"When I'm writing something, I try not to get analytical about it as I'm doing it, as I'm writing it"
About this Quote
Tarantino is defending the sacred stupidity of the first draft: the deliberate refusal to climb into the critic’s booth while the engine is still running. Coming from a director whose films feel both obsessively constructed and gleefully reckless, the line is a small act of misdirection. Of course he’s analytical; he’s a formalist with a videostore-brain catalog of rhythm, genre grammar, and how long a silence can hang before it turns funny. The point is when he allows that analysis to show up.
The intent is practical, almost craft-guru simple: protect momentum. “As I’m doing it” is the key phrase, a doubled emphasis that signals process over product. He’s describing a mental firewall between the generative state (where characters talk too long, violence erupts without moral paperwork, and a scene finds its own pulse) and the evaluative state (where you interrogate plausibility, theme, and taste). Tarantino’s movies are famous for the sensation that they’re discovering themselves in real time; this is how you manufacture that feeling. You don’t “write a thesis.” You write a situation so alive it can start misbehaving.
The subtext is also defensive. Tarantino has spent decades being analyzed like a crime scene: homage vs. theft, style vs. substance, spectacle vs. ethics. His answer is a kind of preemptive disarmament: don’t confuse the autopsy with the act of living. In an era where creators are expected to narrate their intentions on demand, he’s insisting that the work should get to be messy first, and only later become legible. That messiness isn’t a lack of intelligence; it’s how he smuggles it onto the page.
The intent is practical, almost craft-guru simple: protect momentum. “As I’m doing it” is the key phrase, a doubled emphasis that signals process over product. He’s describing a mental firewall between the generative state (where characters talk too long, violence erupts without moral paperwork, and a scene finds its own pulse) and the evaluative state (where you interrogate plausibility, theme, and taste). Tarantino’s movies are famous for the sensation that they’re discovering themselves in real time; this is how you manufacture that feeling. You don’t “write a thesis.” You write a situation so alive it can start misbehaving.
The subtext is also defensive. Tarantino has spent decades being analyzed like a crime scene: homage vs. theft, style vs. substance, spectacle vs. ethics. His answer is a kind of preemptive disarmament: don’t confuse the autopsy with the act of living. In an era where creators are expected to narrate their intentions on demand, he’s insisting that the work should get to be messy first, and only later become legible. That messiness isn’t a lack of intelligence; it’s how he smuggles it onto the page.
Quote Details
| Topic | Writing |
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