Jim Feldspar Posted December 27, 2006 Share Posted December 27, 2006 I saw part of "Pulp Fiction" on cable tonight and I noticed that when Butch the boxer is in the cab, not only was the scenery out the rear window exceedingly fake looking but the quick part that I saw looked like the background is in black and white even though the cab interior is in color. Does anybody know about this? Link to comment Share on other sites More sharing options...
Premium Member David Mullen ASC Posted December 27, 2006 Premium Member Share Posted December 27, 2006 Remember that almost the entire movie was shot in 35mm anamorphic on 50 ASA stock, 5245, including night scenes. So occasionally certain things look odd. I don't remember that shot though so I can't answer the question. Link to comment Share on other sites More sharing options...
J. Michael Whalen Posted December 27, 2006 Share Posted December 27, 2006 It was a projected background, and another dead give away was the fact that the smoke from his 'Red Apple' wasn't going anywhere when he had the window open. Link to comment Share on other sites More sharing options...
Premium Member Jason Debus Posted December 27, 2006 Premium Member Share Posted December 27, 2006 It's a stylistic choice by Tarantino, he's done it in his other films as well (it's pretty obvious in Kill Bill for example). While it may look fake it still looks 'cinematic' because of all the older films that have used similar techniques. Link to comment Share on other sites More sharing options...
Jim Feldspar Posted December 27, 2006 Author Share Posted December 27, 2006 (edited) Remember that almost the entire movie was shot in 35mm anamorphic on 50 ASA stock, 5245, including night scenes. So occasionally certain things look odd. I don't remember that shot though so I can't answer the question. 50 ASA for night scenes? Wow. It was a projected background, and another dead give away was the fact that the smoke from his 'Red Apple' wasn't going anywhere when he had the window open. They must have been having fun. I'm sure they have fans in Hollywood. It's a stylistic choice by Tarantino, he's done it in his other films as well (it's pretty obvious in Kill Bill for example). While it may look fake it still looks 'cinematic' because of all the older films that have used similar techniques. Yes, I think so, although I'll have to look at the "Kill Bill" films now. Thanks. It reminds me of how the backgrounds behind cars in so many Hitchcock movies look fake and I've never minded. It also reminds me of how in the remake of "Breathless", I didn't mind the similarly fake looking plates while it drove my friend nuts. " While it may look fake it still looks 'cinematic'" Oliver Stone said (in "Premiere" magazine) that Tarentino doesn't make movies; he makes movies about movies. Edited December 27, 2006 by Jim Feldspar Link to comment Share on other sites More sharing options...
Michael Most Posted December 27, 2006 Share Posted December 27, 2006 It's a stylistic choice by Tarantino, he's done it in his other films as well (it's pretty obvious in Kill Bill for example). While it may look fake it still looks 'cinematic' because of all the older films that have used similar techniques. Correct. Oliver Stone used RP for some of the same reasons in "Natural Born Killers." Link to comment Share on other sites More sharing options...
Serge Teulon Posted July 14, 2008 Share Posted July 14, 2008 Remember that almost the entire movie was shot in 35mm anamorphic on 50 ASA stock, 5245, including night scenes. So occasionally certain things look odd. I don't remember that shot though so I can't answer the question. Watched it last night after a long time and really astonished to hear that he shot it 50 ASA when the key was throughout the film 2-3 stops overxpsd!! Great look!! Link to comment Share on other sites More sharing options...
Matthew Bennett Posted July 18, 2008 Share Posted July 18, 2008 Yes, Andrzej Sekula, the dp for pulp fiction... I was watching "vacancy" the other night, a movie Andrzej Sekula shot, and was noticing the complete mastery of a palette of earth reds, dirty yellow/oranges, with touches of green neon... His color palette grafted such a sickening yet earthy/bowels/underground mood onto an already frightening film. This color palette was what I thought was one of the most striking things about pulp fiction, too, the constant attention to reds and yellows, where it creates a happy mood in the flashback with Christopher walken, then has this hellish effect in the basement dungeon rape scene. He's so good with these colors that he can create nearly any mood from them. But back up to the original thread post, I think also that rear projection in the cab scene is in black and white to boot, further making it look 'fake'. Link to comment Share on other sites More sharing options...
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