The Wolf, Gimp, Walken, Roth, Plummer, Arquette, Stoltz, Maynard, Zed and cab driver are considered; Roth and Plummer are excluded for too much screen time.
Debate narrows to Walken and Keitel, with Stoltz defended and the Gimp playfully rejected.
One response initially chooses the Wolf, but Walken’s four-and-a-half-minute impact better fits the award; the final responses settle on Walken, including Craig’s explicit choice.
Hibbert is described as a comedy writer married to Sweeney at the time.
A reported Lovitz anecdote has him recognizing the Gimp in the credits.
Tarantino bought Vincent’s Malibu with Natural Born Killers money; a different car was used for the crash.
A production assistant bought a Jheri-curl wig instead of an Afro; Jackson argued it fit the era and it became the character’s look.
The 50 ASA film stock was chosen for its proximity to 1950s Technicolor.
The Jack Rabbit Slim’s set-budget estimate is corrected to $150,000.
The pawnshop and other locations around Canoga Park, Atwater, Glendale, Hawthorne, Beverly Hills, Sun Valley and Pasadena are discussed, with several sites changed or demolished.
Butch’s apartment, Lance’s home and Jimmie’s house are placed in North Hollywood, Atwater Village and Studio City respectively.
Five-Dollar Shakes, The Gimps, Serious Gourmet Shit, Big Kahuna Burgers, Hanoi Pits of Hell, Dead as Fucking Fried Chicken and Zed’s Dead are proposed.
Tony Rocky Horror is liked as a wrestler name; Bad Motherfucker is imagined as a Philadelphia hardcore band.
The apartment shooting and hostage departure draw no police; uneven LAPD attention is offered, but the script’s yuppie setting complicates that defense.
Mia draws a rectangle rather than a square.
A 210-pound opponent makes Butch a heavyweight, which seems physically implausible for Willis.
Butch’s modest apartment seems inconsistent with a Ring cover and headline fight; gambling and poor money management are possible explanations, with disagreement about his success.
A brief tissue wipe seems inadequate for removing gun fingerprints, especially leaving the gun behind.
Breathing with a broken nose and ball gag is questioned.
Bullet holes are visible before the shots are fired.
Marsellus suddenly has his gag removed, pants up and restraints gone without a visible rescue; the staging is challenged.
The bathroom gunman missing every shot is questioned, with divine intervention offered as the film’s answer.
Honey Bunny’s differing dialogue is disputed as a mistake versus deliberate perspective or surrealism; same-day filming strengthens the intentionality argument for some.
The prolonged diner robbery attracts neither customers nor police; the difficulty of controlling multiple restaurant areas is noted.
Gold bars explain recognizable value but would weigh too much; internal light bulbs could account for the glow without identifying the contents.
The 666 combination suggests evil and feeds the Marsellus-soul theory; Tarantino reportedly rejected that explanation and attributed the bandage to covering a scar.
A soul theory struggles to explain Brett possessing it or strangers recognizing it; Elvis’s gold suit and the Holy Grail are mentioned, while a lit giant diamond seems more recognizable.
Jules calls it dirty laundry; its contents may be deliberately undecided rather than a literal mystery with one answer.
Jules takes the briefcase toward the bathroom at his final chronological appearance, raising the possibility he never returns it.
The strongest agreement treats it as a McGuffin that lets viewers speculate.
The glowing case recalls Kiss Me Deadly and may symbolize danger, criminal life or a soul bargain; none resolves the apartment thieves’ role conclusively.
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