Quentin Tarantino Explains How He Writes Dialogue

So in Switchblade Sisters you have this piece where you talk about her cadence and how through her cadence she creates humor and you compare it to your

dialogue

in Pulp Fiction, so when I met Jack Hill I told him who are you looking for for

dialogue

and he name. the playwright Strindberg Auguste Renoir, so I want to ask you if you ever think back to the classic writers and who are the biggest influences on you in terms of a dialogue, whether writing it or listening to it. In fact, I think when it comes to my dialogue, I mean, I think the three writers that affected him the most in terms of a genuine influence would probably be a combination of uh Elmore Leonard David Mamet and Richard Pryor and I think those were real influences. conscious and me finding my voice. and my dialogue and character voices and stuff, however, although this other person was not influenced and even to this day I do not consider it an influence when I see some of this material, I do recognize that a similar aspect of his dialogue is someone. like petty Chayefsky when I see petty CH it's key I was actually surprised that oh wow that's what you know like I started to describe after once I started writing about other friends of mine I pointed out that there was a cemetery in our dialogue to some extent. or another, but the funny thing about petty is key was that it was almost through pet each is key that I really realized that I actually wasn't, I was a pretty good writer and you might want to think about exploring this a little bit because how really The kind of dialogue that I discovered in writing is that I used to be an actor and I was in acting class and um, and part of your thing in acting class is coming up with scenes to do and I always wanted to do movie scenes and stuff. . and then I didn't have access to any scripts or anything like that, so I'd like to go see a movie and then I could remember.

I have good memories. I remember the scene, so I would go home and write the scene and whatever. I didn't remember that I was filling in the blanks myself, little by little I started filling in more and more blanks and just going out and doing my own things to add to the scenes that were me first, my first attempt. When writing the dialogue it was stuff like that and I had forgotten that I was doing a scene with Marty Paddy Chayefsky is Marty in class and then I was talking to the guy who did the scene with me and he says uh I mentioned what I just mentioned. says cat coming out you are as good as a pet each one is Keoghan what are you talking about?

Well, remember when we did Marty and suddenly there's a monologue about the fountain, yeah, that's not in Marty, that's you, ha ha ha, actually. you gave me your handwritten version. In fact, I have Marty at home. I go, there's a fountain, there's a monologue about a fountain in this scene, but it fits the scene perfectly and it was just as good as the Paddy Chayefsky stuff and it was Lily, it was Hannah Gates, her name was Ron Coleman, Ronnie Coleman and, um , when he said that, it was like the first Dane telling you that a little dinner bell needs a little meal like the one round on the side of a table, thinking it all over. right, it was the first little ring, so maybe I should pay attention to this, maybe I should explore this a little more.