The sequence as a whole contains a wide range of shots, including both extreme long shots and extreme close ups. It also contains a variety of movements, such as shots that track in from extreme long shots, giving the audience an overview of the specific scene, whilst also gradually building a relationship with the protagonist - as we get closer her expressions become more clear and therefore so does the audiences perception of her. There are also shots both in black and white and in colour which contrast nicely, allowing the viewer to differentiate between the shots due to the fact that several are isolated and also the fact that it is not a continuous narrative. There is both diegetic and non-diegetic sound used in the opening sequence. The diegetic sound is used so as to give the viewer a background into the story, whereas the non-diegetic sound is used to create tension and suspense, playing with the codes and conventions of the thriller genre. Within the first two minutes there is also a set of three titles which work so as to build anticipation within the audience as each title sequence could easily signify the beginning of the film. The sound within this opening sequence is extremely relevant in sight of the manner in which it builds up as the shot progresses, with a sudden cut away from a long one shot take at the climax of the music just as the suspense peaks, thusforth releasing the tension. The fact that the music is orchestral carries connotations of grandeur and pride, suggesting the woman we meet at the beginning is in fact a much more refined antagonist. The pounding of the drums is representative of her determination to “Kill Bill”, which, as she announces, is accompanied by a shrill, minor, screech of violins which leaves the audience in a state of discomfort and suspense, with the created enigma surrounding the questioning of the woman’s motives.
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