Three conversations with the gimp.

A summary of three post-screening Q&As with writer and comedian Stephen Hibbert at the Art Theatre of Long Beach for the fortieth anniversary of Pulp Fiction. Stephen was, and still is, a friend of Quentin Tarantino. When Tarantino was searching for an actor to play the wordless but crucial role in his sophomore film of a gimp kept in a sadistic pawn shop owner’s basement, he called Stephen, “It’s a freak show. Do you want to come read for the part?” The audition unfolded as a playful session between Tarantino and Hibbert, with the director acting as the dom and Hibbert as sub, grinding on Tarantino’s leg and prancing around at his command. By the time Hibbert returned to his Los Angeles apartment that evening, there was a message on his answering machine: he had gotten the part. Hibbert arrived on set a few weeks later at a warehouse in L.A., where it took four days to film the scene. Costume designer Betsy Heimann presented him with an XL-sized, generic bondage costume rented from the still-operating Pleasure Chest in North Hollywood. However, Hibbert theorizes that it is unlikely the screen costume could have held together all these years. What we do know about its journey after the film is that it did not find its way to the Smithsonian or the Academy Museum of Motion Pictures. This particular piece of silver screen iconography continued to fulfill the same function it did before the film, being used by entry-level BDSM explorers who may or may not have been aware of the costume’s significance and legacy. Hibbert emerged from the dressing room in the suit, and Tarantino had only one note. He shouted from across the set, “No, no! He’s too skinny! Put him in a fat suit.” So, already covered in leather from head to toe, Hibbert was then layered with pillow-like insulation to fill out the costume. It looked much better on screen than but it was worse for Stephen's internal temperature. He jokingly remarked during the second of our three discussions, “I probably lost ten pounds in four days.” The four days were hard, long, and grueling work for Hibbert, who was eager to satisfy his friend and do a good job for his movie. He also wanted to feel like he was keeping up with the A-list level of acting talent in the room with him. Hibbert recalls the set being mostly fun, filled with long takes, improvisations, and stage fighting classes with Bruce Willis and Ving Rhames. However, there was also a seriousness to the scene, a dark moment at its core that demanded to be treated with respect. On the final day of shooting, the call sheet declared NO CAMERAS! NO GUESTS! In a time before intimacy coordinators, it was up to Tarantino himself to keep his performers comfortable and safe, and in Hibbert’s opinion, he succeeded. Stephen Hibbert, a former member of the Groundlings comedy troupe, is known for his work as a writer on the Austin Powers and Shrek films, as well as the notable box office calamity It’s Pat, a film that I would personally call an iconic piece of transgender cinema. When I asked Stephen about that film during our first phone call, he told me, “Thank you for saying that. I am so glad to hear that you like it. You know, to this day, that is the only film Disney has produced with a queer couple as the romantic leads. I’m proud of that.” I’m proud of you too, Stephen. Kenna Wong Ghaill Originally published on August 25, 2024.