Compiled by: Jack Foley
Q. Clearly something we have to ask you about is the scene
in the coffin. Are you claustrophobic?
A. Well, I'm claustrophobic, but you don't really have to
be claustrophobic to fear being buried alive [laughs].
We shot that from every possible configuration. In fact, very
little of it is on-screen, because the sound effects are so effective.
The raw sound of dirt being thrown on the coffin. So it was just
another happy day at the office really!
Madsen: I didn't really relish doing that to you, either.
Q. Can you describe what it's like working with Quentin?
A. I remembered him from Pulp Fiction as somebody who is so
engaged with his actors, and is so suggestively living through
the characters with you. There is an incredibly kinetic dynamic
to act for him. It's the great leveller between... he's all talk,
which is good for me, because that's all we ever did. But there's
this moment when the talking stops and the action starts and it's
the moment of realisation, when it comes together, and his words,
and this character, and it's real to him. First and foremost,
he is an audience lover of film, and he has been transported so
many times, as someone watching and believing and living through
the lives of other characters, and these characters that he creates
are so directly from his subconscious, expressing and dealing
with taboos that he hates, and fears that he has, and first and
foremost, the thrill, the worship of the experience of you in
And he loves the incredible demand of giving you something worth
watching, something which shocks you, something that's new, having
the courage to change tones, from beat to beat, and moving with
him in that way, it's scary, cos you're on the edge.
Because when you look around a room with all these people with
no limbs and blood spurting from them, you sort of go 'oh my God,
this is it', but that's what's so brilliant, is that he's unfiltered,
he's unprocessed, he doesn't water anything down, so you live
very dangerously working with him, you know, from tragedy to something
completely camp, and winking at the camera, practically, to something
So, it's quite special.
Q. You've gone from being something of an indie actress to
a Goddess, how do you think that's going to change your career?
A. I never really have found that those theories on things
changing your career have any weight. Careers are always changing.
I've been doing this since I was a teenager, but this has dominated
my life for so many years that I have to say, now that it's done,
it's a very unusual feeling.
Normally, you get a script, you go do the job, and then say 'see
ya' and show up for the junket, and this hasn't been the case
for Kill Bill; it's been a big part of my life for a long time,
so I don't know. I'm about to be really done with it, so then
I can figure out what that feels like.
Q. I believe that Quentin is known for borrowing the clothes
and possessions of his lead actors, to use on the set, did he
borrow anything from you? Did he, in fact, raid your wardrobe?
A. My stuff was pretty specific, it was created for me. I
didn't have a yellow tracksuit.
Q. There is clearly quite a strong element of violence and
possibly sadism in the film, do you think directors should be
allowed to show whatever they fancy, or do you think there should
be some form of censorship?
A. No, I don't think so. Definitely not in my country. But
seriously, I would rather not. I think that people have to have
creative freedom, and I think that as a fellow creative person,
by choosing to work with that person, you're engaging with their
psyche, and their dreams. You either believe in their vision,
or you don't. I certainly believe in him.
Q. What about the prospect of a third Kill Bill film, is that
something you might be interested in?
A. Well, all of Quentin's characters, if they survive at the
end of the film, they live on in his mind. And he has a very good
idea for the plot of Volume Three, so we should just wait and
see what happens...
Carradine: He also has a very good idea for the plot of
Volume 4 [laughs].