
English: 
Is Quentin Tarantino really sharp
when using his film knowledge?
Welcome to Steroids, the web show
that put the brains on the muscles!

English: 
Is Quentin Tarantino really sharp
when using his film knowledge?
Welcome to Steroids, the web show
that put the brains on the muscles!

English: 
Is Quentin Tarantino really sharp
when using his film knowledge?
Welcome to Steroids, the web show
that put the brains on the muscles!

French: 
Quentin Tarantino est-il vraiment incisif dans l'usage de sa cinéphilie ?
Bienvenue dans Steroids, l'émission qui fait l'exégèse des gros bras !

English: 
Is Quentin Tarantino really sharp
when using his film knowledge?
Welcome to Steroids, the web show
that put the brains on the muscles!

English: 
Is Quentin Tarantino really sharp
when using his film knowledge?
Welcome to Steroids, the web show
that put the brains on the muscles!

English: 
In 1994, young filmmaker Quentin Tarantino
wins the Palme d'or during
the 47th Cannes Film Festival
with his second movie, Pulp Fiction.
The jury - and later the entire film industry -
honor this 31 years-old prodigy
with the most prestigious awards
although he contradicts the Hollywood system belief
by declaring his love for a type of movies
that generally don't get
that much awards and accolades.
Quentin Tarantino lives, breathes, eats...
and shits cinema all day long,
as he creates his very own filmography
with this religious love for movies
by referring to the cinematic works
that influenced him the most.
For Reservoir Dogs' director, this overnight success
is electrifying, but comes with a price.
On one hand, a vast majority of film critics
place him on a pedestal
and consider him as the savior of American cinema.

French: 
En 1994 le jeune Quentin Tarantino gagne la Palme d'Or durant la 47e édition du festival de Cannes,
avec son second long-métrage Pulp Fiction.
Le jury - et plus tard le milieu du cinéma dans son ensemble -
s'accordent pour offrir les prix les plus prestigieux à ce prodige de 31 ans
qui vient secouer les fondations hollywoodiennes
en déclamant ouvertement son amour pour un cinéma généralement peu enclin
à recevoir des prix et les accolades de la critique.
Quentin Tarantino vit, pense, mange...
et chie cinéma à longueur de journée,
et c'est à travers cet amour quasi religieux pour le 7ème art qu'il façonne sa propre filmographie
en se référant sans détour aux oeuvres cinématographiques qui l'ont profondément marqué.
Pour le réalisateur de Reservoir Dogs, ce succès soudain est galvanisant, mais il a un prix.
D'un côté l'ensemble de la critique le place sur un piédestal
et l'intronise comme le sauveur du cinéma américain

English: 
In 1994, young filmmaker Quentin Tarantino
wins the Palme d'or during
the 47th Cannes Film Festival
with his second movie, Pulp Fiction.
The jury - and later the entire film industry -
honor this 31 years-old prodigy
with the most prestigious awards
although he contradicts the Hollywood system belief
by declaring his love for a type of movies
that generally don't get
that much awards and accolades.
Quentin Tarantino lives, breathes, eats...
and shits cinema all day long,
as he creates his very own filmography
with this religious love for movies
by referring to the cinematic works
that influenced him the most.
For Reservoir Dogs' director, this overnight success
is electrifying, but comes with a price.
On one hand, a vast majority of film critics
place him on a pedestal
and consider him as the savior of American cinema.

English: 
In 1994, young filmmaker Quentin Tarantino
wins the Palme d'or during
the 47th Cannes Film Festival
with his second movie, Pulp Fiction.
The jury - and later the entire film industry -
honor this 31 years-old prodigy
with the most prestigious awards
although he contradicts the Hollywood system belief
by declaring his love for a type of movies
that generally don't get
that much awards and accolades.
Quentin Tarantino lives, breathes, eats...
and shits cinema all day long,
as he creates his very own filmography
with this religious love for movies
by referring to the cinematic works
that influenced him the most.
For Reservoir Dogs' director, this overnight success
is electrifying, but comes with a price.
On one hand, a vast majority of film critics
place him on a pedestal
and consider him as the savior of American cinema.

English: 
In 1994, young filmmaker Quentin Tarantino
wins the Palme d'or during
the 47th Cannes Film Festival
with his second movie, Pulp Fiction.
The jury - and later the entire film industry -
honor this 31 years-old prodigy
with the most prestigious awards
although he contradicts the Hollywood system belief
by declaring his love for a type of movies
that generally don't get
that much awards and accolades.
Quentin Tarantino lives, breathes, eats...
and shits cinema all day long,
as he creates his very own filmography
with this religious love for movies
by referring to the cinematic works
that influenced him the most.
For Reservoir Dogs' director, this overnight success
is electrifying, but comes with a price.
On one hand, a vast majority of film critics
place him on a pedestal
and consider him as the savior of American cinema.

English: 
In 1994, young filmmaker Quentin Tarantino
wins the Palme d'or during
the 47th Cannes Film Festival
with his second movie, Pulp Fiction.
The jury - and later the entire film industry -
honor this 31 years-old prodigy
with the most prestigious awards
although he contradicts the Hollywood system belief
by declaring his love for a type of movies
that generally don't get
that much awards and accolades.
Quentin Tarantino lives, breathes, eats...
and shits cinema all day long,
as he creates his very own filmography
with this religious love for movies
by referring to the cinematic works
that influenced him the most.
For Reservoir Dogs' director, this overnight success
is electrifying, but comes with a price.
On one hand, a vast majority of film critics
place him on a pedestal
and consider him as the savior of American cinema.

English: 
But on the other, his true pairs - cinephiles -
accuse him of plagiarism.
"I don't like thieves and sons of bitches".
That mistrust is rather odd
since it specifically aims at Tarantino's work.
When his idol, Brian De Palma,
reimagines a full scene
from Eisenstein's "Battleship Potemkin"
to shape the climax for "The Untouchables",
the citation doesn't seem to bother the audience
eventhough this reverence is as obvious as ambitious.
And yet, this is one of the most
emblematic films ever made.
While boasting with his film bulimia
even when his most beloved influences
are not revered by the intelligentsia
and through a certain display of arrogance
Tarantino is as fascinating to some
as he is irritating to others.
Through his video essay
"Who do you think you're fooling?"

English: 
But on the other, his true pairs - cinephiles -
accuse him of plagiarism.
"I don't like thieves and sons of bitches".
That mistrust is rather odd
since it specifically aims at Tarantino's work.
When his idol, Brian De Palma,
reimagines a full scene
from Eisenstein's "Battleship Potemkin"
to shape the climax for "The Untouchables",
the citation doesn't seem to bother the audience
eventhough this reverence is as obvious as ambitious.
And yet, this is one of the most
emblematic films ever made.
While boasting with his film bulimia
even when his most beloved influences
are not revered by the intelligentsia
and through a certain display of arrogance
Tarantino is as fascinating to some
as he is irritating to others.
Through his video essay
"Who do you think you're fooling?"

English: 
But on the other, his true pairs - cinephiles -
accuse him of plagiarism.
"I don't like thieves and sons of bitches".
That mistrust is rather odd
since it specifically aims at Tarantino's work.
When his idol, Brian De Palma,
reimagines a full scene
from Eisenstein's "Battleship Potemkin"
to shape the climax for "The Untouchables",
the citation doesn't seem to bother the audience
eventhough this reverence is as obvious as ambitious.
And yet, this is one of the most
emblematic films ever made.
While boasting with his film bulimia
even when his most beloved influences
are not revered by the intelligentsia
and through a certain display of arrogance
Tarantino is as fascinating to some
as he is irritating to others.
Through his video essay
"Who do you think you're fooling?"

English: 
But on the other, his true pairs - cinephiles -
accuse him of plagiarism.
"I don't like thieves and sons of bitches".
That mistrust is rather odd
since it specifically aims at Tarantino's work.
When his idol, Brian De Palma,
reimagines a full scene
from Eisenstein's "Battleship Potemkin"
to shape the climax for "The Untouchables",
the citation doesn't seem to bother the audience
eventhough this reverence is as obvious as ambitious.
And yet, this is one of the most
emblematic films ever made.
While boasting with his film bulimia
even when his most beloved influences
are not revered by the intelligentsia
and through a certain display of arrogance
Tarantino is as fascinating to some
as he is irritating to others.
Through his video essay
"Who do you think you're fooling?"

French: 
De l'autre, ses véritables pairs - les cinéphiles - lui reprochent de confondre hommage et plagiat.
"J'aime pas trop les voleurs et les fils de putes".
Cette défiance est d'autant plus étonnante qu'elle concerne spécifiquement le cinéma de Tarantino.
Quand son idole Brian De Palma
réinterprète une séquence entière du Cuirassé Potemkine de Sergei Eisenstein
pour les besoins du climax des Incorruptibles,
le poids de la référence ne semble pas déranger les spectateurs au fait de cet emprunt
pourtant visible et assumé.
Et pourtant il s'agit de l'un des films les plus emblématiques de l'histoire du cinéma.
Par l'étalage assumé de sa boulimie cinéphile
souvent inavouable dans les sphères autorisées,
et certainement par son arrogance affichée,
Quentin Tarantino fascine donc autant qu'il irrite.
À travers son essai en images intitulé "Who do you think you're fooling ?"

English: 
But on the other, his true pairs - cinephiles -
accuse him of plagiarism.
"I don't like thieves and sons of bitches".
That mistrust is rather odd
since it specifically aims at Tarantino's work.
When his idol, Brian De Palma,
reimagines a full scene
from Eisenstein's "Battleship Potemkin"
to shape the climax for "The Untouchables",
the citation doesn't seem to bother the audience
eventhough this reverence is as obvious as ambitious.
And yet, this is one of the most
emblematic films ever made.
While boasting with his film bulimia
even when his most beloved influences
are not revered by the intelligentsia
and through a certain display of arrogance
Tarantino is as fascinating to some
as he is irritating to others.
Through his video essay
"Who do you think you're fooling?"

French: 
- que l'on pourrait traduire par "Tu crois vraiment nous berner ?" -
le jeune étudiant en cinéma Mike White démontre les similitudes entre
Reservoir Dogs et City on Fire de Ringo Lam
en alternant une poignée de séquences des deux films
ou en utilisant les images de l'un sur la bande-son de l'autre.
La vidéo d'une dizaine de minutes est intéressante,
surtout que l'exercice est relativement confidentiel pour son époque
puisqu'elle a été conçue en 1995, soit dix ans avant l'ère YouTube.
Reste que la démonstration n'est pas toujours très efficace,
étant donné qu'elle pointe malgré elle les évidentes distinction entre les deux films,
en cherchant à surligner les quelques similitudes.
Chez Ringo Lam, le braquage est une véritable scène d'action âpre et violente.
Chez Quentin Tarantino, l'exercice revient précisément à faire un film de braquage,
mais sans jamais montrer le braquage en question
pour se concentrer sur les conséquences.
Ce choix narratif, ainsi que les énormes différences stylistiques entre les deux films
ne sont pas vraiment prises en compte par Mike White

English: 
young film student Mike White
is keen on exposing the similarities between
"Reservoir Dogs" and Ringo Lam's "City on Fire"
by juxtaposing a few scenes from both movies
or mixing images from one,
with the sound mix from the other.
This 10-minute video is interesting
in the sense that this type of exercise
was fairly new at the time
as it was made in 1995,
a full 10 years before the YouTube era.
That said, the edit is not always efficient
as it points out the obvious differences
between both films
while highlighting a few similarities.
With Ringo Lam, the heist is
a gritty and violent action scene.
As with Tarantino, the whole idea
is to shoot a heist movie without ever showing the heist
in order to focus on the aftermath.
Mike White never really acknowledges
that narrative choice,
nor the stylistic contrast between both movies,

English: 
young film student Mike White
is keen on exposing the similarities between
"Reservoir Dogs" and Ringo Lam's "City on Fire"
by juxtaposing a few scenes from both movies
or mixing images from one,
with the sound mix from the other.
This 10-minute video is interesting
in the sense that this type of exercise
was fairly new at the time
as it was made in 1995,
a full 10 years before the YouTube era.
That said, the edit is not always efficient
as it points out the obvious differences
between both films
while highlighting a few similarities.
With Ringo Lam, the heist is
a gritty and violent action scene.
As with Tarantino, the whole idea
is to shoot a heist movie without ever showing the heist
in order to focus on the aftermath.
Mike White never really acknowledges
that narrative choice,
nor the stylistic contrast between both movies,

English: 
young film student Mike White
is keen on exposing the similarities between
"Reservoir Dogs" and Ringo Lam's "City on Fire"
by juxtaposing a few scenes from both movies
or mixing images from one,
with the sound mix from the other.
This 10-minute video is interesting
in the sense that this type of exercise
was fairly new at the time
as it was made in 1995,
a full 10 years before the YouTube era.
That said, the edit is not always efficient
as it points out the obvious differences
between both films
while highlighting a few similarities.
With Ringo Lam, the heist is
a gritty and violent action scene.
As with Tarantino, the whole idea
is to shoot a heist movie without ever showing the heist
in order to focus on the aftermath.
Mike White never really acknowledges
that narrative choice,
nor the stylistic contrast between both movies,

English: 
young film student Mike White
is keen on exposing the similarities between
"Reservoir Dogs" and Ringo Lam's "City on Fire"
by juxtaposing a few scenes from both movies
or mixing images from one,
with the sound mix from the other.
This 10-minute video is interesting
in the sense that this type of exercise
was fairly new at the time
as it was made in 1995,
a full 10 years before the YouTube era.
That said, the edit is not always efficient
as it points out the obvious differences
between both films
while highlighting a few similarities.
With Ringo Lam, the heist is
a gritty and violent action scene.
As with Tarantino, the whole idea
is to shoot a heist movie without ever showing the heist
in order to focus on the aftermath.
Mike White never really acknowledges
that narrative choice,
nor the stylistic contrast between both movies,

English: 
young film student Mike White
is keen on exposing the similarities between
"Reservoir Dogs" and Ringo Lam's "City on Fire"
by juxtaposing a few scenes from both movies
or mixing images from one,
with the sound mix from the other.
This 10-minute video is interesting
in the sense that this type of exercise
was fairly new at the time
as it was made in 1995,
a full 10 years before the YouTube era.
That said, the edit is not always efficient
as it points out the obvious differences
between both films
while highlighting a few similarities.
With Ringo Lam, the heist is
a gritty and violent action scene.
As with Tarantino, the whole idea
is to shoot a heist movie without ever showing the heist
in order to focus on the aftermath.
Mike White never really acknowledges
that narrative choice,
nor the stylistic contrast between both movies,

English: 
as he focuses solely on some ideas and scenes
reimagined by Tarantino,
such as the final gunfight and the ending of the movie.
Truth be told, this mirroring relationship between
"City on Fire" and "Reservoir Dogs"
echoes another one between
Akira Kurosawa's "Yojimbo"
and Sergio Leone's "A Fistful of Dollars".
Reflecting what the director of
"The Good, The Bad & The Ugly" already did before him,
Tarantino reinterprets a foreign film 
through his very own culture.
In order to demonstrate that the director 
isn't keen on simply redoing scenes
that made an impression on him,
one could refer to the opening titles of "Jackie Brown",
an obvious reference to
Mike Nichols' "The Graduate",
with a slight twist.
This time, we do not follow Dustin Hoffman
as a young student
wandering around through the melancholy
of Simon & Garfunkel's song.
We follow Pam Grier, a 40 year-old stewardess
pressured by the hazards of a complicated life

English: 
as he focuses solely on some ideas and scenes
reimagined by Tarantino,
such as the final gunfight and the ending of the movie.
Truth be told, this mirroring relationship between
"City on Fire" and "Reservoir Dogs"
echoes another one between
Akira Kurosawa's "Yojimbo"
and Sergio Leone's "A Fistful of Dollars".
Reflecting what the director of
"The Good, The Bad & The Ugly" already did before him,
Tarantino reinterprets a foreign film 
through his very own culture.
In order to demonstrate that the director 
isn't keen on simply redoing scenes
that made an impression on him,
one could refer to the opening titles of "Jackie Brown",
an obvious reference to
Mike Nichols' "The Graduate",
with a slight twist.
This time, we do not follow Dustin Hoffman
as a young student
wandering around through the melancholy
of Simon & Garfunkel's song.
We follow Pam Grier, a 40 year-old stewardess
pressured by the hazards of a complicated life

French: 
qui mise uniquement sur les quelques idées et séquences que Tarantino se réapproprie bien volontiers,
notamment dans le cas de la fusillade finale et de la conclusion du film.
En réalité, la relation miroir entre City on Fire et Reservoir Dogs
fait écho à celle entre Yojimbo d'Akira Kurosawa
et Pour une poignée de Dollars de Sergio Leone.
Et comme le réalisateur du Bon, la Brute et le Truand en son temps,
Tarantino se réapproprie une oeuvre étrangère pour la réinterpréter à l'aune de sa propre culture.
S'il fallait cependant démontrer que le réalisateur ne se contente pas de refaire les séquences qui l'ont marqué,
on pourrait évidemment citer le générique de Jackie Brown
qui reprend ouvertement celui du Lauréat de Mike Nichols pour en proposer une lecture inversée.
Cette fois le spectateur ne suit plus le jeune étudiant Dustin Hoffman
qui se laisse porter par la musique mélancolique de Simon & Garfunkel,
mais l'hôtesse de l'air Pam Grier, une quarantenaire pressé par les aléas d'une vie compliquée

English: 
as he focuses solely on some ideas and scenes
reimagined by Tarantino,
such as the final gunfight and the ending of the movie.
Truth be told, this mirroring relationship between
"City on Fire" and "Reservoir Dogs"
echoes another one between
Akira Kurosawa's "Yojimbo"
and Sergio Leone's "A Fistful of Dollars".
Reflecting what the director of
"The Good, The Bad & The Ugly" already did before him,
Tarantino reinterprets a foreign film 
through his very own culture.
In order to demonstrate that the director 
isn't keen on simply redoing scenes
that made an impression on him,
one could refer to the opening titles of "Jackie Brown",
an obvious reference to
Mike Nichols' "The Graduate",
with a slight twist.
This time, we do not follow Dustin Hoffman
as a young student
wandering around through the melancholy
of Simon & Garfunkel's song.
We follow Pam Grier, a 40 year-old stewardess
pressured by the hazards of a complicated life

English: 
as he focuses solely on some ideas and scenes
reimagined by Tarantino,
such as the final gunfight and the ending of the movie.
Truth be told, this mirroring relationship between
"City on Fire" and "Reservoir Dogs"
echoes another one between
Akira Kurosawa's "Yojimbo"
and Sergio Leone's "A Fistful of Dollars".
Reflecting what the director of
"The Good, The Bad & The Ugly" already did before him,
Tarantino reinterprets a foreign film 
through his very own culture.
In order to demonstrate that the director 
isn't keen on simply redoing scenes
that made an impression on him,
one could refer to the opening titles of "Jackie Brown",
an obvious reference to
Mike Nichols' "The Graduate",
with a slight twist.
This time, we do not follow Dustin Hoffman
as a young student
wandering around through the melancholy
of Simon & Garfunkel's song.
We follow Pam Grier, a 40 year-old stewardess
pressured by the hazards of a complicated life

English: 
as he focuses solely on some ideas and scenes
reimagined by Tarantino,
such as the final gunfight and the ending of the movie.
Truth be told, this mirroring relationship between
"City on Fire" and "Reservoir Dogs"
echoes another one between
Akira Kurosawa's "Yojimbo"
and Sergio Leone's "A Fistful of Dollars".
Reflecting what the director of
"The Good, The Bad & The Ugly" already did before him,
Tarantino reinterprets a foreign film 
through his very own culture.
In order to demonstrate that the director 
isn't keen on simply redoing scenes
that made an impression on him,
one could refer to the opening titles of "Jackie Brown",
an obvious reference to
Mike Nichols' "The Graduate",
with a slight twist.
This time, we do not follow Dustin Hoffman
as a young student
wandering around through the melancholy
of Simon & Garfunkel's song.
We follow Pam Grier, a 40 year-old stewardess
pressured by the hazards of a complicated life

English: 
as she speeds up to the rhythm
of that energetic Bobby Womack song.
Within both of these movies,
the opening title is cleverly highlighting
what is at stake for each protagonist
in their respective story
while defining the tone each director
is set to give to its very own film.
In the end, some are blaming Quentin Tarantino
for his ways of exploiting "exploitation" cinema
while it is ostracized by critics
and selfishly protected by its fans.
Fortunately, the director doesn't care
for these type of feuds
while working on his own projects.
Conceived and executed as a true manifesto
for Exploitation Cinema,

English: 
as she speeds up to the rhythm
of that energetic Bobby Womack song.
Within both of these movies,
the opening title is cleverly highlighting
what is at stake for each protagonist
in their respective story
while defining the tone each director
is set to give to its very own film.
In the end, some are blaming Quentin Tarantino
for his ways of exploiting "exploitation" cinema
while it is ostracized by critics
and selfishly protected by its fans.
Fortunately, the director doesn't care
for these type of feuds
while working on his own projects.
Conceived and executed as a true manifesto
for Exploitation Cinema,

English: 
as she speeds up to the rhythm
of that energetic Bobby Womack song.
Within both of these movies,
the opening title is cleverly highlighting
what is at stake for each protagonist
in their respective story
while defining the tone each director
is set to give to its very own film.
In the end, some are blaming Quentin Tarantino
for his ways of exploiting "exploitation" cinema
while it is ostracized by critics
and selfishly protected by its fans.
Fortunately, the director doesn't care
for these type of feuds
while working on his own projects.
Conceived and executed as a true manifesto
for Exploitation Cinema,

English: 
as she speeds up to the rhythm
of that energetic Bobby Womack song.
Within both of these movies,
the opening title is cleverly highlighting
what is at stake for each protagonist
in their respective story
while defining the tone each director
is set to give to its very own film.
In the end, some are blaming Quentin Tarantino
for his ways of exploiting "exploitation" cinema
while it is ostracized by critics
and selfishly protected by its fans.
Fortunately, the director doesn't care
for these type of feuds
while working on his own projects.
Conceived and executed as a true manifesto
for Exploitation Cinema,

English: 
as she speeds up to the rhythm
of that energetic Bobby Womack song.
Within both of these movies,
the opening title is cleverly highlighting
what is at stake for each protagonist
in their respective story
while defining the tone each director
is set to give to its very own film.
In the end, some are blaming Quentin Tarantino
for his ways of exploiting "exploitation" cinema
while it is ostracized by critics
and selfishly protected by its fans.
Fortunately, the director doesn't care
for these type of feuds
while working on his own projects.
Conceived and executed as a true manifesto
for Exploitation Cinema,

French: 
et qui accélère le pas au rythme de l'énergique chanson de Bobby Womack.
Et dans un film comme dans l'autre, ces deux génériques soulignent astucieusement
les enjeux qui attendent leurs protagonistes respectifs,
tout en définissant le ton - bien distinct -  adopté par chacun des cinéastes.
Au final, ce qui est clairement reproché à Quentin Tarantino,
c'est bel et bien de récupérer et de mettre en avant un cinéma dit "d'exploitation",
à la fois vilipendé par la critique et ghettoïsé par une frange de ses amateurs
Heureusement, le réalisateur n'a que faire de ces querelles de chapelles
et refuse de les prendre en compte quand il travaille sur ses projets.
Pensé et exécuté comme un véritable manifeste du cinéma d'exploitation,

English: 
Kill Bill convenes each and every
Tarantino's favorite genres
from Chanbara to Spaghetti Westerns,
as well as Kung-Fu flicks.
Considering the various movie references
from many different cultures
the final outcome is excitingly consistent.
In order to achieve this very organic blend,
Tarantino first uses a literary approach.
In structuring this tale of revenge,
he develops a series of intertwined chapters
through which he breeds
an innovative mythological approach
on an intradiegetic level.
The characters of Hattori Hanzo and Pai-Mei
are real movie icons
that respectively embody Samurai cinema 
and Chinese martial arts movies.
Both have been Bill's masters
and Bill is played by David Carradine,
known by western audiences
as the protagonist of TV show "Kung-Fu".

English: 
Kill Bill convenes each and every
Tarantino's favorite genres
from Chanbara to Spaghetti Westerns,
as well as Kung-Fu flicks.
Considering the various movie references
from many different cultures
the final outcome is excitingly consistent.
In order to achieve this very organic blend,
Tarantino first uses a literary approach.
In structuring this tale of revenge,
he develops a series of intertwined chapters
through which he breeds
an innovative mythological approach
on an intradiegetic level.
The characters of Hattori Hanzo and Pai-Mei
are real movie icons
that respectively embody Samurai cinema 
and Chinese martial arts movies.
Both have been Bill's masters
and Bill is played by David Carradine,
known by western audiences
as the protagonist of TV show "Kung-Fu".

French: 
Kill Bill convoque absolument tous les genres préférés de Quentin Tarantino,
du Chambara au Western Spaghetti en passant par le film de Kung Fu.
Et malgré les différentes influences à la fois cinématographiques mais aussi culturelles,
le résultat reste d'une homogénéité absolument renversante.
Pour parvenir à cette fusion organique,
Tarantino adopte en premier lieu une approche littéraire.
En déroulant ce récit de vengeance,
il rédige une structure en plusieurs chapitres qui se répondent entre eux,
et à travers laquelle il va infuser une approche mythologique
relativement inédite car intradiégétique.
Ainsi les personnages de Hattori Hanzo et Pai-Mei sont de véritables icônes cinématographiques
qui représentent respectivement les films de sabre japonais et le cinéma d'arts martiaux chinois.
Dans le film, ce sont les deux maîtres de Bill, alias David Carradine,
que le public occidental connaît pour la série Kung Fu.

English: 
Kill Bill convenes each and every
Tarantino's favorite genres
from Chanbara to Spaghetti Westerns,
as well as Kung-Fu flicks.
Considering the various movie references
from many different cultures
the final outcome is excitingly consistent.
In order to achieve this very organic blend,
Tarantino first uses a literary approach.
In structuring this tale of revenge,
he develops a series of intertwined chapters
through which he breeds
an innovative mythological approach
on an intradiegetic level.
The characters of Hattori Hanzo and Pai-Mei
are real movie icons
that respectively embody Samurai cinema 
and Chinese martial arts movies.
Both have been Bill's masters
and Bill is played by David Carradine,
known by western audiences
as the protagonist of TV show "Kung-Fu".

English: 
Kill Bill convenes each and every
Tarantino's favorite genres
from Chanbara to Spaghetti Westerns,
as well as Kung-Fu flicks.
Considering the various movie references
from many different cultures
the final outcome is excitingly consistent.
In order to achieve this very organic blend,
Tarantino first uses a literary approach.
In structuring this tale of revenge,
he develops a series of intertwined chapters
through which he breeds
an innovative mythological approach
on an intradiegetic level.
The characters of Hattori Hanzo and Pai-Mei
are real movie icons
that respectively embody Samurai cinema 
and Chinese martial arts movies.
Both have been Bill's masters
and Bill is played by David Carradine,
known by western audiences
as the protagonist of TV show "Kung-Fu".

English: 
Kill Bill convenes each and every
Tarantino's favorite genres
from Chanbara to Spaghetti Westerns,
as well as Kung-Fu flicks.
Considering the various movie references
from many different cultures
the final outcome is excitingly consistent.
In order to achieve this very organic blend,
Tarantino first uses a literary approach.
In structuring this tale of revenge,
he develops a series of intertwined chapters
through which he breeds
an innovative mythological approach
on an intradiegetic level.
The characters of Hattori Hanzo and Pai-Mei
are real movie icons
that respectively embody Samurai cinema 
and Chinese martial arts movies.
Both have been Bill's masters
and Bill is played by David Carradine,
known by western audiences
as the protagonist of TV show "Kung-Fu".

English: 
Therefore, they taught him the fighting techniques,
he then passed on to the Bride.
On a mythological level,
these asian cinematographies
nurture a western movie at its core,
and justify the main protagonist's physical prowess.
But on a thematic level,
Kill Bill remains a very personal movie,
as Quentin Tarantino evokes these various lineages
as an allegory to deal with his estranged father,
who seems to be one of the probable figures
accountable for his obsession over cinema.
Through this double parentage,
the director subconsciously attests
that this pluricultural transmission
cannot be challenged.

French: 
Et ce sont donc eux qui lui ont appris toutes les techniques de combat
qu'il a ensuite transmis à la Mariée.
D'un point de vue mythologique,
ces cinématographies asiatiques infusent donc totalement le récit d'une oeuvre purement occidentale
et justifient les capacités hors normes de sa principale protagoniste.
D'un point de vue thématique, elles inscrivent Kill Bill comme une oeuvre profondément personnelle
dans laquelle Quentin Tarantino évoque les différentes filiations
comme une manière détournée de parler de son propre rapport au père,
qui l'a abandonné à son plus jeune âge et auquel il doit probablement ses obsessions cinématographiques.
Et par ce prisme à deux lectures, le réalisateur justifie ainsi - ne serait ce qu'à un niveau inconscient -
cette transmission pluriculturelle qui ne saurait vraiment être contestée.

English: 
Therefore, they taught him the fighting techniques,
he then passed on to the Bride.
On a mythological level,
these asian cinematographies
nurture a western movie at its core,
and justify the main protagonist's physical prowess.
But on a thematic level,
Kill Bill remains a very personal movie,
as Quentin Tarantino evokes these various lineages
as an allegory to deal with his estranged father,
who seems to be one of the probable figures
accountable for his obsession over cinema.
Through this double parentage,
the director subconsciously attests
that this pluricultural transmission
cannot be challenged.

English: 
Therefore, they taught him the fighting techniques,
he then passed on to the Bride.
On a mythological level,
these asian cinematographies
nurture a western movie at its core,
and justify the main protagonist's physical prowess.
But on a thematic level,
Kill Bill remains a very personal movie,
as Quentin Tarantino evokes these various lineages
as an allegory to deal with his estranged father,
who seems to be one of the probable figures
accountable for his obsession over cinema.
Through this double parentage,
the director subconsciously attests
that this pluricultural transmission
cannot be challenged.

English: 
Therefore, they taught him the fighting techniques,
he then passed on to the Bride.
On a mythological level,
these asian cinematographies
nurture a western movie at its core,
and justify the main protagonist's physical prowess.
But on a thematic level,
Kill Bill remains a very personal movie,
as Quentin Tarantino evokes these various lineages
as an allegory to deal with his estranged father,
who seems to be one of the probable figures
accountable for his obsession over cinema.
Through this double parentage,
the director subconsciously attests
that this pluricultural transmission
cannot be challenged.

English: 
Therefore, they taught him the fighting techniques,
he then passed on to the Bride.
On a mythological level,
these asian cinematographies
nurture a western movie at its core,
and justify the main protagonist's physical prowess.
But on a thematic level,
Kill Bill remains a very personal movie,
as Quentin Tarantino evokes these various lineages
as an allegory to deal with his estranged father,
who seems to be one of the probable figures
accountable for his obsession over cinema.
Through this double parentage,
the director subconsciously attests
that this pluricultural transmission
cannot be challenged.

English: 
Also, this chapter structure
allows Quentin Tarantino to elaborate
some very unique narrative digressions
as their issues are solved
navigating from one genre to the other.
When the Bride is buried alive
in a scene reminiscent of Spaghetti Western,
a pure martial arts movie scene
allow her to find the getaway solution.
Tarantino's ability to cross refer to various genres
is strengthened by the way
he develops a specific mise en scene
using every element of the movie language
in order to immerse the audience in this particular story.
When the Bride lands in Japan,
the director uses some Kaiju Eiga scale models
in order to stimulate every cinephile's memory.

French: 
Mais à travers cette structure en chapitres, Quentin Tarantino se permet également
des digressions narratives tout à fait inédites,
car elles posent des enjeux qui se règlent en passant justement d'un genre à l'autre.
Si la Mariée est enterrée vivante dans une scène digne d'un pur Western Spaghetti
C'est dans le cinéma d'arts martiaux qu'elle parvient à trouver la solution pour se tirer d'affaire.
Cette aisance avec laquelle Quentin Tarantino traverse les genres
est renforcée par un dispositif de mise en scène
qui exploite absolument tous les éléments du langage cinématographique
pour prendre en compte la place du spectateur dans le récit.
Ainsi, pour évoquer l'arrivée au Japon, le réalisateur utilise des maquettes issues de Kaiju Eiga,
pour stimuler la mémoire cinéphilique du spectateur.

English: 
Also, this chapter structure
allows Quentin Tarantino to elaborate
some very unique narrative digressions
as their issues are solved
navigating from one genre to the other.
When the Bride is buried alive
in a scene reminiscent of Spaghetti Western,
a pure martial arts movie scene
allow her to find the getaway solution.
Tarantino's ability to cross refer to various genres
is strengthened by the way
he develops a specific mise en scene
using every element of the movie language
in order to immerse the audience in this particular story.
When the Bride lands in Japan,
the director uses some Kaiju Eiga scale models
in order to stimulate every cinephile's memory.

English: 
Also, this chapter structure
allows Quentin Tarantino to elaborate
some very unique narrative digressions
as their issues are solved
navigating from one genre to the other.
When the Bride is buried alive
in a scene reminiscent of Spaghetti Western,
a pure martial arts movie scene
allow her to find the getaway solution.
Tarantino's ability to cross refer to various genres
is strengthened by the way
he develops a specific mise en scene
using every element of the movie language
in order to immerse the audience in this particular story.
When the Bride lands in Japan,
the director uses some Kaiju Eiga scale models
in order to stimulate every cinephile's memory.

English: 
Also, this chapter structure
allows Quentin Tarantino to elaborate
some very unique narrative digressions
as their issues are solved
navigating from one genre to the other.
When the Bride is buried alive
in a scene reminiscent of Spaghetti Western,
a pure martial arts movie scene
allow her to find the getaway solution.
Tarantino's ability to cross refer to various genres
is strengthened by the way
he develops a specific mise en scene
using every element of the movie language
in order to immerse the audience in this particular story.
When the Bride lands in Japan,
the director uses some Kaiju Eiga scale models
in order to stimulate every cinephile's memory.

English: 
Also, this chapter structure
allows Quentin Tarantino to elaborate
some very unique narrative digressions
as their issues are solved
navigating from one genre to the other.
When the Bride is buried alive
in a scene reminiscent of Spaghetti Western,
a pure martial arts movie scene
allow her to find the getaway solution.
Tarantino's ability to cross refer to various genres
is strengthened by the way
he develops a specific mise en scene
using every element of the movie language
in order to immerse the audience in this particular story.
When the Bride lands in Japan,
the director uses some Kaiju Eiga scale models
in order to stimulate every cinephile's memory.

English: 
Delving into a Hitchcockian thriller mood,
he has a character
whistling to a Bernard Herrmann's tune
and then shifts to the actual music used in the scene.
Introducing an animated flashback scene 
so he doesn't alienate the audience,
he initiates this narrative digression
with a progressive split-screen
and then anchors it into the whole story
by showing bits and pieces of an already familiar scene.
When The Bride snatches
her foe's eye right out of his skull
this gory and rambunctious action scene
turns into black and white
then back to color with the blink of an eye.
Finally, when passing from
a western-themed Japanese bar
to a beautiful Lady Snowblood-inspired garden
she simply opens a door
the same way Alice goes through the looking-glass.
These various visual and audio tricks
integrate numerous influences into Kill Bill
without withdrawing them from their original source.

French: 
Pour basculer dans une ambiance digne d'un Thriller Hitchcockien,
il fait siffler quelques notes d'un emblématique morceau de musique de Bernard Herrmann
pour amorcer son utilisation dans la séquence en question.
Pour introduire un flashback en séquence animée sans déstabiliser son audience,
il amorce l'idée par un split-screen progressif pour finir par ancrer cette digression narrative dans le récit
en montrant un événement dont le spectateur est déjà au fait des conséquences.
Lorsqu'elle arrache l'oeil de son adversaire,
la Mariée fait basculer une séquence d'action gore et dantesque en noir et blanc
avant de cligner des yeux pour faire revenir la couleur,
et enfin pour passer d'un décor de bar japonais occidentalisé
au magnifique jardin digne de Lady Snowblood,
elle ouvre une simple porte
à la manière d'Alice lorsque celle-ci rejoint l'autre côté du miroir.
Ces différents artifices visuels et auditifs
permettent ainsi aux multiples références de faire partie intégrante d'une oeuvre-somme comme Kill Bill
sans pour autant les retirer aux films cités.

English: 
Delving into a Hitchcockian thriller mood,
he has a character
whistling to a Bernard Herrmann's tune
and then shifts to the actual music used in the scene.
Introducing an animated flashback scene 
so he doesn't alienate the audience,
he initiates this narrative digression
with a progressive split-screen
and then anchors it into the whole story
by showing bits and pieces of an already familiar scene.
When The Bride snatches
her foe's eye right out of his skull
this gory and rambunctious action scene
turns into black and white
then back to color with the blink of an eye.
Finally, when passing from
a western-themed Japanese bar
to a beautiful Lady Snowblood-inspired garden
she simply opens a door
the same way Alice goes through the looking-glass.
These various visual and audio tricks
integrate numerous influences into Kill Bill
without withdrawing them from their original source.

English: 
Delving into a Hitchcockian thriller mood,
he has a character
whistling to a Bernard Herrmann's tune
and then shifts to the actual music used in the scene.
Introducing an animated flashback scene 
so he doesn't alienate the audience,
he initiates this narrative digression
with a progressive split-screen
and then anchors it into the whole story
by showing bits and pieces of an already familiar scene.
When The Bride snatches
her foe's eye right out of his skull
this gory and rambunctious action scene
turns into black and white
then back to color with the blink of an eye.
Finally, when passing from
a western-themed Japanese bar
to a beautiful Lady Snowblood-inspired garden
she simply opens a door
the same way Alice goes through the looking-glass.
These various visual and audio tricks
integrate numerous influences into Kill Bill
without withdrawing them from their original source.

English: 
Delving into a Hitchcockian thriller mood,
he has a character
whistling to a Bernard Herrmann's tune
and then shifts to the actual music used in the scene.
Introducing an animated flashback scene 
so he doesn't alienate the audience,
he initiates this narrative digression
with a progressive split-screen
and then anchors it into the whole story
by showing bits and pieces of an already familiar scene.
When The Bride snatches
her foe's eye right out of his skull
this gory and rambunctious action scene
turns into black and white
then back to color with the blink of an eye.
Finally, when passing from
a western-themed Japanese bar
to a beautiful Lady Snowblood-inspired garden
she simply opens a door
the same way Alice goes through the looking-glass.
These various visual and audio tricks
integrate numerous influences into Kill Bill
without withdrawing them from their original source.

English: 
Delving into a Hitchcockian thriller mood,
he has a character
whistling to a Bernard Herrmann's tune
and then shifts to the actual music used in the scene.
Introducing an animated flashback scene 
so he doesn't alienate the audience,
he initiates this narrative digression
with a progressive split-screen
and then anchors it into the whole story
by showing bits and pieces of an already familiar scene.
When The Bride snatches
her foe's eye right out of his skull
this gory and rambunctious action scene
turns into black and white
then back to color with the blink of an eye.
Finally, when passing from
a western-themed Japanese bar
to a beautiful Lady Snowblood-inspired garden
she simply opens a door
the same way Alice goes through the looking-glass.
These various visual and audio tricks
integrate numerous influences into Kill Bill
without withdrawing them from their original source.

English: 
Through his unfailing belief in the power of fiction,
and a very personal way of
fetishizing cinema as an object
in order to make it sensual and palpable,
Quentin Tarantino allows himself absolutely everything.
This is what drives him
to use movie logos from a past era
to introduce some very modern
and thrilling entertainment.
This is what allows him to conceive a comprehensive cinematic experience
such as Grindhouse,
from trailers to double-bill to film scratches.
This is why he illustrates a Kung-Fu fight
with Blaxploitation music
This is what allows him to rewrite History...
...in order to waste Hitler!
This is what allows him to proclaim that
when you really believe in the power of cinema,

English: 
Through his unfailing belief in the power of fiction,
and a very personal way of
fetishizing cinema as an object
in order to make it sensual and palpable,
Quentin Tarantino allows himself absolutely everything.
This is what drives him
to use movie logos from a past era
to introduce some very modern
and thrilling entertainment.
This is what allows him to conceive a comprehensive cinematic experience
such as Grindhouse,
from trailers to double-bill to film scratches.
This is why he illustrates a Kung-Fu fight
with Blaxploitation music
This is what allows him to rewrite History...
...in order to waste Hitler!
This is what allows him to proclaim that
when you really believe in the power of cinema,

English: 
Through his unfailing belief in the power of fiction,
and a very personal way of
fetishizing cinema as an object
in order to make it sensual and palpable,
Quentin Tarantino allows himself absolutely everything.
This is what drives him
to use movie logos from a past era
to introduce some very modern
and thrilling entertainment.
This is what allows him to conceive a comprehensive cinematic experience
such as Grindhouse,
from trailers to double-bill to film scratches.
This is why he illustrates a Kung-Fu fight
with Blaxploitation music
This is what allows him to rewrite History...
...in order to waste Hitler!
This is what allows him to proclaim that
when you really believe in the power of cinema,

English: 
Through his unfailing belief in the power of fiction,
and a very personal way of
fetishizing cinema as an object
in order to make it sensual and palpable,
Quentin Tarantino allows himself absolutely everything.
This is what drives him
to use movie logos from a past era
to introduce some very modern
and thrilling entertainment.
This is what allows him to conceive a comprehensive cinematic experience
such as Grindhouse,
from trailers to double-bill to film scratches.
This is why he illustrates a Kung-Fu fight
with Blaxploitation music
This is what allows him to rewrite History...
...in order to waste Hitler!
This is what allows him to proclaim that
when you really believe in the power of cinema,

English: 
Through his unfailing belief in the power of fiction,
and a very personal way of
fetishizing cinema as an object
in order to make it sensual and palpable,
Quentin Tarantino allows himself absolutely everything.
This is what drives him
to use movie logos from a past era
to introduce some very modern
and thrilling entertainment.
This is what allows him to conceive a comprehensive cinematic experience
such as Grindhouse,
from trailers to double-bill to film scratches.
This is why he illustrates a Kung-Fu fight
with Blaxploitation music
This is what allows him to rewrite History...
...in order to waste Hitler!
This is what allows him to proclaim that
when you really believe in the power of cinema,

French: 
C'est à travers cette croyance indéfectible dans le pouvoir de la fiction,
dans cette manière très personnelle de fétichiser l'objet cinéma et de le rendre charnel et palpable
que Quentin Tarantino se permet absolument tout.
C'est ce qui le pousse à utiliser les logos d'un autre temps
pour introduire un spectacle d'une modernité réjouissante.
C'est ce qui lui permet de concevoir une expérience cinématographique globale comme Grindhouse,
des bandes-annonces au double-programme, en passant par les défauts sur la pellicule.
C'est ce qui lui donne l'idée de rythmer un combat de Kung Fu sur une musique de blaxploitation.
C'est ce qui l'autorise à réécrire l'Histoire avec un grand H...
... pour faire buter Hitler !
C'est ce qui lui permet de nous assurer que si l'on croit vraiment à la puissance du cinéma,

French: 
alors tout est permis !
Soyez sympas, abonnez vous !
Sinon notre vengeance sera terrible !

English: 
then anything goes!
Be nice, please subscribe!
Otherwise, we will have our revenge!

English: 
then anything goes!
Be nice, please subscribe!
Otherwise, we will have our revenge!

English: 
then anything goes!
Be nice, please subscribe!
Otherwise, we will have our revenge!

English: 
then anything goes!
Be nice, please subscribe!
Otherwise, we will have our revenge!

English: 
then anything goes!
Be nice, please subscribe!
Otherwise, we will have our revenge!
