"The thing with Tarantino is the mix-and-match. We do study other films and other scenes but only to get the vibe we need for our scene – like in Kill Bill when Uma [Thurman]'s facing off the 5.6.7.8's and we looked at some Sergio Leone close-ups, to see how we wanted to cut that scene. Our style is to mimic, not homage, but it's all about recontextualising the film language to make it fresh within the new genre. It's incredibly detailed. There's nothing laissez-faire about Quentin's approach, but I know his film voice, always have done.
Music is one of his obsessions, so I've cut a lot of great scenes to music. He's very specific and will play music on set all day to get everyone in the mood. I think he goes to sleep with his iPod on when we're filming, because the music becomes the rhythm of his directing. Oddly, I don't cut to music. I just make the scene work emotionally and dramatically, and then Quentin will come in and lay the track over it and we'll tweak it to the beats."
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