Kill Bill [Archive] - Kung Fu Magazine Forums

Laughing Cow

01-20-2003, 08:30 PM

Director - filmography
(1990s) (1980s) (1970s)

1. Jie tou sha shou (1996)
... aka Iron Monkey 2 (1996)
2. Tai ji quan (1996)
... aka Tai Chi Boxer (1996) (Hong Kong: English title) (UK: literal English title)
... aka Tai Chi 2 (1996)
... aka Tal Chi Chun (1996) (USA)
3. Hu meng wei long (1995)
... aka Red Wolf, The (1995)
4. Huo yun chuan qi (1994)
... aka Fiery Dragon Kid, The (1994)
... aka Fiery Romance (1994)
... aka Fire Dragon (1994)
... aka Fo wan jun kei (1994)
5. Yong Chun (1994)
... aka Wing Chun (1994) (USA)
6. Su qi er (1993)
... aka Hero Among Heroes (1993)
... aka Heroes Among Heroes (1993)
7. Tai ji zhang san feng (1993)
... aka Tai-Chi (1993)
... aka Tai-Chi Master, The (1994) (Hong Kong: English title)
... aka Twin Warriors (2000) (USA: DVD title)
8. Wong Fei-hung chi tit gai dau neung gung (1993)
... aka Claws of Steel (1993) (UK)
... aka Deadly China Hero (1993) (USA)
... aka Huang Fei-Hong zhi tie ji dou wu gong (1993) (Hong Kong: Mandarin title)
... aka Iron Rooster Vs. the Centipede (1993)
... aka Last Hero in China (1993)
... aka Tie ji dou wu gong (1993)
... aka Wong Fei Hong's Iron Rooster vs. centipide (1993) (Hong Kong: informal title English title)
9. Siunin Wong Fei-hung tsi titmalau (1993)
... aka Iron Monkey (1993) (USA)
... aka Iron Monkey: The Young Wong Fei Hong (1993)
... aka Shao nian Huang Fei-Hong zhi tie ma liu (1993) (Hong Kong: Mandarin title)
10. Leng mian ju ji shou (1991)
... aka Tiger Cage 3 (1991)
11. Xi hei qian (1990)
... aka Tiger Cage (1990) (UK)
... aka Tiger Cage 2 (1990)
... aka Washing Dirty Money (1990)

12. Huang jia shi jie zhi IV: Zhi ji zheng ren (1989)
... aka In the Line of Duty (1989) (UK: video title)
... aka In the Line of Duty 4: Witness (1989)
... aka In the Line of Duty IV (1989)
... aka Witness (1989)
... aka Yes, Madam 4 (1989)
13. Te jing tu long (1988)
... aka Sure Fire (1988) (UK: video title)
... aka Tiger Cage (1988)
14. Jiang shi pa pa (1986)
... aka Close Encounters of Vampire, The (1986)
... aka Dragon Vs. Vampire (1986)
15. Qing feng di shou (1985)
... aka Mismatched Couples (1985)
16. Xiao tai ji (1984)
... aka Drunken Tai-Chi (1984)
... aka Laughing Tai Chi (1984)
... aka Tai Chi Master (1984) (USA: video title)
17. Tian shi zhuang xie (1983)
... aka Shaolin Drunkard (1983)
... aka Wu Tang Master (1983) (Canada: video title English title)
18. Huo Yuan-Jia (1982)
... aka Legend of a Fighter (1982)
19. Oriental Voodoo (1982)
20. Qi men dun jia (1982)
... aka Miracle Fighters (1982)
21. Long fa wei (1981)
... aka Exciting Dragon (1981)
22. Yong zhe wu ju (1981)
... aka Dreadnaught (1981)
... aka Dreadnought (1981)
23. Fo Zhang luo han quan (1980)
... aka Buddhist Fist, The (1980)

24. Lin shi rong (1979)
... aka Magnificent Butcher (1979)
... aka Ren zhe wu di (1979)
25. Nan bei zui quan (1979)
... aka Dance of the Drunk Mantis (1979)
... aka Drunken Master Part 2 (1979) (Hong Kong: English title)
26. She xing diao shou (1978)
... aka Bruce Vs. Snake in Eagle's Shadow (1978)
... aka Eagle's Shadow, The (1978)
... aka Snake in the Eagle's Shadow (1978)
... aka Way of the Cat (1978) (USA)
27. Zui quan (1978)
... aka Challenge (1978) (India: English title)
... aka Drunken Master (1978)
... aka Drunken Monkey in the Tiger's Eyes (1978)
... aka Eagle Claw, Snake Fist, Cat's Paw, Part 2 (1978)

There is a lot more info towards the bottom of the loong list.

From what I see there I have to agree with CSN and his statement.

David Jamieson

01-20-2003, 09:02 PM

this is a list of films yuen wo ping has contributed.

Matrix Revolutions, The (2003) (action choreographer)
Kill Bill (2003) (fight choreographer: Kung Fu)
Matrix Reloaded, The (2003) (action choreographer)
Black Mask 2: City of Masks (2001) (action director) (martial arts director)
... aka Hak hap 2 (2003) (Hong Kong: Cantonese title)
... aka Hei xia 2 (2003) (Hong Kong: Mandarin title)
Matrix Revisited, The (2001) (V) (special thanks) (as Master Yuen Wo Ping)
Shu shan zheng zhuan (2001) (martial arts director)
... aka Legend of Zu, The (2001) (Hong Kong: English title)
... aka Zu Warriors (2001) (USA: dubbed version)
Wo hu cang long (2000) (action choreographer) (as Wo Ping Yuen) (action director)
... aka Crouching Tiger, Hidden Dragon (2000) (USA)
... aka Gua hu chang long (2000)
... aka Ngo foo chong lung (2000) (Hong Kong: Cantonese title)
... aka Wo hu cang long (2000) (China: Mandarin title)
... aka Wo hu chang long (2000)

Matrix, The (1999) (kung fu choreographer)
Jie tou sha shou (1996) (action director) (as Yuen Ho Ping)
... aka Iron Monkey 2 (1996)
Tai ji quan (1996) (action director)
... aka Tai Chi Boxer (1996) (Hong Kong: English title) (UK: literal English title)
... aka Tai Chi 2 (1996)
... aka Tal Chi Chun (1996) (USA)
Hak hap (1996) (action director)
... aka Black Mask (1996) (International: English title)
Hu meng wei long (1995) (martial arts director)
... aka Red Wolf, The (1995)
Jing wu ying xiong (1994) (action director) (fight choreographer)
... aka Fist of Legend (2001) (International: English title)
Yong Chun (1994) (action choreographer) (action director)
... aka Wing Chun (1994) (USA)
Wong Fei-hung chi tit gai dau neung gung (1993) (action director) (martial arts director)
... aka Claws of Steel (1993) (UK)
... aka Deadly China Hero (1993) (USA)
... aka Huang Fei-Hong zhi tie ji dou wu gong (1993) (Hong Kong: Mandarin title)
... aka Iron Rooster Vs. the Centipede (1993)
... aka Last Hero in China (1993)
... aka Tie ji dou wu gong (1993)
... aka Wong Fei Hong's Iron Rooster vs. centipide (1993) (Hong Kong: informal title English title)
Siunin Wong Fei-hung tsi titmalau (1993) (martial arts director)
... aka Iron Monkey (1993) (USA)
... aka Iron Monkey: The Young Wong Fei Hong (1993)
... aka Shao nian Huang Fei-Hong zhi tie ma liu (1993) (Hong Kong: Mandarin title)
Shuang long hui (1992) (action director)
... aka Brother Vs. Brother (1992)
... aka Double Dragon (1992)
... aka Duel of Dragons (1992)
... aka Twin Dragons (1992)
... aka Twin Dragons, The (1992)
... aka When Dragons Collide (1992)
Wong Fei-hung ji yi: Naam yi dong ji keung (1992) (action director)
... aka Huang Fei-hong zhi er nan er dang zi qiang (1992) (Hong Kong: Mandarin title)
... aka Once Upon a Time in China II (1992)
Wong Fei-hung (1991) (martial arts choreographer)
... aka Huang Fei-hong (1991) (Hong Kong: Mandarin title)
... aka Once Upon a Time in China (1991)

Qi men dun jia (1982) (action choreographer) (action director)
... aka Miracle Fighters (1982)

Lin shi rong (1979) (action director)
... aka Magnificent Butcher (1979)
... aka Ren zhe wu di (1979)
Nan bei zui quan (1979) (action director) (martial arts director)
... aka Dance of the Drunk Mantis (1979)
... aka Drunken Master Part 2 (1979) (Hong Kong: English title)
She xing diao shou (1978) (martial arts director)
... aka Bruce Vs. Snake in Eagle's Shadow (1978)
... aka Eagle's Shadow, The (1978)
... aka Snake in the Eagle's Shadow (1978)
... aka Way of the Cat (1978) (USA)
Tai ji qi gong (1978) (action director)
... aka Born Invincible (1978)
Zui quan (1978) (action director) (kung fu instructor)
... aka Challenge (1978) (India: English title)
... aka Drunken Master (1978)
... aka Drunken Monkey in the Tiger's Eyes (1978)
... aka Eagle Claw, Snake Fist, Cat's Paw, Part 2 (1978)
Shen tui tie shan gong (1977) (action director) (martial arts choreographer)
... aka Snuff Bottle Connection (1977)
Nan quan bei tui dou jin hu (1977) (action choreographer)
... aka Secret Rivals 2 (1977)
... aka Silver Fox Rivals II (1977) (USA: video title)
Instant Kung Fu Man, The (1977) (martial arts choreographer)
Lang bei wei jian (1974) (action choreographer) (action director)
... aka Conman and the Kung Fu Kid (1974)
... aka Dirty Partners (1974)
... aka From China with Death (1974)
... aka Wits to Wits (1974)
Shi po tian jian (1973) (action director)
... aka Awaken Punch, The (1973)
... aka Village on Fire (1973) (Hong Kong: English title)
Xiao za zhong (1973) (martial arts director)
... aka *******, The (1973)
Meng hu xia shan (1973) (martial arts director)
... aka Rage of Wind (1973) (Hong Kong: English title)
E hu kung long (1972) (martial arts director)
... aka Good and the Bad, The (1972) (Hong Kong: English title)
Dang kou tan (1972) (action director)
... aka Bloody Fist, The (1972)
... aka Bloody Fists, The (1972)
... aka Death Beach (1972)
Bi hu (1972) (martial arts director)
... aka Lizard, The (1972)
Feng kuang sha shou (1971) (martial arts director)

It was only nitpicking, and by nits I was refering to the difference between Director and Action Director. I would be the first one in line to say that Yuen wo ping has made a huge contribution here.

cheers

Chang Style Novice

01-20-2003, 10:31 PM

Scare quotes only means that you're using the quotes for something besides an actual quotation. Usually, this means that whatever you are putting in quotes is something you mean to be inaccurate. As in: oh, so I'm a "nitpicker" am I?

Laughing Cow has already reproduced Yuen Wo-Ping's C.V. as a movie director. He is a better action director than movie director, it's true, but that doesn't diminish his achievements as a film director.

TaoBoy

01-21-2003, 10:49 PM

Originally posted by Chang Style Novice
"Jackie Brown was intentionally over the top blaxplotation."

WHAAAAAA?!

Could you elaborate on this? I couldn't disagree more. I think Jackie Brown is Tarantino's most layered, realistically acted and plotted, compassionate work to date.

Layered, well acted...? Yes!
But it still bases itself shamelessly in the world of blaxploitation.

BTW - I think it's a great movie. :)

David Jamieson

01-22-2003, 08:34 PM

well, shut my mouth :D

he did direct some films.

cheers

Serpent

01-22-2003, 08:59 PM

Originally posted by Kung Lek
well, shut my mouth :D

he did direct some films.

cheers

Haha! Kung Lek is punked in Forum-Fu!

;)

David Jamieson

01-23-2003, 09:05 AM

I personally feel that one of the best thing you can see in yourself is your own folly and mistakes.

:D

so, if I'm wrong, be sure to "punk" me off with a sense of assurity that I will do my best to find out where I went wrong and I will correct it.

cheers

@PLUGO

01-23-2003, 10:16 AM

wel said Kung...

now can we get back to discussing Uma Thurman!!! :p

norther practitioner

01-23-2003, 03:13 PM

In best Homer Simpson voice
"mmmmm Ummmaaaa"

Chang Style Novice

01-23-2003, 04:19 PM

Her first name is Hindi for "Moon"

I'd like to see her moon.

Dangerous Liasons is a great movie.

Serpent

01-23-2003, 05:51 PM

MmmmmMoooonThurrrmannn!

(There should be a drooling smilie).

Kristoffer

02-10-2003, 11:29 AM

when I first heard of Kill Bill, I was excited. Now, after seeing that crappy trailer I wanna puke my ****ing brains out. You gotta give some creds for the bruce lee ****in overall on uma. funny **** right there, funny ****. :D But the rest, aaaw come on? I'm I suposed to be impressed? What I'm I stupid? Still, this is a very exciting movie year with lotta great movies comming out. X2, the hulk, LOTR 3 (ok officially next year but what the ****) Daredevil (even if I have low expectations and Bullseye look like a **** sucker) Oh, n Matrix how could I forget bout the matrix? Jesus ****ing christ, I'm tingeling all over

yutyeesam

02-12-2003, 09:41 AM

What??!! No Samuel Jackson?!

From the trailer, this film looks like pure crap. But maybe it's fun crap. Whatever kind of crap it is, it will potentially be very good for the market of martial arts. More MA movies will be available & on sale and more people will have an interest in learning martial arts, at least for a little while.

So it follows, then, that Tarantino's next "homage" film should be combining the Blaxploitation and Martial arts genre...which means he should be casting Jim Kelly and Ron Van Clief soon. Either that or Sci Fi.

123

yutyeesam

02-13-2003, 09:43 AM

I wonder if Quentin has done any martial arts? When he talks, his hand gestures form resemblances of dragon and eagle claws!

What style would suit his body type? White Crane, maybe?

123

@PLUGO

02-13-2003, 10:08 AM

drunken style... :p

yutyeesam

02-13-2003, 10:15 AM

More like Cocaine-Style! He's a spaz!:D

The Willow Sword

10-10-2003, 02:12 PM

Well i went to go see the opening of Kill Bill today and whereas our beloved austin chronicle gives the movie a 4 star rating(obviously brown nosing tarantino who resides here) i find it not to be that of four star material. Maybe a 3 star, yes i woudl give this flick a 3 star rating.

Pretty much it is gonna be what most are expecting the movie to be. lots of fighting and tarantino esque flavor and ridiculous gore(he is definately keeping in with the old shaw brothers films)

i thought ,all in all, it was good but i have to say that this new thing in movies to make you wait for the next part is really quite annoying. i mean i would have sat there for an extra hour if it meant that i didnt have to wait another god ****ed year for part 2 to this film to come out.

Uma thurman is a hottie by any standards so i enjoyed watching her parade around like bruce lee on a revenge mission.
i liked the Jap animae in the film,,,,great addition to it.

as for the fighting in the film? you know i have to say that i think fighting in films has really gone down hill these days. i mean you have real fast shots and skips and fight scenes that really confuse the hell out of you.you start to watch a scene and then it flashes to another angle and then it goes back to what you were watching to begin with and it gets all confusing. i mean i remember the days when you could watch a fight film and actually SEE HOW they were fighting and you could SEE the fight. as with films like "Fist of Legend" and some of Jacky chans old films.
but when you have inexperienced actors that Look good but are not necessarily in shape or have the ability to do what jet li and jacky chan did you get a less quality fight scene and you have to make up for it with all those fast shots and seeing the back of the actors head(which is a stunt double anyway)

But aside from my @nal retentiveness to fight scenes in movies i Liked Kill Bill alot and even though i am PI$$ed that i have to wait another year for Volume 2. i am still looking forward to seeing it.

*** three stars from the willow sword.
Peace,

Judge Pen

10-10-2003, 02:38 PM

Thanks TWS.

I agree with the fight direction complaint in most movies, but you hit the nail on the head. It hides the inadequcies of the actors.

Chang Style Novice

10-10-2003, 02:55 PM

Yeah, fast cuts and tight shots suck. I want as little editing as possible and as good and complete a view of the actual movements of the players as possible, please. I'll probably see KB1 this weekend.

Minor correction, though - Pt 2 is scheduled for February, so it'll be considerably less than a year to wait.

The Willow Sword

10-10-2003, 03:21 PM

i did not know that, thanks for the info on Vol. 2 i can now breath a sigh of relief knowing that i wont yet be another year older before part 2 comes out.

Peace,,,,,,TWS

illusionfist

10-11-2003, 02:43 AM

Although I think i'll reserve my overall opinion of the flick till after the second, generally I think the movie was probably the most "out there" of Tarantino's flicks. There were some latent throwbacks to the old school stuff, but I really wish they would have gone with the TRUE old school way of shooting long shot fight scenes. Of course this pretty much isn't possible since the actors are not martial artists.

I liked the homage to the flying guillotine with Gogo's weird arse chain whip of doom thingy.

It seemed that Yuen Wo Ping might have been creatively held back (although I realize there is probably more to come in the second), but that fight scene at the japanese bar was handled pretty well. The gore was just too goofy in my opinion and it was pretty much in league with the gore found in Riki Oh (which was goofy on purpose).

Tarantino's strong points are usually in the dialog, and I think this movie had some pretty good lines- especially Uma's part after the fight in the japanese club.

Stylistically, I think a lot of the shots were too long and the intended mood was lost. He could have trimmed a few minutes off the last fight scene alone just by not focusing on that **** water pump thing (which was kind of a throwback to Kurosawa in some ways). I really didn't dig those **** long shots on Uma's funky arse feet.

The anime part was probably my least favorite, but admittedly its because I really dont like anime. On a stylistic level it really changed the mood, but I think told the backstory creatively and some shots were used that would have been pretty hard to do live action. I think this was just a way of paying homage to the whole martial arts film/ anime genre and catering to the specific audience. It seems like he was really trying to cover a lot of bases.

Plotwise the movie is pretty predictable (so far as of the end of this movie), but I'm sure there will be some plot twists.

That's about it. I think this movie will be more enjoyable the second time around for me. I just hope that Carradine really gets mauled in the second movie. I hate that *******, haha.

Peace [:D]

SanSoo Student

10-13-2003, 12:48 AM

I think that tarentino should've used more creativity in the weapons, and that bar fight was so influenced by old school kung fu flicks..except that it never showed any real martial art style, you now something you can relate to and recognize some moves. And the film kept losing the kung-fu feel everytime another limb would get chopped off.
I do agree some fight scenes got boring because you can never really appreciate the martial art styling they put on the film because there wasn't any style.

Judge Pen

10-13-2003, 10:03 AM

I read that Vol. I is to have a more Japanese flair to it while Vol. II will be more Chinese.

I agree with the bar fight being over the top, but I thought the fight between the Bride and O-Ren was perfect. I even liked the water spout.

apoweyn

10-14-2003, 09:51 AM

Volume 1 definitely had more of a Japanese tone than Chinese. From the long staredowns and pacing of the exchanges to the flashing swordwork after which three people stagger a bit and fall down. All of it very reminiscent of chanbara samurai films.

There is some fu in there too, obviously. Gordon Liu, the "rope dart" (read: enormous metal, bladed ball thing), the guy with two axes, etc.

Yuen Wo Ping is listed as the martial arts "advisor" I think. I was watching the credits at the end (though, admittedly, I was also filing out of the theater) and I thought that they listed a different choreographer. That kinda makes sense to me. The Japanese scenes, in particular, didn't look particularly like Yuen Wo Ping's work to me.

I'd bet that his capacity as advisor had a lot to do with preparing the actors for the choreography though. And on that note, I have to disagree that fight choreography has gone downhill. I mean, obviously Uma Thurman doesn't have the technical know how of . And that will either show in certain movements or be covered by savvy editing.

But the quality of choreography is worlds better than anything, say, Van Damme ever turned out. And universes better than previous efforts to make non-martial artists look like martial artists. Why? Because Yuen knows what makes a fight scene interesting. He knows that real martial artists aren't better because they can do a [i]jumping front kick rather than just a plain old front kick. (That, for a long time, was a favorite move in movies to denote that the hero knew fu.)

Yuen knows that what really makes two combatants look capable is the flowing exchange between them. Parry, counter, parry, counter. Look at the Matrix. The first fight between Neo and Morpheus. Sure, you could say "Neo shoulda turned his hip over more on that round kick." But good grief, the flow of that fight scene was gorgeous. Same with Kill Bill.

Personally, I think the quality of fight scenes has skyrocketed. Jet Li is always going to look smoother than Keanu Reeves. Always. But martial arts have now actually become a legitimate and respected part of mainstream movies. And the actors and choreographers deserve a lot of credit for that.

Stuart B.

MasterKiller

10-14-2003, 11:25 AM

Sonny Chiba directed the Japanese sword fights.

GeneChing

10-14-2003, 04:41 PM

I found it very enjoyable in a guy flick sort of way. If CTHD was the oscar-winning kung fu chick flick, then Kill Bill was the beer-swilling guy flick. Come on, what red-blooded male can't appreciate hollywood hotties doing martial arts, even if it's not the greatest martial arts display. It was very grounding.

I agree with TWS in that the choreography was medicore overall. It was yards better than most Hollywood films, but if you're going to compare it to vintage Shaw, Chan, Li or Lee, you should really think twice about the standard you are setting for those hotties. I mean really, those great classics of the martial arts - those actors were martial artists first. They had some training, serious training, and there's just no substitute for that. But the cinematography of KB v.1 covered a multitude of sins. We here on this forum have much higher standards than most filmgoers, so I'll be interested to see how the general public perceives it.

I really wasn't expecting anything major martial arts-wise from that cast, except for Gordon Liu, who I felt was terrible under-used. I've never really liked Sonny Chiba as a martial artist. But I'll admit I really enjoyed his performance in KB v.1, maybe because he didn't do any martial arts himself.

I thought of Ricky O too with the gore, but I think it was more inspired by the Lone Wolf and Cub series. Actually, the film really worked as an homage for me since scene-for-scene, I could see so many other movies. The whole anime sequence was a take on Golgol 13, right down to the sniper bullet eyeview and the x-ray vision of broken bones.

What can I say? Tarantino hooked me with that opening SB logo and the coming attractions. That took me right back to the Great Star theater in Chinatown and my teenage years spent on pilgrimages to SF for dim sum and the latest kung fu flick. I tell you my heartbeat quickens whenever I see that SB shield on the big screen.

As for that **** water fountain, remember what I said about beer swilling earlier? I had prepared by reliveing myself just before the movie, but something about the combo of Guinness and Fosters (my brand and my buddy's brand) cut through my bladder like a dragon well kwan do (http://store.yahoo.com/martialartsmart/45-81cs.html) and by the final fight, I was struggling with all my retention kungs. After the final kill I made a dash, but if I had remembered that v.2 was coming, I could have probably held out to the end. That water fountain is what pushed me over. Nothing like the sound of a japanese water fountain after you've let a half dozen brewskis percolate in your belly.

Anyway, I'm down for the sequel. Maybe even for opening night. KB v.1 was fun, an I'm eager to see how it will affect future Hollywood attempts on the martial arts movie.

Chang Style Novice

10-14-2003, 08:58 PM

Well, Gene, you've talked me into it: I'll be wearing Depends when I see it!

illusionfist

10-14-2003, 09:14 PM

That's funny Gene, the same thing happened to me. After Uma was sitting down after her fight with Lucy Liu, I had to make a dash to the bathroom. Too much fargin beer. I basically missed the end. Then I came back and caught the part about the daughter and then I stayed to watch the credits. I thought there would have been a preview for the next one at the end, but no dice.

Peace :D

apoweyn

10-15-2003, 12:03 PM

Originally posted by MasterKiller
Sonny Chiba directed the Japanese sword fights.

Oh yeah? That makes a little more sense.

MasterKiller

10-15-2003, 12:22 PM

I'm not 100% on that tidbit, but I know he trained them on how to use the swords.

Mizong_Kid

10-15-2003, 12:45 PM

Donnie Yen ,Jet Li, Jacky CHan and sammo hung!

These guys can do a REAL KUNG FU MOVIE. Because they are good enough and have what it takes.

i dont see the point in making a martial arts flick with actors who dont know kung fu or any other martial art for that matter.The way the fight scenes are shot indeed to cover up the fact that the actors have no skills. Donnie Yen made this point quite well in an interview he did about Iron Monkey.His famous kicking scene in Iron Monkey showed quite well that he is able to kick to a high standard.so i dont think Kill bill will surprise me at all.

Jet Li has made some disastrous attempts in Hollywood, i say donnie yen all the way!

Chang Style Novice

10-16-2003, 08:38 AM

I don't go to movies to see high-kicking demonstrations.

Jeez-louise, if that was all there was to movies, why would ANYONE watch them?

That said, hell yeah! Jackie Chan! Sammo Hung! Yuen Biao! Ya-Kar Leung! Gordon Liu! That's what I call kungfu movies!

GeneChing

10-16-2003, 03:47 PM

...I guess all these guys crying in their beers about "real kung fu movies" well, they don't know the estatic relief of a pee break at the end of Kill Bill. Aaaaaahhhh....

Beer and martial arts movies. Two great tastes that go great together!

Tak

10-16-2003, 08:13 PM

When Kill Bill comes out on DVD, I'm going to buy a copy to keep on hand in case there's an emergency and I need to induce vomiting.

Chang Style Novice

10-19-2003, 07:50 PM

Finally saw it. Liked the gushing blood, loved the soundtrack, but I really wish there had been some character development to go with the (surprisingly good, I thought) action sequences.

Oh, and the long meandering steadicam shot when Bleeep was infiltrating the House of Blue Leaves was to die for.

GeneChing

10-20-2003, 12:17 PM

It's been getting fascinating reviews. Most film critics love it because Tarantino's vision is so refereshing. Most guys love it because it's a guy film. It goes especially good with beer, except for the last scene. Most martial arts film fans who lived through the '70's love it because it's such witty satire. But for many, it's too shocking or they take it too seriously. Either a love or hate type of movie.

Chang Style Novice

10-20-2003, 12:46 PM

http://www.culturevulture.net/Movies7/KillBillI.htm

Interesting. Here's my buddy Scott's review of it, and Rotten Tomatoes puts it in the fresh bin. This despite the phrase "ultimately ... Kill Bill: Volume 1 (is) a less than satisfying night at the movies" and other passages even less kind.

I'm with Scott - I think it's really less than half a movie, and am pretty dissappointed in Tarantino's regression. "Jackie Brown" was his most mature work yet, and it looks like "Kill Bill" will be his most immature.

Still, it's plenty of fun, and heck, most classic kungfu extravaganzas aren't really quite half a movie themselves. The action in KB1 is far inferior to the better Shaw Brothers and their various imitators' stuff, but the quality of filmmaking is much superior - like that orgasma-tastic steadicam shot I mentioned in my last post.

Serpent

10-26-2003, 10:55 PM

I agree with a lot of this stuff. I just saw it myself.

The steady cam shot was awesome. Loved the soundtrack, loved all the homage - so much crammed in there. I just kept being reminded of so many other films and/or filmmakers and actors.

Tarantino said that this movie was for himself, it was his tip of the hat to everything he loved growing up with movies, so it's kinda destined to be immature in that sense. But I think it's his most mature to date with the technique used to make it. The sound right across the movie was awesome, not just the soundtrack. The colours, the cinematography, the sequences, all great.

I was a little disappointed with some of the close-up and cut sequence fights, but, like has been said, they're to cover up the actors lack of skills. Although I did really dig the silhouette fight with the gang and Uma - that was beautiful. And a great touch when she finished by spanking the young lad. Classic stuff!

Can't wait for Vol.2 and the subsequent double DVD box!

jun_erh

11-02-2003, 08:14 AM

I saw this last night and it was just okay. I found the sword stuff boring. Who would do swordfighting in this day and age anyway (I mean in the real world)? Alot of it felt like a student film. It was like a big budget ad for an asian film festival, curated by a campy gay guy.

@PLUGO

11-04-2003, 11:04 AM

I have to say I was thoroughly dissapointed in this film...
All style no substance. Sure there where some nice tips of the hat, but the "jokes" got old.

This totally reminded me of Dusk 'till Dawn with its solid edgy begining that quickly faded into self indulgance.

The Anime sequence was great... but the MATRIX beat him to it with the Animatrix... If he had turned the whole movie into Anime the moment the story left Okinawa and landed in Japan, then I would have been inpress... the action would have been much more believable and then he could have saved the pretty faces for talking head shots.

The B/W spatter gore was boring and inconsistant. If he was going to go there then why not go there to the minute detail choreographing each cut and blood splatter. Too many time the sword fights resorted to the same old swing the sword and the guy falls over and rolls down the steps leaving no trail of blood. Why weren't people slipping and sliding on their companions' guts!!!?

The blue sihoulette scene was pretty but Uma looked like a Man!!! They might as well have treated it like they treated the fight scene in I'm Gonna get you Sucka.

Yeah, we KNOW Quentin loves this stuff.. and yeah nice use of sounds and the Shaw scope bit... but c'mooooon. It was to much like Jackie Brown when it should've been more like Pulp Fiction!!!

Dull Dull Dull . .. I'm just glad I went to see a matinee, and maybe I'll sneak in to see part 2.

The BUCK scenes, where classic Tarintino... but it could've been in any of his flicks. The closest the movie came towards any semblance of humanity was that sequence with whats-her-face's daughter in the kitchen...

Y A W N . . .

@PLUGO

11-21-2003, 03:25 PM

Tarantino revisits his childhood and produces a postmodern, gender- and genre-bending psychotherapy session in an attempt to remake the past. (http://metaphilm.com/philm.php?id=200_0_2_0_M)

interesting read... Rated R Language

Chang Style Novice

11-21-2003, 08:17 PM

metaphilm.com totally RAWKS! Be sure to read their commentary on Fight Club.

@PLUGO

11-24-2003, 11:11 AM

Metaphilm IS the BOMB... the Fightclub piece was actually the very first piece I read... there's a ton of great stuff...

the Monster balls piece is great,

The Matrix Bits of course

Training Day,
Wizard of Oz...

soooooo many.

SevenStar

11-24-2003, 02:07 PM

Originally posted by SanSoo Student
I think that tarentino should've used more creativity in the weapons, and that bar fight was so influenced by old school kung fu flicks..except that it never showed any real martial art style, you now something you can relate to and recognize some moves. And the film kept losing the kung-fu feel everytime another limb would get chopped off.
I do agree some fight scenes got boring because you can never really appreciate the martial art styling they put on the film because there wasn't any style.

The style was not chinese at all... look at it - it was Japanese. I really enjoyed the more Japanese use of the sword. It was refreshing - all you see typically is wushu. Blah. This was a good break from the norm.

MasterKiller

11-24-2003, 02:20 PM

The style was not chinese at all... look at it - it was Japanese. Hmmm.....I dunno about that. Even when she's using the katana, she is doing CMA ground techniques. Add to that the Rope Dart, and the Knife vs Open-Hand sequence, and I would say it was well infused with CMA.

mortal

11-24-2003, 03:37 PM

I hated just about everything about it.
More good looking hollywood actors loosely imitating martial arts.

I saw there "training". Duh.

SevenStar

11-30-2003, 03:57 PM

Originally posted by MasterKiller
Hmmm.....I dunno about that. Even when she's using the katana, she is doing CMA ground techniques. Add to that the Rope Dart, and the Knife vs Open-Hand sequence, and I would say it was well infused with CMA.

I was referring specifically to the sword sequences. That's the only part I can really see anyone saying lacks style.

Kristoffer

12-11-2003, 02:26 PM

I love it. Although I would rather it have been one movie and not two. I could gladly sit through 4 hours of blood dripping blade fights.

4 outta 5

Kristoffer

12-11-2003, 02:28 PM

..And who cares if the sword fights are 'stylish'. She ****ing KILLS people, not like the average Jet Li movie where he punch them in the head forty times.

quiet man

12-15-2003, 06:13 AM

Did you notice the Charlie Chan reference ("Son number one, this tall drink of c0cksucker ain't dead.")? Pretty funny...

The music is great, yeah. I'll be sure to get a copy of OST. Nancy Sinatra rocks :D

@PLUGO

12-16-2003, 10:35 AM

Any word on Part 2's release date?

Chang Style Novice

12-16-2003, 10:45 AM

http://us.imdb.com/title/tt0378194/releaseinfo

Love the imdb.
Trust the imdb.
Bookmark the imdb.
The imdb knows all.
The imdb is your friend.

quiet man

12-17-2003, 01:14 AM

http://www.allmovie.com

:D

Kristoffer

12-17-2003, 03:11 AM

nnnnnnnnnnnoooooo all the way to march... :mad:

Stranger

05-08-2004, 06:48 AM

I was just reading an interview with David Carradine that took place before the release of "Kill Bill vol. 1". In this interview, he mentioned scenes of him training at Pai Mei's temple and a sword fight with Michael Jai White. I can't recall seeing either in the movies. Were these scenes cut? Does anybody know why, or what they might have given to the story? What was Michael Jai White's role in the story?

Kristoffer

05-08-2004, 07:00 AM

They had to take out alot because it would take up too much time. ( the reason to split it in 2) I read they would show Bills training with the Mexican boss and his training with Pai Mei.. I think Jay was supposed to be connected to Vivica Fox

doug maverick

05-10-2004, 08:20 AM

we talked about this on a another post called what happened!! started by yours truly! jai white's role was as an assasin sent by this cassino owner to kill bill dave was gonna have a fight scene but thery cut it it'll be in the dvd. the sad part is jai white was still plugging the movie even thou his scene got cut plus. he';s an assshole so there you have it!! as for the training part with pak mei! it's going to be in the next installment of the movie. an anime which tells the story of bill!!!!

Li Kao

08-31-2004, 06:21 AM

Has anyone heard if they are going to make a special-edition of Kill Bill, or maybe even offer the movie(s) as a set? I read the script before the first one came out, and there were some potentially cool scenes that didn't show up in either of the theatrical releases -- I guess I'm not even sure that Tarrantino filmed them, but I would consider holding off on getting the DVD's if something like this were to come out ...

MasterKiller

08-31-2004, 07:40 AM

He's going to release an uncut special edition as one movie, but I don't know when it's due out. He's also in pre-pre-production on Volume III.

Li Kao

08-31-2004, 08:15 AM

Where did you hear about the Vol. 3 stuff? From what I was told, when Quentin made the statements that he would eventually make a Vol. 3 where Nikki, Vernita Green's daughter, would get revenge on the Bride, he was actually just "messing" with the press, as he has been known to do in the past, and that he wasn't actually serious. That is what most Tarrantino fans have said ... that he was deliberately trying to mislead the paparazzi in a mischevious kind of way.

When you think about it, this movie could go on forever, because Bill and the Bride's daughter could then take revenge on Nikki, etc., etc. Personally, I think a Vol. 3 would be redundant.

P.S. Which of Bill/The Bride's mentors did you like better?;)
I would guess from both of our avatars that the answer is obvious, although I have to admit that Sonny Chiba stole the show in Vol. 1.

MasterKiller

08-31-2004, 08:35 AM

I read an article about it, but I guess he could have been joking. At any rate, as far as I know, he still plans to release an uncut version.

What is your avatar from? That's not Bak Mei from Kill Bill, Executioners from Shaolin, or Fists of the White Lotus.

Starchaser107

08-31-2004, 08:40 AM

I like Gordon Liu's role as (bak)Pak Mei the white eyebrow master

Li Kao

08-31-2004, 05:25 PM

Actually, my avatar is Gordon from Kill Bill.

I got it from some photos they took in production -- I have about 3 more I considered using, but I wanted to get one where he was stroking his beard :)

It's too bad Lo Lieh couldn't have been Pai Mei in Kill Bill, but who better to fill in than Gordon? Brilliant casting move by Quentin ...

HiddenShadow

09-01-2004, 10:29 PM

I feel that a volume III is unecissary. It had a solid ending in vol. II and it should be left alone IMO. As for a box set or whatever, Im waitin for that to come out before i buy it

Vash

09-02-2004, 03:48 AM

Knowing Quentin like I do, I'd wager that Vol. III will be "The Feet of Kill Bill."

GeneChing

10-04-2017, 09:07 AM

I saw this promo on TV last night. It's for Twin Pine Casino & Hotel in Middleton CA. It made me chuckle (y'all know my penchant for sword hotties (http://www.kungfumagazine.com/forum/showthread.php?41007-Sword-hotties)). What I like best about the image (which will surely be taken down in a month) is the horrid photoshop on the sword grip.

https://www.twinpine.com/wp-content/uploads/2017/08/Kill-Bills_Sept-Poster.png
KILL BILLS, VOL.2 (https://www.twinpine.com/kill-bills-2/)
Let Twin Pine Pay Your Bills
For the Rest of 2017!
CASH DRAWINGS EVERY SATURDAY
IN OCTOBER
6:00 pm–10:00 pm
Earn tickets daily
GRAND PRIZE DRAWING
OCTOBER 28

GeneChing

11-27-2017, 12:13 PM

'KILL BILL' STAR UMA THURMAN DECLARES #METOO, SAYS WEINSTEIN DOESN'T EVEN DESERVE A BULLET (http://www.newsweek.com/what-happened-uma-thurman-kill-bill-actor-blasts-harvey-weinstein-declares-721303)
BY TUFAYEL AHMED ON 11/24/17 AT 6:32 AM

Uma Thurman is going full Kill Bill on Harvey Weinstein.

The actor shared a powerful message on Thanksgiving Thursday, revealing that she, too, has been a victim of sexual harassment and called out Hollywood producer Weinstein, who was one of the people behind her hit film Pulp Fiction and the Kill Bill movies.

Thurman shared a screenshot of her vengeful Kill Bill character The Bride and captioned it: “I am grateful today, to be alive, for all those I love, and for all those who have the courage to stand up for others.

“I said I was angry recently, and I have a few reasons, #metoo, in case you couldn’t tell by the look on my face.”

Follow (https://www.instagram.com/p/Bb2h0hBlV3T/)

https://instagram.fsnc1-1.fna.fbcdn.net/t51.2885-15/e35/23825045_312097759267947_8922958230053715968_n.jpg

H A P P Y T H A N K S G I V I N G

I am grateful today, to be alive, for all those I love, and for all those who have the courage to stand up for others.
I said I was angry recently, and I have a few reasons, #metoo, in case you couldn’t tell by the look on my face.
I feel it’s important to take your time, be fair, be exact, so... Happy Thanksgiving Everyone! (Except you Harvey, and all your wicked conspirators - I’m glad it’s going slowly - you don’t deserve a bullet) -stay tuned
Uma Thurman
Like
Comment
164,856 likes

The #MeToo hashtag has been used by victims of sexual harassment on Twitter in the last several weeks to speak openly about their experiences and call for the accountability of alleged culprits.

The actor, 47, hinted that a more detailed disclosure was to come, concluding her message with a particularly withering remark to Weinstein. “I feel it’s important to take your time, be fair, be exact, so... Happy Thanksgiving Everyone! (Except you Harvey, and all your wicked conspirators - I’m glad it’s going slowly - you don’t deserve a bullet.)"

"Stay tuned,” Thurman added.

The actor has most recently responded to the dozens of rape and sexual assault accusations against Weinstein in a brisk red carpet interview ahead of the premiere of her Broadway play, The Parisian Woman, in mid-October. A seething Thurman told Access Hollywood she has been “waiting to feel less angry” before coming forward with her own story about sexual harassment.

https://www.youtube.com/watch?v=Rs4gK8DuuWY

Among Weinstein's nearly 90 accusers are actors Rose McGowan, Gwyneth Paltrow and Angelina Jolie. Paltrow liked Thurman’s post Thursday and commented with a fist bump emoji. It’s not clear if Thurman is implying that she, too, was the victim of sexual abuse by the producer. Representatives for the actor did not immediately return Newsweek’s request for comment.

Weinstein was instrumental in some of Thurman’s biggest movie collaborations with Quentin Tarantino. The producer distributed Tarantino’s first directorial effort, Reservoir Dogs, and later Pulp Fiction and Kill Bill.

http://s.newsweek.com/sites/www.newsweek.com/files/styles/full/public/2017/11/24/uma-thurman-blasts-harvey-weinstein.jpg
Uma Thurman speaks onstage during the 2017 Tony Awards at Radio City Music Hall in New York, June 11, 2017.
THEO WARGO/GETTY

After numerous women came forward with allegations of abuse by Weinstein in October, Tarantino admitted that he “knew enough to do more than I did.”

Tarantino told The New York Times he was aware that Weinstein had inappropriately touched his then-girlfriend, the actor Mira Sorvino, in 1995, a story she recounted to The New Yorker in October.

However, the filmmaker said he had heard other stories about Weinstein’s alleged predatory behavior but did not consider them too seriously. “I chalked it up to a ’50s-’60s era image of a boss chasing a secretary around the desk. As if that’s O.K. That’s the egg on my face right now."

An Open Secret (http://www.kungfumagazine.com/forum/showthread.php?70520-An-Open-Secret-Hollywood-Please-Watch/page3) meets Kill Bill (http://www.kungfumagazine.com/forum/showthread.php?18892-Kill-Bill)

GeneChing

02-05-2018, 09:12 AM

There's a vid of the car behind the link.

This Is Why Uma Thurman Is Angry (https://www.nytimes.com/2018/02/03/opinion/sunday/this-is-why-uma-thurman-is-angry.html)
The actress is finally ready to talk about Harvey Weinstein.
Maureen Dowd FEB. 3, 2018

https://static01.nyt.com/images/2018/02/05/opinion/sunday/04dowd/04dowd-superJumbo.jpg

Yes, Uma Thurman is mad.

She has been raped. She has been sexually assaulted. She has been mangled in hot steel. She has been betrayed and gaslighted by those she trusted.

And we’re not talking about her role as the blood-spattered bride in “Kill Bill.” We’re talking about a world that is just as cutthroat, amoral, vindictive and misogynistic as any Quentin Tarantino hellscape.

We’re talking about Hollywood, where even an avenging angel has a hard time getting respect, much less bloody satisfaction.

Playing foxy Mia Wallace in 1994’s “Pulp Fiction” and ferocious Beatrix Kiddo in “Kill Bill,” Volumes 1 (2003) and 2 (2004), Thurman was the lissome goddess in the creation myth of Harvey Weinstein and Quentin Tarantino. The Miramax troika was the ultimate in indie cool. A spellbound Tarantino often described his auteur-muse relationship with Thurman — who helped him conceive the idea of the bloody bride — as an Alfred Hitchcock-Ingrid Bergman legend. (With a foot fetish thrown in.) But beneath the glistening Oscar gold, there was a dark undercurrent that twisted the triangle.

“Pulp Fiction” made Weinstein rich and respected, and Thurman says he introduced her to President Barack Obama at a fund-raiser as the reason he had his house.

“The complicated feeling I have about Harvey is how bad I feel about all the women that were attacked after I was,” she told me one recent night, looking anguished in her elegant apartment in River House on Manhattan’s East Side, as she vaped tobacco, sipped white wine and fed empty pizza boxes into the fireplace.

“I am one of the reasons that a young girl would walk into his room alone, the way I did. Quentin used Harvey as the executive producer of ‘Kill Bill,’ a movie that symbolizes female empowerment. And all these lambs walked into slaughter because they were convinced nobody rises to such a position who would do something illegal to you, but they do.”

Thurman stresses that Creative Artists Agency, her former agency, was connected to Weinstein’s predatory behavior. It has since issued a public apology. “I stand as both a person who was subjected to it and a person who was then also part of the cloud cover, so that’s a super weird split to have,” she says.

She talks mordantly about “the power from ‘Pulp,’” and reminds me that it’s in the Library of Congress, part of the American narrative.

https://static01.nyt.com/images/2018/02/04/opinion/sunday/04dowd-jump/04dowd-jump-master675.jpg
Uma Thurman as Mia Wallace in Quentin Tarantino’s 1994 film, “Pulp Fiction.” Harvey Weinstein was an executive producer. Credit Miramax Films

When asked about the scandal on the red carpet at the October premiere for her Broadway play, “The Parisian Woman,” an intrigue about a glamorous woman in President Trump’s Washington written by “House of Cards” creator Beau Willimon, she looked steely and said she was waiting to feel less angry before she talked about it.

“I used the word ‘anger’ but I was more worried about crying, to tell you the truth,” she says now. “I was not a groundbreaker on a story I knew to be true. So what you really saw was a person buying time.”

By Thanksgiving, Thurman had begun to unsheathe her Hattori Hanzo, Instagramming a screen shot of her “roaring rampage of revenge” monologue and wishing everyone a happy holiday, “(Except you Harvey, and all your wicked conspirators — I’m glad it’s going slowly — you don’t deserve a bullet) — stay tuned.”

Stretching out her lanky frame on a brown velvet couch in front of the fire, Thurman tells her story, with occasional interruptions from her 5-year-old daughter with her ex, financier Arpad Busson. Luna is in her pj’s, munching on a raw cucumber. Her two older kids with Ethan Hawke, Maya, an actress, and Levon, a high school student, also drop by.

In interviews over the years, Thurman has offered a Zen outlook — even when talking about her painful breakup from Hawke. (She had a brief first marriage to Gary Oldman.) Her hall features a large golden Buddha from her parents in Woodstock; her father, Robert Thurman, is a Buddhist professor of Indo-Tibetan studies at Columbia who thinks Uma is a reincarnated goddess.

But beneath that reserve and golden aura, she has learned to be a street fighter.

She says when she was 16, living in a studio apartment in Manhattan and starting her movie career, she went to a club one winter night and met an actor, nearly 20 years older, who coerced her afterward when they went to his Greenwich Village brownstone for a nightcap.

“I was ultimately compliant,” she remembers. “I tried to say no, I cried, I did everything I could do. He told me the door was locked but I never ran over and tried the knob. When I got home, I remember I stood in front of the mirror and I looked at my hands and I was so mad at them for not being bloody or bruised. Something like that tunes the dial one way or another, right? You become more compliant or less compliant, and I think I became less compliant.”

Thurman got to know Weinstein and his first wife, Eve, in the afterglow of “Pulp Fiction.” “I knew him pretty well before he attacked me,” she said. “He used to spend hours talking to me about material and complimenting my mind and validating me. It possibly made me overlook warning signs. This was my champion. I was never any kind of studio darling. He had a chokehold on the type of films and directors that were right for me.”

Things soon went off-kilter in a meeting in his Paris hotel room. “It went right over my head,” she says. They were arguing about a script when the bathrobe came out.

“I didn’t feel threatened,” she recalls. “I thought he was being super idiosyncratic, like this was your kooky, eccentric uncle.”

He told her to follow him down a hall — there were always, she says, “vestibules within corridors within chambers” — so they could keep talking. “Then I followed him through a door and it was a steam room. And I was standing there in my full black leather outfit — boots, pants, jacket. And it was so hot and I said, ‘This is ridiculous, what are you doing?’ And he was getting very flustered and mad and he jumped up and ran out.”

The first “attack,” she says, came not long after in Weinstein’s suite at the Savoy Hotel in London. “It was such a bat to the head. He pushed me down. He tried to shove himself on me. He tried to expose himself. He did all kinds of unpleasant things. But he didn’t actually put his back into it and force me. You’re like an animal wriggling away, like a lizard. I was doing anything I could to get the train back on the track. My track. Not his track.”

She was staying in Fulham with her friend, Ilona Herman, Robert De Niro’s longtime makeup artist, who later worked with Thurman on “Kill Bill.”

“The next day to her house arrived a 26-inch-wide vulgar bunch of roses,” Thurman says. “They were yellow. And I opened the note like it was a soiled diaper and it just said, ‘You have great instincts.’” Then, she says, Weinstein’s assistants started calling again to talk about projects.

She thought she could confront him and clear it up, but she took Herman with her and asked Weinstein to meet her in the Savoy bar. The assistants had their own special choreography to lure actresses into the spider’s web and they pressured Thurman, putting Weinstein on the phone to again say it was a misunderstanding and “we have so many projects together.” Finally she agreed to go upstairs, while Herman waited on a settee outside the elevators.

Once the assistants vanished, Thurman says, she warned Weinstein, “If you do what you did to me to other people you will lose your career, your reputation and your family, I promise you.” Her memory of the incident abruptly stops there.
continued next post

GeneChing

02-05-2018, 09:13 AM

Through a representative, Weinstein, who is in therapy in Arizona, agreed that “she very well could have said this.”

Downstairs, Herman was getting nervous. “It seemed to take forever,” the friend told me. Finally, the elevator doors opened and Thurman walked out. “She was very disheveled and so upset and had this blank look,” Herman recalled. “Her eyes were crazy and she was totally out of control. I shoveled her into the taxi and we went home to my house. She was really shaking.” Herman said that when the actress was able to talk again, she revealed that Weinstein had threatened to derail her career.

Through a spokesperson, Weinstein denied ever threatening her prospects and said that he thought she was “a brilliant actress.” He acknowledged her account of the episodes but said that up until the Paris steam room, they had had “a flirtatious and fun working relationship.”

“Mr. Weinstein acknowledges making a pass at Ms. Thurman in England after misreading her signals in Paris,” the statement said. “He immediately apologized.”

Thurman says that, even though she was in the middle of a run of Miramax projects, she privately regarded Weinstein as an enemy after that. One top Hollywood executive who knew them both said the work relationship continued but that basically, “She didn’t give him the time of day.”

Thurman says that she could tolerate the mogul in supervised environments and that she assumed she had “aged out of the window of his assault range.”

She attended the party he had in SoHo in September for Tarantino’s engagement to Daniella Pick, an Israeli singer. In response to queries about Thurman’s revelations, Weinstein sent along six pictures of chummy photos of the two of them at premieres and parties over the years.

And that brings us to “the Quentin of it all,” as Thurman calls it. The animosity between Weinstein and Thurman infected her creative partnership with Tarantino.

Married to Hawke and with a baby daughter and a son on the way, Thurman went to the Cannes Film Festival in 2001. She says Tarantino noticed after a dinner that she was skittish around Weinstein, which was a problem, since they were all about to make “Kill Bill.” She says she reminded Tarantino that she had already told him about the Savoy incident, but “he probably dismissed it like ‘Oh, poor Harvey, trying to get girls he can’t have,’ whatever he told himself, who knows?” But she reminded him again and “the penny dropped for him. He confronted Harvey.”

Later, by the pool under the Cypress trees at the luxurious Hotel du Cap, Thurman recalls, Weinstein said he was hurt and surprised by her accusations. She then firmly reiterated what happened in London. “At some point, his eyes changed and he went from aggressive to ashamed,” she says, and he offered her an apology with many of the sentiments he would trot out about 16 years later when the walls caved in.

“I just walked away stunned, like ‘O.K., well there’s my half-assed apology,’” Thurman says.

Weinstein confirmed Friday that he apologized, an unusual admission from him, which spurred Thurman to wryly note, “His therapy must be working.”

Since the revelations about Weinstein became public last fall, Thurman has been reliving her encounters with him — and a gruesome episode on location for “Kill Bill” in Mexico made her feel as blindsided as the bride and as determined to get her due, no matter how long it took.

With four days left, after nine months of shooting the sadistic saga, Thurman was asked to do something that made her draw the line.

In the famous scene where she’s driving the blue convertible to kill Bill — the same one she put on Instagram on Thanksgiving — she was asked to do the driving herself.

But she had been led to believe by a teamster, she says, that the car, which had been reconfigured from a stick shift to an automatic, might not be working that well.

She says she insisted that she didn’t feel comfortable operating the car and would prefer a stunt person to do it. Producers say they do not recall her objecting.

“Quentin came in my trailer and didn’t like to hear no, like any director,” she says. “He was furious because I’d cost them a lot of time. But I was scared. He said: ‘I promise you the car is fine. It’s a straight piece of road.’” He persuaded her to do it, and instructed: “ ‘Hit 40 miles per hour or your hair won’t blow the right way and I’ll make you do it again.’ But that was a deathbox that I was in. The seat wasn’t screwed down properly. It was a sand road and it was not a straight road.” (Tarantino did not respond to requests for comment.)

Thurman then shows me the footage that she says has taken her 15 years to get. “Solving my own Nancy Drew mystery,” she says.

It’s from the point of view of a camera mounted to the back of the Karmann Ghia. It’s frightening to watch Thurman wrestle with the car, as it drifts off the road and smashes into a palm tree, her contorted torso heaving helplessly until crew members appear in the frame to pull her out of the wreckage. Tarantino leans in and Thurman flashes a relieved smile when she realizes that she can briefly stand.

“The steering wheel was at my belly and my legs were jammed under me,” she says. “I felt this searing pain and thought, ‘Oh my God, I’m never going to walk again,’” she says. “When I came back from the hospital in a neck brace with my knees damaged and a large massive egg on my head and a concussion, I wanted to see the car and I was very upset. Quentin and I had an enormous fight, and I accused him of trying to kill me. And he was very angry at that, I guess understandably, because he didn’t feel he had tried to kill me.”

Even though their marriage was spiraling apart, Hawke immediately left the Abbey of Gethsemani in Kentucky to fly to his wife’s side.

“I approached Quentin in very serious terms and told him that he had let Uma down as a director and as a friend,” he told me. He said he told Tarantino, “Hey, man, she is a great actress, not a stunt driver, and you know that.” Hawke added that the director “was very upset with himself and asked for my forgiveness.”

Two weeks after the crash, after trying to see the car and footage of the incident, she had her lawyer send a letter to Miramax, summarizing the event and reserving the right to sue.

Miramax offered to show her the footage if she signed a document “releasing them of any consequences of my future pain and suffering,” she says. She didn’t.

Thurman says her mind meld with Tarantino was rattled. “We were in a terrible fight for years,” she explains. “We had to then go through promoting the movies. It was all very thin ice. We had a fateful fight at Soho House in New York in 2004 and we were shouting at each other because he wouldn’t let me see the footage and he told me that was what they had all decided.”

Now, so many years after the accident, inspired by the reckoning on violence against women, reliving her own “dehumanization to the point of death” in Mexico, and furious that there have not been more legal repercussions against Weinstein, Thurman says she handed over the result of her own excavations to the police and ramped up the pressure to cajole the crash footage out of Tarantino.

“Quentin finally atoned by giving it to me after 15 years, right?” she says. “Not that it matters now, with my permanently damaged neck and my screwed-up knees.”

(Tarantino aficionados spy an echo of Thurman’s crash in his 2007 movie, “Death Proof,” produced by Weinstein and starring Thurman’s stunt double, Zoë Bell. Young women, including a blond Rose McGowan, die in myriad ways, including by slamming into a windshield.)

As she sits by the fire on a second night when we talk until 3 a.m., tears begin to fall down her cheeks. She brushes them away.

“When they turned on me after the accident,” she says, “I went from being a creative contributor and performer to being like a broken tool.”

Thurman says that in “Kill Bill,” Tarantino had done the honors with some of the sadistic flourishes himself, spitting in her face in the scene where Michael Madsen is seen on screen doing it and choking her with a chain in the scene where a teenager named Gogo is on screen doing it.

“Harvey assaulted me but that didn’t kill me,” she says. “What really got me about the crash was that it was a cheap shot. I had been through so many rings of fire by that point. I had really always felt a connection to the greater good in my work with Quentin and most of what I allowed to happen to me and what I participated in was kind of like a horrible mud wrestle with a very angry brother. But at least I had some say, you know?” She says she didn’t feel disempowered by any of it. Until the crash.

“Personally, it has taken me 47 years to stop calling people who are mean to you ‘in love’ with you. It took a long time because I think that as little girls we are conditioned to believe that cruelty and love somehow have a connection and that is like the sort of era that we need to evolve out of.”

Saddened to hear the Open Secret (http://www.kungfumagazine.com/forum/showthread.php?70520-An-Open-Secret-Hollywood-Please-Watch) is sullying Kill Bill (http://www.kungfumagazine.com/forum/showthread.php?18892-Kill-Bill)

Jimbo

02-05-2018, 03:11 PM

That's it, then; no Kill Bill Vol.3.

Seriously, though, if it happened like Uma says, shame on Tarantino. He absolutely should have had Uma's stunt double, Zoe Bell, drive the car. Better yet, he should have listened to those who had said the car wasn't safe and gotten another car for Zoe to drive. From that footage, there was no reason whatsoever that Uma had to drive it. The entire shot showed her from behind.

https://www.youtube.com/watch?v=4v5NzLPi8WU&sns=em

GeneChing

02-06-2018, 10:16 AM

Some say this redeems him.

Quentin Tarantino Breaks Silence on Uma Thurman Crash (https://www.hollywoodreporter.com/news/quentin-tarantino-breaks-silence-uma-thurman-crash-1082065)
7:26 PM PST 2/5/2018 by Patrick Shanley

https://cdn1.thr.com/sites/default/files/imagecache/landscape_928x523/2018/02/gettyimages-829681240-h_2018.jpg
Tommaso Boddi/WireImage
Quentin Tarantino

The director addressed the controversy surrounding him following a recent New York Times report.
Quentin Tarantino drew criticism over the weekend following a New York Times article in which Kill Bill star Uma Thurman shared a story of a car crash and subsequent injuries she suffered while filming the 2003 action movie. Thurman claims that the accident resulted in a concussion and damaged knees.

The footage of the crash, which Tarantino provided to Thurman, shows the actress crashing into a palm tree. In a recent interview with Deadline, Tarantino said he knew the Times story was coming and was contacted by both Thurman and Maureen Dowd, the author of the Times piece. "I knew that the piece was happening. Uma and I had talked about it, for a long period of time, deciding how she was going to do it. She wanted clarity on what happened in that car crash, after all these years," Tarantino said.

The director went on to say that he never met up with Dowd and "ended up taking the hit and taking the heat" when the article published. "I figured that eventually it would be used whenever [Thurman] had her big piece," Tarantino said of the footage. "Also, there was an element of closure. She had been denied it, from Harvey Weinstein, being able to even see the footage."

Tarantino recalled the day of the scene, saying that he "none of us ever considered it a stunt. It was just driving." Thurman, however, said she voiced trepidations to Tarantino about operating the vehicle on a sandy road. "I’m sure I wasn’t in a rage and I wasn’t livid. I didn’t go barging into Uma’s trailer, screaming at her to get into the car," the director said.

The issue, he said, happened when they decided to film the scene of Thurman driving in the opposite direction than they had tested and an unforeseen "mini S-curve" caused the crash. "I thought, a straight road is a straight road and I didn’t think I needed to run the road again to make sure there wasn’t any difference, going in the opposite direction," he said. "That is one of the biggest regrets of my life. As a director, you learn things and sometimes you learn them through horrendous mistakes. That was one of my most horrendous mistakes, that I didn’t take the time to run the road, one more time, just to see what I would see."

The crash affected their relationship, said Tarantino: "It affected me and Uma for the next two to three years. It wasn’t like we didn’t talk. But a trust was broken." He added, however, that they "weren’t estranged," though he said it took a few years for the “Quentin and Uma” double act to return to what it was before. Tarantino also added that if they were as estranged as had been reported, he would not have helped her with the Times story.

On the subject of Harvey Weinstein, who was a frequent producer of Tarantino's films (including Kill Bill) and who Thurman claims sexually assaulted her, Tarantino said he was "absolutely being her accomplice" when the actress told the Times of her assault.

Tarantino, who has said that he wished he had taken responsibility upon hearing of Weinstein's actions in the past — in particular, his sexual harassment of Tarantino's ex-girlfriend Mira Sorvino in the 1990s — addressed Thurman's claims, saying, "While we were getting ready to do Kill Bill, Uma tells me that [Weinstein] had done the same thing to her [as he had to Sorvino]." He said that's when he "realized there was a pattern, in Harvey’s luring and pushing attacks. So I made Harvey apologize to Uma." Tarantino then said he gave Weinstein an ultimatum: Apologize or he wouldn't do the film. The director said he wasn't present for the apology.

When asked about particular scenes in the film where Thurman was spit on and choked with a chain, Tarantino responded to controversies around himself personally performing the actions off-camera. In regards to the spitting scene, Tarantino said he didn't trust star Michael Madsen to perform the take, so the director did it himself. "Who else should do it? A grip?" he said.

In the scene where Thurman is choked by a chain, the director said it was the actress' suggestion to actually be seen in the scene, choking. "I was assuming that when we did it, we would have maybe a pole behind Uma that the chain would be wrapped around so it wouldn’t be seen by the camera, at least for the wide shot," said Tarantino, adding that their stunt man monitored the scene. "But then it was Uma’s suggestion. To just wrap the thing around her neck, and choke her." The filmmaker confirmed he was the one on the "other end of the chain" in the scene and that they "pulled it off."

Tarantino compared the experience to when he stepped in to film the scene where Diane Kruger is strangled in Inglourious Basterds. In both instances, he said he asked his female stars for their permission to commit to the scene, and that they agreed.

"[Diane] even said on film in an interview, it was a strange request but by that point I trusted Quentin so much that, sure," he said. "We did our two times, and then like Uma with the spitting thing, Diane said, okay, if you need to do it once more, you can. That was an issue of me asking the actress, can we do this to get a realistic effect. And she agreed with it, she knew it would look good and she trusted me to do it. I would ask a guy the same thing. In fact, I would probably be more insistent with a guy."

On Tuesday, Kruger waded into the conversation to say that her experience with Tarantino "was pure joy." She wrote in a social post, "He treated me with utter respect and never abused his power or forced me to do anything I wasn't comfortable with." She also said her "heart goes out to Uma and anyone who has ever been the victim of sexual assault and abuse." Adding, "I stand with you."

In an Instagram post earlier on Monday, Thurman had said Tarantino did the "right thing" by taking responsibility and sharing the footage. She said the "real perpetrators" are Weinstein and fellow producers Lawrence Bender and E. Bennett Walsh. Tarantino said that "Harvey and Lawrence and Ben lawyered up and [they] seemed to keep themselves from being named in the piece," leaving the director "representing everybody."

Tarantino added that, despite having to shoulder the responsibility, he felt like he'd "been honest here and told the truth, and it feels really good after two days of misrepresentation, to be able to say it out loud. Whatever comes of it, I’ve said my piece. I’ve got big shoulders and I can handle it."

GeneChing

02-09-2018, 10:22 AM

Filming outside U.S. regulations....well, this is tricky as some of the best stunt work in Asia is in complete defiance of safety regulations, but the actors don't do the stunts unless they are stunt people like Jackie.

Uma Thurman's 'Kill Bill' Crash Sparks Outrage in Stunt Community (https://www.hollywoodreporter.com/news/uma-thurmans-kill-bill-crash-sparks-outrage-stunt-community-1083035)
6:30 AM PST 2/8/2018 by Jonathan Handel

https://cdn1.thr.com/sites/default/files/imagecache/landscape_928x523/2018/02/gettyimages-862847134-h_2018.jpg
Slaven Vlasic/Getty Images
Uma Thurman

"That could have been a death by decapitation," a veteran Hollywood stunt performer said of the violent crash sequence filmed in 2003 that left Thurman suffering a concussion and damaged knees.

How did actress Uma Thurman end up crashing into a tree at perhaps 40 miles per hour for the sake of a Quentin Tarantino movie?

Stunt professionals are starting to ask tough questions in the wake of the New York Times article in which Thurman revealed chilling footage of her violent crash while filming an iconic sequence in Mexico for 2004's Kill Bill Vol. 2. And Thurman's guild isn't happy either.

"The situation as it has been described sounds like a stunt and would be a likely safety violation," says a spokesperson for performers' union SAG-AFTRA, of which Thurman is a member. "In general, only stunt professionals should perform stunts with guidance from a stunt coordinator to ensure a correct and safe performance."

SAG-AFTRA doesn't have personnel to monitor on-set action around the country, let alone the world, and relies on actors to call its safety hotline at 844-SaferSet if they feel uneasy. In this case, Thurman apparently didn't alert the union. (Whether SAG-AFTRA will now investigate what happened seems unlikely given the passage of time and the lack of a complaint filed. The union didn't respond to a follow-up question.)

Thurman told the Times she didn't feel comfortable operating the car — which she described as a "deathbox" — and asked for a stunt driver to navigate the sandy road, but Tarantino refused in a fury because of the cost. (Tarantino countered: "I'm sure I wasn't in a rage.") In the video, Thurman is flung forward, and her head whips back over the seat, as the vintage convertible had neither shoulder belts nor headrests. Thurman said she suffered a concussion and damaged knees.

"The stuff that went on is appalling," says veteran stunt performer and coordinator Andy Armstrong. "That could have been a death by decapitation. The car could easily have rolled over [or] the camera could have flown forward. It was irresponsibility on a mega level."

Responsibility for Thurman's safety on set was shared by the producers, Tarantino and Keith Adams, the film's stunt coordinator. Lawrence Bender, the lead producer on Kill Bill, told THR on Wednesday, "I deeply regret that Uma suffered the pain she has, both physically and emotionally, for all of these years from the accident that occurred on the set of Kill Bill. I never hid anything from Uma or anyone else nor did I participate in any cover-up of any kind— and I never would."

In addition, THR reported that Bender has said privately he believes there was no wrongdoing on the set and that he had reviewed the 2004 incident with key crewmembers to double check.

On movies made under Directors Guild of America jurisdiction, the first assistant director also has responsibility for safety. But a source with knowledge of the matter says Kill Bill was not a DGA movie, as it was made before Tarantino joined the guild. Meanwhile, the Producers Guild of America, which sounds like a union but isn't, has no authority over what happens on set. Workplace safety regulators at Cal-OSHA would have had jurisdiction had the accident occurred in California, but it didn't — and so far, it appears, no one filed a complaint or report of the incident with any government agency in California or Mexico.

Armstrong says stunt coordinator Adams, whose job includes vetoing unsafe action, could have stepped in to prevent Thurman from driving the car, but he wasn't on set at the time. "The stunt coordinator was told to stay in his hotel that day, stay home," says Armstrong, who adds that he knows this because he has spoken to Adams about the matter. Armstrong notes that Adams has particular expertise in automotive stunts. Voice and email messages for Adams were not returned.

Tarantino has also claimed that the stretch of road was straight when traveled in one direction but had a curve when traversed the opposite way. "I thought a straight road is a straight road, and I didn't think I needed to run the road again to make sure there wasn't any difference going in the opposite direction," he said. But Armstrong says the geometry-defying notion that a curve only existed when traversed in a particular direction is absurd.

And Melissa Stubbs, another veteran stunt performer and coordinator, notes that even if Thurman agreed to drive the car, it's not her responsibility to say no and make it stick. "That's why you need an experienced stunt coordinator," she says.

Kim Masters and Chris Gardner contributed reporting.

GeneChing

02-12-2018, 09:22 AM

This scandal is really sullying my affection for this film. :(

'Kill Bill' Stunt Coordinator Breaks Silence on Uma Thurman Crash (Exclusive) (https://www.hollywoodreporter.com/news/kill-bill-stunt-coordinator-breaks-silence-uma-thurman-crash-1083542)
6:14 PM PST 2/9/2018 by Jonathan Handel

https://cdn1.thr.com/sites/default/files/imagecache/landscape_928x523/2018/02/kill_bill_volume_2_driving.jpg
Uma Thurman in 'Kill Bill: Vol. 2'

"At no point was I notified or consulted about Ms. Thurman driving a car on camera that day," says coordinator Keith Adams.
The stunt coordinator on the Kill Bill movies has broken his silence on a disturbing recent allegation made by Uma Thurman regarding a crash during production that left her injured.

Coordinator Keith Adams told The Hollywood Reporter that he and his entire department were kept off set the day Thurman was allegedly pressured by director Quentin Tarantino to drive a rattrap convertible down a curved, sandy Mexican road at 40 mph, resulting in a crash that gave her a concussion, damaged her knees and could have caused worse injuries.

"No stunts of any kind were scheduled for the day of Ms. Thurman's accident," states Adams in an email to THR. "All of the stunt department was put on hold and no one from the stunt department was called to set. At no point was I notified or consulted about Ms. Thurman driving a car on camera that day."

"Had I been involved," Adams continues, "I would have insisted not only on putting a professional driver behind the wheel but also insuring that the car itself was road-worthy and safe."

Adams — an experienced coordinator with a particular expertise in automotive work, according to veteran stunt performer and coordinator Andy Armstrong — did not say whether he thought his department was intentionally held at bay to facilitate having an actor perform driving maneuvers. It was not immediately clear who prepared the call sheet that day and who decided to idle the stunt department. Tarantino told Deadline that "none of us ever considered it a stunt. It was just driving."

"The circumstances of this event were negligent to the point of criminality," said Thurman in an Instagram post Monday. "I do not believe though with malicious intent." (After the crash came a cover-up which "did have malicious intent," she wrote, naming three production executives.)

It may have been "just driving" to Tarantino, but performers' union SAG-AFTRA said in a statement that it "sounds like a stunt and would be a likely safety violation."

The new statement from the stunt coordinator underscores Thurman's description of the 1973 Karmann Ghia as a profound hazard. "That was a deathbox," she told Maureen Dowd for a New York Times story published on Feb. 3 that kicked off a round of speculation about the incident. Thurman explained to the writer that "the seat wasn't screwed down properly" and that she'd been told the vintage convertible had been converted from stick shift to automatic.

The car's allegedly sad shape came as no surprise to Melissa Stubbs, also a veteran stunt performer and coordinator. "A picture car is usually a piece of ****," she told THR bluntly, using industry argot for vehicles that appear onscreen.

Armstrong agreed, noting that non-stunt picture cars are generally towed on flatbed "process trailers" while being filmed, making it easier to rig lights and cameras and allowing an actor to give the illusion of driving without anyone being endangered. For that reason, Armstrong indicated, production personnel focus on making a picture car look good onscreen, and not necessarily on making it safely drivable.

In addition, video of the crash indicates that the then-30-year-old ragtop was without roll bars, shoulder belts or head restraints. Thurman's head whips backward and hangs over the low seat back after the crash. It's unclear whether there was a lap belt or whether Thurman was wearing it if there was.

"That could have been a death by decapitation," veteran coordinator Armstrong said. "The car could easily have rolled over [or] the camera could have flown forward. It was irresponsibility on a mega level."

Many people share safety duties on set: the producers (lead producer Lawrence Bender apologized Wednesday and also said he "never hid anything"), the director (Thurman has described Tarantino as regretful and remorseful), the 1st assistant director (although this may be less clear in a non-DGA film like Kill Bill) — and, of course, the stunt coordinator.

"On any set, my number one priority and the priority of any stunt coordinator is the safety of the cast and crew," said Adams. "For a stunt coordinator to do their job properly, they must be involved at every step of the process and given the opportunity to intervene when changes to the shoot are made."

"Unfortunately," he added, "I did not have that opportunity in this case."

GLW

02-12-2018, 10:39 AM

To me, there is a very simple question that can be asked on this :

Had Uma Thurman been killed, during the obvious subsequent investigation and lawsuits, would Tarantino have been found negligent or at fault?

It sounds like the answer to this is probably yes.

In that case, it would seem that determination would be enough to say that the stunt should not have been done.

I KNOW that many will claim stuff about Jackie Chan and his stunts...but that is not US films or directors like Tarantino with untrained - albeit talented actresses like Thurman.

wolfen

02-12-2018, 11:17 AM

The audio of Tarantino's 2003 Radio Interview with Howard Stern about Roman Polanski set to his film character's clips.

https://www.youtube.com/watch?v=4o7GELNGQNU

Quentin Tarantino's Characters React To His Roman Polanski Audio

Text of Tarantino's apology on youtube video here (https://www.youtube.com/watch?v=gkpoiqI-CHU).

I heard on the fake news network that Uma was proud of Quentin for eventually releasing the crash footage.

Jimbo

02-12-2018, 01:07 PM

I KNOW that many will claim stuff about Jackie Chan and his stunts...but that is not US films or directors like Tarantino with untrained - albeit talented actresses like Thurman.

Very true.

There was a period where it was a trend for known Hollywood actors wanting to be known for 'doing their own stunts'. Especially in the wake of The Matrix, the Charlie's Angels movies, etc. Tom Cruise still wants to be known for that. But at best, such actors were only stunt wannabes compared to Jackie Chan and the other real stuntmen from HK and elsewhere. The REAL stuntmen learned their craft by eating bitter the long, hard way, just like actors learn their craft of acting. Jackie did his own stunts because he started out as a stuntman, and performed them throughout his career. Having an actor or actress like Uma Thurman perform a dangerous stunt is equivalent to casting a lifelong accountant as the lead actor in a Hollywood blockbuster.

Tarantino is a great filmmaker who obviously understands movies. But as with many creative people who excel at or are geniuses in one field, it's clear that he can display a severe lack of common sense in other facets of life.

At least I'm glad that (so far) Tarantino hasn't had any sexual harassment allegations leveled against him, AFAIK. If he had, I'm sure it would probably involve unwanted foot licking.

wolfen

02-13-2018, 03:15 PM

Here is some great footage from the unrated edition. It shows the choking scene with Gogo and The Bride. I thoroughly enjoyed watching it again. It should be great therapy to remove the sully of Hollywood.

Quentin did not lack common sense because he was lazy. He was ambitious and dedicated to make the best film he could make according to his vision. His ambition took him off course to risk his star. He went a road too far.

...
No one from the film ever complained about the spitting and the choking - that all comes from the press, not from the people who make the film.

...
Actually considering The Bride killed over 100 men in about ten minutes isn't that a form of misandry in film? There should be a #mentoo movement to protest violence against men in film.

https://www.youtube.com/watch?v=a3aFv8IQb4s

From the Uploader Published on Aug 27, 2009

KILLING IN ALL ITS GORY GLORY

This is taken from the Japanese Unrated Limited Edition DVD of Kill Bill. It contains extra scenes that were cut from the original and is completely in color.

Reasons why the movie theater and regular dvd versions were in black and white:
+ Tarantino was forced to censor the scene in some way to limit the visual of obscene gore. The MPAA did not specify how to do this so he decided to cut a few scenes and change it to black and white (Black & White was also intended for artistic purposes and to fit the flow of the movie (such as the beginning) that happened to fit well with censorship.)
+ He also chose black and white as an underlying obscure/random reference to the 70s and 80s. There are 88 keys on a standard piano, the Crazy 88's wear black and white (the colors of a piano). [Why Piano? Tarantino likes to use instrumental metaphors in almost all of his works]
+ During production they under estimated the amount of blood needed to shoot the scene. They ran out of blood and thus made the scene B/W to hide some of the clear splatters and spray effects.

***There might be MORE than 88 members in The Crazy 88's. During this fight scene alone, I can count 81 gang members either killed or with sliced limbs (There are even more because some shots were too fast to count). Don't forget the others that were killed before GoGo and the others killed right after this scene before the final fight with O-Ren

***Officially there are about 40 actors listed in the credits of the film as Crazy 88 members. This is because in the movie industry, extras or background actors, have to have a minimum total of screen time (2-5 minutes total) in order to be officially listed in the credits of the film. Most of the actors in this scene had a screen time of less than a minute combined total, meaning that a lot of these people were not listed in the credits.

**I apologize for not getting the entire scene, especially the spanking katana scene. I uploaded this video back when YouTube restricted normal users to 10 minutes only.

Songs (Some of them):
4:57 - Cane/White Lightning by RZA & Charles Bernstein
7:56 - Opening theme song to Karate Bullfighter entitled Kenka Karate Kyokushin Ken
9:15 - Nobody But Me by The Human Beinz

Looking at the Pointing Finger

So the sources for this information about Uma and Quentin come from The New York Times and The Hollywood Reporter. So maybe they can tell the truth about something once in a while..actually that is their technique to gain legitimacy.
...
The NYT yesterday praised Kim Yo-jong, sister of North Korean leader Kim Jong-un as a "Princess". This "Princess" is responsible for killing and enslaving (off to the gulag) millions of North Korean Women as Mister of Propaganda of that country. The Hollywood Reporter did something the same in their reportage..
As well both these Globalist lying deceitful propaganda rags are responsible for promoting policies that have gotten thousands or perhaps tens of thousands of American women Killed or raped. Nevermind the ignoring of FGM honor killings, Islamic Misogyny etc etc that goes on in America and never mind ignoring the woman's fight for human rights in Iran or helping #metoo to destroy the modeling Industry and put thousands of young women out of work and out of a career. Etc etc. their propaganda crimes against the people are endless.

But what the hey! At least there is Truth and Justice in Hollywood. ...err...... hmm...

Andrew Klavan always refers to the NYT as " a former newspaper". The MSN is actually Pulp Fiction, it's hard to know what is real or not in these stories.
It is just too bad we can't get the news about something like this from actual News Organizations and actual reporters instead of professional propagandists. It's always tainted, you never know what they are not telling you or who they have paid off etc etc..

GeneChing

08-15-2019, 10:29 AM

Quentin Tarantino says 'Kung Fu Panda' is just a 'straight-up parody' of 'Kill Bill' (https://www.insider.com/quentin-tarantino-kung-fu-panda-is-parody-of-kill-bill-2019-8)
Tom Murray 2h

https://amp.insider.com/images/5aba7be932167424008b45f7-960-720.jpg
Quentin Tarantino and Uma Thurman, star of "Kill Bill." Ian Gavan/Getty Images

Quentin Tarantino thinks "Kung Fu Panda" is a rip off of the "Kill Bill" films, which he directed.

The director told BBC Radio 1 that "Kung Fu Panda" was "a straight-up parody" of "Kill Bill" — "in every way."

The Dreamworks animated film does bear a number of similarities with the Uma Thurman action flick, thematically, in the soundtrack, and even in some characters.

Tarantino isn't losing sleep over the comparison, though: "They're keeping me pop-culturally relevant," he said.

The influence of Quentin Tarantino is felt across the entertainment industry.

The iconic director is often referenced in major film and TV franchises, like "The Simpsons," and even the Marvel Comic Universe.

Sometimes, this means Tarantino's unmistakable mark is seen in unexpected places.

According to Quentin Tarantino, "Kung Fu Panda" — the Dreamworks animated film franchise starring Jack Black — is one of them.

"Frankly," Tarantino recently told BBC Radio 1's Film Critic Ali Plumb, "'Kung Fu Panda' is just a straight-up parody of 'Kill Bill.' In every way!"

"Obviously they saw the script," he added.

"Cut to Kung Fu Panda 5 and a TV show."

There do indeed seem to be a number of parallels between the two franchises.

The training montage in "Kung Fu Panda," released in 2008, bears a remarkable similarity to that in "Kill Bill: Volume 2," released in 2004.

In "Kill Bill," the training sequence ends with Pai Mei telling Beatrix (Uma Thurman) that she can't eat unless she uses her chopsticks.

https://amp.insider.com/images/5d553d2a4afbf9131e1a8f34-960-720.jpg
A scene from "Kill Bill: Volume 2." Miramax

Meanwhile, in "Kung Fu Panda," Master Shifu ends Po's training session with a chopstick fight over a bowl of dumplings.

https://amp.insider.com/images/5d553d5d4afbf9355665eb82-960-720.jpg
A scene from "Kung Fu Panda." 20th Century Fox

In the trailer version of the same sequence, "Kung Fu Panda" uses the song "Battle Without Honor or Humanity" by Japanese rock musician Tomoyasu Hotei — a song made famous by "Kill Bill" as O-Ren Ishii's entrance music.

https://www.youtube.com/watch?v=sYq_Jpxdq2A

Furthermore, in the Nickelodeon cartoon series that followed the films, "Kung Fu Panda: Legends of Awesomeness," a kung fu master by the name Pai Mei— a name obtained from the Kill Bill character — makes a brief appearance.

You could even argue that the "Furious Five" of "Kung Fu Panda" align with the "Fox Force Five" mentioned by Thurman's Mia Wallace in "Pulp Fiction," who are then realized by the characters in the "Kill Bill" films.

The list goes on.

Plumb joked that Tarantino must be wondering where his royalties are, but it doesn't seem like the director is losing sleep over it.

"They're doing me a favor, they're keeping me pop-culturally relevant. Priceless," he said.

The master-trains-student chopstick scene was done by Jackie Chan in The Fearless Hyena (1979).

Don't even get me started on Pai Mei (http://www.kungfumagazine.com/magazine/article.php?article=131). :rolleyes:

THREADS
Kung Fu Panda (http://www.kungfumagazine.com/forum/showthread.php?39752-Kung-Fu-Panda)
Kill Bill (http://www.kungfumagazine.com/forum/showthread.php?18892-Kill-Bill)

Jimbo

08-15-2019, 11:04 AM

And one could say that QT's Kill Bill Vol. 1 is a straight-up parody of Lady Snowblood. It's not a secret; he even borrowed two of star Meiko Kaji's songs from the movie.

https://www.youtube.com/watch?v=MxBvPgzpoH8

GeneChing

09-30-2019, 09:45 AM

Martial Arts-inspired Japanese bar a cozy option in the Old Port (https://montreal.ctvnews.ca/martial-arts-inspired-japanese-bar-a-cozy-option-in-the-old-port-1.4615830)

Hanzo Izakaya is a cozy Old Port pub filled with nods to the art of karate and a particular scene from the Tarantino film Kill Bill.

Angela MacKenzie, Reporter
@AMacKenzieCTV
Daniel J. Rowe, Digital reporter
@DanielJRowe77
Published Sunday, September 29, 2019 1:25PM EDT
Last Updated Monday, September 30, 2019 8:34AM EDT

Those looking to duck indoors and check out a pub with some authentic Okinawan flair should consider Hanzo Izakaya in Old Montreal.

Japanese izakayas are like a neighbourhood pub where people can gather, eat, drink and have a night out.

Hanzo is filled with nods to martial arts and was inspired by a particular scene from a memorable movie.

"The concept here is basically an izakaya that's based on Crazy 88 scene from Kill Bill," said manager Yuri Koshiyama-Chia.

https://www.youtube.com/watch?v=a3aFv8IQb4s

The goal is to provide casual but tasty options that are all medium-sized portions meant to be shared among friends.

"It's simple food. It's good food, and it's comfort food at the same time, so it's not something too complicated either," said co-owner Yossi Ohana "DJ Yo-C."

Items on the menu include yellowfin tuna sashimi, shiso chiffonade and torched salmon with roe onions and soy sauce.

DJ Yo-C regularly tours with Sugar Sammy and knows what it takes to make a crowd happy.

"The feeling that anyone can come in, and whether you have a suit or whether you're in joggers, whatever it is, you just come in, and have a good time and enjoy yourself," he said.

"I love how you can be who you are," said Koshiyama-Chia. "You don't need to be anybody to come dine at an izakaya. If you had a long day or just want to celebrate, it's made for everyone. Everyone is welcome."

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