yeah, but Tarantino easily could’ve cut to a reaction shot of the whores looking over at Uma and Esteban talking, in this shot we would see cuts or whatever on the whores, but instead Tarantino dedicates precious time in having the whore walk to us, then walk back. That was unneccessary and probably confused people, like me. He should’ve just cut to a shot of the whores eavesdropping in. [/quote]
Tarantino didn’t just intend for US to know what a monster Esteban was capable of being, but that scene was to show the Bride the kind of man Bill was trained to be. The whole scene was about the Bride seeing the cut up whore, not US seeing the cut up whore.
[quote]The whole scene was about the Bride seeing the cut up whore, not US seeing the cut up whore.
[/quote]
Or rather, he meant for us to see the bride seeing the whore. ???
The answer to the original topic: the end credits.
I was sitting and watching them. And some 20 people too. And that was worth it. Tarantino makes credits with a respect for actors and all and works on it.
At first there was a great music, and THREE credit sequences. All characters are shown. All killed Deadly Viper’s names are striked out, except for Elle’s. She has that nice question mark. And the thing I liked most of all: another title Kill Bill is shown, but it’s in “” and looks like a title for a 70’s film. That’s amazing! I love that view, and the music is from 70’s, I guess, because it sounds old. The feeling is absolutely great and cannot be described. I think it’s because Tarantino loves old movies, and he wanted to add something old-style to Kill Bill too. And Pulp Fiction and Jackie Brown has that kind of titles too.
The music for the first set of credits was by Robert Rodriguez, and the song during the second credits is called “Goodnight Moon” by Shivaree, which was released in 1999.
Yeah, but “Good night moon” really has that 60s- 70’s feel,/sound, and it fits in brilliantly with the groovy classic abience of the credits, Very cool 8)
