How Samuel L. Jackson Became His Own Genre

Samuel L. Jackson, who is 63, has appeared in more than 100 films since 1972, and moviegoers would be hard-pressed to find in any of his roles someone who was innocently childlike. For the first part of his film career, his characters tended to appear in scripts as Gang Member, Drug Addict, Hold-Up Man. Even after his work in “Jungle Fever” earned Jackson a best supporting actor award at the Cannes Film Festival in 1991 (an honor created for that performance) and his work as Jules Winnfield in “Pulp Fiction” three years later made him world-famous, at 46, Jackson’s roles, no matter how fleshed-out or nuanced, have been far from innocent. Still, even as Jules tossed off vulgarities and obscenities as offhandedly as he shot people, like so many benign terms of endearment, he displayed the greater part of Jackson’s success as an actor — his ability to imbue even his vilest characters, spouting the vilest words, with a touch of humor, intelligence and humanity.

Jules was the moral center of “Pulp Fiction,” Jackson told me recently, “because he carried himself like a professional.” The same can be said of Jackson as an actor. “Before Jules,” he went on, “my characters were just ‘The Negro’ who died on Page 30. Every script I read, ‘The Negro’ died on Page 30.” He thundered in character as Jules for a moment, repeating his point in saltier language, then returned to himself and said: “After Jules, I became the coolest [expletive] on the planet. Why? I have no clue. I’m not like Jules. It’s called being an actor.”

Since “Pulp Fiction,” it seems safe to argue, Jackson has been the busiest actor on the planet too. This year he has four movies — his annual average since 1994 — coming out, including “The Avengers” next month, based on the Marvel comic book. (Jackson has a nine-picture deal with Marvel Studios.) He’s been in big-budget films like “Jurassic Park”; low-budget movies like “Black Snake Moan”; blockbusters like “Star Wars” and bombs like “The Long Kiss Goodnight.” He’s been the star, played the sidekick, filled bit parts (“A Time to Kill,” “Patriot Games” and “Iron Man,” respectively). His acting has been critically acclaimed (“Jungle Fever,” “Pulp Fiction”) and panned as “lackluster” (“Twisted”). But one thing remains constant: Samuel L. Jackson works. It’s all but impossible to turn on a TV set any night of the week without happening on one of his movies (and sometimes two or three). Hence his anointment by Guinness World Records as “the highest-grossing film actor” of all time. His movies have taken in more than $7.4 billion, most of which, he pointed out, “didn’t end up in my pocket.” Maybe not, but the residuals alone earn him about $300,000 a year. “I get paid all day, every day,” he said — “which is almost too much for a sensitive artist.”

Renny Harlin, the director of “The Long Kiss Goodnight,” told me that the secret to Jackson’s success is simple: “He’s the ultimate pro. He’s on time, knows his lines, hits his mark with no drama. He makes the other actors want to rise to his professional level.” And not only do other actors love Jackson, Harlin noted, but so do moviegoers. When Jackson’s character was killed off in a version of “The Long Kiss Goodnight” that was previewed before a test audience, at least one member in the audience yelled out, “You can’t kill Sam Jackson!” Harlin said he learned his lesson. In the released version of the movie, Jackson’s character survives.