Its true legacy, though, is in the movies that it made possible.
No matter though: by the end of the year, Pulp had become an international phenomenon, its influence felt in music and advertising, television and literature. (Jackson’s reaction to losing out to Martin Landau in the Supporting Actor category – a clearly visible “Shit!” – has since entered Oscar folklore.) (The announcement was met with outraged boos Tarantino responded by flipping the finger at his detractors.) Raking in over $100 million in the US alone, the film went on to be nominated for seven Academy Awards in the event it won just one, a Best Screenplay gong the director had to grudgingly share with Roger Avary. Made for just $8 million, Pulp Fiction premiered at Cannes in May 1994, where it snaffled the Palme d’Or out from under the nose of Krzysztof Kieslowski’s swansong Three Colours Red. “Quentin will always be my guardian angel,” says the actor. Dominating the screen with a louche, winning performance that slyly nodded to his own iconography, most notably in the delicious dance-off at Jack Rabbit Slim’s that found him twisting his booty to Chuck Berry’s ‘You Never Can Tell’, Travolta made the biggest comeback since Lazarus and scooped an Oscar nomination for his trouble. “But I cast him because he’s a terrific actor, not some trash icon.” To say the role saved his career is an understatement. “John has a lot of baggage,” admits Tarantino. The faded star of Grease and Saturday Night Fever was colder than Siberia, reduced to playing second fiddle to a talking baby (voiced, coincidentally, by Willis) in the Look Who’s Talking series. “I thought, ‘Either this is brilliant, or I’m the sickest man you ever met in your life!’”īender wasn’t the only one asking the question. It was the best script I’d ever read.” “When I read it, I was laughing my head off,” adds DeVito. “Then I took a breath and I read it again, which I never do. “I read it straight through, which normally I don’t do,” remembers Samuel L Jackson. Rearranging the chronology meant a supporting character from one tale could become the hero of the next, and a guy you’d seen riddled with bullets previously could return from the grave without so much as a scratch on him.
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As he did in Dogs, Tarantino humanised fundamentally unlikeable characters with frothy, smart-mouthed dialogue on everything from TV programmes to hamburgers. It would be neat to have three separate stories, but have the same characters floating in and out.”īrutal, funny and with a wonderfully skewed narrative, the resulting script was indeed “neat”. “But when I sat down, I saw there was much more gold there. “The plan was to write a crime anthology,” the large-chinned helmer remembers. Not surprisingly, the latter bled into the screenplay he’d been paid a cool $1 million by Danny DeVito’s Jersey Films to produce. Holed up in a flat without a telephone, he hung out in hash bars by night and gorged on obscure French gangster films by day. Quentin Tarantino decamped to Amsterdam in March 1992, using the city as a European base for his promotion duties on Reservoir Dogs.
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