[ Decided to watch the film in April of 2000, shortly after viewing Godard's Pierrot Le Fou (a film I really ought to rewatch one of these days); I made the following observations on a couple of sheets of a small notebook, which I recently unearthed. ]

- The acting is mannered; Deliberately unnatural performances from everyone.
- The still of Amanda Plummer at the outset shows Tarantino jumping the gun a couple of years on the Blaxploitation front (i.e. - this is the most comparable he
    gets to Jackie Brown).
- "Directors make choices," (film professors are fond of professin'): You can constantly see choices being made - good ones, at that - in
    Pulp Fiction.
- The argument over whether Tony Rocky Horror deserved to be killed over a foot massage is forged on the way to go kill three people for a briefcase.
- Here's what I like: When Vincent says to Jules "It's not a date" - - the silence says more than the dialoguee, and it's not something you have to look for: It's
    makes itself obvious to you (later on, this is acknowledged and defined as an "uncomfortable silence").
- I wonder to myself (on paper, mind) whether or not the film can stand without its signature hook (i.e. - the dialogue).
- Jules eats Brett's last meal. How stone cold is that?
- Vincent's date with Mia is a voyage of temptation: He desperately avoids flirting and when he's won, there's the uncomfortable silence on the ride home (from the
    adrenalized rebirth) that tells him that he's no longer "someone special". Sad, but true.
- Butch has no inhibitions about killing other men in the line of duty (like his father and grandfather before him); With the watch, comes ordeal. The watch is not a
    simple thing to get - - again, much like his father and grandfather before him.