These aren’t really obscure references. By the time I saw Kill Bill, I was pretty knowledgeable in both kung fu films and chambara. I spent my mid-teen years watching only films in Cantonese and Japanese (kung fu/wuxia/chambara/yakuza/bullet ballet). Trust me. The more you watch, the more homages and references you will come across. That whole film is a post-modern self-reflexive pastiche.
You’ve got to understand, though, that every director does this. Scorsese, Lucas, Spielberg, all the movie brats borrowed liberally from classic Hollywood, Kurosawa and European cinema. The difference is that Tarantino will more readily talk about it and he’ll tend to borrow particular things he likes, rather than techniques.
I wrote an analytical essay once on Reservoir Dogs and City on Fire. While a number of people will dismiss Dogs as a remake of City on Fire, it’s a little ignorant. They both share a diamond heist and major plot details, but the most dynamic things about Dogs, the things that set the indie world on fire in the nineties, were its use of popular music, its non-linear structure and its incendiary casual dialogue. None of these things were in City on Fire.
I’ll give you an example of a great found footage artist, Martin Arnold. Here is one of his films made from re-edited footage of To Kill A Mockingbird.
It may be made of existing footage of another person’s creation, but it’s a pretty powerful work in its own right.