'Battle Without Honor or Humanity' (from ' Another Battle') by Tomoyasu Hotei – 2:28.'Run Fay Run' (from ' Three Tough Guys') by Isaac Hayes – 2:46.'Queen of the Crime Council' dialogue by Lucy Liu and Julie Dreyfus – 0:56.'Twisted Nerve' by Bernard Herrmann – 1:27.'The Grand Duel (Parte Prima)' by Luis Bacalov – 3:24.'That Certain Female' by Charlie Feathers – 3:02.'Bang Bang (My Baby Shot Me Down)' by Nancy Sinatra – 2:40.If it was my movie, I would have taken a chance. I wanted to take a chance, but in the movie business you can’t take those kind of chances. We rocked with it and it was one of the first things we did. We lost a sample, I made one Hip Hop beat. There’s only one piece of music that I didn’t feel comfortable with when we were done. 'Crane and White Lightning' is a piece of music that Quentin wanted on the soundtrack, but was originally set for a Metallica track. A lot of that stuff is what I use to keep the vibe going between songs. There was one situation where you see, 'Crane and White Lightning.' That’s part of the original score, so it’s not really a song. So when he saw it, he was like, this is cake. Now, am I going to take it out in forty five minutes or am I going to fall asleep? I made sure it got out and if I saw something wrong with it, I fixed it. Put this in the oven, watch it, take it out in forty-five minutes. He was like, here go the eggs, the milk, the cake, the sugar, everything, and I’m going to stir it up. I think I was more of somebody that kept it in the guidelines of what he wanted. He had an idea and a vision when he wrote the script. The soundtrack is fucking dope-the way Tarantino pairs scenes with music is awesome-but when you view the entire film as a whole though there is nothing cohesive about Kill Bill's sound.In a 2003 Interview, RZA spoke about the soundtrack's creation process: It was more of a collaboration. Kill Bill's soundscape is pieced together from disparate bits of Tarantino's favorite bits of music from spaghetti westerns, chambara films, pop tunes and the holes are then filled in by the RZA in spectacular fashion. Dunkirk is a great recent example, the constant anxious mood created by that film's use of ringing tones really defines the whole of that films's soundscape to the point where any film in the future that uses ringing tones in a similar manner will immediately recall Dunkirk. When you think of great soundtracks, there is often a "signature"-a style of sound that becomes associated with a film. Tarantino is excellent when it comes to marrying together old pieces of film scores and pop tunes with his images to create iconic sequences but sonically, his films are all over the place as a result. I heavily disagree with this in spite of my love for Tarantino and my perception of Kill Bill as the quintessential Tarantino film because of the way is smashes together all of his influences into a single film.
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