The film shifts from color to black and white when The Bride battles the Yakuza in the House of Blue Leaves, which is a nod toward kung fu movies shown on TV in the 1970s, but it wasn’t just an artistic choice. USING BLACK AND WHITE FOR THE CRAZY 88 FIGHT WAS A PRACTICAL HOMAGE. But it’s also my Josef Von Sternberg movie, and if Josef Von Sternberg is getting ready to make Morocco and Marlene Dietrich gets pregnant, he waits for Dietrich!” 6. “Yes, this is my samurai movie yes, this is my badass chick movie yes, this is my spaghetti western and my comic book movie. “She got pregnant, and I was like, 'Okay, do I wait or do I not?' But I can honestly tell you that I didn’t have a choice,” Tarantino told the BBC. Then, Thurman got pregnant, so the long-gestating idea got put on hold again. Tarantino and Thurman conceived of The Bride together while shooting Pulp Fiction, so there was only ever one actress to play the role. QUENTIN TARANTINO PUT THE MOVIE ON HOLD WHEN UMA THURMAN GOT PREGNANT. Tarantino also copied a short headlock sequence from Game of Death during The Bride’s fight with Vernita Green (Vivica A. THE BRIDE’S YELLOW JUMPSUIT IS AN HOMAGE TO BRUCE LEE.Īs a nice sartorial tribute, The Bride wears a killer outfit meant to mimic the iconic ensemble Bruce Lee wore in Game of Death. Thurman’s character goes by a series of code names throughout the first installment, and her real name is bleeped to keep us from knowing it, but it’s printed clearly on her plane ticket to Tokyo (and Bill calls her “Kiddo,” which turns out not to be a nickname). If you look fast or pause the movie, you don't need to wait until the movie's second installment to learn The Bride's name. THE BRIDE’S NAME IS HIDDEN IN PLAIN SIGHT. Turns out The Bride didn’t need to last that long. If you haven’t, you might not last five minutes.” Four minutes and 59 seconds after O-Ren steps forward to start the fight, she gets part of her head cut off. O-REN ISHII’S GENERIC THREAT CAME TRUE.īefore O-Ren Ishii fights The Bride, she mocks her in Japanese by saying, “Hope you’ve saved your energy. They didn’t fake it-though it was Thurman’s stunt double, Zoë Bell, who actually did it. ( Nightmare Alley) as Oscar Diaz, Thomas Flynn ( Bridgerton) as Prince Philip and Stephen Fry ( Heartstopper) as King James III.During the scene where The Bride gets the sword from Hattori Hanzo, he throws a baseball at her which she cuts in two. López co-wrote the script with Ted Malawer ( Fallen), and aside from Thurman, the cast also features Nicholas Galitzine ( Cinderella) as Prince Henry, Taylor Zakhar Perez ( The Kissing Booth) as Alex Claremont-Diaz, Sarah Shahi ( Sex/Life) as Zahra, Ellie Bamber ( Willow) as Princess Beatrice, Rachel Hilson ( Love, Victor) as Nora, Clifton Collins Jr. Red, White & Royal Blue is adapted from the best-selling novel written by Casey McQuiston. In the story, Ellen is immensely supportive of her son’s career and love life, to the point of having a sex-positive conversation that most parents would avoid for as long as possible. In just a handful of scenes, she needdc to be able to convey how Ellen Claremont exceled as a leader, mother, commander in chief, and she also needed to sound and look cool under all those hats. ![]() ![]() Thurman’s role is also one that demands its performer to have a commanding presence. Image via Prime Video The Challenges of a Supporting Role She really rose, and she brought everybody’s game up." It was a master class in prepared acting. She understood why every article of clothing was there. She already understood why every piece of furniture was chosen for her. When she walked onto the set, I have never encountered a more prepared actor. I included Uma in conversations about costume design, production design, and of the oval office set. What was most important to her and I was that Ellen can both be powerful and maintain her definition of femininity for herself. "We had a lot of conversations about how, in American politics, women in power often have to sacrifice their understanding of their own femininity, in order to attain and hold onto power. The filmmaker sat down with Collider's Christina Radish and revealed that, much like many of us, he’s a fan of Thurman’s work and to have the Pulp Fiction star on set was “a blessing.” López also revealed that they had the same ideas for what they wanted to do with President Ellen Claremont, and Thurman was in the loop through every step of the way:
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