Pierrot le fou

I had an epiphany today about Hana Bi.
I was watching Jean-Luc Godard's Pierrot le Fou for the umpteenth time and a shot of Anna Karina marching down a beach with a crimson fish on a spear made me think of Kitano's Sonatine and the speared fish in that film. I'd read an interview with Kitano where he'd mentioned he was a great admirer of Godard, so the visual reference didn't come as a surprise. But it made me think about Kitano's other films, and I realized that Hana-Bi is practically a remake of Pierrot le Fou. Think about it. A man steals a great deal of money and goes on the run with his lover, chased by both the police and organized crime. The centerpiece of the film is the couples relationship, made all the more touching by the contrast to the sudden and shocking moments of violence that intrude into their lives. Cut into the film are paintings (in Hana-Bi, Kitano's own, in Pierrot, Modigliani's and Renoir's). The films climax with a murder-suicide where the protagonist kills his lover and then himself, followed by the camera's slow pan out into the ocean.
One more similarity, this one bizarre, and in all likelihood coincidental. Both Godard and Kitano underwent immense physical and artistic transformations following tragic motorcycle accidents.