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If there is a book that the script came from you have to read it, you have to see what you can get out of it: mood, back story and things that may not even be in the film. They kick off your imagination and broaden the character, I think.

'Pulp Fiction' blew my mind; beforehand, I'd watch films and there was a beginning, middle and an end, and that's it. There is in that film, too, but it's out of sequence.

I don't think I had a script on 'King Kong.' But usually you read a script and then you go and audition for it. It's rare when there's no script. I sort of like the latter better, because I'm more successful at it.

I guess, as a director, you sort of take the script, and you find ways to interpret it.

Actually when I gave out the script, I gave it with a CD of all the music I wanted to put in the movie, and again, we never thought we'd get all that music.

If I read a script and I like it, there's nothing that will stop me from trying to be in that movie.

Obviously, if Woody Allen calls and says he wants you to read a script, of course you read it.

In retrospect, 'Pulp Fiction' isn't just the template for everything Tarantino has done but the yardstick by which everything else he does is measured one way or another.

A script is like a theory of a movie.

Some people say that they read the first 20 pages, and then decide if they want to do the film or not. But, I have to read the entire thing 'cause anything can change in a script.