Kill Bill Vol. 1 – A Quentin Tarantino Film

This film has been particularly inspiring, in part from it’s use of colour, I have been using red as a main feature of my anxiety and this comes from the amount of red and blood used in the film, such as in the examples below:

The film also uses quite a fragmented narrative, but is presented in a somewhat chronological order, only when Kill BIll Vol. 2 is also watched does the film begin to make sense as you can build up the linear timeline on your own. The beginning of the film is a flashback to a previous time, which then advances 4 years to another timeline as told by the Bride. The timeline then moves forward another year while also flashing back [via an animated section] and also flashing forward [It really isn’t that confusing when you watch it!] All in all these narrative techniques make for a very interesting movie that is not abstract in any way, the story doesn’t feel convoluted or complicated. In my own screen experiments I have tried to be more abstract than this in order to leave a little mystery. One constant throughout Kill Bill Vol. 1 (apart from the very end where Bill speaks to Sofie Fatale) is the use of the Bride as narrator, even for events that take place while she is not there, she introduces characters to the viewer and tells the viewer what she knows to have gone on during her coma.

Another inspiration taken from the film is the score, music is very well utilised in the film and is indeed very memorable. Twisted Nerve, by Bernard Hermann which I used with a few of my experiments is used in a scene where Elle Driver(Darryl Hannah) attempts to kill the Bride(Uma Thurman) in the guise of a ward nurse.
The clip below shows this scene:

In terms of music, watching this scene on mute creates very little tension, and makes a boring scene but the dramatic music adds to the suspense of the scene. I intend for Twisted Nerve to be as effective in my own work. I also really like the dual narrative of the split scene that goes on here, with the music playing the audience assumes with baited breath that the Bride could wake any moment but instead Driver’s plans are ended by a phonecall.

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