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Once Upon a Time in Hollywood: The Deluxe Hardcover: A Novel Hardcover – November 9, 2021
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Featuring never-before-seen photos from the set and posters and other memorabilia from Rick Dalton’s career, an original, exclusive script for a Bounty Law episode by Quentin Tarantino titled “Incident at Inez” and a Mad Magazine parody of Bounty Law titled “Lousy Law: Loser’s Last Ride”
Quentin Tarantino’s long-awaited first work of fiction—at once hilarious, delicious, and brutal—is the always surprising, sometimes shocking new novel based on his Academy Award- winning film.
The sunlit studio back lots and the dark watering holes of Hollywood are the setting for this audacious, hilarious, disturbing novel about life in the movie colony, circa 1969.
Once Upon a Time in Hollywood tells the story of washed-up actor Rick Dalton. Once Rick had his own television series, a famous western called Bounty Law. But “it ain’t been that time in a long time” and now Rick’s only regular parts are as the heavy, ready to be bested by whichever young “swingin’ dick” the networks want to make a new star out of come pilot season. When a talent agent approaches Rick about starring in Italian Westerns (“Eye-talian Westerns”?), it only ignites a new crisis of confidence for the perpetually insecure actor.
And then there’s Rick’s stunt double, Cliff Booth, a war hero who killed more Japanese soldiers during the Second World War than any other American, and who never thought he’d make it back home. If Rick’s career has stalled, Cliff’s has flamed out. Already living under a cloud of suspicion after the strange death of his wife at sea, Cliff makes the mistake of picking the wrong fight on set, and is soon reduced to the status of Rick’s full-time gofer.
Right next door to Rick’s still glamourous Benedict Canyon home (“the house that Bounty Law built”) some Hollywood dreams are coming true, and these dreams belong to Sharon Tate. Not only is she Mrs. Roman Polanski—married to the onlytrue rock star director—but Sharon is fast becoming a star in her own right, living life on the upswing in a tough town.
Only a few miles away, in the desert around Chatsworth, lives a different kind of dreamer. Charles Manson is an ex-con who has spellbound a group of hippie misfits living with him in squalor on an old “movie ranch.” Little do his young followers know to what degree Charlie himself is an industry striver, more desperate for Columbia Records and Tapes’s attentions than for the revolution he preaches.
These indelible characters—and many more: an acting child prodigy beaming with hope; a booze-drenched former A-lister who’s lost it all—occupy a vanished world from not so long ago that is brought to brilliant life in these pages. Here is 1969, the music, the cars, the movies and TV shows. And here is Hollywood, both the fairy tale and the real thing, as given to us by a master storyteller who knows it like the back of his hand.
- Print length400 pages
- LanguageEnglish
- PublisherHarper
- Publication dateNovember 9, 2021
- Dimensions6 x 1.3 x 9 inches
- ISBN-100063112566
- ISBN-13978-0063112568
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Editorial Reviews
Review
“Quentin Tarantino’s first novel is, to borrow a phrase from his oeuvre, a tasty beverage…He’s here to tell a story, in take-it-or-leave-it Elmore Leonard fashion, and to make room along the way to talk about some of the things he cares about — old movies, male camaraderie, revenge and redemption, music and style…In Once Upon a Time in Hollywood, Tarantino makes telling a page-turning story look easy, which is the hardest trick of all.” — Dwight Garner, The New York Times
“Classic, sparks-flying Tarantino…Tarantino’s explosive dialogue, with its blend of streetwise and formal cadences, is almost as effective written down as read aloud…Far from being the throwaway artifact it sometimes pretends to be, Tarantino’s first novel may even, as he’s hinted, herald the start of a new direction for this relentlessly inventive director.” — The Washington Post
“Tarantino, celebrated for his screenplays, truly is a literary force, stepping forward as a novelist adept at using an omniscient point of view to powerful effect in a novel driven by its characters’ inner lives and smart, witty, and salty dialogue of propulsion and nuance, hilarity and heartbreak….It will also offer a stereoscopic experience for most readers as they envision the characters as played by the movie’s cast…a doubling that will inspire fanatic comparisons between film and page. But this is a work of literary art in its own right, a novel that, if the movie didn’t exist, would captivate readers with its own knowing vision and zestful power.” — Donna Seaman, Booklist
About the Author
Quentin Tarantino was born in 1963 in Knoxville, Tennessee. He is the writer-director of nine feature films, the winner of two Academy Awards for Best Original Screenplay, and the author of the novel Once Upon a Time in Hollywood. Cinema Speculation is his first work of nonfiction.
Product details
- Publisher : Harper; Deluxe edition (November 9, 2021)
- Language : English
- Hardcover : 400 pages
- ISBN-10 : 0063112566
- ISBN-13 : 978-0063112568
- Item Weight : 1.43 pounds
- Dimensions : 6 x 1.3 x 9 inches
- Best Sellers Rank: #12,595 in Books (See Top 100 in Books)
- #122 in TV, Movie & Game Tie-In Fiction
- #198 in Mystery Action & Adventure
- #1,485 in Literary Fiction (Books)
- Customer Reviews:
About the author

With his vibrant imagination and dedication to richly layered storytelling QUENTIN TARANTINO is one of the most celebrated filmmakers of his generation. He made his directorial debut in 1992 with RESERVOIR DOGS, and then co-wrote, directed and starred in one of his most beloved films, PULP FICTION, which won his first Oscar® for Best Screenplay. Followed by the highly acclaimed films JACKIE BROWN, KILL BILL VOL. 1 and VOL. 2, and DEATH PROOF, Tarantino then released his World War II epic, INGLOURIOUS BASTERDS, DJANGO UNCHAINED (which won his second Oscar® for Best Screenplay), and the HATEFUL EIGHT. Tarantino’s most recent film, ONCE UPON A TIME...IN HOLLYWOOD, was nominated for five Golden Globes, ten BAFTAS, and ten Academy Award nominations.
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Instead, what you get is far shaggier and looser, following the very loose arc of Rick Dalton’s time shooting the pilot of Lancer even as Tarantino jumps back and forth in time and through different perspectives. We get a lot of background on Brad Pitt’s Cliff Booth, as Tarantino puts into words all of the subtext that often orbited around the character (and often makes it a bit harder to reconcile with Pitt’s laconic, charismatic performance – or maybe just more troubling). We get more depth on Dalton’s career, with film stories a plenty, and a sense of what happened to him outside the boundaries of the film. We see Sharon Tate hitchhiking to Hollywood, and we see some of Pussycat’s earlier experiences with the Manson family. In other words, what you’re almost getting here is a sense of the larger world and background that Tarantino had in mind before he started to film, which allows you a window into how he creates characters, how he conceives of his story, and so forth.
This isn’t really a novel, in other words; or, rather, it’s one that’s fairly aimless and loose, wandering down rabbit holes and drifting through time in an incredibly loose sense. That emphasizes some issues along the way (it makes the Manson family thread of the plot feel even more extraneous than it did in the film, and while some of the glimpses of Sharon Tate are interesting, she too feels like a storyline that never grips Tarantino the way that Rick and Cliff do), but it also plays into the biggest strength of the film: that desire to simply hang out in a Hollywood era that came and went, one that was already fading by this point but got pushed even further by a horrific series of events.
That desire to hang out in the era is what Once Upon a Time in Hollywood best succeeds at, as Cliff wanders through his first exposures to Japanese cinema, or as Rick grapples with the explosion of spaghetti westerns, or old actors trade stories about the legends they once knew. Tarantino allows himself to drop names and figures from history in here, but also allows himself to do so in ways that acknowledge some realities, like the painful fall from grace of Aldo Ray or the realities of what it’s like to be best known for the roles you didn’t get. There’s more heart here than you might expect from Tarantino, down to the unexpected final chapter of the book, which involves nothing more than a conversation and a scene between peers, and feels like a love letter to the power of film and the craft of acting.
Are there loose ends aplenty? Undeniably. Tarantino’s choice to basically novelize the plot of Lancer is a neat idea, but one that probably isn’t necessary in the least; the Manson scenes, as I already mention, feel entirely tacked on and unneeded, a fact that’s only exacerbated by the (good) choice to barely acknowledge the film’s ending. More than that, any time Tarantino is basically transcribing his action or his scenes, you’re more than aware of his weaknesses as a writer – his dialogue attributions are flat, his descriptions rocky, his prose…functional. Once he’s describing the minds of his character, or looking out at a movie theater, or letting his creations banter, you can feel his gifts shining through, but it’s hard to imagine novelist being a full-time career for him.
Even so, I really enjoyed Once Upon a Time in Hollywood a lot. It’s rocky and it’s shaggy and it’s got some weaknesses. But it’s also a labor of love, and when you’re lost in Hollywood 1969 politics and screen rules, or being reminded of how great pulp Westerns could be, or seeing characters like Cliff and Rick get more fleshed out and brought to life (particularly Cliff, warts and all), it’s hard not to feel Tarantino’s excitement pulling you along. “Come hang out with me,” he seems to be saying – sometimes almost literally. Is the book essential? Does it replace the film? Is it even capable of standing on its own? I’d say “no” to all of those. But as a companion piece, it’s compelling and brings out the love of cinema and storytelling that Tarantino has always displayed, and I loved that about it.
Movie tie-ins would appear on round paperback spindles in drug stores and supermarkets often weeks before a movie opened nationwide. Some were great, and most were stilted, barely covering basic scenes, and not providing much else. A typical movie tie-in book would be something like “The Towering Inferno” or “Cannonball Run.”
Timothy Zahn famously ghosted the first Star Wars novelization, however, on the Ballentine paperback cover which came out months before the movie hit screens it listed George Lucas as author. Many of these books are now collectors’ items if they had additional scenes, or the final script was significantly changed for actual filming or other reasons like limited press runs. Alan Dean Foster’s “Alien” paperback is highly collectible now for many of those reasons. The movie tie-in for “The Omen” was extremely popular, even today; however, the final chapters were lame, disappointing horror fans because the book was so uneven.
Philip K. Dick absolutely refused to write a movie tie-in for Blade Runner, forcing the studio to hire a hack writer to bang out a super crappy book. With Blade Runner sequels the original novella by PKD appeared with the original title and Blade Runner graphics.
Used bookstores will often have a movie tie-in section so you might find good ones if you look around. Another way is simply finding the source material for a film that you like. Was the movie an original screenplay or based upon a published work like a novel or short story? Usually, movie tie-ins will be published the same year as the movie appears. If the story writer and /or screenplay author and the novelization author are the same person it does get weird because there isn’t any need to give credit to yourself, it has a copywrite for publication.
This book is entertaining and provides lots of back stories to the main characters. Additional scenes, thoughts and memories of characters, and descriptions of places and even sights and sounds emanating from TV and radios are throughout the narrative. Scenes of the film are altered or missing. So, when you reflect on the film and after having read this book, you can appreciate both for what you find. Both are complete in their own ways, and they compliment each other very well. The ending of the book is substantially abbreviated, allowing the reader to compare the book ending to the movie ending.
If the main characters in this film resonate with you. If the theme and purpose (of the film) had you thinking and you really want to know more about those characters and this time, then check out this book. Another aspect of this book is that the characters have opinions about music and films based upon what the characters like, so you could make the mistake of saying “Tarantino likes blah blah blah film or music” – it is obvious that Tarantino is clueing you in to the character by those things. He personally might have his own set of likes and dislikes. I think one should not compare this book with a Pulitzer Prize winning novel but compare it with other movie tie-in books – on that level, it is a good book and fun to read. The whole ‘Cowboys vs. Hippies’ aspect of the film is less overt in the book, but it’s there if you look for it. The main theme of a love affair with movies during this pivotal moment of course runs through the whole novel and film.
He clearly enjoys Cliff and his exploits, which take up more of the novel than it did in the movie. The Manson matersil now feels more secondary, which is interesting.
For anyone who liked the movie, this is recommended.
Top reviews from other countries
The physical appearance of the book is important - it is meant to resemble a 1970s-era mass-market paperback, the sort of cheap book you used to find in an American supermarket (and possibly still do for all I know). It looks and feels like a cheap book - which is what it’s meant to be. Pulp fiction, to coin a phrase.
For those who have seen it, the book version of a washed-up TV star differs from the film in several ways, which I won’t spoil, but there is a new, terrifying scene involving one of Charles Manson’s cronies. Elsewhere, QT digs deep into Manson’s failed but weirdly promising music career and stuntman Cliff Booth’s backstory is filled in. Also, Tarantino indulges himself with excellent passages about acting, B movies, sex scenes in films, foreign movies etc. You can tell he enjoyed writing this book.
Tarantino is not out to impress us with the intricacy of his sentences or the nuance of his psychological insights - he is not out to endear himself to Guardian readers. This is grossly funny and often violent book, and Tarantino writes (and films) some of the best/worst violence out there. It is sophisticated but rough. If he’d written it better, he’d have written it worse. It’s a mass-market paperback that reeks of mass-market paperbacks, and is all the better for it.
Better than the film? Possibly. It certainly doesn’t defame it by existing. It expands the story in a way that does it visceral justice. Tarantino has defied expectations (mine included) by writing a page-turner that is brutally titillating, shockingly salacious and quite, quite brilliant.
Reviewed in the United Kingdom 🇬🇧 on June 28, 2021
The physical appearance of the book is important - it is meant to resemble a 1970s-era mass-market paperback, the sort of cheap book you used to find in an American supermarket (and possibly still do for all I know). It looks and feels like a cheap book - which is what it’s meant to be. Pulp fiction, to coin a phrase.
For those who have seen it, the book version of a washed-up TV star differs from the film in several ways, which I won’t spoil, but there is a new, terrifying scene involving one of Charles Manson’s cronies. Elsewhere, QT digs deep into Manson’s failed but weirdly promising music career and stuntman Cliff Booth’s backstory is filled in. Also, Tarantino indulges himself with excellent passages about acting, B movies, sex scenes in films, foreign movies etc. You can tell he enjoyed writing this book.
Tarantino is not out to impress us with the intricacy of his sentences or the nuance of his psychological insights - he is not out to endear himself to Guardian readers. This is grossly funny and often violent book, and Tarantino writes (and films) some of the best/worst violence out there. It is sophisticated but rough. If he’d written it better, he’d have written it worse. It’s a mass-market paperback that reeks of mass-market paperbacks, and is all the better for it.
Better than the film? Possibly. It certainly doesn’t defame it by existing. It expands the story in a way that does it visceral justice. Tarantino has defied expectations (mine included) by writing a page-turner that is brutally titillating, shockingly salacious and quite, quite brilliant.
Unfortunately, he is not a novelist. The sentences are clunky in places, to the point of being distracting and I just could not get on with the "present day tense" he utilised.
"Rick walks into the room."
"Marvin answers his phone."
It's like he has taken the directions from the script and thrown it into this book and just called it a novel. Give it a go if you want but, this was not for me at all and if present tense would bother you (in quite a thick book with small font) then you might want to swerve it.
A shame.
Reading chapters that were seen on screen is great, but there are quiet a number of differences in the book and extra side stories added on, which makes the story work even more. It feels like this book was written from a director's cut of the film, which makes reading it all the more special.
This may sound crazy, but for me, part of the experience of reading a story from a book is the smell and feel of the book itself. This book smells terrific and the size of it makes it sit in the hands perfectly.
Yet the excess of information that contributes to this looseness is often interesting in itself, especially for movie buffs and fans of Hollywood history. Insider knowledge provides definitions of terms like “ringer” (203) and “tagging” (204) and there are multiple descriptions of procedures on a film set. Much of the special knowledge is gossip about the sex lives and alcohol consumption of once-famous names now safely dead, which presumably protects the author from any legal action. Hollywood gossip is a saleable commodity with a history as old as Hollywood, and the combination of insider knowledge and gossip makes for “a good education in what the entertainment business is like” (164), a phrase which could be a subtitle for Tarantino’s novel.
Of course, reliance on the ephemera of popular culture has its risks. TV, movies and pop music have their appeal, which may include nostalgia, but they do tend to age and disappear. For an audience that has never seen Gunsmoke or Bonanza, would reference to them make sense? The novel Once, and even Tarantino’s films, may be generation-dependent. The argument about the meaning of Madonna’s “Like a Virgin” in Reservoir Dogs, or comment on the Delfonics in Jackie Brown, is probably a niche interest even to an audience contemporary with the film. A film or book that depends heavily on popular culture has a built-in half-life. Yet Tarantino is also knowledgeable about the less ephemeral, and Cliff Booth’s extended riff on foreign film (30ff), especially Kurosawa, suggests a wealth of knowledge that would make non-fiction books by Tarantino about film a superb read.
Once is a blend of fiction and non-fiction, a 400-page text informed, perhaps over-informed, by insider knowledge of the film industry, its history and characters. The book has a raw vigour, with interesting themes like ambition and personal and business relations among people in a cut-throat industry. Its main fictional characters, Rick and Cliff, are interesting and sympathetic enough that we care about them, and the ending where “Rick realizes how fortunate he is and was” to be a film and TV actor, to be paid for “pretending to be a cowboy” (399), convinces. It’s as if Once says, look at all this mess of greed, vanity and dishonesty, and talent—the movie business—and yet, isn’t it wonderful? The reader may think of Sam Goldwyn’s claim that film is “the greatest near-art form of the twentieth century,” and agree.
Novelisation has fallen out of fashion but what QT has done is a tad different: in the book-of-the-film we are showing the extensive back stories of the principal characters which Tarantino had already written before filming, like any good novelist would do *and* he gives a number of ‘lectures’ on the history of film. And you might think that ‘lecture’ would mean dull, plodding exposition and you’d be wrong. It is a total delight, erudite and profoundly understood (he probably wrote most of it from memory because he really is Mastermind Champion on movies, especially westerns).
Since devouring this book I’ve found a YouTube interview between QT and a US television news channel; in it he lets the world know three things:
1 he intends to do more novels based on his screenplays (I can’t wait to read Inglorius Basterds – the novel)
2 he’s written a stage play but won’t say what about – given his terrific dialogue writing skills that’s going to be one to watch
3 his movie-making career is likely to come to an end – he’s always said he’ll only make ten pictures and OUATIH was his ninth – afterwards he intends to become ‘a man of letters (his own words).
The novel of OUATIH is covers the same general ground as the movie but with many extensions and expansions, and the scenes in a different order.
Cliff Booth (Brad Pitt) the stunt double for fading actor Rick Dalton (DiCaprio) gets the lion’s share of the novel and develops into a fascinating character study.
Buy it.





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