Kill Bill: Volume One

Started by Satcho9, January 19, 2003, 10:18:06 PM

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Finn

Kill Bill question:

SPOILERS (as if nobody has seen it already)

Towards the beginning, Thurman goes to Fox's house and kills her. She then pulls out her kill list and marks Fox's name off. But right above her name is Lucy Liu's character's name, O-Ren Ishii, and it's marked off. So, does the movie have a Pulp Fiction time frame with events mixed up and where the end is the beginning? She must have gone to Japan to kill O-Ren Ishii before she killed Vivica Fox. Maybe that was an obvious issue that I was supposed to catch. But did anyone else?
Typical US Mother: "Remember what the MPAA says; Horrific, Deplorable violence is okay, as long as people don't say any naughty words."

MacGuffin

Quote from: SydneySo, does the movie have a Pulp Fiction time frame with events mixed up and where the end is the beginning? She must have gone to Japan to kill O-Ren Ishii before she killed Vivica Fox. Maybe that was an obvious issue that I was supposed to catch. But did anyone else?

Yes. I think somewhere The Bride says she'll get O-Ren first because she was the easiest to find.

Also, from the script:


                                  VERNITA
                        Yes and no. Bill got in touch with
                        me right after you woke up, and
                        then again a little later after
                        your episode in Japan.
                            (pause)
                        So I suppose it's a little late for
                        a apology, huh?
-------------------------------------------------------------------------------
THE BRIDE (V.O.)
                            (continued)
                        ....if O-Ren Ishii, the first name
                        on my Death List, was still
                        alive... she'd live in Japan
. O-Ren
                        Ishii, made her first acquaintance
                        with death at the age of eleven.
"Don't think about making art, just get it done. Let everyone else decide if it's good or bad, whether they love it or hate it. While they are deciding, make even more art." - Andy Warhol


Skeleton FilmWorks

brockly

SPOILER ALERT FOR PART TWO, ADDED BY A PISSED OFF ADMIN!!!!


i only just found out that Budd is Bill's brother. shit!

ElPandaRoyal

Damn, you could have used the SPOILER mark there. I didn't really need to know that. But that's OK... I think I can live with that.

By the way,do you guys know if the Kill Bill: Vol. 2 premiere will be on February 20th worldwide? It's just that that's my birthday and I can't think of anything cooler than watching Volume 2 on my birthday.
Si

brockly

didn't know it was a spoiler. it's on tarantino.info under the suposably spoiler-free basic storyline section.

http://tarantino.webds.de/tarantino/movie/killbill/killbillstory.htm

and here

http://tarantino.webds.de/tarantino/movie/killbill/thecharacters.htm

bah, whatever. im pretty sure it ain't a spoiler.

Quote from: RoyalTenenbaumBy the way,do you guys know if the Kill Bill: Vol. 2 premiere will be on February 20th worldwide? It's just that that's my birthday and I can't think of anything cooler than watching Volume 2 on my birthday.

No, it wont be. it comes out in aus 6 days after us release just like with vol. 1. so im guessing if vol.1 was delayed where you live, it'd be the same delay for vol. 2.

picolas

that thing is on imdb as well.

shit. this is what happens when you cut something in half and then spread it apart. you're far more likely to see the bloody entrails of the second half when you're coming towards it than if you had left the thing alone.

modage

saw kill bill again today. for the first time since i saw it twice on oct. 10th.  god i love this movie.  i love it.  it just cracked 60 mill too, wasnt that about what the budget was for the whole goddamnh thing?  60 or 70? so pretty soon theyre gonna be way into the profits., huh?
Christopher Nolan's directive was clear to everyone in the cast and crew: Use CGI only as a last resort.

brockly

Quote from: themodernage02saw kill bill again today. for the first time since i saw it twice on oct. 10th.  god i love this movie.  i love it.  it just cracked 60 mill too, wasnt that about what the budget was for the whole goddamnh thing?  60 or 70? so pretty soon theyre gonna be way into the profits., huh?

Budget was $55 million, so its already profited.

ElPandaRoyal

Quote from: Brock Landers
Quote from: RoyalTenenbaumBy the way,do you guys know if the Kill Bill: Vol. 2 premiere will be on February 20th worldwide? It's just that that's my birthday and I can't think of anything cooler than watching Volume 2 on my birthday.

No, it wont be. it comes out in aus 6 days after us release just like with vol. 1. so im guessing if vol.1 was delayed where you live, it'd be the same delay for vol. 2.

Fuck! I'll have to find a way to see it on February 20th...
Si

MacGuffin

'Kill Bill' Sound Duo Let Work Speak for Itself

LOS ANGELES (Hollywood Reporter) - It's not too hard for the sharp-eyed moviegoer to detect stunning work by a cinematographer, but recognizing the exceptional work of the film industry's sound editors and rerecording mixers is a different story.

Cinema sound pros themselves look to the legendary work that preceded them in order to gain an understanding of how and why certain sound moments connect with audiences.

Todd-AO rerecording mixer Mike Minkler -- a veritable black belt in the sound world, having notched nine Oscar nominations and two wins for his work on "Chicago" and "Black Hawk Down" -- says it is often the past that helps him decipher how to best approach the sound in future projects.

At present, Minkler and his longtime sound-editing partner Wylie Stateman are busy wrapping up loose ends on the soundtrack for the DVD and other post-theatrical releases of Quentin Tarantino's epic actioner "Kill Bill-Vol. 1" and "Vol. 2."

"People refer to the gunshot in 'Shane' or the 'Dirty Harry' gunshot or the 'Bullitt' car chase or these kung fu movies from the '60s and '70s and some of the wild, crazy sound effects they did then," Minkler explains.

"If you go back and listen to them, you honor them because they work really well. But you have an impression in your head that they were so spectacular; then you go back and listen to them, and they're terrible by today's standards. So you have to analyze: What makes sound spectacular? In my mind, it was how the sound was used. What is that precise moment and what was it blended with? What was its purpose in being there? It's more important that the movie works so the sound in the movie can work."

"Kill Bill" is generating a lot of noise in the industry among those with golden ears who know a good soundtrack when they hear it. Minkler and Stateman say that working with Tarantino and picture editor Sally Menke on "Kill Bill" allowed them to create a track that is unprecedented in terms of its preplanning and its collaborative spirit.

"Quentin's very conscious of the sort of magic he creates with music, picture and sound effects," Stateman says. "He allowed us to work these beats out early and really go for those magical moments. A piece of music might end, a piece of dialogue might end, a cut might occur, and a sound effect might glisten or crescendo at just the right moment so that (the picture) is working very dynamically -- visually and rhythmically. It's all orchestrated precisely with his story."

Minkler and Stateman have worked together as a rerecording mixer and sound editor team for over a decade, on nearly 15 movies, and so they have a tendency to expand upon one another's points.

"That way the creative process can become an artistic process," Minkler says.

Stateman adds, "Rather than a clerical process...sorting through material."    

Minkler continues: "The content is precise. It's exactly what Quentin wants. There's nothing more, there's nothing less."

Whether their work on "Kill Bill-Vol. 1" is recognized during Oscar season for its glistening precision, there's always "Vol. 2" -- or the next project that is music to the team's ears. In the meantime, both say they've enjoyed an unusually high degree of creative satisfaction with their most recent project.

"'Kill Bill' really was a great, collaborative experience," Stateman says. "But more importantly, the movie speaks for itself. It speaks loudly in some ways and quietly in others. It's a very highly evolved creative piece."
"Don't think about making art, just get it done. Let everyone else decide if it's good or bad, whether they love it or hate it. While they are deciding, make even more art." - Andy Warhol


Skeleton FilmWorks

SHAFTR

Will Vol 1 be on DVD before the theatrical release of Vol 2?
"Talking shit about a pretty sunset
Blanketing opinions that i'll probably regret soon"

ElPandaRoyal

Quote from: SHAFTRWill Vol 1 be on DVD before the theatrical release of Vol 2?

I remember Quentin saying that he would only release a DVD in a long time, because he wanted his fans really desperate to have it. Hope it's not true.
Si

brockly

Quote from: RoyalTenenbaum
Quote from: SHAFTRWill Vol 1 be on DVD before the theatrical release of Vol 2?

I remember Quentin saying that he would only release a DVD in a long time, because he wanted his fans really desperate to have it. Hope it's not true.

that sux! then we'd have to wait like a year for both volumes together  :x

Gold Trumpet

Stanley Kauffmann finally reviews Kill Bill and in all the negativity of his opinion, I kinda agree with him while liking the movie.

The comment about Kill Bill-Vol. 1 is, in its way, amusing. No one holds back on descriptions of the violence in it, the amputations and decapitations, the flood of blood, but then come the rationalizations. Tarantino, we are told yet again, had his education in a video shop. He gobbled all sorts of film voraciously and chose the bucket-of-blood dish as his favorite. All this is told in a mildly sardonic way, but then comes the statement that to this juvenile material Tarantino has brought exceptional skill. The barbarities are admitted but are accepted because he does them so well. These comments seem to me roundabout apologies for (let's call it) the video-shop streak left in the apologists. "Let us all chuckle maturely at Tarantino," they seem to be saying, "and underneath the chuckle, let us revel."

Kill Bill-Vol. 1 (another chunk of it is coming next spring) is different from its Tarantino predecessors. Reservoir Dogs had compressive unity. Pulp Fiction had humor and development. Jackie Brown had a plot. Kill Bill is a series of fights, little more. A woman called the Bride is left for dead in a massacre of her wedding party in Texas. (No reason given.) She recovers and sets out for vengeance on the assassins, a group headed by someone named Bill. (I'd bet that Tarantino first thought of the title, then thought up material to employ it.) This quest for vengeance takes her, with sequences in black-and-white and in animation, from Texas to Japan. Uma Thurman plays the Bride, but she has no acting to do--only physical exploits for which she must have trained hard. Except for Thurman's name, Tarantino could have used any good-looking female athlete in the part, along with the same stunt doubles.

Questions about how the Bride got the money for her activities and how she acquired her skill with the samurai sword are pointless. The really relevant defect of this thriller is that it isn't scary. The scene in Reservoir Dogs with the cop strapped to the chair was upsetting, as were some sequences in Pulp Fiction. But when the Bride is in a large Japanese hall surrounded by about thirty men advancing on her with swords, and she destroys them all with her sword, it isn't frightening--it's ludicrous.

Yet something looms out of this gargantuan mess, and probably will do so even more clearly after Vol. 2. From this welter of violence and its enormous success, a prophecy emerges. Having fulfilled what are apparently the only two requirements, Quentin Tarantino will be the next governor of California.

modage

that guy seems like an A hole and it seems like he missed the point.
Christopher Nolan's directive was clear to everyone in the cast and crew: Use CGI only as a last resort.