In Pulp Fiction, there's a call-back late in the film to an earlier shot of Tim Roth's character yelling "Garcon, coffee". Two completely different shots are used. The shots are so different that it seems like the viewer is supposed to realize they're different. Is there a particular reason for this?

  • 1
    As I recall (and it's been a while) isn't that scene shot twice because its the perspective of two different characters?
    – Paulie_D
    Jun 26, 2018 at 19:20
  • That's what I suspected, except in one of them Roth puts a LONG pause between the two words, making me suspect there's a reason for the difference, besides just being literally from two different perspectives. Jun 26, 2018 at 19:24
  • Nah...I don't think so...it's just Roth doing it slightly different...perhaps to draw out the second time just so that we have time to realise it's actually a "call-back"...of course it's not actually a callback...it's just Tarantine looping us back to where we started.
    – Paulie_D
    Jun 26, 2018 at 19:32

1 Answer 1


As well, as the difference in shots, there is also, at first glance, the apparent continuity error regarding Yolanda's dialogue, as in the opening scene she says...

"Any of you fucking pricks move, I will execute every motherfucking last one of you!"

...as opposed to the final scene where it changes to...

"Any of you fucking pricks move, I will execute every one of you motherfuckers!".

SE Member 'Walt', provided this fantastic answer to explain the discrepancies between the two scenes, which may also cover the shot difference. The member quoted the following from IMDB -

'Tarantino has explained that this is not an error, rather, he did this on purpose. When we first examine the scene, we are seeing Ringo and Yolanda's conversation from their perspective. Obviously, because this is their conversation, what we hear first is probably what was actually said. However, at the end of the film, what is said is different because we are no longer viewing the situation from Ringo and Yolanda's perspective, but rather everyone else in the diner, most specifically Jules.'

When we are talking specifically about perspectives, this surely must apply more to what we see above and beyond what we hear.

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