My ass may be dumb, but I ain't no dumbass.
Girl, don't make me put my foot in your ass.
I wasn't trying to top Pulp Fiction with Jackie Brown. I wanted to go underneath it and make a more modest character study movie.
The Nazis, for him, are merely available movie tropes--articulate monsters with a talent for sadism. By making the Americans cruel, too, he escapes the customary division of good and evil along national lines, but he escapes any sense of moral accountability as well. In a Tarantino war, everyone commits atrocities. Like all the director's work after 'Jackie Brown,' the movie is pure sensation. It's disconnected from feeling, and an eerie blankness--it's too shallow to be called nihilism--undermines even the best scenes.
I think one of the most important American films is "Jackie Brown", which is such a humble depiction of humble characters but so powerful. The film was pure depiction of the American poverty of the 90s.
There's people saying that 'Jackie Brown' was a blaxploitation movie, when there's nothing at all blaxploitation about it other than Pam Grier being in it.
With everything I've done from "Jackie Brown" on, I got really into really writing more prose in the - in what you're calling the stage directions, all right, and consequently my scripts have gotten bigger and bigger, and cut to "Kill Bill Volume 1 and 2."
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