As I delve into the heartwarming stories of these remarkable individuals, I can’t help but marvel at the profound impact “Pulp Fiction” has had on their lives and careers. It’s truly a testament to Tarantino’s genius that this film has become more than just a movie; it’s an enduring piece of pop culture history.
On October 14, the iconic film “Pulp Fiction” is marking its 30th anniversary, and it continues to make a significant impact in the world of cinema.
Initially planned as a collection of stories by filmmaker Quentin Tarantino and his fellow writer-director Roger Avary, who were longtime colleagues and coworkers at Video Archives, the movie eventually transformed into a humorous, brutal, creatively boundless, non-sequential journey. The film not only rejuvenated John Travolta’s acting career and catapulted Samuel L. Jackson to stardom, but it also gave birth to a thriving subgenre of films that imitate or mimic its style. At the 1994 Cannes Film Festival, “Pulp” was awarded the Palme d’Or, received seven Academy Award nominations, and won one (for Tarantino and Avary’s screenplay). Its financial success ($213 million on a budget of $8.5 million) reshaped the economy of independent cinema forever.
To honor the lasting influence of “Pulp Fiction,” EbMaster sat down with over 20 cast and crew members from the movie for their stories and insights. With over a hundred pages of interviews, we’ve chosen to split this retrospective into two parts. This piece focuses on the origins of the film and its premiere, while another will explore the intricacies of its production process.
The creation of “Pulp Fiction” started around the late 1980s, as Quentin Tarantino and Roger Avary collaborated at Video Archives – a popular video store in Southern California where they worked.
Roger Avary, co-writer, concept: Our initial plan for “Pulp Fiction” was to create three short films, each directed by a different filmmaker. I was to direct one, Quentin Tarantino another, and our friend Adam Rifkin the third. I wrote a script titled “Pandemonium Reigns,” but as the process went on, my short film grew into a full-length screenplay. Similarly, “Reservoir Dogs” transformed into a feature-length script. Unfortunately, Adam never wrote his script, and for a while it seemed like “Pulp Fiction” might not come to be.
Danny DeVito, in his role as executive producer: Stacey Sher, who knew Quentin Tarantino, arranged a meeting for us. In just about six minutes of conversation with him, I expressed my desire to seal the deal on the spot. There was a brief pause from Quentin, and he agreed. And so, I struck a deal with him. At that point, “Reservoir Dogs” was still in production, and I hadn’t had a chance to watch it yet.
Avary: Later on, Quentin decided he wanted to revisit “Reservoir Dogs” success by creating “Pulp Fiction”. He had numerous studio offers for exciting projects, but he chose to focus on this idea. One day, he phoned me and shared his thoughts: “I can’t get ‘Pulp Fiction’ out of my mind, and I believe I should write and direct it.” We combined our script for “Pandemonium Reigns” with unused scenes we had written but not yet produced, which eventually led to the creation of “Pulp Fiction”. We traveled to Amsterdam for this project.
Lawrence Bender, producer: Following “Reservoir Dogs,” I traveled to Amsterdam to connect with him personally, and he had a compact Walkman playing Dick Dale and “Misirlou” along with other surf tunes while composing “Pulp Fiction.” Naturally, “Misirlou” was incorporated into the film’s credit sequence.
That year, I’d been in touch with him regularly, asking about his progress and general well-being. Suddenly, there was a knock on the door and a manila envelope arrived, containing 155 pages. I remember thinking it was still warm. The top page read “Pulp Fiction by Quentin Tarantino, final draft.” I settled into a sofa with a cup of tea, burst out laughing, and loved it from start to finish. It was a mystery to me that the script was 155 pages long, as the movie eventually ran for 154 minutes. A colleague of mine, Wilma, who was my script supervisor, would typically time scripts at one page per minute.
Michael Shamberg, film producer: Harvey Weinstein was the only one who made an offer for it. Harvey believed there was a competitive bidding situation, but that wasn’t true. To this day, if I meet Bob Shaye, he’ll express regret over not accepting “Pulp Fiction.” Quentin Tarantino wanted to collaborate with Mike Medavoy because of his work on the impressive Orion Pictures films, yet unfortunately, when the opportunity arose, Mike deemed it too violent.
Bender: Our aim was to keep the movie’s budget within a range of $6 million to $8 million for better control during production since it wasn’t too expensive. Remarkably, the film’s actual budget turned out to be $8.5 million with some leeway, and when everything was wrapped up, we managed to return half a million dollars, leaving us with an exact budget of $8 million.
In the context of his personal agreement with TriStar Pictures, DeVito was granted the ultimate editing authority over all his productions. He then shared this privilege with Tarantino and other directors associated with Jersey Films.
DeVito: I approached Harvey [Weinstein] about it, and he replied, “Sure, we can work with Daniel Day-Lewis, who had recently won an Oscar for ‘My Left Foot’. However, the director insists on John Travolta.” I reminded him that I held the final cut and casting rights. He seemed quite upset, but in the end, Quentin got his way, and he was absolutely correct – history was made as a result.
John Travolta (“Vincent Vega”): The last major role I had before “Pulp Fiction” was in the “Look Who’s Talking” movies, so getting offered a part in “Pulp” felt like an extraordinary, top-tier opportunity, similar to the Academy Award-worthy performances in “Saturday Night Fever” and “Blow Out.” Quentin Tarantino admired me from my days on shows like “Welcome Back Kotter,” “Saturday Night Fever,” “Grease,” and “Blow Out,” and he wanted to collaborate with me. I believe his appreciation for film critic Pauline Kael, who also favored my work, played a role in this. Essentially, Tarantino raised the stakes for me and provided a second chance at a prestigious career, something he had always envisioned for me.
As a movie enthusiast, when Sam initially walked in for the casting, he truly impressed us. However, another contender arrived who left us spellbound, causing me to reach out to Sam’s representative and consider the other candidate instead. I was informed that it wasn’t an option to switch, and Sam would return. Initially, I didn’t want to put Sam through the audition process again, but it turned out he thought he was just coming in for a reading rather than an actual audition. Upon his return, he knocked our socks off!
Bender: Harvey Keitel played a crucial role in the production of “Reservoir Dogs.” During the making of “Pulp Fiction,” he had met Bruce Willis. So, we paid him a visit at his Malibu residence. Upon seeing us, Bruce could almost recite the entire script of “Reservoir Dogs” from memory. He adored that movie. It was an instant connection, like saying hello for the first time. After their walk on the beach, Quentin and Bruce agreed to work together on the project.
Tim Roth (“Pumpkin”): The character that was written for me eventually became the one played by Bruce Willis. An interesting occurrence took place that might have led to the Pumpkin and Honey Bunny scenario: I got acquainted with Amanda Plummer a bit. She had the premiere of “The Fisher King” approaching, so I offered to accompany her. We attended the event, where we ran into Terry Gilliam and Quentin. While conversing with Quentin, I jokingly said, “I want to be in a movie with Amanda, but she has to hold a gun because the thought of Amanda Plummer wielding a weapon is absolutely terrifying.” Amazingly, he included this in his script.
In those years, Avary described their collaborations as a team effort where everyone took on multiple roles. While his contributions to “Pandemonium Reigns” provided a basic framework for the “The Gold Watch” segment of the film, Avary mentioned that there were no disputes regarding how credit was distributed in the final script.
Avary: Quentin shared his plan with me, and we carried it out. At that moment, neither of us belonged to the Writers Guild.
Karyn Rachtman, music supervisor: I was given more recognition for my work on those films than I truly earned, to some degree. However, the most challenging aspect of working with Quentin was that he knew exactly what he wanted, but often misspelled it. My role was essentially, “Please come over and sort through your record collection, correcting the spelling as necessary because there is no song titled this.” I recall him presenting me with Urge Overkill on vinyl, demonstrating his clear vision for the music he desired.
Bender: The initial screening of our film took place at the New York Film Festival. We were seated in the premium section, and when Uma’s character was injected with a needle, there was some commotion below. Someone yelled, “Does anyone here have medical training?” I quickly stood up and dashed downstairs. The theater manager approached me frantically, “What should I do?” I replied, “Turn on the lights.” Consequently, the movie halted, and the lights were switched on. It turned out that the man had a sugar crash or similar issue, and the intense scene caused him to faint. Harvey Weinstein and I then assisted him, giving him some orange juice before he was escorted home in Harvey’s limousine. Fortunately, he recovered. However, our primary concern at the time was that the film might be perceived as excessively violent, and they wanted the movie to become a massive success. Downstairs, they were worried that news of this incident would overshadow the positive reviews. But luckily, the story did not leak, and the reviews ended up being excellent. This marked the beginning of a successful debut for the film.
Experiencing the completed movie for the very first time was nearly as significant for the actors and crew as it was to initially read Quentin Tarantino’s script.
Ving Rhames (“Marsellus Wallace”): It was at the premiere. I thought it was a hell of a movie.
Travolta: The Cannes Film Festival was where it happened. It surpassed my anticipations, reaching unprecedented heights in narrative and cinematic artistry. The atmosphere was palpable, electric even – it was a sensation you could feel deep within. It was an event that would be etched into history.
Julia Sweeney Blum (as Raquel): There’s been a bit of tension between me and Quentin, because during our trip to Edinburgh, they held a secret midnight screening of “Pulp Fiction” before Cannes. That was the first time I saw it, and that was also the last time until I watched it at the 30th anniversary screening at the TCM Film Festival in April 2024. When I mentioned this, Quentin became upset because he thought I must have seen it in between. I explained my reasons to him: firstly, one of my ex-husband Steve Hibbert is in the movie, and while I didn’t mind that he played The Gimp, I just can’t stand watching myself on screen. Over time, I’ve learned to cope with it, but I don’t intentionally do so. This was my explanation to Quentin, and he understood my perspective.
During the event at Cannes, there was a prolonged standing ovation that seemed endless. At that moment, my spouse looked at me and commented, “This film is outstanding! It’s definitely worthy of an Oscar nomination.
Frank Whaley (“Brett”): When the movie premiered, I was overseas for work. People contacted me saying it was the best film they’d ever watched. Upon my return home to New York City, the movie had been out for a week or two. Yet, I hadn’t seen it myself. However, I was being recognized on the subway, which was unusual because nobody had ever recognized me before, despite my five to six years of film work, even in big productions.
Griffin: Upon watching the film, it surpassed all my anticipations. Initially, reading the script, I was taken aback, finding it gruesome and containing the N-word. At that moment, I looked around at the Black audience, questioning their reactions. However, when I saw the movie unfold as a spectator, scene after scene, I exclaimed, “he really did it.” I was awestruck by the acting, both big and small performances. I feel compelled to mention that my three lines were instrumental in earning the Palme d’Or.
Rosanna Arquette (“Jody”) reminisced: When the movie premiered, I was already pregnant, and the intensity of the scenes made my mother and I depart. Consequently, I never watched it in a cinema setting until 30 years later at the Chinese Theatre. Despite its enduring cultural impact, it remains so. However, one aspect that has consistently bothered me is the excessive use of the N-word. This issue wasn’t fully apparent to me until my latest viewing. The filmmaking is still exceptional, but there are moments that make one squirm, and these uncomfortable instances aren’t only due to the violence. Nevertheless, I hold him in high regard as a director.
Avary: People kept telling me, “You’re going to win an Academy Award.” However, I replied, “Don’t keep saying that! You might cause a mishap!” Hearing it made me even more anxious, and to add to that, we were competing against some truly outstanding films. But when they announced my name, in my thoughts, I felt like I was hovering above myself, watching the event unfold as if from another realm. The very next day, I transformed from a small-time indie filmmaker who had been rejected by many to suddenly being sought after by everyone. This sudden change could be quite disorienting. Fortunately, my wife recognized this and encouraged me to take out the trash – which helped me regain some perspective.
Almost everyone involved in the production found it deeply humbling and life-altering to be a part of cinematic history.
Rhames: It was a film with a great director who I admire and felt great to be a part of.
Travolta: One of the most cherished spots for me is [where I found it], as it revitalized my acting career to the heights I’ve always dreamed of. Furthermore, it aligned with the iconic status of “Saturday Night Fever,” a feat seldom achieved in cinematic history.
DeVito: I never imagined it would become such a significant and respected work. I’ve watched the film countless times, but I didn’t foresee it becoming his magnum opus, which it indeed is. You can still feel the same emotions you felt 30 years ago by watching it tomorrow.
My standard for evaluating a movie is whether it keeps my interest after viewing numerous edits. If I find myself growing tired of seeing yet another edit, then the film doesn’t pass muster. However, there isn’t a single screening of “Pulp Fiction” that I could say I didn’t enjoy watching.
Avary: “Pulp Fiction” has been instrumental in allowing me to establish a family. It’s as straightforward as that. The movie’s success enabled me to live comfortably and dedicate my time to the projects I was working on. Furthermore, getting to know the actors from the film, Bruce, Maria, and John, is an experience I cherish deeply because I truly admire all three of them.
Being part of this movie is a significant achievement in my career, similar to everyone else involved. To put it simply, if the New York Times were to publish my obituary someday, being part of this film would certainly be highlighted. I’m fortunate enough to have continued working for 35 years and earning a living, and I believe that my work on “Pulp Fiction” has contributed significantly to this longevity in my career.
Griffin: Here are two points. Firstly, it’s always a bit strange when people ask if I’m the one from ‘Pulp Fiction’, as it’s not something you’d typically associate with me. Secondly, I appreciate that he listed me as ‘Kathy Griffin plays Herself’. At the time, he was well aware of my desire for fame, and so, as a kind gesture, he wrote Kathy Griffin instead of Woman Number Two or similar. I thought it was a sweet and endearing touch.
Christopher Walken (“Captain Koons”): I recall being in Malta, working at a hotel, where they had a steam room. One day, I entered and found some men already inside. I settled down, and then unexpectedly, one of them began reciting my dialogue from “Pulp Fiction”. He knew it by heart! The others started laughing, and I understood that they were imitating me. This incident demonstrated the global reach of “Pulp Fiction”, as even halfway around the world, these men were quoting lines from the movie.
Rachtman: I remember the Dick Dale people really thanking me because it made them lots of money.
As a cinephile reflecting on this cinematic masterpiece, my thoughts immediately drift to Amanda, more famously known as Mandy P. I can’t forget the pivotal scene where Sam gracefully transfers a wallet – the iconic ‘Bad Motherfucker’ wallet, which we all received as a parting gift at the end of the film. I believe I still have mine tucked away somewhere. These ‘Bad Motherfucker’ wallets indeed hold a special place in our hearts, and Sam has an uncanny knack for crafting such thoughtful, memorable mementos. The final gifts he bestows at the end of films are always something to behold. Truly, ‘Bad Motherfucker’ encapsulates the essence of this movie.
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2024-10-14 18:19