User:Dominik92/Reservoir Dogs

The Buffalo News
<!--Writer-director Quentin Tarantino doesn't like to explain the title of " Reservoir Dogs  ," his scabrously funny and wildly gruesome debut film (now showing at the North Park Theater). The most he'll do is quote a definition provided by co-star Lawrence Tierney.

"While we were filming," he says, "this journalist from Germany came down just to interview Tierney -- the rest of us could all take a hike, he didn't care. He asks him, 'Zo, vat is zee meening of "Reservoir Dogz"?' And Lawrence answers (mimicking his gruff growl), 'Well, you know, " reservoir dogs " is a very famous expression in America for dogs who hang around the reservoir.' "

Whatever its genesis, the title is perfect. Postmodernist Jim Thompson by way of Warren Zevon, " Reservoir Dogs " is better seen than described, so as not to spoil any of its surprises. It's a heist movie without the heist, beginning after an elaborately planned jewelry store robbery has gone awry. One by one, the eight professional thieves who worked on it reconvene at their hideout and rip into each other, trying to figure out what went wrong, who was killed and who ratted to the police.

Discussing his movie over a Foster's lager in the lounge of a Toronto hotel earlier this fall, the ebullient 20-something Tarantino is a walking billboard for his favorite films: he sports a "Juice" baseball cap and proudly shows off a garish "Toxic Avenger" watch. He reminds you of an overgrown kid for whom moviemaking is an extension of playing Batman in a bath towel cape, leaping off the front porch to do battle with the kids pretending to be the bad guys. Tarantino and his distributor, Miramax Films, have been taking " Reservoir Dogs " around the festival circuit, hoping to build a buzz before releasing it to theaters. (The strategy paid off: at the Toronto Festivals of Festivals it was named Best First Feature by a panel of internationa l critics, who called it, "A spectacular debut that combines a brilliant narrative sense, an expressive use of space and an insightful direction of actors.")

Word of mouth has been essential to providing a range of opinion about the movie, because many early sanctions ignored the humor and focused exclusively on the strong violence that nearly got " Reservoir Dogs " an NC-17 rating.

"That's changing now," Tarantino notes. "New York magazine described it as a black comedy, which I got a kick out of though I don't know if that's 100 percent accurate; I know it's really funny, and I know that you're supposed to laugh through the whole movie until I stop you from laughing. But I like that the humor is being recognized. I've watched the movie with audiences who didn't know they were supposed to laugh -- they've heard that the movie is so rough, so violent, it takes awhile before they realize they're allowed to laugh."

One of the funniest bits, a thoroughly obscene speculation into Madonna's sex life via the lyric of her song "Like a Virgin," is delivered in the film by Tarantino, who plays a small part. Written in the mid-1980s as an audition piece when he was studying acting, it's sheer coincidence that it opens this movie at a time when Ms. Ciccone's sex life is riding high on the book and album sales charts.

Despite some talk of lawyers, he's not worried about Madonna taking umbrage at his outrageous interpretation (which couldn't possibly be cleaned up enough to get into print here). "She knows about it, and she's gonna see it and tell me whether it's true or not. And there's no doubt in my mind whatsoever," he grins, "she's gonna come to me and say, Quentin, you're 100 percent right, I was laughing my a-- off when all these 14-year-old girls were singing that song, 'cause that's exactly what it was."

Tarantino wants his movies to interact with the audience's imagination, which is why he won't nail down the title. "People tell me all the time what they think it means," he explains, "and they're so creative, I just love it. I'm constantly astounded by their imagination. But the minute I say what it means, it becomes official. I want to keep that creativity coming. That's the healthiest process there is."

That process was very much a part of Tarantino's plan in devising the film's flashback structure. "The movie gives you the answers first, then later you find out the questions. And I don't think you're ever bored, but you're curious, you want to know what's this all about.

"When you're planning a film, 100 percent of it is

understandable to you. After it's finished, if you've done a job and it's not a confusing movie, viewers are at best going to get 80 percent of it. There's 20 percent of it that's open to

interpretation. And that 20 percent that the audience brings to it is great. That's what solidifies movies as art."

The Alabama-born Tarantino says he's wanted to work in movies ever since he used to go to the theater with his father, walking in on the middle of movies and sitting through the next show until they got to the point where they came in (a pattern " Reservoir Dogs " ironically emulates). He studied acting for six years while doing television and the odd film role, but eventually discovered that he was on the wrong path.

"I realized that I was different, from a lot of the other actors in my classes because I was a film buff, I understood its history, while they could have cared less. That didn't compute to me, not to care about the history of your art form. And I also began to recognize that my real heroes weren't actors, they were directors, people like Brian DePalma, Sergio Leone. So I basically changed my life's major."

In the late 1980s, Tarantino began writing screenplays while supporting himself as a video sales clerk. The script for " Reservoir Dogs " was read by Harvey Keitel, who felt it offered "a new way of seeing ancient themes of camaraderie and betrayal and trust and redemption." He liked it so much that he offered not only to star in the film but to co-produce it. Shortly after that Tarantino, who had never been to film school, was accepted into the Sundance Institute Director's Workshop, wher e he and co-star Steve Buscemi worked on scenes from the script under the scrutiny of directors Sidney Pollack, Terry Gilliam, Volker Scholondorff and Monte Hellman.

While some of his earlier scripts have recently been put into production, Tarantino promised himself that he would never write a script for anyone else after he got his own career as a director off the ground. He happily reneged on that promise, when a chance arose to work with Hong Kong's John Woo, director of the cult classic "The Killer."

"He's just such a hero of mine," Tarantino enthuses. "As far as I'm concerned, he's making the best action films bar none since Sergio Leone -- he's reinventing the genre there in Hong Kong. And I like the responsibility of bringing him to the American market unfiltered, not a halfway John Woo, but John Woo for the people who love him, no holds barred. I love action movies like his but I don't necessarily want to make one myself right away. But being able to get one of these out of my system and having the man do it, who could ask for anything more?"

While it's already a critical hit and well on its way to cult status, " Reservoir Dogs " isn't likely to be a huge money-maker. That's fine with Tarantino. "This movie isn't meant to be everything for everybody. I made it for myself, and everybody else is invited. When you deal in violence, some people aren't going to like that. When you deal in slapstick comedy, musicals, some people aren't gonna like that. That's totally fine. Nine out of 10 people in America won't see this movie. But it cost so little to make (about $1.5 million) that it'll do well -- in fact, before it even opened the people who put up the money made their investment back three times over selling it around the world. So far as I'm concerned, the movie's a smash, because the people who took a chance on me have been paid back in spades."-->

Worcester Telegram & Gazette
<!--Quentin Tarantino was quite prepared to spend his $30,000, cast himself in the lead role and shoot in black and white if he had to. " Reservoir Dogs " would get made.

Then he met Harvey Keitel.

The veteran actor loved the script about a jewel heist pulled off by professional thieves with a common taste for goofy '70s music. He liked how the story dealt with issues of loyalty, trust and betrayal and how Tarantino mixed raw violence and gritty dialogue with humor.

Keitel decided to help raise money to make the film (it cost $1.5 million) and agreed to play the lead role. He helped round up a band of accomplished actors, including Tim Roth, Michael Madsen, Chris Penn, Steve Buscemi and Lawrence Tierney.

Tarantino, who had been supporting himself as a video sales clerk, thought he was dreaming. One of his favorite actors was calling him to say he wanted to be in his movie. Not only would " Reservoir Dogs " get made, but it would get made right.

"In My Hands'

"I had tried for six years to make a movie," said Tarantino in an interview during last month's Boston Film Festival. "Out of frustration I wrote this, because I knew I could make this. I could make this for like $30,000. When I was writing this, I knew this would be the one. This would be the one I would shoot film on. I knew I could make this myself. My destiny wasn't in anyone else's hands. It was in my hands."

With Keitel and company on board, Tarantino relegated himself to a smaller role, Mr. Brown. This character's big moment on screen comes in the opening scene when he explains the true meaning of Madonna's "Like a Virgin" to his fellow thieves.

The fine ensemble cast allowed Tarantino to focus his efforts behind the camera where he was making his directorial debut.

He chose an untraditional narrative technique, telling the story starting after the heist, then backtracking to fill in the details.

"I like a novelistic structure," he said. "I thought that could be applied to movies. When they transfer novels to movies that's the first thing that goes. People say they like the flashbacks. I don't consider them flashbacks. They're like chapters. A book will start in the middle of the story, and you won't think anything about it. That's just a way of telling the story. I like that. I like the idea of breaking up the structure and pulling it off. Pulling it off is the reason you do it, not to be a wise guy or show-offy. The material is more interesting and more dramatic by showing it this way. If the material would have been better served by telling it beginning, middle and end, I would have."

The caper's mastermind, Joe (Tierney), recruited a ring of criminals who previously didn't know each other. He assigned each one a color alias (Mr. Blue etc.) and instructed them not to reveal their real names or anything about themselves. They wore black suits with white shirts during the crime, a costume designed to make the men look both anonymous and cool.

"One of the things that's fascinating about them is the whole idea of career criminals," he said. "They're not gangsters, not hoods, but these guys who are like working class criminals. That whole mentality is like a way they have of fooling themselves into thinking they actually have a profession. When you say honor among thieves, that dismisses it too easily. It's like a craft; it's like a job. It is a craft that needs experience and respect and da, da, da, da. It's also an aberration of society. It's not a profession, but they've turned it into such. They're not a bunch of crazy lunatics with guns. This is perfectly planned stuff."

Steven Wright as a Deejay

The music (with comedian Steven Wright heard as a radio disc jockey) helps take the edge off the action.

"It's sort of an ironic counterbalance to what you're seeing on the screen," Tarantino said. "In some of the scenes it makes it kind of fun. In other scenes, the music is kind of like a co-conspirator. It makes the scene more disturbing. The fact that it can serve both functions is really neat."

Be warned that " Reservoir Dogs " is violent. One of the criminals tortures and slices the ear off a cop and there's lots of shooting.

"If you're making a movie like " Reservoir Dogs ' you would be an idiot to be surprised by people reacting strongly to the violence in it," Tarantino said. "Some people just can't climb that mountain. That's fine. They don't have to. It's not for everybody. It's like slapstick comedy. If some people don't like slapstick comedy, that doesn't make them jerks. When you're making a movie like this, you're making a specific movie for a specific audience. You are ruling out a whole big chunk of them. I knew that going in.

"I have no responsibility to society or to people in general. I have a responsibility to my characters for them to be true. All the violence in the movie comes from what they did. That's the truth of those people. I didn't know what Mr. Blond was going to do before he did it. When I started writing that scene, I didn't know he was going to cut off that cop's ear. I just knew he was alone with him. I was surprised, too. I don't play god with my people. What the characters say and do is what they say and do. And that's that."

"I'm out to disturb you in those scenes. I'm out to get under your skin. I'm out to make you laugh in other scenes."

There are no dogs in the film. No reservoir either.

"I don't like to describe the title," Tarantino said. "It's a mood title anyway. It's what the movie conjures up. These guys are reservoir dogs . One reason I don't describe it is because people come up to me and tell me what it means. They are constantly confounding me with their creativity. On the set this German reporter came in to interview Lawrence Tierney. He asked him what the title meant and (Lawrence) said, "As you know, it comes from a French expression for dogs who ... hang around a reservoir.' "

Tarantino is a fan of heist movies, but he hadn't seen one in a while, so he decided to write his own. Color aliases had been used in "The Taking of Pelham 1 2 3," but the director didn't remember that element while writing his script. He also didn't know of other films that showed a crime being planned the way this one was with thieves who were strangers.

"I'm a fan of genre film-making anyway," he said. "I like the idea of working in a genre because there's so far you can go. As far as heist films are concerned, they're just fun. I make a heist film and you never see the heist. In the first half of the film it probably generates some suspense. In the second half, I don't think you worry about it anymore because the movie has become about something else rather than what happened at that robbery."

Another Tarantino script, "True Romance," is currently being filmed with Tony Scott directing and Chrisitan Slater, Val Kilmer, Dennis Hopper and Gary Oldman in the cast.

He doesn't plan to write many scripts for other directors.

"I don't see myself as a writer," Tarantino said. "I wish I could see myself as an actor, but I don't really do that either. I see myself as a director who writes stuff for himself to do. I know I write dialogue very, very well. That comes from acting. But I'm a film maker first and foremost. If I couldn't make films, I wouldn't just write scripts. I would be very disappointed. It wouldn't be a fun life. If I was just going to be a writer, I would write books."-->

Resources

 * The essence of greatness
 * Empire n.209, November 2006, p.165-174, English, illus
 * In association with BMW Empire magazine selects seven of the best filmmakers and the film/scene that is their defining movie moment.


 * DE SEMLYEN, Nick: Unknown icons: 'I was Frank the Bunny!'
 * Empire n.208, October 2006, p.124-128, English, illus
 * Interviews with supporting actors and actresses who starred in some of the most memorable moments from famous films.


 * NEWMAN, Kim: Torture garden
 * Sight and Sound (0037-4806) v.16 n.6, June 2006, p.28-31, English, illus
 * Examines Eli Roth's tied-to-chair torture film HOSTEL as a metaphor to American ignorance to the world & its resentment In a sidebar, looks at five torture scenes from BLACK CAT, MARATHON, RESERVOIR DOGS, AUDITION, SAVE THE GREEN PLANET.


 * 201 Greatest movies of all time
 * Empire n.201, March 2006, p.77-88,90-101, English, illus
 * A listing of the top two hundred and one films as chosen by the reader's of Empire magazine. With comments by actors and filmmaker's.


 * The soundtrack of our lives
 * Empire n.200, February 2006, p.140-141, English, illus
 * To celebrate its 200th issue Empire select their favourite songs from film soundtracks covering the period of its 200 issues.


 * BRETT, Anwar: Reservoir Dogs
 * Film Review (0957-1809) v.Spec. n.59, August 2005, p.60-64,66,68, English, illus
 * Examines RESERVOIR DOGS as an example of Quentin Tarantino's creativity influenced by his cinematic literacy.


 * NEWMAN, Kim: The 10 Worst Movie Masterplans
 * Empire n.191, May 2005, p.70-71, English, illus
 * Listing of films considered to have plots, where plans (usually criminal), have failed.


 * BRAUND, Simon: The 10 Greatest Ensemble Casts
 * Empire n.189, March 2005, p.70-71, English, illus
 * Listing of ten films believed to have the best ensemble cast. Including reasons why the films made the list.


 * The 10 Best Ever Screenplays
 * Empire n.186, December 2004, p.72-73, English, illus


 * LEYLAND, Matthew: Home movies: reviews
 * Sight and Sound (0037-4806) v.14 n.8, August 2004, p.77-78, English


 * KENNEDY, Colin: Remote control: rwd
 * Empire n.181, July 2004, p.155, English, illus


 * FREER, Ian [...et al]: The 15 most influential films of our lifetime
 * Empire n.180, June 2004, p.125, English, illus
 * Cited by Empire magazine as 'one of the 15 most influential films of our lifetime'.


 * FFW
 * Empire n.180, June 2004, p.144, English, illus


 * WEINBERGER, Stephen: It's not easy being Pink: Tarantino's ultimate professional
 * Literature/Film Quarterly (0090-4260) v.32 n.1, April 2004, p.46-50, English
 * Suggests that Mr Pink from RESERVOIR DOGS is the most professional of all the characters, without any trace of humanity.


 * GOODRIDGE, Mike: Reviews
 * Screen International (0307-4617) n.1424, 10 October 2003, p.25, English, illus
 * Review for Tarantino's KILL BILL, and articles giving the likelihood of box office success in Asia, and a chart showing global box office for RESERVOIR DOGS, PULP FICTION and JACKIE BROWN.


 * Quentin Tarantino special
 * Film Review (0957-1809) v.Spec. n.48, October 2003, p.[whole issue], English, illus
 * A special issue on Quentin Tarantino covering KILL BILL, RESERVOIR DOGS, PULP FICTION, JACKIE BROWN, TRUE ROMANCE. Includes comments by Oliver Stone and Tarantino on NATURAL BORN KILLERS and an article on FROM DUSK TILL DAWN.


 * The top 30 pychos
 * Film Review (0957-1809) v.Spec. n.42, October 2002, p.27-57, English, illus
 * A countdown on the 30 most psychotic characters in cinema, including Mr Blonde in RESERVOIR DOGS.


 * COLLINS, Andrew: The reel story behind...Reservoir Dogs.
 * Radio Times v.311 n.4055, 17 November 2001, p.59, English
 * Short article giving background information about the production of the film.


 * [IN]: DVD
 * Empire n.139, January 2001, p.139, English


 * LEIGH, Danny; MacNAB, Geoffrey: Home movies
 * Sight and Sound (0037-4806) v.11 n.1, January 2001, p.65, English, illus


 * Radio Times v.301 n.3920, 03 April 1999, p.59, English, illus
 * Brief review.


 * DOUGLAS, Torin: Does this film go too far?
 * Radio Times v.294 n.3826, 31 May 1997, p.49, English, illus
 * Discusses the transmission of the film uncut on C4


 * DEEMER, Charles: A Tarantino script: the screenplays of Quentin Tarantino
 * Creative Screenwriting (1084-8665) v.3 n.4, December 1996, p.46-76, English, illus
 * An examination of Quentin Tarantino's writing technique through a study of six scripts, TRUE ROMANCE, NATURAL BORN KILLERS, FROM DUSK TILL DAWN, RESERVOIR DOGS, PULP FICTION and FOUR ROOMS.


 * VACHAUD, Laurent et al: Le néo-polar américain
 * Positif (0048-4911) n.420, February 1996, p.76-108, French, illus
 * On the emergence of the 'neo-thriller' in US films comparing it with 'neo-noir' mentioning USUAL SUSPECTS (interview with Bryan Singer) SEVEN (interview with David Fincher) RESERVOIR DOGS, GRIFTERS (interview with Stephen Frears).


 * TARANTINO, Quentin: It's cool to be banned
 * Index on Censorship (0306-4220) v.24 n.6, November 1995, p.56-58, English, illus
 * Excerpts from a 'Kaleidoscope' radio interview in which Tarantino comments on PULP FICTION and RESERVIOR DOGS, and how banning the video in the UK proved beneficial.


 * WESTBROOK, Caroline: Front desk news
 * Empire n.75, September 1995, p.10, English
 * Note on the contents of RESERVOIR DOGS (1992) limited edition box sets.


 * KERMODE, Mark and MACNAB, Geoffrey: Video
 * Sight and Sound (0037-4806) v.5 n.7, July 1995, p.58, English, illus
 * Review of video release.


 * Front desk clips: reservoir bunnies?
 * Empire n.73, July 1995, p.20, English, illus
 * Excerpts from the censored version of the script of Quentin Tarantino's RESERVOIR DOGS published in Perth, Australia.


 * THOMAS, Philip: Videos to rent
 * Empire n.73, July 1995, p.124, English, illus
 * Video-release review.


 * Channel 4 Dogs have their day
 * Broadcast, 23 June 1995, p.3, English
 * RESERVOIR DOGS will be screened by Channel 4 in 1996 now that the BBFC have cleared it for video relaease.


 * 60,000 Dogs roam the UK
 * Screen International (0307-4617) n.1011, 09 June 1995, p.8, English
 * Note on the video release


 * Front desk news: let's go back to work
 * Empire n.71, May 1995, p.12, English, illus
 * Short article on the likelihood of a re-release in the States of a director's cut of RESERVOIR DOGS (1992).


 * PACE, William R.: Writing for low-budget feature films...
 * Creative Screenwriting (1084-8665) v.2 n.1, April 1995, p.76-92, English
 * RESERVOIR DOGS screenplay was originally written for a budget of $50,000. Looks at how financial restriction helps Tarantino to either ignore or subvert accepted narrative structure, pulling everything together through dialogue.


 * STEIN, Michael Eric: The new violence or twenty years of violence in films...Pt.2
 * Films in Review (0015-1688) v.46 n.3/4, March 1995, p.14-21, English, illus
 * Part two of an article analysing the intent of violence in recent American movies, with particular reference to TERMINATOR (1984), LETHAL WEAPON (1987), ROBOCOP (1987), RESERVOIR DOGS (1992), TRUE ROMANCE (1993), KALIFORNIA ('93)


 * Mr. Black: Resercoir dogs: Let's go to work again!
 * Invasion n.11, January 1995, p.4,5, English
 * On the production, particularly Harvey Keitel's involvement and short feature on each of the main characters / actors


 * JONES, Darren
 * Invasion n.11, January 1995, p.92,93, English, illus
 * video note


 * Macaulay, Scott: Producing pulp
 * Filmmaker (1063-8954) v.2 n.4, July 1994, p.16,61, English, illus
 * Lawrence Bender and Stacey Sher, the producers of Quentin Taratino's PULP FICTION, talk about the difficulties of working on independent films, both refer to RESERVOIR DOGS.


 * SMITH, Gavin: When you know you're in good hands
 * Film Comment (0015-119X) v.30 n.4, July 1994, p.32-36,38,40-43, English, illus
 * Interview with Quentin Tarantino about RESERVOIR DOGS and PULP FICTION, discussing particular scenes and the work experience with the actors


 * COLLIS, Clark: Mad Dogs and Englishmen
 * Empire n.58, April 1994, p.20, English, illus
 * article about fans who dress up as members of the film RESEVOIR DOGS.


 * FULLER, Graham: Brit movies get big, brash and american
 * Interview (0149-8932) v.24 n.4, April 1994, p.74, English, illus
 * Graham Fuller argues that the new wave of British directors has been influenced by watching commercial American fare, citing SHOPPING and THE YOUNG AMERICANS as prime examples.


 * Q & A
 * Empire n.56, February 1994, p.38, English
 * Letter and answer about the possible screening of RESERVOIR DOGS on Channel 4, even though the film has not been allowed a video release.


 * DAWSON, Jeff: Eddie Bunker: Criminal Mastermind to the Movie Industry
 * Empire n.55, January 1994, p.43-44, English, illus
 * Interview with ex-con Eddie Bunker about his work as a scriptwriter and actor on various films, including RESERVOIR DOGS and AMERICAN HEART.


 * TSALAMANDRIS, Con: Warehouse of Games
 * Metro (0312-2654) n.96, December 1993, p.3-9, English, illus
 * An in-depth analysis of RESERVOIR DOGS, including comments on the narrative structure, the revisionist content, and the treatment of masculinity.


 * DAWSON, Jeff: My Life As A Dog...
 * Empire n.53, November 1993, p.107, English, illus
 * List of the similarities between CITY ON FIRE and RESERVOIR DOGS.


 * CAPUTO, Raffaele: Reservoir Dogs
 * Cinema Papers n.94, August 1993, p.28-32, English, illus
 * Interview with Steve Buscemi about his acting background and his role in RESERVOIR DOGS.


 * Man Bites Dogs
 * Empire n.48, June 1993, p.7, English, illus
 * The video releases of RESERVOIR DOGS and BAD LIEUTENANT have been delayed because of classification problems.


 * CHARLTON, Susan
 * Cinema Papers n.93, May 1993, p.50, English, illus


 * BATEMAN, Louise: Dogs impounded as BBFC shows teeth
 * Screen International (0307-4617) n.901, 02 April 1993, p.6, English, illus
 * On the current debate about screen violence in The BAD LIEUTENANT and RESERVOIR DOGS which are currently under scrutiny by the BBFC, awaiting certificates for home video distribution


 * The Magic Bullet Theory
 * Empire n.46, April 1993, p.16, English, illus
 * Light hearted article theorising over who shot Nice Guy Eddie.


 * DUANE, Paul
 * Film Ireland (0791-5729) n.34, April 1993, p.27-28, English, illus


 * HILFERTY, Robert
 * Cinéaste v.19 n.4, March 1993, p.79-81, English, illus


 * DAWSON, Jeff: New Films
 * Empire n.44, February 1993, p.23, English, illus


 * DAWSON, Jeff: Let's go to work...
 * Empire n.44, February 1993, p.50-54, English, illus
 * Quentin Tarantino talks about RESERVOIR DOGS and his reasons for choosing to write a heist movie.


 * Screen International (0307-4617) n.890, 15 January 1993, p.1, English, illus
 * Note of the film's success at the box office in London


 * JONES, Alan
 * StarBurst (0955-114X) n.173, January 1993, p.44, English, illus
 * Credits. Review.


 * NEWMAN, Kim
 * Sight and Sound (0037-4806) v.3 n.1, January 1993, p.51-52, English, illus


 * RYAN, James: Unleashing 'Reservoir Dogs'
 * Premiere (0894-9263) v.6 n.5, January 1993, p.36, English, illus
 * Comments from Quentin Tarantino about RESERVOIR DOGS, plus photographs from the US premiere.


 * TAUBIN, Amy: The men's room
 * Sight and Sound (0037-4806) v.2 n.8, December 1992, p.2-4, English, illus
 * Discussion of the structure of RESERVOIR DOGS and the use of violence in the film.


 * TAUBIN, Amy
 * Sight and Sound (0037-4806) v.2 n.8, December 1992, p.4, English, illus
 * Tim Roth talks about RESERVOIR DOGS, and the issue of class in film.


 * PIZZALLO, Stephen: From rags to reservoir Dogs.
 * American Cinematographer (0002-7928) v.73 n.11, November 1992, p.62-68, English, illus
 * The cinematographic work of Andrzej Sekula on RESERVOIR DOGS is discussed.


 * DE LA FUENTE, Anna Marie: 'Dogs' walks tall at fantasy fest
 * Hollywood Reporter (0018-3660) v.324 n.12, 13 October 1992, p.4,47, English
 * RESERVOIR DOGS has won 2 awards at the Sitges Fantasy Film Festival.


 * Various: The 12 Greats of Christmas
 * Premiere (0894-9263) v.6 n.2, October 1992, p.105, English
 * Note, in a preview of the films written and directed by the same person and released in the Autumn of 1992-3


 * DE BRUYN, Olivier and CIMENT, Michel and NIOGRET, Hubert: L'Actualité; Quentin Tarantino
 * Positif (0048-4911) n.379, September 1992, p.25-35, French, illus
 * Article discussing RESERVOIR DOGS and an interview with Quentin Tarantino about his life and the film.


 * HOBERMAN, J.: Back on the Wild Side
 * Premiere (0894-9263) v.5 n.12, August 1992, p.31-32, English, illus
 * Article about the influence of Martin Scorsese on new directors Quentin Tarantino (RESERVOIR DOGS) and Nick Gomez (LAWS OF GRAVITY)


 * KLADY, Leonard
 * Screen International (0307-4617) n.854, 24 April 1992, p.16, English, illus


 * McCARTHY Todd
 * Variety (0042-2738), 27 January 1992, p.52, English
 * Detailed review and credits.


 * Hollywood Reporter (0018-3660) v.319 n.13, 17 September 1991, p.9, English


 * Screen International (0307-4617) n.819, 09 August 1991, p.31, English


 * Hollywood Reporter (0018-3660) v.318 n.18, 16 July 1991, p.25, English


 * Screen International (0307-4617) n.789, 11 January 1991, p.17, English