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Pulp Fiction - Wikiquote

Tarantino wrote parts specifically for many of the actors in Pulp Fiction , including Samuel L. But his hit man partner was supposed to be played by Michael Madsen, which would have made Vincent Vega the twin brother of Mr. Blonde, aka Vic Vega, from Reservoir Dogs. Madsen dropped out to make Wyatt Earp instead. In , Tarantino revealed his title for a proposed Vega brothers prequel: Double V Vega, explaining in the same interview that both actors had aged out of the parts.

Julia Louis-Dreyfus was offered the role of Mia Wallace, according to her agent, but she was too busy with Seinfeld. As the story goes, Tarantino wanted Uma Thurman so much that he read her the entire script by phone.

The pair of course worked together many more times. Speaking of Vincent and Mia, super fans, repeat viewers, and sharp-eared first timers were rewarded with a little bit of cool trivia. A radio report heard elsewhere in the movie reveals that the trophy was actually stolen. Which means Vincent and Mia didn't win the competition at all.

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They just stole the trophy. And speaking of stealing, remember that cool Chevy Malibu Vincent Vega drives?

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Eventually, the director solved one of the movie's mysteries: it was Butch who keyed Vincent's car. That Malibu belonged to Tarantino in real life and it was stolen after filming. Police actually recovered the vehicle nearly 20 years later. The wallet Jules carried also belonged to the filmmaker.

As far as know, that's still safe. Would you believe that Quentin Tarantino isn't the only director who worked on Pulp Fiction? Robert Rodriguez stepped in to direct the scenes where his pal QT acts in the film. Tarantino reportedly considered playing Lance, but chose not to, as he wanted to make sure he was behind the camera for Mia's now famous overdose. The most famous moment in that overdose scene is when Vincent Vega shoves that adrenaline spike into Mia Wallace's chest.

Quentin Tarantino Wrote Samuel L. Jackson's Role in Pulp Fiction for Him

In the first scene after the opening credits, hitmen Jules Winnfield Samuel L. We never learn why Vincent, a Los Angeles-based gangster, went to Europe in the first place. He describes his excursion like a vacation, with an especial focus on fast food, and he and Jules go on to complain about their boss, crack dirty jokes, and gossip about their coworkers.

They distance themselves from their crimes by thinking of them as mere performance. This, if anything, makes them more relatable. Many people try to justify their sins, and many people compartmentalize their lives to avoid dealing with them. It has a few phrases from the actual Ezekiel , but its most direct source is the opening text of the American dub of Karate Kiba. This could be taken as a sly blasphemy, a conflation of Sacred Scripture with nonsense from an old kung-fu flick.


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But first, we see events taking place after the end of the film. When Vincent tries to save her, he does so the same way he solves all his problems: with violence. He crashes his car into a house of a friend who has the necessary medical supplies , and stabs her in the heart with a syringe.

By contrast, Butch, when he chooses to save Marsellus, is acting against preservative instinct. For this act, he selects, from several options, a katana, a symbol of the samurai. Butch comes from a lineage of soldiers, but, too young for Vietnam and too old for Iraq, never experienced war himself.

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With that sword, he connects to the heritage of the noble Japanese warrior class and to his own heritage by proxy. Eventually, the film returns to the diner of its prologue, and Jules contemplates Pseudo-Ezekiel. He admits that its actual meaning was irrelevant to him at first.

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