I meant “Allusions”. Sorry. I should have previewed. (-;
- Freewill39.
I don’t understand this. I’ve seen Pulp Fiction a number of times, and fail to see how it has a subtext about movies. Can you explain this?
I want to be a producer
With a hit show on Broadway
I want to be a producer
Lunch at Sardi’s everyday
I want to be a producer
Wear a tux on opening nights
I want to be a producer
See my name in lights.
I forget the name of the movie/show it came from.
Geez, that’s a whole other thread. (Especially as it’s mostly about movies, not specifically filmmaking, although of course there are plenty of moviemaking references, too. )
Pulp Fiction is almost entirely homage-- in large part to film noir and the French New Wave films, but with lots of references to generic gangster films and plenty of nods to classic (and obscure) films from diverse genres. With no exaggeration, there are hundreds of film references, in the dialogue, in characters, in situations, in reconstructed composition. All very stealthy, and mostly invisible unless you’re a total film geek.
To give you an idea, let’s start with Francois Truffaut. The characters of Jules and Vincent are based on a couple of gangsters from Shoot the Piano Player, Ernest and Momo. (Their casual banter about mundane things while going about their dirty jobs, mostly.) Of course, “Momo” is referenced elsewhere in PF, and Jules’ name is a nod to another Truffaut film, Jules and Jim. Think that’s a stretch? Tarantino underlines it with “Don’t ‘Jimmy’ me, Jules,” in “The Bonnie Situation.” There are other references to Truffaut films throughout. Other “name” references: Koons tells the young Butch that a “Wynocki” in the air force promised his father to help get the watch back. See Air Force. The boxer that Butch is supposed to throw the fight in favour of? “Wilson.” Malloy threw the fight against Wilson in On the Waterfront. “Maynard,” the rapist? Nod to Charley Varrick, in which “Maynard” utters the memorable line “We’ll go to work on you with a pair of pliers and a blowtorch,” which is also echoed in PF.
The mysteriously glowing suitcase? See Kiss Me Deadly.
Geez, this message is already too long.
Cheers!
Here are a few more to consider:
Sweet Liberty
Irreconcilable Differences
The Muse
and one of my favorites:
Swimming With Sharks
Sunset Boulevard (1950)
Valentino (1951)
Man of a Thousand Faces (1957)
Two Weeks in Another Town (1962)
Contempt (1963)
Harlow (1965)
A Man and a Woman (1966)
Beware of a Holy Whore (1971)
The Last Movie (1971)
Day for Night (1973)
Nickelodeon (1976)
Best Friends (1982)
The Big Picture (1989)
Barton Fink (1991)
The Player (1992)
Chaplin (1992)
RKO 281 (1999)
Adaptation was apparently a movie about itself.
Ararat (2002)
spoke: << One thing I’ve learned from the Oscars is that Hollywood loves movies about Hollywood. >>
Yeah, Hollywood is obsessed with itself. No question.
Try GET SHORTY