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Pam Grier in Jackie Brown (1997) is a masterclass in quiet authority. Tarantino built the role specifically around her, reshaping Elmore Leonard’s character to fit Grier’s history and screen presence.

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374,657 просмотров • 9 месяцев назад •via X (Twitter)

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Pam Grier Ph.D I saw "Jackie Brown" at the preview. The leading role Pam Grier Ph.D was very wonderful. The performance in "Jackie Brown" is amazing. I also think it's the best in her best work. From Japan
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Pam Grier Ph.D I saw "Jackie Brown" at the preview. The leading role Pam Grier Ph.D was very wonderful. The performance in "Jackie Brown" is amazing. I also think it's the best in her best work. From Japan

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Jackie Brown (1997) is Tarantino at his most relaxed and confident. A crime movie that runs on patience, looks, and quiet reversals, letting Pam Grier, Robert Forster, and a ticking money swap do all the work instead of flashy violence.
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Jackie Brown (1997) is Tarantino at his most relaxed and confident. A crime movie that runs on patience, looks, and quiet reversals, letting Pam Grier, Robert Forster, and a ticking money swap do all the work instead of flashy violence.

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The opening of JACKIE BROWN (1997), with Pam Grier gliding through the airport to “Across 110th Street,” was Tarantino’s tribute to the blaxploitation films that made Grier a star in the 1970s. In 5 mins, the movie tells you exactly who Jackie Brown is.
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The opening of JACKIE BROWN (1997), with Pam Grier gliding through the airport to “Across 110th Street,” was Tarantino’s tribute to the blaxploitation films that made Grier a star in the 1970s. In 5 mins, the movie tells you exactly who Jackie Brown is.

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Tarantino originally wanted Robert De Niro to play Max Cherry in Jackie Brown (1997). De Niro turned it down, specifically asking to play the low-life Louis Gara instead because he wanted the challenge of playing a character who was "slow."
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Tarantino originally wanted Robert De Niro to play Max Cherry in Jackie Brown (1997). De Niro turned it down, specifically asking to play the low-life Louis Gara instead because he wanted the challenge of playing a character who was "slow."

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Pam Grier, famous for blaxploitation films like "Coffy" and "Foxy Brown," discusses with Tracy Smith her role in the Prime Video horror series "Them: The Scare." Grier also shares her experience of beating cancer and why she chose to work in a genre that she finds terrifying.
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Pam Grier, famous for blaxploitation films like "Coffy" and "Foxy Brown," discusses with Tracy Smith her role in the Prime Video horror series "Them: The Scare." Grier also shares her experience of beating cancer and why she chose to work in a genre that she finds terrifying.

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JACKIE BROWN (1997) has that rare soundtrack where the songs feel like they belong to the characters, not just the movie. Bobby Womack, Bill Withers, The Delfonics and Pam Grier’s own voice turn the whole film into a 70s soul time capsule.
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JACKIE BROWN (1997) has that rare soundtrack where the songs feel like they belong to the characters, not just the movie. Bobby Womack, Bill Withers, The Delfonics and Pam Grier’s own voice turn the whole film into a 70s soul time capsule.

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Quentin Tarantino wrote the role of Stephen in Django Unchained (2012) specifically for Samuel L. Jackson. Tarantino told him he had created "the most hateful character in cinematic history" and wouldn't let anyone else play the part.
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Quentin Tarantino wrote the role of Stephen in Django Unchained (2012) specifically for Samuel L. Jackson. Tarantino told him he had created "the most hateful character in cinematic history" and wouldn't let anyone else play the part.

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Quentin Tarantino on Pam Grier & the opening sequence in 'Jackie Brown' (1997): "'Jackie Brown' (1997) is not a black exploitation film. Having said that, Pam is such an icon. To one degree or another, it is like casting John Wayne in a movie. You cast John Wayne in a Western, you are not just dealing with this unknown figure walking in there that you have got to learn about. For some audiences that will be the case, but that is not where I am coming from. John Wayne has got a whole past behind him, and his past is built up from these other movies. That is good baggage. Some baggage can be very, very good. By casting Pam, I did term this in my mind to a Pam Grier movie, but it was a Pam Grier movie with its feet on the ground more. That is not putting anything down, because 'Coffy' (1973) is one of my favourite movies, actually; I love 'Coffy'. Jackie Brown is a real human being. She is not a super bad momma - she is a kind of super bad momma to tell you the truth! - she does not get razor blades in her Afro, and she is not Kung Fu-ing people, and she is not pulling a sawn off shotgun and blowing a guy's head off. She is realistic; she is a real lady in those dire circumstances that I described. One of the things I liked about the opening credit sequence is if you are familiar with Pam's movies, a whole lot of them start with Pam just walking, and beholding the glory that is Pam. I thought, OK, I will make me the greatest Pam Grier opening sequence of all time. I think I pulled it off actually. The structure of it is very interesting. It is not supposed to be naked to the eye, but it starts off that she is on the conveyor belt, and you see her, you are drinking her in, you are taking her in, and she is walking down the airport and she just looks like the baddest creature a guy ever created. She has just got all this power and strength - and she is Foxy Brown 20 years later, she is Coffy 20 years later - and she has all this womanness, and it is great. In the last part of it you see she is running and running, and you realise she is just trying to get to work. She is not walking down the street to burn Harlem to the ground. She is a woman working in this world, and she is late for her job, and she is going to get fired if she does not get there. After the big bad ass opening credit sequence, two minutes later she is serving peanuts. So it starts off as this mythical, super hero figure and then by the end of the credit sequence we have brought it back down to earth." ('Quentin Tarantino interview (I) with Pam Grier, Robert Forster and Lawrence Bender', Guardian, 1998)
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Quentin Tarantino on Pam Grier & the opening sequence in 'Jackie Brown' (1997): "'Jackie Brown' (1997) is not a black exploitation film. Having said that, Pam is such an icon. To one degree or another, it is like casting John Wayne in a movie. You cast John Wayne in a Western, you are not just dealing with this unknown figure walking in there that you have got to learn about. For some audiences that will be the case, but that is not where I am coming from. John Wayne has got a whole past behind him, and his past is built up from these other movies. That is good baggage. Some baggage can be very, very good. By casting Pam, I did term this in my mind to a Pam Grier movie, but it was a Pam Grier movie with its feet on the ground more. That is not putting anything down, because 'Coffy' (1973) is one of my favourite movies, actually; I love 'Coffy'. Jackie Brown is a real human being. She is not a super bad momma - she is a kind of super bad momma to tell you the truth! - she does not get razor blades in her Afro, and she is not Kung Fu-ing people, and she is not pulling a sawn off shotgun and blowing a guy's head off. She is realistic; she is a real lady in those dire circumstances that I described. One of the things I liked about the opening credit sequence is if you are familiar with Pam's movies, a whole lot of them start with Pam just walking, and beholding the glory that is Pam. I thought, OK, I will make me the greatest Pam Grier opening sequence of all time. I think I pulled it off actually. The structure of it is very interesting. It is not supposed to be naked to the eye, but it starts off that she is on the conveyor belt, and you see her, you are drinking her in, you are taking her in, and she is walking down the airport and she just looks like the baddest creature a guy ever created. She has just got all this power and strength - and she is Foxy Brown 20 years later, she is Coffy 20 years later - and she has all this womanness, and it is great. In the last part of it you see she is running and running, and you realise she is just trying to get to work. She is not walking down the street to burn Harlem to the ground. She is a woman working in this world, and she is late for her job, and she is going to get fired if she does not get there. After the big bad ass opening credit sequence, two minutes later she is serving peanuts. So it starts off as this mythical, super hero figure and then by the end of the credit sequence we have brought it back down to earth." ('Quentin Tarantino interview (I) with Pam Grier, Robert Forster and Lawrence Bender', Guardian, 1998)

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Pam Grier on why she appeared n*de in her films: "Interviewer: Given your personal history*, was it hard to act in movies that often featured the threat of s€xual v!olence? Grier: It’s in a lot of the blaxploitation films. Sure, but by being n*de in those movies I was trying to help men understand. Society created this mystery about the v@g!na, the breasts. When you create a mystery, people want to see it and attack it if they can’t have it. So I was like, here’s the mystery. I hope I bore you and you’ll never get a hard-on again." *Pam Grier was s€xually assaulted at the ages of 6, 18 and 21. ("Pam Grier on maintaining her independence and identity in showbiz", David Marchese, NY Times, 2019) P.S: On this day, 53 years ago, "Coffy" (1973) was released in the USA.

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