"I loved playing Go Go, because the character's so extreme. And she's pretty close to my real character. Especially the fact that she liked her sword with a lot of accessories"
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Kuriyama’s charm here is how casually she collapses the distance between performance and personality, then smuggles in a quietly subversive idea about femininity and taste. She isn’t pitching Go Go as a “strong female character” in the press-kit way; she’s confessing that the appeal is the extremity itself, the permission to be loud, stylized, even a little ridiculous. “Extreme” reads like a compliment, not a warning label.
The line about Go Go being “pretty close” to her real character is doing double duty. It’s fan-facing intimacy (you like her on screen? you’ll like her off it) and it’s a protective joke: no one is actually an assassin schoolgirl, but plenty of young actors recognize the impulse to armor up with attitude. Kuriyama frames that impulse through an object: a sword, treated less like a weapon than a fashion platform.
That last detail - “a lot of accessories” - is the tell. It reframes violence as styling, and styling as identity. Go Go’s blade isn’t just functional; it’s curated, personal, merch-ready. In the early-2000s Quentin Tarantino universe, where pop culture is a costume closet and genres are collaged with glee, Kuriyama’s comment lands as a key to why the character sticks: she’s not realism, she’s design. The subtext is that exaggeration can be honest. Sometimes the most “extreme” character is the one that lets you admit what you actually like.
The line about Go Go being “pretty close” to her real character is doing double duty. It’s fan-facing intimacy (you like her on screen? you’ll like her off it) and it’s a protective joke: no one is actually an assassin schoolgirl, but plenty of young actors recognize the impulse to armor up with attitude. Kuriyama frames that impulse through an object: a sword, treated less like a weapon than a fashion platform.
That last detail - “a lot of accessories” - is the tell. It reframes violence as styling, and styling as identity. Go Go’s blade isn’t just functional; it’s curated, personal, merch-ready. In the early-2000s Quentin Tarantino universe, where pop culture is a costume closet and genres are collaged with glee, Kuriyama’s comment lands as a key to why the character sticks: she’s not realism, she’s design. The subtext is that exaggeration can be honest. Sometimes the most “extreme” character is the one that lets you admit what you actually like.
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| Topic | Movie |
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