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Kill Bill

Kill Bill

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Published by Scotty Babbage

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Categories:Types, Research
Published by: Scotty Babbage on Aug 25, 2010
Copyright:Attribution Non-commercial


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Kill Bill

Japanese swordsmanship fans and enthusiasts (see www.katanablog.weebly.com for more information) have most likely fell in love with Kill Bill, probably Volume 1 more because of it heavy Japanese influence and anime sequence. Also has opened a door to all of the other great Quentin Tarantino movies. But behind every great director there is a great producer that plays an important role in his success. Lawrence Bender is that great producer and he has been there when Quentin Tarantino has made his masterpieces in Reservoir Dogs. As a producer he has been nominated for 19 Academy Awards INTERVIEW WITH LAWRENCE BENDER: You¶ve worked with Quentin Tarantino since the beginning. How would you describe the relationship you two have? It¶s sort of like a marriage in a sense where the relationship is greater than the sum of the individuals. I create the space for Quentin to see his vision through. How did Quentin Tarantino initially approach you about "Kill Bill?" Honestly, the first time I read the script, I thought it was really fun. I just sat there as a Quentin Tarantino fan, just reading that script. I¶ll tell you, it¶s a page-turner. It¶s a wonderful script. Then the second time I read it, I read it as a way of [figuring out] how we were actually going to make this. We sat down to strategize about how we were going to put this big [project] together. How close was that original ³Kill Bill´ script to what ended up on screen? It¶s pretty close. There were changes we made during production; he made a few changes. It¶s probably 85-95% the same. When you read it that very first time, you didn¶t automatically assume it was going to be two movies? Not really. I mean, I looked at it and it¶s cut up in chapters. Quentin writes in chapters and so it naturally lent itself to the possibility of making it into two. But honestly, we didn¶t really think about it until probably about a month before we wrapped. We started talking about it. We were saying, ³We have so much good footage. Maybe we should make this into two movies.´ Quentin came up with a way ± like in an hour ± on how to do it. Then we kind of just dropped it and finished shooting. About six weeks into editing the movie we called Harvey Weinstein in. We said, ³Okay, let¶s just watch the movie and be open to one way or the other. Is this the first half of a bigger movie or is it one movie unto itself?´ Basically [audiences] will see pretty much what we saw there - only in a much better form. We all looked at each other and said, ³That¶s a movie.´ We really felt like it was. We said, ³Let¶s look at what the first scene would be that we have from the next movie.´ And that¶s a great first scene. Would it have been the same movie had you not been able to do a ³Volume 2?´ Could you have gotten the story out in just one single film? You know, it¶s one of those creative things where it just kind of evolved. It¶s sort of like saying, ³Well, if I had married somebody else, what would THAT child be like?´ It¶s just the way it came out and the way it organically evolved.

What were the major challenges of bringing "Kill Bill" to the screen? This movie in the particular was a huge deal ± China, Tokyo, LA, out to the desert, down to Mexico. It was a huge production. We brought a fight team from Hong Kong down here to where we trained Uma Thurman, Lucy Liu, Daryl Hannah and Vivica A Fox. Sonny Chiba trained them in samurai. It was a huge [task] of putting a big puzzle together. It was an enormous challenge with a wonderful script. We shot it for four months. We were in Beijing working with the Chinese people. Tiananmen Square and the Forbidden City were literally a few blocks away from where we were living. [While getting ready to film] we were learning the language, finding the right translators, just learning all these things. Learning to work with different types of people all making a movie at the same time was really a cool experience. I have to tell you, it sounds corny but I really felt like China and America have been combative for many, many years and you really could see how two different types of people really work together and come out with something really well done. We had a Japanese, Chinese, and America crew. Everyone got along and everyone figured out how to work together. It was a really great experience. How has Quentin Tarantino changed as a director over the years? I think he¶s the same person, just growing - growing as a human being, maturing. I think this movie is cinematically« He¶s taken a huge leap. It¶s phenomenal. With the changes in color and Japanese Anime, there are just so many pieces to this movie cinematically. And the music ± everything from Quincy Jones, to Marconi, to Nancy Sinatra singing ³Bang Bang´ to 70s disco. It¶s just such a cool [collection] of music. And then there¶s Uma Thurman. She is so phenomenal. She¶s beautiful, she¶s grounded, she¶s emotional, and she¶s a warrior. Do you two have anything else coming up? Just ³Volume 2.´ ³Volume 2´ is all I can think about right now (laughing). Are you going to do anything with ³Inglorious Bastards?´ I don¶t know ± maybe (laughing). We have to see what happens with the movie first.
Interview Source - http://movies.about.com/cs/killbill/a/killbillv1intlb.htm

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