You can’t write poetry on the computer.

Taken at face value, the line expresses skepticism that a computer—associated with speed, convenience, and endless revision—supports the kind of concentrated, tactile, and emotionally attuned attention often linked to “poetry.” In Tarantino’s case, it also fits a broader auteur stance that values material processes (handwriting, film stock, physical media) as part of artistic thinking, not merely a delivery system. The claim is less a literal impossibility than a provocation: it elevates constraints and embodied craft as catalysts for originality, and warns that frictionless tools can encourage over-editing, distraction, or a loss of personal voice.