Movies are my religion and God is my patron. I’m lucky enough to be in the position where I don’t make movies to pay for my pool. When I make a movie, I want it to be everything to me like I would die for it.

Tarantino frames filmmaking as a totalizing faith: cinema is not merely a job but a belief system that organizes his values and identity. Calling “God” his “patron” suggests both gratitude for fortune and a sense of vocation—he feels chosen or sustained by something larger than himself (the art form, luck, or the cultural power of movies). The contrast with making films “to pay for my pool” rejects a purely commercial motive; he insists on artistic stakes so high that each project must feel existential. The hyperbole—wanting a film to be “everything” and being willing to “die for it”—underscores his ideal of absolute commitment and the intensity he associates with genuine authorship.