#kill bill
As your leader, I encourage you from time to time, and always in a respectful manner, to question my logic. If you’re unconvinced that a particular plan of action I’ve decided is the wisest, tell me so, but allow me to convince you and I promise you right here and now, no subject will ever be taboo. Except, of course, the subject that was just under discussion. The price you pay for bringing up either my Chinese or American heritage as a negative is I collect your fuckinghead.
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Posters with custom typography inspired in music and movies.Check out more about the project here:
https://www.behance.net/gallery/78719655/im-bored-posters
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Happy Birthday to one of the hardest working men in Hollywood, Samuel L. Jackson!
Watch clips and vote for your favorite Sam Jackson performance here.
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The Bride’s yellow outfit was inspired by the outfit worn by Bruce Lee in his final film, ‘Game of Death’, 1978.
(..) Robert Clouse, the director of Enter the Dragon, together with Golden Harvest, revived Lee’s unfinished film Game of Death. Lee had shot over 100 minutes of footage, including out-takes, for Game of Death before shooting was stopped to allow him to work on Enter the Dragon. In addition to Abdul-Jabbar, George Lazenby, Hapkido master Ji Han-Jae, and another of Lee’s students, Dan Inosanto, were also to appear in the film, which was to culminate in Lee’s character, Hai Tien (clad in the now-famous yellow track suit) taking on a series of different challengers on each floor as they make their way through a five-level pagoda. In a controversial move, Robert Clouse finished the film using a look-alike and archive footage of Lee from his other films with a new storyline and cast, which was released in 1978. However, the cobbled-together film contained only fifteen minutes of actual footage of Lee (he had printed many unsuccessful takes) while the rest had a Lee look-alike, Kim Tai Chung, and Yuen Biao as stunt double. The unused footage Lee had filmed was recovered 22 years later and included in the documentary Bruce Lee: A Warrior’s Journey.
Kill Bill poster commission
“Dying in our sleep is a luxury our kind is rarely afforded.“ - Elle Driver
Hair, makeup, and model: Creme Fatale
Check out her amazing makeup and looks:
http://www.instagram.com/cremefatale
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Lucy Liu is an award-winning actress, director and visual artist.
When I was growing up, no one on television, in movies, or on magazine covers looked like me or my family. The closest I got was Jack Soo from “Barney Miller,” George Takei of “Star Trek” fame, and most especially the actress Anne Miyamoto from the Calgon fabric softener commercial. Here was a woman who had a sense of humor, seemed strong and real, and had no discernible accent. She was my kid hero, even if she only popped up on TV for 30 seconds at random times.
As a child, my playground consisted of an alleyway and a demolition site, but even still, my friends and I jumped rope, played handball and, of course, reenacted our own version of “Charlie’s Angels”; never dreaming that some day I would actually become one of those Angels.
I feel fortunate to have “moved the needle” a little with some mainstream success, but it is circumscribed, and there is still much further to go. Progress in advancing perceptions on race in this country is not linear; it’s not easy to shake off nearly 200 years of reductive images and condescension.
In 1834, Afong Moy, the first Chinese woman known to have immigrated to the United States, became a one-person traveling sideshow. She was put on display in traditional dress, with tiny bound feet “the size of an infant’s,” and asked to sing traditional Chinese songs in a box-like display. In Europe, the popularity of chinoiserie and toile fabrics depicting scenes of Asian domesticity, literally turned Chinese people into decorative objects. As far back as I can see in the Western canon, Chinese women have been depicted as either the submissive lotus blossom or the aggressive dragon lady.
Today, the cultural box Asian Americans and Pacific Islanders find themselves in is more figurative than the box Afong Moy performed in, but it is every bit as real and confining.
Recently, a Teen Vogue op-ed examining how Hollywood cinema perpetuates Asian stereotypes highlighted O-Ren Ishii, a character I portrayed in “Kill Bill,” as an example of a dragon lady: an Asian woman who is “cunning and deceitful … [who] uses her sexuality as a powerful tool of manipulation, but often is emotionally and sexually cold and threatens masculinity.”
“Kill Bill” features three other female professional killers in addition to Ishii. Why not call Uma Thurman, Vivica A. Fox or Daryl Hannah a dragon lady? I can only conclude that it’s because they are not Asian. I could have been wearing a tuxedo and a blond wig, but I still would have been labeled a dragon lady because of my ethnicity. If I can’t play certain roles because mainstream Americans still see me as Other, and I don’t want to be cast only in “typically Asian” roles because they reinforce stereotypes, I start to feel the walls of the metaphorical box we AAPI women stand in.
Anna May Wong, my predecessor and neighbor on the Hollywood Walk of Fame, lost important roles to White stars in “yellowface,” or was not allowed to perform with White stars due to restrictive anti-miscegenation laws. When Wong died in 1961, her early demise spared her from seeing Mickey Rooney in yellowface and wearing a bucktooth prosthetic as Mr. Yunioshi in the wildly popular “Breakfast at Tiffany’s.”
Hollywood frequently imagines a more progressive world than our reality; it’s one of the reasons “Charlie’s Angels” was so important to me. As part of something so iconic, my character Alex Munday normalized Asian identity for a mainstream audience and made a piece of Americana a little more inclusive.
Asians in America have made incredible contributions, yet we’re still thought of as Other. We are still categorized and viewed as dragon ladies or new iterations of delicate, domestic geishas — modern toile. These stereotypes can be not only constricting but also deadly.
The man who killed eight spa workers in Atlanta, six of them Asian, claimed he is not racist. Yet he targeted venues staffed predominantly by Asian workers and said he wanted to eliminate a source of sexual temptation he felt he could not control. This warped justification both relies on and perpetuates tropes of Asian women as sexual objects.
This doesn’t speak well for AAPIs’ chances to break through the filters of preconceived stereotypes, much less the possibility of overcoming the insidious and systemic racism we face daily. How can we grow as a society unless we take a brutal and honest look at our collective history of discrimination in America? It’s time to Exit the Dragon.
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kill bill vol. 1, 2003
When fortune smiles on something as violent and ugly as revenge, it seems proof enough that not only does God exist, you’re doing his will.Kill Bill: Vol. 1 (2003) dir. Quentin Tarantino
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