Let me tell ya what Like a Virgin's about. It's about some cooze who's a regular fuck machine. I mean all the time, morning, day, night, afternoon, dick, dick, dick, dick, dick, dick, dick, dick, dick, dick... dick.2. Cool Continued
Then one day she meets a John Holmes motherfucker, and it's like, whoa baby. This mother fucker's like Charles Bronson in "The Great Escape." He's digging tunnels. Now she's gettin" this serious dick action, she's feelin" something she ain't felt since forever.
Pain.It hurts. It hurts her. It shouldn't hurt.
Her pussy should be Bubble-Yum by now.
But when this cat fucks her, it hurts. It hurts like the first time. The pain is reminding a fuck machine what it was like to be a virgin. Hence, "Like a Virgin."
-- Quentin Tarantino (Mr. Brown), Reservoir Dogs (1992)
Whether it is the difference between Big Macs in Paris & L.A (Pulp Fiction, 1994), or the possibility of homosexual intercourse with Elvis (Tony Scott's True Romance, 1993), Quentin Tarantino is fascinated with pop culture icons and images of coolness. His work aims to explore the origins of the cool and the way in which images (or reputations) are echoed in the realm of popular culture.
The criminals in Tarantino's debut feature, Reservoir Dogs, are oppressed by a prohibition to mention their name or history. Authority is affiliated with the ability to give names; the movie's characters are troubled with the correlation between their personalities and the colorful aliases assigned to them by the boss, Joe Cabbot. ("Mr. Brown? That's too close to Mr. Shit.")
Tarantino further explores this theme through his unique use of narrative. The diamond heist that is the nucleus of Reservoir Dogs is absent from the actual movie, existing only in reference, as a reflection in either past or future tense.