Today I’d like to give a little nod to one of the undervalued sidekicks of cinema, the Steve James of filmatists. Roger Avary shares with Quentin Tarantino the best original screenplay Oscar for PULP FICTION. I always thought he was supposed to have just written the Bruce-Willis-lays-around-in-bed-talking-cute-with-a-French-lady portion, but Wikipedia says the accidental shooting of Marvin (SPOILER) and The Miracle of the Bullets That Totally Miss both came from an earlier screenplay by Avary. The two worked at a video store together (and also as production assistants on Dolph Lundgren’s MAXIMUM POTENTIAL workout video) and collaborated alot when they were coming up. For example Avary’s script was rewritten by Tarantino into TRUE ROMANCE, then Avary came in later on when Tony Scott was making the movie and wanted rewrites. He also wrote a little bit of NATURAL BORN KILLERS and the shit Steven Wright says on the radio in RESERVOIR DOGS and Tarantino was credited as executive producer on this one.
By the time of JACKIE BROWN Tarantino and Avary didn’t really seem to be working together anymore, so to people who haven’t paid attention to him since then it would be easy to think he might’ve just been a lucky buddy of Tarantino’s, riding in on the ol’ ’70s TV show referencing coattails. I think he’s since proven himself capable of standing on his own, it’s just that all his movies end up being misunderstood or underappreciated: he wrote and directed RULES OF ATTRACTION and wrote SILENT HILL and BEOWULF. All movies I like that a whole lot of people hate.
It’s gotta be hard living under the shadow of Tarantino, because #1 nobody can really live up to him and #2 the chin part of the shadow is just gigantic (wocka wocka). But I think Avary’s got some talent.
(read the rest of this shit…)