I knew Cliff was going to end up doing the Sicilian thing, but I didn’t know what Coccotti was going to say. I almost feel like a fraud for taking credit for writing dialogue, because it’s the characters that are doing it.
But it is in the dialogue of the script that Tarantino follows Leonard’s low-life naturalism most closely.
Only a few scenes get a taste of the stylized, pop-culture prose Tarantino is known for.
And there is no lack of that everyday speech in Jackie Brown.
Tarantino’s adaptation follows Leonard’s plot line, dropping a few minor characters, improving several others (most notably Ordell), and inserting only a handful of new scenes.
It is a testament to the strength of his vision that it has prospered over four films: Reservoir Dogs, True Romance (directed by Tony Scott), Pulp Fiction and From Dusk Till Dawn (directed by Robert Rodriguez).
Only in Natural Born Killers did the vision of Oliver Stone, another strong writer-director, obscure that of Tarantino.
Combine such aggression with a new black beret-wearing look, and you have Quentin Tarantino, Hollywood’s bad boy writer-director.
In meeting with Tarantino I decided to set aside his image making and focus my inquiry on his writing, the heart of his power as a filmmaker.
Ordell Robbie, the current star of the hour is black, cold-hearted, and the stylistic center of Tarantino’s new film Jackie Brown. “I bitch slapped [Don Murphy] like three times, bam, bam, bam.…