: I think the only thing that would be fantasy would be if I wanted to do an NC-17 movie. And I could do that, but it would have to be not the budget of "Grindhouse," it'd have to be a smaller budget, because of going with new ground, trying to make something like that popular. So that would be the only limitation there. I could still do that, but I'd have to do it at a price.
: I'm sure you've seen this happen to filmmakers that you admire -- they get so powerful that they don't have anyone around them that says, "That scene doesn't work." "This movie's too long." "This whole idea is horrible." "That's the wrong actor." They don't have anyone like that, because they're in Hollywood, they're surrounded by yes-men and studios who see them as money making. How do you avoid becoming those guys?
: I don't know. For myself, I have always just trusted my inner voice. I have always tried to just please myself first. If I really think something is good, well, you know, it's subjective. It is good. Even though other people might not like it, you can't let that make you think, "Oh, maybe my ideas aren't right. Maybe I shouldn't trust my instinct." This might be the wrong time for it. It might just be ahead of its time, behind its time…
You can always trust that. You're not going to always have consistent people around you that you can always listen to. And everyone's going to tell you different things. You've got to be able to trust your heart, so that you always are doing the right thing for you.
So, I don't think it'll be a problem. I think maybe my ideas will stop working after a while, but as I am listening to my voice, I can't blame anybody. I can't blame anyone for giving me the wrong advice at any point. You always listen to yourself, and it's served me well. So try to do that, because if it's not true to one person, at least, it's not going to work for anybody at that point.
: The thing with me is, I'm a writer-director, and actually the writing of the script is a huge part of what I do. It's as important -- that process and that writing of the script, and even just the script itself, as a finished document as a piece of literature that I will publish later -- it's as important to me as the movie…
And so I'm always coming off from a really strong base. I either do it on the page or I don't. I either make the movie work there or I don't. When you read my scripts, you see the movie. It kind of either works or it doesn't. You know what I mean?
So I am always coming off from a very strong base by the time I actually get a movie together, which is different than, say, a director for hire who could get caught up and lost because he's trying this and that and the other. My material is always coming straight from scratch.