RIP David Bowie: You remind me of the babe

Music, On my mind

Unless you’ve been living under a rock you’ll know… David Bowie died today finally losing his battle with cancer aged 69, and tributes flooded the internet because, despite what most of us like to think, Bowie was a freak. An oddity.

And we’re all odd freaks too (most of us), so we loved that he allowed us to embrace that. Simply put, he showed us the way – through his music, acting and constant reinvention. He took us to the heavens and the stars helping us expand our thinking, and he naval-gazed in his quieter moments, causing us to reflect inward and question ourselves.

On a personal level I discovered Bowie through old cassette tapes in my parent’s music collection. I had a listen and liked them, but didn’t quite ‘get it’, so put them aside and went back to my house records (I used to DJ a bit back then).

Then, around ten years later in my mid-20s, I found Bowie again.

Now I own an acoustic guitar and his songs had ways of finding me and making me sing alone in my room, expressing myself in a most liberating manner. From Space Oddity to A Man Who Sold The World to Starman, I sang my little heart out. What music was this? It was glorious and timeless (but in a good way, not a stuffy, Antiques Roadshow kind of way).

Then I became aware of his work in film, watching him steal scenes in The Prestige opposite Hugh Jackman. And so I revisited an ’80s, coming-of-age classic, The Labyrinth, where he was something of a force of nature, strutting his stuff in leather trousers opposite a young Jennifer Connelly.

I could go on… and on. But, well, you get it. If Bowie meant something to you then he meant something to you. And he kind of meant something to a great many of us, in profoundly different ways.

So, as tribute, below are a selection of clips that meant something to me.

Rest in peace David Bowie, you’re now among the stars.

 

Naming Queen songs in film… don’t stop me now

Music, My musings

ww_mirthmobile

Everyone loves a bit of Queen right? In tribute to their musical greatness I thought I’d highlight a few moments they’ve contributed to cinema.

Whether – like the first two in the list below – they were responsible for almost the film’s entire soundtrack, or one of their songs were used in a particular scene, a bit of Queen goes a long way.

Here are mine. Which would you pick as your favourite Queen song from film?

Flash Gordon ‘Birdmen, to me!’
Right Brian May, we need some epic guitar with an ominous keyboard drumming beneath for tension, scored to a scene of a lycra-clad guy with Prince Charming hair flying a spaceship into a laser-guarded fortress with Brian Blessed regularly screaming ‘Die!’. Got it? Good.


Highlander
‘Who wants to live forever’
Freddie Mercury’s vocal was never better than when crooning on this track penned by Brian May. Sad, poignant and beautiful. And almost balanced out Christopher Lambert’s and Sean Connery’s woeful attempts at accents. A standout scene.


Wayne’s World
‘Headbanging in the car’
Looking back, this film (and the sequel) were really just a series of set piece gags upon which to hang the plot. Here, in what could have been a humdrum extended title sequence at the start of the film, Wayne (Mike Myers) puts on a Queen tape to liven up the journey.


Shaun of the Dead
‘Jukebox zombie’
Edgar Wright, Simon Pegg and the gang crafted comedy gold with this entire film. One scene saw them trapped in the local pub, the Winchester, forced to administer a beating to a zombie barman, perfectly timed to ‘Don’t Stop Me Now’. Tongue firmly in cheek? Check.

Frank: what doesn’t kill you makes you stranger

Film, Music

A man wearing a giant fake head. A band full of oddballs, real oddballs. Is this a film about those characters we meet in life – if we’re lucky enough – that exist at the edges of normal?

Based on the real life experiences of writer Jon Ronson, Frank starts with Jon (Domhnall Gleeson), a talentless wannabe musician who, through a chance encounter with a band manager, gets to play keyboard in the supremely odd band with an unpronounceable name, headed by front-man Frank (Michael Fassbender). Job interview: ‘Can you play C, F and G? You’re in.’

Jon plays one gig then gets offered another and jumps at it, only to discover the band are heading off to the woods and will leave once the album is recorded.frank

Gleeson is a great fit for Jon. He needs to be likeable, but also a little offbeat. And, whilst Fassbender’s Frank is the enigmatic and mercurial figure that steals scenes – waving his arms dancing wildly, finding musical inspiration in everyday objects, addressing a German family in their native tongue – it’s Jon that drives the story.

This is his tale and experience of trying to fit into a group that themselves don’t fit into the world. And there’s the rub. Jon wants to be one of them but wants notoriety, which puts him at odds with the band, particularly the volatile Clara (Maggie Gyllenhaal).

His efforts lead them to a festival in the US and it’s here where the film comes somewhat undone, losing the focus it had in the early half. Screenwriters Jon Ronson and Peter Straughan (the chaps behind The Men Who Stare At Goats) perhaps lost their way.

Or maybe it’s just the case that these characters work better in a tighter, simpler setting. Maybe that’s the point the filmmakers were trying to make – one echoed by Gyllenhaal’s Clara – but it didn’t entirely hold together leading up to the film’s final scene.

Tonally though, this movie is interesting and puts me in mind of Little Miss Sunshine or The Life Aquatic. It’s been described as a musical comedy which, in some instances, is accurate (it has music and comedy), but it’s perhaps more tragic in tone. Frank is the sort of role you might expect Johnny Depp to have played, so it’s refreshing to see someone like Fassbender take it on and add another string to his mighty acting bow.

Ultimately there’s a fair amount to love about this film and feels like you’d get more out of it on repeat viewings. It’s a little slow in places (some of the middle and most of the final third), but it’s highly original and quirky, albeit not hugely cinematic. And Fassbender can definitely do quirky, who knew. Now, if only someone could cast him in a Wes Anderson movie.

Karaoke? Yeah baby!

Music, My musings

Joseph-Gordon-Levitt-500-Days-SummerSpontaneously bursting into song, that’s what it’s all about. By ‘it’ I mean random and unexpected musical scenes in films. They are like little rays of cinematic sunshine.

And, like all good moments of music that you experience in your life, a lot of these will have stayed with you as fond memories; for me, I’ve always had a soft spot for the songs in A Life Less Ordinary and Empire Records.

Some of these you may have seen coming – karaoke for example – but some, I imagine, took you by surprise in a wonderful way, as they did me. Here’s my selection:

‘Don’t Stop Believing’ Chris Evans – The Losers
Need to ensure no one gets in the lift with you? Just sing Journey with gusto. An unexpected and genuinely hilarious scene, one which works due to Evans’ ballsy delivery.


‘Beyond The Sea’
Ewan McGregor and Cameron Diaz – A Life Less Ordinary
A great scene in this underrated Danny Boyle film. It got me hooked on Bobby Darin for a fair while and remains one of my favourite Cameron Diaz performances.


‘Sugar High’
Renee Zellweger – Empire Records
It’s hard to pick one scene in a film packed with musical gems. This one is so much fun that it makes the cut. And Zellweger is so sweet singing her little heart out.


‘Hey Ma’
Anna Kendrick and Jake Gyllenhaal – End Of Watch
Apparently on a long drive the two actors were mucking about singing in character with director David Ayer in the back seat. He caught this and stuck it in the movie. That’s a moment.


‘Brass In Pocket’
Scarlett Johansson – Lost In Translation
This Sofia Coppola film which gave Scarlett her break remains my favourite of her performances. As she donned a pink wig, Bill Murray’s resistance was futile.


‘These Eyes’
Michael Cera – Superbad
Comedy that stands the test of time, now that’s tough. This film holds up though. A modern classic, encapsulated in this memorable scene. The hurtin’s on me yeah!


‘Here Comes Your Man’
Joseph Gordon-Levitt – 500 Days Of Summer
I have to say, I know one or two girls that would fall over themselves to get a piece of Gordon-Levitt. Here he gives us a masterclass in how to effortlessly rock a tank top.


‘Afternoon Delight’
Will Ferrell, Steve Carrell, Paul Rudd and David Koechner – Anchorman
Remember the first time you saw this film? Every scene held a wonderful surprise. This one was a classic example as I doubt anyone saw this 1976 song by the Starland Vocal Band coming.


‘You’ve Lost That Loving Feeling’
Tom Cruise – Top Gun
I am sure I’m not the only one that’s had mates reenact this in the direction of unsuspecting women; essentially cornering them till the song is done. Ladies do love a crooner.


‘New York New York’
Carey Mulligan – Shame
Filmed with Mulligan singing live in one unbroken shot, this scene is so raw and affecting that I’ve only been able to watch it twice. Along with Fassbender, Mulligan elevated this film to pure art.


‘He’s Got The Whole World In His Hands’
Steve Buscemi – Con Air
Supremely creepy, yet mesmerising in a way. An innocuous little scene in the middle of this – clearly quite bonkers – Michael Bay movie has Buscemi singing like a loon as their plane prepares to crash.


‘Blue Shadows’
Steve Martin, Chevy Chase, Martin Short – Three Amigos
This 1986 John Landis classic was packed with wonderfully witty musical ditties. Whilst ‘My Little Buttercup’ tends to get all the plaudits, honorable mention should go to this song too.

On my mind… Anna Kendrick

Music, On my mind

pitchperfectThis week I have mostly been thinking about Anna Kendrick. It’s not my fault I swear. In fact I blame her entirely. It all started with Pitch Perfect. Actually… that’s not true. Whilst watching that film over Christmas did inspire me to write this piece, my little love affair really started with Up In The Air.

She’s a most interesting actress – and if you had to pinpoint her appeal I’d put it down to a few factors. She chooses her roles with care, often playing interesting characters that are put in quite complex situations; also she tends to play characters that develop in subtle and often joyful ways – something difficult to do convincingly.

And finally she manages to bring a wonderfully endearing quality to the parts she plays, whether it’s the lead or a supporting role, she holds the screen well and disarms us with her wit, charm, intelligence and adorable nature – all wrapped up in one tiny, cute package.

In terms of characters played and films in which she’s starred, here are my favourites:

Up In The Air (2009)
Most of us remember our first proper job out of education being tough, but what if your first job is firing others from theirs? In Kendrick’s breakout role she played a rookie ‘downsizer’ brought in to fire people from their jobs in the most efficient way possible. She beat rising star, Ellen Page, to the role, and you can see why – her performance was a delight.


50/50
(2011)
A comedy about cancer? Surely not. Loosely based on the experiences of screenwriter Will Reiser, this film sees Kendrick as young therapist Katherine, helping Joseph Gordon-Levitt’s Adam deal with his illness. Kendrick played her part beautifully, giving Katherine real warmth and believability as an inexperienced therapist who has blurred the lines between doctor and patient. Watch the clip below to hear Kendrick’s thoughts on the role.


End Of Watch
(2012)
Another role as a supporting girlfriend you say? Well, yes. Here she plays Janet, the girlfriend then wife of Jake Gyllenhaal’s cop, Brian Taylor, in this tough thriller/drama, written and directed by David Ayer and set in South Central Los Angeles. Kendrick’s Janet acts as perfect balance to how Taylor acts when on patrol, softening him in the film’s quieter moments. Watch the non-scripted scene below where the two actors – in character – just improvise. It made the film and you can see why – really touching.


Pitch Perfect
(2012)
The second highest grossing musical comedy behind School Of Rock and with a sequel on the way it’s fair to say this film was a success – another to add to the Kendrick filmography. With the tagline ‘Get pitch slapped’ and projectile vomit scenes, this was no Glee. And Kendrick was the smart and sassy centre of it all. In the riff-off scene below there’s a really sweet bit where she turns to her friends with a big ‘look at me’ grin. So cute and so Anna Kendrick.

Film composers – cinema’s unsung heroes?

Music, My musings

John-Williams-and-Steven-Spielberg-john-williams-25180335-2100-1869If I weren’t a director, I would want to be a film composer.” Steven Spielberg

Would great films be great without great scores? Hard to know really. What I do know is that us humans are emotive creatures. Whilst visual images are often arresting, music cuts to the bone. It sears the soul in ways that, sometimes, visual cannot.

Indeed, there’s something about music that taps into our psyche, lighting the blue touch paper of deep-seated emotions, ones we often thought previously walled off or under control. Such is its power. And the way it unearths memories and emotions is uncanny, particularly when linked to powerful visuals.

John Williams
Considered to be one of the greatest film composers of all time; Williams is largely responsible for composing the music to some of the biggest films of all time: Star Wars, Superman, Jaws, Indiana Jones, ET, Jurassic Park, Harry Potter – his body of work is phenomenal. He’s won 5 Oscars, 4 Golden Globes, 7 BAFTAs, 21 Grammy awards; and been nominated a staggering 48 times, second only to Walt Disney. Still, my rambling on will hardly give him fitting tribute. So I leave that to this a capella montage or Williams conducting below.


John Barry

They call him Barry, John Barry. Arguably most well known for his work on the James Bond films, Barry worked on an impressive 12 Bonds, from Dr No in 1962 to The Living Daylights in 1987. And if that wasn’t enough, he also scored Born Free, Out of Africa, Dances with Wolves and many more; plus won 5 Oscars, 2 BAFTAs and a Golden Globe.


Hans Zimmer
As far as composers go, Hans Zimmer is truly special. He may even be my favourite. He’s scored True Romance – one of my favourite films – with its irreverent little melody. Something which, oddly, may have influenced his work the following year on The Lion King. Then there’s Gladiator, Pirates of the Caribbean, Batman Begins, The Dark Knight, Inception, The Dark Knight Rises, Rush and Man of Steel. He’s won 4 Grammy awards, 3 classical Brit awards, 2 Golden Globes and an Oscar.


Howard Shore

Shore’s a heavy hitter in the world of film composing. 3 Oscars, 3 Golden Globes, 4 Grammy awards. Not bad going. He’s worked extensively with David Cronenberg and also with David Fincher on films like Seven. So many were surprised, given his love of dark scores, that he bagged The Lord of the Rings gig. However, his work on this trilogy was out of this world. Beautiful, beautiful music.


Alan Silvestri

Good teamwork, that’s what it’s all about. Teaming directors with cinematographers and composers – letting their individual brilliance shine through. In this case Silvestri’s pairing with director Robert Zemeckis has, over the years, resulted in some wonderful scores: Back to the Future, Forest Gump and Flight to name a few.

Best use of 80s electro songs in film

Best Of lists, Music

renton and diane

Ok, here are the rules. The songs had to have been released in the ’80s, but could have been used in any films during this time. Whether they introduce or accentuate a scene, or were the film’s theme song, each track is special to me in some way. Here’s my list:

‘Atomic’ by Blondie (1980)Trainspotting
This takes place in the Volcano club where Renton sees Diane and falls in love. Cue spaghetti western style guitar hook with sharp and punchy disco beats and Blondie’s warbling vocals.

‘What A Feeling’ by Irene Cara (1983)Flashdance
Damn Robert Webb’s sexy moves. If you can get past his version this was a great theme song, equally good as a stand-alone track without the dancing. It’s uplifting and empowering and arguably the female ‘Eye of the Tiger’ power song.

‘It’s A Sin’ by the Pet Shop Boys (1987)Bronson
If you’re a fan of Nicholas Winding Refn’s Drive you have to ensure you see his earlier film, Bronson, with Tom Hardy. Watch the psychiatric hospital scene. A scene that was expertly lifted by canny use of a killer track.

‘Don’t Go’ by Yazoo (1982)Tango & Cash
In this film we have both Kurt Russell and Teri Hatcher sporting some truly fantastic hair – all framed perfectly by Yazoo’s urgent, punchy track.

‘Together In Electric Dreams’ by Philip Oakey (1984)Electric Dreams
Trying to emulate the success of Flashdance, Oakey of The Human League recorded this in ten minutes. It worked too, becoming a bigger hit than the film it was promoting.

‘Love Will Tear Us Apart’ by Joy Division (1980)Donnie Darko
This track gets used in a pivotal scene where Donnie has to abandon his girlfriend in order to save her. One of Gyllenhaal’s best and most intelligent films to date.

‘Push It To The Limit’ by Paul Engemann (1983) – Scarface
Everyone loves an ’80s montage scene right? This one expertly frames Tony Montana’s rise to the top of the drugs world, as he consolidates his wealth and power.

‘Axel F’ by Harold Faltermeyer (1985)Beverly Hills Cop
I almost forgot this film and theme song, for shame! The ‘Crazy Frog’ version nearly ruined my affection for this track, but thankfully it was rekindled by the Peter Griffin rendition.

‘A View To A Kill’ by Duran Duran (1985)A View to a Kill
Peppered with sharp, urgent notes, this epic track perfectly captured the spirit of Bond during his ’80s pomp. For your listening pleasure, here’s the video.

‘Magic Dance’ by David Bowie (1986)Labyrinth
Despite the backing track sounding like it was lifted straight from a Cyndi Lauper record, it’s still a complete classic from a defining coming-of-age film for 80s kids like myself.

I’d loved to have included ‘Nightcall’ by Kavinsky, the theme to Drive, but it was released in 2010. It’s hypnotic, ethereal and very 80s.

So there’s my list. Any I missed you’d have liked to have seen?

Gig review: Box of Ghosts and Years and Years

Music

Last night I went to see my mate’s band, Box of Ghosts, perform at the Old Blue Last in Shoreditch, London. How to describe them? I suppose the general catch-all term for most up-and-coming bands these days is electro-pop. I think that term doesn’t do anyone any favours any more, it’s too broad.

I could talk about what they sound like: influences of Depeche Mode, Editors etc. Suffice to say they have a sort of sweeping, operatic, dramatic, punchy sound. I’m probably not doing them justice, they’re great live. Just watch the clip of their signature track ‘Silhouette’ below and judge for yourself. It’s a really well put together track. You’ll be tapping your toes without realising.

Following their set was the headline act, Years & Years. Another band that fall into the electro-pop fishing net definition. This particular night was their new single launch, ‘Emergency’. Check a clip of them performing the single.

I think perhaps they have more of a folk element to their music, slightly hard to define at least. The lead singer is interesting. A skinny guy with mad hair and a big, yet delicate, melodic voice.

Having only just heard of this band I’m going to say, for me, their signature track is probably ‘I wish I knew’. Found a nice little clip of them performing on the tube. A great sing-along track.

Anyway, if you like these bands get involved. Follow them on youtube, soundcloud, like them on Facebook – whatever it is you crazy kids do these days.

To sign off I’ve included some tracks below you might want to check out.

brisfest 2012

Brisfest 2012: A twisted tale of badgers and burlesque

Music

brisfest 2012Along with 20,000 other music fans, I attended the first day of Brisfest music festival yesterday.

For those unaware of its origins it was created following the demise of the Ashton Court Festival, which started in the 1970s but was unable to continue as a free event and sadly closed.

brisfest 2012Organisers created Brisfest in 2007 to ensure the survival of a not-for-profit music festival in the city. Whilst previously held elsewhere, 2012 saw the event head to the picturesque Ashton Court Estate for the first time.

The festival’s aim is to support music, dance, art and food across the south west, with emphasis on local talent. That said, the increase in scale has seen it attract big-name headline acts this year including De La Soul, Roni Size and more.

brisfest 2012Yesterday myself and fellow festival goers were blessed with some great weather for this sold out event. Initially our group spent the afternoon wandering around soaking up the atmosphere: meeting colourful characters, posing with burlesque dancers, interrogating badgers and women on stilts, you know the drill.

Then, as darkness fell and everyone you know becomes an impossible-to-distinguish silhouette, the big acts stepped up. The penultimate act on the main stage was Beardyman. He delivered a bouncy, energetic set, using his unique set of beatbox skills and live looping.

brisfest 2012
He’s captivating to watch, half the time you forget he’s producing sounds and beats with that level of complexity using just a microphone. Check out a clip from his performance at Camp Bestival a few years ago. Unparalleled.

Then came the headline act, Jaguar Skills. A mash up DJ that rose to fame through mixtapes and hip hop. I consider him the lovechild of A-Trak, Skrillex and DJ Yoda. That may give some of you an idea of his style. If not, you’ll have to look those guys up and decide for yourself.

His Brisfest set was a montage of random voiceover clips and 70s and 80s samples, cut into fairly hard, aggressive, down and dirty dubstep. Check out this clip, the sound isn’t great but you get the idea.

I feel for the brave festival attendees today, the weather was awful. To compensate, they had a great lineup to close proceedings, in particular De La Soul who I imagine were wicked.

All in all yesterday – for me – was an enjoyable day. Cool music, crazy people and sunshine, what more could you ask for from a UK festival?

Jaguar Skills – listen and download a sample set here:

My top 10 supercool film soundtracks

Best Of lists, Music
  1. the life aquaticThe Life Aquatic
    (Wes Anderson)
    Two reasons this is my top choice, Seu Jorge and David Bowie. Seu Jorge’s take on Bowie tracks perfectly complemented the film. Standouts for me include his versions of ‘Life on Mars’, ‘Space Oddity and ‘Rebel Rebel’. Oh, and ‘Changes’, it’s beautiful.
  2. Pulp Fiction (Quentin Tarantino)
    It’s hard to select just one Tarantino film soundtrack, most of his films have outstanding music to set the scene. If pushed for an alternative I’d probably say Kill Bill 1, then Reservoir Dogs. Pulp Fiction takes this one though, with use of Al Green, Dusty Springfield, Kool and the Gang, and many more.
  3. Goodfellas (Martin Scorsese)
    Jimmy ConwayThere’s detail here about how Scorsese only used songs that commented on the scene in question in some way. From Tony Bennett’s ‘Rags to Riches’ in the opening credits, the main character’s story is introduced. An absolute favourite scene is where Jimmy is considering whacking Morrie and Cream’s ‘Sunshine of your Love’ kicks in. Impossibly cool.
  4. Lock, Stock and Two Smoking Barrels (Guy Ritchie)
    When this film appeared in 1998, the soundtrack was key to its appeal. ‘Spooky’ by Dusty Springfield, ‘Police and Thieves’ by Junior Murvin, ‘Walk this Land’ by EZ-Rollers, ‘Why did you do it’ by Stretch, ‘The Payback’ by James Brown, ‘Fools Gold’ by Stone Roses. Outstanding.
  5. corey and ginaEmpire Records (Allan Moyle)
    A mid 90s film about a group of slackers who work in a record store. It’s a really sweet film, never fails to perk me up if I’m down. There’s so many songs in it too, from the Gin Blossoms and Cranberries, through to Coyote Shivers and Better than Ezra. Check the playlist here.
  6. Trainspotting (Danny Boyle)
    Killer soundtrack, kicked off with Iggy Pop’s ‘Lust for Life’ and never let up. Raw, gritty and very 1990s, with Blondie’s ‘Atomic’ for the sexy nightclub scene, and Lou Reed’s ‘Perfect Day’ overdose scene; tracks selected helped key scenes pack a massive punch.
  7. Juno (Jason Reitman)
    Super sweet indie film with lovely little songs throughout. Watch the opening credits theme song, with its quirky animation, it sums up the film. Actress Ellen Page – who played Juno – suggested to the Director her character would listen to The Moldy Peaches.
  8. natalie portman zach braffGarden State (Zach Braff)
    Another sweet indie film, powered along by the warm little centre that is Natalie Portman’s character. It also included lovely, quirky music by The Shins. If you don’t like this band then you have a heart of stone.
  9. The Departed (Martin Scorsese)
    Despite his body of work, this is the first film to win Scorsese an Oscar. I think the phenomenal soundtrack throughout might have helped. The Dropkick Murphys ‘Shipping out to Boston’ fits perfectly. There’s also the Rolling Stones and Pink Floyd, for good measure.
  10. Snatch (Guy Ritchie)
    brad pittI’m going with another Guy Ritchie film. Along with The Stranglers ‘Golden Brown’ and ‘Dreadlock Holiday’ by 10cc, this had Madonna, The Specials, The Herbaliser, Oasis and – most impressively – ‘Angel’ by Massive Attack. Watch this scene, powerful stuff.

Looking back through this, I’ve realised it’s a mostly a mix of gangster and quirky, indie films. I’m comfortable with that. It reflects my film tastes, in terms of how music has influenced my love of a particular film at least. There was a lot of films that didn’t make the cut, but it’s a top 10 list, you have to be ruthless.

Use of music in film
I think there’s two routes you can go when using music to complement your film. Either have the music interwoven with the whole theme and tone of the film (think Wes Anderson, Jason Reitman). Or use individual songs to give particular scenes an emotional wallop (Martin Scorsese, Guy Ritchie).

Tarantino the wildcard
An interesting exception to the rule – for me – is Tarantino. Mostly I think he follows the Scorsese approach. However, if you take Kill Bill 1, he uses RZA from Wu-Tang Clan to produce the soundtrack, which weaves perfectly through the film.

‘The Lonely Shepherd’ by Gheorghe Zamfir is such a perfect song for this film. East meets West, pan pipes moving into spaghetti western. RZA heard this eating in a Thai restaurant. Not hard to believe. Similarly Tarantino heard ‘Woo hoo’ by the 5.6.7.8’s just as he was about to leave a shop in Tokyo. He persuaded the shop to sell him the CD and then got the band to appear in the film.

Anyway, I’m going off topic. This probably just proves Kill Bill should really be in my top 10 list. The Hattori Hanzo scene is a true classic and really should have convinced me of this. I humbly beg your forgiveness and ask that it be included as a wildcard.

Kill Bill