Tarantino's next film KILL BILL will unite two giants of Asian cinema, Hong Kong's Yuen Woo Ping and Japan's Sonny Chiba.

"It's not official, and money hasn't changed any hands," he hinted, "but I've been writing this thing for over a year and finished it last August, a female revenge film. Yuen Woo Ping will choreograph the Chinese kung-fu action and Sonny Chiba will choreograph the samurai action." KILL BILL is about a female assassin who when she tries to leave the organization, they show up at her wedding and kill everyone in the church leaving her and her unborn child for dead. As it turns out, the bullet in her brain leaves her in a coma for 5 years. When she awakes she travels around the world tracking down the hit team leaving the leader, Bill, for last.

"I've written this character for Uma (Thurman) and they (Yuen and Chiba) are going to put her through training where she will have to learn the kung-fu animal styles," Tarantino said. "And I'll also have Yuen and Sonny play parts in it. Yuen will play the real life traitor Monk Bai Mei (one of the original legendary Five Elders of Shaolin who conspired with the Ching Government to burn down the Shaolin Temple) made famous by Lo Lieh in EXECUTIONERS OF DEATH (1977). I want to shoot that (Bai Mei) scene in Hong Kong at the Shaw Brothers backlot at the place where they have all the steps that lead up to the White Lotus Temple seen in EXECUTIONERS," Tarantino gleamed.

Writing the film over the past year, Tarantino describes KILL BILL as a "duck press" of his 35 years of watching kung-fu flicks, samurai movies, spaghetti westerns, '60s spy thrillers and bad-ass chick-revenge films all egg-rolled into one film.

Tarantino stormed into Hollywood with his Sundance Film Festival Award winning RESERVOIR DOGS (1992) and has since directed films such as PULP FICTION (1994) and JACKIE BROWN (1997).

"I am privileged to be privy to what's out there and these old films. Audiences will lose interest but we know it's a staple of Hong Kong. But someone has to come along and do a great film and that to me is the excitement of this film. I have to deliver some of the greatest action ever put on screen or why even bother with this? I like this challenge. I haven't done action before. I've written action and my movies have action but for me as a director it's about something else. I will have to raise the bar."

A final word from Yen reflecting on what he considers the most memorable moment from working on IRON MONKEY.
"On IRON MONKEY, I had two jobs, actor and choreographer. I remember suggesting to Woo Ping my character should maintain the Hung Gar style where the ONCE UPON A TIME IN CHINA series with Jet Li, he didn't do the Hung Gar style. Woo Ping was at first quite skeptical and said that it was outdated, like in the Shaw Brothers films. So I did the tiger and crane movements my way and it became a huge icon for the Hung Gar practitioners and I was sort of looked to like a grand master. But actually, the most wonderful moment on the film was working with the girl who played my son. It was interesting to work with someone, especially since she was a newcomer, and I felt like I was her big brother and felt it was my job to guide her and make her feel comfortable on the set. Plus, it's the first time a female played Wong Fei-Hong."