As a writer, I demand the right to write any character in the world that I want to write. I demand the right to be them, I demand the right to think them and I demand the right to tell the truth as I see they are.

Don't write what you think people want to read. Find your voice and write about what's in your heart.

I don't want to deal with the underneath while I'm, you know, while I'm making it or when I'm writing it or when I'm making it, because again, I don't want to hit these nails on the head too strongly.

I love thinking about things subtextually and I actually - like for instance when I write, I actually, I'm not very analytical about it. I don't ever deal with the subtext because I just know it's there so I don't have to deal with it. I just keep it about the scenario. I keep it on the surface, on my concerns. And one of the fun things is is when I'm done with everything, like now, for instance.

By the time I was doing "Kill Bill," it was so much filled with prose that, you know, I start seeing why people write a screenplay and make it more like a blueprint, because basically I had written - in "Kill Bill," I had basically written a novel, and basically every day I was adapting my novel to the screen on the fly, you know, on my feet.

There are a lot of bad screenplays so if you write a good screenplay people are going to respond to it.

I write movies about mavericks, about people who break rules, and I don't like movies about people who are pulverised for being mavericks.

You can't write poetry on the computer.

If I really considered myself a writer, I wouldn't be writing screenplays. I'd be writing novels.