04

“There’s a passage I got memorized. Ezekiel 25:17. “The path of the righteous man is beset on all sides by the inequities of the selfish and the tyranny of evil men. Blessed is he who, in the name of charity and good will, shepherds the weak through the valley of the darkness, for he is truly his brother’s keeper and the finder of lost children. And I will strike down upon thee with great vengeance and furious anger those who attempt to poison and destroy My brothers. And you will know I am the Lord when I lay My vengeance upon you.” Now… I been sayin’ that shit for years. And if you ever heard it, that meant your ass. You’d be dead right now. I never gave much thought to what it meant. I just thought it was a cold-blooded thing to say to a motherfucker before I popped a cap in his ass. But I saw some shit this mornin’ made me think twice. See, now I’m thinking: maybe it means you’re the evil man. And I’m the righteous man. And Mr. 9mm here… he’s the shepherd protecting my righteous ass in the valley of darkness. Or it could mean you’re the righteous man and I’m the shepherd and it’s the world that’s evil and selfish. And I’d like that. But that shit ain’t the truth. The truth is you’re the weak. And I’m the tyranny of evil men. But I’m tryin’, Ringo. I’m tryin’ real hard to be the shepherd.” – Jules, from the film, Pulp Fiction (1994).

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A quick look at actor types and three actors from the film, Pulp Fiction.

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Types of actors:

“Character actors: Actors who specialize in playing a wide variety of characters, most often supporting or minor roles rather than leading roles.

Impersonator: An actor who attempts to im–personate actual people for a role, such as in historical and biographical stories.

Personality actor: An actor whose own personality tends to define all the characters he portrays, so that the actor’s name alone lets audiencesknow what their screen character will be like.

Star: An actor, often with a distinctive screen persona, who is well–known and popular with the moviegoing public, often to the point that some avid movie fans become deeply curious about the actor’s private life.

Wild card: A term applied to an actor, usually a star, who is difficult to classify as one certain type, an actor who can play a wide variety ofcharacters equally well without becoming typecast.” (Goodykoontz & Jacobs, 2011).

Three actors from Pulp Fiction:

John Travolta – Star/wild card

Samuel L. Jackson – Personality actor/star

Bruce Willis – personality actor/star

I classified Samuel L. Jackson as both a personality actor and a star.  I classified him as a start because he is a very well-known actor in the film industry.  I classified him as a personality actor because he brings his own personality to each of his characters or roles and has a definitive influence on how those characters are or will be.  He has an authoritative persona and voice, he is rebellious and plays strong roles, is often intimidating and violent, uses swear words often, and almost always has a moustache or goatee in all of his films.

I also classified Bruce Willis as both a personality actor and a star.  I classified him as a star because he is also very famous and well-known in the film industry.  I classified him as a personality actor because he also brings his own personality to each of his characters.  He typically plays roles in which he is heroic or is a likeable wisecracking character.  He is frequently casted in action/adventure films and brings his likable persona to each of his characters.  He is also almost always seen with a shaven head.

I classified John Travolta as both a star actor and a wild card.  He is obviously a star since he is well-known and famous.  He is often seen on the covers of magazines or information about his personal life may be found in magazines, tabloids, etc.  I classified him as a wild card because of his ability to play different types of roles in a wide variety of films.  For example, he played as a main character in a film called Grease, which is a musical/romance film.  He played as a main character in a film called Look Who’s Talking, which is a comey/romance film and also played a role in a comedy/family film called Old Dogs.  He played in an action/thriller/sci-fi film called Face-Off and has even voiced characters in animated films, such as Bolt.  He is often casted in action or crime films, such as Pulp Fiction, From Paris With Love, Killing Season, Savages, The Punisher, etc.  One specific example I would like to point out is his character in Killing Season; he plays as brutal Serbian vet.  He completely changes his accent and it could surely be difficult for many viewers to identify him immediately due to the change of his voice and appearance.  In a video of an interview, which I have included below, Travolta explains that in order to successfully play this role he actually visited the country and spoke with vets there while also being very observant of his surroundings. This is a prime example of a wild-card actor.  Based on the other films John Travolta has played in, I believe he would likely be classified in these categories by others.  This just shows that he truly is a wild-card and that he is clearly a star actor.

John Travolta – Interview – Killing Season

Killing Season Trailer – Example of Travolta’s character in the film

 

 

 

 

 

References:

IMDb.com, (n.d). Pulp Fiction. Retrieved from:http://www.imdb.com/title/tt0110912/

Goodykoontz, B., & Jacobs, C. P. (2011). Film: From watching to seeing. San Diego, CA: Bridgepoint Education, Inc.

Tarantino, Quentin. (Director). (1994). Pulp Fiction [Motion Picture]. United States:  Miramax Films

Screenshots included in this blog post are all from the film, Pulp Fiction.

 

 

03

 

The Wolf: “You see that, young lady? Respect. Respect for one’s elders gives character.”
Raquel: “I have character.”
The Wolf: “Just because you are a character doesn’t mean that you have character.”

 

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Categories and Functions of Sound – A focus on the sound elements in the film, Pulp Fiction.

 

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02

“There’s this passage I’ve got memorized that sort of fits this occasion. Ezekiel 25:17. The path of the righteous man is beset on all sides by the iniquities of the selfish and the tyranny of the evil men. Blessed is he who, in the name of charity and goodwill, shepherds the weak through the valley of darkness, for he is truly his brother’s keeper, and the finder of lost children. And I will strike down upon thee with great vengeance and furious anger those who attempt to poison and destroy my brothers. And you will know my name is the Lord when I lay my vengeance upon thee!” – Jules Winnfield (Samuel L. Jackson)

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A focus on different lighting styles and how they are used in the film, Pulp Fiction.

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According to Goodykoontz & Jacobs (2011), the definitions of the three types of lighting are:
“High–key lighting: A lighting style marked by high levels of light, low contrast, and few shadows.

Low-key lighting: A lighting style marked by low levels of light, high contrast, and very deep shadows.

Three–point lighting: A lighting style based upon three primary sources of light, a bright key light and slightly dimmer fill light to the upper right and left sides of the camera, aiming at the subject to create a three–dimensional appearance with soft shadows, and a back light placed behind the subject and aimed at its back to create a rim of light that separates it from the background.


Dramatic scenes in films will vary the intensity and positions of the fill and back lights to suit the mood and/or to simulate the sources of light visible in the scene (table lamps, street lights, etc.). Shadows can be made sharper or softer by aiming lights directly at the subject, through diffusion screens, or bounced off reflective surfaces.”

In Pulp Fiction, Tarantino incorporates the use of low-key lighting, high-key lighting and three-point lighting throughout the film; each of the three variations focused on in our course text. The different types of lighting are used to supplement and enhance countless elements within the film. For example, during the scene where Mia and Vincent are in her home (clip may be watched below) both low-key and high-key lighting are used. The high-key lighting is used to complement Mia’s home and the fact that she is wealthy. Low-key lighting is used outside before Vincent walks in, transitioning into the high-key light setting. This causes the audience to be more visually attentive.

Both low-key and high-key lighting:

By using the three-point lighting style frequently in Pulp Fiction, Tarantino enhanced and perfected the film’s theme by placing emphasis on communication between the characters, which puts focus on the dialogue. The dialogue allows the audience to contemplate and discern the central themes of the film. The use of three-point lighting throughout the film is also essential for setting the mood of several scenes. An example of three-point lighting is Butch and Marcellus’ first scene in a bar setting. For the majority of this scene the focus is on Butch’s face as Marcellus is speaking to him. The three-point lighting complements the focus on Butch and the fact that they are in a low-lit bar setting. A clip of this scene is included below.

Low-key and three-point lighting:

Another example of a scene in which the three-point and low-key lighting types are used is the scene in the diner. In this scene, “Pumpkin” and “Honey Bunny” are beginning to hold up and rob the customers in the diner. Jules and Vincent are eating breakfast in this diner at the time of the holdup which leads to an intense confrontation. The use of low-key lighting and three-point lighting during this scene enhances the intensity, causing the audience to feel apprehensive about the situation.

One major benefit of the three-point lighting style is that it allows for accentuation of specific elements in different scenes. In many scenes, the emphasis is placed on a character’s face. This happens often during conversations in Pulp Fiction, especially in tense, confrontational exchanges.

Each lighting type used within Pulp Fiction was implemented perfectly; every scene was complimented by the lighting. If different lighting styles had been used, several scenes could have been ruined; possibly even ruining the film, or at least having a major effect on its overall admiration and significance in the film industry.

References:
Goodykoontz, B., & Jacobs, C. P. (2011). Film: From watching to seeing. San Diego, CA: Bridgepoint Education, Inc.
Tarantino, Quentin. (Director). (1994). Pulp Fiction [Motion Picture]. United States: Miramax Films
Screenshots included in this blog post are all from the film, Pulp Fiction.

 

 

01

“That’s when you know you’ve found somebody special. When you can just shut the fuck up for a minute and comfortably enjoy the silence.” – Mia Wallace (Uma Thurman).

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Pulp Fiction | 1994 | R | 154 min.

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John Travolta – Vincent Vega Samuel L. Jackson – Jules Winnfield Uma Thurman – Mia Wallace Bruce Willis  – Butch Coolidge

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From IMDb, “The lives of two mob hit men, a boxer, a gangster’s wife, and a pair of diner bandits intertwine in tales of violence and redemption. Prizefighter Butch Coolidge has decided to stop payment on a deal he’s made with the devil. Honey Bunny and Pumpkin are young lovers and small time thieves who decide they need a change of venue. Meanwhile, two career criminals, Vincent Vega and Jules, go about their daily business of shooting up other crooks that are late on payments to their boss. While one is asked to baby sit their boss’ dangerously pretty young wife, the other suddenly realizes that he must give up his life of crime.” Pulp Fiction is an unconventional crime film with clear elements of Quentin Tarantino’s original, distinctive style.  The story of Pulp Fiction is actually a compilation of three different storylines which are in some way interrelated.  Each of the three storylines focuses on an assorted series of events that intertwine in different ways.  Pulp Fiction begins with a restaurant robbery being carried out by a couple known as “Honey Bunny” and “Pumpkin”.  Then, the stories of Vincent Vega, Jules Winnfield, Butch Coolidge, Mia Wallace, Marsellus Wallace, and other key characters are explored in a non-linear fashion.  Eventually, the story ends up back in the restaurant where Vincent and Jules find themselves entangled in “Honey Bunny” and “Pumpkin’s” stick-up. Pulp fiction is presented non-linearly.  This means that the story is delivered to the audience in a non-chronological manner.  Since the storylines are out of sequence, the audience must pay close attention to what is going on during each scene within the film in order to understand it; this ensures the audience remains intrigued throughout the duration of the film.  Since each storyline is in some way interconnected, it contributes to character development and shows how certain characters from different storylines have an impact on each other.  I believe this was a perfect execution and implementation of a non-linear plot presentation.  If Quentin Tarantino would have followed a different presentation style for Pulp Fiction, I do not believe the film would have been as memorable and noteworthy as it is. https://www.youtube.com/watch?v=qlC1nVUFuck       References: IMDb.com, (n.d). Pulp Fiction. Retrieved from: http://www.imdb.com/title/tt0110912/ Goodykoontz, B., & Jacobs, C. P. (2011). Film: From watching to seeing. San Diego, CA: Bridgepoint Education, Inc. Tarantino, Quentin. (Director). (1994). Pulp Fiction [Motion Picture]. United States:  Miramax Films Screenshots included in this blog post are all from the film, Pulp Fiction. The poster/cover image was retrieved from: http://www.movieposterdb.com/movie/0110912/Pulp-Fiction.html     http://www.youtube.com/watch?v=MWkN3akP3cU