What did you think about the 7OMM Road Show Version of The Hateful Eight?
|Read more at|
The 70mm Newsletter
|Written by: -||Date: 26.12.2015|
|The film is opening today [25. December 2015] in glorious 7OMM across the USA, and impressions are already being posted about the new 7OMM film.|
• "I feel like every movie-going experience should be like this"
• "I was more interested in the story than the scratch"
• "The whole presentation made a very, very good movie"
• "Boston Loews. It was fucking fantastic."
• "Tarantino your movie is called the hateful eight because its your eighth movie that i was gonna hate".
Imagine the answer from QT: "And it was your eight movie for which you paid for a ticket. Thank you!"
I would be very happy if you'd consider write to in70mm.com with your thoughts and impressions of the new film. Not only about the film, but also about the roadshow presentation in your area. What did it look like, did the theatre give you a good experience, did the theatre sell souvenir programs, was it sold out, how far did you drive to see it in 7OMM, did the show live up to your expectations, and why etc., etc. If this is your first 7OMM, what do you think about it? Anything that comes into your mind about this event.
• Share your opinion with the readers of in70mm.com
I will collect all these impressions on this page, for everyone to read. Also, please send your pictures of the day, selfies, posters, facades and whatever you feel is worthy of an image in connection with H8. Feel free to ask your friends to come along as well.
|More in 70mm reading:|
Quentin Tarantino's "The Hateful Eight" in Ultra Panavision 70
The Adventures of Hateful 8 at Rigoletto!
"The Hateful Eight" Road Show at AFI Silver
The Hateful Eight is a Wonderful Cinematic Experience for the true Cinefile
Tower Theatre, Sacramento:
October Cinema, Moscow
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“Will Oklahoma get it in 70?”
|When I found out about The Hateful Eight shooting in Ultra Panavision 70 and being released as a 70mm roadshow, I was ecstatic. My next thought was, “Will Oklahoma get it in 70?” because we never get cool things like that. Luckily, AMC Quail Springs Mall in OKC was one of the theaters chosen for this special engagement.|
I was afraid I wouldn’t be able to see it, due to a) the weather, and b) not having money leftover after Christmas. (We barely have money, period.) But when the weather finally cleared up, my grandparents made plans for us to see it. We got advanced tickets for Sunday, January 2, at, I think, 6:30 or 6:40.
AMC Quail Springs is a farther drive than our go-to theater, The Warren in Moore, or even next-best Harkins Bricktown in OKC. The Warren has the largest screens, even the regular ones; all of them are 2.40:1 natively, except for, obviously, the IMAX, which is 1.89:1. The AMC screen was as tall, but not as wide, as the Warren screens; it looked 1.85:1 natively. The screen was not matted. No curtains, unlike the Warren. (That’s not a knock; I wasn’t expecting curtains.)
The projectionist was an older gentleman, couldn’t have been older than 50.
There weren’t going to be any trailers before the film, so I got a tad nervous when they started rolling AMC First Look, obviously digital. But once First Look ended, the theater automatically switched projectors without missing a beat. The difference in picture quality was night and day.
The print was as pristine as I’d expect from digital, but with all the juicy detail, beautiful grain, and bold colors that only film can provide. I loved the flicker and speckles that occasionally popped up; I miss that about seeing projected 35mm. I was wearing a red T-shirt (a deep, cinematic red), and I swear that Sam Jackson’s scarf was the exact same shade; not even a hint of orange, unlike digital red. Only in the last two minutes or so did any focus issues creep in, but I’m sure only eagle-eyed viewers noticed.
|The DTS soundtrack was everything an audiophile could ask for. I could understand every word, except for the last names “Mobray” and “Domingray.” At home, only headphones can give me that kind of quality of clarity; we only have a mediocre Bose sound system, which I’ve long wanted to replace with Bowers & Wilkins, but $$$; but that’s another discussion for another day. The DTS brought the dialogue, and Ennio Morricone’s score, to riveting life. Epic 70mm coupled with powerful, audiophile-quality DTS made the whole movie come alive. It didn’t even feel like three hours had passed.|
My folks didn’t seem to know that the theater would be giving out programs, and declined. (?) So, during the intermission (projector turned off, lights came back on), I asked them to see if they still have programs. All of them feature Daisy Domergue as the centerfold. I glanced at a few pages before the lights went down again and the projector rolled the entr’acte.
A few people applauded when soon-to-be Golden Globe and Oscar winner Ennio Morricone’s name appeared in the opening credits (what a great shot that was, by the way; a long, unbroken dolly shot, most likely Steadicam). Morricone deserved every clap.
This was my first 70mm experience. I can’t say I was disappointed, but I do wonder what it would/could have looked like on a Warren screen. It certainly would have had more “real estate” and taken up more of the screen, almost all of it. But no qualms on my end. Highly recommended if the film ever pops up in 70mm again.
Norman, OK, USA
70mm is for Epics, Not Epic Failures!
|Here is an, apparently late, “review” of Hateful Eight. I have loved and shot film all of my life. I fully understand and appreciate the value of 70mm having worked in that format. H8 was the absolutely most worthless “picture” to shoot in that esteemed format! The delusions of this non-director to besmirch 70mm with this dreck is unbelievable! The first half of the show happens in a stagecoach, and the remainder in a single room makes the format worthless! Gee, I can see the stitches in the wardrobe? Who cares! This worthless thing was an utter debacle from the fade-in and is nothing more than an ego trip for the “director.” What a waste!!! The only good thing to come from this idiocy is the fact that Q will never again be able to waste this much money and besmirch this regal format again. 70mm is for epics, not epic failures! |
John Guntzlman, SOC
The screen was tiny
|Hello and Greetings from Hot Springs Arkansas,|
I've been a movie fanatic since I first saw "The Love Bug" in 1968. My first 70MM film experience was seeing Alien at the UA Cinema 150 in Little Rock on their huge curved screen. From that day forward, I always seeked out 70MM films when they played.
When I read that Hateful Eight was going to be released in 70MM, I got that same tingly feeling I used to get when I would see the 70MM tag in newspaper ads. Since Arkansas was going to be skipped over for the Roadshow presentation, I decided to drive five and a half hours to Dallas/Plano to see it on a big screen.
I attended an 11AM showing at the Cinemark West in Plano and as soon as I walked into the auditorium, my heat sank. They were using one of their small, "screening-room" type auditoriums (about 150 capacity) for the showing and the screen was tiny. It was masked off for 1.85 to 1 and as i suspected, when the film started, the image only covered a small strip in the middle of the screen. They didn't even mask off the image so there was more empty screen showing than what was filled with an image. I over head a few people around me comment about not seeing the "big deal" about 70MM and I can certainly understand why.
On a more positive note, after coming home I went to see a regular showing at the Cinemark in Little Rock and the screen/auditorium was three or four times bigger than for the 70MM viewing. I guess that will teach me to drive five and a half hours for a movie.
Kenny Cagle, Hot Springs, AR
"The Hateful Eight" in New York
|I saw ["The Hateful Eight"] last night at Cinema Village East in 70mm. when I entered the theater at 6 pm for the 6:30 show, the auditorium was empty! But more people eventually arrived. This is an old theater (the ticket taker said early 20's) and the screen was in front of the proscenium, covering most of the width of the theater. The screen appeared silver, not white. The film looked very good, I was quite impressed and I enjoyed the story line, having seen his earlier films I knew what to expect.|
My only complaint is the lady two seats to my right checked her cell phone regularly about half way through the film and continued doing so. Since we were in the first row (of the balcony), everyone behind must have been aware of this as well. Watching dvds at home, I don't have such distractions and I'm not keen on spending $20 to watch someone play with their cell phone.
Dennis S. Furbush
New York, USA
"The Hateful Eight" in 70mm reminds me of how films used to be
|The Hateful 8 in 70mm at the Astor Thetare in Melbourne, Australia.|
What a marvellous thing it is to be given the opportunity to watch this visually delicious movie in glorious 70mm. The atmosphere of the packed cinema was electric, the picture quality was rich and immersive and the audience loved every minute. It has been a long time since I have had such an experience at the movies. By comparison, my viewing of Christopher Nolan's Interstellar on a digital projector (at village Vmax) was an underwhelming experience despite the lengths he went to shoot on both 35 and 70mm. A later viewing of that film on my Plasma through Blu Ray was far more enjoyable.
It is my belief that the switch from film to digital is a nail in the motion picture business coffin. Video (call it digital as they will) has always been an inferior product to film and HD, 4K, 6K etc cannot make it better.
To see "The Hateful Eight" in 70mm reminds me of how films used to be. The delicate float of the picture as it dances through the film gate, the richness of it's colour pallet, the texture of the canvas (image) and the gentle, almost indiscernible flicker of the picture create a magic that, by its very nature, cannot be emulated through the digital process. And then we have the awesome 'wide' view of the 70mm format and it's fabulous Ultra Panavision 2.76.1 aspect ratio.
We now have very little options when it comes to watching 'film'(s) in theatres. I commend Quentin for his determination to show the world just what we are losing.
Overall that was THE movie going experience
|Another Canadian "The Hateful Eight" advert - from Montreal|
My wife and I, went to see "Hateful Eight" twice in Toronto in glorious 70mm. We watched new "Star Wars" in-between in 3D and were very surprised to find out that it was lacking quality in comparison to 70mm presentation. The first time we watched "Hateful Eight" it felled like a 3D movie where you do not need any 3D glasses. I even had to duck few times when things were flying off the screen towards me. Overall that was THE movie going experience. Would love to see another movie (by Tarantino or someone else) in 70mm. Just like in sound technology (I am a sound engineer) - some analog things just can't be replaced with digital.
Jora and Sasha, Toronto, Canada
I loved the film and the roadshow presentation
|I saw the 70mm version at London Odeon Leicester Square the other day. I loved the film and the roadshow presentation, though like some other commenters I noted some flicker of the lighting on the longshot snow scenes. I felt it odd to have the word "overture" onscreen while said music played as normally there's just closed curtains, but maybe modern audiences need to be told what's going on as cinema overtures ain't been seen in decades, or maybe the card was already prepared for the dvd/blu ray where such cards do appear.|
Indeed, I do hope the long cut will be available for home viewing as well as the mainstream release. I was a wee bit disappointed that the screen was not a giant, curved one, especially when the words Cinerama and IMAX were invoked - the former on the credits, the latter on Flixster and other listings for the Odeon run. I was hoping to have an experience akin to when I saw "2OO1" in the Glasgow Coliseum Cinerama theatre back in '68 when I was a lad. Nevertheless, I appreciate that screens like that are thin on the ground nowadays. It's rare for me to say I'd like to see a three hour movie again just after watching it, but that's how I feel.
An old girlfriend of mine was a customer when QT worked in the Video Archives store in Manhattan Beach, LA, and said she met him after the "Pulp Fiction" Oscars and he was still same sweet guy. Viva QT!
Sandy Robertson (ex music and film critic, Sounds Magazine and Penthouse UK, retired), London, England
|I'm weird. I like seeing projected film. There are so few theaters in Los Angeles that still show first-run features on film (the Pacific Sherman Oaks 5 is the only one anywhere near here that I am aware of that still does).|
I have a notepad I carry with me into the theater to keep track of where the reel changes are, since this is not noticeable when the film is later shown on home video.
Like I said, I'm weird.
I viewed “The Hateful Eight” at The Landmark in West Los Angeles on December 29, 2015 at a 7:00 PM show. The film was run in one of this multiplex's larger auditoriums and most shows for this week were sold out or near capacity.
As we entered the auditorium we were given a program, another throwback to a long-gone era. Loved the design and the fact that "they just don't make them like this anymore" feel to the whole evening.
Before the movie began a staff member got on a microphone gave us the rundown: how long the film ran, that there would be an intermission and, most importantly, the area toward the bottom of the frame would be dark to accommodate the wider aspect ratio (the screen was as wide as it could go and, let's face it, we haven't had a 2.76:1 film made since "Khartoum" in 1966).
It was a good thing that the staff mentioned the black area at the bottom of the frame because people will complain about anything these days. Nice to have this settled before people go clomping out of their seats to bitch about it.
The presentation was, for lack of a better work, perfect. There were no glitches, no focus issues (which seems to be coming up in other cities on this page). Nicest of all was the projector was right at audience level and I managed to get a few still pictures of the film running through it during the end credits. Sorry about the slightly fuzzy picture.
Technical work on the film is marvelous, including the many, many details inside Minnie’s Haberdashery. I don’t feel the need to elaborate; if you’ve seen it you know what I mean.
Interestingly my notepad went unmarked that night as the 70mm print did not have any cue marks on it; I could not for the life of me figure out where the changes took place. This was remedied when I saw the movie on 35mm film at Tarantino's own New Beverly Cinema last night (ten reels, just so we're clear).
Also, big thanks to QT and The Weinstein Company for allowing his movie to be shot in this format. It’s very encouraging, even though digital will likely be around for decades more.
Keep projected FILM alive!
Doug Kuhn, LA, USA
Performances were highly effective
|There's been lots written recently about audience behaviour in theatres and cinemas and for me, popcorn is the killer and the reason why I very seldom go to the cinema. The insane sight of three people with a giant huge carton each, sitting side by side steadily munching whilst the smell rises from the tonnage consumed by the audience. How can anyone eat so much rubbish? And there were interval refills.|
Anyway, I was impressed by the picture quality but hated the terrible over loud level of sound. It was far far too much and is another reason why I don't go. Who sets the level? And how deaf or stupid are they? It's more than possible that in this case the gross battering is Tarantino approved but that doesn't make it any more bearable.
As for the film: Grossly violent death as light entertainment. It's both wrong and immoral and adversely affects the impressionable and feeble minded. Of course it was a most ably made film and the performances were highly effective but overall, it wasn't for me. Neither as a film nor what passes these days for a cinema experience.
Malcolm, London, England
|Simply great! Rigoletto, Stockholm, Sweden|
Göran Falkmer, Stockholm, Sweden
I admire Mr. Tarentino for attempting this
|Saw it at the AMC 24 in Hamilton, NJ, USA, and 3 days after its premier, the print was already scratched. Didn't look especially sharp like 70mm used to look, and the end titles showed evidence of uneven projector focus. There's no scope to its subject that deserved an ultra-wide screen, since it's practically a filmed stage play, and the exterior scenes were not meaningfully enhanced by the format. I admire Mr. Tarentino for attempting this, but I think flat 35mm would have been an appropriate format for the subject of his film.|
Scott Marshall, US
Editor, Wide Gauge Film and Video Monthly.
It IS good, it IS violent, it's incredibly well written
|My wife and I went to see "The Hateful Eight" in 70mm at the Gaumont Marignan, on Avenue des Champs-Elysées, Paris, France, so what about it?|
First the film itself; it IS good, it IS violent, it's incredibly well written, but it is also very VERY funny in a twisted way. Visually speaking, it is beautiful. The photography is outstanding. I read about the fact that interiors were over exposed, but as far as this projection is concerned, I found the lighting very pleasing. I was afraid about it since a lot of light needed to be pumped in the action; hey it 65mm + anamorphic, that's probably why they shot in snow and cold sets otherwise the cameras would have probably melted.
It is, IMHO, the most accomplished of Quentin Tarantino's films (with Jackie Brown). His best it is not, but his most beautiful it certainly is.
Now about the projection. I found the screen a little small for my taste (being from Lyon which housed two of the biggest 70mm screens in Europe) and it was not curved. But it was oddly presented without projection mask which led to some slight changes in the aspect ratio (probably due to lenses from different periods).
It was very pleasing. We had seen "The Master" also in 70mm three years ago, and it was the same pleasure. 70mm projections are incredibly bright and crisp, the amount of visual information provided cannot be compared to digital, which is basically a grid. I really hope that there will be more... and in Lyon this time.
A great experience.
Patrick MOHA, Lyon, France
I was very impressed with the Ultra Panavision 70 picture
|Odeon Leicester Square's road show program. Image by Edward David|
I attended the 7.15 screening at the Odeon Leicester Square last night and was very impressed with the Ultra Panavision 70 picture with fantastic focus and also the Datasat 5.1 audio.
They did have a problem with the projector douser at the start of the Overture card for the first 30 secs cutting off half the picture but closed it then they opened up again and the rest of the show was spot on.
I also think they have enlarged the width of the picture from "Interstellar", I was sitting in the second row and it looked great when the Cinerama Logo appeared in the titles. I did not ever think that i would ever see a Ultra Panavision 70mm presentation ever in a London cinema, how wrong i was.
Happy 70mm New Year.
Derek Young, London, UK
I think I stay with my memories of how to put on a show!
|Odeon Leicester Square, London. Image by Edward David|
I went to see the second showing of The Hurtful Eight at the Odeon Leicester Square London on Friday 8th January 2016. Having left the cinema industry over 30 years ago I was privileged to have been the projectionist on several "Road Shows Presentations". I was really looking forward to seeing this one ...but so disappointed!
I paid over £20 for a senior ticket centre Royal circle three rows back from the front. Brilliant seat and view. The auditorium was at first quiet as the patrons seated (that's a word from the past!) then low level non sync background music started to play. l guess it was from the soundtrack of TH8. The light dimmed to half and the red curtains parted to show a large "scope screen" full width of the stage with an UNMASKED digital projected Odeon "O" logo in the middle of the screen with some sort of repeating music soundtrack for nearly 5 minutes. This was the followed by the usual Odeon ads and trailers in varying aspect ration none of which filled anywhere near the full screen.
After 25+ plus minutes the curtains closed and an Odeon staff member came on stage to announce the feature film. Unfortunately for him his mic did not work. To top it all he could just be heard apologising the fact that was was going to be an intermission which they couldn't do anything about!!!!. The house light dimmed the curtains open to display on the same size "scope" screen as before, a still picture with the wording "Overture" for the length of the musical overture leading into the start of the film.
As for the film, Mr Tarantino has done a good job. So did the focus puller. Picture was steady with a slight simmering in the opening snow scenes. Sound track, good but dialogue muffled at times by the scarves worn by some actors and the southern accents were a job to hear clearly but that may be me. As for the road show, disappointed that the ads and trailers were not masked properly so that the feature opened with the grandeur of the 70mm screen. That the overture was not played with curtains close. Obviously the make up of the film with the overture card is ready for the Blu Ray version.
Conclusion:- Nope, I think I stay with my memories of how to put on a show!
Regards, Derek Kiell, Gravesend Kent UK.
A proper roadshow presentation
|View across the cinema in December 2009. Image by Thomas Hauerslev|
Click on the image to a see a large version
I saw THE HATFUL EIGHT at the Odeon Leicester Square in London. The presentation was immaculate. The print, was pristine, NO jitter, it was rock steady. A proper roadshow presentation, and the sound was very effective and very well set up by a very capable technical team, who gave a really sterling cinematic presentation for the appreciative audience. Three cheers all-round!
Mark Johnson, UK
|Introduction. I'm a 70 year old retired computer engineer. Out of school in 68. Most of my career was in data storage and still/moving images. The vast majority of the platforms I worked on, and still do, is Linux/Unix. Present assignment is to help develop a Linux operating system. My job the kernel, and yes still/moving image applications. I do play a LOT with video editing and I'm a movie fan back to my day as a kid. I can remember my mother taking me downtown Chicago to see "Ben Hur" on that big 70mm screen. Glorious. Enough of that.|
Tarantino's "The Hateful 8". Saw it at the La Mesa CA Grossmont Theater, Reading Cinemas. Fantastic. Theater's a little threadbare but the screen looked brand new and the presentation was wonderful. Issue free from end to end. Good crowd. Theater about half full at 11AM on a Wednesday morning. Got the souvenir program. I've seen many 70mm films including "2OO1". A long time ago far far away. Drive to theater was maybe a 5 mile drive. The most impressive scene for me was early in the film. The stagecoach roaring down a snowy road and the camera taking a side shot stabilized. HOLY COW!!!!! I thought to myself. A heavy camera like that on some moving platform, stabilized and shooting in that situation. Kudos Tarantino. Final credits roll. Right out of 1957. Only saw a couple "mistakes". I've become sensitive to that. A couple bad cuts, some wandering follow focus shots. At least one patched film break. Not bad at all.
Now for some fun......
Ya know I couldn't help thinking how we all love 57 Chevy's. We're human and we only remember the good things. But if you get to own one again, or ride in one, the bad things start to come back. Just like The Hateful 8. The slight image jitter, the out of focus and the darkened corners, Tarantino kept strictly to the "Academy Curve" on the sound.
Most people wouldn't notice that. I did. Most modern movies have a wider sound range. There was no effects channel. That's the .1 in 7.1 surround. Maybe it's just that auditorium did not support it. No problem. That's the way it was way back then anyway
I give it 5-stars. Great fun and I'd go to another 70mm film if someone did one.
Thanks - Bill Kenney, USA
I liked the shape of the thing
|We went to see HATEFUL at a cinema called the Riviera in Santa Barbara, California. Which is a theatre made from a school auditorium, built in 1926. Wooden floors and 1950s era seating. Spanish Colonial Revival architecture - a uniquely Santa Barbara atmosphere to the place indeed. The booth is downstairs, so one could see the Century projector head, and the rather large lamphouse, and peering into the lens, you could see that it had amamophosis. The theatre is maybe 300 seats. The screen was maybe 32 feet across. It was masked but no curtains (working). When the overture began, the picture was a bit bouncy, wasn’t really hitting the masking properly, and the sound delivered was overpowering the speakers. During the end credits, travel ghosting was a problem.|
Although HATEFUL did not prove to be the film I thought it would be, my friends and I liked it quite a bit. During the intermission, I suggested to my friends that were could just as well be watching a play, and it turns out that HATEFUL started as a play, which Tarantino had a staged reading of in Los Angeles. At the intermission, I fully expected all of the characters and situations to get turned on their heads, and sure enough - they did. Anyway, I liked the shape of the thing. I think long films have to have endings which are worth the sit, and I think HATEFUL had that. I liked that it was a long picture, which allowed you to immerse yourself in the story and the atmosphere. Its langor didn’t bother me one single bit. I could see how more hyper viewers wouldn’t agree with me though. One member of our party was an attention deficit addled young man, and he liked it. Since his name was Bob, we all started calling him “Senior Bob” in a gravelly voice.
I suspect that the Riviera theatre wasn’t outfitted with a super high-quality lens, since the image onscreen wasn’t really all that sharp. The print had some slight scratching on the edges here and there. What really matters is what the overall impression of the public is. Will they react to the production values and rollout scheme? They might. It appears that Taratino will sneak by with this one, just as Nolan did with INTERSTELLAR.
I couldn’t drive into Hollywood to see THE FORCE AWAKENS, so my holiday party saw it at an “IMAX” theatre in an Edwards 12plex in Camarillo. And while there was no physical difference between the 3D “IMAX” theatre and the “regular 3D” showing the next theatre (both screens were 50 footers), the “IMAX” showing had more customers at the higher prices. This is market acceptance.
Kurt Wahlner, California, USA
I liked the roadshow experience better
|I saw three different versions of "The Hateful Eight", and the 70mm Ultra Panavision version is the best. When I went to see the roadshow version on opening weekend, the theater was having problems with the film, so instead showed a digital version of the 70mm version. The intermission, overture and extra scenes were all there, and the movie looked good, but it was not actual film. The following weekend I drove to this theater again (by the way, it was two hours away), and finally got to see the true 70mm version. The picture was awesome and the presentation flawless. I knew immediately why Mr. Tarantino wanted to present his film in this format. The colors and details were amazing. Finally, I went to see the standard version, and - while still very good - I liked the roadshow experience better. |
This movie, in my opinion, is Mr. Tarantino’s finest film. I’ve always felt "Pulp Fiction" was his best, but after seeing "The Hateful Eight", I think this is his best movie. I’m surprised that some critics didn’t like it at all.
One thing I am hoping for when this film eventually hits the home video market is that there will be an option to watch the roadshow version. I prefer the longer version, not only because of the additional scenes, but because of the overture and intermission.
Jim Quirk, US
I was most impressed by the incredible detail provided in the interior shots
|We drove 100 miles to view the film in a multiplex in Westminster, Colorado (a gift from my daughter). Ticketing snafus related to Star Wars resulted in us being seated in the front row moments before the overture. Turned out the experience was delightful anyway. We were provided with a program, adding to the experience. Loved the overture and intermission – really different.|
This also was a wide, curved, normal height screen presentation. Would have preferred one of the larger screens, but a nice image regardless. Might have been some slight focus issues, but nothing too distracting. I expected to be blown away by the panoramic landscape shots. Instead, I was most impressed by the incredible detail provided in the interior shots. Amazing.
Overall, a very enjoyable experience. Most grateful to Messrs. Tarentino and Weinstein for making it possible. I hope it is not the last.
Fairplay, CO 80440, USA
I discovered that there would be showings in Stockholm
|Our tickets for the screening of Tarantino's eighth film, The Hateful Eight at Rigoletto, Stockholm, on January 10th, 2016|
For the updated news on 70mm screenings around the Globe! It was actually at your web site that I discovered that there would be showings in Stockholm of "The Hateful Eight" in Ultra Panavision 70! So, I checked every day, and when the tickets started to sell, I got four for me and my wife and two friends, for the 10th of January, at the Rigoletto theater in Stockholm, and we have special VIP seats and a lounge/bar for the Intermission.
I have read the review in a daily Stockholm newspaper, and as far as I know, everything is working fine with the 70mm film projection. So, we are looking forward very much to this special event! The last time, when "Interstellar" was shown in 70mm, we Swedes had to go to Copenhagen (in neighbouring Denmark) to see it, which I couldn't afford. It's about 800 kms away.
---- to be continued ........
All the best from Sweden,
Bengt Fredén :-)
prof. photographer & enthusiast film maker (Super-8 and 16mm)
A lot of people drove up to 300 KM to see the film in 70MM
|The two shows went very well. It was a fantastic experience. On the technical side, except the missing of screen masking impossible to install on a 20 meters screen for only two shows, the projections were near perfect.|
A lot of people drove up to 300 KM to see the film in 70MM and at the end of the first act they applauded and again at the end of the film. We had a lot of thanks and congratulations for the quality of the picture and the experience in general.
I believe Quentin Tarantino won his battle, the public likes and appreciates a well done argentic projection especially in "Glorious 70MM".
Bruno Lemonnier, Managing director and projectionist @ Apollo Ciné 8
I admire the devotion to film and 70mm in particular
|I'm not particularly enamored of Tarantino as a director. I thought his first few films (Reservoir Dogs, Pulp Fiction, and Jackie Brown) were stylish and interesting, as was Inglourious Basterds, but the Kill Bill films were horrible, and I didn't see Django Unchained.|
WRT artistic achievement, The Hateful Eight is far from his best film, IMO. I didn't go in expecting to enjoy it much, and it lived up to those expectations. (I mainly went to see 70mm in a multiplex for probably the last time.) The story mainly seemed to be a setup for a bunch of bloody shootouts. In that sense, it was extremely predictable that everyone dies at the end. Reservoir Dogs did it better.
I admire the devotion to film and 70mm in particular, but Quentin, buddy, if you're going to go to all the trouble of shooting and showing 70mm, go out and get some grand vistas and tell an epic story, like Lean did for Lawrence of Arabia, Kubrick did with 2001, and Wyler did in Ben Hur. The snowy scenes in The Hateful Eight are about the worst possible use of a large format negative, because there is so little visible detail. Only a couple of sunny shots of mountains began to use the format well. The interiors had nice contrast, but 35mm or today's digital cameras could probably done just about as well.
It's really a shame that what is almost certainly the last film to have its initial release in 70mm was such a poor example of the format's capabilities. It could have been an opportunity to show the world what it was losing.
James Hyder, Editor/Publisher, Las Vegas, NV 89129, USA
Story was good and I didn’t notice the 3 hour running time
|I almost missed going to see this in 70mm. I had a day off and time to go, so I drove 60 miles into Vancouver to see "The Hateful 8" playing at the Park Theater in downtown Vancouver. This was an old old theater that has been in the city for 3/4s of a century. They had the 70mm projector installed just for this showing and I confirmed it will be removed after the last show on the 7th. About 50 people showed up to see this in its second week of showing. I went to a 1:30PM show. I looked back at the projection booth and could see the film projector in place with the 70mm film loaded up.|
The show started. Some weaving of the frame at the beginning of the film, which later stabilized. I could tell this was a film print being shown. Its been so long since I’ve now seen a film print in a theater, it was great to see this again. There were mainy grainy shots at the beginning of the movie, I wondered why. I don’t recall 70mm looking this grainy. Later in the film the image smoothed out, especially on interior shots. Image on screen was crisp with good colors. This was a very difficult movie to film because of the extreme range between the white snow and dark interiors- some in the same shots. Samuel’s face in this movie looked stunning. I could see the pours on his face and his dark skin glowed on screen. Since most of the film was in interiors, shooting in 65mm looked great, if not necessarily needed. They made good use of space in the wide image compositions. This theater’s screen was of moderate size, so I sat closer to get a better look at the image.
Story was good and I didn’t notice the 3 hour running time.
I have my own script I’d love to get done on 65mm and seeing this film backs up that interiors do benefit from larger gauge shooting. Love 70mm film projection and go whenever I can, which today is hard, since every major theater in B.C. has converted to digital by now.
Scott Pickering, B.C. Canada
The only 70mm roadshow presentation south of Chicago
|Ticket for AMC-Lowes Crestwood Theater, Crestwood Illinois. |
Image by James Renderman
Watched The Hateful Eight at the AMC-Lowes Crestwood Theater in Crestwood Illinois. This was the only 70mm roadshow presentation south of Chicago's downtown. The image was projected on a flat screen. The first 3 to 5 minutes after the overture, the film appeared unstable and the projection shaky, limited to the bottom 1/3 of the image. I was seated near the lower section, near the center of the theater and the and the print was clear, free of dust and scratches. I give credit to the projectionist who kept the image in focus, and in frame. The theater sound was clear, and followed the images and action.
Overall presentation: 3 stars out of 4.
Film: 3.5 out of 4.
James Renderman, Chicago, USA
Bring some showmanship back
|Saw this great 70mm film yesterday Dec 30 at the Century 9 San Francisco CA in cinema #5 on a semi curved screen. Good in focus print with no splices on lines. I loved the stereo surround split surround track with all the cold wind effects. A fun movie with many twist and turns. I have a suggestion for QT on his next 70mm roadshow, try to put a real shot of curtains that open and close at the start of the movie over the overture notice, just leave the overture sign up for a few seconds then open the fake curtains to the main feature, close on the intermission sign and keep up instead of black film leader for the 12 minutes of intermission then open for the second part of the film and close after the credits for 5 minutes as people leave the theatre. Bring some showmanship back for theatres that don't have curtains these days. |
Terry Monohan, San Francisco CA
The film would go in and out of focus in certain areas
|As a huge movie buff I couldn't wait to see Quentin Tarantino's new movie when I found out it was going to be released at theaters in 70mm format. I saw this film at AMC Forum 30 in Sterling Heights, MI on Dec 30 and It was disappointing because during the whole movie, the film would go in and out of focus in certain areas. At the end of the movie, theater workers handed out vouchers for a free movie because of the inconvenience. I still enjoyed the movie and would like to see it again at a theater that doesn't have any issues.|
Eric Siegfried, USA
The Weinstein Company should be commended for supporting Tarantino's vision for 70mm presentations
|Century 7OMM machine at the AMC-Lowes Crestwood Theater, Crestwood Illinois. Image by James Renderman|
With high anticipation, I attended a nearly sold old show for "The Hateful Eight" at the Edwards in Long Beach, CA. The lobby was completely crowded for "Star Wars: The Force Awakens." Our line was quite long for "The Hateful Eight." I figured that this theater, with its 26 screens, had at least four large auditoriums with 500 seats each. The ushers let us down the long hall to our auditorium. We walked into the auditorium only to discover that it was very small. Maybe 200 seats. The screen was typical of Edwards with a 1.85:1 aspect ratio. I imagine for 'scope films, they bring down the masking. The lights faded and the overture began. I loved Ennio Morricone's score right away. But something more was amiss.
The glorious Ultra Panavision 70 film was projected on the very lower half of the tiny Long Beach screen! No masking. No attempt to try and fill as much of the theater screen as possible. No attempt to show the film in the middle part of the screen. The width of the Ultra Panavision 70 frame on a screen this size looked like a huge panoramic ribbon rather than a sprawling eye engulfing extravaganza! This screening was not the fault of Tarantino's decision to shoot in 65mm. It was not the fault of 70mm presentation.
The Weinstein Company should be commended for supporting Tarantino's vision for 70mm presentations. But this was clearly not planned well. There are plenty of very big screen theaters in the Los Angeles area that could screen this film correctly! The Egyptian. The Aero. The Linwood Dunn. The Academy. The Billy Wilder. Lakewood Center.
As for Edwards (which is owned by Regal Cinemas), I can't fathom why they put "The Hateful Eight" in such a small theater. I read that even at the Irvine Spectrum 21, the film was screened in a small auditorium. That complex has four large auditoriums with big screens. I realize that "Star Wars" monopolized most of the big theaters in the Los Angeles area. I wish this roll out of the "return to 70mm" was better planned. Perhaps after "Star Wars" mania dies down, The Weinstein Company will show "The Hateful Eight" in bigger theaters the proper way.
I'm not a big Tarantino fan, but I do respect his desire to roadshow "The Hateful Eight." He was interviewed with Paul Thomas Anderson recently about their love of 70mm. It reminded me of my love of the format. When done correctly, it's truly beautiful. "The Hateful Eight" was traditional Tarantino. Funny. Downright violent. For a three hour film, it paced well. I didn't think the director could top the "ultra violence," but he did. I just wish I could've been repulsed by the bloodshed on a bigger screen.
Bill Kallay, Hollywood, CA, USA
It was fun seeing it on 70mm film, it’s not a film that I’m going to want to see again
|Loew’s E-Walk 42nd Street/8th Avenue NYC. Dec-29-2015 3:55 PM show Screen #12 (about 490 seats, 62’ screen). Theatre about 3/4 full, impressive for a weekday afternoon. Programs were handed out as you entered and once that employee left, additional copies were on a table in the theatre.|
1st 10 minutes (up until the scene where the stagecoach moved again) had a fair amount of specks and dirt. Jump was also detectable during the opening credits. Outdoor scenes were not as sharp as I would have expected them to be and grain was visible. After the first 10 minutes, dirt was minimal. There were no scratches. Imagery inside the haberdashery was quite good and some of the closeups looked great. Sound quality was excellent with great balance, definition and separation. Lots of surround activity.
There was no masking at the top and bottom. It didn’t look to me like an Ultra-Panavision gate was cut as the top and bottom edges looked fuzzy.
Image was definitely hotter in the middle than the sides. Overall, the image was dimmer than what I’ve come to expect from a quality digital 2D presentation, especially a Dolby Vision digital presentation. Color was excellent on the indoor scenes.
Frankly, aside from the 2.76:1 aspect ratio, I’m not sure anyone in the audience could have perceived a difference if this had been projected on 35mm film instead of 70mm film. And if they had the chance to blind A-B a comparison with a quality digital presentation, I suspect they would have preferred the digital.
When I was a kid and saw roadshows presentations of “West Side Story”, “How The West Was Won”, “It’s A Mad, Mad, Mad, Mad World” and “Lawrence of Arabia”, I thought “holy crap!” They were pristine and extremely impressive. This film presentation didn’t leave that impression, but maybe my perceptions of those 1960s films are through the rose-colored glasses of my memory.
As for the film itself, it’s a very bloody, violent version of an Agatha Christie mystery, although there’s one very major plot point that didn’t make all that much sense to me. While it held my interest and it was fun seeing it on 70mm film, it’s not a film that I’m going to want to see again.
Martin Brooks, Forest Hills, NY, USA
All in all a fantastic experience
|I drove the 100km from my home in Gacé to the French town of Elbeuf the home of The Grand Mercure cinema with a great deal of excitement.|
Having had the pleasure of seeing "Interstellar" at this venue in November 2014, I was confident there would be no question of experiencing any of the technical issues some have voiced in reviews of other screenings.
This cinema is both owned and operated by people who are passionate about film and dedicated to creating a true cinematic experience from whatever medium they are presenting.
When I arrived the queue was already forming and I joined the tail with my reservation in hand. Mr. Richard Patry the president and founder of the NOE cinema group was in the foyer welcoming guests and was deservedly excited to once again be presenting a 70mm avant premiere.
Swapping the QR code on my phone for the ticket I moved to the concession and bought popcorn and a drink, now I was ready! There was no evidence of the souvenir programme; I am guessing these did not make it to France possibly because of the need of translation. There was however a nice little touch, when handing the ticket to the usher he gave back the stub along with a 3 frame piece of 70mm film… it’s been too long since I handled this!
|Entering the cinema I could see immediately that the open screen had been correctly masked for Ultra Panavision almost all the seats had been taken and I found myself in the middle of the 2nd row from the front, not something I would normally do but I thought what the hell… I will be totally immersed!|
Mr. Patry took the stage to introduce the show, after this and following straight on from the NOE Cinema intro presented digitally, the lights dimmed the music stuck up and the full width of the screen was filled with the Overture image.
This still picture gave plenty of time to scrutinise the image quality, which was very steady, sharp, evenly lit and filled the screen perfectly. The true glory of 70mm was put to good use right from the opening shots the expanse of the landscape was truly breathtaking but the big close ups where even more impressive I'm sure I could have counted every strand of Mr. Jackson’s facial hair.
|As well as providing incredible picture detail these close ups also made it easy to see that the DATASAT soundtrack was perfectly synchronized.|
For me the intermission came too soon but it was great to see the vendors having the unusual opportunity to sell their refreshments in the auditorium, I haven't seen that in a very long time.
In what seemed like no time I heard the play in music start, the lights dimmed and the screen lit up again with the 2nd half.
All in all a fantastic experience which really bodes well for the format and I cant wait for my next 70mm experience which, from what I have just read in these pages could well be “Dunkirk” from Christopher Nolan.
Graeme Brown, Gacé, France
If you have the chance to view it this way then do
|Here is a picture of the program from the show|
"The Hateful Eight" - The latest western from Quentin Tarantino is fascinating, suspenseful, an experience, and a drag at the same time. The movie is like a western "10 little Indians" and it is a work of art from the skilled filmmaker but not his finest. The cast brings their A-Game which includes Samuel L Jackson, Kurt Russell, Jennifer Jason Leigh, Walton Goggins and scored by the legendary Ennio Morricone, it is a sight to behold. It's also about half hour to an hour too long. Bloated to a 3+ hour runtime which may have been done to provide moviegoers with the classic film going experience. The first half consist literally of people sitting around a fire and talking. The story does pick up in the 2nd half when it's puts into gear. QT fans will definitely be pleased but he has made better.
"But Adan, should I see it in 70mm?" "Well, I am glad you asked." If you have the chance to view it this way then do. The digital release will only be slightly shorter so you might as well see his full vision complete with overture, intermission, and collectible program -
Adan Rios, USA 10. Sec review
We applaud Tarantino and the Weinstein Company and Boston Light for pulling it all off
|We saw it at Harkins Theatres in Scottsdale Arizona. We had ZERO projection or audio difficulties. The staff was really on their game, and we have ZERO complaints. (Well, we have one - their largest screen was showing "Star Wars" due to contractual obligations)|
The curtains masked the screen perfectly, the projector was visible from the seats through the window, as was the film threading from the platter. My girlfriend talked about that for about an hour. She was so thrilled to see it. Her adult son was too busy checking out the program to really notice. :)
We applaud Tarantino and the Weinstein Company and Boston Light for pulling it all off. #AmazingEndeavour Kudos to everyone involved from start to finish.
Jim Petrosino, USA
When they passed out the programs, I had chills
|I saw it at The Harkins Scottsdale 101 theater in Phoenix. Harkins always knows how to present a movie and this was no exception. They had their managers standing outside the theater handing out the programs, and making sure everyone had a seat because it was sold out. When I looked up at the booth and saw the projector, I had chills. When they passed out the programs, I had chills. I have never experienced the road show, and I am fans of the great epics, and now I am going to see one with a great director. The projection was superb. I forgot how great it was to see film, and in 70mm Ultra Panavison 70. The film itself is another great one by QT. He has bragging rights. He pulled something off that other directors have wanted to do but cried defeat before even trying.|
Brian Husar, Phoenix AZ.
Let the 70mm revival continue!
|Towncenter 20 theater sign, proudly proclaiming this as being a 70mm exhibition. Image by Brian Rose|
Earlier today I had the pleasure of seeing "The Hateful 8" in 70mm at the Towncenter 20 in Leawood. I've attached images of my ticket stub, and the theater sign, both of which proudly proclaim this as being a 70mm exhibition.
I am happy to report that the exhibition of this print was very, very good, avoiding many of the problems others have described. The image was rock steady, the focus consistent throughout. Only one or two speckles were noted, mainly during the intermission which was blank leader without a reel change. The audience enjoyed the show, and all were very curious about the format, studying the complimentary programmes handed out which explained the 70mm format they were viewing.
|Towncenter 20 ticket stub, proudly proclaiming this as being a 70mm exhibition. Image by Brian Rose|
The only drawbacks were no ones fault really. It would've been nice if there was a curtain for the overture and intermission, but this I readily forgave as most theaters have abandoned this charming part of the presentation. Also the screen lacked the proper masking, so the ultra wide image played on an uncropped screen, with soft edges on top and bottom. After a few minutes I stopped noticing this and got into the film. It was hardly something that could be helped under the circumstances. Again, I forgave this fault, because what multiplex can be expected to mask for a 50 year old format?
My main takeaway, technically speaking, was that as much fun as it was to see the old Ultra Panavision revived, in practice there are a great many complications that have led to less than ideal presentations. In hindsight, I think the film would've been better served to have been shot in Super Panavision 70. Screens are better able to handle this format, while view can manage with the 2.76 ratio. A brave experiment, but I think in the future filmmakers will be better suited to shoot 2.20 65mm or VistaVision.
Still, it was a fantastic experience, a real joy, and the story was damned good. Let the 70mm revival continue!
Brian Rose, Kansas City, Missouri
Long Time in70mm.com reader, first time contributor!
That special experience you can’t get at home
|I convinced two old film fan friends to join me at the UA King Of Prussia Stadium 16 for a 70mm screenings on December 27. One friend has accompanied me to New York to see "The Wild Bunch" in 70mm back in 1995 and I saw "Alien" and the Arclight Cinerama Dome in 2003 so we had some 70mm experience.|
I read rumbles about botched screenings the day before but a telephone call claimed everything was working Sunday. As we waited to enter the theater it was clear that everybody was there for the 70mm experience. The theater was sold out and quiet as the movie opened. The audience laughed and gasped right on cue. The 70mm presentation may be the most expensive PR stunt, but it served its purpose which was to get us back in the theater for that special experience you can’t get at home.
Cheers and thank you for keeping the flame lit, Michael
Michael Moskovitz, Designer, Philadelphia, PA, USA
We loved it!
|I saw it with my wife at the theater in Irvine, CA, Christmas eve. We loved it! The theater did not seem to care about the Roadshow, the programs were left on a table by the entrance in what I assume was the cardboard box they came in. There were absolutely no technical issues. The sound was almost too loud, which was perfect, because I don't want to hear people whispering to each other.|
I think the Ultra Panavision format was used brilliantly, and never felt like there was uselessly empty space in any of the compositions. I'm sure it's harder than it looks. I've seen regular 4K digital projection, but I haven't seen Dolby's new hotness that's driven by a bank of lasers, so I can't compare it. I can say that 70mm film projection still has a place in today's theaters though. I'll be looking for more 70mm film showings in the future!
Samuel Harvey, SoCal, USA
The Ultra Panavision 70 logo almost brought tears to my eyes!!!
|The Grand Lake in Oakland's DP70 and "Hateful Eight" 7OMM print on the platter, photographed by Eric Martin|
...wonderful to see a 70mm roadshow again, after so many years of drought! The Ultra Panavision 70 logo almost brought tears to my eyes!!!
Presentation (at the Grand Lake in Oakland) was excellent. And......I liked the movie! Thank you, Mr. Tarantino, for bringing back this awesome experience!
Emlyn, San Francisco, USA
People got a rise out of the Cinerama logo
|I was at the first performance Christmas Eve 12/24 at the AMC Elmwood Palace 20. Both shows were sold out. The full screen width was used, but not the height, a slight curve. This was the regular screen for that auditorium. Show started on time, one drop out on audio 2 seconds, then all audio normal. The left side of screen had a few pieces of dust about 1/3 from bottom. I do not know if it was dust or print, the dust did not move. Stayed there for entire performance. Century JJ are not DP70. I do not know if the blower was attached to the gate, as utilized for Cinerama JJ. |
I ran every UPV70 film (except H8) - using JJ and jet/vent-arc. I never had the corners of the Cinerama screen with light loss. Nor any DP70/AA-II with Futura II. The dark corners and side light fall off bothered the hell out of me - mostly because I could not correct it. It looked as though the spot was too far from reflector/ set for 35mm without a beam spreader. *)
The audience response was positive, and people applauded at the fade to credits. The physical condition of the print: pristine - I will be back to see this with a friend in a few days. The story moved and 183 minutes were over too fast. Excellent in every aspect, technical to actors.
I wore my Todd-AO logo from "Oklahoma!" t-shirt. I was seated next to the grandson of the former owner of Kenilworth theater - they have the Christie 35/70 in storage. I was with 2 friends - one I trained, the second last saw 70mm from the projection room when I ran "This Is Cinerama" in 70mm - both instantly knew the image quality.
People got a rise out of the Cinerama logo. All in all, Boston Light and Sound did the art of cinema a great service. I am very impressed with their expertise. 70mm done right- on their machines - the third party machines = what not to do. Both Chapin and Larry deserve a standing ovation.
John Carver, New Orleans, USA
*) Thank you for this. About 80% of the screens are silver. That is the hot spot- corner roll off issue. Chapin Cutler, Boston, Light & Sound
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