昆汀·杰罗姆·塔伦蒂诺是美国电影导演、编剧、制片人和演员。他的电影的特点是非线性的故事情节、暴力的审美化、扩大的对话场景、合奏演员、对流行文化和各种各样的其他电影的引用，配乐主要包含60年代到19世纪60年代的歌曲和配乐。
'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.
“Django”绝对是我政治立场的开始，我认为“可恨的八”是。。。逻辑的延伸和结论。我的意思是，当我说结论的时候，我并不是说我再也不会政治化了，但是，我的意思是，我觉得，奇怪的是，‘Django’是个问题，‘可恨的8’是个答案。
Everything I learned as an actor, I have basically applied to writing.
作为一名演员，我学到的一切，基本上都应用到了写作上。
It's a standard staple in Japanese cinema to cut somebody's arm off and have red water hoses for veins, spraying blood everywhere.
在日本电影里，割下某人的胳膊，用红色的水管做静脉，到处喷血，这是一种标准做法。
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.
当我拍一部电影的时候，我希望能重新创造一点类型。我只是按我的方式做。我自己做昆廷版的。。。我认为自己是学电影的。就像我要去当电影教授一样，我死的那一天就是我毕业的那一天。这是一项终身学习。
My parents said, Oh, he's going to be a director someday. I wanted to be an actor.
我父母说，哦，他总有一天会当导演的。我想成为一名演员。
If there is something magic about the collaborations I have with actors it's because I put the character first.
如果说我和演员的合作有什么神奇之处的话，那是因为我把角色放在第一位。
As a viewer, the minute I start getting confused, I check out of the movie. Emotionally, I'm severed.
作为一个观众，当我开始感到困惑的时候，我就退出了电影。感情上，我被割断了。
CGI has fully ruined car crashes. Because how can you be impressed with them now? When you watch them in the '70s, it was real cars, real metal, real blasts. They're really doing it and risking their lives. But I knew CGI was gonna start taking over.
CGI完全毁了车祸。因为你现在怎么会对他们印象深刻呢？当你在70年代看他们的时候，是真正的汽车，真正的金属，真正的爆炸。他们真的这么做了，冒着生命危险。但我知道CGI会接手的。