Lawrence Bender: Kill Bill: Vol. 2

Sequels are often letdowns. Good thing that Kill Bill: Vol. 2 (2004) was a second volume. OK, so maybe it did not speak as loudly to me as volume one. But how could it? I had already been transformed. What I knew about movies and comics was, quite frankly, shattered.

Before encountering the Kill Bill volumes, I thought the only aspect of science fiction that could blur the lines of reality were those centered on technology. We speculate about what is possible, and then we see it in real life, like a touch screen tablet. And horror films, mind you that Kill Bill has some of this, scare us because we go to see them for this very reason. But fantastic comics? Is this not one of the main reasons for the advancement of 3D animation?

In Kill Bill: Vol. 2, Lawrence Bender demonstrates that it was not an idea that can challenge a viewer to grow, but that cinematography and artistic philosophy can still dominate a production. The second volume flows seamlessly, and maybe they were produced so that fans could view them together time and again throughout their life. Will they eventually seem like one movie? Quite probably. Will the ending be a letdown? No.

Kill Bill: Vol. 2 extends the thrill ride. It brings new ideas and polishes existing ones. The characters continue to grow and develop. Viewers are rescued from the ninety minute standard that Hollywood has fed us for decades. Like the intermission at a live show, or a lunch break at an amusement park, Lawrence Bender allows viewers to wipe their brows, feed their head, and take a breath before pressing onward into the wilderness of artistic innovation.

Lawrence Bender was Born in New York City. He is a lifetime environmental and political activist. After a career ending injury as a ballet dancer he went on to captivate viewers with the iconic Reservoir Dogs (1992) and An Inconvenient Truth (2006). Lawrence Bender produced 3 films nominated for best picture and is known for intriguing fans by taking on small movie rolls in his productions.

Helping others is More Important than Image to Thor Halvorssen

The image of the traditional human rights activist is one of an individual who leans strongly to the left of politics and rarely leaves the comfort of their own country. Thor Halvorssen is a human rights activist in a completely different mold than his peers in the activism community; the latest in a long line of Venezuelan and Norwegian diplomats and government figures has little interest in the day to day politics that consume many of those who look to raise human rights awareness.

Thor Halvorssen himself looks to the work completed by many of the world’s largest human rights charities and organizations, which have been deeply rooted in western Europe and North America in the 21st century; Halvorssen himself attempts to bring public attention to the issues of people trapped in closed societies, such as North Korea and Vietnam. In fact, during a recent trip to Vietnam to interview a religious leader who has been held under house arrest for more than two decades the University of Pennsylvania alum placed his own body on the line during a vicious beating from local officials when they discovered the true reasons for his visit.

Over the course of his career Thor Halvorssen has looked to develop his own position in the human rights activism that is free from political and financial interference; the Human Rights Foundation Thor established in 2005 accepts donations from individuals and groups who understand their financial gifts do not entitle them to any control over the direction of the foundation. Thor has also looked to change the way human rights activism is seen in the world as he has looked to bring awareness to the role played by socialist governments in diminishing human rights for their citizens. Many activists refuse to condemn governments who lean to the left wing of politics, but Thor Halvorssen believes any loss of human rights should be reported no matter which side of political life a government reflects.