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Running time 154 minutes Country United States Language English Budget $8–8.5 million Box office $213.9 million Pulp Fiction is a 1994 American written and directed by; it is based on a story by Tarantino. Starring, and, it tells several stories of criminal Los Angeles. The film's title refers to the and crime novels popular during the mid-20th century, known for their graphic violence and dialogue. Tarantino wrote Pulp Fiction in 1992 and 1993, incorporating scenes that Avary originally wrote for (1993). Its plot occurs. The film is also from its opening moments, beginning with a that gives two dictionary definitions of 'pulp'. Considerable screen time is devoted to monologues and casual conversations with eclectic dialogue revealing each character's perspectives on several subjects, and the film features an combination of humor and strong violence.

Reportedly turned down the script as 'too demented'. Co-chairman was enthralled, however, and the film became the first that Miramax fully financed. Pulp Fiction won the at the, and was a major critical and commercial success. It was nominated for seven, including, and won; it earned Travolta, Jackson, and Thurman Academy Award nominations and revitalized and/or elevated their careers.

Its development, marketing, distribution, and profitability had a sweeping effect on. Pulp Fiction has been widely regarded as Tarantino's masterpiece, with particular praise for its screenwriting. The self-reflexivity, unconventional structure, and extensive and have led critics to describe it as a touchstone of. It is often considered a cultural watershed, influencing movies and other media that adopted elements of its style. In 2008, named it the best film since 1983 and it has appeared on many critics' lists of the.

In 2013, Pulp Fiction was selected for preservation in the United States by the as 'culturally, historically, or aesthetically significant'. Willis evoked one 1950s actor in particular for Tarantino: ' in 's 1956. I said let's go for that whole look.' His boxing robe, designed by, exemplifies Tarantino's notion of costume as symbolic armor. Commenced on September 20, 1993.

The lead offscreen talent had all worked with Tarantino on Reservoir Dogs —,. According to Tarantino, 'We had $8 million.

I wanted it to look like a $20–25 million movie. I wanted it to look like an epic. It's an epic in everything – in invention, in ambition, in length, in scope, in everything except the price tag.' The film, he says, was shot 'on film stock, which is the slowest stock they make.

The reason we use it is that it creates an almost image, it's lustrous. It's the closest thing we have to 50s.'

The largest chunk of the budget – $150,000 – went to creating the Jack Rabbit Slim's set. It was built in a warehouse, where it was joined by several other sets, as well as the film's production offices. The diner sequence was shot on location in at the Hawthorne Grill, known for its.

For the costumes, Tarantino took his inspiration from French director, who believed that the clothes his characters wore were their symbolic suits of armor. Tarantino cast himself in a modest-sized role as he had in Reservoir Dogs. One of his pop totems, a long-discontinued cereal, also returned from the earlier film. The shoot wrapped on November 30. Before Pulp Fiction 's premiere, Tarantino convinced Avary to forfeit his agreed-on cowriting credit and accept a 'story by' credit, so the line 'Written and directed by Quentin Tarantino' could be used in advertising and onscreen.

Main article: No was composed for Pulp Fiction; Quentin Tarantino instead used an eclectic assortment of, and songs. 's rendition of ' plays during the opening credits. Tarantino chose surf music as the basic musical style for the film, but not, he insists, because of its association with surfing culture: 'To me it just sounds like rock and roll, even music. It sounds like rock and roll music.' Some of the 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, a waitress; she reprises the role in Jackie Brown. The soundtrack album, was released along with the film in 1994. The album peaked on the chart at number 21. The single, 's cover of the song ', reached number 59. Estella Tincknell describes how the particular combination of well-known and obscure recordings helps establish the film as a 'self-consciously 'cool' text. The use of the mono-tracked, beat-heavy style of early 1960s U.S. 'underground' pop mixed with 'classic' ballads such as 's ' is crucial to the film's postmodern knowingness.'

She contrasts the soundtrack with that of, the highest-grossing film of 1994, which also relies on period pop recordings: 'The version of 'the sixties' offered by Pulp Fiction. Is certainly not that of the publicly recognized counter-culture featured in Forrest Gump, but is, rather, a more genuinely marginal form of sub-culture based around a lifestyle — surfing, 'hanging' — that is resolutely apolitical.' The soundtrack is central, she says, to the film's engagement with the 'younger, cinematically knowledgeable spectator' it solicits. Reception Release and box office Pulp Fiction premiered in May 1994 at the. The Weinsteins 'hit the beach like commandos', bringing the picture's entire cast over.

The film was unveiled at a midnight hour screening and caused a sensation. It won the, the festival's top prize, generating a further wave of publicity. The first U.S. Review of the film was published on May 23 in industry trade magazine. Todd McCarthy called Pulp Fiction a 'spectacularly entertaining piece of pop culture. A startling, massive success.' From Cannes forward, Tarantino was on the road continuously, promoting the film.

Over the next few months it played in smaller festivals around Europe, building buzz: Nottingham, Munich, Locarno,. Tarantino later said, 'One thing that's cool is that by breaking up the linear structure, when I watch the film with an audience, it does break the audience's state.

It's like, all of a sudden, 'I gotta watch this. I gotta pay attention.' You can almost feel everybody moving in their seats. It's actually fun to watch an audience in some ways chase after a movie.' In late September, it opened the. Published its review the day of the opening.

Called the film a 'triumphant, cleverly disorienting journey through a demimonde that springs entirely from Mr. Tarantino's ripe imagination, a landscape of danger, shock, hilarity and vibrant local color.

He has come up with a work of such depth, wit and blazing originality that it places him in the front ranks of American film makers.' On October 14, 1994, Pulp Fiction went into general release in the United States. As Peter Biskind describes, 'It was not platformed, that is, it did not open in a handful of theaters and roll out slowly as word of mouth built, the traditional way of releasing an; it went wide immediately, into 1,100 theaters.' In the eyes of some cultural critics, Reservoir Dogs had given Tarantino a reputation for glamorizing violence. Miramax played with the issue in its marketing campaign: 'You won't know the facts till you've seen the fiction', went one slogan.

Pulp Fiction was the top-grossing film at the box office its first weekend, edging out a vehicle, which was in its second week and playing at more than twice as many theaters. Against its budget of $8.5 million and about $10 million in marketing costs, Pulp Fiction wound up grossing $107.93 million at the U.S. Box office, making it the first 'indie' film to surpass $100 million. Worldwide, it took in nearly $213 million. In terms of domestic grosses, it was the tenth biggest film of 1994, even though it played on substantially fewer screens than any other film in the top 20.

Popular engagement with the film, such as speculation about the contents of the precious briefcase, 'indicates the kind of cult status that Pulp Fiction achieved almost immediately'. As puts it, 'The movie was nothing less than a national cultural phenomenon.' Abroad, as well: In Britain, where it opened a week after its U.S. Release, not only was the film a big hit, but in book form its screenplay became the most successful in UK publishing history, a top-ten bestseller.

Critical response Overall, the film attained exceptionally high ratings among U.S. It holds a 94% score based on 79 reviews at with an average rating of 9.1/10. The website's critical consensus reads, 'One of the most influential films of the 1990s, Pulp Fiction is a delirious post-modern mix of neo-noir thrills, pitch-black humor, and pop-culture touchstones'. It has an of 94/100 based on 24 reviews on, signifying 'universal acclaim'.

The response of major American film reviewers was widely favorable. Of the described it as 'so well-written in a scruffy, 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 '. Of wrote, 'It towers over the year's other movies as majestically and menacingly as a gang lord at a preschool.

It dares Hollywood films to be this smart about going this far. If good directors accept Tarantino's implicit challenge, the movie theater could again be a great place to live in.'

In, wrote, 'The miracle of Quentin Tarantino's Pulp Fiction is how, being composed of secondhand, debased parts, it succeeds in gleaming like something new.' 'You get intoxicated by it,' wrote 's, 'high on the rediscovery of how pleasurable a movie can be. I'm not sure I've ever encountered a filmmaker who combined discipline and control with sheer wild-ass joy the way that Tarantino does.' 'There's a special kick that comes from watching something this thrillingly alive', wrote of. ' Pulp Fiction is indisputably great.'

The was one of the few major news outlets to publish a negative review on the film's opening weekend. Wrote, 'The writer-director appears to be straining for his effects. Some sequences, especially one involving bondage harnesses and homosexual rape, have the uncomfortable feeling of creative desperation, of someone who's afraid of losing his reputation scrambling for any way to offend sensibilities.' Some who reviewed it in the following weeks took more exception to the predominant critical reaction than to Pulp Fiction itself. While not panning the film, of felt that 'the way that it has been so widely ravened up and drooled over verges on the disgusting. Pulp Fiction nourishes, abets, cultural slumming.'

Responding to comparisons between Tarantino's film and the work of director, especially his first, most famous feature, of the wrote, 'The fact that Pulp Fiction is garnering more extravagant raves than ever did tells you plenty about which kind of cultural references are regarded as more fruitful — namely, the ones we already have and don't wish to expand.' Observing in the that 'no film arrives with more advance hype', was unswayed: 'titillation cures neither hollowness nor shallowness'.

Debate about the film spread beyond the review pages. Violence was often the theme.

In, Donna Britt described how she was happy not to see Pulp Fiction on a recent weekend and thus avoid 'discussing the rousing scene in which a gunshot sprays somebody's brains around a car interior'. Some commentators took exception to the film's frequent use of the word '.

In the, Todd Boyd argued that the word's recurrence 'has the ability to signify the ultimate level of hipness for white males who have historically used their perception of black masculinity as the embodiment of cool'. In Britain, writing in, set the tone for much subsequent criticism: 'Tarantino represents the final triumph of, which is to empty the artwork of all content, thus avoiding its capacity to do anything except helplessly represent our agonies. Only in this age could a writer as talented as Tarantino produce artworks so vacuous, so entirely stripped of any politics, metaphysics, or moral interest.' Awards season Around the turn of the year, Pulp Fiction was named Best Picture by the, Southeastern Film Critics Association, and Kansas City Film Critics Circle. Tarantino was named Best Director by all seven of those organizations as well as by the.

The screenplay won several prizes, with various awarding bodies ascribing credit differently. At the, Tarantino, named as sole recipient of the Best Screenplay honor, failed to mention Avary in his acceptance speech. In February 1995, the film received seven Oscar nominations — Best Picture, Director, Actor (Travolta), Supporting Actor (Jackson), Supporting Actress (Thurman), Original Screenplay, and Film Editing. Travolta, Jackson, and Thurman were each nominated as well for the, presented on February 25, but none took home the honor.

Any Chance Of Bike/surf Music For Mac

At the Academy Awards ceremony the following month, Tarantino and Avary were announced as joint winners of the. The furor around the film was still going strong: much of the March issue of was devoted to its critical dissection. Pulp Fiction garnered four honors at the, held at the end of the month —, (Jackson), and (Tarantino).

At the (BAFTA), Tarantino and Avary shared the, and Jackson won for. The film was nominated for the of the.

Influence Pulp Fiction quickly came to be regarded as one of the most significant films of its era. In 1995, in a special edition of devoted to Tarantino, argued that the work posed a major challenge to the 'ossification of American movies with their brutal formulas'. In Siskel's view, the violent intensity of Pulp Fiction calls to mind other violent watershed films that were considered classics in their time and still are.

's 1960, 's 1967, and 's 1971. Each film shook up a tired, bloated movie industry and used a world of lively lowlifes to reflect how dull other movies had become. And that, I predict, will be the ultimate honor for Pulp Fiction.

Like all great films, it criticizes other movies. Ken Dancyger writes that its 'imitative and innovative style' – like that of its predecessor, – represents a new phenomenon, the movie whose style is created from the context of movie life rather than real life. The consequence is twofold – the presumption of deep knowledge on the part of the audience of those forms such as the or Westerns, horror films or adventure films. And that the parody or alteration of that film creates a new form, a different experience for the audience. Vincent's demeanor reinforces the allusion to the scene in (1955) in which Lily Carver, a.k.a.

Gabrielle , gazes into the glowing case. The combination of the mysterious suitcase lock is 666, the '. Tarantino has said there is no explanation for its contents – it is simply a, a pure. Originally, the case was to contain diamonds, but this was seen as too mundane. For filming purposes, it contained a hidden orange light bulb that produced an otherworldly glow.

In a 2007 video interview with fellow director and friend, Tarantino purportedly 'reveals' the secret contents of the briefcase, but the film cuts out and skips the scene in the style employed in Tarantino and Rodriguez's (2007), with an intertitle that reads 'Missing Reel'. The interview resumes with Rodriguez discussing how radically the 'knowledge' of the briefcase's contents alters one's understanding of the movie. Despite Tarantino's statements, many solutions to what one scholar calls this 'unexplained postmodern puzzle' have been proposed. A strong similarity has often been observed with the 1955. That movie, whose protagonist Tarantino has cited as a source for Butch, features a glowing briefcase housing an atomic explosive. In their review of 's 1984 film in the Daily Telegraph, Nick Cowen and Hari Patience suggest that Pulp Fiction may also owe 'a debt of inspiration' to the glowing car trunk in that film.

In scholar Paul Gormley's view, this connection with Kiss Me Deadly, and a similar one with (1981), makes it possible to read the eerie glow as symbolic of violence itself. The idea that the briefcase contains Marsellus' soul gained popular currency in the mid-1990s. Analyzing the notion, dismissed it as 'nothing more than a widely distributed urban legend given false credibility by the mystique of the Net'. Jules' Bible passage Jules ritually recites what he describes as a biblical passage, 25:17, before he executes someone. The passage is heard three times – in the introductory sequence in which Jules and Vincent reclaim Marsellus' briefcase from the doomed Brett; that same recitation a second time, at the beginning of 'The Bonnie Situation', which overlaps the end of the earlier sequence; and in the epilogue at the diner. The first version of the passage is as follows: The path of the righteous man is beset on all sides by the iniquities of the selfish and the tyranny of evil men. Blessed is he who in the name of charity and goodwill shepherds the weak through the valley of darkness, for he is truly his brother's keeper and the finder of lost children.

And I will strike down upon thee with great vengeance and furious anger those who attempt to poison and destroy my brothers. And you will know my name is the Lord when I lay my vengeance upon thee.

The second version, from the diner scene, is identical except for the final line: 'And you will know I am the Lord when I lay my vengeance upon you.' Conclusion of the 'Ezekiel 25:17' monologue and Brett's murder Problems playing this file?

While the final two sentences of Jules' speech are similar to the actual cited passage, the first two are fabricated from various biblical phrases. The text of Ezekiel 25 preceding verse 17 indicates that God's wrath is retribution for the hostility of the. In the from which Jules' speech is adapted, Ezekiel 25:17 reads in its entirety: And I will execute great vengeance upon them with furious rebukes; and they shall know that I am the LORD, when I shall lay my vengeance upon them. Tarantino's primary inspiration for the speech was the work of Japanese star. Its text and its identification as Ezekiel 25:17 derive from an almost identical creed that appears at the beginning of the Chiba movie ( The Bodyguard; 1976), where it is both shown as a scrolling text and read by an offscreen narrator. The version seen at the beginning of The Bodyguard (1976) is as follows: The path of the righteous man and defender is beset on all sides by the iniquity of the selfish and the tyranny of evil men. Blessed is he, who in the name of charity and good will, shepherds the weak through the valley of darkness, for he is truly his brother's keeper, and the father of lost children.

And I will execute great vengeance upon them with furious anger, who poison and destroy my brothers; and they shall know that I am Chiba the Bodyguard when I shall lay my vengeance upon them! In the 1980s television series Kage no Gundan ( ), Chiba's character would lecture the villain-of-the-week about how the world must be rid of evil before killing him. A killer delivers a similar biblical rant in, the hardback but pulp-style novel Vincent is shown with in two scenes. Two critics who have analyzed the role of the speech find different ties between Jules' transformation and the issue of. Gormley argues that unlike the film's other major characters – Marsellus aside – Jules is: linked to a 'thing' beyond postmodern simulation. This is perhaps most marked when he moves on from being a simulation of a Baptist preacher, spouting Ezekiel because it was 'just a cool thing to say.' In his conversion, Jules is shown to be cognizant of a place beyond this simulation, which, in this case, the film constructs as God.

Writes that the 'depth of Jules's transformation' is indicated by the difference in his two deliveries of the passage: 'In the first, he is a majestic and awe-inspiring figure, proclaiming the prophecy with fury and self-righteousness. In the second.

He appears to be a different sort of man altogether. In true postmodern fashion, he reflects on the meaning of his speech and provides several different ways that it might pertain to his current situation.' Similar to Gormley, Conard argues that as Jules reflects on the passage, it dawns on him 'that it refers to an objective framework of value and meaning that is absent from his life'; to Conard, this contrasts with the film's prevalent representation of a nihilistic culture. Rosenbaum finds much less in Jules's revelation: 'The at the end of Pulp Fiction, which Jackson performs beautifully, is a piece of jive avowedly inspired by kung-fu movies. It may make you feel good, but it certainly doesn't leave you any wiser.' The bathroom Much of Pulp Fiction 's action revolves around characters who are either in the bathroom or need to use the toilet. To a lesser extent, Tarantino's other films also feature this narrative element.

At Jack Rabbit Slim's, Mia goes to 'powder her nose' – literally; she in the restroom, surrounded by a bevy of women vainly primping. Butch and Fabienne play an extended scene in their motel bathroom, he in the shower, she brushing her teeth; the next morning, but just a few seconds later in screen time, she is again brushing her teeth. As Jules and Vincent confront Brett and two of his pals, a fourth man is hiding in the bathroom – his actions will lead to Jules' transformative 'moment of clarity'. After Marvin's absurd death, Vincent and Jules wash up in Jimmie's bathroom, where they get into a contretemps over a bloody hand towel. When the diner hold-up turns into a, 'Honey Bunny' whines, 'I gotta go pee!'

As described by Peter and Will Brooker, 'In three significant moments Vincent retires to the bathroom and returns to an utterly changed world where death is threatened.' The threat increases in magnitude as the narrative progresses chronologically, and is realized in the third instance:. Vincent and Jules' diner breakfast and philosophical conversation is aborted by Vincent's bathroom break; an armed robbery ensues while Vincent is reading on the toilet. While Vincent is in the bathroom worrying about the possibility of going too far with Marsellus' wife, Mia mistakes his heroin for cocaine, snorts it, and overdoses. During a stakeout at Butch's apartment, Vincent emerges from the toilet with his book and is killed by Butch.

In the Brookers' analysis, 'Through Vince. We see the contemporary world as utterly contingent, transformed, disastrously, in the instant you are not looking.' Fraiman finds it particularly significant that Vincent is reading Modesty Blaise in two of these instances. She links this fact with the traditional derisive view of women as 'the archetypal consumers of pulp': Locating popular fiction in the bathroom, Tarantino reinforces its association with shit, already suggested by the dictionary meanings of 'pulp' that preface the movie: moist, shapeless matter; also, lurid stories on cheap paper. What we have then is a series of damaging associations – pulp, women, shit – that taint not only male producers of mass-market fiction but also male consumers.

Perched on the toilet with his book, Vincent is feminized by sitting instead of standing as well as by his trashy tastes; preoccupied by the anal, he is implicitly infantilized and homosexualized; and the seemingly inevitable result is being pulverized by Butch with a Czech M61 submachine gun. That this fate has to do with Vincent's reading habits is strongly suggested by a slow tilt from the book on the floor directly up to the corpse spilled into the tub. Willis reads Pulp Fiction in almost precisely the opposite direction, finding 'its overarching project as a drive to turn shit into gold.

This is one way of describing the project of redeeming and recycling popular culture, especially the popular culture of one's childhood, as is Tarantino's wont as well as his stated aim.' Despite that, argues Fraiman, ' Pulp Fiction demonstrates.

That even an open pulpophile like Tarantino may continue to feel anxious and emasculated by his preferences.' Accolades Pulp Fiction won eight awards from a total of twenty-six nominations. Also, in the balloting by the, was the runner-up in both the and the categories. Award Nominee Result Nominated Nominated Nominated Nominated Nominated Nominated and Won and Nominated Rick Ash, Ken King, and David Zupancic Nominated Nominated Nominated Nominated Won and Won Nominated Nominated Won Nominated Nominated Won Nominated Nominated Nominated Won Won and Won Lists. – No. 95.:.

Vincent Vega and Jules Winnfield – Nominated Villains. – Nominated.

– No. 94 See also. Retrieved November 11, 2012. Retrieved May 13, 2012. ^ Waxman (2005), p.

67; Biskind (2004), p. 170; Polan (2000), p. 69; Dawson (1995), pp. ^ See, e.g., King (2002), pp. 185–7; Kempley, Rita (1994-10-14). Retrieved 2007-09-19.; LaSalle, Mike (1995-09-15). San Francisco Chronicle.

Retrieved 2007-09-20. Archived from on March 6, 2013. Retrieved November 29, 2015. Entertainment Weekly. Retrieved 2013-09-29.

O'Sullivan, Michael (December 18, 2013). Retrieved December 18, 2013. ^ 'Pulp Fiction: The Facts' (1993 location interview), Pulp Fiction DVD (Buena Vista Home Entertainment). Parker (2002), p.

See, e.g., Dancyger (2002), p. 235; Villella, Fiona A. (January 2000). Senses of Cinema.

Archived from on 2006-12-31. Retrieved 2006-12-31. Bhattacharya, Sanjiv (2004-04-18). Retrieved 2006-12-27. Charyn (2006), p. For $100,000, see e.g., Enhanced Trivia Track, ch. 3, Pulp Fiction DVD (Buena Vista Home Entertainment).

For USD$140,000, see e.g., Wills, Dominic. Archived from on 2007-01-04. Retrieved 2006-12-27. Note again that all the main actors were paid identical weekly salaries. It appears that these figures cited for Travolta do not include his participation, if any, in the film's profits. Haddon, Cole (2008-08-07). Archived from on October 23, 2008.

Retrieved 2008-11-18. Dawson (1995), p. 154; Enhanced Trivia Track, ch. 5, Pulp Fiction DVD (Buena Vista Home Entertainment). Enhanced Trivia Track, ch. 3, Pulp Fiction DVD (Buena Vista Home Entertainment).

^ Gleiberman, Owen (1994-10-10). Entertainment Weekly. Retrieved 2007-09-20. ^ Biskind (2004), p.

^ Dawson (1995), p. Wills, Dominic. Archived from on 2007-05-07. Retrieved 2006-12-29. Enhanced Trivia Track, ch. 23, Pulp Fiction DVD (Buena Vista Home Entertainment). Charyn (2006), p.

Bailey (2013), p. Dawson, Jeff (December 1995). Premiere (UK). Retrieved 2012-04-11.

^ Enhanced Trivia Track, ch. 14, Pulp Fiction DVD (Buena Vista Home Entertainment). Archived from on November 20, 2008. Retrieved July 20, 2008. Brennan, Sandra.

Retrieved 2012-04-11. Wenn (2006-09-20). Retrieved 2007-09-16. Archived from on 2014-04-27. Retrieved 2014-04-27. Roberts, Chris (August 1999).

'Gary Oldman: A sheep in wolf's clothing'. True Romance wouldn't have been Oldman's last Tarantino collaboration, had TriStar execs gotten their way. Oldman was the preferred choice for Lance.

October 28, 2013. Retrieved August 26, 2014. Enhanced Trivia Track, ch. 6, Pulp Fiction DVD (Buena Vista Home Entertainment). See also Rabin, Nathan (2003-06-25).

Retrieved 2007-09-20. Dawson (1995), p. France, Respers, Lisa (October 14, 2014). Retrieved August 14, 2018. CS1 maint: Multiple names: authors list.

Bart (2000), p. Willis's deal for a percentage of the box office gross was presumably on top of a base weekly salary that was identical to the other main actors', per Polan (2000), p. 69; Dawson (1995), p. ^ Quoted in Dargis (1994a), p.

Getlen, Larry (October 18, 2014). Retrieved March 15, 2017. ^ Harris, Will (June 26, 2012).

Retrieved March 15, 2017. Harris, Will (April 9, 2015). Retrieved March 15, 2017. Eisenberg, Eric.

Cinema Blend. Retrieved March 15, 2017.

Retrieved March 15, 2017. Edwards, Gavin (May 21, 2014).

Rolling Stone. Retrieved March 15, 2017. Biskind (2004), p. ^ Biskind (2004), p.

167; Dawson (1995), pp. 144–6; MacInnis, Craig. 'Heavyweight Tarantino Won't Be Taken Lightly', Toronto Star, October 8, 1994. Quoted in Lowry, Beverly. 'Criminals Rendered in 3 Parts, Poetically', New York Times, September 11, 1994.

'Pulp Fiction: The Facts' (1994 promotional interview), Pulp Fiction DVD (Buena Vista Home Entertainment). Dawson (1995), p. Steves, Rick (2015-04-14). Avalon Travel.

Mottram (2006), p. Enhanced Trivia Track, ch. 13, Pulp Fiction DVD (Buena Vista Home Entertainment). Wells, Jeffrey (1996-07-12).

SouthCoast Today. Retrieved 2007-09-19.

Charyn (2006), p. 65; Dawson (1995), p.

The published version of the screenplay identifies its basis as 'May 1993/last draft,' incorporating brief revisions made in August, September, and October (Tarantino 1994, n.p.). Dawson (1995), p. Dawson (1995), p. Biskind (2004) says $1 million (p. Polan (2000) says 'close to a million dollars' (p. Enhanced Trivia Track, Pulp Fiction DVD, says $900,000 (ch. ^ Dawson (1995), p.

Retrieved 2007-09-21. Biskind (2004), p.

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Polan (2000), pp. 68–69; Biskind (2004), pp. Quoted in Mottram (2006), p. Biskind (2004), pp. Dawson (1995), p.

Polan (2000), p. 69; Dawson (1995), p. The New York Times reported, 'Most of the actors received relatively small salaries along with a percentage of the profits.' Weinraub, Bernard (1994-09-22). The New York Times. Retrieved 2007-10-08. Biskind (2004), p.

Tarantino claims the overseas sales were due to his own name; see Dawson (1995), p. Quoted in Dargis (1994a), p. Other sources have claimed that Butch was patterned after Ray's Nightfall role – Brooker and Brooker (1996), p. 234; Polan (1999), p. Tarantino's one public statement on the topic, quoted here, is clearly devoted to Butch's look and not his personality. ^ Dargis (1994b), p. Polan (2000), pp.

Enhanced Trivia Track, ch. 8, Pulp Fiction DVD (Buena Vista Home Entertainment). Dargis (1994b), p. Polan (2000), p. 69; Dawson (1995), p. Dawson (1995), pp. Dawson (1995), p.

The Hawthorne Grill was torn down not long after the Pulp Fiction shoot. Hoffman (2005), p. Dawson (1995), p. Dawson (1995), p.

Enhanced Trivia Track, chs. 1, 2, Pulp Fiction DVD (Buena Vista Home Entertainment). Retrieved 2006-12-26. Retrieved 2007-09-14. Tincknell (2006), p. Charyn (2006), p.

Biskind (2004), p. ^ Maslin, Janet (1994-09-23).

Retrieved 2007-09-11. Cannes Festival. Archived from on 2007-10-13. Retrieved 2007-09-14. ^ McCarthy, Todd (1994-05-23).

Retrieved 2007-09-20. Dawson (1995), p. Archived from on 2007-10-12. Retrieved 2007-09-20. Enhanced Trivia Track, ch. 24, Pulp Fiction DVD (Buena Vista Home Entertainment).

^ Biskind (2004), p. Dawson (1995), p.

Biskind (2004), p. 189; Waxman (2005), p. Box Office Mojo. Retrieved 2006-12-29. Box Office Mojo gives $106 million in foreign grosses for a worldwide total of $213.9 million; Biskind and Waxman apparently concur that $105m/$212.9m are the correct figures. Box Office Mojo.

Retrieved 2007-09-12. ^ Real (1996), p. Rose, Andy (Winter 2004). Archived from on 2007-11-22. Retrieved 2007-09-21. Dawson, pp.

Retrieved April 10, 2018. Retrieved December 29, 2006.

Ebert, Roger (October 14, 1994). Retrieved September 12, 2007. Corliss, Richard (October 10, 1994). Retrieved September 11, 2007. Ansen, David. 'The Redemption of Pulp', Newsweek, October 10, 1994.

Travers, Peter (October 14, 1994). Rolling Stone.

Retrieved March 10, 2011. Turan, Kenneth (October 14, 1994). Retrieved April 10, 2018. Kauffman, Stanley (November 14, 1994).

Retrieved April 10, 2018. ^ Rosenbaum, Jonathan. 'Allusion Profusion ( Ed Wood, Pulp Fiction)', Chicago Reader, October 21, 1994. Simon, John (November 21, 1994).

Archived from on November 30, 2007. Retrieved October 8, 2010. Britt, Donna (October 25, 1994). The Washington Post Company.

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Rabinowitz (2002), p. Biskind (2004), p. See, e.g., Waxman (2005), p. 64; Silver and Ursini (2004), p. 65; Real (1996), p.

^ O'Brien (1994), p. Christopher (2006), p. See also Rubin (1999), pp. Hirsch (1997), p. Quoted in Dawson (1995), p. Rosenbaum, Jonathan. 'The World According to Harvey and Bob ( Smoke, The Glass Shield)', Chicago Reader, June 16, 1995.

^ Hirsch (1997), p. ^ Villella, Fiona A.

(January 2000). Senses of Cinema. Archived from on November 26, 2006. Retrieved 2006-12-31.

Desser (2003), p. ^ Denby, David (2007-03-05). The New Yorker.

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Koehler, Robert (2001-03-07). Retrieved 2007-09-21. Samuels, Mark (2006-11-08). Retrieved 2007-09-21. For musical influence, see, e.g., Sarig, Roni (1996). Rolling Stone.

Archived from on 2008-06-21. Retrieved 2007-10-08. Butler, Robert W. ' Pulp Fiction Is a Cultural Phenomenon—And That's a Fact', Kansas City Star, March 17, 1996. Ebert, Roger (2001-06-10). Chicago Sun-Times. Retrieved 2006-12-29.

Retrieved 2007-05-15. ^ Collis, Clark; et al. Entertainment Weekly. Retrieved 2008-07-01. See, e.g., Wilson, Bee (2007-02-14). Times Literary Supplement.

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Waxman (2005), p. Waxman misidentifies the list, which appeared in Premiere 's March 2003 issue, as '100 Most Memorable Movie Scenes'.

Laverick, Daniel. Close-Up Film. Archived from on 2007-10-11. Retrieved 2007-09-11.

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O'Brien (1994), pp. O'Brien (1994), p. French, Philip (2006-03-26). The Observer.

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(guest host), (host) (2000-02-26). 'Martin Scorsese's Best Films of the '90s'. Kolker (2000), p. ^ Kolker (2000), p. Rubin (1999), p.

Tarantino (1994), pp. 24, 27; Conard (2006), p. Walker (2005), p.

Hirsch (1997), pp. Constable (2004), p. Conard (2006), p. Alleva, Richard (1994-11-18). Archived from on 2007-11-30. Retrieved 2007-10-08.

^ Stone, Alan (April–May 1995). Boston Review. Retrieved 2007-09-18.

Kolker (2000), pp. ^ Kolker (2000), p.

Giroux (1996), p. Demory, 'Violence and Transcendence in Pulp Fiction and Flannery O'Connor' in The Image of Violence in Literature, the Media, and Society: Selected Papers from the 1995 Conference of the Society for the Interdisciplinary Study of Social Imagery, ed. And intro., Will Wright and Steven Kaplan (Pueblo, Co.: Society for the Interdisciplinary Study of Social Imagery, 1995): 187-194. Quoted in Flannery O'Connor: An Annotated Reference Guide to Criticism, ed. Neil Scott (Milledgeville, Georgia: Timberlane Books, 2002), p. 185.

Groth (1997), p. Enhanced Trivia Track, ch. 9, Pulp Fiction DVD (Buena Vista Home Entertainment). Charyn (2006), p.

^ Tincknell (2006), p. Dawson (1995), p. 178; Polan (2000), p. ^ White (2002), p. ^ Fulwood (2003), p. Groth (1997), pp. 188–9; Dinshaw (1997), p.

186; Mottram (2006), pp. For Tarantino's admiration of Siegel, see Dawson (1995), p.

Bell (2000), p. Miller (1999), p. Giroux (1996), p. Groth (1997), p., November 3, 1994, p110. Conard (2006), pp. Miklitsch, pp.

Note that while the Three Stooges did have an original TV series that ran briefly in the mid-1960s, they were most familiar from their cinematic that were to television. ^ Miklitsch, p. ^ Willis (1997), p. Tarantino (1994), p.

Gallefant (2006), p. Retrieved 2007-09-13. April 6, 2007. Retrieved 2007-09-13. See, e.g., Groth (1997), p. 188; Polan (2000), p. The Straight Dope.

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Reinhartz (2003), p. The Holy Bible: King James Version. Retrieved 2007-09-13. Thomas (2003) notes that instead of 'the Lord', this version reads '. and they shall know that I am Chiba the Bodyguard.' Conard (2006) claims that the text originates from the film Bodigaado Kiba ( Bodyguard Kiba or The Bodyguard; 1973) and that the end phrase there is 'And you will know my name is Chiba the Bodyguard.' . Enhanced Trivia Track, ch.

4, Pulp Fiction DVD (Buena Vista Home Entertainment). Enhanced Trivia Track, ch. 25, Pulp Fiction DVD (Buena Vista Home Entertainment). Gormley (2005), p.

Reinhartz (2003), pp. Conard (2006), p. Rosenbaum, Jonathan. 'Allusion Profusion ( Ed Wood, Pulp Fiction)', Chicago Reader, October 21, 1994.

Note that the avowed inspiration is actually a TV show, Kung Fu. White, Mike & Mike Thompson (Spring 1995). Cashiers du Cinemart. Archived from on 2012-02-11.

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Hollywood Foreign Press Association. Retrieved 2007-09-12. ^ Maslin, Janet (1995-01-04). The New York Times. Retrieved 2007-09-27. Bailey, Jason (2013).

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Brooker, Peter, and Will Brooker (1996). 'Pulpmodernism: Tarantino's Affirmative Action', in Film Theory: Critical Concepts in Media and Cultural Studies, ed. Philip Simpson, Andrew Utterson, and Karen J. Shepherdson (London and New York: Routledge). Charyn, Jerome (2006). Raised by Wolves: The Turbulent Art and Times of Quentin Tarantino (New York: Thunder's Mouth Press).

Christopher, Nicholas (2006). Somewhere in the Night: Film Noir and the American City (Emeryville, Calif.: Shoemaker & Hoard). Conard, Mark T. 'Symbolism, Meaning, and Nihilism in Pulp Fiction', in The Philosophy of Film Noir, ed. Conard (Lexington: University Press of Kentucky). Constable, Catherine (2004). 'Postmodernism and Film', in The Cambridge Companion to Postmodernism, ed.

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The beginning: Once there was a tourist in San Diego. San Diego is a nice place to visit. You can Check out the beaches, Balboa Park, Old Town, the Zoo Downtown and Seaport Village. And this tourist did it ALL and then did it all AGAIN. So the urge to go ride a Dirtbike came up and in 1995 where was no Smartphone to pull up your kicks from any place you might hang out.there was not even internet (for the most of us). But Back then there was also nobody offering ATV or Dirtbike tours in San Diego. So a plan was made to move to this beautiful city to offer what you are looking at here today.

While being an ordinary tourist the founder was not an ordinary rider. No, in fact he was a championship winning ATV racer and in his youth a excellent motocross racer. Present: Our expansion from San Diego to the wide open Baja trails was eminent and Baja Race Champion drivers where hired to work and guide on equipment. Today those folks have been with the company over 10 years and they will welcome you with their smiles and enthusiasm like when you meet that old friend of yours.

Be welcomed as a SIR or MADAM and leave a TRUE AMIGO. The spirit to be an excellent tourist who likes to enjoy it ALL or the Motohead who needs to get out has found a home here at California Motorsport Adventours ever since the first Quads and Dirt Bikes have been purchased in 1997. The following TV Stations have been our guest last year and have aired TV shows with our company. VH1, Rock of love. Brad Michaels had his ladies riding our ATVs. Best damn Sports show did a show run with us riding ATVs in Las Vegas.

Fox NEWS Cherry Palmari was our guest with a 7min clip about us. Speed Vision.

15 min story with us riding in Baja California Mexico on the Baja 1000 trails. Spike TV, Top Dead Center. Section about one of our guides winning a local race in Mexico. Outdoor Network Channel ATV Magazine TV. 15 min show about an ATV Vacation with sand riding. RAI-UNO Primo Piano. 15 min TV documentary about ATV Riding in the Desert.

Waldo, Fleet Manager Bio: A passionate Desert off-road race car driver and Baja loving energetic, fun guy. He has been with our company since 2003 (15 years WOW!), so if you have ever been on tour with us before then, the chances are that you have met him. Growing up in Cabo Waldo spent his time exploring the desert of Baja California Mexico makes him the perfect guide for down there.

Waldo will make sure your motorcycle or ATV is in top condition before you throw a leg over it. When he's not guiding one of our ATV or dirt bike tours, he races the Tecate Score or surfs the waves in front of his house in Mexico.

Andrew, Baja Guide Bio: Andrew has been riding a motorcycle from an early age and is in the saddle any chance he can get. A multi-time race participant in the Tecate Score Baja 1000 and Baja-500 and many other desert races. In 2010 Baja 500, the race number 109X has finished a strong 2nd in the Pro Class and a 4th overall. He knows best that a tour is not a race and that not all folks are at his speed. But when challenged he will get back to the hotel first! His vast knowledge about Baja-trails is only matched by his.