List of Pulp Fiction characters

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This is a list of characters with speaking roles appearing in Quentin Tarantino's widely noted 1994 Pulp Fiction. Each of the four stories revolve around a certain character, the first is Vincent Vega as is the second, the third story's protagonist was Butch Coolidge. Lastly, the final story is a partial replay of the first except from Jules Winnfield's point of view.


List of characters

Captain Koons: "The way your dad looked at it, this watch was your birthright. He'd be damned if any slopes gonna put their greasy yellow hands on his boy's birthright, so he hid it, in the one place he knew he could hide something: his ass. Five long years, he wore this watch up his ass. Then when he died of dysentery, he gave me the watch. I hid this uncomfortable piece of metal up my ass for two years. Then, after seven years, I was sent home to my family. And now, little man, I give the watch to you."

In 1993, Walken had appeared in another small but pivotal role as Vincenzo Coccotti in the "Sicilian scene" in the Tarantino-written True Romance. Walken was also considered for films Reservoir Dogs and From Dusk Till Dawn, also written by Tarantino. Walken didn't star in From Dusk Till Dawn due to scheduling conflicts[11] and he turned down the role of Mr. Blonde, portrayed by Michael Madsen in Reservoir Dogs.[12]. He also turned down the role in Sin City, a film in which Quentin Tarantino was a guest director[13]

Academic analysis

Ken Dancyger explains that "Pulp Fiction has a series of main characters who are criminals wrestling with an ethical question or problem" and that the use of "multiple characters" undermines "the opportunity for identification."[14] Meanwhile, Lisa Dethridge observes that "Quentin Tarantino (Pulp Fiction)" uses "a passing parade of diverse, colourful characters to prove a certain premise. It's not easy to identify a singular, clear-cut protagonist in Pulp Fiction..."[15]

Critical reception

Richard K. Sherwin writes, "In Tarantino's film the characters come at us from a well-known genre....The fun comes when the...character types we know so well drift in and out of our expectations, bringing those very expectations into view. The thugs are violent and indifferent to the pain and death they deal out, as thugs are prone to be. But they are strangely self-aware, articulate, by turns philosophical and bizarre. These are characters who can quote scripture one moment and in the next lash out at a friend for soiling car upholstery with the blood of an innocent victim. The mix is strange and amusing. Curiously, even when they become violent they do not lose their appeal."[16]


  1. ^ Pulp Fiction (1994) - Trivia
  2. ^ Michael Madsen biography
  3. ^ Bart (2000), p. 85. Willis's deal for a percentage of the box office gross was presumably on top of a base weekly salary that was identical to the other main actors', per Polan (2000), p. 69; Dawson (1995), p. 148.
  4. ^ Quoted in Dargis (1994), p. 10. As for Willis himself, "He reminds me of Aldo Ray in Jacques Tourneur's Nightfall [1956]. I told him I could imagine Aldo Ray being great as Butch and he said, 'Yeah, I like Aldo Ray, that's a good idea.' So I said let's go for that whole look" (ibid.). Other sources have claimed that Butch was patterned after Ray's Nightfall role—Brooker and Brooker (1996), p. 234; Polan (1999), p. 23. Tarantino's one public statement on the topic, quoted here, is clearly devoted to Butch's look and not his personality.
  5. ^ Dominic Wills. "Uma Thurman Biography". Tiscali. Retrieved 2006-12-29. 
  6. ^ Dawson (1995), p. 155.
  7. ^ "Ving Rhames Biography". Allmovie. New York Times. Retrieved 2006-12-29. 
  8. ^ Tim Roth at the Internet Movie Database
  9. ^ Charyn (2006), p. 73.
  10. ^ Dawson, Jeff (December 1995). "Hit Man". Empire. Retrieved 2006-12-29. 
  11. ^ From Dusk Till Dawn (1996) - Trivia
  12. ^ Sin City (2005) - Trivia
  13. ^ Ken Dancyger, The Technique of Film and Video Editing: history, theory, and practice, Third Edition (2002), 395.
  14. ^ Lisa Dethridge, Writing Your Screenplay (2004), 169.
  15. ^ Richard K. Sherwin, When Law Goes Pop: The Vanishing Line Between Law and Popular Culture (2002), 30.

Further reading

See also