With a few notable exceptions, the elaborate main title sequence has gone the way of the drive-in double feature. In fact, many of today’s movies eschew opening credits altogether, opting to plunge the audience directly into the experience and saving the who-did-whats for last.
Maybe I’m just watching the wrong films, but many that I’ve seen of late do include rather lengthy credit sequences. Whether or not these openings are necessary or even watchable depends on the film, of course, but as far as reeling me into the film’s tone and mood, I gotta go with the opening credits of Kill Bill: Vol. 1 and Trainspotting. Of course, these openings also tell the audience a great deal about the film’s main characters, and, ultimately, the appeal of a film, to me, is all about compelling characters. If I don’t give a crap, positive or negative, for the souls within the movie, then it’s all over, baby.
So, in the opening scene of Kill Bill: Volume 1, we learn the extent of Bill’s cold-blood nature when he intends to murder the pregnant Bride. Trainspotting’s opening monologue deals the first of many lists that help to structure what we witness of the characters’ anarchic behavior. Renton’s eloquent expressiveness helps us believe that, underneath his decaying body, a rational soul with some semblance of hope remains within.
Clips of both openers on the next page, and my apologies for speaking so much lately of cinema. I really should get a life.
Quentin Tarantino and The Moneymaking Foot Fetish: One of the director’s obsessions has infamously transformed into a running gag throughout all of his films since Pulp Fiction, and as many have long suspected, a bit of truth exists to the foot fetish rumours. TMZ actually managed to snap the above picture of “the director sucking the nail polish off some random woman’s foot at Empress sushi joint on the Sunset Strip.” Yeah, that’s pretty damn gross. However, the shudders are slightly lessened by image representing the fruits of the foot fetish. Quentin has bought a new home (worth $4 million) that used to belong to Gisele Bundchen, who also has a foot fetish of sorts.
Coincidence? I think not.
Below is a rather hastily thrown together mix of foot fetish clips from Tarantino’s films - including the steamy Salma Hayek clip. If anyone happens to have clips of any others, please send them me at youtube, and I’ll splice them into the mix.
Ever since she can remember, Uma Thurman has been in front of the camera, and it hasn’t always been the roving cinematic eye of one Quentin Tarantino. At a gorgeous six feet of height, Uma seems to have inherited her fresh yet vaguely exotic looks from her mother and grandmother, who were also fashion models. At the age of 16, Uma was signed by Elite modelling agency and was soon featured within the pages of Glamour Magazine and Vogue. In 1989, she was the covergirl for the “Hot Issue” of Rolling Stone magazine.
At age 36, several feature films and two marriages (Gary Oldman and Ethan Hawke) later with no romantic prospects in sight, Uma seems just as in sync with the universe than her Buddhist upbringing would indicate. She has finally found her calling, it would seem: “I love acting. It is the first love of my life, but I am thinking about being a full-time stay-at-home mom.”
To facilitate such a dramatic lifestyle change, a few lucrative advert contracts do certainly help. She first signed with Richard Branson’s Virgin Media for 35 million dollars, and now Uma appears in the advertising campaign for Vuittonhandbags. In addition, she also appears in Mission Zero, the newest Pirelli short film:
Driving a fiery LamborghiniGallardo with P Zero tires, she speeds through the streets of Los Angeles to escape mysterious assassins who suddenly appear and try to kill her for no apparent reason.
The film is based on hair-raising chase scenes, but only the final scene of the clever plot reveals the solution to a series of unexplainable events that happen to the star. Director Kathryn Bigelow gave a realistic interpretation of the script and added great emotional and psychological tension to the action scenes.
The short film can be viewed at pirellifilm.com, and below are more images from the Vuitton ad campaign:
Uma Thurman is succeeding Christina Aguilera, Busta Rhymes, Kate Moss, and Pamela Anderson as the new face of Virgin Media, which is launching February 14th as the rebranding of Virgin Mobile, broadband, TV, and land-line services.
Both beautiful and diverse, Uma is said to be the “perfect fit” for the company’s chameleon-like rebranding campaign. Altogether, the re-branding process will cost £20 million, but no word has arrived as to how much of that sum Uma will receive. We’re betting it’s a respectable sum that will afford her plenty of five-dollar shakes.
In a scene ultimately cut from Pulp Fiction, Uma Thurman’s character made a surprisingly lucid declaration:
“Beatles people can like Elvis. And Elvis people can like the Beatles. But nobody likes them both equally. Somewhere you have to make a choice. And that choice tells me who you are.”
I feel similarly about one’s preference towards newscasters. Some people are Anderson Cooper people, and some people are Shepard Smith people. Even though it’s an established fact that Shep could totally kick Anderson’s ass, the intensity of Anderson’s gaze is completely irresistable to yours truly.
Moderation certainly is key as a newscaster groupie, but such restraint isn’t something that Tanya Paulin specializes as a bona fide Anderson Cooper’s devotee. His face is tattooed on her left calf.
“Paulin says Cooper is ‘obviously nice to look at, he’s serious when he does the news and you can tell it’s emotionally hitting him. He’s not just telling you the story, he’s feeling the story.”‘
According to Paulin, when Anderson learned of her permanent tribute to him, “he sent her a message saying he was honored.” After which, he immediately hauled his gay ass to the courthouse and acquired a restraining order against the insane bitch.
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