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“Pulp Fiction” opens in theaters


On October 14, 1994, the writer-director Quentin Tarantino’s Pulp Fiction, a crime drama featuring multiple storylines and a large ensemble cast including John Travolta, Uma Thurman, Samuel L. Jackson, Bruce Willis and Harvey Keitel, opens in theaters.

Made for less than $10 million, Pulp Fiction earned more than $100 million at the box office and was also a huge critical hit, winning the Palme d’Or at the Cannes Film Festival and earning seven Academy Award nominations, including Best Picture. Tarantino and Roger Avary shared the Oscar for Best Screenplay. Some critics have called Pulp Fiction, which spawned a slew of imitators, the most influential movie of its time. It contained such Tarantino trademarks as clever dialogue, graphic violence and numerous pop-culture references. The film is also credited with reviving the movie career of John Travolta, who as the pony-tailed hit man Vincent Vega shares a memorable dance with his boss’ wife (Thurman) and famously discusses with his partner (Jackson) how in France a McDonald’s Quarter Pounder with cheese is called a “Royale with cheese.”

Quentin Tarantino was born on March 27, 1963, in Knoxville, Tennessee. He dropped out of high school, studied acting and worked at a video-rental store in Manhattan Beach, California, where he reportedly spent all day talking about movies. In the late 1980s, he appeared as an Elvis impersonator on an episode of the TV sitcom The Golden Girls. Tarantino made his directorial debut with the 1992 indie film Reservoir Dogs, about the events surrounding a bungled jewel heist. Written by Tarantino, the violent film featured characters with names such as Mr. Pink and Mr. Blonde and co-starred Keitel, Tim Roth, Steve Buscemi, Chris Penn, Michael Madsen and Lawrence Tierney. Initially released in a small number of theaters, Reservoir Dogs garnered more attention and became a cult hit after Pulp Fiction turned Tarantino into a Hollywood darling. His third feature film, 1997’s Jackie Brown, starred Pam Grier, Robert Forster, Robert De Niro, Bridget Fonda, Samuel L. Jackson and Michael Keaton. Inspired by the Elmore Leonard novel Rum Punch, Jackie Brown was also an homage to the so-called “blaxploitation” films of the 1970s, a number of which featured Grier.

In addition to directing his own movies, Tarantino also penned the screenplay for 1993’s True Romance, which was helmed by Tony Scott and co-starred Christian Slater, Patricia Arquette. He was also credited with developing the story for director Oliver Stone’s Natural Born Killers (1994), with Woody Harrelson and Juliette Lewis. Tarantino has also continued acting, appearing in several of his own films and co-starring opposite Keitel and George Clooney in 1996’s From Dusk Till Dawn.

Tarantino’s fourth feature project as a director was Kill Bill, which was released as two films, Kill Bill: Vol. 1 in 2003 and Kill Bill: Vol. 2 in 2004. Both movies starred Uma Thurman as a violent, revenge-seeking character called The Bride. Tarantino’s other projects include 2007’s Death Proof, 2009's Inglourious Basterds, 2012's Django Unchained, 2015's The Hateful Eight and 2019's Once Upon a Time in Hollywood.


'Pulp Fiction' spawn: The best and worst of the Tarantino clones that followed

When Pulp Fiction opened in theaters 20 years ago today, the mainstream moviegoing audience was introduced to a dynamic new Hollywood talent. Quentin Tarantino was a 31-year-old hipster whose formal film education never rose much higher than working as a clerk in a Manhattan Beach video store. A walking encyclopedia of film history who fetishized some of the more obscure genres, Tarantino had a gift for dialog and his own visual toolbox that expanded the language of cinematic storytelling. Pulp Fiction was the culmination of a two-year stretch where the director went from Nobody to Wunderkind, beginning with the Sundance premiere of Reservoir Dogs in 1992. That splashy debut established Tarantino’s bonafides with actors, critics, and insiders, and the idea of John Travolta dropping by his house to play board games and talk shop suddenly became feasible. His scripts for True Romance and Natural Born Killers made it to the screen—though not in the form he envisioned𠅋ut for a guy who most Americans still didn’t know, he had already earned an artistic reputation: He was cool.

Pulp Fiction was the culmination of all that creative build-up and industry goodwill. Tarantino attracted an amazing ensemble cast, one that looks even better in hindsight, in part because of what Pulp did for each of their respective careers, from Samuel L. Jackson to John Travolta to Uma Thurman. The film premiered at Cannes in the spring and was pronounced an instant classic. So even before it opened on Oct. 14 to win the weekend box office, Hollywood executives were barking into phones, “Get me the next Pulp Fiction!” or “Rewrite the single-dad as a samurai hitman!” and “Make sure there’s a snazzy soundtrack and at least one hipster dance sequence!”

Unfortunately, simply making something Tarantino-esque wasn’t the same because it lacked that certain thing… Tarantino. And more often than not, trying to imitate the new master’s superficial tics—without the elaborate and sturdy scripts that were also his trademark—just exposed a film and its director’s fatal flaws. But that didn’t stop studios from trying. Pulp Fiction sent ripples across Hollywood, and in the five years that followed, there were dozens of wannabes and knockoffs. Many were shameless ripoffs, some were decent imitations, and a few actually stand on their own merit.


Pulp Fiction Summary and Analysis of the Opening Sequence

The film begins by showing the American Heritage dictionary definition of the word "pulp." A man and a woman named Pumpkin and Honey Bunny, sit in a booth at a Los Angeles diner. Honey Bunny calls Pumpkin a "duck" for not wanting to commit armed robberies anymore, and he tells her the story of a man who robbed a bank with a telephone by convincing the teller that someone was holding his daughter ransom. Pumpkin discourages the idea of robbing liquor stores and gas stations, where cashiers are often armed, and suggests they rob the diner, which is a soft target full of customers whose wallets they can steal. Honey Bunny agrees, and the two kiss before jumping to their feet with guns and holding the restaurant hostage. The frame freezes and the opening credits come on.

After the opening credits, the scene shifts to the interior of a car. Two men named Vincent Vega and Jules Winnfield, wearing suits, are discussing hash bars in Amsterdam, and the cultural differences between America and Europe. After parking, the men retrieve pistols from the trunk, and Jules mentions they should have shotguns. Walking into an apartment building, Vincent and Jules discuss an actress named Mia, who starred in a pilot that was never picked up, and her husband, a man named Marsellus Wallace.

Jules tells Vincent that Marsellus ordered his men to throw a Samoan man named Antoine Rockamora (nicknamed "Tony Rocky Horror") off a balcony for giving Mia a foot massage. Jules and Vincent heatedly debate whether foot massages are inherently sexual. Vincent annoys Jules, who thinks they are not, by asking whether he'd give a man a foot massage. Vincent also reveals to Jules that Marsellus recently asked him to look after Mia while he is on vacation in Florida.

Vincent and Jules enter an apartment building with three men inside, eating cheeseburgers for breakfast. Jules approaches one man named Brett, trying his cheeseburger and Sprite, then asks another where the "shit" is. The second man tells them it's in the cupboard, and Vincent retrieves a briefcase with a padlock that requires a three-digit code. When he opens it, its contents glow. When Brett tries to apologize to Jules, Jules casually shoots the second man, lying on a couch. Jules asks Brett what Marsellus looks like, and shoots him in the shoulder when a terrified Brett says "What?" too many times. Jules then recites Ezekiel 25:17 before he and Vincent fire multiple rounds at Brett, killing him.

A title card reads: "Vincent Vega and Marsellus Wallace's Wife." In the back of a bar, Marsellus explains to a boxer named Butch that he is nearing the end of his career. Butch accepts an envelope full of cash in exchange for throwing his next boxing match in the fifth round. Jules and Vincent walk into the same bar, now wearing casual clothes. The bartender wryly asks Vincent about having to take care of Mia, amusing Jules. On his way out, Butch and Vincent exchange a few tense words, before Marsellus calls Vincent over.

The scene shifts to the home of a drug dealer named Lance, where Vincent overhears Lance's wife Jody explaining her piercings to an Irish woman named Trudy. Lance calls Vincent into the next room, where he shows Vincent bags of different kinds of heroin. Vincent buys three grams of a brand called "Madman." Vincent complains about someone scraping his brand new Chevy Malibu with a key, and asks Lance if he can shoot up in his home.

A montage sequence shows Vincent injecting heroin and driving to Mia's house. Vincent finds a note on the door left for him by Mia, inviting him inside while she is getting dressed. Once inside, Vincent hears Mia's voice via an intercom system, telling him where the bar is. While Vincent makes himself a drink in the living room, Mia snorts cocaine in her bedroom. She walks into the living room barefoot, and the two depart together to a retro diner named Jackrabbit Slim's, where Mia has made a reservation.

The first frame of Pulp Fiction primes the audience for the kind of aggressively postmodern and self-aware sensibility that the film will embody. Crucially, Tarantino offers the audience not one definition of "pulp," but two. The first—"a soft, moist, shapeless mass of matter"—can of course refer to any kind of inner core material, but also describes the unconventional structure of the film, which does not abide by the traditional three-act structure or linear chronology of a Hollywood production. By the standards of most unitary feature film narratives, Pulp Fiction is an intentionally open-ended and shapeless mass: beginning at the end, ending at the beginning, offering no clear protagonists, and following numerous tangents that Tarantino casually abandons.

Whereas the first definition refers to Tarantino's formal experimentation, the second definition refers more to the explicit content of the film, describing "lurid subject matter" that is typically printed in "a magazine or book. on rough, unfinished paper." Tarantino, an avid cinephile who worked in a Los Angeles video store before becoming an acclaimed director, sought to creatively combine a bevy of lowbrow and highbrow genres that flourished in the 1960s and 1970s, which offered audiences visceral, sensational pleasures—Blaxploitation, rape-and-revenge, Kung Fu, hardboiled crime, spaghetti Western, Gothic horror, French New Wave, and more. Given how deliberately the script stitches together and pays homage to a number of wildly different genres and traditions, critics have labeled Pulp Fiction as a prime cinematic example of "meta-fiction" (fiction about fiction), and the postmodern phenomenon known as "pastiche."

The concepts of plurality and fragmentation are essential to understanding the spirit of the film, which unfolds in an episodic structure that floats freely through time, repeating scenes from various perspectives, skipping pivotal events, and lingering on seemingly inconsequential ones. Pumpkin and Honey Bunny, for example, do not appear again until the final scene of the film. But their conversation about whether to rob banks or restaurants, which opens the film, models a dialogue structure that reappears numerous times over the course of the plot, where two characters have an argument that unfolds in a heavily stylized vernacular, such as Jules and Vincent, Vincent and Mia, Marsellus and Butch, Butch and Fabienne, and so forth. In Pulp Fiction, what the characters are saying is often secondary to how they are saying it. The first scene is an early clue that style, not substance, is the real subject of the film.

The casting of the film also reflects Tarantino's desire to incorporate the history of cinema, with 1970s matinee idol John Travolta playing the key role of Vincent Vega, and Samuel L. Jackson wearing a Jheri-curl wig reminiscent of a Blaxploitation protagonist. Even small details, like the nickname of a never-seen character Antoine Rockamora being "Tony Rocky Horror," reference midnight-screening classics from the 1970s like The Rocky Horror Picture Show. Tarantino essentially imagines what the colorful, off-screen lives of these fictional characters might be like, by scripting scenes where they go about relatively ordinary tasks like discussing fast food, arguing about foot massages, dancing, and using the bathroom, in addition to participating in more dramatic events like murder, theft, and rape.

Drugs, sex, and violence are all integral to the plot of the film, given that virtually all of its characters are immoral criminals immersed in the seedy, criminal underbelly of Los Angeles. Jules's monologue, in which he recites Ezekiel 25:17, foreshadows a moral awakening that he will experience toward the end of the film. In Pulp Fiction, violence is casual, incidental, and brutal—likely a nod to seminal works like Martin Scorsese's Mean Streets (1972) and Stanley Kubrick's The Killing (1956). Tarantino delights in creating jarring contrasts between ordinariness and extreme violence, such as when Jules asks for a bite of Brett's Big Kahuna Burger before executing him. The briefcase, the contents of which are never revealed, is a reference to the cinematic plot device known as the "MacGuffin"—a desired goal or object that is pursued but never fully explained.


‘Pulp Fiction’ didn’t just change film history, it changed me

With a title that echoes dime-store crime novels, “ Pulp Fiction” follows about a half-dozen unsavory characters living their lives in Los Angeles in a series of interconnected short films. Among our protagonists include Vincent (John Travolta), a heroin-addled but savvy mob enforcer who’s just returned from a life in Amsterdam Jules (Samuel L. Jackson), his sometime partner who can’t help but be the coolest and baddest MFer in the room Butch (Bruce Willis), an underdog boxer looking to prove himself one last time Marcellus (Ving Rhames), the mob boss over all of them and Mia (Uma Thurman), Marcellus’ wife who goes out one night with Vincent. While the stories feature the same characters, they don’t necessarily build upon one another and are told out of sequence, contributing to the feeling that anything can, and does, happen.

Rewatching Quentin Tarantino’s 1994 sophomore and breakout film 25 years later, it’s still excellent but probably slightly over praised as one of the best films ever. That’s not a criticism it’s an engaging, surprising movie that is well made in every regard, but it does feel too slight to be a GOAT contender. At it’s heart, “Pulp Fiction” distinguishes itself as a gangster picture about what criminals do when they’re not committing a crime, but it’s also what limits it from that elite status.

Even still, the film changed the pop culture climate upon its release. Travolta was hailed as the comeback kid with a career-peak performance, Jackson essentially solidified his public persona as “Samuel L. Jackson” after a previous career in supporting roles, and Tarantino became a household name alongside Alfred Hitchcock and Steven Spielberg. Countless imitators (some decent, most not) flooded the market soon afterward. “Pulp Fiction” became an era- defining turning point for films in the 90s, just as Nirvana’s “Nevermind” album did for music a few years earlier.

In hindsight, you can certainly see why the public was looking for something new. The 80s were dominated by high-concept action-adventure franchises that were starting to show their age. Movie star heroes like Sylvester Stallone and Arnold Schwarzenegger didn’t have the magic touch to make anything a hit anymore, and Harrison Ford traded in his wisecracking heroes for more serious roles. In the meantime, independent pictures were rising in industry influence as new filmmakers, writers, and actors were developing their own unique voices, beginning with 1989’s surprise hit, “sex, lies and videotape,” directed by Steven Soderbergh.

Tarantino made his own mark, trading in his encyclopedic knowledge of film to write a couple of scripts and direct his own debut feature, “Reservoir Dogs,” a 1992 movie about a heist gone wrong. Two years later, his follow-up won the Palme d’Or at the Cannes Film Festival, and “Pulp Fiction” began growing momentum throughout the summer until its October release to the public and became an immediate hit.

The movie certainly made an impression on me. I came of age during those high-concept 80s movies that came to be known as “blockbusters.” From “Star Wars” to “Terminator 2: Judgment Day,” I saw and judged films based on the text of the story itself, and mainly as a pure product of entertainment. I was aware of some filmmakers, but primarily as a brand like a “Spielberg,” as the famous director produced several other hit films including “Gremlins,” “The Goonies,” and “Who Framed Roger Rabbit?” Any behind-the-scenes interest I had was limited to special effects design.

My mentality began to shift slightly with television’s “Twin Peaks,” a mystery drama created by David Lynch and Mark Frost in 1990. The series flamed out its audience quickly, but there was enough of a passionate fan base left for Lynch to direct a prequel film, “Twin Peaks: Fire Walk With Me.” The movie is definitely more intense than the series and very unusual at times (a mood I would later discover was deemed “Lynchian”). I may not have fully understood “Twin Peaks” at the time, but it fascinated me.

As the build to the release of “Pulp Fiction” grew with cover stories on Entertainment Weekly among others, the acclaim began to catch my attention as well. A crime film starring actors I was familiar with was enough to talk my friends and me into the doors of the Holiday, a now-defunct movie palace from Cheektowaga, NY. The next two-and-a-half hours were my introduction to a young, generational filmmaker who seemingly arrived fully formed.

While “Pulp Fiction” has its share of violence (some of it graphically used as a punch line), the most memorable moments of the film lie in-between the crimes: A casual conversation between colleagues about living in Europe an awkward dinner “date” at a pop culture restaurant or a discussion on the existence of miracles at a diner. While the characters of the film commit deplorable acts, their interactions when they’re not “getting into character” is what we find enduring about them. For these people, crime is a regular job, but they’re all looking forward to punch-out time so they can chill out at the bar or in front of a TV. It’s a remarkable difference from the decade’s other notable gangster film “GoodFellas,” which is all crime all the time.

This point of view entranced me. These characters having similar conversations in their downtime mirrored the ones I was having with my friends. Once I found out that Tarantino was also a verbose film nerd who worked in a video store, it led me down the rabbit hole of his other works and films that influenced him. From there, I was soon taking classes and watching everything I could get my hands on to study film history and theory. It was the awakening I needed to evolve as a film fan.

Looking back on “Pulp Fiction” today, it still remains entertaining, but now those casual conversations between gangsters can’t hide the fact that the film doesn’t have a lot of depth to it, or at least not much more than those high-concept blockbusters I fell in love with in the first place. The movie is structured around five short films, most of which have a central plotline that diverts completely when something unexpected (and unrelated) occurs. It’s a thrilling and confident film, keeping audiences on the edge of their seats in anticipation and tension, but as a result, “Pulp Fiction” isn’t really about anything. It’s the ultimate hangout movie because while Tarantino unleashed a new perspective in films, nothing new is really learned about the human condition. Outside of Jules, it’s hard to imagine any of these people fundamentally changing their lives after the events of the movie. It was just another day in their lives with some unusual circumstances, but they seem willing to wave them off as occupational hazards.

The takeaway from “Pulp Fiction” is the emergence of a new voice in cinema. Tarantino would continue to grow as a filmmaker (thankfully, as his role here as Jimmy is problematic in that it personifies his worst impulses and indulgences overriding his good judgment). He remains one of the few mainstream filmmakers whose latest release becomes a must-see event, exceedingly rare in an era of franchise-dominance. Tarantino is the franchise, and fans await a new film like Marvel Studios released it.

I don’t have the same reverence for Tarantino as I did in 1994. I admire his growth as a director in some ways but question his choices as well. Overall, I’ve enjoyed far more of his work than disliked, and I also look forward to every new film, eager for that feeling I had while watching “Pulp Fiction.” You can never really go home again, and that’s true here, but you can feel Tarantino’s love of filmmaking shining through on everything he does, creating environments and stories I enjoy spending time in. His hobby as a film preservationist and owner of the New Beverly Cinema is also a bright light in an art form that has seen rapid changes this century. I’m glad he continues to be part of the conversation, and will eternally revere “Pulp Fiction” as my gateway into that world.

The Weekend: While the second weekend of October doesn’t have many notable new releases, two of my favorite films ever debuted in theaters at this time.

Nine years after “Pulp Fiction” changed the landscape, Tarantino’s fourth film, “Kill Bill Vol. 1,” entered multiplexes in 2003. Thurman stars as The Bride, a woman who is nearly killed on her wedding day by her former teammates in an assassination clan led by Bill (David Carradine). Left comatose for years after the attack, The Bride finally wakes up and begins unleashing her revenge on the team, one by one, until only Bill is left. Inspired by the countless martial arts films Tarantino grew up on, “Kill Bill Vol. 1” is his most visually dynamic film and is one of his best (if not the best).

Speaking of career bests, David Lynch released what I believe to be his masterpiece when “Mulholland Dr.” bowed back in 2001. Naomi Watts delivers her breakout performance with Laura Harring as two young women coming together to solve the riddle of Harring’s mysterious past in a dream-like Hollywood that soon turns into a nightmare. Moody, atmospheric, funny, sexy, frightening, haunting, and often stunning, “Mulholland Dr.” is, in other words, “Lynchian.”

Another film was released this weekend was most assuredly not a masterpiece but is still a reasonably fun watch anyway. Sylvester Stallone’s star power was leveling off, but facing off against Wesley Snipes in the future proved to be a winning bet with 1993’s “Demolition Man.” The film also starred a young Sandra Bullock and produced enough Taco Bell and three shell memories to last a lifetime.


What’s REALLY In The Pulp Fiction Briefcase?

What's really in the Pulp Fiction briefcase? Fans have speculated for years, but the object seems to be an homage to a 1955 film noir classic.

What's really in the Pulp Fiction briefcase? Fans of the 1994 crime classic have speculated for years, but director Quentin Tarantino has suggested that there’s no concrete answer. In terms of filmmaking, the briefcase functions as a "MacGuffin," a plot device used to push the story forward. But for those who know their movie history, it's clear that Tarantino references a film noir classic with the Pulp Fiction briefcase.

In Pulp Fiction, contract killers Jules Winnfield (Samuel L. Jackson) and Vincent Vega (John Travolta) attempt to recover a briefcase for their gangster boss, Marsellus Wallace (Ving Rhames). In the process, they kill two men and later accidentally murder another, thus setting up a memorable “clean-up” sequence. When Jules and Vincent first recover the mysterious briefcase, a glowing light can be seen, though the camera never shows the contents. Vincent appears to have a spiritual experience, and the briefcase later has the same effect on a restaurant robber named Ringo (Tim Roth), who describes the glowing contents as “beautiful.”

Pulp Fiction famously jumps back and forth in time to create a cinematic puzzle, and the briefcase represents one of the most oddly-shaped pieces in that puzzle. Here are a few interpretations to consider (or dismiss).

Online, the most popular theory is that Pulp Fiction’s briefcase contains Marsellus Wallace’s soul. Meaning, the gangster sold said soul to the devil, and decides that he wants it back. But it comes with a price, of course, evidenced by the bloodbath that is Pulp Fiction. Many people have noted that the briefcase’s lock code is 666, a number associated with the Devil. To support the “soul” theory, many have suggested that the bandage on the back of Marsellus Wallace’s head correlates with biblical text that reveals how the Devil takes one’s soul. Considering Jules’ monologue about “divine intervention” after miraculously surviving a shoot-out, the “soul” theory is indeed intriguing.

Some Pulp Fiction afficionados have suggested that the briefcase holds the diamonds from Reservoir Dogs, Tarantino’s feature debut. There’s not much evidence to support this argument, aside from the gangster aspects and character connections. In Reservoir Dogs, Mr. Blonde a.k.a. Vic Vega (Michael Madsen) goes on a killing rampage after a carefully planned diamond heist, thus upsetting Mr. Pink (Steve Buscemi), who later escapes with the loot (Reservoir Dogs’ final audio implies that Mr. Pink was captured by police). In Pulp Fiction, Mr. Blonde’s brother - Vincent Vega (implied, later confirmed by Tarantino) - is the first person to see the briefcase’s contents. It’s worth noting that Tarantino created Pulp Fiction’s story with Roger Avery, who once revealed that the Pulp Fiction briefcase originally contained diamonds, but that the concept was ultimately deemed “too boring and predictable.”

The beauty of Pulp Fiction’s briefcase is that it allows for endless interpretations. Most likely, Tarantino’s glowing light is simply an homage to the 1955 film noir classic Kiss Me Deadly, which includes a sequence featuring a cryptic box - one that’s connected to “the gates of hell” and glows upon being opened.


157 Pulp Fiction Trivia Questions & Answers : Movies L-P

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There are 157 questions on this topic. Last updated Jun 25 2021.

Pumpkin and Honey Bunny decide to rob the restaurant they are eating in, claiming a restaurant would not be prepared to get robbed. Pumpkin says, "I love you, Honey Bunny." Then, Honey Bunny says "I love you too Pumpkin." They kiss, and then Pumpkin pulls out a gun and they rob the restaurant together.

Answer: Amanda Plummer

Plummer was cast as Honey Bunny. Honey was seen talking to Pumpkin in the film's opening scene regarding robbing banks. The conversation soon turned into Pumpkin asking Honey Bunny if she recalled the last time they stuck up a liquor store and she told him she remembered it. Pumpkin stated he remembered Honey Bunny coming up with the idea of stealing the customers' wallets. She thanked him after he stated that he felt it was a good idea. When Pumpkin informed her they made more money stealing from the wallets than they did the registers, she agreed. Honey Bunny and Pumpkin then decided right on the spot to rob the people in the diner where they were. Honey Bunny robbed the patrons while Pumpkin took care of the employees. Plummer guest starred on the TV series "Battlestar Galactica", "Law and Order: Special Victims Unit" and "The Outer Limits".

Answer: Hawthorne Grill

The cafe is shown in the first scene of the movie and is also featured in some of the last scenes in the movie.

Answer: Pride only hurts, it never helps.

Marsellus describes pride as "a slight sting" he wants to make sure that Butch's pride doesn't interfere with the dive. By the time of the fight, Butch's pride has gotten to such a point that he does not lose the fight he kills the other boxer.

Dick Dale and his Deltones recorded "Miserlou" in 1962. It is not certain, but many people believe the song had lyrics that were never recorded in. A group called Admiral Twin recorded a song called "Miserlou" that had Greek lyrics. The Miserlou is a Greek dance.

Answer: Kool & the Gang

Kool & the Gang's most well-known songs are "Jungle Boogie" and "Celebration".

Answer: Pumpkin (Tim Roth)

The line is, "No, forget it, it's too risky." It is spoken to Honey Bunny as the two discuss quitting the criminal lifestyle.

Tim Roth also starred as Mr. Orange in "Reservoir Dogs", another Tarantino film. (Is their a connection between Orange and Pumpkin? I'll let you decide.)

Following are the two definitions, the second one much more relevant to the movie: "PULP (pulp) n. 1. A soft, moist, shapeless mass or matter. 2. A magazine or book containing lurid subject matter and being characteristically printed on rough, unfinished paper."

Answer: "Forget it. It's too risky."

This is said by Ringo who is played by Tim Roth. Ringo says this to open up the conversation about quitting holding up convenience stores and liquor stores.

Answer: Harvey Keitel

Harvey Keitel was Winston Wolf, and he said this to a girl named Raquel (Julia Sweeney), after he assisted Vincent Vega (John Travolta) and Jules (Samuel L. Jackson) in ditching their car, which happened to be drenched in blood.

Answer: Quentin Tarantino

Quentin was born March 27, 1963 in Knoxville, Tennesee. He worked for many years as a video store clerk and even had his own personal video section called "Quentin Recommends".

Answer: Thurman, Travolta, Jackson, Willis

Amanda Plummer played Honey Bunny, Ving Rhames played Marsellus Wallace, Christopher Walken was Capt. Koons, Rosanna Arquette was Jody, Tim Roth was Pumpkin, Harvey Keitel was The Wolf, and Maria de Medeiros was Fabienne. And of course, Uma Thurman was Mia Wallace, John Travolta was Vincent Vega, and Samuel L. Jackson played Jules Winnfield. And Bruce Willis was Butch Coolidge.

Answer: Lawrence Bender

When discussing the "miracle" that Jules witnessed in Brett's apartament, Vincent retorts by saying he saw a similar occurance on the T.V. show "Cops." Vincent later laughs at Jules' "Green Acres" joke, but that doesn't necessarily mean that he has seen the show.

Answer: A Royale with Cheese

Quentin Tarantino is known for his quirky, un-related dialogue in his movies. Most of the time, the characters are discussing something completely unrelated to the story, which is seemingly random. Though, one could argue that these little chats between characters are what make the movies so enjoyable to watch.

Vincent tells Jules that when he went to McDonalds in Paris, they called a quarter pounder a Royale with Cheese because of the metric system.

Answer: John Travolta

Travolta, born on February 18th, 1954 in Englewood, New Jersey, played Vincent Vega. Vincent was first seen riding in Jules Winnefield's car and Jules asked him if hash was legal in Amsterdam. Vincent responded by answering that it was, but not exactly 100% legal. He informed Jules that one person may not simply walk into a restaurant, roll a joint and then start to smoke. He explained to Jules they wanted people to smoke hash in their homes or in places designated as okay to smoke them. He furthered his point by stating it was legal to buy and own hash while also legal to sell it if you owned a hash bar. Vincent also told Jules that if a person got stopped by an officer in Amsterdam, they could not legally search the person for hash. Jules laughed and said that he would be traveling to Amsterdam soon due to their lax laws on hash. Travolta starred in the movies "Look Who's Talking", "Ladder 49" and "Domestic Disturbance". In 1995, he received an Academy Award nomination for Best Actor in a Leading Role for "Pulp Fiction" but lost to Tom Hanks for "Forrest Gump". Other Oscar nominees for Best Actor in a Leading Role that year were Morgan Freeman for "The Shawshank Redemption", Nigel Hawthorne for "The Madness of Kind George" and Paul Newman for "Nobody's Fool".

Answer: Butch and Fabian riding off on Zed's motorcycle

Fabian and Butch ride off after Butch's encounter with the Gimp and company. As they ride into the distance the music from the "Twilight Zone" plays in the background. Technically that would be the last scene in the movie if Tarantino did not enjoy tinkering with the sequence of the film.

His name's Paul (played by Paul Calderon), and this is "just between y'all", as Paul is so fond of saying. He's also known as "English Paul", as revealed in the end diner scene between Vincent and Jules.

The scene involves Vince (John Travolta) giving Mia (Uma Thurman) an adrenalin shot after she O.D.s on Vince's pure heroin. Vince had to stab her with the adrenalin shot with enough force to break through her breast bone.

This scene was shot with Vince pulling the shot out really fast with force and then streamed backwards, looking like he stabbed her.

Jules wants Vincent to "tell me again about the hash bars" while driving to Brett's apartment. This discussion segues into a discussion of the Royale with cheese and mayo on french fries.

"PULP (pulp) n. 1. A soft, moist, shapeless mass or matter. 2. A magazine or book containing lurid subject matter and being characteristically printed on rough, unfinished paper. - American Heritage Dictionary, New College Edition."

The camera angle looking out from Jules' and Vincent's car to the two hitmen when they gear up is one of Quentin Tarantino's favorites, and is used in two of his other movies, "Reservoir Dogs" and "From Dusk Till Dawn".

Vincent tells us this after The Wolf offers Vincent a ride.

Coca-Cola released this movie before the re-release of "Vanilla Coke". They were dining at Jack Rabbit Slims in a booth shaped as a car based on the 1950s.


Pulp Fiction : The Complete Story of Quentin Tarantino's Masterpiece

When Pulp Fiction was released in theaters in 1994, it was immediately hailed as a masterpiece. The New York Times called it a "triumphant, cleverly disorienting journey," and thirty-one-year-old Quentin Tarantino, with just three feature films to his name, became a sensation: the next great American director. Nearly twenty years later, those who proclaimed Pulp Fiction an instant classic have been proven irrefutably right. In Pulp Fiction: The Complete Story of Quentin Tarantino's Masterpiece, film expert Jason Bailey explores why Pulp Fiction is such a brilliant and influential film. He discusses how the movie was revolutionary in its use of dialogue ("You can get a steak here, daddy-o," "Correct-amundo"), time structure, and cinematography--and how it completely transformed the industry and artistry of independent cinema. He examines Tarantino's influences, illuminates the film's pop culture references, and describes its phenomenal legacy. Unforgettable characters like Jules Winnfield (Samuel L. Jackson), Vincent Vega (John Travolta), Butch Coolidge (Bruce Willis), and Mia Wallace (Uma Thurman) are scrutinized from all-new angles, and memorable scenes--Christopher Walken's gold watch monologue, Vince's explanation of French cuisine--are analyzed and celebrated. Much like the contents of Marcellus Wallace's briefcase, Pulp Fiction is mysterious and spectacular. Illustrated throughout with original art inspired by the film, with sidebars and special features on everything from casting close calls to deleted scenes, this is the most comprehensive, in-depth book on Pulp Fiction ever published.


Cinema Tarantino: The Making of Pulp Fiction

In late 1992, Quentin Tarantino left Amsterdam, where he had spent three months, off and on, in a one-room apartment with no phone or fax, writing the script that would become Pulp Fiction, about a community of criminals on the fringe of Los Angeles. Written in a dozen school notebooks, which the 30-year-old Tarantino took on the plane to Los Angeles, the screenplay was a mess—hundreds of pages of indecipherable handwriting. “It was about going over it one last time and then giving it to the typist, Linda Chen, who was a really good friend of mine,” Tarantino tells me. “She really helped me.”

When Tarantino met Chen, she was working as a typist and unofficial script consultant for Robert Towne, the venerable screenwriter of, most notably, Chinatown. “Quentin was fascinated by the way I worked with Towne and his team,” she says, explaining that she “basically lived” at Towne’s condominium, typing, researching, and offering feedback in the preparation of his movie The Two Jakes. “He would ask the guys for advice, and if they were vague or disparate, he would say, ‘What did the Chink think?’ ” she recalls. “Quentin found this dynamic of genius writer and secret weapon amusing.

“It began with calls where he was just reading pages to me,” she continues. Then came more urgent calls, asking her to join him for midnight dinners. Chen always had to pick him up, since he couldn’t drive as a result of unpaid parking tickets. She knew Tarantino was a “mad genius.” He has said that his first drafts look like “the diaries of a madman,” but Chen says they’re even worse. “His handwriting is atrocious. He’s a functional illiterate. I was averaging about 9,000 grammatical errors per page. After I would correct them, he would try to put back the errors, because he liked them.”

The producer, Lawrence Bender, and TriStar Pictures, which had invested $900,000 to develop the project, were pressing Tarantino to deliver the script, which was late. Chen, who was dog-sitting for a screenwriter in his Beverly Hills home, invited Tarantino to move in. He arrived “with only the clothes on his back,” she says, and he crashed on the couch. Chen worked without pay on the condition that Tarantino would rabbit-sit Honey Bunny, her pet, when she went on location. (Tarantino refused, and the rabbit later died Tarantino named the character in Pulp Fiction played by Amanda Plummer in homage to it.)

His screenplay of 159 pages was completed in May 1993. “On the cover, Quentin had me type ‘MAY 1993 LAST DRAFT,’ which was his way of signaling that there would be no further notes or revisions at the studio’s behest,” says Chen.

“Did you ever feel like you were working on a modern cinematic masterpiece?,” I ask.

“Not at all,” she replies. However, she did go on to be the unit photographer on the film.

When Pulp Fiction thundered into theaters a year later, Stanley Crouch in the Los Angeles Times called it “a high point in a low age.” Time declared, “It hits you like a shot of adrenaline straight to the heart.” In Entertainment Weekly, Owen Gleiberman said it was “nothing less than the reinvention of mainstream American cinema.”

Made for $8.5 million, it earned $214 million worldwide, making it the top-grossing independent film at the time. Roger Ebert called it “the most influential” movie of the 1990s, “so well-written in a scruffy, fanzine way that you want to rub noses in it—the noses of those zombie writers who take ‘screenwriting’ classes that teach them the formulas for ‘hit films.’ ”

Pulp Fiction resuscitated the career of John Travolta, made stars of Samuel L. Jackson and Uma Thurman, gave Bruce Willis new muscle at the box office, and turned Harvey and Bob Weinstein, of Miramax, into giants of independent cinema. Harvey calls it “the first independent movie that broke all the rules. It set a new dial on the movie clock.”

“It must be hard to believe that Mr. Tarantino, a mostly self-taught, mostly untested talent who spent his formative years working in a video store, has come up with a work of such depth, wit and blazing originality that it places him in the front ranks of American filmmakers,” wrote Janet Maslin in The New York Times. “You don’t merely enter a theater to see Pulp Fiction: you go down a rabbit hole.” Jon Ronson, critic for The Independent, in England, proclaimed, “Not since the advent of Citizen Kane … has one man appeared from relative obscurity to redefine the art of movie-making.”

Just seven years earlier, in 1986, Tarantino was a 23-year-old part-time actor and high-school dropout, broke, without an apartment of his own, showering rarely. With no agent, he sent out scripts that never got past low-level readers. “Too vile, too vulgar, too violent” was the usual reaction, he later said. According to Quentin Tarantino, by Wensley Clarkson, his constant use of the f-word in his script True Romance caused one studio rep to write to Cathryn Jaymes, his early manager:

How dare you send me this fucking piece of shit. You must be out of your fucking mind. You want to know how I feel about it? Here’s your fucking piece of shit back. Fuck you.

“Like a lot of guys who had never made films before, I was always trying to figure out how to scam my way into a feature,” Tarantino tells me. Though he was indisputably king of all movie knowledge at Video Archives, the suburban-L.A. store where he worked, in Hollywood he was a nobody. Surrounded by videos, which he watched incessantly, he hit upon an idea for recycling three of the oldest bromides in the book: “The ones you’ve seen a zillion times—the boxer who’s supposed to throw a fight and doesn’t, the Mob guy who’s supposed to take the boss’s wife out for the evening, the two hit men who come and kill these guys.” It would be “an omnibus thing,” a collection of three caper films, similar to stories by such writers as Raymond Chandler and Dashiell Hammett in 1920s and 1930s pulp magazines. “That is why I called it Pulp Fiction,” says Tarantino.

He planned to share the writing with his fellow clerk Roger Avary and another friend. Tarantino would write the first story, about the guy who takes out the crime boss’s wife. Avary’s section centered on the over-the-hill boxer, who double-crosses a crime boss and then ends up rescuing him as he’s being anally raped by a hillbilly in a pawnshop.

When the third writer didn’t materialize, Tarantino had to write that story, too. Working in his mother’s house for three and a half weeks, he says, he heard a set of bizarre criminal characters speaking to him. Soon he abandoned his original idea and wrote instead a violent script about a gang of thieves and a bungled diamond heist. According to one source, he named it after Louis Malle’s 1987 film, Au Revoir les Enfants, which Tarantino playfully mispronounced as “reservoir dogs.” Scrawled across hundreds of pages, the script was unpunctuated, absolutely illegible, and undeniably great. Pulp Fiction would have to wait. Tarantino was determined to direct Reservoir Dogs then and there.

He talked to Lawrence Bender, a former tango dancer he’d recently met who had produced one low-budget horror movie, Intruder. After looking at the rough draft, Bender said, “Wow, this is extraordinary. Can you give me some time to raise some money?” Tarantino signed an agreement on a paper napkin, giving Bender two months to do it. One potential buyer was reportedly ready to mortgage his house, but only if he could direct the movie. No one seemed ready to back the untested Tarantino.

But Bender knew somebody who knew the actor Harvey Keitel, and that changed everything. Keitel meets me in a New York diner expressly because, he says, “I want your readers to know there’s great talent out there, and they should be seen and heard. We don’t have to keep repeating the same movies and sequels, ad infinitum. An example like Quentin should be a call to arms. Of course, people say, ‘Oh, so-and-so would have made it anyway.’ That’s almost like saying the world is fair, and the cream will rise to the top. That’s bullshit.”

Keitel heard about Tarantino from the theater director Lilly Parker, a colleague at the Actors Studio. “She simply said, ‘I have a screenplay I think you’re going to like,’ ” says Keitel. “I got stuck. I couldn’t speak about it. I just wanted to sit with it, which I did for a number of days, until I called Lawrence Bender.”

Soon after that, Tarantino arrived at the house Keitel was renting in Los Angeles. “I opened the door, and it was this tall, gawky-looking guy staring at me, and he says, ‘Harvey Kee-tel?’ And I said, ‘It’s Kye-tel,’ ” the actor remembers. “And it began there. I offered him something to eat, and he ate a lot. I said, ‘How’d you come to write this script? Did you live in a tough-guy neighborhood growing up?’ He said no. I said, ‘Was anybody in your family connected with tough guys?’ He said no. I said, ‘Well, how the hell did you come to write this?’ And he said, ‘I watch movies.’ ”

Keitel signed on as a lead actor, and his commitment to the project helped raise $1.5 million to produce the movie, but, most important, he backed Tarantino as director. Reservoir Dogs, according to the Los Angeles Times, “was arguably the most talked about movie of the [1992 Sundance Film] Festival.” The article continued:

Meanwhile, Hollywood is calling Tarantino about his future. But the director, who sleeps in his old room decorated with a Bobby Sherman lunch pail and posters of such movies as Breathless, The Evil Eye, and the French poster for Dressed to Kill, isn’t answering.

“They’re offering me X movie, starring Mr. X, and I say, ‘Send it over and I’ll look at it.’ But everyone knows what I’m going to do. You see, I’m spoiled now. On Reservoir Dogs we never had a production meeting. It was kept pure. No producer ever monkeyed around with the script.

“So I have my own project and say, if you want to do it, then let’s do it. If you don’t like it, then I’ll go somewhere else.”

The project was Pulp Fiction, three intertwined crime stories set in Los Angeles. “Like the way New York is an important character in New York crime films, I would make Los Angeles an important character,” Tarantino tells me. “Then I started thinking about all of the characters overlapping The star of one story could be a small character in the second story and a supporting character in the third story and all that kind of shit.”

At the premiere of Terminator 2, in 1991, he met Stacey Sher, a young Hollywood executive who would soon become president of production at Danny DeVito’s Jersey Films. She introduced Tarantino to DeVito. “I listened to him for about 10 minutes, thinking, I may be meeting someone who talks faster than Martin Scorsese,” DeVito remembers. “I said, ‘I want to make a deal with you for your next movie, whatever it is.’ ”

‘I had been broke my whole adult life,” Tarantino tells me. In my exploration of Tarantino’s pre-Pulp Fiction existence, I drive two hours outside of L.A. to the home of Roger Avary, his old fellow clerk and former writing partner. They were so close in those days that it was difficult to tell where one writer’s work ended and the other’s began. “It is kind of complicated, because you have to realize there was so much cross-pollination,” says Avary.

With the $50,000 he’d made on Reservoir Dogs, and the promise of $900,000 from TriStar Pictures for Pulp Fiction, Tarantino, who had never really left Los Angeles County, packed a suitcase with lurid crime novels and flew off to write the screenplay in the land of legalized marijuana and prostitution.

“We always said, ‘I want to get Amsterdamed!’ ” says Avary. Tarantino, however, insists that he went to Amsterdam strictly to write. “It was all about living in another country,” he says. He bought school notebooks and declared about one of them, like a modern-day Hemingway, “This is the notebook in which I am going to write Pulp Fiction.

“I just had this cool writing existence,” he continues. “I didn’t have to worry about money. Through luck and happenstance, I found an apartment to rent right off a canal. I would get up and walk around Amsterdam, and then drink like 12 cups of coffee, spending my entire morning writing.”

He had filled several notebooks by the time of the 1992 Cannes Film Festival, where Reservoir Dogs was screened at midnight, out of competition. It had already caught the attention of Harvey and Bob Weinstein, who would distribute it as a Miramax movie. “That screening set up Quentin Tarantino as a Cannes director,” says Richard Gladstein, the film’s executive producer, who arranged the screening and would later become head of production at Miramax Films.

After the festival, Tarantino, Stacey Sher, and Roger Avary drove to Amsterdam, where they stayed in Tarantino’s one-room apartment. “By the time I left Amsterdam, I had heard pretty much the whole first act,” says Sher. “He and Roger were working on the second act.” Avary adds, “We basically took all the scenes we had ever written and just laid them out on the floor, seeing how they fit.” By the time Avary left Amsterdam, he felt he was the co-writer of Pulp Fiction, he says, and he and Tarantino had an arrangement to that effect. Then he adds, “I think so.”

Tarantino remained in Amsterdam, doing what he’d always done with Avary’s scripts: embellishing, adding dialogue. “He didn’t write the script,” Tarantino says today. Yes, Avary contributed the story about the boxer, which is the centerpiece of the movie, and Tarantino reportedly paid him $25,000 for it. But that was only a launching pad, around which Tarantino created the script.

After production on the movie began, Avary reportedly received a call from Tarantino’s attorney, demanding that he accept a “story by” instead of a co-writer credit, so that Tarantino could say, “Written and directed by Quentin Tarantino.” According to Down and Dirty Pictures, by Peter Biskind, Avary was insulted and refused to sign away his co-writing credit. Tarantino told him that if he didn’t accept the “story by” credit, Tarantino would write his section out of the script and Avary would get nothing. Eventually Avary signed for a share of the film’s profits, though he was quoted in Biskind’s book as saying that he felt betrayed. Today Avary says he doesn’t recall any of this.

All that was a lifetime ago. Just after midnight on January 13, 2008, Avary, by then an established writer and director in his own right (Killing Zoe, Beowulf), lost control of his Mercedes and crashed into a telephone pole. One passenger, an Italian friend, was killed, and Avary’s wife sustained injuries. Pleading guilty to gross vehicular manslaughter while intoxicated, Avary was sentenced to a year. Today, he says, he is at peace with his collaborator and his credit. “I love the movie. I’m delighted with my contribution. That is enough. And I love Quentin. He’s like a brother.”

‘A script arrived at my house, the title page read Pulp Fiction, and I loved it,” says Danny DeVito. DeVito had a first-look deal with TriStar. “I had just spent a weekend at the White House, and there was a lot of talk that there was too much violence on the screen, and Hollywood should address it,” says former TriStar chairman Mike Medavoy. “So I read the script, which I liked a lot, and there was one scene that is really extremely violent, where they shoot someone in the back of the car and there are pieces of his brain splattered all over. The director and I had a discussion, and I said, ‘That is really over the top, and you’re going to get blowback.’ He said, ‘But it’s funny!’ It turned out he was right. The audience thought it was funny, and it did not get the blowback I thought it would get.” However, TriStar passed on making the movie.

Every major studio passed,” says Lawrence Bender. Then, says DeVito, “I gave it to the king, Harvey Weinstein.”

It went through Richard Gladstein, who was now at Miramax. Weinstein, who had recently merged Miramax with Disney in an $80 million deal, was walking out of his L.A. office on his way to catch a plane for a vacation on Martha’s Vineyard when Gladstein handed him the script. “What is this, the fucking telephone book?,” Weinstein asked him when he saw that it was 159 pages, the normal being 115. He lugged the script to the plane, however.

“He called me two hours later and said, ‘The first scene is fucking brilliant. Does it stay this good?’ ” remembers Gladstein. He called again an hour later, having read to the point where the main character, the hit man Vincent Vega, is shot and killed. “Are you guys crazy?” he yelled. “You just killed off the main character in the middle of the movie!”

“Just keep reading,” said Gladstein. “And Harvey says, ‘Start negotiating!’ So I did, and he called back shortly thereafter and said, ‘Are you closed yet?’ I said, ‘I’m into it.’ Harvey said, ‘Hurry up! We’re making this movie.’ ”

Disney may have seemed an unlikely match for Pulp Fiction, but Weinstein had the final say. “As for [then chairman] Jeffrey Katzenberg, that was the first test of what I call autonomy with Jeffrey,” says Weinstein. “When I signed my contract with Disney selling Miramax, with us still running the company, I wrote the word ‘autonomy’ on every page, because I had heard that Jeffrey was notorious for not giving it. When I read the Pulp Fiction script, I went to him and said, ‘Even though I have the right to make this, I want to clear it with you.’ He read it and said, ‘Easy on the heroin scene, if you can, but that is one of the best scripts I have ever read. Even though you don’t need it, I am giving you my blessing.’ ”

The script was sent out to actors with the warning “If you show this to anybody, two guys from Jersey [Films] will come and break your legs.”

‘John Travolta was at that time as cold as they get,” says Mike Simpson, Tarantino’s agent at William Morris Endeavor. “He was less than zero.” Marred by a series of commercially successful but creatively stifling movies, culminating in the talking-baby series, Look Who’s Talking, Travolta’s career seemed past saving. So, when he was told that Tarantino wanted to meet with him, he went to the director’s address, on Crescent Heights Boulevard.

Tarantino recalls, “I open the door, and he says, ‘O.K., let me describe your apartment to you. Your bathroom has this kind of tile, and da-da-da-da. The reason I know this is, this is the apartment that I lived in when I first moved to Hollywood. This is the apartment I got Welcome Back, Kotter in [the TV series that made him a star].’ ”

They talked until sunrise. Tarantino told him he had two films in mind for him. “A vampire movie called From Dusk Till Dawn and Pulp Fiction,” says Travolta, who replied, “I’m not a vampire person.”

Tarantino had planned on casting Michael Madsen, who played the ex-con sadist Victor Vega in Reservoir Dogs, in the role of the hit man Vincent Vega. But Madsen had already accepted a part in Wyatt Earp, so Tarantino called Travolta and said the part was his.

“Three times I had set trends,” Travolta tells me, referring to his early roles in Saturday Night Fever, Urban Cowboy, and Grease, which helped launch disco, cowboy chic, and greasers. Would his playing of Vincent Vega spawn a battalion of heroin-addicted hit men? He told Tarantino, “I’ve never played a drug addict on-screen. Do I really want to shoot up and kill people?”

“No, no, I’m cutting away a lot of that stuff,” Tarantino told him. Next, Travolta consulted his agent, his friends, and his wife, Kelly Preston. “All were pushing for me to do it,” he says.

Everyone except Harvey Weinstein, who wanted anyone but Travolta. Mike Simpson had given Weinstein a “term sheet” of Tarantino’s demands, which included final cut, a two-and-a-half-hour running time, and final choice of actors. “One of the actors I had on the list was John Travolta,” says Tarantino. “And it came back: ‘The entire list is approved … except for John Travolta.’ So I got together with Harvey, and he’s like, ‘I can get Daniel Day-Lewis, Sean Penn, William Hurt.’ ” By then, according to Simpson, “Daniel Day-Lewis and Bruce Willis, who was the biggest star in Hollywood, had both gotten their hands on the script and wanted to play Vincent Vega.”

During a late-night telephone call with Simpson, the Weinsteins accepted all of Tarantino’s deal points except one—the casting of Travolta. “At midnight our time, three in the morning in New York, Harvey said, ‘Let’s just close the deal, and we’ll address that tomorrow in good faith,’ ” Simpson recalls.

Simpson told him, “You’re going to agree to it right now, or there’s no deal.” Harvey erupted, but Simpson held firm. “We’ve got two other buyers waiting outside to get this,” he said. (Ronna Wallace, of Live Entertainment, which had produced Reservoir Dogs, had actually stormed William Morris security that night in an attempt to disrupt Simpson’s call with the Weinsteins.) “You’ve got 15 seconds to agree to it. If I hang up, it’s over,” said Simpson. “Harvey kept talking, arguing, and I said, ‘O.K., 15, 14.’ When I got to eight, Bob goes, ‘Harvey, we have to say yes.’ Harvey says, ‘O.K., fuck it.’ ”

Later, when the Weinsteins saw the finished film in Los Angeles, Harvey announced facetiously, 20 minutes into the screening, according to Gladstein, “I’m so glad I had the idea to cast John Travolta.”

The movie had no bankable stars, however, until Harvey Keitel picked up his daughter one day at Bruce Willis’s house in Malibu. “He mentioned that Quentin was getting ready to do another film,” says Willis. A rabid fan of Reservoir Dogs, Willis wanted to work with the young director, even if it meant taking a drastic reduction in the $5 million he had reportedly received for Die Hard. “It was so far ahead of anything,” Willis still says of Reservoir Dogs.

Keitel invited Willis to a barbecue at his home, saying that Tarantino would be there. The superstar arrived, and, one insider insists, he wanted the leading role, Vincent Vega. But with Travolta already cast as Vega, there was only one possible part for Willis—Butch, the boxer—which Tarantino had promised to Matt Dillon, whom he’d had in mind originally for the role. “Quentin was a man of his word,” says Simpson. “So he gave Matt the script, and he read it and said, ‘I love it. Let me sleep on it.’ Quentin then called me and said, ‘He’s out. If he can’t tell me face-to-face that he wants to be in the movie—after he read the script—he’s out.’

“And so Harvey Weinstein said, ‘O.K., let’s put Bruce Willis in that role,’ ” Simpson continues. “He’s going to get Willis in the movie one way or another, right? And, of course, Bruce is ‘What? I’m not going to play the lead? I’m going to be bound up by some hillbilly in a pawnshop so that John Travolta can be the lead?’ ”

Willis recalls the deal more diplomatically, saying that when he was offered the role he immediately said yes. About the pay cut, he adds, “There’s a term for it in Hollywood: I don’t think it was ever about the money for anyone.

Except for Harvey Weinstein. “Once I got Bruce Willis, Harvey got his big movie star, and we were all good,” says Tarantino. “Bruce Willis made us legit. Reservoir Dogs did fantastic internationally, so everyone was waiting for my new movie. And then when it was my new movie with Bruce Willis, they went apeshit.” (The Weinsteins recouped their $8.5 million investment before production even began by selling the foreign rights for $11 million.)

Michelle Pfeiffer, Meg Ryan, Holly Hunter, and Rosanna Arquette were all reportedly considered for the role of Mia Wallace, the sexy wife of a burly crime boss. But Tarantino had decided on Uma Thurman. “Uma’s the only person he met with [by himself],” says Lawrence Bender.

Thurman’s agent, the late Jay Moloney, who committed suicide in 1999, knew the part was perfect for Thurman, but the actress wasn’t sure. “I was 23, from Massachusetts,” she tells me in the New York restaurant Maialino, referring to the boarding-school environment she came from. Even today, after starring in two other Tarantino movies—Kill Bill and *Kill Bill: Vol. 2—*and becoming known as his muse, it takes Thurman a moment to return to the raucous role that made her famous. She says she was in a “funny little slump,” after starring in Even Cowgirls Get the Blues, when Moloney sent her Pulp Fiction. “I wasn’t sure I wanted to be in the movie,” she says, explaining that it wasn’t just the obscenity, or her character’s drug habit—it was also the anal rape of her crime-boss husband. “Pretty frightening,” she says.

Over a three-hour dinner at the Ivy, in Los Angeles, followed by a marathon discussion in Thurman’s New York apartment, Tarantino struggled to convince her. “He wasn’t this revered demigod auteur that he has grown into,” Thurman remembers. “And I wasn’t sure I wanted to do it, because I was worried about the Gimp stuff,” she adds, referring to the character in leather who is unlocked from a cage, set up to have his way with the bound-and-gagged Marsellus Wallace. “We had very memorable, long discussions about male rape versus female rape,” says Thurman. “No one could believe I even hesitated in any way. Neither can I, in hindsight.”

How Jackson Stole the Part

Samuel L. Jackson had to fight for his role as Jules Winnfield, the Bible-quoting hit man. The rage of that fight returns as he tells me the story in his publicist’s conference room in Beverly Hills. “O.K., calm down,” he tells himself at one point. Tarantino had told Jackson that he’d written the role for him, and therefore was asking him just to read, not audition. After their session together, Jackson returned confidently to filming Fresh, another movie produced by Lawrence Bender, only to learn that he was in danger of losing the role to the Puerto Rican actor Paul Calderon.

“Quentin handed me the part of Jules and said, ‘Bring it in,’ ” Calderon remembers of his New York audition. “I took the material home, and the rhythms were similar to Lawrence Fishburne, and Quentin told me later Fishburne, whether it’s true or not, turned it down.” When Calderon finished the audition, he says, Tarantino was applauding. “All of a sudden Sam’s job was not so damned secure,” says Tarantino today.

When Jackson learned that his role was possibly going to Calderon, he says, “agents, managers, and everyone got on the phone and called Harvey,” meaning Harvey Weinstein, who had told Tarantino that Jackson would be critical in promoting Pulp Fiction. (“He said, ‘I can put Sam Jackson on Arsenio Hall fucking tomorrow,’ ” says Tarantino.) Weinstein urged Jackson to fly immediately to L.A., this time to “blow [Tarantino’s] balls off.”

Jackson spent the hours on the plane marking up the script, “figuring out the relationships.” He landed just before lunchtime, not knowing that Calderon had also flown from New York to audition again that same weekend. “It was like high noon,” Calderon remembers. “I was the first one who was going to audition Sam was supposed to come in after me.” But Tarantino arrived late, which caused Calderon to lose his cool. “We went into the audition room, and one of the producers started to read with me, which, to this day, I look back on it and think, I should have said no,” he says. “I couldn’t recapture the rhythms I had in New York. At the end, I said, ‘I give up.’ The air was going out of me like the Goodyear blimp.” Tarantino wound up giving him a small part in the movie.

“I sort of was angry, pissed, tired,” Jackson recalls. He was also hungry, so he bought a take-out burger on his way to the studio, only to find nobody there to greet him. “When they came back, a line producer or somebody who was with them said, ‘I love your work, Mr. Fishburne,’ ” says Jackson. “It was like a slow burn. He doesn’t know who I am? I was kind of like, Fuck it. At that point I really didn’t care.”

“In comes Sam with a burger in his hand and a drink in the other hand and stinking like fast food,” says Richard Gladstein. “Me and Quentin and Lawrence were sitting on the couch, and he walked in and just started sipping that shake and biting that burger and looking at all of us. I was scared shitless. I thought that this guy was going to shoot a gun right through my head. His eyes were popping out of his head. And he just stole the part.” Lawrence Bender adds, “He was the guy you see in the movie. He said, ‘Do you think you’re going to give this part to somebody else? I’m going to blow you motherfuckers away.’ ”

When Jackson came to the final scene in the diner, where Jules quotes the Bible, his acting became so real, so angry, that the actor reading with him lost his place. “And when I got back to New York, I was still pissed,” says Jackson. “Bender told me not to worry. Everything was cool. The job was mine. And he said the one thing that sealed it was they never knew how the movie was going to end until I did the last scene in the diner.”

Tarantino cast Tim Roth and Amanda Plummer, who were friends, as Pumpkin and Honey Bunny, a pair of restaurant robbers. “Their size, their look, their energy, everything about them made me want to use them together,” Tarantino has said. He told another friend, Eric Stoltz, “There are two parts you can do, and they both wear bathrobes.” Stoltz chose the role of Lance, a heroin dealer. Tarantino played the other part himself.

The Portuguese actress Maria de Medeiros got the part of Fabienne, the diminutive waif who reduces Bruce Willis to a love-struck wimp. “Well, love conquers all, I tell you,” says Willis. “I played a boxer, a guy who kills another guy in the ring and is just tamed by his love for Fabienne. She was fantastic.”

According to Samuel L. Jackson, for the part of Marsellus Wallace, Mia’s husband, who is violated in the rape scene, Tarantino originally considered Max Julien, who played Goldie in the 1973 blaxploitation film The Mack. “Max Julien wasn’t going to do that,” says Jackson of the anal rape. “He’s the Mack*.* He’s Goldie. He’s like, ‘No, I don’t think my fans want to see that.’ ” Ving Rhames, the theater veteran, who grew up in Harlem, however, actually embraced the rape scene. “Because of the way I look, I don’t ever get the opportunity to play many vulnerable people,” he has said. “He was very alone in his unconcern,” says Tarantino, adding, “It was a sheer mark of his masculinity.”

To prepare for filming, everyone had to “get into character,” as Samuel L. Jackson’s Jules tells John Travolta’s Vincent before their first contract killing in the movie. Tarantino needed the right things to wear. “I had to buy clothes for him,” says Linda Chen, “because he just wore T-shirts that had writing on them.” Uma Thurman required training in drug use, gun-moll behavior, and what she calls “a gamy use of language.”

Tarantino enlisted Craig Hamann, a friend from acting school and a former heroin addict, to ensure that everything about drugs in the film would seem absolutely authentic. In close-ups, Thurman snorted sugar. “Disgusting,” she recalls.

“I said, ‘There is no way I’m going to do heroin, so I’ve got to spend some time with addicts in order to do this,’ ” says Travolta. “Quentin set me up with a white-collar addict. Then I set myself up with a street addict, and I spent a few days with these guys and took notes.” The white-collar addict was Hamann, who taught Travolta how to replicate a heroin high. “He said, ‘Drink as much tequila as you can and lay in a warm pool or tub of water,’ ” the actor recalls.

The black suits and ties Travolta and Jackson wore were Tarantino’s idea, but Travolta wanted to define Vincent Vega more clearly through “an extreme image”—his hair—by adding extensions onto his own mane for a “Euro haircut, which is sometimes Eurotrash and sometimes elegant,” he says. “Tarantino was hesitant, and I said, ‘Please at least look at me in this,’ and I got the hair extensions and I worked on the do. I put my best foot forward on the test. That just killed it.”

Jackson had mentally created every aspect of Jules Winnfield, down to his church. “He believed in God,” says Jackson. “He just kind of strayed from that path, and he understood a revelation when he saw it, and he knew not to ignore it.” Jackson grew muttonchop sideburns, but his glossy Jheri-curl wig, which caught the splattered debris of a dead man’s brain so adroitly, was a lucky mistake. “A production assistant Quentin sent to south L.A. to buy an Afro wig had no idea what that was,” says Jackson. She returned instead with a Jheri-curl wig, which Tarantino rejected but which Jackson loved. “All the gangbangers had Jheri curls,” he says.

The main actors were equalized by the movie’s modest budget. “Quentin and Bruce actually helped with the budget,” says Weinstein. “We got this incredible group of talent to work for nothing.” Bender came up with a formula, whereby every cast member would be paid the same amount. “It turned out to be $20,000 a week,” he says. “Travolta, I think he worked seven weeks, so he made $140,000. John used to laugh that by the time he rented his place at the Four Seasons Hotel he basically paid to be in the movie.” (The major cast members, however, also shared a percentage of the film’s profits, according to Lawrence Bender.)

Principal photography for the 51-day shoot began on September 20, 1993, under the broiling heat of electric lamps shining in on the Hawthorne Grill, in suburban Los Angeles, the first of the film’s 70 locations and sets. That is where the couple played by Tim Roth and Amanda Plummer go from breakfast to robbery. Tarantino says he was on “a creative and imaginative high. I was just living my dream.” Determined to make an $8.5 million movie look as if it cost $25 million, he shot with “the slowest film Kodak made,” which required the ultra-bright lights, according to Bender. “Each one of them is like the power of the sun,” he explains. “We thought the lights were going to crack the glass in the diner, it was so hot.”

A non-union crew, some of whom had worked on Reservoir Dogs, backed Tarantino. Call sheets and location maps for each day of the filming include strict rules outlawing “alcohol or drugs while in our employ” and specific alerts such as “There will be gunfire, be prepared” and “Wardrobe and makeup: blood and gore.” During the same week that Tarantino filmed the opening scene, he filmed the last: with Jules and Vincent in the Hawthorne Grill, interrupting the robbery that starts the movie.

Travolta felt that he had to humanize Vincent Vega from the very beginning. When he and Jackson are driving to a contract killing, for instance, they are discussing the limits of legalization in hash bars and Europe’s “little differences,” such as the names of McDonald’s hamburgers in Paris. “We were on Hollywood Boulevard, with lights and shit all over this car and people screaming at us, because they could see us in the car,” says Jackson. “They had no idea what it was, just that it was John.”

Most actors wouldn’t have dared revise lines of Tarantino’s script, but Travolta felt that he had to invent a cool way of speaking in order to articulate certain ones properly. It began with his line about what they call the Quarter Pounder in Paris: “A Royale with cheese.” Travolta explains, “I remember thinking it would be funny to slow that down and say it with complete ‘lipshual’—I’m making that word up—articulation so that the line was overemphasized with my lips and teeth. I knew that, his being the guy he was, any oddity was acceptable. Quentin said later, ‘I didn’t know I was doing a comedy—you made this role so funny.’ I said, ‘You needed me to do it, because blowing up someone’s head is not funny. But if you say something off-kilter or bizarre at the time this awful thing happens, then it’s funny, because it’s unexpected.’ ”

Later, still on the way to the contract killing, Vincent and Jules discuss at length Mia Wallace and how her barbarous husband threw a gangster off a fourth-floor balcony for giving her a foot massage. A John Cassavetes retrospective Tarantino had attended in Paris inspired that seemingly improvisational scene. “The way they talk around what they’re doing,” he explains. “I was like, Can I get that kind of thing going on the page? My attempt to do that is the entire scene of Jules and Vincent with the yuppies and the briefcase.” (The mysterious briefcase, which glows in Travolta’s face when he opens it, was filled with “two batteries and a lightbulb,” as Jackson once explained.)

The movie soon cuts to Marsellus Wallace’s massive head, which the audience sees only from the rear. He’s in a bar, and Ving Rhames had a Band-Aid on his head to cover a cut. Tarantino insisted that he leave it on. Willis says he needed no preparation for the scene. “I was just going by the information in the script,” he says. “He pretty much told me my history as a boxer was pretty much over, and this would be a great opportunity for me to throw a fight.”

“I met a drug dealer and junkies, and I watched a fellow shoot up,” says Eric Stoltz of his role as the dealer who offers Vincent a choice of three grades of heroin. Vincent shoots up on the spot, following Craig Hamann’s guidance on how to lovingly caress a “rig” (needle and spoon) and how to indicate the way a heroin high comes in waves, not all at once.

In one scene Travolta, stoned to stage perfection, picks up Mia Wallace for their date. They drive to a theme restaurant, actually a set built in a Culver City warehouse. “The one set piece that was the most enjoyable to me was Jack Rabbit Slim’s, and walking in noticing [actors dressed up as] iconic film stars and the irony of being one as well, you know, a living icon walking through Madame Whatchamacallit’s Wax Museum,” says Travolta.

From that point forward, the movie gains rapid propulsion. After they’re seated and the waiter—played by Steve Buscemi, one of many in the cast who had also been in Reservoir Dogs, here made up to look like Buddy Holly—takes their order, Mia says she’s going to “powder my nose.” “Quentin told me how to do it,” says Thurman, meaning snorting sugar off the washbasin.

She was dreading having to dance with John Travolta, she says, “because I was so awkward and embarrassed and shy.” Tarantino had written the scene before Travolta was officially in the movie, but now it was the star of Saturday Night Fever, fat and 40, who was on the floor once again.

‘Quentin recommended the Twist,” remembers Travolta. “And I said, ‘Well, Little Johnny Travolta won the Twist contest when I was eight years old, so I know every version. But you may add other novelty dances that were very special in the day.’ He said, ‘What do you mean?’ I said, ‘There was the Batman, the Hitchhiker, the Swim, as well as the Twist.’ And I showed them to him, and he loved them. I said, ‘I’ll teach Uma the steps, and when you want to see a different step, call it out.’ ” Tarantino then filmed the scene right on the dance floor with a handheld camera, calling out, “Watusi! Hitchhiker! Batman!”

“Quentin called me and said that in the scene he was then writing Mia is overdosing,” remembers Hamann. “He asked me, ‘What would somebody do to revive her?’ I said, ‘When it happened to me, somebody hit me up with salt water.’ It worked. Quentin took it a step further: adrenaline to the heart.”

Travolta, after winning the dance contest, is talking to himself in the bathroom in Mia’s home, knowing he’s a dead man if he doesn’t extricate himself from the minx in the living room. Meanwhile, she’s trawling through his trench coat, where she discovers a bag of triple-Grade A heroin, which she immediately lines up and snorts. “Maybe it was brown sugar at that point,” says Thurman. “The idea was that the character was too stoned to notice the difference between heroin and cocaine.” By the time Travolta comes out of the bathroom, she’s comatose, bleeding from the nose and foaming at the mouth. “Campbell’s mushroom soup,” says Thurman about the spittle, adding that the glazed-eyes effect was hers alone. “I worked myself up, acting. I don’t think we put anything in my eyes. You’re paid for something.

“Oh, Jesus fucking Christ!,” Travolta shrieks upon seeing the limp Mia, whom he scoops up and throws in his car. Speeding through the night in a 1964 red Chevy Malibu, which was actually Tarantino’s car, he crashes onto the lawn of his drug dealer, Lance, who prescribes an adrenaline shot to Mia’s heart. “Uma, what a good sport she was!” says Stoltz. “She was bleeding, and John and I kept dropping her body and banging her into doors—this beautiful woman. The truth was we all had a wild crush on Uma.”


Pulp Fiction hit theaters on this day in 1994.

Shawshank Redemption also came out the same day. Damn that’s an awesome double feature.

I was looking at what else came out in ➔ and found "The Next Karate Kid"—Hillary Swank is trained by Pat Morita. I forgot all about that film.

It's by far one of the best years of cinema ever. The Oscars were SO competitive that year.

Shawshank Redemption Forrest Gump Pulp Fiction The Lion King Speed Hoop Dreams Four Weddings and a Funeral

And the foreign films were incredible as well - still can't believe Eat Drink Man Woman didn't win. What a year.

Well actually, Shawshank came out in September.

Yet the GOAT film Forrest Gump beat them both for an academy award. amazing year for movies lol

And both films were badly upstaged at the Oscars the following year by Forrest Gump!

And you would think and expect that The Shawshank Redemption would be just the sort of movie that would do well at the Oscars. It was a bit of a sleeper hit though only doing $58m at the box office and really only came into its own when it was released on video and dvd.

Also Forrest Gump, True Lies, Speed, Lion King, Dumb and Dumber

The world of music and gaming was amazing at that point too. Shame about where it went after that.

It was still in the theaters six months later. That’s when the wife and I saw it. Theater was packed. I enjoyed it so much I went back the next night.

Yeah, I was a senoir in high school when it came out. Saw it in the theater shortly after, then again many months later closer to graduation. That movie dominated pop culture back then.

I worked at a theater and watched it all the time. I got to build the movie 3 times on returns to the theater (one around Cannes/Oscars). When I originally built it and watched sections I was like what the fuck Vincent/Travolta is alive? I just saw him get shot on the shitter. Not many movies at the time did the out of order storytelling.

Still one of my favorite movies to this day, such a massive hit. Watched it twice the first day I saw it just like the Matrix. Only two movies I did that. Loved the music of Pulp Fiction as well. Eventually went to see Kool and the Gang and saw Jungle Boogie live.


Contents

Tarantino used an eclectic assortment of songs by various artists. Notable songs include Dick Dale's now-iconic rendition of "Misirlou", which is played during the opening credits. Tarantino chose surf music for the basic score of the film because, "it just seems like rock 'n' roll Ennio Morricone music, rock 'n' roll spaghetti Western music." [4]

Many of the songs on the soundtrack were suggested to Tarantino by musician Boyd Rice through their mutual friend Allison Anders, including Dick Dale's "Misirlou". Other songs were suggested to Tarantino by his friends Chuck Kelley and Laura Lovelace, who were credited as music consultants. Lovelace also appeared in the film as Laura the waitress.

In addition to the surf-rock rendition of "Misirlou", other notable songs include "Jungle Boogie" by Kool & the Gang, Dusty Springfield's version of "Son of a Preacher Man", "Flowers on the Wall" by the Statler Brothers and "Bustin' Surfboards" by The Tornadoes, from 1962, which had been one of the first instrumental surf songs to hit the United States music charts after notables such as "Walk--Don't Run" by the Ventures.

Excerpts of dialogue include Jules' "Ezekiel 25:17" speech and the "Royale with Cheese" exchange between Jules and Vincent.

A two-disc collector's edition of the album was issued in 2002 — the first disc contained the songs, including four additional tracks and the second disc was a spoken-word interview with Tarantino.

Woody Thorne's 1961 song "Teenagers in Love" and Link Wray's 1965 single "Rumble" are two of the three songs missing from the collector's edition soundtrack. The last song is unique to the movie: it is Ricky Nelson's "Waitin' In School" as performed by the actor Gary Shorelle, which plays as Vincent and Mia enter Jackrabbit Slim's.

The soundtrack reached No. 21 on the Billboard 200, and at the time, went platinum (100,000 units) in Canada alone. [5] By November 12, 1994, total sales of more than 1.6 million were reached [6] and by 1996 over 2 million units had been sold. [7] In 1995 the soundtrack reached No. 6 on the charts according to SoundScan. [8]

The soundtrack helped launch the band Urge Overkill, which covered Neil Diamond's "Girl, You'll Be a Woman Soon" (produced by Kramer) in 1993, into a mainstream market. Sony "received a nice sum" for "Son of a Preacher Man" [8] and Kool & The Gang enjoyed a resurgence when "Jungle Boogie" was released on the soundtrack. [9]

The Orange County Register described why the soundtrack of Pulp Fiction stood out from all the others: "Unlike so many soundtracks, which just seem to be repositories for stray songs by hit acts regardless of whether they fit the film's mood, Tarantino's use of music in Reservoir Dogs and Pulp Fiction exploded with a brash, Technicolor, pop-culture intensity that mirrored the stories he was telling." [10] Karyn Rachtman was the music supervisor on both Reservoir Dogs and Pulp Fiction. [11]

Analyzing the success of Tarantino's marketing, Billboard chalked up MCA's compilation to identifying the market niche: "Pulp Fiction. successfully spoke to those attuned to the hip, stylized nature of those particular films." The eclectic "mix-and-match strategy" is true to the film. "In some cases, like Pulp Fiction and Reservoir Dogs, which were not geared toward any specific demographic, the soundtracks were still very focused albums," said Kathy Nelson, senior VP/general manager at MCA Soundtracks. "In both cases, the body of work — both the music and the film — has a specific personality." [12]

In 1997, Gary Thompson of The Philadelphia Inquirer said that Pulp Fiction "reinvigorated surf rock". [13] That statement would be defining for Del-Fi Records, owned by legendary producer Bob Keane the Pulp Fiction soundtrack contained two songs that were originally released on Del-Fi: Bullwinkle Pt II by The Centurions, and Surf Rider by The Lively Ones. Del-Fi Records released a compilation CD in 1995 entitled Pulp Surfin' featuring songs by those bands plus sixteen other surf tracks from the vaults. The cover artwork was yet another parody of the Pulp Fiction movie poster.

Inspired by the soundtrack, advertisers started to use surf music in their commercials "to help sell everything from burritos to toothpaste", making surf music hugely popular again. [14]

More than two years after the film was released, the influence and monetary success was still being felt in the industry. "Mundane commercials using Dick Dale '60s surf licks, the kind made popular again by the Pulp Fiction soundtrack. following a trend — in this case, a two-year-old hit movie." [15]

No. TitleWriter(s)Artist(s)Length
1."Pumpkin and Honey Bunny/Misirlou"Quentin Tarantino/Fred Wise, Milton Leeds, S. K. Russell, Nicholas RoubanisTim Roth, Amanda Plummer/Dick Dale & His Del-Tones2:27
2."Royale with Cheese (dialogue)"TarantinoSamuel L. Jackson, John Travolta1:42
3."Jungle Boogie"Ronald Bell, Kool & the GangKool & the Gang3:05
4."Let's Stay Together"Al Green, Al Jackson Jr., Willie MitchellAl Green3:15
5."Bustin' Surfboards"Norman Sanders, Leonard DelaneyThe Tornadoes2:26
6."Lonesome Town"Baker KnightRicky Nelson2:13
7."Son of a Preacher Man"John Hurley, Ronnie WilkinsDusty Springfield2:25
8."Zed's Dead, Baby/Bullwinkle Part II"Tarantino/Dennis Rose, Ernest FurrowMaria de Medeiros, Bruce Willis/The Centurions2:39
9."Jack Rabbit Slims Twist Contest/You Never Can Tell"Tarantino/Chuck BerryJerome Patrick Hoban, Uma Thurman/Chuck Berry3:12
10."Girl, You'll Be a Woman Soon"Neil DiamondUrge Overkill3:09
11."If Love Is a Red Dress (Hang Me in Rags)"Maria McKeeMaria McKee4:55
12."Bring Out the Gimp/Comanche"Tarantino/Robert Hafner (sax solo by James Gordon)Peter Greene, Duane Whitaker/The Revels2:10
13."Flowers on the Wall"Lewis C. DeWittThe Statler Brothers2:23
14."Personality Goes a Long Way"TarantinoSamuel L. Jackson, John Travolta1:00
15."Surf Rider"Bob Bogle, Nole "Nokie" Edwards, Don WilsonThe Lively Ones3:18
16."Ezekiel 25:17"TarantinoSamuel L. Jackson0:51

A collector's edition version of the soundtrack was released in 2002. It features remastered versions of the original sixteen tracks, along with five bonus tracks, including an interview with director Quentin Tarantino. There are single and two-disc releases of this version, with the track listings being identical the two-disc version has the Tarantino interview on the second disc. The additional tracks are:


1 There Was No Point To The Scene With Captain Koons

As the anthology-like storytelling is what makes Pulp Fiction so unique, there are so many brilliant haiku-like standalone scenes, such as the taxi ride with Butch and Esmerelda and the flashback to Butch as a child.

But one fan believes the latter, in which Captain Koons (Christopher Walken) gives Butch a watch that had been hiding up his father’s ass for years, is unnecessary and there’s no point to it. Out of all the unpopular opinions, this one might hold the most weight, but hearing and seeing Walken talk about hiding a watch up his ass in his typically cartoonish vernacular is the most entertaining five minutes in the entire movie.


Watch the video: Pulp Fiction 1994 - Opening Credits (January 2022).