Reservoir Dogs

On the data. One film, and it is where all of it starts. Tarantino was working in a video shop in Manhattan Beach and had written the script to shoot himself for about thirty thousand dollars. Lawrence Bender got it to Harvey Keitel, Keitel liked it enough to come on as a producer and to put his own money in, and that raised the budget to roughly one and a half million. Keitel also paid for a casting trip to New York. It went to Sundance in 1992 and did not win anything. It made modest money in America and much more abroad. What it did was announce a way of writing that the next thirty years then copied: long stretches of people talking about something unrelated to the plot, violence that arrives with no warning and takes a long time to finish, and a structure that refuses to go in order. Two things it is still known for. The torture scene set to Stuck in the Middle with You, which several critics walked out of at festivals and which Tarantino has said he is fine with people walking out of. And the fact that the robbery, the thing the whole film is about, is never shown. You see the planning and you see the aftermath. Reportedly that was a budget decision first and a structural one second. It had a difficult time in Britain. The video release was held back for years over the torture sequence, so a generation of British viewers saw it in cinemas or not at all, which did it no harm at all. It is also the film people wrongly call a Pulp Fiction prequel. Mr. Blonde's name is Vic Vega and Pulp Fiction has a Vincent Vega, and Tarantino has talked for decades about a film with both brothers that he has never made. That is the whole connection.

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