The Hateful Eight - in 65mm??
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The 70mm Newsletter
|Written and collected by: Thomas Hauerslev||Date: 31.07.2014.|
DEADLINE: You said you were shooting the biggest widescreen movie in 40 years and you were going to remind people why this is real moviemaking. Coming out the other side, what are some things that make you feel you were right to stand your ground, dig your heels in and do it this way?
TARANTINO: The proof will be in the pudding, in the look and the feel of the film, but it was just gratifying shooting and then watching our dailies in 70mm, at the end of every day. You just looked at it and said, there it is, baby, it’s right there. Even as far as editing, I am trying not to get comfortable watching on the Avid. Every time we finished a scene, they conformed the film and we’d go to the Directors Guild and screen what we’d just done. So I am used to seeing it big, the way it is going to be seen. But the proof is also how excited everybody seems to be about the idea of this roadshow, the 70mm presentation. Even the foreign distributors, who are figuring out how they can best show the movie. Part of the thought process at the very beginning was, if I shoot on the 65mm, then I’m making them release it on 70mm. They weren’t spending all that money to just have a [token effort]. So that was forcing their hand. Well, little did I realize that, while 35mm presentation might be a lost cause, 70mm isn’t. That could be the future, as far as how a big special movie is showcased.
I hadn’t realized what a lost cause 35mm has proven to be, and how excited about 70mm that people in the industry were going to get. We used those Ultra Panavision 70 lenses, and now, Star Wars is doing the next movie with those lenses. And that means they are going to release it big in 70mm for some big thing. I never thought I would be in a world where my movie is leading Star Wars, when it comes to technical equipment. All the studios, because Harvey has all these projectors now, they are saying, maybe we’d like to that on some of our movies. We are hearing that the entire industry is saying, let’s just see how this roadshow does, let’s just see. It might not work, but it could be a real thing. It’s going to be about 100 stops on the roadshow. They promised me 80 to 100 screens, and I think we’ve just gotten up to 100 as of last week. That more or less breaks down to the idea that every state in America has at least two venues.
More from Deadline.com:
• Hateful 8 panel Discission
• Ennio Morricone will score The Hateful 8
• Quentin Tarantino q/a on The Hateful 8
|More in 70mm reading:|
The Hateful Eight
Panavision and the Resurrecting of Dinosaur Technology
An Homage To D. W. Griffith
"Sunset Song" Filming in 65mm
"Violet" Partly Photographed in 8-perf 65mm
"Interstellar" Goes IMAX 70MM
The 70mm Rumour Mill
P T Anderson's "The Master" in System 65
Ultra Panavision 70 - almost like a real story
"As Good as it Gets"- Demonstrates power of large format
The Hateful 8
"The Hateful Eight" trailer
Wall Street Journal
|A picture of the The H8 "Roadshow" billboard truck promoting the movie in San Diego that I happened to see after the convention was over. Image by Dino|
They showed a video introduction at the beginning of the panel with Samuel L. Jackson talking about the 70mm format that the movie is in and also a 7 minute scene or series of scenes from the movie but I have not seen either of them. I read somewhere that there will be 100, not 50, theatres that will be equipped to project the movie in Ultra Panavision 70. That may have been announced in the introductory clip.
Hateful 8 panel Discission
Ennio Morricone will score The Hateful 8
Quentin Tarantino q/a on The Hateful 8
How Ultra Panavision 70 was resurrected
|The Weinstein Company haven't got the logos quite right on this teaser poster from the fall of 2014. It's a 70mm blow-up logo created by Paramount 30+years ago, stacked on top of a vintage 1953 CinemaScope logo by 20th Century Fox with a "Super" added in the middle.|
...to be continued....
"The Hateful Eight" is getting an exclusive two-week roadshow in 70 US cinemas beginning Christmas Day, 2015.
Panavision used old notes to rebuild the Ultra Panavision lenses.
"The Hateful Eight" will be presented with anamorphic projector lenses at a 2.79:1 aspect ratio, and the film will have an overture and an intermission.
New anamorphic x1,25 projection lenses to be produced.
More than 100 70mm prints to be made - largest 70mm release since "Far and Away".
Panavision rebuilt the 65mm cameras being used on "The Hateful Eight". Panavison had to use old notes to rebuild the cameras and Ultra Panavision lenses, some of which were made in the 1950's because the original engineers weren't around anymore. The film will be presented with anamorphic projector lenses at a 2.75:1 aspect ratio, and the film will have an overture and an intermission.
As for 200 locations for Hateful Eight, unknown if that will be a reality. Most of us techs think it will be feasible to have at least 50 locations across the US and Canada ready to run 5/70 DTS. An employee with DataSat Digital (formally DTS) tells us that the prints are confirmed and they are trying to cobble up and refurb enough processors and 70mm readers to meet the demand (for Interstellar and Hateful Eight)
Sean on Facebook
Though Weinstein's involvement may seem fairly ordinary, the release of The Hateful Eight will be historic in that it will be shot on 65mm film and will have the widest 70mm release in over twenty years. In a unique distribution plan, the movie will also have 35mm releases and DCP formats.
From contactmusic.com + collider.com + darkhorizons.com
You may be interested in the attached teaser poster for Quentin Tarantinos "The Hateful Eight". As you may be able to make out it mentions a 70mm roadshow engagement. It is taken from the new issue of Empire magazine
In case you have heard, it looks like this may finally happening in 70mm!
Tarantino and “Super Cinemascope” aka 70mm
As always, love the in70mm.com website!
Ultra Panavision 70
“We’re doing this 70 mm, and we are trying to create an event,” he said. “I need to know from all of you if this can last a month in your territory in that format, or two weeks. Then we roll it out in 35 and eventually digital.
[DP cinematographer Bob Richardson] went to Panavision to check out lenses for this big Sherman Tank of a camera he’ll use. He goes into the warehouse room and sees all these big crazy lenses. He asks, what are those? It was the Ultra Panavision lenses that haven’t been used since How The West Was Won, Mutiny On The Bounty, Battle Of The Bulge and It’s A Mad Mad Mad Mad World, which were all bigger than the normal 70 mm. If the normal scope is 235, this is 278, the widest frame possible on film. The projectors need a decoder [an anamorphic lens, ed], an adapter, to blow it out that way. That’s why Mad Mad World, Battle Of The Bulge and Ice Station Zebra [Super Panavision 70, ed] look the way they do. The last movie to use these lenses was Khartoum with Charlton Heston and Laurence Olivier. We’re using those lenses for this movie. We’ve been testing them the last month and everything is A-ok. They look amazing. We are literally coming out with the biggest wide screen movie shot in the last 40 years.”
|Ultra Panavision 70 - almost like a real story|
Wanted: 70mm Projectors
This ad is just recently posted on Film-Tech. Larry Shaw is one of the owners of Boston Light & Sound. Clearly, they are still scraping around to try to round up sufficient projectors for Tarantino's 70mm film.....
From Panavision's Facebook page
|On the set of Quentin Tarantino's "The Hateful Eight", the Panavision System 65 camera, Robert Richardson and crew. The last week of shooting in Telluride in Ultra Panavision 70 (ultimo March 2015). First AC Gregor Tavenner, Cinematographer Robert Richardson ASC and Panavision's Bob Harvey & Jim Roudebush.|
1,25x Ultra Panavision squeeze added for authenticity.
Go behind the Scenes on The Hateful Eight at Cine Gear Expo
See Test Footage Shot and Projected in Ultra Panavision 70
By: Lisa Muldowney, ignite strategic communications
|Bill Bennet, ACS's screen shot of the Ultra Panavision 70 test reel|
WOODLAND HILLS, Calif. (June 3, 2015) – Panavision will showcase test footage from Quentin Tarantino’s The Hateful Eight, shot by Robert Richardson, ASC in Ultra Panavision 70 at Cine Gear Expo on Saturday, June 6, at 11:30 a.m. The footage will be projected in 70 mm anamorphic film at the Paramount Theater.
Giving attendees a look behind the scenes of this highly anticipated Western will be Dan Sasaki, Panavision’s VP of Optical Engineering, who will explain the adaptations and innovations required to shoot in Ultra Panavision 70 in 2015. Journalist David Heuring will moderate the discussion.
|In Ultra Panavision 70: An Homage To D. W. Griffith|
"As Good as it Gets"- Demonstrates power of large format
|"The Hateful Eight is the first production since 1966 ("Khartoum") to shoot in Ultra Panavision 70. The anamorphic format is captured on 65mm negative and delivers a stunning and subtly beautiful 2.7:1 (roughly) image that is sharp but not clinical, with painterly bokeh and immersive depth. |
Panavision collaborated with "The Hateful Eight" creative team to make sure the lenses and cameras would accommodate their rigorous shooting schedule in Telluride, Colorado. The original tests being shown at Cine Gear are what helped to solidify the decision to produce the entire movie in a large screen format.
Attendees are also invited to stop by the Panavision/Light Iron booth located in Stage 32 (#S311).
Go to The Hateful Eight
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