The Hateful Eight

[Jeremy Blackman]

I was also concerned, but watching it again, I think it's just a poorly-made trailer. Still not especially excited, though. I was hoping for a classic western setting.

[Robyn]

I was also concerned, but watching it again, I think it's just a poorly-made trailer.

remember how bad the first IB trailer was?

[jenkins]

KJ, laying it down with the fabulous reference point.

I think a solid conclusion to take from Gold Trumpet's post is the worst fucking thing QT can do will feel like magic anyway.

As a movie person it's irrational to my nature to not be excited about this movie. When I got mad at QT claiming to not care about not making this movie, saying he has many great ideas he'll pursue instead, then held the reading for this movie and everyone loved the reading and he felt again he simply had to make this movie, and later said he got grumpy because he didn't like a script being leaked that was still in draft phase, i.e. Tarantino allusively saying he felt he'd been spotted creatively naked, he's so adorable I think, I mean the guy loves movies, that simple, and anyway having been through all that already I'm like whatever, bring me The Hateful Eight, you're in I'm in let's do this

[modage]

Yeah, I mean it's still Tarantino so I will be there opening day no matter what but just saying this trailer doesn't do anything to stoke my excitement. And the limited setting gives me concern as 'movies that are more like plays' is a pet peeve of mine.

[Gold Trumpet]

My whole point is QT isn't well suited for historical dramas. All his films are word plays and examples of various conversation pieces. In Inglorious Basterds, a lot of the film is suited around dinner banter and the pretense of formalities. Luis Bunuel played up the banality of such focus by dumbing down the word play. I feel half of Basterds is casually doing similar mocking but also Tarantino trying to make such situations interesting. He can't have an anarchy approach like Bunuel. He cares a lot more for his characters and tries to define them in every sense too. For me, and what Tarantino does well, it isn't very good with the historical dramas. Just not his strong suit. He does well at writing characters verbose in off handed talking, casual references, and effortless transitions between characters that feel natural but still stylized in a way that attunes to good writing.

For me, when Tarantino does historical dramas and knowingly taking on one genre, his interest is half in the mechanics of the plot working and half in the dialogue amongst the characters. I also don't think he's that good at writing for historical characters. The writing isn't as natural. I don't care for Death Proof because of the B movie set up. It's throwaway idea for me. I actually really love the movie because of the simple interactions between the three characters who take up the second half of the film. Not only is Tarantino is allowing for natural writing, but he's doing it well for female characters. That was very new for him considering his previous endeavors with female characters were limited to scenes or genre depictions (most of Kill Bill).

[jenkins]

The first thing I had to do was forgive it for being a western. That's a hard part, for sure. Didn't QT say he wanted to make three westerns? Well didn't he also say other things, including for example a romantic movie set in Iceland, something like that, and I was into him moving past this idea but this is where he wants to be and I just deal with it, but I know what you mean.

[Robyn]

The first thing I had to do was forgive it for being a western. That's a hard part, for sure. Didn't QT say he wanted to make three westerns? Well didn't he also say other things, including for example a romantic movie set in Iceland, something like that, and I was into him moving past this idea but this is where he wants to be and I just deal with it, but I know what you mean.

well, he will only make 10 films. imagine that his last two films will be a romantic comedy set in iceland and that cowgirls in sweden thing.

"cowgirls in sweden. the last film by quentin tarantino"

what a fucking anticlimax.

Yeah, I mean it's still Tarantino so I will be there opening day no matter what

yeah, I'm gonna be there and probably have the time of my life no matter how concerned I am now.

[jenkins]

Yeah, hey, I long for neon tech and city, so QT lives off my map anyway, and he used to be so good with modern cinema but he's like five steps behind Sion Sono, but I'd rather grandpa keep talking crazy than grandpa stop talking. Everyone we've got to support grandpa. He'll leave us one day. He likes to talk about wintry cabins whatever, how is that not a little cute? Wanting to talk about people hanging in a wintry cabin is definition of a little cute, I'm glad we'll all be in it together around Christmas this year, in 70mm, it's like QT has 70 problems but cinema ain't one, hit it, it's exactly like that, I'm looking forward to it still. Good chat.

[OpO1832]

I got excited when I saw that one shot that was leaked but I stand by what I said originally this movie looks bad. I do not like the Richardson + Tarantino marriage, the movie's cinematography is actually bad given the material and I regard Richardson as a MASTER but his style for this type of movie is not suited well, as it was not suited for DJANGO UNCHAINED and INGLORIOUS BASTERDS, it was suited for KILL BILL. I do not like how he made Daisy into this cartoon character, its like he writes these amazing scripts and then he fucking kills them, eh it so hard to put into words. I am excited to see this movie for the E.M collaboration, thats a real victory for Q.T! Whats annoying is all these trailers using hip-hop to sell their movie to an "urban" audience/ general public, its pretty whack, like in the trailer for Black Mass, whack attack! The 2pac-RICK ROSS( RICK ROSS, so fuckng lame) during the really cool shootout in Django Unchained, I always watch that scene on mute.

It will be interesting to see the movie in ULTRA PANAVISION but judging by the trailer, something you should never do, the movie does not make great use of the format, and I bet people will be like WTF is the difference, and if the movie turns out to be be lame then it will do it the format more harm than good.Most of the movies shot on the format were not good, the Ben Hur remake is probably the best movie shot on the format. THE REAL DOPE FORMAT was CINERAMA, I do not know why some technicians have not figured out how to get that process into two cameras or one, in Russia some camera techs developed what I think is probably the coolest film format for entertainment/multiplexes( i love film, 2d that is but I am open to the possibilities of stereoscopic motion picture)  its called STEREO-70 not a lot of information on it but from researching it, if I had the opportunity to make a big budget movie within the studio system I would totally opt for STEREO 70mm, whether I would shot with STEREOSCOPIC STEREO 70 that is another story. ( it would obviously be in 65mm and projected in 70mm.)

I will still go out and see this but Q.T has really disappointed me lately, I love reading his scripts and I think he is one of the best screenwriters in hollywood but his directing is not good and his choice in assembling his teams( crew ) is poor, on paper its a dream team but in practice the result is flat.

[samsong]

#meh

[Fernando]

http://www.vulture.com/2015/08/quentin-tarantino-lane-brown-in-conversation.html

[03]

spoilers


so i read the script like everyone else and this is basically django meets reservoir dogs. this trailer is a fucking abomination. i didnt think hed ever get this horrible. but we will all see it, godammit....

[wilder]

Quentin Tarantino Says 70mm 'The Hateful Eight' Will Be Longer Than Digital Version
via The Playlist

Over the weekend, Christopher Nolan firmly weighed in on the analog vs. digital debate, and came down on the side of film stock, specifically praising Quentin Tarantino and his plan to first roll out "The Hateful Eight" in 70mm only in select cinemas before opening the movie wide everywhere digitally. Now Tarantino has provided an extra incentive to see his western in his preferred format.

“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 what changes are being made? According to the director, it's in how certain scenes will be edited for television versus the big screen. "I actually changed the cutting slightly for a couple of the multiplex scenes because it’s not that. Now it’s on Showtime Extreme. You’re watching it on TV and you just kind of want to watch a movie on your couch,” the director said of the sequences that in the 70mm version will breathe a little more in “big, long, cool, unblinking takes.”

“It was awesome in the bigness of 70, but sitting on your couch, maybe it’s not so awesome. So I cut it up a little bit. It’s a little less precious about itself,” he added.

Tarantino hopes that a successful opening run in 70mm will pave the way for more filmmakers to utilize the format, and the plan is to show "The Hateful Eight" in all its analog glory in 100 theaters across the country.

[Jeremy Blackman]

“It was awesome in the bigness of 70, but sitting on your couch, maybe it’s not so awesome. So I cut it up a little bit. It’s a little less precious about itself,” he added.

This legitimately impresses me. Tarantino doesn't really get credit for being this smart about his own limitations... humble, even?

[jenkins]

http://www.nytimes.com/2015/10/12/t-magazine/quentin-tarantino-bret-easton-ellis-interview.html?_r=0

i interview myself about the interview:

Q: Does the interviewer ask him about tv?
A: Yes.

Q: Does the interviewer use his own mentioning of the tv topic to express his personal opinion about tv?
A: Yes, BEE is the interviewer.

Q: So really this interview isn't so much about QT's vision as about BEE's vision of his vision?
A: Yeah, somehow BEE thinks his obsessions with art as a cultural force is more important than art itself, which is ridiculous.

Q: Does he even bring up the Oscars?
A: He does.

Q: Why read this interview?
A: Because QT isn't BEE: "If people don’t like my movies, they don’t like my movies, and if they don’t get it, it doesn’t matter."

Q: The 2006 Mustang GT from Death Proof?
A: Yes.

Q: Is it common for hipsters to smoke outside the New Bev?
A: BEE saw a few people standing outside smoking because it's the goddamn law to smoke outside. The vast majority of hipsters practice their yoga and/or meditation. The problem with BEE's culture chats is you can't read from the inside a culture you only see from the outside.

Q: Relative to the number of smokers, is the common New Bev audience a "young audience" of "kids"?
A: What BEE thinks he notices are forces of the present that affect the future. I suspect he's mentioning the "kids" for the article to appeal to kids and to demonstrate concerns about the future of the movie medium, but there's no way in hell two Chaplin movies played in LA without elderly people in attendance. What should make a person worry less about BEE's worries is he has the problem of noticing something then expanding in his head its size and importance, and culture isn't controlled by BEE's head though we know he tries his best.

Q: Does QT have friendly chats with anyone who approaches him?
A: Never have I seen QT not engage in a friendly chat with a person who approached him for whatever reason.