There is some confusion as to whether Uma stood up Quentin on Saturday, or whether the screening was always scheduled for Sunday.
“Quentin was freaking out, looking for her,” says our snitch. “He flew in from Los Angeles especially to show Uma the latest cut of the film. But she went out to Fire Island.”
She claims that Kill Bill was partially influenced by MTV’s Jackass, and agrees with the decision to split the movie into 2 parts:
“That was the only thing to do because the script was that big,” she says of “Bill,” holding up two fingers about two inches apart. “It was a phone book. It was. It was the size of a telephone book and he added stuff while we were shooting.”
“It’s his magnum opus — that’s what he calls it. It’s all the genres that he’s obsessed with: Japanese amine, Spaghetti Western and Kung Fu — it’s all combined in one.”
Aside from Tarantino’s well-documented love of Hong Kong martial arts films, the director was also influenced during the making of “Kill Bill” by a certain extreme stunts TV show.
“Oh, God. Johnny Knoxville, you suck,” Hannah laughs.
“Quentin discovered ‘Jackass’ the week we were shooting my fight scene. So then suddenly it became, ‘And today we’re going to throw snot in your face. And now we’re going to smash a light up in your face.’”
If both volumes of the film are released this year, Tarantino may have a decision to make as to which one to submit to the Oscars. Submitting them both would pit one against the other, making it more unlikely that either would be nominated for anything. They apparently cannot be submitted as a single movie. Which leaves deciding which of the two volumes to submit? Apparently, Matrix Revolutions is going to be submitted and Matrix Reloaded is not as they suffer from a similar problem to Kill Bill.
Theatrical Release Date: October 10, 2003 (Volume 1) – April 16, 2004 (Volume 2)
Primary Cast: Uma Thurman, Lucy Liu, Daryl Hannah, Vivica A. Fox, Michael Madsen, David Carradine, Samuel L. Jackson.
Tarantino’s Input: Writer, director and producer.
Volume I Posters: Primary poster – Poster #2 (UK) – Poster #3-5 (Euro & USA) – Poster #6-9 (Subway, Jap) – Poster #10-11 (Go-Go and Filmstrip).
Volume II Posters: European version – Japanese version – Official posters #1-3.
Theatrical Trailer: Volume I Quicktime – Volume I WMV
Bootleg Trailer: TV spots and multiple trailers (Quicktime)
Teaser Trailer: Volume II – Quicktime, Volume I – Quicktime
Finally, a real poster for Kill Bill. Click the image for a larger version.
Two reviews from a screening have been posted over at AICN. The first is a mixed/negative review that complains of lack of plot and dialogue and fight scenes that were way too long. I get the impression that if Tarantino’s name weren’t associated with the film, this reviewer would have just gone completely negative about the film.
The 2nd review is more positive – it seems this person took the movie for what it is – action – and didn’t expect anything greater than that from it.
If you didn’t know, Bollywood is the equivalent of Hollywood in India. The remake is being titled Kaante, and is actually going to be filmed in New York. And, although its a remake – they aren’t staying very true to the original script:
The film begins with a veteran gangster Major (Amitabh) released from prison. Wanting to live the life of riley, Major plans a bank robbery with the help of five accomplices, amongst them Sanjay Dutt, an experienced robber; Mahesh Manjrekar, a druggie bouncer; Sunil Shetty; Mak (Lucky Ali) and an undercover cop-with-attitude, Kumar Gaurav who plans to foil their escapade.
The men assume fake IDs to prevent any risk but Sanjay Dutt
The spoiler here is pretty mild, so here goes. The storyboard drawing of Uma (The Bride) Thurman’s escape from the grave sequence has been posted on Storyboards Inc.. According to Tarantino.info this scene is the cliffhanger ending to the 1st volume of the movie.
I don’t know enough about how Welles was received back in the day, but my general impression is that he and Tarantino aren’t particularly comparable.
Orson Welles was 26 when Citizen Kane was released. Tarantino was 31 when Pulp Fiction opened. Those ages seem close enough to add to the comparison. Yet, in truth, Tarantino was a lot younger than Welles, and not just because of his exuberant, helter-skelter way of talking on so many television talk shows, or even his giddy taste for roller-coaster movies, violence and a world in which movies referred largely to other movies.