source guides

National Library quentin tarantino 16 + Source Guide contents

IMPORTANT NOTE ...... i

GENERAL INFORMATION ...... ii

APPROACHES TO RESEARCH, by Samantha Bakhurst ...... iii

INTRODUCTION ...... 1

BOOKS ...... 2 JOURNAL ARTICLES ...... 5 PRESS ARTICLES ...... 8 WEBSITES ...... 9 FILMOGRAPHY ...... 10

Compiled by: Victoria Crabbe Nicola Clarke

Design/Layout: Ian O’Sullivan Project Manager: David Sharp

© BFI NATIONAL LIBRARY 21 Stephen Street London W1P 2LN

2004 16+ MEDIA STUDIES

INFORMATION GUIDE STATEMENT

“Candidates should note that examiners have copies of this guide and will not give credit for mere reproduction of the information it contains. Candidates are reminded that all research sources must be credited”.

BFI National Library i accessing research materials BFI NATIONAL copies of articles Local bookshops LIBRARY Some of the books mentioned in If you are unable to visit the the bibliography will be in print library or would like materials All the materials referred to in this and your bookshop should be able referred to in this guide sent to to order items for you. guide are available for consulta- you, the BFI Information Service tion at the BFI National Library. If can supply copies of articles via its you wish to visit the reading room The British Library Newspaper Research Services. Research is Library of the library and do not already charged at a range of hourly rates, hold membership, you will need to with a minimum charge for half The Newspaper Library will have take out a one-day, five-day or an hour’s research – full details of annual pass. Full details of access all the newspaper items referred services and charges can be found to in this guide. Contact the to the library and charges can be at: found at: library first if you wish to visit. 16+ students under the age of 18 w w w. b f i . o rg . u k / f i l m t v i n f o / s e r v i c e s / www.bfi.org.uk/filmtvinfo/library will need to make an appoint- re s e a rch . h t m l ment.

For queries about article copying The British Library Newspaper BFI National Library Reading or other research, please contact Room Opening Hours: Library Information Services at the above Colindale Avenue address or telephone number, or London Monday post your enquiry online at: 10.30am - 5.30pm NW9 5HE Tuesday Tel. 020 7412 7353 w w w. b f i . o rg . u k / f i l m t v i n f o / s e r v i c e s / Email: [email protected] 10.30am - 8.00pm a s k Wednesday 1.00pm - 8.00pm www.bl.uk/collections/collect.html Thursday #newsBL 10.30am - 8.00pm OTHER SOURCES Friday 10.30am - 5.30pm Your local library

If you are visiting the library from Local libraries should have access a distance or are planning to visit to the inter-library loan system for as a group, it is advisable to con- requesting items they do not hold tact the Reading Room librarian in and they may have copies of advance (tel. 020 7957 4824, or MONTHLY FILM BULLETIN and email [email protected]). SIGHT AND SOUND. Some recent newspaper items may be held by your local reference library. Larger BFI National Library libraries will hold other relevant British Film Institute materials and should offer inter- 21 Stephen Street net access. London W1T 1LN Tel. 020 7255 1444 Your nearest college/university www.bfi.org.uk/filmtvinfo/library Universities may allow access to outside students, though you may The library’s nearest underground not be able to borrow books or stations are Tottenham Court Road journals. Ask your reference and Goodge Street. For a map of librarian, who should be able to the area please see: assist by locating the nearest col- lege library holding suitable mate- www.bfi.org.uk/filmtvinfo/library/ rial. The BFI Film and Television visiting Handbook lists libraries with signif- icant media collections.

Your school library

BFI National Library ii approaches to research by Samantha Bakhurst ranging from the passive con- research. Some of these will be sumption of values and ideas to generally available (in public Why do research? the use of media texts in a critical libraries for example); others such and independent way. Any discus- as press releases and trade press sion about censorship, for exam- may only be available through spe- You cannot simply rely on your ple, will be extremely shallow if cialist libraries. existing knowledge when you have no knowledge of these approaching essays in Media different perspectives. Secondary - online sources: Online Studies. Although you will have sources are also mainly secondary. some understanding of the area Some knowledge of the work of You will need to be able to make being explored, it is not enough to theorists in the area: You need to comparisons between sources if enable you to examine the area in demonstrate that you have read you intend quoting online infor- depth. If you were asked to write different theorists, exploring the mation, and to be wary of the dif- about the people in your street in relevant issues and investigating ferences between fact and opin- detail, you might have some exist- the area thoroughly in order to ions. Don’t necessarily assume ing information about names, develop your own opinion based something is a fact because some- faces, relationships, issues and on acquired knowledge and under- one on a website says it is. Some activities but this knowledge standing. websites will be “official” but many would not offer you details such as will not be, so you need to think every single one of their names, Information relevant to all key about the authority of a site when who knows who, who gets on with concept areas: You should, after assessing the information found whom, how people earn a living, research, be able to discuss all key on it. The structure of a website what has happened to them in the concept areas as they relate to address (URL) can indicate the past and so on. This extra informa- that specific subject area. These site’s origin and status, for exam- tion could change your opinions are the codes and conventions, ple, .ac or .edu indicate an aca- quite dramatically. Without it, representation, institutions and demic or educational institution, therefore, your written profile audience. .gov a government body, .org a would end up being quite shallow non-profit organisation, .co or and possibly incorrect. The same is .com a commercial organisation. true of your understanding of Types Of Research Websites sometimes disappear or media texts, issues and institu- shift location - make sure you can tions. quote a URL reference for a site, Primary: This is first-hand and perhaps keep a note of the Before researching any area, it is research. In other words, it relies last date that you checked it. useful to be clear about what out- on you constructing and conduct- comes you are hoping to achieve. ing surveys, setting up interviews Other Media: When considering Research is never a waste of time, with key people in the media one area of the media or one par- even when it doesn’t directly industry or keeping a diary or log ticular product or type of product, relate to the essay you are prepar- of data (known as quantitative it is very important that you com- ing. The information may be rele- information) on things such as, for pare it with others which are simi- vant to another area of the syl- example, what activities women lar. You will need to be able to labus, be it practical work or sim- are shown doing in advertise- refer to these comparisons in ply a different essay. Also, the pic- ments over one week of television some detail so it is not enough to ture you are building up of how an viewing. Unless you are equipped simply watch a film. You will need area works will strengthen your to conduct extensive research, to read a little about that film, understanding of the subject as a have access to relevant people in make notes, concentrate on one or whole. So what outcomes are you the media industry or are thor- two scenes which seem particular- hoping to achieve with your ough in the up-keep of your diary ly relevant and write all of this research? or log, this type of research can be information up so that you can demanding, complex and some- refer to it when you need to. A broad overview of the area you times difficult to use. Having said are researching: This includes its that, if you are preparing for an History and development: Having history, institutions, conventions extended essay, then it is exactly an understanding of the history and relationship to the audience. this type of research which, if well and development of the media Research into these aspects offers used, will make your work distinc- text which you are researching will you an understanding of how your tive and impressive. provide a firm foundation and area has developed and the influ- context for contemporary analysis. ences that have shaped it. Secondary - printed sources: This There is a difference between gen- is where you will be investigating erally accepted facts and how the- An awareness of different debates information gathered by other orists use these facts. which may exist around the area people in books, newspapers, mag- of study: There are a range of azines, on radio and television. All Theory: This is the body of work of debates in many subject areas. For of these sources are excellent for other critics of the media. Most of example, when researching audi- finding background information, the books and periodical articles ences you will discover that there statistics, interviews, collected which you will read for research is some debate over how audi- research details and so on. This will be written by theorists who ences watch television or film, will form the majority of your are arguing a particular viewpoint

BFI National Library iii or position with regard to an issue within the media. It is this which forms the debates surrounding the study of the media, in which you, as a media student, are now becoming involved.

Using Research

Organising your research: Before rushing headlong to the local library or web search engines, the first stage of research is to plan two things. When are you able to do your research and how are you going to organise the information gathered? You may, for example, wish to make notes under the headings listed above.

Applying your research: Always return to the specific questions being asked of the text. The most obvious pitfall is to gather up all of the collected information and throw it at the page, hoping to score points for quantity. The art of good research is how you use it as part of your evidence for an analysis of the text. The knowl- edge you have acquired should give you the confidence to explore the text, offer your own arguments and, where appropriate, to quote references to support this.

Listing your research: It is good practice, and excellent evidence of your wider reading, to list all refer- ences to secondary research, whether mentioned within the essay or not, at the end of your work.

References are usually written in this way:

1. Len Masterman, Teaching About Television, London, Macmillan, 1980.

2. Manuel Alvarado and Bob Ferguson, “The Curriculum, Media Studies and Discursivity”, Screen, Vol.24, No.3, May-June 1983.

Other media texts referred to in detail should be listed, with rele- vant information such as the director, date of release or trans- mission, production company and, where possible, scene or episode number. Where you have compiled primary research, it is useful to offer a brief summary of this also at the end of your work.

BFI National Library iv introduction by Nicola Clarke

uentin Tarantino is arguably the perfect example of the auteur as cult icon. In eleven years he has only directed four films (if you don’t include his section of FOUR ROOMS as many gladly wouldn’t, and if you Qcount the two volumes of KILL BILL as one film), but his talent for self-promotion, the buzz surrounding these films, and his involvement as a screenwriter and/or producer on several others, has made his name a trade- mark in the world of film, and even generated it’s own adjective, “Tarantino-esque”.

Of course there is the debate over whether he deserves the mantle of auteur, mainly because the body of his work is so slim, and because he is seen as a ‘one-trick pony’ in some quarters. However, there can be no denying the impact he has made on films, film criticism, and audiences post RESERVOIR DOGS. Perhaps his appeal is based in the fact that he is the ultimate film geek, obviously totally in love with cinema itself, and creating landmark movies without the restrictions of formal training. Perhaps this very same image has become a trap in itself, but there is no doubt Tarantino and his work will be a worthy and interesting topic of debate for years to come.

What follows are hopefully the best examples of what the BFI National Library has collected on Tarantino (books and journal/newspaper articles) since 1996, and is a continuation of the earlier BFI bibliography produced on his work (by Erinna Laffey & Anastasia Kerameos). It is by no means complete (this is just the tip of a fairly big ice- berg of what we hold) but should serve as a comprehensive introduction to the study of his work. A filmography and a look at some of the better Tarantino websites have also been included. It is also worth mentioning that the Library holds a tape recording of an interview Tarantino gave at the National Film Theatre in 1995 that is avail- able for visitors to listen to.

BFI National Library 1 Gerald Houghton explains why he BOGGS, Carl and POLLARD, Tom books would cut 52 minutes from the A world in chaos: social crisis and final film. The main body of the the rise of postmodern cinema. ANDREW, Geoff book contains short reviews of a L a n h a m , MD; Boulder; New Yo r k ; Stranger than paradise: maverick selection of crime films from 1996 O x f o rd: Rowman & Littlefield f i l m - m a kers in recent A m e r i c a n (supplemented by US box office fig- Publishers, 2003. xv, 315 p. illus. fil- cinema. ures) that includes FROM DUSK TILL mog. notes. Index. London: Prion, 1998. vi, 374p. illus. DAWN. index. This book maps out the emergent t r ends in postmodernist films. This book looks at American film- BARNES, Alan and HEARN, Marcus Tarantino is mainly discussed in makers from the 1980s and 1990s Tarantino A to Zed: the films of Chapter 4, where it is suggested that demonstrate a stylistic or the- Quentin Tarantino. that he represents the archetypal matic originality and reject the 2nd ed. London: BT Batsford, 1999. postmodern auteur. R E S E RVO I R c o m p romises enforced by main- 192p. illus. bibliog. appendix. filmog. DOGS, PULP FICTION and NATURAL stream Hollywood. The chapter on illus. BORN KILLERS are examined with Tarantino argues that he is more of an emphasis on their chaotic vio- a stylist than an auteur. Included is This book is set out as a dictionary lent content. This is a clearly writ- an analysis of Tarantino’s segment of terms relating to Ta r a n t i n o ’s ten book that explores the some- of FOUR ROOMS looking at why both films up to and including JACKIE times-complex themes and trends the story and the film sequence BROWN. The entries give basic his- of postmodernism in a fairly fail. tories and background information straightforward manner. to some of the elements within his films. Among the entries are song ASHBROOK, John (Ed.) titles from soundtracks, character DAWSON, Jeff The Crime Time filmbook. names, specific genres, writers and Quentin Ta rantino: the cinema of cool. Harpenden, Herts: No Exit Press, 1997. actors. The appendix contains a fil- New York: Applause Books, 1995. x, 286p. mography with short introductory 214 p. illus. [8] col. plates. index. blurbs to each film referring to pro- The opening section, e n t i t l e d duction and general critical recep- This is a rather sensationalised ‘ Q u e n t i n ’s Reve n g e ’ , includes an tion. look behind the scenes of i n t e r v i ew with Robert Rodriguez Tarantino’s films up to and includ- that touches on his working rela- ing PULP FICTION, but it is full of tionship with Tarantino on DESPER- interesting anecdotes and quotes taken from interviews with A D O, F ROM DUSK TIL DAW N a n d Ta rantino and the actors in his FOUR ROOMS. Robert Luck offers a f i l m s . Contains some nice bl a ck moral reading of PULP FICTION and

Reservoir Dogs (1992)

BFI National Library 2 and white and colour images and investigating the social and cultur- HORSLEY, Jake sheds light on the origins behind al contexts unique to this genera- The blood poets: a cinema of sav- some of the dialogue within his tion’s upbringing. Appendices cover agery 1958-1999: volume 2: mil- scripts. short paragraphs about individual lenial blues: from Apocalypse now key filmmakers and lists notable to The Matrix. films. L a n h a m , MD; London: Scare c row DONNELLY, K. J. (Ed.) et al Press, 1999. v-xii, 484p. bibliog. index. Film music: critical approaches. (Filmmakers series; No. 68) E d i n b u rgh: Edinburgh Unive r s i t y HILLIER, Jim (Ed.) Press, 2001. viii, 214p. music scores. American independent cinema. The fourth chapter in this volume, London: British Film Institute, 2001. entitled ‘ E ve rything Is Pe r m i t t e d : Chapter 10, titled ‘”Would you like xvii, 283p., index. The Comedy of Nihilism’, contains to hear some music?” Music in- a section that assesses RESERVOIR and-out-of-control in the films of This book takes articles, interviews DOGS, TRUE ROMANCE and PULP FIC- Quentin Tarantino’ by Ken Garner, and reviews from Sight and Sound T I O N with a bias towa rds dis- is a symbolic analysis of music in magazine (covering the years 1991- cussing the violent content and the soundtra cks to R E S E RVO I R 2000). It includes two interviews Ta r a n t i n o ’s celebrity status. D O G S , PULP FICTION and JAC K I E with Ta ra n t i n o. Manohla Dargi s H o r s l ey conducts some ra t h e r BROWN. It discusses in detail how discusses with him many practical, irreverent and cynical analyses, but music helps establish ch a ra c t e r design and thematic elements offers viewpoints differing from the and mood throughout the films. within PULP FICTION. Erik Bauer norm and explores the theme of Garner examines the impact of the i n t e r v i ews Ta rantino rega rd i n g redemption in PULP FICTION espe- opening credit sequences to all JACKIE BROWN with emphasis on c i a l l y thoro u g h l y. The follow i n g three films particularly thoroughly. the characters and use of language. section concentrates on Robert This is a well-written analy s i s Also of interest is a probing essay Rodriguez and his journey into exploring the area of film music in by Murray Smith, titled ‘ Pa ra l l e l H o l l y wood and touches on a clear and straightforward man- L i n e s ’ , that follows the deve l o p- Tarantino’s rise to prominence. ner. ment of non-linear and para l l e l narratives within US independent f i l m s , w h i ch includes structura l LANGLEY, Neville FRAIMAN, Susan analyses of JACKIE BROWN and PULP Pulp Fiction. Cool men and the second sex. FICTION. London: Longman; York Press, 2000. New York: Columbia University Press, 9 6 p. i l l u s . b i bl i og . g l o s s a ry. c re d i t s . 2003. xxiii, 212 p. illus. notes. bibliog. (York Film Notes) index. (Gender and culture) HIRSCH, Foster Detours and lost highways: a map Written mainly for ‘A’ level and Fra i m a n ’s first chapter entitled of neo-noir. undergraduate readership, this is a ‘Quentin Ta rantino: A n a t o my of New York: Limelight Editions, 1999. g reat text as an introduction to Cool’ explores the violence of PULP 398p. illus. bibliog. filmog. index. d eveloping various readings of FICTION as a narrative rather than PULP FICTION. It clearly presents its thematic device. She suggests that This book attempts to set out a discussion of background informa- intense violence is juxtaposed case for many films that, in the t i o n , n a r ra t i ve summaries, s t y l e against and shatters intimate author’s eyes, have continued the and contexts. It lists a very useful scenes between ch a ra c t e r s . S h e noir tradition supposedly ab a n - glossary of cinematic terms, and also argues that normal ge n d e r doned after the 1950s. H i r s ch has a good layout that provides roles are inverted, placing the male asserts that the 1990s saw a revival easy access to the information. rather than female form on eroti- of film noir in various forms, and cised display. Also explored is the Tarantino’s films (up to and includ- idea that ‘coolness’ is represented ing JACKIE BROWN, as well as TRUE LEVY, Emanuel as particular to the male gender. ROMANCE, NATURAL BORN KILLERS Cinema of outsiders: the rise of The notes to chapters are especial- and FROM DUSK TILL DAWN) are American independent film. ly useful and there is a good bibli- generally discussed with a positive N ew York; London: New Yo r k ography to explore further reading. passion and seen as a successful University Press, 1999. vii-xiii, 600p. reinvention of this problematical [32] plates. appendices. index. bibliog. genre’s key codes. HANSON, Peter This is a comprehensive study of The cinema of generation X: a crit- around 300 American independent ical study of films and directors. HOOKS, bell films from 1977 to 1999. L ev y Jefferson, NC: McFarland, 2002. vii, Reel to real: race, sex, and class at chooses to include films that show 219 p. illus. filmog. bibliog. index. the movies. the visionary independence of the N ew York: Routledge, 1 9 9 6 . 2 4 4 p. filmmaker as well as budgetary and Taking a look at filmmakers from index. distribution factors. The introduc- the generation born in the 1960s tion is especially useful for its sec- and 1970s (which includes Chapter 6, entitled ‘Cool Cynicism: tion entitled ‘Forces Shaping the Tarantino), Peter Hanson discusses Pulp Fiction’, is a short essay that N ew Indie Cinema’. Ta rantino is general and common themes that debates issues of race and gender a n a lysed mainly in Chapter 3, appear in the films they make. He in terms of how the characters in ‘ Fathers and Sons’, w h e r e his a d d r esses the question of how PULP FICTION symbolise a social apparent influences are identified, these films resonate amongst audi- hierarchy. This essay seeks to raise and Levy also assesses films that ences of the same generation by rather than answer questions. m ay have been influenced by

BFI National Library 3 Ta ra n t i n o ’s success. Contains an are included. The entries contain a tains a full filmography including ex t e n s ive bibl i og r a p hy and brief overview of each film’s take uncredited contributions to films. includes article references. There on the genre and include cross ref- Of particular interest are the tran- are also useful appendices listing e r ences to films that somehow scribed press conferences for box office figures and major inde- relate to each other. Brief informa- RESERVOIR DOGS and JACKIE BROWN pendent films for each year cov- tion for credits and A c a d e my and an interview by Graham Fuller ered. Award successes are given as well. that thoro u g h l y ex p l o r e s There is a useful chronology that Tarantino’s approach to the process lists key films, and historical events of writing. There is also an enter- MASON, Fran that surrounded their releases. A taining transcription of Tarantino American gangster cinema: from c l e a r ly written introduction sets and Robert Zemeckis interviewing Little Caesar to Pulp Fiction. out the broad themes of the genre. each other. Basingstoke; New York: Pa l g rave Macmillan, 2002. xviii, 184 p. notes. b i bl i og . i n d e x . (Crime Files Series) NATOLI, Joseph POLAN, Dana Includes a chronology of the Gangster Speeding to the millenium: film Pulp Fiction. film from 1912 to 2000. and culture 1993-1995. London: British Film Institute, 2000. Albany, NY: State University of New 9 5 p. i l l u s . b i b l i o g . (BFI Modern This book offers a great starting York Press, 1998. 413p. index. (SUNY Classics) point for understanding T R U E series in postmodern culture) RO M A N C E , R E S E RVOIR DOGS, P U L P This study guide to PULP FICTION is FICTION as postmodern texts. In Natoli devotes seve ral essays to set out into sections rather than ‘Chapter 7: The Po s t m o d e r n Tarantino’s films in this collection chapters exploring differe n t Spectacle of the Gangster’, Mason of postmodern writings. His uncon- aspects of the film and its recep- gives a brief rundown of basic ele- ventional analyses of films aim to tion for consideration. Aspects dis- ments that apply to postmodern draw connections with contempo- cussed include fandom and obses- texts and relates these to the films rary society and media headlines. sion, references and allusions con- with a clarity that is easy to read He examines social and cultural tained within the film, technology and understand. The emphasis is d e bates alongside scenes fro m and the film reflecting the “cyber- on the direction that these films PULP FICTION, TRUE ROMANCE, NAT- world” and infantilism of the char- have taken the gangster genre, but URAL BORN KILLERS and RESERVOIR acters’ behaviour. Page 26 gives a d i s a p p o i n t i n g ly, the analyses are DOGS. A fairly challenging read but ch r o n o l ogical order of the film’s rather short. useful in it’s approach to looking at synopsis. films as products of a particular time and place. MOTTRAM, James PRIBRAM, E. Deidre Public enemies: the gangster Cinema & culture: independent film in movie A-Z. PEARY, Gerald (Ed.) the United Stat e s , 1 9 8 0 - 2 0 0 1 . London: BT Batsford, 1998. 192p. illus. Quentin Tarantino: interviews. New York; Washington: Peter Lang, ch ro n o l . b i b l i o g . C over title adds University Press of Mississippi, 1998. 2002. xxiii, 305 p. illus. tables. filmog. ‘ From Cag n ey to Ta rantino and vi-xxiv, 215p. [8] plates. index. indices. (Framing film; No.2) beyond’. This is a valuable compilation in ‘Chapter Six: Indep e n d e n t This is an A-Z listing of 200 gang- terms of its scope and variety of auteurism: From modern existen- ster films, which have shaped the i n f o r m a t i o n . All interviews are tialism to postmodern as nostalgia’ evolution of the genre. Entries for unedited and the book also con- explores the US and UK receptions RESERVOIR DOGS and PULP FICTION of PULP FICTION, RESERVOIR DOGS and NATURAL BORN KILLERS with regard to portrayals of violence and morality. Pribram asks whether or not Tarantino’s films can be identi- fied as postmodern. She asserts the key idea that the audience identi- fies with the surrounding contexts to the characters rather than the characters themselves. SLOCUM, J. David (Ed.) Violence and American cinema. New York; London: Routledge, 2001. v i i i , 3 1 1 p . n o t e s . i n d e x . (AFI Fi l m Readers)

Marsha Kinder’s chapter, ‘Violence American Style: The Narra t ive O rch e s t ration of Vi o l e n t A t t ra c t i o n s ’ , includes as assess- ment of the narrative used in PULP FICTION by focusing on the choices Tarantino makes from a database Pulp Fiction (1994) of previous filmic conventions (dif-

BFI National Library 4 fering genres, characters and music WOODS, Paul A. egorises this genre is given in the among other elements) to evolve King pulp: the wild world of b o o k ’s intro d u c t i o n . It give s his narrative. Earlier in this chap- Quentin Tarantino. detailed synopses of R E S E RVO I R ter, she also explores the juxtaposi- Revised and expanded ed. London: DOGS and PULP FICTION, and com- tion of violence and comedy within Plexus, 1998. 208p. filmog. ments on the critical reception of NATURAL BORN KILLERS. both films. Set out in an almost biographical style, this book charts the career of TARANTINO, Quentin Tarantino with much of the text Jackie Brown. based around various interviews. It journal articles London: Faber and Faber, 1998. 241p. includes a number of stills from illus. credits. Tarantino’s films as well as from FILM COMMENT films cited as influences.The text is Vol.40 No.4 Jul/Aug 2004, pp. 44-47 Adapted from Elmore Leonard ’s punctuated with useful inset boxes novel, Rum Punch, this is a full containing profiles of mentioned The whole she-bang, by Chuck s c re e n p l ay of JACKIE BROW N personalities and films to give Stephens including scenes cut from the final basic back g round information. I t version. It also gives a full list of contains synopses for R E S E RVO I R A deliberately punning title for a film credits D O G S, T RUE RO M A N C E , PULP FIC- personal examination of the T I O N, NATURAL BORN KILLERS, themes of parenting and the “con- Tarantino’s portion of FOUR ROOMS, nections between birth and death” TASKER, Yvonne (Ed.) FROM DUSK TILL DAWN and JACKIE in the 2 volumes of KILL BILL. It is Fifty contemporary filmmakers. BROWN. Also includes a filmogra- heavily steeped in film studies jar- London; New York: Routledge, 2002. phy. gon which makes it quite a dense xxiii, 447 p. filmogs. index. (Routledge read at first, but it quickly dispens- key guides) es with the topic of the pop-cultur- WOODS, Paul A. (Ed.) al influences and references that The introduction to this book sets Quentin Tarantino: the film geek can be gleaned from the film, and out problems and issues relating to files. turns into a more intere s t i n g authorship of films. The editor’s London: Plexus, 2000. 183p. illus. fil- d ebate on Ta r a n t i n o ’s grow i n g choice of filmmakers included rep- m og . ( U l t ra screen) Includes tra n- maturity and self-awareness as a resents a broad range of styles and script of Tarantino interview at the f i l m m a k e r. It is coupled with a National Film T h e a t r e, L o n d o n , 5 approaches. Glynn White assesses s i d ebar detailing THRILLER – EN January 1998. Ta r antino by dissolving the GRYM FILM, the Swedish exploita- mythology surrounding Tarantino’s tion film whose heroine was a A broad range of interviews, essays rise to success, exploring his cre- direct inspiration for the character and reviews make up this collec- a t ive personality and discussing of Elle Driver in KILL BILL. the phenomenon of Ta r a n t i n o ’s tion on Tarantino‘s films up to and work producing the adjective including JACKIE BROWN. Amongst the items, Woods considers the ‘ Ta ra n t i n o - e s q u e ’ . All entries are SIGHT & SOUND parallels between RESERVOIR DOGS followed with notes, a filmography Vol.14 No.6 June 2004, pp. 24-27 and further reading suggestions. and Ringo Lam’s 1987 film, CITY ON FIRE, and Peter N. Chumo II closely Day of the woman, by B. Ruby Rich analyses the themes of recycling and racing against time that run WILLIS, Sharon This is a decidedly feminist reading throughout PULP FICTION. A tran- High contrast: race and gender in of KILL BILL VOL. 2, not that it argues scription of the NFT interview fol- contemporary Hollywood film. that it’s a feminist film in itself. B. lowing a preview of JACKIE BROWN D u r h a m , NC; London: Duke Ruby Rich focuses on it as a female re c o rds questions to Ta r a n t i n o, University Press, 1997. ix, 266p. index. revenge fantasy that remaps tradi- Pam Grier, Robert Forster and tional family values, touching on Lawrence Bender. There are a few The last chapter, entitled ‘Borrowed horror, myth, mortality and religion ve ry short pieces written by “Style”: Quentin Tarantino’s Figures along the way. She also debates Tarantino himself. Includes a fil- of Masculinity’, gives in-depth crit- whether the influence of lead mography. ical analyses of RESERVOIR DOGS, actress Uma Thurman might be the PULP FICTION and TRUE ROMANCE. cause of Tarantino’s mature explo- Willis explores the representation ration of these themes in the form YAQUINTO, Marilyn of characters in terms of their race, of a more traditional narrative than Pump ‘em full of lead: a look at gender and cultural image and he has used previously. This is a gangsters on film. elaborates on the significance of very well argued piece that offers New York: Twayne Publishers, 1998. i- paternal figures in the three films. up a slant on Tarantino’s work that x i x , 2 6 5 p. i l l u s . b i b l i o g . i n d e x . Also central to her debate is the has rarely been explored in this (Twayne’s filmmakers series) idea that the bathroom plays a cen- depth. tral role spacially and metaphori- cally at pivotal plot moments. This Chapter 13, titled ‘The prince of is a refreshing look at Tarantino’s Pulp and Royal Hoods’, is a very work and includes ex t e n s i ve readable and straightforward dis- ex p l a n a t o r y notes, p rov iding an cussion exploring the idea that excellent source of references for Tarantino has freshly and success- further research. fully reinvented the gangster genre. A definition of how the author cat-

BFI National Library 5 PREMIERE (US) film, whilst the latter analyses how life, the film industry in general Vol.17 No.8. May 2004, pp. 74-78, 119 Ta rantino fuses these re f e re n c e s (and Miramax in particular), h i s into a cultural hybrid unique to his activities during the ‘lulls’ after this The moviegoer, by Fred Schruers films, making KILL BILL a “mythic film and the mixed critical reaction meditation on…transnational post- to JACKIE BROWN. It hints heavily Ty p i c a l ly verbose interview with m o d e r n i t y ” . An interesting point that he had some sort of crisis dur- Quentin Tarantino on the eve of the made is, that his use of Asian film ing this time due to his ambivalent release of KILL BILL VOL.2, safe in and TV stereotypes, though made relationship with the press (espe- the knowledge that the first vol- with the utmost re s p e c t , c o u l d c i a l ly rega rding his acting). T h i s ume would easily recoup it’s (rela- cause the same sort of controversy piece is ve ry mu ch one writer’s tively) modest budget. He name- that his use of the word ‘nigger’ in opinion, but it’s stylishly written checks his various cinematic influ- JACKIE BROWN did. and makes valid points. ences, briefly acknowledges a sub- text of maternal protectiveness in KILL BILL, and details his apprecia- EMPIRE SIGHT & SOUND tion of the techniques used in old No.173. November 2003, pp. 84-92 Vol.13 No.10. October 2003, pp. 12-15 movie trailers, especially those of the 70s. Other topics cove re d The big boss, by Mark Dinning Turning on a dime, by Mark Olsen include the customized version of KILL BILL VOL.1 for the Asian mar- An interview with Tarantino publi- An interview with Quentin ket, Tarantino’s feelings about the cizing KILL BILL VOL.1.There are no Tarantino on the making of KILL critical reaction to the film, and the critical insights, the writer is obvi- BILL VOL.1. It pays particular atten- integrity of Uma Thurman’s per- ously a big fan of both Tarantino tion to the importance he attrib- formance. This interview is full of and the film, but there is enough utes to his watching of movies, and Tarantino’s standard cockiness and information about the incep t i o n the meticulousness with which he obsessive enthusiasm, and all the and production of KILL BILL to make put together the film’s soundtrack, more entertaining because of it. it worth reading. There is also an using score pieces from ge n re entertaining rant from Ta ra n t i n o movies - a direct duplication of the about the dominance of CGI special Shaw Brothers process. These are ENTERTAINMENT WEEKLY effects in film, and an informative the filmmakers that KILL BILL owes No.760. 16 April 2004, pp. 24-30 s i d ebar explaining ex a c t l y what a heavy debt to. It also suggests grindhouse cinema was and how that KILL BILL is a “movie-movie” as The second coming, by Mary Kaye KILL BILL pays homage to it. opposed to a ‘Quentin unive r s e Schilling movie’ and the cartoonish violence is an expression of that fact. A fun article that is more of an inti- SCREEN INTERNATIONAL mate chat with Tarantino than a No.1424. 10 Oct 2003, p.25 formal interview, but it gives an FILM REVIEW insight into where his tastes KILL BILL Vol 1, by Mike Goodridge Special No.48. pp. [whole issue] p re s e n t ly lie. P ro b ably the most interesting bits of this article are 3 Standard review of the film with a Quentin Tarantino sidebars, one where Tarantino lists brief rundown of its box office his favourite things (not as corny as prospects, potential on DVD, and A bright and breezy special issue, it sounds), another is a multiple awards prospects. This is followed lavishly illustrated with colour pic- choice pop-culture quiz he under- by a rundown of KILL BILL’s chances t u re s . Fo l l o wing a favo u rabl e goes, and the third is an impromp- of box office success in Asia, a chart review of KILL BILL VOL.1, there are tu list of his “5.5” favourite movie s h owing global ticket sales for sections on all of the films moments. Tarantino also acknowl- RESERVOIR DOGS, PULP FICTION and Tarantino has directed and/or writ- edges that, though not overtly fem- JACKIE BROW N , and Ta ra n t i n o ’s ten, including coverage of the infa- inist, KILL BILL displays an appreci- video/DVD and soundtrack sales. mous feud between Tarantino and ation of women. He also states the Some interesting facts emerge. O l iver Stone over the script for wish to stop making films before NATURAL BORN KILLERS. he gets too old and/or conservative in his outlook for them to be much VANITY FAIR There’s a miscellaneous info sec- good (he does name names!). No.518. Oct 2003, pp. 184-187, 200-204 tion on his ‘extracurricular’ activi- ties (acting, directing an episode of The return of Quentin Tarantino, by ER), a list of films that Tarantino FILM COMMENT Peter Biskind has referenced, and critical reviews Vol.39 No.6. Nov/Dec 2003, pp. 22-28 of the DVD packages of his films. It This is a rather cynical examina- finishes with a tongue-in-ch e e k D evotional furies, by Geoffrey tion of Quentin Tarantino’s fame explanation of the religious subtext O ’ B r i e n / M i x ed blood, by Chris and career, with the emphasis on in PULP FICTION, namely the con- Norris the fame, in the context of his tents of Marsellus Wallace’s brief- ‘return’ with KILL BILL. It’s framed case and the consequences of own- These side-by-side essays provide as an interview, but the quotes ing/looking inside it! This supple- c o m p l i m e n t a r y assessments of from Tarantino are judiciously used ment is not terribly in-depth, but it KILL BILL VOL.1. The former essay as stepping off points for the main is a ve r y entertaining re a d , a n d s t r a i g h t - f o r w a rd ly examines the body of the essay. The article works turns up the odd tit-bit of info that reve rential way the pop-cultura l ch ro n o l o gi c a l l y, c overing the is not widely known. A good start- influences are presented in the impact PULP FICTION had on his ing point.

BFI National Library 6 POST SCRIPT Ta ra n t i n o ’s customary arroga n c e, A celebratory examination of the Vol.19 No.3. Summer 2000, pp. 29-40 especially in his justification of the impact that PULP FICTION had on controversial use of the word ‘nig- cinema when it premiered, claim- S c atological film practice: PULP ger’ in JACKIE BROWN and his other ing it as the “definitive film of the FICTION and a cinema in move- films. decade”. It has quotes from many ments, by Devin Anthony Orgeron of the people involved in the mak- ing of the film, namely Tarantino Dense but fascinating essay on CREATIVE SCREENWRITING h i m s e l f , the cast, and co-writer Tarantino’s “thematic scatological Vol.5 No.1. 1998, pp. 50-55 R oger Ava ry, and covers most o b s e s s i o n s ” (a fascination with aspects of the production and the excrement and bowel movements) TRUE ROMANCE: Quentin Tarantino initial critical reaction. It also has in PULP FICTION, and their relation- as screenwriting auteur, by Robert s eve ral examples of scathing ship to postmodern society and Arnett reviews at the time, and a sidebar filmmaking. It argues that the nar- of notable dialogue from each of rative structure reflects his desire A detailed analy s i s , with dire c t his films. to place his own sense of order on quotes, of the original screenplay the postmodern cultural mass. for T R UE RO M A N C E . The writer Tarantino is seen as an anal sadist, argues the case for Tarantino as a CREATIVE SCREENWRITING with the events of the film revolv- s c reenwriting auteur. A r n e t t Vol.3 No. 4 . Special issue, 1 9 9 6 , p p. 4 6 - 7 6 ing around lead character Vincent emphasizes that there can be, and Vega’s irregular trips to the toilet! in TRUE ROMANCE’s case is, a con- A Tarantino script: The screenplays This piece can be fairly repetitive at s i d e rable difference between a of Quentin Tarantino, by Charles times in its efforts to make its writer’s original screenplay and the Deemer p o i n t , but the seemingly out- finished film. landish premise is argued for con- An essay that sets out to answer v i n c i n g l y. The notes section is He then methodically examines all the question of what a Tarantino extensive too. the revisions that were made to the script is by analyzing the screen- script by the producers, Tarantino’s plays of TRUE ROMANCE, NATURAL ex - c o l l ab o rator Roger Ava r y, a n d BORN KILLERS, F ROM DUSK T I L L CREATIVE SCREENWRITING the director Tony Scott. The most DAWN, RESERVOIR DOGS, PULP FIC- Vol.5 No.1. 1998, pp. 33-39 important of these being the ‘cut- T I O N , and his segment of F O U R ting-and-pasting’ of the non-linear ROOMS. It uses excerpts from these Method writing: an interview with structure into conventional linear scripts to build up a picture of Quentin Tarantino, by Erik Bauer form, and the somewhat tacked on Ta r a n t i n o ’s writing tech n i q u e : h a p py ending. Arnett concludes namely his use of dialogue, non- Ta r antino discusses his scre e n - that the elements that mark chronological structure, and abrupt writing in general, and the adapta- Tarantino out as an auteur in his ch a n g es of tone between bl a ck tion of the novel RUM PUNCH by later works are there in an early comedy and shocking violence. It Elmore Leonard into JACKIE BROWN, form in the original screenplay of focuses on R E S E RVOIR DOGS a n d in detail. The main thrust of the TRUE ROMANCE. This article is well PULP FICTION when Ta r a n t i n o ’s interview is that Tarantino inhabits worth reading for it’s differe n t skills were at their peak, with a his ch a racters as he is writing approach to auteur theory, and it special mention given to the suc- them, ‘method writing’ rather than has a very useful notes section. cess of Mr. Orange’s monologue in ‘method acting’. RESERVOIR DOGS.

Topics cove red include Elmore EMPIRE The article argues that Tarantino L e o n a rd ’s early influence on No.100. October 1997, pp. 108-114 a r t f u l l y breaks the establ i s h e d Tarantino’s writing style, mak- rules of screenwriting by success- ing the adaptation process PULP FICTION: H a r d fully applying methods used in the arguably seamless, the Fact, everything you theatre, though Tarantino is quoted importance of being needed to know as saying he takes direct inspira- i n t e r ested in other about the great- tion from the structure of novels. p e o p l e ’s perspec- est cult movie This piece goes pretty deeply into tives and lives, and eve r … , by the technicalities of screenwriting his opinion on S i m o n but it answers it’s own question what has gone Braund very well. w r ong in main- stream Hollywood s c r e e n - w r i t i n g . FILM COMMENT The interview Vol.32 No.1 Jan/Feb 1996, pp. 83-88 is tempered w i t h Doing Brando, by Lyall Bush

This essay goes off on several tan- gents, but is ostensibly about the impact Marlon Brando had on the world of male acting, and how Tarantino ‘carried the torch’ in his films. It travels from Brando him- Jackie Brown (1997) s e l f , via Ta r a n t i n o ’s seemingly

BFI National Library 7 opposing rep r esentation of the tion source for the pro s p e c t ive criminal male psyche, to the evolu- s c re e n w r i t e r, p i cking apart the press articles tion of the portrayal of the killer in screenplay as it does, and showing film, and finally brings all these how Tarantino makes the audience DAILY TELEGRAPH themes together. The main point do his work for him by crediting 19 June 1998, p. 21 seems to be that Tarantino flashily them with the intelligence to vivid- articulates what Brando wa s ly fill in the details he leaves out. Why I’m not afraid of failing, by unwilling to say, which is nothing But it also works as an illuminating Quentin Curtis much but postmodern trash. This insight into Tarantino’s screenwrit- article is rather scattered in its sub- ing methods. This article is based around an ject matter, but well worth a read, interview that took place during and there is a useful compare and Tarantino’s debut appearance in a c o n t rast with Martin Scorsese’s NATIONAL FILM THEATRE B ro a dway stage show, Wait Until work. PROGRAMME Dark, and records Tarantino’s reac- January 1995, pp. 4-10 tions to the critical reception of his acting. It also touches on the con- CREATIVE SCREENWRITING Quentin Ta ra n t i n o ’s Choice, by troversy over tabloid accounts of a Vol.2 No.4. Winter 1995, pp. 23-34 Adrian Wooton brawl that allegedly occurred in a nightclub a few days before the Review Essay – FROM DUSK TILL In January 1995, not long after the interview, and reveals Tarantino’s DAW N : Ta rantino rew r i t e s release of PULP FICTION, Tarantino attitude to ra c i s m . This article Tarantino, by Cynthia Baughman chose a series of films to be shown m a i n ly attempts to uncove r at the National Film Theatre. The Tarantino’s artistic personality. A piece analyzing and comparing list consists of seventeen films all Tarantino’s original 1990 script of hugely influential on Tarantino and FROM DUSK TILL DAWN with the his filmmaking, which provides a THE GUARDIAN 1995 rewrite for dire c t o r, R o b e r t good ove r v i ew of his personal Section 2. 27 Feb 1998, pp. 2-3, 11 Rodriguez. It seeks to explore his tastes and film appreciation. His developing treatment of violence well-documented favo u r i t e s I, Quentin, by Simon Hattenstone (in particular the sexual violence), appear, as well as his own films, as well as the improvement in plot RESERVOIR DOGS and PULP FICTION. This is an article written around an and ch a rac ter deve l o p m e n t . T h e Films are listed giving brief syn- interview that followed a preview most interesting observation in o p s e s / rev i ews and some include of JACKIE BROW N at the N F T . I t this article is that the plot revisions short snippets of quotes fro m attempts to find the truth behind make more sense of the abrupt Ta r antino explaining what the the Tarantino myths, rumours of change in genre, and lends to it a films mean to him personally. his childhood and rise to success. sexual political reading. Hattenstone takes an unabashed approach and provokes some truly This article also briefly holds up BRIGHT LIGHTS narcissistic and defensive respons- F R OM DUSK TILL DAWN aga i n s t N o. 4 5 . August 2004 [www. b r i g h t - es from the filmmaker, w h i ch RESERVOIR DOGS and PULP FICTION, lightsfilm.com] makes for a particularly enjoyable pointing out that it doesn’t aspire read! Subjects raised are the moral to be anything other than what it The unbearable lightness of being content of his films, his ove r- is: an effective horror movie. There cool, by Dror Poleg whelming ambition and pride in is also a comprehensive and useful his work and his soured relation- notes section. This article identifies the KILL BILL ship with former collab o ra t o r, volumes as a mirror for Tarantino’s Roger Avary. relationship with his own wo r k , CREATIVE SCREENWRITING using Bill as the symbol of a creator Vol.2 No.1. Spring 1995, pp. 76-92 wanting to be surpassed by his own THE GUARDIAN creation. Poleg insists that in actu- Section 2. 19 October 2001, p. 5 Writing for low-budget feat u r e ality Tarantino’s persona still far films: the example of RESERVOIR supersedes his projects by the Has anyone seen Quentin DOGS, by William R. Pace media’s celebration of his coolness. Tarantino? by John Patterson The article is only available online This essay examines the screen- and many of the particularly useful This short article asks the question play of RESERVOIR DOGS, citing it as works cited can be accessed via of whether or not Ta r antino is a perfect example of a screenplay links at the end of the article. already past his best, and contem- that utilises an expected small plates his long periods of absence budget as an advantage rather than f rom filmmaking. Written before a hindrance. It briefly explains how KILL BILL was certain to be his next the film came to be made with a release, it discusses the popularity l a rger budget than origi n a l l y he had already brought to Hong thought, and, in a fluid, easy-to- Kong cinema and wonders whether read style, puts forward the case he has in fact opened up possibili- that the ingenuity of Tarantino’s ties to other directors only to be dialogue subverts accepted narra- outdone by them. tive structure.

This piece seems an ideal informa-

BFI National Library 8 THE GUARDIAN 21 March 1998, pp. 24-25, 76 6 April 2004, p. 2/12-13 websites The caper crusader! by Step h e n Found: Where Tarantino gets his Dalton There are a vast number of web- ideas, by Steve Rose sites to be found that relate to After the release of JACKIE BROWN, Tarantino and his films. The major- This is a short open-ended article S t e phen Dalton questions ity are ‘fansites’, which often con- asking the complex question of Tarantino about his musical prefer- sist of numerous message boards how valid KLL BILL VOL. 1 is as a film ences and attempts to draw con- and trivial discussions, but the fol- in its own right considering that it nections between different flavours lowing two contain information of borrows so many elements from of music and his style of filmmak- some interest. such a myriad of previous films. It ing. They discuss Tarantino’s com- delves into the history of kung fu pany set up to deal with sampling www.tarantino.info and samurai films borrowing from dialogue from his films by musi- H o l ly woo d themes and sugge s t s cians and they touch on the contro- This website has been cre a t e d that Tarantino is repaying the com- versy surrounding racist interpre- mainly as a fan base, but does con- pliment and bringing back such tations of his dialogue. The strong tain some worthwhile reading. The films into public consciousness. It l a n g u age and colloquial jarg o n page entitled “Kill Bill movie refer- asks whether KILL BILL VOL. 1 is pre- used throughout could make you ence study-guide” lists numerous dominantly a sharing of his love of wince but this is, after all, an NME films that more than likely had an cinema by openly being a movie interview. With that in mind, this influence on the creation of KILL about movies. It also cites a few of article is useful as it provides a BILL (both volumes). All listed films the most prominent influences for fresh perspective from that of other are supplemented with a link to the the film. interviews. relevant page of the Internet Movie D a t ab a s e. The site also prov i d e s articles and interviews to read from THE GUARDIAN WEEKEND TELEGRAPH MAGAZINE a broad range of sources. 11 September 1993, pp. 24-25, 28-29 24 January 2004, pp. 47-56

Killer jokes? by Clancy Sigal Screening mad, by Larissa www.impossiblefunky.com MacFarquhar R E S E RVOIR DOGS being the only This website has been created by film so far released at the time this This article dwells on Ta ra n t i n o Mike White, who produces a maga- article was written, it constitutes a being a movie lover and audience zine entitled ‘Cashiers du brief summary of the myth of member above being a director. It C i n e m a r t ’ , that looks at under- Ta ra n t i n o ’s rise from obl ivion to discusses his love of Godard’s films, ground film. The website includes a hot property scre e n w r i t e r. T RU E his ability to cast the unlikely but s o m ewhat unsubtly titled ‘A n t i - ROMANCE was about to be released fitting actors, and his emphasis on Tarantino page’, which is in fact far and although acknowledging Tony the creation of characters and their more interesting than just being a Scott as the dire c t o r, S i g a l worlds. There is a brief section that hateful attack on the director. It announces it as Tarantino’s second constitutes a summary of his early ch ronicles the story of a video film. It provides a review of TRUE life and personality and his rise made by Mike White entitled, WHO ROMANCE that clearly concentrates into Hollywood, but the main body DO YOU THINK YOU’RE FOOLING?, in on the dialogue and also includes of the text concentrates on which he explores the similarities an edited extract of the opening Tarantino’s enthusiasm for films of b e t ween R E S E RVOIR DOGS a n d dialogue to RESERVOIR DOGS. all kinds and the aims that he sets Ringo Lam’s 1987 film, CITY ON out to achieve in the film making FIRE. It is also possible to view the process. short film by way of a link on the THE INDEPENDENT ON SUNDAY website. 23 November 1997, pp. 4-6

The man who changed everything, by Lynn Hirschberg

This is an interview taken just before the release of JACKIE BROWN. Tarantino exposes his reaction to the fame he has acquire d , p u t s forth his views on publicity and press backlashes, and reveals how he feels about his success as a film- m a k e r. T h ey also talk ab o u t predicaments involved in making films for major studios, the com- promises they enforce and the var- ious offers he re c e ive d on the strength of RESERVOIR DOGS.

NEW MUSICAL EXPRESS

BFI National Library 9 filmography by Victoria Crabbe FROM DUSK TILL DAWN (1995) release as two separate films: S c r e e n p l ay, E x e c u t i ve Pro d u c e r, 'Death Proof' and 'Planet Terror" This filmography provides a listing Cast Member (Richard Gecko) of films (and television pro d u c- tions) that Tarantino has officially HANDS UP (1995) S U K I YAKI WESTERN DJA N G O been credited as making contribu- Cast Member (2007) tions to behind and in front of the Cast Member (Ringo) camera at the time of writing. CURDLED (1996) S c r e e n p l ay (“Miami D. O. A .” s eg- RED RAIN (unrealised project, circa * denotes a television production. ment), Executive Producer 1994) Executive Producer NB This listing does not include the GIRL 6 (1996) numerous television programmes Cast Member (Director 1, New York) FREAKY DEAKY (unrealised proj- and documentaries he has been ect, circa 1997) interviewed for or appeared on as a JACKIE BROWN (1997) Executive Producer guest. D i r e c t o r, S c r e e n p l ay, C o n s u l t a n t ( C o n c e ption “ C h i cks Who Love MODESTY BLAISE (unrealised proj- Guns”) ect, circa 1997) RESERVOIR DOGS (1992) Originally set to Co-direct D i r e c t o r, S c re e n p l ay (including FROM DUSK TILL DAWN 2: TEXAS b a ck g rou nd radio dialogue [with BLOOD MONEY (1998) R oger Ava ry ] ) , Cast Member (Mr. Executive Producer Brown) FROM DUSK TILL DAWN 3: THE TRUE ROMANCE (1993) HANGMAN’S DAUGHTER (1998) Screenplay Executive Producer

THE CORIOLIS EFFECT (1994) GOD SAID, HA! (1998) Cast Member (Voice of Panhandle Executive Producer Jim) LITTLE NICKY (1999) KILLING ZOE (1994) Cast Member (Deacon) Executive Producer *ALIAS (“The Box” Episode) (2002) NATURAL BORN KILLERS (1994) Cast Member (McKenas Cole) Author of original work ONCE UPON A TIME IN MEXICO PULP FICTION (1994) (2003) Director, Author of original work Consultant (Special Thanks To…) [with Roger Avary], Screenplay, Cast Member (Jimmie) KILL BILL VOL. 1 (2003) Director, Screenplay, Producer SLEEP WITH ME (1994) Cast Member (Sid) KILL BILL VOL. 2 (2004) Director, Screenplay SOMEBODY TO LOVE (1994) Cast Member HOSTEL (2006) Executive Producer/Presenter CRIMSON TIDE (1995) Screenplay (rewrites) FREEDOM'S FURY (2007) Executive Producer DESPERADO (1995) Cast Member (Pick-up Guy) HOSTEL PART II (2007) Executive Producer DESTINY TURNS ON THE RADIO (1995) DEATH PROOF (2007)* Cast Member (Johnny Destiny) D i r e c t o r / P r o d u c e r / W r i t t e n by / D i r ector of Photog ra p hy / C a s t *ER (“Motherhood” Episode) (1995) Member (Warren) Director PLANET TERROR (2007)* FOUR ROOMS (“The Man Fro m Producer/Cast Member (Rapist 1) Hollywood” segment) (1995) D i r e c t o r, S c r e e n p l ay, E x e c u t i ve * A double bill programme includ- Producer, Cast Member (Chester) ing specially made trailers for other (non-existent) films. Released in US as one title but due for i n t e r n a t i o n a l BFI National Library 10