Version Details

Cast

• Sonny Chiba - Hattori Hanzo
• Larry Bishop - Larry Gomez
• Sid Haig - Jay the Bartender
• Gordon Liu - Pai Mei
• Jeannie Epper - Mrs. Harmony
• Laura Cayouette - Rocket
• Clark Middleton - Ernie
• Michael Parks - Esteban Vihaio
• Perla Haney-Jardine - B.B.
• Helen Kim - Karen
• Michael Madsen - Bud, AKA Sidewinder
• Michael Madsen - Budd
• Michael Jai White - Alburt
• Liu Chia-hui - Pai Mei/Crazy 88 fighter
• Liu Chia-hui - Pai Mei
• Vivica A. Fox - Vernita Green, AKA Cobra
• Vivica A. Fox - Vernita Green, AKA Copperhead
• Chiaki Kuriyama - Go Go Yubari
• Uma Thurman - Bride, AKA Black Mamba
• Uma Thurman - The Bride
• Daryl Hannah - Elle Driver, AKA California Mountain Snake
• Daryl Hannah - Elle Driver
• Lucy Liu - O-Ren Ish, AKA Cottonmouth
• David Carradine - Bill
• Samuel L. Jackson - The Piano Player
• Samuel L. Jackson - Rufus
• Chris Nelson - The Groom
• Chris Nelson - Tommy Plympton
• Quentin Tarantino - Pai Mei
• La Tanya Richardson - L.F. O'Boyle
• Bo Svenson - The Preacher
• Bo Svenson - Reverend Harmony
• Caitlin Keats - Janeen
• Shana Stein - Erica
• Claire Smithies - Clarita
• Reda Beebe - Lucky
• LaTanya Richardson Jackson - L.F. O'Boyle

Crew

• Fights Choreographer: Sonny Chiba
• Production Designer: Cao Jiuping
• Sound/Sound Designer: Mark Ulano
• Casting: Johanna Ray
• Set Decorator: Sandy Reynolds-Wasco
• Composer (Music Score): RZA
• Re-Recording Mixer: Myron Nettinga
• Visual Effects: Centro Digital
• Supervising Sound Editor: Harry Cohen
• Set Designer: Ma Yingli
• Musical Direction/Supervision: Mary Ramos
• Re-Recording Mixer: Michael Minkler
• Supervising Sound Editor: Wylie Stateman
• Associate Producer: Dede Nickerson
• First Assistant Director: William Paul Clark
• Executive Producer: Erica Steinberg
• Art Director: Liu Luyi
• Producer: Lawrence Bender
• Composer (Music Score): Lars Ulrich
• Stunts Coordinator: Keith Adams
• Production Designer: David Wasco
• Additional Music: Ennio Morricone
• Makeup Special Effects: K.N.B. EFX Group
• Additional Music: Robert Rodriguez
• Composer (Music Score): Robert Rodriguez
• Visual Effects: Centro Digital Pictures
• Fights Choreographer: Yuen Woo Ping
• Costume Designer: Kumiko Ogawa
• Executive Producer: Bob Weinstein ,Harvey Weinstein
• Director: Quentin Tarantino
• Screenwriter: Quentin Tarantino
• Producer: Quentin Tarantino
• Editor: Sally Menke
• Costume Designer: Catherine Marie Thomas
• Art Director: Dan Bradford
• Executive Producer: E. Bennett Walsh
• Cinematographer: Robert Richardson
• Production Designer: Yohei Taneda
• Associate Producer: Koko Maeda
• Production Designer: Cao Jui Ping
• Musical Direction/Supervision: Mary Ramos-Oden
• Additional Music: Leo Nichols
• Stunts: Zoe Bell
• Casting: Johanna Ray & Associates
• Composer (Music Score): Robert F. Diggs

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• Stray Cat Rock: Sex Hunter - DVD
• Samurai Fiction - DVD

Kill Bill Vol. 2: AMG Review
Perry Seibert , AMG

Considering his über-moviegeek persona, it is easy to forget that Quentin Tarantino is a writer. The reason he has traditionally taken so long between projects is that he hones and shapes his screenplays to near perfection. His camera movements, his editing rhythms, and his soundtracks are fully in his head before he shoots a single frame, and every element of filmmaking is utilized to serve the story -- all while he remains loose enough on the set to adapt to the moment (as he did throughout the creation of the fight sequences in Kill Bill). That unique blend of passion and craft -- call it freewheeling deliberateness -- makes Quentin Tarantino one of the best directors of his generation. The first half of Kill Bill, released to theaters six months before the conclusion, celebrated the moviegeek elements of Tarantino's personality -- specifically the geek who has absorbed every Sonny Chiba movie. Where Volume 1 offered the most visually freewheeling Tarantino work ever, Volume 2 showcases how deliberate his intentions are. Take the training sequence with Pai Mei: This looks like every kung fu movie that ever played on a Saturday afternoon on your local UHF station. The cheesy zooms, the arch dialogue, and the faux-mystical bearded mentor are all intricately planned and in place. These elements are not kitsch; Tarantino genuinely loves these genre tropes and wants nothing more than to share that love with the audience while never taking his eye off the story. This is exactly what he accomplishes in Kill Bill, and he does it with confidence. For each Perils of Pauline-like death that awaits The Bride, Tarantino has taken great effort to explain how the skills she has developed over time allow her to escape. That is never more true than in the climactic face-off with Bill. Thank goodness Warren Beatty ended up not playing the part because it is hard to fathom a more perfect choice than David Carradine, whose work here, with his deep, laconic voice and subtly menacing physical confidence, recalls Robert Mitchum. Their nearly 40-minute showdown is much more mental and emotional than physical. That the performers, the film, and the audience so easily adjusts to this new battlefield reveals the writer in Tarantino -- and makes clear his remarkable achievement. Tarantino proves, as he has with each of his films, that a good story well-told will support any and all visual flourishes. He has not transcended the generic revenge story line he has utilized, he has simply made one of the best possible films of that type. While other movie geeks will spend years cataloguing the various musical and camera lifts in Kill Bill, the people who understand and appreciate fine storytelling should marvel at how -- in just four movies -- Tarantino has become arguably the best crime writer of his generation. ~ Perry Seibert, All Movie Guide