MusicLog #5 : Pulp Fiction… The movie and soundtrack…

Pulp Fiction (1994)

Directed by Quentin Tarantino & Screenplay Co-wrote with Roger Avary

“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 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.” – Ezekiel 25:17

And then Samuel L Jackson displays the fury in an extremely violent way…

These days the only time I get to hear music is when I am travelling (during flights/waiting at the airport for the flights/on the road), during a recent trip I listened to the Pulp Fiction movie soundtrack album a number of time and decided to have a music log entry on the same. So here I am sharing my thoughts on Pulp Fiction album as my most favorite movie album of all times.

There are some movies which one can watch any number of times and does not get bored at all. Pulp Fiction is one such movie. When I watched it for the first time, Bang… it was just plain shock & awe of the way Tarantino directed the movie. Then slowly after few more viewing one starts appreciating the brilliant performance by most of the actors in the movie, Screenplay, Dialogues, etc.

The Movie

Pulp Fiction is known for its rich, eclectic dialogue, ironic mix of humor and violence, nonlinear storyline, and host of cinematic allusions and pop culture references.

The film was nominated for seven Oscars, including Best Picture; Tarantino and Avary won for Best Original Screenplay. It was also awarded the Palme d’Or at the 1994 Cannes Film Festival.

A major critical and commercial success, it revitalized the career of its leading man, John Travolta, who received an Academy Award nomination, as did co-stars Samuel L. Jackson and Uma Thurman.

Directed by Tarantino in a highly stylized manner, Pulp Fiction joins the intersecting storylines of Los Angeles mobsters, fringe players, small-time criminals, and a mysterious briefcase.

Considerable screen time is devoted to conversations and monologues that reveal the characters’ senses of humor and perspectives on life. The film’s title refers to the pulp magazines and hardboiled crime novels popular during the mid-20th century, known for their graphic violence and punchy dialogue. Pulp Fiction is self-referential from its opening moments, beginning with a title card that gives two dictionary definitions of “pulp”.

The picture’s self-reflexivity, unconventional structure, and extensive use of homage and pastiche have led critics to describe it as a prime example of postmodern film. Considered by some critics a black comedy, the film is also frequently labeled a “neo-noir“.

Pulp Fiction is viewed as the inspiration for many later movies that adopted various elements of its style. The nature of its development, marketing, and distribution and its consequent profitability had a sweeping effect on the field of independent cinema (although it is not an independent film itself). Considered a cultural watershed, Pulp Fiction’s influence has been felt in several other media.

The Plot

The plot, as in many of Tarantino’s other works, is presented out of chronological sequence.

• Prologue

“Pumpkin” (Tim Roth) and “Honey Bunny” (Amanda Plummer) are having breakfast in a diner. They decide to rob it after realizing they could make money off the customers as well as the business, as they did during their previous heist. Moments after they initiate the hold-up, the scene breaks off and the title credits roll.

• Prelude to “Vincent Vega and Marsellus Wallace’s Wife”

As Jules Winnfield (Samuel L. Jackson) drives, Vincent Vega (John Travolta) talks about his experiences in Europe, from where he has just returned: the hash bars in Amsterdam, the French McDonald’s and its “Royale with Cheese“. The pair—both wearing dress suits—are on their way to retrieve a briefcase from Brett (Frank Whaley), who has transgressed against their boss, gangster Marsellus Wallace. Jules tells Vincent that Marsellus had someone thrown off a fourth-floor balcony for giving his wife a foot massage. Vincent says that Marsellus has asked him to escort his wife while Marsellus is out of town. They conclude their banter and “get into character”, which soon involves executing Brett in dramatic fashion after Jules recites a baleful “biblical” pronouncement.

• Vincent Vega and Marsellus Wallace’s Wife

The “famous dance scene”

 Vincent Vega (John Travolta) and Mia Wallace (Uma Thurman) do the twist at Jack Rabbit Slim’s.

Later, in a virtually empty cocktail lounge, aging prizefighter Butch Coolidge (Bruce Willis) accepts a large sum of money from mobster Marsellus Wallace (Ving Rhames), agreeing to take a dive in his upcoming match. Vincent and Jules—now dressed in T-shirts and shorts—arrive to deliver the briefcase, and Butch and Vincent briefly cross paths. The next day, Vincent drops by the house of Lance (Eric Stoltz) and his wife Jody (Rosanna Arquette) to purchase high-grade heroin. He shoots up before driving over to meet Mrs. Mia Wallace (Uma Thurman) and take her out. They head to Jack Rabbit Slim’s, a 1950s-themed restaurant staffed by lookalikes of the decade’s pop icons. Mia recounts her experience acting in a failedtelevision pilot, “Fox Force Five”.

After participating in a twist contest, they return to the Wallace house with the trophy. While Vincent is in the bathroom, Mia finds his stash of heroin in his coat pocket. Mistaking it for cocaine, she snorts it and overdoses. Vincent rushes her to Lance’s house for help. Together, they administer an adrenaline shot to Mia’s heart, reviving her. Before parting ways, Mia and Vincent agree not to tell Marsellus of the incident.

• The Gold Watch

Television time for young Butch (Chandler Lindauer) is interrupted by the arrival of Vietnam veteran Captain Koons (Christopher Walken). Koons explains that he has brought a gold watch, passed down through generations of Coolidge men since World War I. Butch’s father died of dysentery while in a POW camp, and at his dying request Koons hid the watch in his rectum for two years in order to deliver it to Butch. A bell rings, startling the adult Butch out of this reverie. He is in his boxing colors—it is time for the fight he has been paid to throw.

Butch flees the arena, having won the bout. Making his getaway by taxi, he learns from the death-obsessed driver, Esmarelda Villalobos (Angela Jones), that he killed the opposing fighter. Butch has double-crossed Marsellus, betting his payoff on himself at very favorable odds. The next morning, at the motel where he and his girlfriend, Fabienne (Maria de Medeiros), are lying low, Butch discovers that she has forgotten to pack the irreplaceable watch. He returns to his apartment to retrieve it, although Marsellus’s men are almost certainly looking for him. Butch finds the watch quickly, but thinking he is alone, pauses for a snack. Only then does he notice asubmachine gun on the kitchen counter. Hearing the toilet flush, Butch readies the gun in time to kill a startled Vincent Vega exiting the bathroom.

Butch drives away but while waiting at a traffic light, Marsellus walks by and recognizes him. Butch rams Marsellus with the car, then another automobile collides with his. After a foot chase the two men land in a pawnshop. The shopowner, Maynard (Duane Whitaker), captures them at gunpoint and ties them up in a half-basement area. Maynard is joined by Zed (Peter Greene); they take Marsellus to another room to rape him, leaving a silent masked figure referred to as “the gimp” to watch a tied-up Butch. Butch breaks loose and knocks out the gimp. He is about to flee when he decides to save Marsellus. As Zed is sodomizing Marsellus on a pommel horse, Butch kills Maynard with a katana. Marsellus retrieves Maynard’s shotgun and shoots Zed in the groin. Marsellus informs Butch that they are even with respect to the botched fight fix, so long as he never tells anyone about the rape and departs Los Angeles forever. Butch agrees and returns to pick up Fabienne on Zed’schopper.

• The Bonnie Situation

The story returns to Vincent and Jules at Brett’s. After they execute him, another man (Alexis Arquette) bursts out of the bathroom and shoots wildly at them, missing every time before an astonished Jules and Vincent return fire. Jules decides this is a miracle and a sign from God for him to retire as a hitman. They drive off with one of Brett’s associates, Marvin (Phil LaMarr), their informant. Vincent asks Marvin for his opinion about the “miracle”, and accidentally shoots him in the face.

Forced to remove their bloodied car from the road, Jules calls upon the house of his friend Jimmie (Quentin Tarantino). Jimmie’s wife, Bonnie, is due back from work soon and he is very anxious that she not encounter the scene. At Jules’s request, Marsellus arranges for the help of Winston Wolf (Harvey Keitel). “The Wolf” takes charge of the situation, ordering Jules and Vincent to clean the car, hide the body in the trunk, dispose of their own bloody clothes, and change into T-shirts and shorts provided by Jimmie. They drive the car to a junkyard, from where Wolf and the owner’s daughter, Raquel (Julia Sweeney), head off to breakfast and Jules and Vincent decide to do the same.

• Epilogue

As Jules and Vincent eat breakfast in a coffee shop the discussion returns to Jules’s decision to retire. In a brief cutaway, we see “Pumpkin” and “Honey Bunny” shortly before they initiate the hold-up from the movie’s first scene. While Vincent is in the bathroom, the hold-up commences. “Pumpkin” demands all of the patrons’ valuables, including Jules’s mysterious case. Jules surprises “Pumpkin” (whom he calls “Ringo”), holding him at gunpoint. “Honey Bunny”, hysterical, trains her gun on Jules. Vincent emerges from the restroom with his gun trained on her, creating a Mexican standoff. Reprising his pseudo-biblical passage, Jules expresses his ambivalence about his life of crime. As his first act of redemption, he allows the two robbers to take the cash they have stolen and leave, pondering how they were spared and leaving the briefcase to be returned to Marsellus, finishing the hitman’s final job for his boss.

• Music/Soundtrack

For me Pulp fiction is an ultimate combination of a great movie and a wonderful music album add even more value to the movie. The Batman with the original music provided  by Prince comes very close to it. Although the funny part is that there is no original soundtrack produced for Pulp Fiction, Tarantino actually used an eclectic assortment of surf music, rock and roll, soul, and pop songs. Dick Dale‘s rendition of “Misirlou” plays during the opening credits.

Tarantino chose surf music as the basic musical style for the film, but not, he insists, because of its association with surfing culture: “To me it just sounds like rock and roll, even Morricone music. It sounds like rock and roll spaghetti Western music.”

Some of the songs were suggested to Tarantino by his friends Chuck Kelley and Laura Lovelace, who were credited as music consultants. Lovelace also appeared in the film as Laura, a waitress; she reprises the role in Jackie Brown. 

The soundtrack album, Music from the Motion Picture Pulp Fiction, was released along with the film in 1994. The album peaked on the Billboard 200 chart at number 21. The single, Urge Overkill‘s cover of the Neil Diamond song “Girl, You’ll Be a Woman Soon“, reached number 59.

The soundtrack is central, to Pulp Fiction and its engagement with its core fans – the younger, cinematically knowledgeable audience.

The particular combination of well-known and obscure recordings helps establish the film as a self-consciously ‘cool’ text. The use of the mono-tracked, beat-heavy style of early 1960s U.S. ‘underground’ pop mixed with ‘classic’ ballads such as Dusty Springfield‘s ‘Son of a Preacher Man‘ is crucial to the cult status this film’s has achieved. Contrasts it with the soundtrack of Forrest Gump, the highest-grossing film of 1994, which also relies on period pop recordings. The version of ‘the sixties’ offered by Pulp Fiction is certainly not that of the publicly recognized counter-culture featured in Forrest Gump, but is, rather, a more genuinely marginal form of sub-culture based around a lifestyle – Surfing, Hanging.

And what an album the collection of music from Pulp Fiction is, its just brilliant.

Title	Artist	Time
Pulp Fiction-Main title- Pumpkin & Honey Bunny	Dick Dale & Karyn Rachtman	2:30
Royale With Cheese	John Travolta & Samuel L. Jackson	1:45
Jungle Boogie	Jungle Boogie	3:07
Let’s Stay Together	Al Green	3:17
Bustin’ Surfboards	Tornados	2:29
Lonesome Town	Ricky Nelson	2:15
Son Of A Preacher Man	Dusty Springfield	2:28
Zed’s Dead Baby/Bullwinkle Part II	The Centurians	2:31
You Never Can Tell	Jerome Patrick Holan/Chuck Berry	3:14
Girl, You’ll Be A Woman Soon	Urge Overkill	3:10
If Love Is A Red Dress	Maria McKee	4:57
Bring Out The Gimp/Comanche	Duane Whitaker / Peter Green / Revels	2:12
Flowers On The Wall	The Statler Brothers	2:26
Personality Goes A Long Way	Film Dialouge	1:03
Surf Rider	The Lively Ones	3:20
Ezekiel 25-17	Samuel L. Jackson	0:54

1. Opening sequence of the Movie & the dialogue before the restaurant robbery

[HONEY BUNNY] “I love you, Pumpkin”
[PUMPKIN] “I love you, Honey Bunny”
[PUMPKIN] “Everybody be cool this is a robbery!”
[HONEY BUNNY] “Any of you fuckin’ pricks move and I’ll execute every motherfucking last one of you”
Misirlou [Instrumental]

2. Royale With Cheese (Dialogue between Samuel L Jackson & John Travolta)

[JULES – Samuel L Jackson] “Okay so, tell me again about the hash bars”
[VINCENT – John Travolta] “Okey what do you want to know?”
[JULES] “Well, hash is legal over there, right?”
[VINCENT] “Yeah,It’s legal but it ain’t hundred percent legal, I mean, you just can’t walk into a restaurant,
roll a joint and start puffin’ away. They want you to smoke in your home or certain designated places.”
[JULES] “And those are the hash bars?”
[VINCENT] “Yeah, It breaks down like this, ok, it’s legal to buy it, it’s legal to own it, And if you’re the proprietor of a hash bar, it’s legal to sell it. It’s legal to carry it, but…but that dosen’t matter, ’cause, get a load of this; all right. If you get stopped by a cop in Amsterdam, it’s illegal for them to search you. I mean that’s a right the cops in Amsterdam don’t have.”
[JULES] “Oh, man, I’m goin’, that’s all there is to it. I’m fuckin’ goin'”
[VINCENT] “I know, baby, you’d dig it the most.. But you know what the funniest thing about Europe is?”
[JULES] “What?”
[VINCENT] “It’s the little differences. A lotta the same shit we got here, they got there, but there they’re a little different.”
[JULES] “Example?”
[VNCENT] “Alright, when you …. into a movie theatre in Amsterdam, you can buy beer. And I don’t mean in a paper cup either. They give you a glass of beer And in Paris, you can buy beer at MacDonald’s. And you know what they call a Quarter Pounder with Cheese in Paris?”
[JULES] “They don’t call it a Quarter Pounder with Cheese?”
[VINCENT] “No, they got the metric system there, they wouldn’t know what the fuck a Quarter Pounder is.”
[JULES] “What’d they call it?”
[VINCENT] “They call it Royale with Cheese.”
[JULES] “Royale with Cheese. What’d they call a Big Mac?”
[VINCENT] “Big Mac’s a Big Mac, but they call it Le Big Mac.”
[JULES] “Le big Mac ! Ahhaha, what do they call a Whopper?”
[VINCENT] “I dunno, I didn’t go into a Burger King. But you know what they put on french fries in Holland instead of ketchup?”
[JULES] “What?”
[VINCENT] “Mayonnaise.”
[JULES] “Goddamn!”
[VINCENT] “I seen ’em do it man, they fuckin’ drown ’em in it.”
[JULES] “Uuccch!”

3. Jungle B0ogie 

Get down, Get down, get down, get down X6

Ahhhhhhhhhhh !
Jungle Boogie
Jungle Boogie
Get It On
Jungle Boogie
Jungle Boogie
Get It On
Jungle Boogie
Jungle Boogie
Jungle Boogie
Get Down With The Boogie
Jungle Boogie
(Come & Shake It Around)

Jungle Boogie
Help & Get Down
Jungle Boogie
Boogie Baby
Jungle Boogie
The Boogie
Jungle Boogie
Bruhuhuhu
Jungle Boogie
Get Down
Jungle Boogie
Get Boogie
Jungle Boogie
Let Me Jump In
Jungle Boogie
Down With The Boogie
Get down, Get down, jungle boogie, get down, get down X6

Uh, Yeah
Feel The Funk You’ll
Let Me Feel The Load

Get Down With The Boogie
I’m Gonna Knock With The Jungle Boogie
Get Down
Get Down With The Boogie Say
Ough!
Get Down Say Ugh
Get Down Say Ugh
Till You Feel It You’ll
Get Down You’ll
Get Down
Get Funky Ya’ll
With The Get Down

4. Lets Stay together – Al Green  

I, I’m so in love with you
Whatever you want to do
Is all right with me
‘Cause you make me feel so brand new
And I want to spend my life with you

Since, since we’ve been together
Loving you forever
Is what I need
Let me be the one you come running to
I’ll never be untrue

Let’s, let’s stay together
Lovin’ you whether, whether
Times are good or bad, happy or sad

Whether times are good or bad, happy or sad

Why, why some people break up
Then turn around and make up
I just can’t see
You’d never do that to me (would you, baby)
Staying around you is all I see
(Here’s what I want us to do)

Coda (repeat to fade):
Let’s, we oughta stay together
Loving you whether, whether
Times are good or bad, happy or sad

5. Bustin’ Surfboards – Tornados

[Instrumental]
6. Lonesome Town – Ricky Nelson

There’s a place where lovers go
To cry their troubles away
And they call it Lonesome Town
Where the broken hearts stay
[Lonesome town]

You can buy a dream or two,
To last you all through the years
And the only price you pay
Is a heart full of tears
[Full of tears]

Goin’ down to lonesome town,
Where the broken hearts stay,
Goin’ down to lonesome town
To cry my troubles away.

In the town of broken dreams,
The streets are filled with regret,
Maybe down in lonesome town,
I can learn to forget.
[To forget]

Maybe down in lonesome town,
I can learn to forget,
[Lonesome town]

7. Son Of A Preacher Man – Dusty Springfield

Billy-Ray was a Preacher’s son,
And when his daddy would visit he’d come along,
When they gathered round and started talking,
Cousin Billy would take me walking,
Through the back yard we’d go walking,
Then he’d look into my eyes,
Lord knows to my suprise:

The only one who could ever reach me,
Was the son of a preacher man,
The only boy who could ever teach me,
Was the son of a preacher man,
Yes he was, he was, oh yes he was.

Being good isn’t always easy,
No matter how hard I tried,
When he started sweet talking to me,
he’d come tell me everything is alright,
he’d kiss and tell me everything is alright,
Can I get away again tonight?.

The only one who could ever reach me,
Was the son of a preacher man,
The only boy who could ever teach me,
Was the son of a preacher man,
Yes he was, he was, oh yes he was.

How well I remember,
The look that was in his eyes,
Stealing kisses from me on the sly,
Taking time to make time,
Telling me that he’s all mine,
Learning from each others knowing,
Looking to see how much we’d grown.

The only one who could ever reach me,
Was the son of a preacher man,
The only boy who could ever teach me,
Was the son of a preacher man,
Yes he was, he was, oh yes he was.

8. Zed’s Dead Baby/Bullwinkle Part II – The Centurians

[FABIENNE -Maria de Medeiros ] “Whose motorcycle is this?”

[BUTCH – Bruce Willis] “It’s a chopper, baby.”

[FABIENNE -Maria de Medeiros ] “Whose motorcycle is this?”
[BUTCH – Bruce Willis] “It’s a chopper, baby.”
[FABIENNE] “Whose chopper is this?”
[BUTCH] “Zed’s.”
[FABIENNE] “Who’s Zed?”
[BUTCH] “Zed’s dead, baby, Zed’s dead.”

9. You Never Can Tell – Jerome Patrick Holan/Chuck Berry

It was a teenage wedding, and the old folks wished them well
You could see that Pierre did truly love the mademoiselle
And now the young monsieur and madame have rung the chapel bell,
“C’est la vie”, say the old folks, it goes to show you never can tell

They furnished off an apartment with a two room Roebuck sale
The coolerator was crammed with TV dinners and ginger ale,
But when Pierre found work, the little money comin’ worked out well
“C’est la vie”, say the old folks, it goes to show you never can tell

They had a hi-fi phono, boy, did they let it blast
Seven hundred little records, all rock, rhythm and jazz
But when the sun went down, the rapid tempo of the music fell
“C’est la vie”, say the old folks, it goes to show you never can tell

They bought a souped-up jitney, ’twas a cherry red ’53,
They drove it down to Orleans to celebrate the anniversary
It was there that Pierre was married to the lovely mademoiselle
“C’est la vie”, say the old folks, it goes to show you never can tell

It had a teenage wedding, and the old folks wished them well
You could see that Pierre did truly love the mademoiselle
And now the young monsieur and madame have rung the chapel bell,
“C’est la vie”, say the old folks, it goes to show you never can tell
10. Girl, You’ll Be A Woman Soon – Urge Overkill

I love you so much, can’t count all the ways
I’d die for you girl, and all they can say is
“he’s not your kind”
They never get tired of puttin’ me down
And i never know when i come around
What i’m gonna find
Don’t let them make up your mind
Don’t you know

Girl, you’ll be a woman soon
Please come take my hand
Girl, you’ll be a woman soon
Soon you’ll need a man

I’ve been misunderstood for all of my life
But what they’re sayin’, girl, just cuts like a knife
“the boy’s no good”
Well, i finally found what i’ve been looking for
But if they get the chance, they’ll end it for sure
Sure they would
Baby, i’ve done all i could
Now it’s up to you

Girl, you’ll be a woman soon
Please come take my hand
Girl, you’ll be a woman soon
Soon you’ll need a man

Girl, you’ll be a woman soon
Please come take my hand
Girl, you’ll be a woman soon
Soon, but soon you’ll need a man
11. If Love Is A Red Dress – Maria McKee

My heart is empty.
Your eyes are dark.
Once we were hungry,
Now we are full.
These chains that bind us,
Can’t beat these chains.
If love is shelter,
I’m gonna walk in the rain.

You were my angel.
Now, you are real.
So like a stranger,
Colder than steel.
The morning after,
You know what you bring.
If love is a red dress,
Well, hang me in rags.

Away.
There goes the fairy tale.
Lord, ain’t it a shame?
In all this comfort,
I can’t take the strain.

If we played even,
I’d be your queen.
But someone was cheatin’.
And it wasn’t me.
I’ve laid it on the table,
You had something back.
If love is Aces,
Give me the Jack.
12. Bring Out The Gimp/Comanche – Duane Whitaker / Peter Green / Revels

[ZED] “Bring out The Gimp”
[MAYNARD] “The gimp’s sleeping”
[ZED] “Well, I guess you’ll just wake ’em up now, won’t you?
Comanche (Instrumental)
13. Flowers On The Wall – The Statler Brothers

I keep hearin’ you’re concerned about my happiness
But all that thought you’re givin’ me is conscience I guess
If I was walkin’ in your shoes, I wouldn’t worry none
While you ‘n’ your friends are worried about me I’m havin’ lots of fun

Countin’ flowers on the wall
That don’t bother me at all
Playin’ solitaire till dawn with a deck of fifty-one
Smokin’ cigarettes and watchin’ Captain Kangaroo
Now don’t tell me I’ve nothin’ to do

Last night I dressed in tails, pretended I was on the town
As long as I can dream it’s hard to slow this swinger down
So please don’t give a thought to me, I’m really doin’ fine
You can always find me here, I’m havin’ quite a time

Countin’ flowers on the wall
That don’t bother me at all
Playin’ solitaire till dawn with a deck of fifty-one
Smokin’ cigarettes and watchin’ Captain Kangaroo
Now don’t tell me I’ve nothin’ to do

It’s good to see you, I must go, I know I look a fright
Anyway my eyes are not accustomed to this light
And my shoes are not accustomed to this hard concrete
So I must go back to my room and make my day complete

Countin’ flowers on the wall
That don’t bother me at all
Playin’ solitaire till dawn with a deck of fifty-one
Smokin’ cigarettes and watchin’ Captain Kangaroo
Now don’t tell me I’ve nothin’ to do

Don’t tell me I’ve nothin’ to do

14. Personality Goes A Long Way (Dialouge between Samuel L Jackson & John Travolta)

[VINCENT] “You want some bacon?”
[JULES] “No, man, I don’t eat pork.”
[VINCENT] “Are you Jewish ?”
[JULES] “No, I ain’t Jewish, i just don’t dig on swine, that’s all.”
[VINCENT] “Why not?”
[JULES] “Pigs are filthy animals. I don’t eat filthy animals.”
[VINCENT] “But bacon tastes good, pork chops taste good…”
[JULES] “Hey, sewer rat may taste like pumpkin pie, But I’d never know ’cause I wouldn’t eat the filthy motherfuckers. Pigs sleep and root in shit, that’s a filthy animal. I don’t eat nothin’ that ain’t got sense enough to disregard its own feces.”
[VINCENT] “How about a dog? A dog eats its own feces”
[JULES] “I don’t eat dog either”
[VINCENT] “Yeah, but do you consider a dog to be a filthy animal?”
[JULES] “I wouldn’t go so far as to call a dog filthy, but it’s definately dirty. But, dogs got personality, personality goes a long way.”
[VINCENT] “So by that rationale, if a pig had a better personality, he would cease to be a filty animal. Is that true?”
[JULES] “We’ have to be talkin’ ’bout one charmin’ motherfuckin’ pig. I mean he’d have to be ten times more charmin’ than that Arnold on Green Acres, you know what I’m sayin’?
15. Surf Rider – The Lively Ones

[Instrumental]

• The Cast

John Travolta                    :               Vincent Vega

Samuel L. Jackson           :               Jules Winnfield

Tim Roth                             :               Pumpkin / Ringo

Amanda Plummer           :               Honey Bunny / Yolanda

Eric Stoltz                            :               Lance

Bruce Willis                        :               Butch Coolidge

Ving Rhames                     :               Marsellus Wallace

Phil LaMarr                        :               Marvin

Maria de Medeiros           :               Fabienne

Rosanna Arquette            :               Jody

Peter Greene                      :               Zed

Uma Thurman                   :               Mia Wallace

Duane Whitaker               :               Maynard

Paul Calderon                    :               Paul / English Bob

Frank Whaley                    :               Brett

Burr Steers                          :               Roger

Bronagh Gallagher           :               Trudi

Susan Griffiths                   :               Marilyn Monroe

Steve Buscemi                   :               Buddy Holly

Eric Clark                             :               James Dean

Joseph Pilato                     :               Dean Martin

Brad Blumenthal             :               Jerry Lewis (as Brad Parker)

Angela Jones                     :               Esmarelda Villalobos

Don Blakely                        :               Wilson’s Trainer

Christopher Walken        :               Captain Koons

Carl Allen                            :               Dead Floyd Wilson

Stephen Hibbert              :               The Gimp

Julia Sweeney                   :               Raquel

Laura Lovelace                 :               Waitress

Michael Gilden                  :               Page for Phillip Morris

Jerome Patrick Hoban   :               Ed Sullivan

Gary Shorelle                     :               Ricky Nelson

Lorelei Leslie                     :               Mamie van Doren

Brenda Hillhouse             :               Mrs. Coolidge – Butch’s Mother

Chandler Lindauer          :               Young Butch

Sy Sher                                 :               Klondike

Robert Ruth                       :               Sportscaster #1 – Coffee Shop

Rich Turner                        :               Sportscaster #2

Venessia Valentino         :               Pedestrian / Bonnie Dimmick

Alexis Arquette                                 :               Man #4

Linda Kaye                         :               Shot Woman

Kathy Griffin                      :               Hit-and-run Witness

Quentin Tarantino           :               Jimmie Dimmick

Harvey Keitel                    :               Winston ‘The Wolf’ Wolfe

Karen Maruyama             :               Gawker #1

Lawrence Bender             :               Long Hair Yuppy Scum

Emil Sitka                           :               Hold Hands You Lovebirds

Dick Miller                          :               Monster Joe

Cie Allman                          :               Winston Wolfe’s Girlfriend At Party

Rene Beard                         :               Bar Tender

Lori Pizzo                             :               Lucky Lady

Glendon Rich                     :               Drug Dealer

Devan Richardson           :               Hopalong Cassidy

Ani Sava                               :               Woman in Bathroom

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