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QT: That really bothered me for a long time. It was one of those crappy by-products of fame. I’ve never met him and don’t have any desire to. He’s not my father. Just because you fucked my mom doesn’t make you my father. The only thing I’ve got to say to him is,“Thanks for the fucking sperm”. He had 30 years to look me up, and he tries after I’m famous? It was sad. For a while, when I was going by that name and he didn’t look me up, I thought, Well, that’s cool of him. He’s showing some class. But that limelight is a little hard for people to turn down.
Question: You sparred with Spike Lee over your liberal use of the word “nigger” in your films Did that feud also go by the wayside?
QT: Because he’d been talking all this shit instead of talking to me about it. My biggest problem with Spike was the completely self-serving aspect of his argument. He attacked me to keep his “Jesse Jackson of cinema” status. Basically, for a little bit of time before I came along, you had to get Spike Lee’s benediction and approval if you were white and dealing with black stuff in a movie. Fuck that. This destroyed that, and he’s never had that position again. I wasn’t looking for his approval, and so he was taking me on to keep his status. I hated it, because a celebrity feud is one of the most tasteless, trite, trivial things somebody in my position can engage in, to be drawn into something so beneath you.
Questi: Did your sudden fame change the way women regard you? Do rock star directors have groupies?
QT: Even before “Pulp Fiction” I started discovering how cool it is to be a director. When I started going on the film festival circuit, I was getting laid all the time. I’d never been out of the country before, and not only was I getting laid, I was getting laid by foreign chicks. When I wasn’t getting laid I’d find myself making out with some Italian girl who was the spitting image of Michelle Pfeiffer.
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