Violence supervision in Conan

Chapter 724 "Kill Bill"... "Killing Ghost Wild"! Who will star in it?

Although Ono Takeshi's intervention allowed Ito Miho and Hatakeyama Yu to survive this time, in the original story, both of them would have died one after the other.

The wedding was not even over when the bride and groom both died. It was truly a tragedy.

Although unfortunate, this also gave Takeshi Ono inspiration, leading him to think of a movie.

That is--

Kill Bill

Quentin Tarantino's works are quite famous in later generations.

—In this world, Quentin Tarantino has not yet filmed it.

Especially the famous song "Battle Without Honor or Humanity," which became known worldwide along with the movie.

The music, full of tension and rhythm, perfectly matched the content of the film and was talked about by movie fans. It was frequently used in many film and television scenes and occasions afterward and became a signature opening theme!
Not only is the music powerful, but the content of the movie "Kill Bill" can be summed up in one word—

Cool!
Although the heroine suffered a brutal massacre at her wedding in the early stages, with all the groom's relatives and friends wiped out, and she was in a coma for four years, which was somewhat heartbreaking, the process of revenge after she regained consciousness was incredibly satisfying.

The fight scenes, in particular, were thrilling to watch, after all, the martial arts director for this movie is the renowned "Number One Martial Arts Director in the World"!

The scene where the female protagonist fights the Japanese female assassin, O-Ren Ishii, in the snow is particularly beautiful yet fierce, a true classic.

In a Japanese garden, snow covers the ground, and two female assassins dressed in kimonos duel with samurai swords.

In slow motion, the trajectory of the blade cutting through the air, the arc of the splattering blood, and the fluttering of the kimono sleeves are all given a dance-like rhythm.

This narrative strategy, which combines violence with aesthetics, dissolves the brutality of the killing, turning it into a visual spectacle for the audience to gaze upon.

Kill Bill uses the heroine's revenge epic as its vehicle, constructing a violent world that is both bloody and poetic through fragmented narrative and the collage of cross-cultural symbols.

On the surface, the film is the ultimate presentation of the action genre, but at its core lies a profound questioning of humanity, power, and redemption.

This is a highly dramatic film that pushes the boundaries of violent aesthetics!

It's so exciting!
Another point is that Quentin Tarantino also incorporated a lot of Eastern symbols into this film, combining them with Western elements to construct a culturally hybrid violent universe.

In the female protagonist's revenge list, Oren Ishii represents the Japanese yakuza culture. Her childhood experiences (her parents were killed by the yakuza) and her growth trajectory (from victim to perpetrator) coincide with the narrative tradition of Japanese sword films.

Bud, the "Rattlesnake," and Al, the "California Snake," symbolize the violent aesthetics of American Westerns. Bud's image of hiding in a trailer and holding a shotgun, and Al's one-eyed and sarcastic character, are both parodies and deconstructions of classic Western characters.

In addition, Quentin Tarantino is also deeply influenced by Hong Kong martial arts films, and the homages are particularly evident in his movies.

For example, the master-disciple relationship between the bride and the White-Browed Taoist directly echoes the chivalrous spirit of "proving the Tao through martial arts" in Zhang Che's "One-Armed Swordsman".

The scene where she emerges from the coffin is an adaptation of the "resurrection" scene from the Shaw Brothers film "Three Men in Shaolin Temple".

This collage of cross-cultural symbols not only enriches the film's visual layers but also reveals the universality of violence through cultural collision—whether it's Eastern Bushido or Western cowboy spirit, their essence is a violent reconstruction of power and order.

In addition, the film contains profound reflections on human nature, destiny, ethics, power, and redemption, as well as the awakening and reconstruction of female subjectivity.

In the film, each of the female protagonist's acts of violence is both a form of catharsis and an attempt at self-redemption; and her ultimate choice to end Bill's life with martial arts techniques suggests:

True redemption lies not in eliminating the enemy, but in transcending the cycle of violence and finding one's own way of survival.

This narrative tension, which oscillates between gore and poetry, is the core secret to Kill Bill's classic status.

At the same time, this profound meaning prevents the film from becoming a mere "feel-good movie" that is only for entertainment but lacks a core message.

This is precisely why Takeshi Ono chose to make this film. The extreme violence, combined with its profound exploration of human nature, gives the film an extraordinary significance.

This also sparked Takeshi Ono's interest in photographing it.

Given his current status and position, he naturally wouldn't make a "fun movie" that's just for the sake of being entertaining. Only a masterpiece that is exciting and meaningful, fully demonstrating Quentin Tarantino's reputation as a "genius," is worthy of his direction.

So Takeshi Ono immediately made the decision to make "Kill Bill"!
He had an even better idea—to play Bill, the man the female lead both loved and hated!
No, that means the man can no longer be called Bill; Oni no Takeshi intends to use his real name.

Therefore, the movie is no longer called "Kill Bill," but...

Killing Ghost Wild

……

After deciding on the filming plan, Takeshi Ono immediately got to work.

First, I informed Oni no Eiga of my decision, and then spent three days writing the script.

The film's title was officially changed to "Killing Oni-no-Yo".

Next is the casting of the lead actors.

The first question is... who will play the female lead?
A playful glint flashed in Oni Takeshi's eyes.

……

"The boss is looking for me?"

Upon receiving the notification, Rumi Wakasa showed a hint of surprise on her face.

She's just the head of a security department, why would Oni no Takeshi bother him for no reason?
Given the current status of the Onino Group, is it possible that someone could cause trouble?
Isn’t this seeking death?

With questions in mind, Rumi Wakasa stood in front of Takeshi Ono's office, a sinister look on her face.

Her entire focus was on dealing with the Black Organization, which is why Rumi Wakasa was satisfied with this job – it was low-stress and high-paying, giving her more time to investigate the organization.

She had just recently made some progress in her investigation, so she really didn't want to be distracted by other "trivial matters," but she couldn't refuse the summons from Boss Ono Takeshi.

After all, she doesn't want to lose this job yet—besides the good pay, it's also a good disguise, and her position as the security supervisor of the Oni-no Group gives her the opportunity to meet more people.

Barring any unforeseen circumstances, Rumi Wakasa does not intend to give up this identity.

Therefore, despite her reluctance, Rumi Wakasa knocked on the door.

"come in."

Ono Takeshi's voice rang out, steady and powerful.

The moment she pushed open the door, Rumi Wakasa's expression changed, and she reverted to her feigned "honest" demeanor, appearing completely harmless.

"BOSS!"

He walked up to the desk and greeted Oni Takeshi respectfully.

Looking at the slightly reserved Wakasa Rumi in front of him, Ono Takeshi's lips curled into a slight smile.

This woman was the leading lady he chose...

(End of this chapter)