Watched “Pulp Fiction” last night. One weird-ass story (one character comes back from the dead, and not for the faint of heart — classic Quentin Tarantino bloodsplattering).
But it has some great scripting that all writers can learn from — whether writing for print or the projector — especially the scene with Jules (Samuel L. Jackson) and Vincent (John Travolta) eating breakfast at a diner . . .
“PULP FICTION” Script at IMSDb. By Quentin Tarantino & Roger Avary
INT. COFFEE SHOP – MORNING Jules and Vincent sit at a booth. . . .
http://www.imsdb.com/scripts/Pulp-Fiction.html
(near the end of the movie, so it’s easiest to find it with a search: CNTL + F)
More on the background of the movie in Vanity Fair . . .
[Linda Chen] knew Tarantino was a “mad genius.” He has said that his first drafts look like “the diaries of a madman,” but Chen says they’re even worse. “His handwriting is atrocious. He’s a functional illiterate. I was averaging about 9,000 grammatical errors per page. After I would correct them, he would try to put back the errors, because he liked them.”
Made for $8.5 million, it earned $214 million worldwide, making it the top-grossing independent film at the time. Roger Ebert called it “the most influential” movie of the 1990s, “so well-written in a scruffy, fanzine way that you want to rub noses in it—the noses of those zombie writers who take ‘screenwriting’ classes that teach them the formulas for ‘hit films.’ ”
http://www.vanityfair.com/hollywood/2013/03/making-of-pulp-fiction-oral-history
Another revealing piece . . .
“Making the Movie on the Page”: Rare 1992 Interview With Quentin Tarantino for ‘Reservoir Dogs’
Polishing Your Prose 