Quentin Tarantino is undoubtedly one of the (if not the) most influential American film directors of the last quarter-century. His gritty, ultraviolent, fast-paced, and impeccably hip writing style and visual eye have made a mark on both underground and mainstream film like no other. Following the one-two punch of 1992’s Reservoir Dogs and 1994’s Pulp Fiction, Hollywood was (and arguably still is) flooded with style-aping films that could be referred to as Tarantino-esque. Indie filmmakers of all stripes have surely benefited from the increased exposure that his quick ascension gave to subterranean cinema.
The weird thing about Tarantino’s influence, though, is that it is derived from his own pop-cultural cherry-picking: Every film he’s directed or written has been loaded with countless homages, lifts, and references to books, movies, TV shows, and music that coalesce into a pop-cultural galaxy of their own. When these references and influences are considered as a whole, it’s easy to see the connections that exist between stylistically opposite corners of Tarantino’s filmography. In a 1994 Los Angeles Times profile that ran shortly before the release of Pulp Fiction, Tarantino professed an artistic impulse to “steal from every movie I see,” and although the discussion regarding what “stealing” is in relation to his catalogue still rages on today, his giddiness when it comes to expressing his omnivorous taste through film is more than apparent.
We’ve put together a comprehensive-as-possible encyclopedia, organized chronologically by film and alphabetically within each (and lumping together both volumes of Kill Bill), of every homage and direct reference to pop culture that Tarantino’s put in his work — as well as an addendum of general influences on his career that he’s acknowledged over the years. Some notes before you dive in:
• We included the two screenplays authored solely by Tarantino — Tony Scott’s True Romance and Robert Rodriguez’s From Dusk Till Dawn — but films that he worked on but didn’t have final credit on, like Oliver Stone’s Natural Born Killers, where he opted for a “story by” credit after his script was rewritten significantly, have been excluded.
• There are a lot of notations regarding which elements of scores from other films have appeared in Tarantino’s films, but one composer whose work has been featured hundreds of times over is Ennio Morricone. Morricone is mentioned in this encyclopedia, but every instance of him has not been catalogued for reasons of length (this list would be twice as long as it already is — and as it is, it’s pretty long).
• There’s a huge difference between stated influences and influences derived from film-criticism theorizing, so for the sake of coherence, we’ve stuck to the former and ignored the latter, with very few minor exceptions.
• Unless referenced otherwise, a sizable amount of the interviews cited here were taken from Gerald Peary’s compendium of Quentin Tarantino interviews — and not to be a shill or anything, but if you’re a fan of Tarantino (or just interested in the way the guy talks about film), it’s a must-read.
A Better Tomorrow II: John Woo’s 1987 shoot-’em-up movie made a big impression on Tarantino when it came to orchestrating the climaxes of his own films: “I was watching it with a buddy of mine, and it’s all building to this big climax. We hadn’t seen this movie before, so we didn’t know they were going to have the biggest shoot-out in the history of film. My friend turns to me and goes, ‘If they don’t get naked and boogie at the end of this movie, this has been for nothing.’ He was right! Doesn’t matter that we enjoyed everything leading up to the end, it had to end in like a big way or it was all nothing!”
All My Friends Are Going to Be Strangers: In a 2004 interview with Entertainment Weekly, Tarantino referred to this 1972 Larry McMurtry book as “one of my favorite books of all time.”
Assault on Precinct 13: In a 1996 interview with Don Gibalevich, Tarantino cited the classic John Carpenter film from 1976 as something he’d see “wherever the hell it was playing” when he was younger.
Bande à Part: Classic 1964 film from Jean-Luc Godard (with an incredible credits sequence) that gave Tarantino’s production company, A Band Apart, its name.
Blow Out: Tarantino described Travolta’s performance in this 1981 Brian De Palma classic as “one of my favorite performances of all time” in a 1994 interview with Manohla Dargis.
Breathless:“I love Breathless,” Tarantino told Michel Ciment and Hubert Niogret in a 1992 interview in French film magazine Positif, naming it as one of two Godard films that influenced his taste in cinema (along with Bande à Part, obviously).
Cage, Nicolas: One of Tarantino’s favorite actors of his generation: “I don’t think I’ve seen another actor in the history of film that made a career of being miscast and rising to the occasion,” he told The Village Voice’s J. Hoberman in 1996.
Caged Heat: In a 1992 interview with Positif, Tarantino cited this 1974 Jonathan Demme movie as a film that left an impression on him when he was younger, “When I started to develop … my aesthetic.”
Carlin, George: In a 1996 interview with J. Hoberman, Tarantino cited the late comedian as one of his favorite stand-up acts.
Coffy: This 1973 Pam Grier film was the first of hers that Tarantino saw when he was younger, according to a Jackie Brown press conference in 1997.
Corbucci, Sergio: In a 2009 interview with Screencrave, Tarantino referred to this Italian filmmaker as “the other master,” alongside Sergio Leone: “I think my films are closer to his than to Leone’s.”
De Palma, Brian: In a 1992 interview with Positif, Tarantino described his early acting lessons (including six years under James Best, who starred in several Samuel Fuller films) before admitting, “I didn’t fit in with the rest of the actors in [Best’s] school … my idols weren’t other actors. My idols were directors like Brian De Palma.”
Griffith, Charles B.: In a 1993 interview with Graham Fuller, Tarantino described himself as “a fan” of this screenwriter, who contributed to several Roger Corman films.
Enter the Dragon: 1973 Bruce Lee classic that was a formative influence on Tarantino’s younger self when it played at Carson Twin Cinema, a favorite childhood hangout, according to a 1996 interview with Don Gibalevich.
Five Fingers of Death: 1972 kung-fu film that was a formative influence on Tarantino’s younger self when it played at Carson Twin Cinema, according to a 1996 interview with Don Gibalevich.
Le Doulos: In a 1994 interview with Gavin Smith, Tarantino referred to Jean-Pierre Melville’s 1962 film as “my favorite screenplay of all time … I know when I go see a movie and I start getting confused, I’m emotionally disconnected, I check out emotionally. For some reason I don’t in Le Doulos.”
Leone, Sergio: “I never felt gypped when Sergio Leone ended every Western he did with a showdown,” Tarantino told Roger Ebert in a 1994 interview about the massively influential spaghetti Western director, after being asked about how Reservoir Dogs, Pulp Fiction, and True Romance all essentially conclude with gun-brandishing face-offs. “That’s just the way they ended. But every single one was different.”
Marty: When a pre-filmmaking Tarantino was taking acting classes, he rewrote a scene from the Paddy Chayefsky–scripted classic from memory to perform as a monologue in his class; he told told Fresh Air host Terry Gross in 2009, “[I]t was the first time somebody complimented me [on my writing].”
Morricone, Ennio: Legendary film composer who contributed to Tarantino’s forthcoming The Hateful Eight, as well as provided a substantial influence throughout Tarantino’s career — to wit: His music appears all over Kill Bill. “To me it sounds like rock and roll, even Morricone music,” he’s quoted as remarking about surf music in Jeff Dawson’s 1995 book Quentin Tarantino: The Cinema of Cool.
Once Upon a Time in the West: In a 1992 interview with Positif, Tarantino claims that it was Leone’s 1968 Western that appeared on the TV when he decided to “become a director.”
Parks, Michael: Tarantino once referred to the actor (who appears in From Dusk Till Dawn) as “one of the greatest actors that has been produced in our lifetime!” in a 1996 interview with J. Hoberman.
Penn, Sean: One of Tarantino’s favorite actors of his generation, for his “sheer sexual-violence charisma,” he told J. Hoberman in 1996.
Polanski, Roman: Tarantino cited Polanski’s brief appearances in his own films — specifically, The Fearless Vampire Killers and The Tenant — as inspiration for his inclination to appear in his own films in a 1992 Positif interview.
Pryor, Richard, That Nigger’s Crazy: In a 1994 interview with J. Hoberman, Tarantino cited this comedy album as “the closest to a perfect comedy album ever. It’s the Great American Novel done as a comedy routine.”
Ride in the Whirlwind: One of two films from director Monte Hellman (who was also a producer for Reservoir Dogs) that Tarantino described in a 1992 interview with Positif as “[one of the] most authentic Westerns.”
Rolling Thunder: “Whenever I’d read it was playing at the Palace Theater in Long Beach on a triple feature with The Howling, and something else, I’d take the bus to Long Beach to see it,” Tarantino said in a 1996 interview with Don Gibalevich regarding the 1977 revenge film.
Roth, Tim: One of Tarantino’s favorite actors of his generation, for “his versatility and ferociousness,” he told J. Hoberman in 1996.
Scott, Tony: Besides penning True Romance’s script for him, Tarantino has gone on record many times as an avowed fan of the late director, citing 1990’s Revenge as a particular favorite in a 1993 interview.
Shadow Warriors: Tarantino referred to this 1980s Japanese cartoon as “the best cartoon I’ve seen on the screen” in a 1994 interview.
The Shooting: One of two films from director Monte Hellman (who was also a producer for Reservoir Dogs) that Tarantino described in a 1992 interview with Positif as “[one of the] most authentic Westerns.”
Speed: Tarantino cited the 1994 Jan de Bont actioner as “a totally fun movie” in an interview from that year: “Situation filmmaking at its best, because they really went with it.”
Towne, Robert: Tarantino referred to this screenwriter in a 1993 interview as “[deserving of] every little bit of the reputation he has.”
When the Lights Go Down: Tarantino read New Yorker film critic Pauline Kael’s 1980 book at 16 and, according to a 1992 interview with Positif, “[I] thought, ‘Someday maybe I’ll be able to understand a movie like she does.’”
Witney, William: In an interview with Henry Louis Gates, Tarantino referred to this late film-and-TV director as “one of my Western heroes.”
Ali, Muhammad: One of the legendary boxer’s many famous quotes (“If you even dream of beating me, you better wake up and apologize”) is paraphrased by Mr. White (Harvey Keitel) in the opening moments of the film: “You shoot me in a dream, you better wake up and apologize.”
Au Revoir les Enfants: How could Louis Malle’s classic, brutally sad 1987 drama about children attending a private school in Holocaust-era occupied France bear any specific influence on, of all things, Reservoir Dogs? According to a 2013 Variety interview, the title of Reservoir Dogs itself was inspired by patrons at the video store a pre-fame Tarantino worked at — Manhattan Beach’s Video Archives — mispronouncing Au Revoir les Enfants’ title at the counter. Inspiration comes from the strangest places!
Bedlam, “Magic Carpet Ride”: Cover of Steppenwolf’s original recorded specifically by this Nashville band for Reservoir Dogs.
The Big Combo: 1952 crime noir featuring a scene where a police officer is tortured and interrogated by a few of the film’s criminals. In other words, inspiration for the film’s infamous ear-cutting torture scene.
Blue Suede, “Hooked on a Feeling”: This Swedish pop group’s 1974 cover of B.J. Thomas’s 1968 single plays in the car as the criminals drive to the scene of the heist.
Brando, Marlon: “Undercover cops gotta be Brando,” LAPD force member Holdaway (Randy Brooks) tells Mr. Orange (Tim Roth). “To do this job, you gotta be a great actor, naturalistic. You gotta be naturalistic as hell.”
Breathless: The 1983 American remake of Godard’s original, specifically — where, according to a 1992 interview, Tarantino got the inspiration to put a Silver Surfer poster on Mr. Orange’s wall.
Bronson, Charles: The legendary tough guy’s role in the 1963 classic The Great Escape is referenced in the “Like a Virgin” conversation featured in the film’s opening scene.
Chan, Charlie: Harvey Keitel, in his role as Mr. White, snidely tosses out the name of novelist Earl Derr Biggers’ fictional, heavily stereotypical Chinese-American detective character while riffling through mob boss Joe Cabot’s (Lawrence Tierney) old address book.
City On Fire: This one’s a tricky one, since Tarantino publicly dismissed claims made by movie mag Film Threat in the early ‘90s that Reservoir Dogs borrowed heavily — almost to the point of plagiarism — from Chinese director Ringo Lam’s 1987 actioner. Wanna decide for yourself? Look no further than “Who Do You Think You’re Fooling” (above), a 1995 short made by writer/filmmaker Mike White examining shot-by-shot comparisons between the two films.
Day, Doris: The popular 1950s and ’60s actress who’s name-checked by Cabot in conversation with Mr. Blonde (Michael Madsen).
Delon, Alain: In a 1992 interview, Tarantino said he likes Reservoir Dogs’ title because “it sounds like something in an Alain Delon movie of Jean-Pierre Melville … I could see Alain Delon in a black suit saying, ‘I’m Mr. Blonde.’”
The DeFranco Family, “Heartbeat, It’s a Lovebeat”: The 1973 single name-checked by Mr. Pink (Steve Buscemi) as one of the songs he heard during “K Billy’s Super Sounds of the ’70s Weekend.”
The Duellists: One of a few movies Tarantino saw Keitel in as a teenager that eventually led him to cast the actor in Reservoir Dogs.
Fantastic Four: Mr. Orange pulls out a (quite timely — for 2015, anyway) comic-book reference to the superhero team that features “that invisible bitch” and “‘flame on’ and shit” while describing what Joe Cabot looks like: “Motherfucker looks just like the Thing.”
Fingers: One of a few movies Tarantino saw Keitel in as a teenager that eventually led him to cast the actor in Reservoir Dogs.
Francis, Ann: One of two actresses incorrectly identified as the actress in the title role of Get Christie Love! in Reservoir Dogs.
The George Baker Selection, “Little Green Bag”: 1969 single from Dutch curios the George Baker Selection that plays over the opening credits of Reservoir Dogs. Fun fact: The original title of the song was “Little Greenback,” which is for sure relative to the interests of Reservoir Dogs’ protagonists.
Get Christie Love! 1974 detective TV show discussed in one of several pop-culture-loaded conversations featured in Reservoir Dogs.
Grier, Pam: The other actress (and future Tarantino collaborator) incorrectly identified as the actress in the title role of Get Christie Love! by Nice Guy Eddie in Reservoir Dogs. “I’ve been a big fan for a long time,” Tarantino said in a 1997 interview, citing The Big Bird Cage, Coffy, Fort Apache, the Bronx, and Black Mama White Mama as some of his favorite films of hers.
Holmes, John: Deceased ’70s porn star mentioned during the “Like a Virgin” conversation featured in the opening scene of Reservoir Dogs.
Kansas City Confidential: 1952 crime-noir film about a bank heist gone wrong that served as an influence for the plot of Reservoir Dogs.
Karina, Anna: The jewelry store the criminals attempt to knock over is named Karina’s, after the Danish-French actress who was once married to French filmmaker Jean-Luc Godard.
The Killing: Stanley Kubrick’s 1956 noir that Tarantino claims was a major influence on Reservoir Dogs: “I didn’t go out of my way to do a rip-off of The Killing, but I did think of it as … my take on that kind of heist movie,” he told the Seattle Times in 1992.
Lawrence, Vicki, “The Night the Lights Went Out in Georgia”: Another one from “K Billy’s Super Sounds of the ’70s Weekend,” a murderous country song from 1972 brought up by Nice Guy Eddie (Chris Penn): “I thought it was the cheating wife that shot Andy!”
Laws of Gravity: In a 1993 interview with Graham Fuller, Tarantino cited Nick Gomez’s 1992 crime drama as inspiration for Reservoir Dogs’ “guerrilla-style” status.
The Lost Boys: The 1987 teen-vampire film mentioned by Mr. Orange as part of his “commode story.”
Madonna, “Like a Virgin”: Perhaps the first reflection of Tarantino’s pop-culture-addled lens comes in the opening scene of Reservoir Dogs, in which the film’s aspirant heist participants discuss the finer points of Madge’s catalogue over breakfast, centered around a theory delivered by Tarantino himself about how “Like a Virgin” is about “big dicks.”
Madonna, “True Blue”: As Nice Guy Eddie admits, “Even I’ve heard ‘True Blue.’” (Have you?)
Marvin, Lee: “I bet you’re a big Lee Marvin fan, aren’t you?” Mr. Blonde says, referencing the late actor to Mr. White as the two characters (along with Mr. Pink) endeavor to find out who botched the heist. Marvin’s oeuvre largely consisted of roles in war and Western films until his 1987 passing.
Melville, Jean-Pierre: French filmmaker whom Tarantino once cited as an influence on the costuming in Reservoir Dogs.
The Partridge Family, “Doesn’t Somebody Want to be Wanted”: The voice-over during the opening credits of Reservoir Dogs notes that this 1971 single is followed by Edison Lighthouse’s “Love Grows Where My Rosemary Goes” on — you guessed it — “K Billy’s Super Sounds of the ’70s Weekend.”
Point Blank: Tarantino described this Lee Marvin–starring neo-noir from 1967 in a 1992 interview as being “very influential” to the creation of Reservoir Dogs.
Rashomon: “It’s not exactly Rashomon, [but] you do get a sense of the characters’ different perspectives when they talk about what happened,” Tarantino told the Seattle Times about Reservoir Dogs’ different-takes-on-the-same-plot-device relation to Akira Kurosawa’s 1950 classic, which explores four contradictory viewpoints on a crime scene.
Rogers, Sandy, “Fool for Love”: The title song of Robert Altman’s Sam Shepard–starring 1985 drama, which soundtracks the scene where Mr. Orange is getting ready to leave his apartment before going on the fated heist.
The Silver Surfer: The existential oddball superhero’s poster is hanging in Mr. Orange’s apartment — try to catch it just as Mr. Orange is leaving to hop in the car with Nice Guy Eddie and the rest. (See also: the second Breathless entry.)
Stark, Richard: Tarantino described American crime writer Donald E. Westlake (Stark was one of his many pseudonyms) as influential to Reservoir Dogs.
Starsky & Hutch: Tarantino said in a 1992 interview that he wanted the Mr. Orange section of Reservoir Dogs to resemble an episode of this 1970s TV show.
Stealers Wheel, “Stuck in the Middle With You”: The 1972 lite-rock staple, co-written by Stealers Wheel’s Gerry Rafferty, which plays during the infamous torture scene.
The Taking of Pelham One Two Three: The 1974 thriller (later remade in 1998, and again in 2009) concerning a subway-hostage situation engineered by four men using color-focused code names — a trope that Reservoir Dogs is obviously indebted to.
Taxi Driver: One of a few movies Tarantino saw Keitel in as a teenager that eventually led him to cast the actor in Reservoir Dogs.
Tex, Joe, “I Gotcha”: 1972 single from the Texan soul singer that plays during the scene where the criminals start roughing up beleaguered, eventually earless police officer Marvin Nash.
The Thing: Tarantino has noted the similarities between Reservoir Dogs and John Carpenter’s 1982 masterpiece: “[I]t’s exactly the same story as my movie. A bunch of guys are trapped in one place that they can’t leave.”
Where Eagles Dare: While addressing Reservoir Dogs’ debt to The Killing in a 1992 interview, Tarantino stated, “… if I was going to make a war movie where a bunch of guys get blown up by a Nazi gun, that would be my Where Eagles Dare. If I was going to do a Western, it would be my One-Eyed Jacks … The Killing is my favorite heist film, and I was definitely influenced by it.
Chiba, Sonny: “Bar none, the finest actor working in martial arts movies today,” or so says protagonist Clarence Worley (Christian Slater) in the film’s opening minutes while unsuccessfully trying to convince a woman at a bar to see a Chiba triple feature with him — specifically, The Street Fighter, Return of the Street Fighter, and Sister Street Fighter, all from 1974. (Tarantino would later cast Chiba in Kill Bill, too.)
The Deer Hunter: Right before the final shoot-out, Clarence compares film-producer-cum-drug-pusher Lee Donowitz’s (Saul Rubinek) Coming Home in a Body Bag to this 1978 dramatic epic by Michael Cimino.
Dr. Zhivago: This 1965 romantic epic serves as one of a few slang words for cocaine used between Clarence and Donowitz.
The Good, the Bad and the Ugly: One of a few films Clarence rattles off as canon to Donowitz.
Hamlet: Paraphrasing the famous quote from one of Shakespeare’s oft-referenced plays, Clarence tells Alabama Whitman (Patricia Arquette), “I knew something was rotten in Denmark,” after discovering she’s a call girl. The “rotten in Denmark” line is referenced again later in the film, by Detective Dimes (Chris Penn).
Jailhouse Rock: The Elvis-starring 1956 film referenced by Clarence in the film’s opening minutes: “He was everything rockabilly’s about … he is rockabilly. Mean, surly, nasty, rude.”
Leonard, Elmore: “I was trying to write an Elmore Leonard novel as a movie,” Tarantino said on the True Romance script in a 1993 interview with Graham Fuller, “though I’m not saying it’s as good.” (Tarantino would go on to adapt an actual Leonard novel for Jackie Brown.)
The Mack: The 1973 Richard Pryor blaxploitation film that Drexl Spivey (Gary Oldman) is watching when Clarence comes to kill him.
Mad Max: One of a few films Clarence rattles off as canon to Donowitz.
The Partridge Family: One of a few cultural references that Alabama claims was “part of the act” in meeting with Clarence.
Presley, Elvis: While Alabama dukes it out in a hotel room with Virgil (James Gandolfini), Clarence indulges his Elvis obsession by discussing a Newsweek article on the singer with a patron of a burger spot: “And then there’s the fanatics. I don’t know about you, but they give me the creeps.” At the end of the film, Alabama reveals via voice-over that she and Clarence have named their newborn son — you guessed it — Elvis.
Presley, Elvis, “Heartbreak Hotel”: Presley’s 1956 single that Val Kilmer, dressed as an Elvis impersonator, sings a cappella to Clarence.
Reynolds, Burt: Alabama’s answer for her favorite movie star when she’s first getting to know Clarence over pie at the diner.
Rio Bravo: One of a few films Clarence rattles off as canon to Donowitz.
Rourke, Mickey: One of Alabama’s listed turn-ons.
Shatner, William: Or “Bill,” as he’s referred to by a casting agent while Dick Richie (Michael Rapaport) auditions for “the new” T.J. Hooker.
Silver Bullet: In a 1993 interview with Graham Fuller, Tarantino described seeing the climax of this 1985 Stephen King adaptation as leaving a mark on him and leading to the film’s square-off between Alabama and Virgil: “I didn’t know what was going to happen.”
Spector, Phil: Alabama’s answer for what kind of music she likes (“girl-group stuff, like ‘He’s a Rebel’”).
Spider-Man No. 1: The first issue of the long-running comic book series, which Clarence shows Alabama when bringing her back to his place for the first time.
Star Trek: One of a few cultural references that Clarence says that Alabama claimed to like when they first met.
T.J. Hooker: The 1980s William Shatner–starring cop show that Dick Richie auditions for.
A Flock of Seagulls: “You — a Flock of Seagulls. You know why we’re here?” So says hitman Jules Winnfield (Samuel L. Jackson) to the impeccably coiffed couch-sitter during the film’s apartment shoot-out, a reference to the 1980s British New Wave band.
Action Jackson: One of a few films that Tarantino has compared the opening minutes of Pulp Fiction’s final third to; 1988 action flick starring Carl Weathers, Sharon Stone, and Craig T. Nelson.
Amos ’n’ Andy: A long-running radio and TV show originating in the 1920s, featuring two black characters voiced by white actors. It’s the other milkshake option provided to Mia Wallace (Uma Thurman) at Jack Rabbit Slim’s.
The Aristocats: Tarantino told The Village Voice’s J. Hoberman in 1996 that he wanted Mia’s dance moves in Jack Rabbit Slim’s to be inspired by “this moment” in the 1970 Disney film “where Eva Gabor’s cat dances.”
Attack of the 50 Foot Woman: One of a few 1950s movies featured in poster form on the walls of Jack Rabbit Slim’s.
Berry, Chuck, “You Never Can Tell”: This one’s easy: the song that soundtracks Mia and Vincent’s iconic dance at Jack Rabbit Slim’s. If you haven’t tried to bust one of these moves on a dance floor, you haven’t lived.
Black Mask: The 1920s pulp crime-fiction magazine that Tarantino drew inspiration from while cobbling together the film’s anthology-esque structure.
Black Sabbath: Another inspiration for the fim’s anthology-esque structure — specifically, Italian filmmaker Mario Bava’s 1963 horror-themed film.
Body and Soul: Tarantino’s cited this 1974 boxer noir as influence on Butch Coolidge’s (Bruce Willis) plotline.
“Brideless Groom”: A Three Stooges short from 1947, which drug dealer Lance (Eric Stoltz) is watching when Vincent brings the overdosed Mia to his house.
Burnette, Johnny and Dorsey, “Waitin’ in School”: Actor Gary Shorelle (impersonating Ricky Nelson) is performing this 1957 single as Mia and Vincent Vega (John Travolta) arrive at Jack Rabbit Slim’s.
The Centurians, “Bullwinkle Part II”: 1963 surf-rock song that plays during (and after) Vincent’s heroin reverie and late-night drive.
Clutch Cargo: Rudimentary, semi-animated TV show from the 1960s that young Butch is watching before the infamous “watch monologue.”
Commando: One of a few films that Tarantino has compared the opening minutes of Pulp Fiction’s final third to; 1985 action thriller starring Schwarzenegger.
Cops: Moments before Vincent’s gun “accident” in the car, Vincent and Jules have a brief conversation about this long-running reality show.
Curdled: Tarantino got the idea for Winston Wolfe (Harvey Keitel), Pulp Fiction’s “cleaner,” after seeing this 1991 short at a film festival. He ended up casting Curdled’s lead actress Angela Jones in Pulp Fiction as Esmeralda Villa Lobos, and acted as producer to writer/director Reb Braddock’s full-length version of Curdled in 1996.
Dale, Dick, “Misirlou”: This surf-rock classic rips through the opening credits of the film.
Dante, Joe: Monster Joe’s Truck and Tow is a reference to Gremlins director Joe Dante.
Deliverance: Tarantino has cited the 1972 backwoods thriller as an obvious influence on the film’s infamous “gimp” sequence.
The Flintstones: Lance’s wife, Jody (Rosanna Arquette), is wearing a shirt featuring the 1960s cartoon on it when Vincent arrives at their house.
The Frames: In the sole scene she appears in, piercing enthusiast Trudi (Bronagh Gallagher) is wearing a T-shirt from this Irish rock band.
Gerron, Peggy Sue: The titular subject of Buddy Holly’s “Peggy Sue” — as well as what the waiter at Jack Rabbit Slim’s calls Mia.
Godard, Jean-Luc: One of Tarantino’s favorite film directors. He named his production company A Band Apart after the French New Wave iconoclast 1963 film Bande à Part, and he also claims on the Pulp Fiction DVD’s special features that Godard’s work inspired that film’s iconic dance scene between Mia and Vincent: “My favorite musical sequences have always been in Godard because they just come out of nowhere. It’s so infectious, so friendly. And the fact that it’s not a musical but he’s stopping the movie to have a musical sequence makes it all the more sweet.”
Disowns Ennio Morricone Interview With Tarantino Insults
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