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Toller Vanity Fair-Artikel von Mark Seal über das Making Of von Pulp Fiction:
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: „Dear Fucking Cathryn, 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.
Plus: Catching Up with Pulp Fiction’s Marvin, the Guy That John Travolta Shoots in the Head, The Making of Pulp Fiction in Stills, Snapshots, and Script Pages, All the Deaths in Quentin Tarantinos Movies, Charted