The Hateful Eight (2015) (1 Viewer)

[Josh Steinberg]

Apparently the 70mm prints will be a longer cut of the movie than the digital version in conventional cinemas.

I have mixed feelings on this. I'm a film guy. I love the look of film. In many cases, I'd prefer to watch a worn and faded 35mm or 70mm print over a DCP. (A lot of DCPs shown in repertory appear to be made from the same masters as the Blu-ray, so I feel like I'm seeing the exact same thing I can watch at home.) So I'm all in favor of any film release we can get.


But making a special version for film only release seems kinda punitive towards people who can't see it in a film location. The movie will probably open on 2000-3000 screens, and the estimates I've seen for film showings range from 50-100 locations. So most people will see this digitally. And most people won't have a choice about which format to see it in, but will simply have digital as their only option.


That, to me, is very different from something like a Christopher Nolan release like "Interstellar" where patrons seeing it on IMAX film got a different aspect ratio than those seeing it digitally. The film presentation took full advantage of the extra benefits of 15/70 IMAX, but the content of the film was in essence identical. By all means, reward viewers seeing it on film with better optics (and, when shooting in rarer formats, more unique aspect ratios), but don't penalize viewers by cutting the movie for those who have no other option but seeing it digitally.

 

[Vic Pardo]

I have mixed feelings on this. I'm a film guy. I love the look of film. In many cases, I'd prefer to watch a worn and faded 35mm or 70mm print over a DCP. (A lot of DCPs shown in repertory appear to be made from the same masters as the Blu-ray, so I feel like I'm seeing the exact same thing I can watch at home.) So I'm all in favor of any film release we can get.


But making a special version for film only release seems kinda punitive towards people who can't see it in a film location. The movie will probably open on 2000-3000 screens, and the estimates I've seen for film showings range from 50-100 locations. So most people will see this digitally. And most people won't have a choice about which format to see it in, but will simply have digital as their only option.


That, to me, is very different from something like a Christopher Nolan release like "Interstellar" where patrons seeing it on IMAX film got a different aspect ratio than those seeing it digitally. The film presentation took full advantage of the extra benefits of 15/70 IMAX, but the content of the film was in essence identical. By all means, reward viewers seeing it on film with better optics (and, when shooting in rarer formats, more unique aspect ratios), but don't penalize viewers by cutting the movie for those who have no other option but seeing it digitally.

Once upon a time, roadshow versions of films were routinely cut after their roadshow release and were shown in neighborhood theaters in shorter versions, as was the case with BEN-HUR and IT'S A MAD, MAD, MAD, MAD WORLD, to name two famous cases. I think the same was true of another western, CHEYENNE AUTUMN.

 

[Joel Fontenot]

It's not just a longer cut, but apparently, cut/edited differently. Tarantino says “big, long, cool, unblinking takes”.


I imagine that to mean more use of the wider establishing shots while the "multiplex version", as he calls it, gets the quicker edited version with more medium and closeup shots mixed in.


I'm not so sure that's the way to approach it either. I do care about framing and sequencing, but I don't have the luxury to see such things wherever these things happen to play - which is usually never anywhere near where I live - South Louisiana. Even if something does play in New Orleans, I can't just hop in my car and drive an hour and a half on a whim. I've got a wife and two kids who would be all over me.

 

[Keith Cobby]

Hopefully the UHD and 1080p blu-rays will cover all variants.

 

[Joel Fontenot]

Hopefully the UHD and 1080p blu-rays will cover all variants.

Yeah, I was going to add that hope in my post too, but clicked ahead of myself...

 

[Josh Steinberg]

Once upon a time, roadshow versions of films were routinely cut after their roadshow release and were shown in neighborhood theaters in shorter versions, as was the case with BEN-HUR and IT'S A MAD, MAD, MAD, MAD WORLD, to name two famous cases. I think the same was true of another western, CHEYENNE AUTUMN.

True. And people like Robert Harris must now work against time and the elements to undo that damage and return the films to their original condition. So why do it intentionally from the start?

I'm not so sure that's the way to approach it either. I do care about framing and sequencing, but I don't have the luxury to see such things wherever these things happen to play - which is usually never anywhere near where I live - South Louisiana. Even if something does play in New Orleans, I can't just hop in my car and drive an hour and a half on a whim.

Exactly. And as I mentioned before, the number of theaters that will be showing it on film is nowhere near the number that will be showing it digitally. Most people simply will not have the chance to see the movie on film. They didn't do anything wrong, they didn't ask their local theater to convert to digital, but because Tarantino isn't a fan of digital, it seems the majority of his fans are being penalized for something they have no control over.

 

[TravisR]

And as I mentioned before, the number of theaters that will be showing it on film is nowhere near the number that will be showing it digitally.

Looking at Wikipedia (take that for what it's worth), there's going to be about 50 theaters worldwide playing it in 70mm. I think even that very small number is very optimistic because I can't imagine any chain teaching the kid that texts while serving popcorn how to operate a film projector for a two week run. That leaves independents and how many of them still have film projectors or large enough screens that will meet Tarantino's standards?

Most people simply will not have the chance to see the movie on film. They didn't do anything wrong, they didn't ask their local theater to convert to digital, but because Tarantino isn't a fan of digital, it seems the majority of his fans are being penalized for something they have no control over.

I live outside of Philadelphia and there's one old theater in the suburbs that is an extreme long shot at potentially having it but if they don't, I'd have to go to the 1 or 2 theaters in New York City that will have it. Between a two-ish hour drive, gas, tolls, parking and a movie ticket, it would only cost me $100 at least to see one movie. Seems reasonable.

 

[skylark68]

Is there a list out there yet of what theaters will be playing this in 70mm?

 

[Mark Booth]

Here's a Variety article about the different cut for 70mm:


http://variety.com/2015/film/in-contention/quentin-tarantino-hateful-eight-roadshow-multiplex-70mm-1201615357/


“The roadshow version has an overture and an intermission, and it will be three hours, two minutes,” Tarantino told Variety. “The multiplex version is about six minutes shorter, not counting the intermission time, which is about 12 minutes.”


So, for me, the question becomes: Will the extra 6 minutes be included in the Blu-ray version? It the answer is yes, I want to see the Roadshow version. If the answer is no, I'd rather see the version that I'll eventually see on Blu-ray.


It would drive me nuts to fall in love with the Roadshow version and then be denied that version on Blu-ray!


Mark

 

[Dr Griffin]

I'd like to start seeing a list of theaters planning on showing the 70mm Roadshow. We're only 2 months away.

 

[Peter Apruzzese]

As of now I know of two venues, both in Massachusetts (and only a few miles apart):


The Somerville Theatre

The Coolidge Corner

 

[RolandL]

http://www.redballoon.net/current70mmus.html is a list of theatres that had 70mm projectors but many of them are closed or demolished.

 

[Vic Pardo]

True. And people like Robert Harris must now work against time and the elements to undo that damage and return the films to their original condition. So why do it intentionally from the start?

I'm not sure it was always "damage." I fell in love with the 154-minute cut of IT'S A MAD, MAD, MAD, MAD WORLD when it first came to my neighborhood theater in 1965 and when it played on TV and in revival theaters over the next couple of decades. None of the "restored" versions come anywhere close to the effectiveness of the shorter version. I have the Criterion Blu-ray and while it's nice to see deleted footage from a revered classic, I didn't spot anything that the film couldn't have done without in the first place, except for a brief moment here and there. (The Buster Keaton scene, the visual of which is lost, is the only part I felt a twinge of sadness for.)


I'm also not crazy about the longer cut of SPARTACUS. I could have done without the scene where Crassus (Olivier) tries to seduce Antoninus (Curtis), with Anthony Hopkins doing Olivier's voice and an aged Curtis doing his.


And the longer cut of THE GOOD, THE BAD, AND THE UGLY is a travesty.

 

[OliverK]

I'm not sure it was always "damage." I fell in love with the 154-minute cut of IT'S A MAD, MAD, MAD, MAD WORLD when it first came to my neighborhood theater in 1965 and when it played on TV and in revival theaters over the next couple of decades. None of the "restored" versions come anywhere close to the effectiveness of the shorter version. I have the Criterion Blu-ray and while it's nice to see deleted footage from a revered classic, I didn't spot anything that the film couldn't have done without in the first place, except for a brief moment here and there. (The Buster Keaton scene, the visual of which is lost, is the only part I felt a twinge of sadness for.)

I'm also not crazy about the longer cut of SPARTACUS. I could have done without the scene where Crassus (Olivier) tries to seduce Antoninus (Curtis), with Anthony Hopkins doing Olivier's voice and an aged Curtis doing his.

And the longer cut of THE GOOD, THE BAD, AND THE UGLY is a travesty.

Unfortunately seamless branching seems to be mostly a pipedream as otherwise we could accomodate multiple versions on one disc. I am all for having choices as people have different feelings about different cuts, for example I really like the Spartacus scene with Olivier and Curtis as it gives additional weight to them meeting again in the end.

 

[Dr Griffin]

 

[Dr Griffin]

It looks like there is a list coming together of theaters that will be showing The Hateful Eight in 70mm over at In70mm.com:


http://www.in70mm.com/now_showing/

 

[Bob Cashill]

NY press screenings for the 187m cut of The Hateful Eight (including a 12m intermission) are being held at the Village East and City Cinemas 86th St., so I assume these are the UP venues. The Linwood Dunn and Crest have it in LA.

 

[Mike Frezon]

Some insight HERE as to how the Weinsteins are making possible some of the 70mm showings across the country.


They had a little problem at one of those early showings...(at the Village east location).

 

[Dr Griffin]

I'll be seeing it at the AFI Silver near Washington D.C. They show 70mm regularly, so I expect no problems there. I have to hand it to them (the studio), it's a big undertaking with the possible problems. They just need to keep Tammi out of the booth that night.

 

[Jim*Tod]

I will be seeing it at the Silver as well. I am lucky it is only about a two hour drive from Richmond. I will say the Silver's recent 70mm festivals have been decidedly a mixed bag. Not sure if it is entirely the fault of the quality of the prints available or what. Their presentation of 70mm was much better a decade ago. I am sure there will be lots of quality control in this case. I only hope the movie itself is good. Tarrantino seems an odd one to be reviving the road show concept, but I will certainly give it a shot. I trekked up to the Silver to see THE MASTER in 70mm and was very disappointed as the film did not take advantage of the 70mm format at all.