Film Academy Expands Its Rich Collection with Handwritten ‘Pulp Fiction’ Script, Miyazaki Artwork, and More

Recently, numerous Hollywood A-listers, including Quentin Tarantino, congregated for the Academy Museum’s elegant annual fundraising gala in Los Angeles. Among the highlights of the event was Tarantino, who took the stage to deliver a speech. However, what intrigued many was the duffle bag he carried with him—its contents a mystery waiting to be revealed.

As Tarantino opened the bag, attendees were astonished to see the original handwritten script of “Pulp Fiction,” complete with errors and misspellings. In a generous gesture, he decided to donate the script to the museum. Matt Severson, the executive vice president of academy collection and preservation, described the script as “legendary,” noting that its unexpected presentation was purely a product of Tarantino’s own initiative: “This is Quentin thinking, ‘What can I do to make my mark on the museum?’

The significant contribution of Tarantino is just one among many recent high-profile acquisitions to the Academy’s extensive collection of film memorabilia. Announced on Thursday, other notable items include original artworks from Hayao Miyazaki’s “Ponyo,” Mink Stole’s iconic glasses from “Pink Flamingos,” and Kurt Russell’s Snake Plissken costume from “Escape from L.A.” Additionally, the collection now features animator maquettes of Figaro and Geppetto from Disney’s “Pinocchio,” as well as six storyboards from the acclaimed film “The Silence of the Lambs.”

Furthermore, the Academy Museum has expanded its holdings by acquiring personal collections from several filmmakers, including Paul Verhoeven, Barbara Kopple, Nicole Holofcener, Oliver Stone, and Curtis Hanson. Among the treasures are 70mm prints of Christopher Nolan’s Oscar-winning film, “Oppenheimer,” and David Lean’s iconic works “Lawrence of Arabia” and “Ryan’s Daughter.”

Severson emphasized the importance of the items being acquired: “We want to gather pieces that reflect the history of cinema, appealing to a wide range of ages and interests. Our goal is to preserve global film history, a mission the academy has upheld since its establishment in 1927.”

Notable donations have also come directly from stars themselves. Jamie Lee Curtis donated her tearaway dress from “True Lies,” while Bette Midler contributed costumes from “The Rose,” and Lou Diamond Phillips lent the guitar he played as Ritchie Valens in “La Bamba.” Beyond personal donations, the Academy has acquired items through estates and private collectors. For instance, just last year, Steven Spielberg donated original, hand-drawn nitrate animation cells from “Snow White and the Seven Dwarfs.”

In a significant and unique contribution, Studio Ghibli, renowned for its animated classics, donated over 80 pieces of original animation art by Miyazaki and Noboru Yoshida, alongside authentic Japanese movie posters and an animator’s desk from their studio. “Having original artwork from Miyazaki is absolutely breathtaking,” Severson remarked.

The Academy’s collection encompasses over 52 million items—the largest film memorabilia collection in the world. Though not everything is displayed, parts of the collection are accessible through various channels, including the museum, the Margaret Herrick Library, the Academy Film Archive, and online resources.

During the gala, Severson noted the enthusiasm shared by celebrities like Nicole Kidman, Demi Moore, and Jeff Goldblum, who expressed their support for the museum’s endeavors. He highlighted the dedication of the museum staff, who are committed to preserving and exhibiting historical cinematic artifacts. This includes film preservation experts and paper conservators who restore photographs and posters, ensuring they endure for future generations.

Severson affirmed, “You may not realize the meticulous work involved in preserving these artifacts. It’s vital to pass this knowledge to aspiring filmmakers and artists, enriching their understanding of the art form’s history. This museum serves as a platform not just for Hollywood, but for the global film industry.”