QT:...Now, here's the thing, though. If Schultz's plan had worked and they were able to kind of con Broomhilda out of her owner Candie's clutches and get her bill of sale, then Django would have taken her to New York. She probably would have gone on the abolitionist cocktail party circuit, telling her tales of woe and everything, with Django because he's not an outlaw now.
He's still on the right side of the law at this point, if that were to happen that way. And everything would be great for Django, and everything would be great for Broomhilda, but he would not be the hero of the story.
HLG: No.
QT: Schultz would be the hero of the story. Things have to go awry, and Schultz has to be taken out of the picture for Django to truly emerge as the hero. He has to actually be caught. He can take down a lot of people, but he actually has to be caught. And like a character through Negro folklore, he has to get out of his predicament solely through cunning and guile. And then he has to make the choice to go back yet again. Anything else and he's not the hero of the story.
HLG: So that's why you sacrificed King Schultz.
QT: He had to pass on for Django to truly take the torch. And there's another narrative thing going on as well. Just the way Django probably feels about it, a little bit to some degree, the audience feels that I have shown two big sequences where Schultz has painted his way into a corner that there's no way he can get out of, and then he talks his way out. So we have two set pieces setting this up, and now we have a big third one. And by this time, the audience should actually feel that Schultz can handle anything.