Vincent Vega and Jules have a casual conversation, discussing mayonnaise, the name of burgers and drugs in Europe. Who gave foot massage to whom, and how TV series are launched on television.

These few minutes that they linger at the door do not have any fundamental significance and will not decide the fate of the guys on the other side.

My head is a sponge. I listen to what everyone is saying, I observe behavior, people tell me jokes, and I remember them. People tell me an interesting story from their lives, and I remember it. When I go and write my new characters, my pen is like an antenna, it receives this information, and all of a sudden these characters come out more or less fully formed. I don’t write their dialogues, I make them talk to each other.

Jules, as well as Vincent Vega is a cold-blooded killer who earns money for a living by following orders from his boss. He doesn’t ask himself if a person deserves to die. He is worried about the cleanliness of the towels in the bathtub, but is completely indifferent to the death of a young guy Marvin. He quotes the Bible, but for a long time he does not even think about the meaning of the words he utters.

Mia Wallace is the wife of crime boss Marcellus Wallace; Before her marriage, she was an aspiring actress, but the Fox Force Five series with her participation was not approved after filming the pilot episode. Leaving the city for a while, Marcellas instructed Vincent Vega to spend the evening with Mia so that she could have fun. Mia and Vincent participate in a dance competition, and then come to their home with the winners trophy.

Butch Coolidge is a professional boxer who breaks his agreement with crime boss Marcellus Wallace by winning a fixed fight and trying to escape with the money. He shows determination and steadfastness, ready to fight for his freedom at any cost. Despite his criminal tendencies, Butch demonstrates a sense of honor and justice, saving Marcellus from rapists and risking his own life.

A themed restaurant based in the 50s style.

Named after the album by singer Steve Forbert, although it was not recorded in the 1950s.

All the staff are dressed in celebrity costumes from the 50s.

Milkshakes are referring to Amos&Andy and Martin&Lewis, two of the famous Comedy Duo. The first are black and the second are white characters.

The connection of Quentin Tarantino’s films has long ceased to surprise viewers.

The director deliberately tries to link his films into a single universe, mentioning the characters, hinting at third-party plots and demonstrating the relations between the characters.

Vincent Vega and Vic Vega (Mr. Blonde from Reservoir Dogs) are not only namesakes, but siblings. For several years Tarantino had been nurturing the idea of ​​making a film about the two Vega brothers, the events of which, for obvious reasons (they were both killed), preceded both Reservoir Dogs and Pulp Fiction.

Here’s a lesser-known connection —two more brothers connecting “Pulp Fiction” and “Reservoir Dogs.” Mr. White reveals his real name Lawrence "Larry" Dimmick. Jimmy Dimmick is Tarantino's character whom Vincent and Jules arrive in their brain-drenched car in search of hiding out.

Steve Buscemi makes a small cameo as a waiter at Jack Rabbit Slim's. And it’s worth noting that in “Reservoir Dogs” his character, Mr. Pink, talks at length about the work of waitresses and remembers that he himself worked for minimum wage.

The most famous MacGuffin in the cinema is Marcellus Wallace's suitcase, which Vincent and Jules take from Brett and his companions due to their violation of an agreement. One of the common assumptions is that the suitcase contained diamonds from “Reservoir Dogs”.

Tarantino takes inspiration from the films of other directors, creating his own unique style.

It’s no secret that Tarantino is fond of film directors such as Martin Scorsese, Alfred Hitchcock or Federico Fellini.

Vincent and Mia's dance is copied from Federico Fellini's film 81/2 (1963).

The scene with Butch in the taxi is reminiscent of the passenger's monologue from the film Taxi Driver by Martin Scorsese.

The opening scene in Pulp Fiction is similar to the restaurant scene in Arthur Penn's Bonnie and Clyde (1967).

When Vincent Vega and Mia Wallace arrive at the restaurant, Mia tells him the phrase "Don't be like that…" and draws a rectangle with her fingers. By this she hints at the stable expression "Don't be a square". And specifically, Tarantino borrowed the technique of visualizing a dotted rectangle from The Flintstones.

The plot, when a girl dying from a heroin overdose is saved by an injection of adrenaline in her heart, was taken from the documentary “American Boy”. The documentary was directed by Martin Scorsese.

As a result , the Pulp Fiction soundtrack essentially rediscovered many old hits for a mass audience. First of all, this concerns surf rock, a musical style that originated on the California coast and had enormous popularity in the first half of the 1960s.

Surf compositions made up almost a third of the entire soundtrack of “Pulp Fiction”, so after the resounding success of the film, interest in this style flared up with renewed vigor.

“Bullwinkle Part II” became one of the most memorable compositions of “Pulp Fiction”. All these alarming rumbles of the guitar and the gloomy saxophone solo are now firmly associated with the scene where Vincent is driving a car with a face simply radiating euphoria.

Inspired, Butch drives a car and happily sings along to the radio. From the radio comes the country song "Flowers on The Wall" from the quartet The STATLER BROTHERS.

The line about “kangaroo” found its visual embodiment in the film in the form of a porcelain figurine of kangaroo on which Butch left his gold watch.

Despite the high spirits of Bruce Willis's character, the content of the song is not at all cheerful. It was the confession of a man whose wife abandoned him, because of which he completely lost the will to live. The hero of the song spends days on end in his room counting the “flowers on the wall”, watching the children’s show “Captain Kangaroo” on TV and unsuccessfully trying to play solitaire from a deck where one card is missing.

"You Never Can Tell" was released as a single in 1964 and did not sound too typical for Chuck Berry — instead of a guitar, the piano dominated here.

Uma Thurman was very nervous about this scene. After all, she knew that her partner was very experienced in dancing (just remember Travolta’s films like “Saturday Night Fever” and Grease”) and was afraid to lose face in front of him. In the end, Tarantino calmed Uma down, saying that he needed the characters not to perform choreographic movements, but to look like ordinary people who "rocking out" to the jukebox. "So I don't need to know how to dance?" Thurman asked. "No," Tarantino replied. "You just need to have fun."

Uma Thurman
"John was an expert and knew all the dances of the 60s. We started with a twist, and then I just added other dance moves to it."

The song “Son Of A Preacher Man” from 1968— performed by British singer Dusty Springfield. The text was a girl’s story about her love for the preacher’s son, whose father often came to visit. While the adults were talking, the youth ran into the backyard, and there the young man taught the girl the sacrament of love.

Listening to the song “Girl, You’ll Be a Woman Soon,” the viewer already suspects that Mia is attracted to Vincent.

Tarantino insisted that he did not like it when the songs served only as markers of the era displayed in the film. Like, if we have the 60s, then we shove as many high-profile hits of the 60s into the movie as possible. The director was not attached to the era.