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Kenji Ohba as Shiro, Hattori Hanzo's employee. Jonathan Loughran as Buck's trucker client, killed by the Bride after he attempts to rape her. Ambrosia Kelley as Nikki Bell, Vernita's 4-year-old daughter. She witnesses the Bride killing her mother, and the Bride suggests she seek revenge when she gets older, if she still "feels raw about it". The scene was cut for time and budget reasons. Yuki's revenge is going to be the first to go. Gwhich had produced films including Ghost in the Shell and Blood: Tarantino wanted to create "one of the greatest, most exciting sequences in the history of cinema".
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Tarantino told his crew: How would you achieve this effect? Ingenuity is important here! According to Thurman, she was uncomfortable driving the car and asked a stunt driver to do it; Tarantino assured her that the car and road were safe. She lost control of the car and hit a tree, suffering a concussion and damage to her knees. Thurman requested the crash footage, but Miramax would only release it, in Thurman's words, if she signed a document "releasing them of any consequences of [Thurman's] future pain and suffering". Tarantino was apologetic, but he and Thurman were Japanese and texas and pussy for years afterwards; she said after the accident she "went from being a creative contributor and performer to being like a broken tool".
Miramax released the footage in after Thurman went to police following the accusations of sexual abuse by producer Harvey Weinstein. But to me, that's kind of what the movie was, are these little detours and these little grace notes. The Professional and Wicked City On the two soundtracks, music ranges from country music to selections from the Spaghetti Western film scores of Ennio Morricone. Bernard Herrmann 's theme from the film Twisted Nerve is whistled by the menacing Elle Driver in the hospital scene. A brief, second excerpt from the opening of the Ironside theme music by Quincy Jones is used as the Bride's revenge motif, which flares up with a red-tinged flashback whenever she is in the company of her next target.
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A lot of this material involves molestation by tentacle alien species and other gruesome sexual fantasy scenarios, which have become a staple of the Japanese relationship with pornography. A further problem experienced in Japan, according to Igarashi's defense, is that the definition of obscenity is quite vague. This has the potential of becoming a more sensitive issue when an artist touches on both at once, taboo and the freedom of artistic expression. Igarashi isn't losing hope, despite the knowledge that the legal battle awaiting her will be a difficult one.