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Directed by | |||
| Quentin Tarantino | |||
Writing credits | ||
| Quentin Tarantino | (character The Bride) (as Q) & | |
| Uma Thurman | (character The Bride) (as U) | |
| Quentin Tarantino | (written by) | |
Produced by | |||
| Lawrence Bender | .... | producer | |
| Mitsuhisa Ishikawa | .... | executive animation producer | |
| Koko Maeda | .... | associate producer | |
| Katsuji Morishita | .... | producer: animation sequence | |
| Dede Nickerson | .... | associate producer | |
| Kwame Parker | .... | assistant producer | |
| Erica Steinberg | .... | executive producer | |
| E. Bennett Walsh | .... | executive producer | |
| Bob Weinstein | .... | executive producer | |
| Harvey Weinstein | .... | executive producer | |
Original Music by | |||
| RZA | (as The RZA) | ||
Cinematography by | |||
| Robert Richardson | (director of photography) | ||
Film Editing by | |||
| Sally Menke | |||
Casting by | |||
| Koko Maeda | |||
| Johanna Ray | |||
Production Design by | |||
| Yohei Taneda | |||
| David Wasco | |||
Art Direction by | |||
| Daniel Bradford | |||
| Hidefumi Hanatani | |||
| Minoru Nishida | |||
Set Decoration by | |||
| Yoshihito Akatsuka | |||
| Sandy Reynolds-Wasco | |||
Costume Design by | |||
| Kumiko Ogawa | |||
| Catherine Marie Thomas | (as Catherine Thomas) | ||
Makeup Department | |||
| Howard Berger | .... | special makeup effects supervisor | |
| Norman Cabrera | .... | special makeup effects artist: KNB FX Group | |
| Jake Garber | .... | special makeup effects artist | |
| Ilona Herman | .... | hair stylist: Ms. Thurman | |
| Ilona Herman | .... | makeup artist: Ms. Thurman | |
| Tysuela Hill-Scott | .... | hair stylist: Ms. Fox (as Tysuela) | |
| Tysuela Hill-Scott | .... | makeup artist: Ms. Fox (as Tysuela) | |
| Miia Kovero | .... | hair stylist | |
| Emanuel Millar | .... | key hair stylist | |
| Christopher Allen Nelson | .... | special makeup effects artist (as Chris Nelson) | |
| Gregory Nicotero | .... | special effects makeup supervisor | |
| Gregory Nicotero | .... | special makeup effects artist: KNB FX Group (as Greg Nicotero) | |
| Peter Owen | .... | wig maker | |
| Kyra Panchenko | .... | additional makeup artist: Ms. Thurman | |
| Scott Patton | .... | special makeup designer | |
| Heba Thorisdottir | .... | makeup department head | |
| Noriko Watanabe | .... | hair stylist: Ms. Liu | |
| Noriko Watanabe | .... | makeup artist: Ms. Liu | |
| Victoria Woods | .... | wig maker | |
| Victoria Wood | .... | wig maker | |
| Debbie Zoller | .... | key makeup artist | |
| Alan Tuskes | .... | key special makeup effects studio technician (uncredited) | |
Second Unit Director or Assistant Director | |||
| William Paul Clark | .... | assistant director | |
| Marco Polo Constandse | .... | second assistant director: Mexico | |
| Heather I. Denton | .... | second second assistant director | |
| Stephen Dudycha | .... | additional assistant director | |
| Jonathan Tex Levitt | .... | second assistant director | |
| Dawn Massaro | .... | second assistant director | |
| Kazuto Nakazawa | .... | first unit director: animation | |
| Toshihiko Nishikubo | .... | second unit director: animation | |
| Kennedy Taylor | .... | first assistant director: Tokyo | |
| Ryan Tighe | .... | additional second assistant director | |
| Jinzhan Zhang | .... | first assistant director | |
Special Effects by | |||
| Jason Gustafson | .... | special effects supervisor | |
| John C. Hartigan | .... | special effects coordinator | |
| Anthony Ray Herrera | .... | special effects foreman | |
| Chen Hu | .... | wire technician: Fight Team | |
| Jack Jennings | .... | special effects technician | |
| Shu Jian | .... | wire technician: Fight Team | |
| Shinsuke Kojima | .... | model maker: Tokyo | |
| Kaoru Kusunoki | .... | model maker: Tokyo | |
| Fung Wai Lun | .... | wire technician: Fight Team | |
| Yuuichi Matsui | .... | special effects: Tokyo (as Yuichi Matsui) | |
| Matt McDonnell | .... | special effects foreman | |
| Masahiro Murakami | .... | special effects | |
| Christopher Allen Nelson | .... | special effects makeup (as Chris Nelson) | |
| Corey Pritchett | .... | special effects coordinator | |
| Ben Rittenhouse | .... | foam department supervisor: KNB Effects Group Inc. | |
| Ron Rosegard | .... | special effects foreman | |
| Lam Chi Tai | .... | wire technician: Fight Team | |
| He Yaxi | .... | wire technician: Fight Team | |
| Chiz Hasegawa | .... | project coordinator (uncredited) | |
| Kevin McTurk | .... | special effects makeup (uncredited) | |
| Arthur G. Schlosser | .... | snow effects technician (uncredited) | |
Visual Effects by | |||
| Kevin Braun | .... | digital optical supervisor | |
| Kelly Bumbarger | .... | digital compositor | |
| David Geoghegan | .... | dustbuster | |
| Don Greenberg | .... | digital effects artist | |
| Christopher Haydostian | .... | digital compositor | |
| Kanta Kamei | .... | visual supervisor | |
| Rui Kuroki | .... | assistant production manager: animation | |
| Christopher Kutcka | .... | imaging supervisor (as Chris Kutcka) | |
| Jennifer Lee | .... | digital intermediate | |
| LaNelle Mason | .... | digital restoration | |
| Jaime Norman | .... | visual effects production manager | |
| Kenny Price | .... | digital lineup | |
| Matt Seckman | .... | digital compositor | |
| Brian Shows | .... | digital asset supervisor | |
| Tommy Tom | .... | visual effects supervisor/producer | |
| Jack Ho | .... | visual effects supervisor (uncredited) | |
| Michael Lafuente | .... | engineer (uncredited) | |
Stunts | |||
| Keith Adams | .... | stunt coordinator | |
| Satya Bellord | .... | martial arts stunt double: The Bride | |
| Zoe Bell | .... | stunt double: The Bride | |
| Ken Lesco | .... | utility stunts (as Kenny Lesco) | |
| Ming Liu | .... | stunt double: O-Ren | |
| James Logan | .... | stunt rigger | |
| Lisa McCullough | .... | motorcycle stunt double: The Bride (as Lisa L. McCullough) | |
| Angela Meryl | .... | stunt double: Vernita | |
| Cheryl Bermeo | .... | stunt driver (uncredited) | |
| Sho Brown | .... | stunts (uncredited) | |
| Richard Burden | .... | stunt rigger (uncredited) | |
| Jared S. Eddo | .... | stunt rigger (uncredited) | |
| Hiro Koda | .... | stunts (uncredited) | |
| Michiko Nishiwaki | .... | stunt double (uncredited) | |
| Chris O'Hara | .... | stunt double: David Carradine (uncredited) | |
| Monica Staggs | .... | stunt double: Daryl Hannah (uncredited) | |
| Gary Ray Stearns | .... | stunts (uncredited) | |
| Steve Upton | .... | stunts (uncredited) | |
| Troy Wood | .... | stunts (uncredited) | |
Animation Department | |||
| Katsuhito Ishii | .... | character designer | |
| Eiji Ishimoto | .... | key animator: Production I.G. | |
| Toshio Ishizaki | .... | animator (as Sushio) | |
| Toshio Ishizaki | .... | key animator: Production I.G. (as Sushio) | |
| Mitsuo Iso | .... | key animator: Production I.G. | |
| Mahiro Maeda | .... | key animator: Production I.G. | |
| Yasunori Miyazawa | .... | key animator: Production I.G. | |
| Shin'ya Ôhira | .... | animator | |
| Shin'ya Ôhira | .... | key animator: Production I.G. | |
| Yutaka Sakamoto | .... | animation checker | |
| Keiichi Sasajima | .... | key animator: Production I.G. | |
| Shou Tajima | .... | character designer | |
| Hideki Takahashi | .... | key animator: Production I.G. | |
| Junichi Uematsu | .... | animation editor | |
| Takaaki Yamashita | .... | key animator: Production I.G. | |
Casting Department | |||
| Jerome Ro Brooks | .... | casting assistant | |
| Julie Dreyfus | .... | casting associate | |
| Rich King | .... | extras casting | |
| Jessica Vogl | .... | casting associate | |
| Kelly Hunt | .... | casting associate (uncredited) | |
Costume and Wardrobe Department | |||
| Lisa Bojarski | .... | costumer | |
| Jim Hansen | .... | costumer | |
| Cappi Ireland | .... | costumer: Ms. Thurman, Beijing | |
| Amy Lin | .... | wardrobe assistant | |
| Helen Monaghan | .... | international costume supervisor | |
| Daniel G. North | .... | costume supervisor (as Daniel Grant North) | |
| Kasumi Ogawa | .... | costumer: Tokyo | |
| Hans Georg Struhar | .... | costumer: Ms. Thurman, Los Angeles (as Hans G. Struhar) | |
| Yuko Sugiyama | .... | stylist: kimono, Tokyo | |
| Stella Tang | .... | wardrobe assistant | |
| Kanani Wolf | .... | set costumer | |
| Meng Xie | .... | wardrobe assistant | |
| Grace Yim | .... | wardrobe assistant | |
Editorial Department | |||
| Joe D'Augustine | .... | additional editor | |
| Greg D'Auria | .... | assistant editor | |
| Aaron Denenberg | .... | negative cutter | |
| Peggy Eghbalian | .... | assistant editor | |
| Ian Elias | .... | post-production assistant | |
| Katie Flint | .... | editorial assistant | |
| Ted Gidlow | .... | post-production coordinator | |
| Phyllis Housen | .... | assistant editor (as Phyllis K. Housen) | |
| Stephanie Ito | .... | digital intermediate producer | |
| Stephanie Johnson | .... | assistant editor | |
| Stephen Nakamura | .... | senior digital film colorist | |
| Julia Nessling-Douglas | .... | digital intermediate coordinator | |
| Fred Raskin | .... | assistant editor | |
| Joan Sobel | .... | first assistant editor | |
| Mike Sowa | .... | digital preview timer | |
| Jon Thompson | .... | post-production consultant | |
| Heidi Vogel | .... | post-production consultant | |
Music Department | |||
| Lawrence Bender | .... | executive soundtrack producer | |
| Michelle Kuznetsky | .... | music supervisor | |
| Wendi Morris | .... | music coordinator | |
| Mary Ramos | .... | music supervisor | |
| Jay B. Richardson | .... | music editor | |
| Quentin Tarantino | .... | executive soundtrack producer | |
| D.A. Young | .... | composer: additional music | |
Transportation Department | |||
| Robert aaron Brown | .... | driver: grip truck | |
| Bruce Callahan | .... | driver: Uma Thurman | |
| Bruce Callahan | .... | transportation co-captain | |
| Michael Dawes | .... | driver | |
| John Embry | .... | driver | |
| Don Feeney | .... | picture car coordinator | |
| J. Armin Garza II | .... | driver: camera car | |
| Jessica James | .... | driver: cast | |
| David Joseph | .... | driver: production van | |
| Neil Marshall | .... | driver: honeywagon | |
| Brian Joseph Moore | .... | transportation captain | |
| Brian Moore | .... | transportation captain | |
| Marty Radcliff | .... | driver | |
| Derek Raser | .... | transportation coordinator | |
| Geoff Teagardin | .... | driver | |
Thanks | |||
| Peter Bogdanovich | .... | special thanks | |
| Charles Bronson | .... | dedicatee | |
| Gray Davis | .... | thanks (as Governor Gray Davis) | |
| David R. Evans | .... | special thanks | |
| Robert Rodriguez | .... | special thanks | |
| Ada Shen | .... | special thanks | |
| Stacey Sher | .... | special thanks (as Stacy Sher) | |
| Cynthia Tsai | .... | special thanks | |
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| Kill Bill: Vol. 2 | Kataude mashin gâru | Sin City | Watchmen | Beowulf |
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Uma Thurman is the avenging angel in this long-awaited fourth film from Quentin Tarantino. Intense gory martial arts action
Crime boss O'Ren-Ishii (Liu) paces the gallery of the House Of Blue Leaves, watching her subordinates take on The Bride (Thurman), a samurai-sword wielding blonde dressed in a natty, blood-stained yellow tracksuit. As The Bride disembowels and decapitates a dozen yakuza flunkies, pausing only to rip out the eye of one assailant to uncork another plume of blood, one wonders: what does all this mean for feminism?
The first volume of Quentin Tarantino's Kill Bill sees women stalk one another as remorselessly as Sergio Leone's nameless gunfighters. Men hardly get a look in. The face of the titular Bill is concealed from us throughout. In place of machismo, we have a ferocious femininity - the snarl of a mother protecting her child. A different strain of aggression drives this action movie, maternal yet predatory. Tarantino riffs on this with his opening fight where the Bride and Vernita Green (Fox) break off from their knife duel when Green's daughter returns from school.
The Bride is after vengeance. After taking a beating at the hands of her former colleagues from the The Deadly Viper Assassination Squad, the final bullet to her head is delivered by Bill, who also happens to be father of the unborn child. Waking from a four-year long coma, the Bride clutches at her empty womb and unleashes a feral howl. It is a searing moment from Thurman, who showed up to work on the film only two months after giving birth. What does this mean for feminism? Hard to say, except perhaps that hell hath no fury like a heavily pregnant woman gunned down on her wedding day.
A self-conscious interweaving of numerous exploitation genres - in this volume, the influence of Japanese samurai movies and the ultra violence of Takeshi Miike (Ichi The Killer) are particularly strong - unfortunately one also thinks of McG's Charlie's Angels films. Superficially, at least. What with all these kick-ass chicks and Lucy Liu strutting her stuff. In fact, Kill Bill is the anti-Charlie's Angels. It is a deliberate riposte to the cartoon kung fu, lukewarm Matrix leftovers, and shoddy CGI - what Tarantino dismisses as all that "computer game bullshit" - that Hollywood has been dallying with while the director was away. Where McG's franchise speeds you through its incompetence, Tarantino dawdles to shade in more characterisation, to fill in back story, to embellish every inch of the plot before marking it with a signature flourish. The director of the 90s is back and he might as well have signed the right hand corner of every frame.
Unfortunately, he is so brimming with ideas and ambition that his film had to cut in two to meet the needs of distributors. Miramax took this course of action rather than edit their one-time wunderkind. An unsympathetic studio might have trimmed the extended anime sequence about O'Ren-Ishii's troubled childhood, for example, although this is an intense treat depicting events almost too agonizing and heartbreaking to witness in live action.
Kill Bill arrives at a moment in mainstream movies - between the second and third Matrix films, before the final part of The Lord Of The Rings trilogy, ahead of another bloated Harry Potter installment - where Hollywood is willing to test the bladder strength and patience of its audience like never before. Whether it is the fashion for director's cuts or DVD deleted scenes, it is a contemporary truism that art is best served if the excised portions are restored. With this spirit in mind, the dividing of Tarantino's epic into two volumes may be seen as a victory for integrity. However, cynics may suggest that numerous installments mean punters shelling out more times for the same film, both in the cinemas and again for the various extended DVD editions.
Whichever way you want to slice it, this is only half a film. Though it contains many pleasures - and it's great to see such an influential director returning with such a stylistically exuberant work - it is missing the classic satisfying element of any story: an ending.
Verdict A blood-stained love letter to exploitation movies that seems to be missing a few pages.