Quentin Tarantino is interested in watching somebody's ear getting cut off; David Lynch is interested in the ear.
Quentin [Tarantino] called me and said: "Yeah, you've got to be in my movie. You've got to be in Death Proof. " But he made me audition. I was like: "Dude, I don't even want to do this. . . " So I left the casting of Hostel: Part II to drive to Venice, where Quentin was holding his casting, and the person ahead of me was Derek Richardson from Hostel 1 and he was like: "Dude, what are you doing here?" I said: "Don't ask!"
I want to be like, "Look at Postal like Quentin Tarantino did it. Brainwash yourself and convince yourself that Tarantino did it. Forget my name and enjoy the 100 minutes and then write your review. "
Tarantino and Jackson is like Scorsese and DeNiro, and their silent communication.
Maybe when you're alone or no one's looking, you dare to think, "Maybe someday I could get to work with somebody like Quentin Tarantino. " For me, it happened. And it didn't just happen once, it's happened twice.
I'm the anti-Quentin Tarantino.
Quentin Tarantino faced the same backlash when his films came out until eventually people felt they were actually much smarter.
Quentin Tarantino is controlled insanity, I would say. He's very loud and fun. I don't think there's anybody on the planet like him that I have ever met.
But, Tarantino has seen all of my movies. He's seen my good stuff, he's seen my bad stuff, he's seen the ones I directed, he's read my autobiography. There's an awful lot of things he knows about me, all of which I think had something to do with his casting.
Tarantino is the coolest damn guy; he's just so much fun to work with. He might be the best director I've ever worked with. He just seems to know how to do it and he knows how to make you feel good about it. He's having so much fun you start having fun. You can't help it.
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.
If you ever get the opportunity to work with Quentin Tarantino, you had better believe that it will be an experience of extremes.
I would love to work with Quentin Tarantino - he's my number one. My ultimate. I would love to work with Paul Thomas Anderson, Alexander Payne - Pedro Almodovar wouldn't be too shabby. There are so many good directors, but those are some of my favorites.
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!"
I was massively jealous but also excited when Tarantino did Inglourious Basterds, I'm a huge guys on a mission fan. Those kind of movies.
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.
Quentin Tarantino is here, star of all my sexual nightmares.
The great thing about reading for Quentin [Tarantino] is you're not reading for him, he's reading with you. So he sits right next to you.
I'll tell you, Quentin Tarantino really writes the most amazing dialogue.
Tarantino's movies, I really enjoy, certainly, and when I was 19 and 20, I was really into them.
