Quentin Tarantino Quotes

It has nothing to do with commercial success. You cannot calculate in your head how to put the mosaic together to make a commercial film: that's out of the question.

I suppose we'll make money off our album and our singles and stuff, but, like, they were made as we wanted them, exactly with what we had to say, and done exactly how we wanted them, right? And, like, we didn't put them out to make money. We put them out because we wanted to do them, do you know what I mean?

I don't make films for critics, and I'm not particularly interested in what they have to say, and they don't have a bearing on my audiences.

Nobody wants to make something that displeases people, but once you make a film, that's out of your control and you can't think about that. You just have to follow your head and make sure that you're satisfied by putting down what you intended.

I can't do movies where you start thinking "Where's the commercial appeal? How are we going to market this?" It's not that kind of party.

Hopefully this is going to be a trend, the beginning of a movement to reclaim theater for the artist and not commerce. I think there's a level of fatigue. Artists are tired of having to create work that's then coopted by commercial demands. When you begin souping up the car, the car no longer feels like your own.

You have kids studying master class visual arts who are pushed to make films that will be successful economically; that's what they focus on. So they work for corporate interest instead of artistic expression.

The people who are competing business-wise out there want what other successful labels and artists have. I don't want what they have; I want my own path, my own sound, my own identity. Record labels care nothing about identity or artistic freedom, they want good business.

The artist never really has any control over the impact of his work. If he starts thinking about the impact of his work, then he becomes a lesser artist.

I am proud being an artist who takes risks, who would walk off a cliff artistically. I won't settle for commercial reasons.

If my films don't show a profit, I know I'm doing something right.

I made 'Batman' the way I made every other film, and I've done it to my own satisfaction - because the film, truly, is exactly the way I wanted it to be.

I don't like working with hitmakers. I don't want hits! You're not even allowed to say that word around me.

I have cut four albums so far, and all of them have been trendsetters and commercially successful. I believe that once you start taking art in commercial terms, it ceases to be art.

I was literally told for 'The Show Goes On' that I shouldn't rap too deep. I shouldn't be too lyrical. It just needs to be something easy on the eyes. Like a record company telling Picasso that we don't need these abstract interpretations of life, where people have to sit down and look at it and break it down.

I don't want money to ever drive my career. I want my career to be driven by what I want to do in art.

I have to be able to be the artist that I am.

Many musicians will say they don't care about the money yet they must commit themselves to appear at given times and places, and to produce what sells, whether they believe in it or not. It depends on contracts.

I mean, I think about it, but I don't design my record to get a certain public response.

When the uncreative tell the creative what to do, it stops being art.

I decided to do whatever I could to make sure the business side of music didn't intrude on the creative part.

If you don't like my work in 'The Affair,' that's fine, but I'll stand by the work because I felt that everything that went on camera was what I intended to go on camera.

I'd love more production houses to encourage artists to create what they want and not just churn things out.

As an artist, I don't care about where we are in the charts and all that. The important thing to me is to connect with a creative project.

I would never make a film because I think it's going to be a box-office success.