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| Twisted Nerve |
Twisted Nerve:For the record label, see Badly Drawn Boy.
Twisted Nerve is a 1969 film about a disturbed young man, Martin, whos mother treats like a small boy.
The tune whistled by Martin was used in the Quentin Tarantino film, Kill Bill.
Badly Drawn BoyBadly Drawn Boy (b. October 2, 1970) is an independent singer/songwriter, born Damon Gough in Manchester, England. Gough chose his stage name from a character that appeared in the cartoon show Jamie and his Magic Torch, which he saw on TV at a party in Trafford, Manchester in 1995. Before he thought of using this name he made some 'business cards', each one unique, with a printed picture of a drawing by his nephew, and a small collage by Gough. This was then laminated and given out to friends and people at clubs in Blackburn and Manchester. The Twisted Nerve empire was later spawned after a chance meeting with Andy Votel at the Generation X bar in Manchester. His friends Scott Abraham and Damon Hayhurst were contributing to an exhibition held by the Space Monkey Clothing Company at the bar and Votel was DJing that evening. Their first seven-inch single, EP1, was pressed about a year later to critical acclaim, although only 500 copies were made.
In 2002, Q magazine named Badly Drawn Boy in their list of the "50 Bands To See Before You Die", although this was as part of a sub-list of "5 Bands That Could Go Either Way".
Albums
His 2000 album The Hour of Bewilderbeast won a prestigious Mercury Prize. He also composed the soundtrack to the movie About A Boy (starring Hugh Grant), based on the Nick Hornby book of the same name. His third album, Have You Fed The Fish?, was released in 2002. One Plus One Is One, his fourth album, was released in 2004.
Biography
On January 31, 2001, Gough bought his own hat at an auction, raising £1,500 for a Kosovan children's charity.
Gough is a self-confessed Bruce Springsteen fan.
Discography
Albums
- The Hour of Bewilderbeast - (June 26, 2000) UK #13
- About a Boy - (April 8, 2002) UK #6
- Have You Fed the Fish? - (November 4, 2002) UK #10
- One Plus One Is One - (June 21, 2004) UK #9
Singles & EPs
- "EP1" - (September, 1997)
- "EP2" - (April, 1998)
- "EP3" - (November, 1998)
- "It Came From The Ground" - (March, 1999)
- "Once Around The Block" - (August, 1999)
- "Another Pearl" - (June 5, 2000)
- "Disillusion" - (September 4, 2000) UK #26
- "Once Around The Block" [Reissue] - (November 13, 2000) UK #27
- "Pissing In The Wind" - (May 7, 2001) UK #22
- "Silent Sigh" - (March 25, 2002) UK #16
- "Something To Talk About" - (June 10, 2002) UK #28
- "You Were Right" - (October 14, 2002) UK #9
- "Born Again" - (January 13, 2003) UK #16
- "All Possibilities" - (April 21, 2003) UK #24
- "Year Of The Rat" - (July 19, 2004) UK #38
External links
- [http://www.badlydrawnboy.co.uk/ Official Badly Drawn Boy website]
- [http://www.twistednerve.co.uk/ Twisted Nerve Records website]
- [http://www.itcamefromtheunderground.tk/ ItCameFromTheUnderGround - Unofficial Fansite]
Badly Drawn Boy
Badly Drawn Boy
Quentin Tarantino
Quentin Jerome Tarantino (born March 27, 1963 in Knoxville, Tennessee) is an American screenwriter, film director and actor who rapidly rose to fame in the early 1990s as a stylish auteur whose bold use of nonlinear storylines, memorable dialogue, and bloody violence brought new life to familiar American film archetypes.
He is the most famous of the young directors behind the independent film revolution of the 1990s, well-known for his public persona as a motor-mouthed, geeky hipster with an encyclopedic knowledge of both popular and art-house cinema.
Early life
Born in Knoxville, Tennessee in 1963 to Tony Tarantino, an actor and musician of Italian descent, and Connie McHugh of half-Irish and half-Cherokee Indian extraction, who, shortly after his birth married musician Curt Zastoupil with whom Quentin would form a strong bond. He attended kindergarten in San Gabriel Valley from 1968. In 1971 the family moved to El Segundo, in the South Bay area of Los Angeles where Tarantino attended Hawthorne Christian School. At the age of 22, he wrote his first script, Captain Peachfuzz and the Anchovy Bandit. Dropping out of Narbonne High School in Harbor City, California at the age of sixteen, he went on to learn acting at the James Best Theatre Company. In 1984, Tarantino started working at the Manhattan Beach Video Archives where he struck up a friendship with fellow worker Roger Avary with whom he would later collabarate. He continued to study acting at Allen Garfield's Actors' Shelter in Beverly Hills but began to concentrate mainly on script writing.
Career history
His big break came with the sale of his script True Romance, written with Roger Avary, which was made into a film starring Patricia Arquette and Christian Slater. He also wrote the original screenplay for Natural Born Killers, as part of the longer screenplay that True Romance came from, although it was changed significantly by subsequent writers, and he does not have a screenwriting credit on that film.
The sale of True Romance (eventually released in 1993) garnered him attention. He met Lawrence Bender at a Hollywood party and Bender encouraged Tarantino to go write a film. The end product was Reservoir Dogs (1992), a stylish, witty, and blood-soaked heist movie that set the tone for his later films. The script was read by director Monte Helman who helped secure funding from Live Entertainment and also Tarantino's directorship of the film. Harvey Keitel heard of the script through his wife, who attended a class with Tarantino. He read the script and also contributed to funding, as well as securing a lead in the movie.
Harvey Keitel (1996).]]
His followup was Pulp Fiction, which won the Palme d'Or (Golden Palm) at the 1994 Cannes film festival. It was a complexly plotted film with a similarly brutal wit. It featured many critically acclaimed performances, and was noted for reviving the career of John Travolta. Pulp Fiction also earned Tarantino an Oscar for Best Original Screenplay, and it was also nominated for Best Picture.
Tarantino's next film was Jackie Brown (1997), an adaptation of a novel by his mentor Elmore Leonard. A homage to blaxploitation films, it also starred Pam Grier, who had featured in many of the genre's films in the 1970s. In 1998, he turned his attention to the Broadway stage, where he starred in Wait Until Dark.
He had then planned to make the war film Inglorious Bastards. However, he postponed that to write and direct Kill Bill (released as two films, Vol. 1 and Vol. 2), a highly stylized "revenge flick" in the cinematic traditions of Wuxia (Chinese martial arts), Japanese film, and Spaghetti Westerns. It was based on a character (The Bride) and plot that he and Kill Bill's lead actor, Uma Thurman had developed during the making of Pulp Fiction. In 2004, Tarantino returned to Cannes where he served as President of the Jury. Kill Bill was not in competition, but it did screen on the final night in its original 3+ hour version.
Tarantino is given credit as "Special Guest Director" for his work directing a sequence of the 2005 neo-noir film Sin City.
On February 24, 2005 it was announced he would direct the season finale of CSI. The two-hour episode, "Grave Danger," was aired on May 19 to stellar ratings and reviews. Although Tarantino is best known for his work behind the camera, he's also made recent appearances on the small screen in the first and third seasons of the TV show Alias.
As of September, 2005, Tarantino has announced his current project is Grind House, which he is co-directing with Robert Rodriguez. He has stated he will "probably" follow that with Inglorious Bastards, but that he needed to spend another year working on the script before filming, making a 2006 release extremely unlikely.
Aesthetics
Tarantino's movies are renowned for their sharp dialogue, splintered chronology and pop culture obsessions. Often they are viewed as graphically violent, and certainly in his key films Reservoir Dogs, Pulp Fiction and Kill Bill there are copious amounts of both spattered and flowing blood. However, what affects people most is the casualness, and even macabre humour, of the violence, as well as the tension and grittiness of these scenes.
Fictional brands such as Red Apple cigarettes and Big Kahuna Burgers from Pulp Fiction have shown up in other movies including Four Rooms, From Dusk Till Dawn, Kill Bill and even Romy and Michele's High School Reunion. The director is also known for his love of breakfast cereal, and many of his movies feature brands such as Fruit Brute (a spin off of the more popular Franken Berry) in Reservoir Dogs and Pulp Fiction, and Kaboom in Kill Bill.
Influences
Tarantino is widely known as a director who is very much a "film-geek", with an astonishing, encyclopedic knowledge of movies, film criticism, and film history. Particularly, he has a vast knowledge of foreign films, genre films and little-known pieces of cinema. He is a declared lover of exploitation films, Hong Kong action cinema, Spaghetti Westerns, giallo horror, French New Wave, and British cinema. His love of those genres is mirrored in his works -- all of his films regularly quote other movies and genres in their styles, stories and dialogue. He once summed it up by saying, "I never went to film school; I went to films."
Criticism
Tarantino has come under criticism for his use of racial epithets in his films, particularly the word nigger in Pulp Fiction and Jackie Brown, most notably from Black American director Spike Lee. In an interview for Variety, Lee said: "I'm not against the word... and I use it, but Quentin is infatuated with the word. What does he want to be made? An honorary black man?"
An oft-cited example is a scene in Pulp Fiction in which a character named Jimmie Dimmick, incidentally portrayed by Tarantino himself, dresses down Samuel L. Jackson's character, Jules Winnfield, for using his house as "dead nigger storage", followed by a rant that uses the word profusely. The fact that Jimmie had a black wife was also seen as an insult, specifically by Spike Lee. Lee makes direct reference to this in his film Bamboozled when the character Thomas Dunwitty states: "Please don't get offended by my use of the quote-unquote N word. I got a black wife and three biracial children, so I feel I have a right to use that word. I don't give a damn what Spike says, Tarantino is right. Nigger is just a word."
Tarantino has defended his use of the word by arguing that black audiences have an appreciation of his blaxploitation-influenced films that eludes some of his critics, and, indeed, that Jackie Brown was primarily made for "black audiences":
:To me the film is a black film. It was made for black audiences actually. It was made for everybody, but that was the audience. If I had any of them in mind, I was thinking of that because I was always thinking of watching it in a black theatre. I didn't have audiences ridiculously in mind because I am the audience, but that works well for that too because I go to black theatres. To me it is a black film. [http://film.guardian.co.uk/Guardian_NFT/interview/0,4479,78447,00.html]
Tarantino has also been criticized for allegedly plagiarizing ideas, scenes, and lines of dialogue from other films. For example, some scenes in Reservoir Dogs are based on ones in The Taking of Pelham One Two Three and Ringo Lam's City on Fire, and the events of the adrenaline-injection scene in Pulp Fiction closely resemble a story related in the documentary American Boy: A Profile of: Steven Prince by Martin Scorcese.
Much debate has been sparked on when such references cease to be tributes and become plagiarism. Tarantino, for his part, has always been open and unapologetic about appropriating ideas from films he admires (see Quotes).
Trivia
- One of Tarantino's trademarks is the trunk shot — the camera looking out from the trunk of a car at the actors. He has used it in all the films he has directed.
- All of Tarantino's movies are somewhat out of order in terms of chronological time.
- A trademark of Tarantino is that he uses biracial characters in some of his movies. In Pulp Fiction, Jules Winfield (Samuel L. Jackson) mentions a half-black, half-Samoan named Tony Rocky Horror, and in Kill Bill Vol. 1, O-Ren Ishii (Lucy Liu) is half-Japanese, half-Chinese American, and her best-friend in the film, Sofie Fatale (Julie Dreyfus), is half-Japanese, half-French.
- Tarantino once played an Elvis impersonator on an episode of The Golden Girls.
- Always has an ad for Red Apple cigarettes in his films at some point.
- Always has a scene where a character is followed around by the camera for a fairly long period of time.
- Each of the four films Tarantino has directed and the three movies which he wrote the script for but did not direct have had plots revolving around crime and criminals.
- Cigarette smoking by several main characters is a recurring element of Tarantino's movies, a notable exception being The Bride in the "Kill Bill" series.
- Themes of foot fetishism are prominent in Tarantino's films, especially Pulp Fiction, Kill Bill Vol. 1, and Kill Bill Vol. 2. According to Uma Thurman, Tarantino is known to have a foot fetish.
- One of Tarantino's closest friends is fellow director Robert Rodriguez (the pair often refer to each other as brothers). Their biggest collaborations have been From Dusk Till Dawn (written by Tarantino, directed by Rodriguez), Four Rooms (they both wrote and direct segments of the film) and the upcoming Grind House. In Pulp Fiction while Rodriguez is uncredited, he served as director for many of the scenes in which Tarantino was in front of the camera performing. It was Tarantino who suggested that Rodriguez name the final part of his El Mariachi trilogy Once Upon a Time in Mexico. They are both members of A Band Apart (a reference to the Godard film Bande à part), a production company that also features directors John Woo and Luc Besson. Rodriguez scored Kill Bill: Volume 2 for one dollar. In return, Tarantino directed a scene in Rodriguez's 2005 film Sin City for the same fee.
- Tarantino has been romantically linked with numerous actresses, including Sofia Coppola, the Golden Globe and Academy Award winning writer/director of Lost In Translation, Academy Award winning actress Mira Sorvino, and comedienne Margaret Cho. There have also been rumors about his relationship with Uma Thurman, who he has referred to as his "muse". However, Tarantino has gone on record as saying that their relationship is strictly platonic.
- He has stated that the character of Clarence in True Romance and My Best Friend's Birthday was somewhat autobiographical.
- Often casts Tim Roth, Harvey Keitel, Uma Thurman, Michael Madsen and Samuel L. Jackson.
- He is dyslexic and a high school dropout.
- Although all of his films feature elements of crime Tarantino's only brush with "real" crime was an arrest for shoplifting Elmore Leonard's novel The Switch when he was 15 years old. The book is the first Leonard book to feature the characters of Louis and Ordell, whom Tarantino would bring to life with his 1997 film Jackie Brown.
- Tarantino directed an episode of ER called "Motherhood" which aired May 11, 1995
- Tarantino directed the fifth season finale to the hit show CSI: Crime Scene Investigation. The highly rated episode, entitled Grave Danger, shared a very similar situation from Tarantino's second Kill Bill film: CSI Nick Stokes is captured and buried alive in a Plexiglas coffin while an Internet camera broadcasts the whole thing to CSI headquarters. In Kill Bill, the Bride (Uma Thurman) was also captured and buried alive in a coffin. This double-length episode has recently found its way to its own DVD Release on October 10 2005. Tarantino was also nominated for an Emmy for his role in this episode.
- Owns a rare 35mm copy of Manos: The Hands of Fate; he cites it as one of his favorite films.
- In the 2002 Sight and Sound Directors' poll, Tarantino voted Sergio Leone's The Good, the Bad and the Ugly (1966) as the best film of all time.
- Tarantino was one of the few filmmakers pushing for Chinese action filmmaker John Woo to make an American film. When a studio executive once said "I suppose Woo can direct action scenes," Tarantino replied "Sure, and Michelangelo can paint ceilings!"
- His father was Italian and his mother was of mixed Irish and Native American descent.
Filmography
Director & screenplay
- My Best Friend's Birthday (1987)
- Reservoir Dogs (1992)
- Pulp Fiction (1994)
- ER (1995) Season 1; Episode 24: "Motherhood" (Director)
- Four Rooms (segment "The Man from Hollywood") (1995)
- Jackie Brown (1997)
- Kill Bill (Vol. 1 2003, Vol. 2 2004)
- Sin City (2005) (Special Guest Director)
- CSI: Crime Scene Investigation (2005) "Grave Danger: Vols. I & II" (Guest Writer and Director)
- Grind House "Death Proof" segment (2006)
- Inglorious Bastards no official release date announced, possible 2007 release
Screenplay
- True Romance (1993)
- Natural Born Killers (1994)
- Crimson Tide (1995) (uncredited)
- From Dusk Till Dawn (1996)
Actor
- My Best Friend's Birthday (1987) Clarence Pool
- Reservoir Dogs (1992) Mr. Brown
- Pulp Fiction (1994) Jimmie Dimmick
- Sleep With Me (1994) Sid
- Destiny Turns On the Radio (1995) Johnny Destiny
- Four Rooms (segment "The Man from Hollywood") Chester
- Desperado (1995) Pick-up Guy
- From Dusk Till Dawn (1996) Richard Gecko
- Girl 6 (1996) Q.T
- Little Nicky (2000) Deacon
- Alias (TV Series) (2001) McKenas Cole
- BaadAsssss Cinema (2002) (documentary)
- "The Muppets' Wizard of Oz" (2005)
- Hell Ride (2006)
Executive producer
- Killing Zoe (1994)
- Four Rooms (1995)
- From Dusk Till Dawn (1996)
- Curdled (1996)
- God Said, 'Ha!' (1998)
- Daltry Calhoun (2005)
- Freedom's Fury (2005)
- Hell Ride (producer, 2006)
Presented By...
In recent years, Tarantino has used his Hollywood power to give foreign films and smaller films wider exposure in the hopes of getting such films more attention that it otherwise would have. These films are usually given the credit "Presented by Quentin Tarantino." The first of these productions was in 2001 with the Hong Kong martial arts film Iron Monkey which made over $14 million in the United States, seven times its budget, thanks to Tarantino. In 2004 he brought the Chinese martial arts film Hero to U.S. shores. It ended up having a #1 opening at the box office and making $53.5 million dollars. His next "Quentin Taratino presents" production will be Eli Roth's followup to his 2002 debut Cabin Fever, a horror film titled Hostel.
Quotes
- "It's an artistic calling. It's a religion. You shouldn't be doing it as just a day job, to pay for your pool or pay for your house in Barbados. You should do it when it's special, when you'd die for the movie, when the movie is your baby."
- "I steal from every single movie ever made. If people don't like that, then tough tills, don't go and see it, all right? I steal from everything. Great artists steal, they don't do homages." Empire (magazine) interview, 1994.
See also
- QT's Diary, a hoax purporting to be Tarantino's blog.
References
- Machiyama, Tomohiro. [http://japattack.com/main/?q=node/79 Tarantino Interview regarding "Kill Bill"], Japattack. August 28, 2003. Retrieved December 7, 2005.
External links
-
- [http://www.bmfwallets.com/ Pulp Fiction Bad Mother Fucker Wallet]
- [http://www.godamongdirectors.com/tarantino The Independents - Quentin Tarantino]
- [http://www.theooze.com/articles/article.cfm?id=1247 Kill Will - The Rough Magic of Quentin Tarantino] essay on QT's film oeuvre
- [http://www.eofftv.com/names/t/tar/tarantino_quentin_main.htm Bio at Encyclopedia of Fantastic Film and Television]
- [http://www.24liesasecond.com/site2/index.php?page=2&task=index_onearticle.php&Column_Id=78 Blooming Lotus: Redemption and Spiritual Transformation in Kill Bill] essay at 24 Lies A Second
Tarantino, Quentin
Tarantino, Quentin
Tarantino, Quentin
Tarantino, Quentin
Tarantino, Quentin
Tarantino, Quentin
Tarantino, Quentin
Tarantino, Quentin
Tarantino, Quentin
Tarantino, Quentin
Tarantino, Quentin
ja:クエンティン・タランティーノ
Kill BillKill Bill is the fourth feature film written and directed by Quentin Tarantino, and stars Uma Thurman. Though technically one film, it was released in two parts due to its long (3 hour, 47 minute) running time. Volume 1 was released on October 10, 2003 and Volume 2 was released on April 16, 2004. Volume 1 grossed $70 million in its American release while Volume 2 grossed $66 million.
Reviews were mostly positive, with some reviewers regarding it as a cinematic masterpiece. Others, however, felt that Tarantino's homage to Asian cinema was overly indulgent, or that it was a new low in cinematic morality. In particular, the film's unusual and pop culture-heavy dialogue was subject to heavy criticism. Meanwhile, some conservative critics decried its extremely graphic and exaggerated depictions of violence.
Overall plot
Uma Thurman plays Beatrix Kiddo, "The Bride", seeking bloody revenge against Bill (played by David Carradine) and her former associates the Deadly Viper Assassination Squad for their ruthless slaying of the wedding party after they gate-crashed her wedding rehearsal. With the rest of the wedding party slain, Bill administers the coup de grâce, a bullet in the head, cutting off her attempts to tell him she is pregnant with his baby. Waking from a coma four years later, The Bride is determined to kill all those involved, including Bill, her former mentor, boss and lover, but does not realise her daughter is still alive and in his care. The film was shot over the course of eight months, with scenes filmed on location in North America, Japan, and China.
Kill Bill is divided into ten chapters, five chapters per volume. As is common in Tarantino films, they are not arranged in chronological order.
Volume 1
Plot
Beatrix Kiddo, also known as The Bride, codename "Black Mamba" is a former member of "The Deadly Viper Assassination Squad." (It is not clear if the Squad are disbanded or still active: with one in a coma, another working as a low-income bouncer, another apparently a housewife and mother, and another running her own yakuza operation, it is possible that the group had disbanded at some time). Bill, her former boss and lover, tracks her down and finds her about to marry, and arranges for the Vipers to gate-crash the chapel and slay those within. The groom and the rest of the wedding party are murdered while she herself is shot in the head by Bill, and left for dead. Bill later sends Elle Driver (aka "California Mountain Snake", played by Daryl Hannah) to finish off the comatose Bride in the hospital, but recalls her as she is about to administer poison, deciding at the last second that killing her while she lies helpless would be dishonorable. He adds that if she wakes up, then they will kill her all over again. Elle is furious at the change, as she clearly hates Beatrix, but acquiesces.
Daryl Hannah. It features an aftermarket interior with leather seats, a pickup bed spoiler, and aftermarket wheels.]]
In the opening of the film, The Bride is driving a car identified by its body-work as the "Pussy Wagon". She rings on a door in a suburban street, and attacks the woman (Vernita Green, aka "Copperhead", played by Vivica A. Fox) who answers. Vernita, a retired member of the same assassination squad now apparently turned mother and housewife, is shocked but rapidly recovers, their vicious fight to the death interrupted by her young child Nikki returning from elementary school. The child is sent to her room as both adults pretend nothing is going on, then over coffee discuss that the past betrayal of The Bride by Vernita cannot be undone, and they agree to meet up for a fight to the death. Suddenly Vernita fires a concealed gun at The Bride, but misses, and The Bride responds by throwing a knife which kills her. The child, who has come in at the noise, is numbed, she is told by The Bride, "It was not my intention to do this in front of you. For that I'm sorry. But you can take my word for it, your mother had it coming. When you grow up, if you still feel raw about it, I'll be waiting."
We flash back 6 months. The Bride is still in a coma after four years. She awakens suddenly and almost immediately realises she has lost her baby. She hears footsteps approaching so she pretends to be unconcious. It transpires that Buck, the hospital orderly, has been selling her body for sex whilst in a coma. She overcomes her physical weakness to kill her would-be rapist, then Buck, and finally takes the keys to Buck's "Pussy Wagon" (the car mentioned previously) and escapes, launching her quest to eliminate her former associates. This is far from easy - her legs are still extremely weak and will barely move, much less support her body.
Once she regains her full strength, she travels to Okinawa, Japan where she asks master swordsmith Hattori Hanzō (played by Sonny Chiba) to come out of retirement to make one final katana (samurai sword) with which to accomplish her revenge. Hattori Hanzō was Bill's teacher, and despite having sworn an oath many years before, to never create "something that kills people" again, he feels an obligation to help her for having trained him and agrees to make one final weapon for her, the best sword he ever made. He says, ritually giving it to her, "If, on your journey, you should encounter God, God will be cut."
samurai
Flying from Okinawa directly to Tokyo, Japan, The Bride locates O-Ren Ishii (aka "Cottonmouth", played by Lucy Liu), a half-Chinese-American, half-Japanese woman raised on an American military base, orphaned by the yakuza, and now "the boss of all bosses," ruler of the Tokyo underworld. In a nightclub named the "House of Blue Leaves," The Bride kills or maims all but one of O-Ren's bodyguards, known as the Crazy 88. She then pursues O-Ren outside to a snow-covered zen garden. Although injured in the exchange, The Bride finally ends the duel with a swing that slices off the top of O-Ren's head, exposing her brain (later censored in some versions). O-Ren dies, her last words being, "That really was a Hattori Hanzō sword..." She tortures the half-Japanese, half-French Sofie Fatale (played by Julie Dreyfus), one of Bill's lovers and O-Ren's lawyer, second lieutenant, and best friend, leaving her mutilated but alive, to tell Bill that she is coming for him.
Julie Dreyfus
Making a death list on the plane, The Bride then returns to the United States, to Pasadena, California which is where the film started, with the killing of Vernita Green.
Details
- The Japanese release of Volume 1 begins with a dedication to Japanese director Kinji Fukasaku.
- The film also features an anime sequence explaining O-Ren's tragic backstory. It is directed by Kazuto Nakazawa, who also directed the Linkin Park video for "Breaking The Habit", with the animation studio Production I.G, producers of Ghost in the Shell among other works.
- During this first half of Kill Bill, The Bride's real name is bleeped out when characters say it. However, The Bride's real name is present on her boarding pass for her flights to Okinawa and Tokyo.
- A different cut of the film was released specifically for Japanese audiences, where it opened several weeks after the North American release. While the American cut of the movie shows a notably violent segment (the battle at the House of Blue Leaves) in black and white, the Japanese cut shows it in color.
- The Crazy 88: in Japan the number "88" is an "evil number"; there are not actually eighty-eight members of the group, however, and in Volume Two Bill muses that the Crazy 88 simply "thought it [the name] sounded cool."
Volume 2
Plot
Note: It is revealed in Volume 2 that The Bride's real name is Beatrix Kiddo. Though this does not occur until past the halfway point, Beatrix is the name used throughout this section to avoid confusion. It is also revealed that Budd is Bill's brother.
Kill Bill: Volume 2 continues the story of Beatrix (The Bride) and her quest for vengeance. After the same brief introduction sequence that started Vol.1, the flashback to the shooting at the wedding chapel, she begins the film by speaking directly to the camera as she is driving, reviewing the events of Kill Bill: Volume 1 and stating that she has one more death on her list, and is on her way; when she gets there she will "Kill Bill."
We return to the wedding chapel, and see for the first time what happened there before the attack. The segment is shot in black-and-white, with a relaxed pace. Taking a break from her wedding rehearsal, Beatrix is surprised to see Bill, her former boss and lover, on the front porch of the chapel, playing his flute. He has tracked her down despite her attempt to leave him and her life as an assassin behind. They talk as past lovers, Bill assures her he will "try to be nice", and even offers to attend the wedding, letting Beatrix introduce him to the bridegroom as her "father". Reassured, with irony in the soundtrack and slight tears of happiness in her eyes, Beatrix dons her veil and is lost to us, as the camera tracks back and we see the remainder of her former assassin colleagues at Bill's command approaching the small Texas chapel and begin to fire…
Moving to the present, Bill hears of O-Ren Ishii's and Vernita Green's deaths, he knows Beatrix is going down the list. He visits Budd (aka "Sidewinder", played by Michael Madsen), later revealed to be his brother -- they have not spoken for a long time and last time was on bad terms -- and warns him, telling him to be careful: she is coming. Budd, now retired from assassination and a small town nightclub bouncer (and a drinker according to Elle), seems unconcerned. He philosophically comments she knows where he is, saying "That woman deserves her revenge…and we deserve to die."
But when she sneaks up to kill Budd after work at his isolated trailer, he is in fact ready and ambushes her with a shotgun, firing non-lethal rock salt into her chest immediately after the door is opened. Subduing her with an injection, he phones Elle Driver, commenting that having captured Beatrix, he has the "greatest sword ever made" and will sell it to her for one million dollars. She agrees, with one condition: Beatrix "must suffer to her last breath."
Budd puts Beatrix in a wooden coffin and buries her alive, after subduing her by threatening to burn her eyes with mace if she does not acquiesce.
Flashback to many years before, Bill is taking Beatrix to Pai Mei's temple. Pai Mei was revered as one of the greatest martial arts instructors (a classic example of the Elderly Martial Arts Master stock character). Bill convinces him to accept Beatrix for training, though it appears he fought his former master as part of the "discussion." At first scathing about her flaws, he comes to respect her and teaches her apparently all he knows. The training is extremely rigorous, with many hardships.
stock character
Back in the coffin, Beatrix uses one of his lessons, breaking a thick wooden board at short range, to eventually overcome her panic and drive a fist through the coffin lid before clawing her way to the surface. She hikes back to Budd's isolated desert trailer in time to see Elle pulling up in her Trans Am and Budd standing in the doorway.
Elle, along with Budd, believes her to be dead, and is meeting Budd to buy Beatrix's Hanzō sword. However, she double crosses him, planting a lethal black mamba in the suitcase with the money, and when he begins to check the payment, the angered snake strikes him three times. Elle lectures Budd as he dies, telling him her main regret is that "maybe the greatest warrior I have ever met, met her end at the hands of a bushwhackin', scrub, alcky [alcoholic] piece of shit like you", then bends to collect the money prior to leaving. Bill calls her cell phone, and she feigns sympathy and tells him that his brother Budd was killed by a black mamba left in his camper by Beatrix, but that Beatrix herself is now dead and buried too. She also says that if Bill goes to a certain cemetery, he will be standing at "the final resting place of Beatrix Kiddo." This is the first time in the series that Beatrix's name is spoken without the audio being bleeped.
The phone call is over, and Elle picks up the Hanzō sword and money to leave the trailer. As she opens the door, Beatrix attacks her, kicking her back inside. In the ensuing fight between the two women, Elle has Beatrix's sword. The fight is made fairer when Beatrix finds Budd's own Hanzō sword in amongst the junk, inscribed "To my brother Budd, the only man I have ever loved - Bill", which he had claimed to Bill he had pawned some years ago.
cell phone
Elle and Beatrix have a brief conversation while standing apart. We learn that years before, Pai Mei had snatched out Elle's eye for insulting him. Elle maliciously tells Beatrix that she got her revenge when she poisoned Pai Mei's food, killing him (Pai Mei and possibly Bill were Beatrix's masters in the martial arts). Elle and Beatrix clash briefly but furiously with the legendary Hanzō swords. Swords locked, Beatrix's hand suddenly darts out and snatches out Elle's remaining eye, blinding her. Walking past the black mamba on the floor, Beatrix takes her own sword and abandons the trailer and Elle, who is smashing things and screaming, unable to locate her enemy. Elle is left blinded and ranting, shut in Budd's isolated desert trailer with the black mamba. Her pending death is implied but not stated.
(At first, it may seem disappointing that Budd was not directly killed by Beatrix. However, considering Beatrix's codename is "Black Mamba," it could be said that she killed him after a fashion, and if she had not come after him in the first place, he would still be alive. Likewise, narrative logic might suggest that Elle fell to the same black mamba that killed Budd. Therefore, it appears as if Tarantino is applying irony to the deaths of numbers three and four of Beatrix's death list.)
irony
The story shifts to Mexico and to Esteban, a pimp who raised Bill and was a friend of his mother. Beatrix visits, introduces herself, and asks him in a very respectful manner, where Bill is. He tells her without hesitation, saying that he does this because Bill would want him to.
Beatrix drives to Bill's home, prepared to kill him. However, she finds that Bill is expecting her, with a surprise: B.B., their four-year-old daughter, whom Beatrix had thought was murdered during the wedding chapel attack, is alive and well, apparently delivered while Beatrix was comatose (the audience had been left with this revelation during Bill's conversation with Sofie Fatale at the very end of Volume 1). Met with a family scene rather than aggression, Beatrix is overcome with emotion upon finding her daughter and her mission is temporarily put on hold while her attention shifts entirely to B.B., spending hours alone with her and watching a movie with her until B.B. falls asleep.
pimp
The child fallen asleep, Beatrix returns to the living room and has a strange conversation with Bill, during which they agree they have "unfinished business". Bill, acting the gentleman-killer, says he still has questions but doubts she can be honest about the answers, and therefore abruptly shoots her with a dart containing truth serum. She tells him why she tried to retire: how she realized upon becoming pregnant that she must put her daughter's future above Bill, and leave behind the assassin's life. Bill deprecates her attempts to find a 'normal' life, and compares Beatrix with Clark Kent (Superman), saying that she was trying to hide her true, destined identity. He comments in explanation for his actions, "When I told you the story of when I thought you were dead, didn't you get how badly I felt?… There are consequences to breaking the heart of a murdering bastard… You experienced some of them…" (A killer herself, Beatrix probably understood this logic inside all along, and does not contest the answer)
The poignant but established tension between their mutual intent to kill each other, and the tenderness and remains of their old romance, sets the emotional stage for the final scene, in which they talk, and realise that they are going to fight until one dies. Following a brief undeclared scuffle with swords, Beatrix disables Bill using the fatal "Five Point Palm Exploding Heart Technique", taught to her without Bill's knowledge by Pai Mei. The technique can be described as five blows to pressure points on the body, most notably the chest. As the victim walks away, he lasts only until his fifth step, whereupon his heart explodes inside his chest. Bill accepts his fate, knowing he has lost. He asks, "How do I look", and she answers "You look ready". Bill walks unsteadily away, collapses, and dies in silence. Beatrix stands a while, wiping the odd tear from her cheek, and returns to the house to collect her daughter and start their new life.
Details
- Samuel L. Jackson has a cameo role in the movie as Rufus, an organist in the El Paso Chapel. Jackson's character was also rumored to be Jules from Pulp Fiction, because of that character's desire to "walk the earth."
- Budd falsely claims to have pawned his Hattori Hanzō sword in El Paso, Texas. In Pulp Fiction, Butch Coolidge finds a samurai sword in a Los Angeles pawn shop.
- The prop used as Beatrix's Hattori Hanzō sword in Kill Bill was the same one used as Miho's nameless sword in the screen adaptation of Sin City.
- During Bill's interrogation of Beatrix, he says that she is a "natural born killer," a reference to the movie Natural Born Killers, for which Tarantino wrote the initial screenplay.
- The flute which Bill is seen playing both outside the chapel and prior to Beatrix's training is of the same style carried by another of David Carradine's characters, Caine, of Kung Fu fame.
- When facing the shotgun-wielding assassin Karen, Beatrix calls herself "the deadliest woman in the world." In Pulp Fiction, Mia Wallace describes her character in the failed television pilot "Fox Force Five" as "the deadliest woman in the world with a knife."
Cast
Releases
Pulp Fiction.]]
DVD release
In the United States Kill Bill: Volume 1 was released as a DVD on April 13, 2004 while Volume 2 was released August 10, 2004.
Before the release of Volume 1, Rick Sands, chief operating officer at Miramax, commented on future multiple releases of the Kill Bill DVDs: "This is the beauty of having two volumes—Vol. 1 goes out, Vol. 2 goes out, then Vol. 1 Special Edition, Vol. 2 Special Edition, the two-pack, then the Tarantino collection as a boxed set out for Christmas. It's called multiple bites at the apple. And you multiply this internationally."
These comments were heavily criticized by the online DVD community, and may have influenced DVD sales, which were lower than expected. As of October 2005, only the basic DVDs have been released, with almost no special features. No further DVD releases have been announced.
Rumors of a deluxe edition DVD entitled Kill Bill: The Whole Bloody Affair claim that there will be some slightly extended scenes, with the possible addition of the unfilmed scene "Yuki's Revenge", in which Gogo Yubari's death is avenged by her younger sister, Yuki. This scene takes place right after The Bride kills Vernita Green. Yuki was using an ice-cream truck to track The Bride (the truck's music can be heard faintly when The Bride arrives at Vernita's house), and this battle resulted in The Bride's stolen pick-up truck, the Pussy Wagon, being destroyed, which relates to The Bride later telling Bill's surrogate father "My Pussy Wagon died on me."
Though the United States doesn't have a DVD BOXED SET of Kill Bill, other countries carry four disc boxed sets of both of these movies combined.
Japan, for example, has boxed sets of Vol.1 and Vol.2, Uncut, with not only tons of special features, but also, the Vol.1 boxed set has a t-shirt, a model of a Hattori Hanzō Sword, and a collectors Booklet. However, the Japanese Deluxe Editions are very limited and maybe a little difficult to find. There's also a French DVD set which has four discs and includes both volumes of the film.
Planned sequel
Tarantino told Entertainment Weekly in April 2004 that he is planning a sequel:
:Oh yeah, initially I was thinking this would be my Dollars trilogy. I was going to do a new one every ten years. But I need at least fifteen years before I do this again.
:I've already got the whole mythology: Sofie Fatale will get all of Bill's money. She'll raise Nikki, who'll take on The Bride. Nikki deserves her revenge every bit as much as The Bride deserved hers. I might even shoot a couple of scenes for it now so I can get the actresses while they're this age.
Nikki is the daughter of character Vernita Green, who The Bride kills at the beginning of Volume 1.
Soundtracks
Soundtrack albums have been released for each volume. The Volume 1 soundtrack was organised (and to a certain extent, produced and orchestrated by) the RZA from the Wu-Tang Clan. The Volume 2 soundtrack was orchestrated by fellow filmmaker and personal friend Robert Rodriguez. Volume 1 reached #45 on the Billboard 200 album chart and #1 on the soundtracks chart in August 2003. Volume 2 reached #58 on the Billboard 200 and #2 on the Billboard soundtracks chart in the US. It has also reached the ARIA Top 50 album charts in Australia.
Influences
General
Kill Bill relies heavily on film influences that Tarantino wished to pay tribute to. These include the spaghetti western, Kung Fu movies of the 1960s and 1970s, Chinese "Wuxia" and Japanese martial arts films, revenge-themed movies such as Lady Snowblood, Francois Truffaut's The Bride Wore Black and films like The Seven Samurai. There are also several references to other films either written and/or directed by Tarantino. Some elements of the story and the character Elle Driver in particular are inspired by the Swedish movie Thriller - en grym film.
Specific allusions to other works
Tarantino also features direct nods to many of his influences in his movies. Here are some examples of this in Kill Bill:
- The quote "Revenge is a dish best served cold." appears on the screen at the film's beginning, and is cited as "A Klingon Proverb". It is specifically from Star Trek II: The Wrath of Khan, though bearing some resemblance to a phrase from the French author Pierre Choderlos de Laclos in his 1782 novel Dangerous Liaisons: La vengeance est un plat qui se mange froid. (literally, Vengeance is a dish which one eats cold.)
- Near the end of the opening credits, a silhouette evokes Citizen Kane.
- The siren-like musical sequence denoting The Bride's encounters with her nemeses is from the theme of police drama Ironside (TV series), starring Raymond Burr as a detective who is confined to a wheelchair after a sniper attack. The "Ironside" theme music was written by Quincy Jones.
- The scene of The Bride standing in the middle of fifty-plus people and still winning the fight is similar to the chambara scenes of countless old Japanese samurai movies.
- The Bride's yellow tracksuit is from Bruce Lee's Game of Death.
- The masks worn by the members of the Crazy 88 are the same style that Bruce Lee's character Kato wore in the TV series The Green Hornet. The accompanying music during the en-masse swordfight is also a nod to the series, which used Al Hirt's jazzy trumpet rendition of Rimsky-Korsakov's "Flight of the Bumblebee" as its theme.
- These two homages to Bruce Lee's work combine in the Crazy 88 fight to pit Bruce Lee's first screen incarnation (Kato) against his last (in Game of Death), in which he died during the filming. Game of Death was never properly finished, though it was released with a stand-in actor.
- In the scene where Budd is standing over Beatrix, just after he had shot her with rock salt, an Ennio Morricone track is played, one specifically from A Fistful of Dollars.
- When the Bride appears with Budd's sword in the fight with Elle Driver, another Ennio Morricone track is heard, one that is featured in The Good, the Bad, and the Ugly.
External links
- [http://www.kill-bill.com/ Official web site]
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- [http://everythingtarantino.com Everything Tarantino] unofficial fan site
- [http://www.tarantino.info The Quentin Tarantino Archives] international fansite and community
- [http://xahlee.org/Periodic_dosage_dir/skina/skina9_kb.html Kill Bill: Vol. 1 screenshots]
- [http://hanzos.com/boards/ Hanzo's Bar] Kill Bill info and discussion forum
- [http://www.24liesasecond.com/site2/index.php?page=2&task=index_onearticle.php&Column_Id=78 Blooming Lotus: Redemption and Spiritual Transformation in Kill Bill] essay at 24 Lies A Second
Category:2003 films
Category:2004 films
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Category:Action films
Category:Thriller films
Category:American films shot in Japan
Category:Wuxia
ja:キル・ビル Vol.1
Oakes test
Section One of the Canadian Charter of Rights and Freedoms is the section of the Charter that confirms that the rights listed in that document are guaranteed. The section is also known as the limitations clause, as it allows the government to legally limit an individual's Charter rights. This limitation on rights has been used in the last twenty years to prevent a variety of objectionable conduct such as hate speech and obscenity. It has also been used to protect the unreasonable interference of government in the lives of people in a free and democratic society by defining these limits.
Under the heading of "Guarantee of Rights and Freedoms", the section states:
:1. The Canadian Charter of Rights and Freedoms guarantees the rights and freedoms set out in it subject only to such reasonable limits prescribed by law as can be demonstrably justified in a free and democratic society.
When the government has limited an individual's right, there is an onus upon the crown to show, on the balance of probabilities, firstly, that the limitation was prescribed by law namely, that the law is attune to the values of accessibility and intelligibility; and second, that it is justified in a free and democratic society, which means that it must have a justifiable purpose and must be proportional.
Oakes test
The primary test to determine if the purpose is sufficiently justified in a free and democratic society is known as the Oakes test, which takes its name from the essential case R. v. Oakes 1 S.C.R. 103. The test is applied once the claimant has proven that one of the provisions of the Charter has been violated. The onus is on the Crown to pass the Oakes test.
The test was apparently developed by the late Chief Justice Brian Dickson, although scholars Ted Morton and Rainer Knopff report a rumor that Dickson's clerk Joel Bakan was the true author. In R. v. Big M Drug Mart Ltd. (1985), Dickson asserted that limitations on rights must be motivated by an objective of sufficient importance. Moreover, the right must be limited to the smallest possible extent. In Oakes (1986), Dickson elaborated on the standard when one David Oakes was accused of selling narcotics. Dickson for a unanimous Court found that David Oakes' rights had been violated because he had been presumed guilty. This violation was not justified under the second step of the two step process:
# There must be a pressing and substantial objective
# The means must be proportional
## The means must be rationally connected to the objective
## There must be minimal impairment of rights
## There must be proportionality between the infringement and objective
The test is heavily founded in factual analysis so strict adherence is not always practiced. A degree of overlap is to be expected as there are some factors, such as vagueness, which are to be considered in multiple sections. If the legislation fails any of the above branches, it is unconstitutional. Otherwise the impugned law passes the Oakes test and remains valid.
Since Oakes, the test has been modified slightly.
Pressing and substantial objective
This step asks whether the Government’s objective in limiting the Charter protected right is a pressing and substantial objective according to the values of a free and democratic society. In practice, judges recognize almost any given objective as sufficient, with the usual exception of objectives which are in and of themselves discriminatory or antagonistic to fundamental freedoms. In Vriend v. Alberta (1998), it was found that a government action may also be invalidated at this stage if there is no objective at all, but rather just an excuse. Specifically, the Supreme Court found an Alberta law unconstitutional because it extended no protection to employees terminated due to sexual orientation, contradicting section 15. The government had chosen not to protect people in this predicament because the predicament was considered rare. The Court ruled this was an insufficient objective, because it was more of an explanation than an objective.
Rational Connection
This step asks whether the legislation’s limitation of the Charter right have a rational connection to Parliament’s objective. The means used must be carefully designed to achieve the objective. They must not be arbitrary, unfair or based on irrational considerations. Professor Peter Hogg, who used to argue the rational connection test was redundant, continues to argue the criterion is of little use. An example of the rational connection test being failed can be found in R. v. Morgentaler (1988), in which Dickson was of the opinion that laws against abortion should be struck down partly because of a breach of health rights under section 7 and an irrational connection between the objective (protecting the fetus and the pregnant woman's health), and the process by which therapeutic abortions were granted. This process was considered unfair to pregnant women requiring therapeutic abortions, because committees meant to approve abortions were not formed or took too long. (The law afterwards failed the other two proportionality criteria as well).
Minimal Impairment
Does the legislative means to achieve the objective impair the Charter protected right in question as minimally as possible? Are there alternative modes of furthering Parliament’s objective that infringe the right to a lesser extent? The legislation cannot be overbroad or unduly vague.
This step is considered the most important of the steps and is the test that is failed the most. For example, in Ford v. Quebec (A.G.) (1988), it was found that Quebec laws requiring the exclusive use of French on signs limited free speech. While the law had a sufficient objective of protecting the French language, it was nevertheless unconstitutional because the legislature could have accepted a more benign alternative such as signs including smaller English words in addition to larger French words.
This, however, is one of the steps of the test that has been modified. In Oakes, the step was phrased to require the limit as being "as little as possible." In R. v. Edwards Books and Art (1986), this was changed to "as little as is reasonably possible," thus allowing for more realistic expectations for governments.
Proportionality
This step asks whether the objective is proportional to the effect of the law. Are the measures that are responsible for limiting the Charter right proportional to the objective? Does the benefit to be derived from the legislation outweigh the seriousness of the infringement? The legislation may not produce effects of such severity so as to make the impairment unjustifiable. Professor Hogg has argued that merely satisfying the first three criteria of the Oakes test probably amounts to automatic satisfaction of the fourth criterion.
Other section 1 analyses
While the Oakes test has been the primary form of section 1 analysis used by Supreme Court justices, it has not been the only one.
McIntyre's section 1 test in Andrews
In the early section 15 case Andrews v. Law Society of British Columbia (1989), half of the Court declared that the Oakes test should not and cannot be the section 1 test used for all sections of the Charter. For Justice William McIntyre, the Oakes test was too high a standard for equality rights, which was a complex issue since governments must distinguish between many groups in society, to create "sound social and economic legislation." He thus drew up the following two-step test:
: 1. The government action must have been made to achieve a "desirable social objective."
: 2. The equality right infringed in the process of pursuing that objective is examined, with its "importance" to those whose rights were limited evaluated; this evaluation is then balanced against a judgment as to whether the limit achieves the objective.
The second half of the Supreme Court, however, continued to apply the Oakes test; the Oakes test is still used in section 15 cases.
R. v. Stone
In the case R. v. Stone (1999), the issue of crime commited by a person suffering from automatism was considered. The majority ruled that since automatism could be "easily feigned," the burden of proof must rest with the defense; while this would be a limit on section 11 rights, the majority found section 1 would uphold this because criminal law presumes willing actions. As the dissent noted, this use of section 1 did not reflect the standard Oakes test.
Section 12
It has been questioned whether the Oakes test, or any section 1 test at all, could ever be applied to section 12 of the Charter, which provides rights against cruel and unusual punishment. In R. v. Smith (1987), some Supreme Court justices felt section 1 could not apply, although the majority employed section 1. Hogg believes section 1 can never apply; he has said section 12 "may be an absolute right. Perhaps it is the only one."
Comparison with other human rights instruments
Regarding similarities with the European Convention on Human Rights, there are various limitations in the European Convention that are similar to the limitations clause in the Charter. These limits include:
- limits on public trial rights that have also been recognized by the Canadian courts (art. 6(1) ECHR);
- limits on privacy rights as are accepted as in Canada (Article 8(2) ECHR: except such as is in accordance with the law and is necessary in a democratic society);
- limits on freedom of thought and religion similar to Canadian limitations(art. 9(2) ECHR: subject only to such limitations as are prescribed by law and are necessary in a democratic society);
- limits on freedom of expression are accepted as in Canada (art. 9(2) ECHR: subject to such formalities, conditions, restrictions or penalties as are prescribed by law and are necessary in a democratic society);
- limits on freedom of peaceable assembly and free association are accepted in Canada as well (art. 11(2) ECHR: No restrictions shall be placed on the exercise of these rights other than such as are prescribed by law and are necessary in a democratic society).
However, unlike the Canadian Charter, art. 18 of the European Convention limits all these specifically enumerated restrictions: The restrictions permitted under this Convention to the said rights and freedoms shall not be applied for any purpose other than those for which they have been prescribed. Perhaps the Canadian Charter's single overriding limitation upon all of the enumerated rights is much more general limitation than the specific limitations in the European Convention. This general limitations clause definitely makes the Canadian Charter distinct from its American counterpart, the United States Bill of Rights.
History
In the initial planning stages of the Charter's development this section was intended to be the counter-balance to the court's ability to strike-out law with the Charter. An early version of the section guaranteed rights "subject only to such reasonable limits as are generally accepted in a free and democratic society with a parliamentary system of government." This wording sparked debate over what government actions could be "generally accepted," with civil libertarians arguing that the clause would render Charter rights impotent. They even referred to it as a "Mack Truck" to imply that it would run over significant rights. In response, the wording was changed to the current version. The provinces, however, did not find it a sufficiently strong enough recourse and instead insisted on the inclusion of the notwithstanding clause.
References
- Hogg, Peter W. Constitutional Law of Canada. 2003 Student Ed. Scarborough, Ontario: Thomson Canada Limited, 2003.
- Morton, FL and Ranier Knopff. The Charter Revolution & the Court Party. Broadview Press, 2000.
- Weinrib, Lorraine Eisenstat. "Trudeau and the Canadian Charter of Rights and Freedoms: A Question of Constitutional Maturation." In Trudeau's Shadow: The Life and Legacy of Pierre Elliott Trudeau. Eds. Andrew Cohen and JL Granatstein. Vintage Canada, 1998, pp. 257-282.
Section 01
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