anybody to get up until they have to. So, because he really wants things to come organically. And he may have specific things like "No, this ... I want you to be here so that when he punches you, it falls. I want that action to happen here." But you feel like it does, all the blocking does come from an organic response to the material.

In a weird way, I never wanted - I don't consider myself a very good writer. I consider myself okay; I don't consider myself great. There's Woody Allen and Aaron Sorkin. There's Quentin Tarantino. I'm not ever gonna be on that level. But I do consider myself a good filmmaker.

I think these are such different films that it's hard to compare, because with Quentin we were all just like, it was like a party every day, you know, it was like that film was just like silly, it was just really for fun, it was really, it wasn't, you know, to make a huge impact. I t was just we wanted to have fun and go to work every day and do a fun movie. And this is like huge, I mean, this is like huge studio film, there's a ton of action, it's like really hard work.

I once heard that Quentin Tarantino, who I obviously love and think is a genius, says that there's no such thing as guilty pleasure, there's only pleasures. And I do love that idea, because I do think that there's a pretentiousness when people make a list of their favorite things. I like to live a life where I don't think of my pleasures as guilty pleasures.

I discovered very soon, especially for movies, because I started in theater, that every director has his own universe. You have to be free enough to try to understand what he wants from you. Especially when that director has a tremendous personality. And I'm talking about people like Pedro Almodovar and Robert Rodriguez and Quentin Tarantino and Woody Allen. And you have to adapt. If you don't adapt to them, you are off the thing.

My family knew I was gay when I was 15, long before I got famous. But it's a very different thing coming out to your family and coming out to the universe. That's a big step. Maybe without me, there wouldn't be Adam Lambert. Without Bowie, there wouldn't be me. Without Quentin Crisp, there wouldn't have been Bowie. So everything is part of a big daisy chain.

Shooting at Quentin Tarantino movie was like a masterclass in directing. Although I went back literally right into rehearsal, started shooting... while I was doing it I had to write my Grindhouse trailer and I added two days of shooting. My brother was producing Hostel and the Grindhouse trailer and I was like: "Gabe, just figure this out!"

Imagine a pantomime directed by Quentin Tarantino, where villains are booed, heroes are blood-stained, the body-count is high, the entertainment pulsating, the language filthy and the audience screamed behind you'' as tackles hurtled in like boulders crashing down a mountain-side. Such was the epic drama that gripped the Emirates yesterday. A derby crammed with sound, fury and significance ended with everyone grasping for breath, with Arsenal regaining the high ground of the Premier League... This was the Premier League at its raw, mistake-filled, mesmerising best. Utterly compelling.