Kill Bill II-->editing, makes the movie all the better.

The Kill Bill series utilized many editing techniques in order to convey meaning, relationships, narrative development, and themes. In the scene prior to scene 11 we see Elle on her way to Buddy's trailer. She is on a mission, and as an audience we follow the car through tracking shots that were shot from the side and front of the car. In order to emphasize her speed, tracking used a low angle shot towards her turning wheels. When she is in the trailer of Buddy, the camera moves to a long shot looking toward the desert. He added slow-moving music and high lighting and as an audience our focus is moved toward Beatrix Kiddo coming out of the desert. The high lighting looks like the sun and creates a feeling of heat, thirst and we can feel the exhaustion of the character. The scene then cuts back to the trailer where Buddy and Elle are having a conversation about the supposed death of Beatrix Kiddo and the exchange of the Hanso sword. When the camera goes back to the desert Beatrix Kiddo is on a high cliff in the desert like an animal looking for its' prey. Tarantino then used an extreme close-up of her eyes and intense music to display that she is ready for her attack on the trailer. However, Elle's intention was not to buy the Hanso sword from Buddy. She put a Black Mamba snake is his suitcase full of money, and he gets bit in the face by the snake. As he laid dying, the camera utilizes a low-angle shot to convey the power of Elle. It is then that we get into the original scene that I chose in Kill Bill II.
The first shot that we see is Elle kicking open the door of Buddy's trailer. Tarantino added sound effects to make this feel like a forceful kick. We then get an extreme close-up of Elle's eyes which show shock and surprise that Beatrix Kiddo is alive. Tarantino uses a medium shot to show Beatrix's legs flying toward Elle's torso and zooms in close to her feet. While these character's duke it out Tarantino manipulates time. Often when there is a kick or punch that he wants to emphasize, he puts the camera in slow motion and as the strike occurs, he makes the camera go back to normal or even a faster speed. Tarantino uses lighting, sound, and manipulates time in order to convey power and the relationships of the characters. Tarantino also uses flashback in order to show the true evil of Elle. We find out through a flashback with subtitles that Elle had killed the master who trained them in martial arts. Of course as this story unfolds, the camera moves to an extreme close-up of Elle's eyes and we hear a wicked laugh. All of these things enhance the action of the film and carry the audience toward the final battle with Bill. In the next scene Tarantino used his usual transition in this film: a black screen with a particular chapter number and title. All of sudden we see a long shot of a beautiful Spanish vista. The lighting would display that it was early morning and it almost looks as though the dew is still fresh on the trees. He adds beautiful Spanish music which starts off slow almost sounding like a choir. Again we are moved to an image of a car, but this time it is Beatrix Kiddo in the driver's seat. Tarantino adds narration so the audience knows where Beatrix is going. She talks to Esteban Vajeijo and finds out where to find Bill.
Tarantino uses many editing techniques and angles to carry us through this story of revenge. These techniques emphasize power, characters' emotions, and movement. The editing adds to the experience because it creates mood and enhances the development of the film.