In late 1993, another one of Tarantino's scripts, "Natural Born Killers" was picked up and made by Oliver Stone. Tarantino has always since tried to detach himself from the final result. But there would be more to this coming up soon...

October 11, 1994

It was on this day that Quentin Tarantino's dream came true, and a new nightmare began. Being released on that day and getting very silent traction was a film called "Pulp Fiction". This movie would become bigger than water, and the sole reason for pgorner. The Pulp Fiction screenplay was printed up by rabid fans and passed around classes in high schools all over America. It was written completely in the prose of pulp novels, and ONLY featuring key elements of these pulp novels that movies didn't normally use. The non-linear structure has been talked about often. It's what separates any standard book from a screenplay it's based on. But according to urban legend, this would only figure...because the Pulp Fiction screenplay may have possibly been adapted from an existing novel. Why don't we know more about that novelist? Now you see the urban legend and the nightmare than ensued from it.

You see most people out there have the gift to write a novel or a screenplay, but they're still trying to socialize and have friends, which means that often what comes out from them are a bunch of lies. They're using their ability to tell Paul Bunyan tales to get by in this world. And unfortunately, it was from these mouths that the legend came out that the Weinsteins were looking to screw over some hapless writer, and so adapted his novel without giving him a cent. How they expected the Weinsteins to think they could get away with this is usually where the subject is changed...but the lingering, unifying proof that this urban legend produced no matter where it came from...was the element of Marsellus's soul being in the briefcase. Nobody tells us this ever. It's left up to the imagination. Yet it somehow became known as FACT.

Yeah, dickheads, I would say. Probably because Leonard Maltin or Roger Ebert said so in a review you read. Sit down.

Pulp Fiction completely riveted America in 1994. The Academy Award nomination and screenplay-win brainwashed many people, including me, into thinking it was a form of high academia to write scripts about kids killing cops. It meant something to many different people. Some loved how Hollywood's most successful movie turned out to be filled with stuff Hollywood would always deem unmarketable. It featured end to end entertaining, unique dialogue that was SPECIFICALLY designed to illustrate a depth Hollywood could rarely go. For example, in showing how John Travolta's character is unclassy, he has him telling Samuel L. Jackson about all these astounding things he's found out about what McDonalds and Burger King are like in Paris. You see? Not only is the dialogue fun, but tells you right away that when Vincent Vega is given an opportunity to go to Paris, home of the Louvre and the Eiffel Tower and 2,000 years of culture, what does he come home with? Accounts of being in McDonalds, Burger King, and hash bars.

Spike Lee has been at odds with Tarantino ever since. If your thing is history books without the underground comics and old kung fu films, you would assume that Tarantino literally is a dumb ass dropout who has no idea yet that the n-word isn't something he's allowed to use. Most of the clever dialogue in Pulp Fiction is filled with racist stereotypes because any film outside the Hollywood community in the 70s usually would have something that shocked you. Fritz the Cat for instance. In here, Tarantino actually physically says the n-word to Jules, trying to show that the things that are going on in their lives are a bit too heavy to worry about some stupid word. And to make Spike Lee really happy...Jules doesn't do anything about this white guy saying this word at full pitch while he's standing right there.

It was probably the one instance when Tarantino actually had an argument on Spike Lee -- he just might know black audiences more then Spike does. He said, to paraphase, that by and large the African-American community would rather see Good Times then the Cosby Show. Lee's argument was, again to paraphrase, that's what he's been trying to fight against as a filmmaker for all this time.

Pulp Fiction is all about the idea that everybody is worthy of having somebody save them. This is the cornerstone and guiding moral of every single story in the film. You can't be so scummy in the Pulp Fiction universe that you end up un-saved...just as long as you accept the miracle of God. This is why Jules, accepting the gunshots through the wall to be a miracle, lives. Vincent meanwhile, who argues the whole time that he saw the same thing happen on an episode of the classy TV show "Cops", dies.

Pulp Fiction changed movies forever, exposing the archaic Hollywood formula of David Schwimmer and Jennifer Aniston, and resulting in a stigma against Tarantino and his fans simply for the subconscious good of perserving order. It was a big thing back then for a screenwriter to know his place. That's why Quentin Tarantino, once becoming as famous as any actor or director, has NOT left the public eye since. He won't let it happen. He can't.

With the Gulf War came enough kids mad enough at Bush to vote Clinton in office in 1992, and the iron had been hot ever since for the liberal. When Pulp Fiction came out, nothing was cool ever again unless it came from the 60s and 70s. The 50s and 80s meanwhile...were villianized like nothing you've ever seen. It got so bad that they had to steal an election in 2000 in order to bring this nation's modern day Hitler and his administration back who America absolutely used to cream over. Pulp Fiction served to be the dividing line between us cool people and the "tool", If you still lived and thought the way people did like it was October 10, 1994 and earlier...you were a tool.

Pulp Fiction gets better the more one extrapolates from it, which made lifelong comic book fans really pissed -- NOW the rest of the world gets it. NOW the rest of the world sees how you can be so mind-boggled over a piece of media that isn't strictly marketed to get one laid. Pulp Fiction got me into school subjects for the first time. It became clear to me that Tarantino, for as much as hypes up his lack of education, is the smartest man in this world. He might have an expression problem at times, but that's not his fault, that's OUR fault for expecting to see our bland ass relatives and friends when we see him talk. Ask any of them if they would know how the hell to act if they could write True Romance, Reservoir Dogs, Pulp Fiction. Ask them if they really think their aspiring model sales personalities would be able to generate more viewers for these films then for "Snow White".

Tarantino's next effort was one in which he contributed only a portion, but like Pulp Fiction, it featured four unrelated stories, one different shocking climax one after the other and after the other. It was called "Four Rooms", and it had Tim Roth play a bellboy who encounters four different incidents. Tarantino's three collaberators were all friends he made who all had entries in the 1992 Sundance Festival like he did. The first story by Alison Anders is okay, the second one by Alexandre Rockwell was getting good but then surrendered an ending requiring elevated brain power...for a round of penis nicknames, which as he's listening to his wife sputter them off, doesn't go after the man she's referring to who's standing right there, but instead drops to his knees with a gun in his hand, and not only is this supposed to be ending...it's supposed to be a PUNCHLINE. The third story was pretty good called the Babysitters which features more superb El Mariachi-like camerawork and direction by Rodriguez, and now it's onto Quentin's effort...which was my favorite thing in any movie for alot of years...

Yet once again, it was from something borrowed. Tarantino took this from a more familiar source, thus was wise enough to make sure his characters referenced it in the film. It was an Alfred Hitchcock episode called the "Man from Rio" with Peter Laurie and Steve McQueen.

Tarantino if anything, was proving to be important for the peace of American society, because whether or not someone who derived his art in this way and acted as he did and thought as he did was acceptable...it was nonetheless VITAL that the public know that someone like this was allowed. Why? Because his billions of fans were the byproduct of the establishment's own failures. Sons and daughters of hippies were pretty in the late 90s. They knew they were beautiful. But the support of those around us only goes to people who aren't sensitive. Have you ever heard of a philosophy so moronic? Luckily kids in the 90s had mirrors. They were vocal and proud too. They protested Bush and beat the streets until he was taken out of office by a guy who was a known adulterer even then. It was the first time the 70s were brought back, and it was something special to see in such triumphant abundance something that these tools had killed off. Today, there would never be an independent film movement like in the 90s, because during the '90s, it was beaten and killed off because normal outcasts who NOBODY would want around were making movies the way a weak version of the tool would copy Tarantino -- pop culture references and "oh so clever!" dialogue that was essentially rambling and rambling and going off base and having nothing to do with the plot. I hate the movie Swingers. It's god damn moronic. Except for the epic "The Last Supper" (1995) with Cameron Diaz have I seen anything that would have made Sundance proud.

During this time, a book would come out by the secretary of one of the producers on Natural Born Killers. It's about the filming of the movie, and there's parts in it about Tarantino that reference him as a "nerd".

And so Tarantino walks into a restaurant looking for the producer, finds him, and punches him in the face.

Tarantino ended up having to pay the guy 5 million dollars. Maaaan, this is why I write articles about tools. SAY things to them. Don't actually HIT them. Get a friend to come with you and provide the laugh track if you need.

After "Four Rooms", Tarantino appeared in the very underachieving "Desperado", Robert Rodriguez's sequel to El Mariachi. He has a semi-amusing story that he tells.

After this, Tarantino and Rodriguez collaberated for the very very good "From Dusk Til Dawn". (1996) The only good vampire movie ever.

Tarantino at this time had dozens of projects being offered him to do. But the one he picked was based off a book he loved when he was a kid called "Rum Punch" by Elmore Leonard. He once got busted for trying to steal a copy of it from the bookstore. It told the recurring story of a weapons dealer, his blond stoner bimbo, and a man he did time with who is quiet and reserved and nice but a bad argument away from killing you. The heroine in the book however, a stewardess for Cabo Airlines that's based out of Mexico, was white. It was the only thing keeping Tarantino from turning this into his vision of the quintessential 1990s blaxploitation film...

TO BE CONCLUDED...CLICK BELOW!!!

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