tarantino played the drug dealer in pulp fiction.
tarantino played the drug dealer in pulp fiction.
who played the drug dealer in pulp fiction?
tarantino
in 1991, oldman starred in his first us blockbuster, playing lee harvey oswald in oliver stone's "jfk". according to oldman, very little was written about oswald in the script. stone gave him several plane tickets, a list of contacts and told him to do his own research. oldman met with oswald's wife, marina, and her two daughters to prepare for the role. the following year, he starred as count dracula in francis ford coppola's romance-horror "bram stoker's dracula". a commercially successful film adaptation of bram stoker's 1897 novel, it was a box office success worldwide. oldman's performance was recognised as the best male performance of 1992 by the academy of science fiction, fantasy & horror films, which awarded oldman its best actor award. oldman later became a popular portrayer of villains: he played violent pimp drexl spivey in the tony scott-directed, quentin tarantino-written "true romance" (1993), a role which msn movies described as "one of cinema's most memorable villains"; a sadistic prison warden in "murder in the first" (1995); futuristic corporate tyrant jean-baptiste emanuel zorg in "the fifth element" (1997); and dr. zachary smith/spider smith in the commercially successful but critically panned "lost in space" (1998). he was considered for two roles in quentin tarantino's "pulp fiction" (1994), but neither were realised. tarantino contemplated oldman as gangster jules winnfield (played by samuel l. jackson), while tristar executives recommended him for drug dealer lance (portrayed by eric stoltz).
gary oldman
on october 14, 1994, "pulp fiction" went into general release in the united states. as peter biskind describes, "it was not platformed, that is, it did not open in a handful of theaters and roll out slowly as word of mouth built, the traditional way of releasing an indie film; it went wide immediately, into 1,100 theaters." in the eyes of some cultural critics, "reservoir dogs" had given tarantino a reputation for glamorizing violence. miramax played with the issue in its marketing campaign: "you won't know the facts till you've seen the fiction", went one slogan. "pulp fiction" was the top-grossing film at the box office its first weekend, edging out a sylvester stallone vehicle, "the specialist", which was in its second week and playing at more than twice as many theaters. against its budget of $8.5 million and about $10 million in marketing costs, "pulp fiction" wound up grossing $107.93 million at the u.s. box office, making it the first "indie" film to surpass $100 million. worldwide, it took in nearly $213 million. in terms of domestic grosses, it was the tenth biggest film of 1994, even though it played on substantially fewer screens than any other film in the top 20. popular engagement with the film, such as speculation about the contents of the precious briefcase, "indicates the kind of cult status that "pulp fiction" achieved almost immediately". as "moviemaker" puts it, "the movie was nothing less than a national cultural phenomenon." abroad, as well: in britain, where it opened a week after its u.s. release, not only was the film a big hit, but in book form its screenplay became the most successful in uk publishing history, a top-ten bestseller.
pulp fiction