Asking me about violence is like going up to Vincente Minnelli and asking him to justify his musical sequences. Violence is a form of cinematic entertainment. Yeah, well I don't feel the need to justify myself. I understand a lot of audiences from a lot of different countries and, to me, America is just another market.Ī market that'll be threatened by the graphic violence in Kill Bill. And if I'm gonna do something that begs to be done in the vein of a Japanese Yakuza movie, or Hong Kong Triad movie, I'm gonna do it like that. If I'm doing something and it seems to me to be reminiscent of an Italian giallo, I'm gonna to do it like an Italian giallo. I don't really consider myself an American filmmaker like, say, Ron Howard might be considered an American filmmaker. I'm a little hesitant about saying this out loud - I'm not trying to crow - but I'm influenced by movies from all different countries. Aren't you worried that Western audiences won't get what you're doing? You describe Kill Bill as your "grindhouse epic". As I watch movies I make some version of it in my head that isn't quite what I'm seeing - taking the things I like and mixing them with stuff I've never seen before.
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I'm attracted to this genre and that genre, this type of story, and that type of story. Kill Bill is an eclectic movie, stitched together from samurai movies, Yakuza movies, spaghetti westerns.
KILL BILL SOUNDTRACK VOL 1 AND 2 MOVIE
After six years of waiting, QT is back in the game (of death) with samurai revenge movie Kill Bill: Volume 1. Reservoir Dogs, Pulp Fiction and Jackie Brown have all been ripped off by lesser filmmakers. His body of work may be small, but the impact has been huge.