Nem tudo tem que impulsionar o enredo.
Seus personagens devem ser pessoas reais . Pessoas reais têm esses tipos de conversas.
Ele humaniza os personagens, enquanto, ao mesmo tempo, estabelece a desconexão entre suas palavras e suas ações.
Tome essa conversa sobre hambúrguer ..
Eles estão a caminho do trabalho, e não no trabalho . Então eles conversam, falam sobre suas vidas e outras minutas não relacionadas ao trabalho, como pessoas comuns. Quando eles começam a trabalhar ... eles trocam de modos .
Mas, mesmo assim, eles estavam conversando sobre hambúrgueres que vinculam a ação subsequente quando recuperam a pasta .
Aqui está um excelente comentário que encontrei que explica perfeitamente.
In Pulp Fiction, almost every line is brilliant in a distinct way. From the poetic prose of some of the monologues, to the quick and profane exchanges between actors, this movie has it all, and it is all great. Tarantino writes with a knack for realistic dialogue. His characters talk about real things and often discuss day-to-day proceedings which seem irrelevant to the plot. This brings the characters to life, but what QT also often does is subtly slip that seemingly random dialogue back into the plot.
For example, in Pulp Fiction Jules (Samuel L. Jackson) and Vincent (John Travolta) have the best written conversation about hamburgers in the history of cinema. They compare quarter pounders in America to those in France while on the way to kill some young men who ripped off their boss. The French name for the burger reappears in the dialogue later when they’re “in character” in the apartment of the guys they’ve been sent to whack. The use of such ordinary conversation is almost hilarious at times, as Tarantino’s characters may be discussing the simplest things while carrying out a contrasting action- like stashing a body or dealing drugs.