planomateo
Member
Love me some Tarantino movies, bummed Christopher Waltz isn't in this. Need to figure out where I can see this in 70mm too.
| TV/MOVIES/MUSIC The H8ful Eight
- Thread starter planomateo
- Start date
You talking about the Grindhouse flicks they did?
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Looks awesome.
Looks like Tim Roth is in it. He's great. One of my and my wife's favorite shows recently was Lie to Me, with him as the lead.
First Tarantino flick he's been in, in quite some time.
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Looks like Tim Roth is in it. He's great. One of my and my wife's favorite shows recently was Lie to Me, with him as the lead.
First Tarantino flick he's been in, in quite some time.
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He's in a few of them... but since Tarantino doest put them out year after year it seems like a long time.
And yes, Grindhouse was part of the Rodriguez and Tarantino stuff, but also Dusk Til Dawn.... Tarantino did the first half then Rod took over.... you can tell when Rod took over because the movie went from good to what the fuck
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Let's see... I've seen nearly every Tarantino flick out there. Starting with most recent, that I don't remember seeing Roth in...
Django
Inglorious Basterds
Kill Bill(s)
True Romance
The last one I remember him in is Pulp Fiction, and of course, Reservoir Dogs.
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Right after posting that, I checked his IMDB page, and indeed, Pulp Fiction was the last Tarantino movie he was in, unless Tarantino did a few more since that I don't recognize.
ETA: Just checked Q.T.'s IMDB page, and Jackie Brown is the only one I haven't seen. But, Roth's not in it.
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ETA: Just checked Q.T.'s IMDB page, and Jackie Brown is the only one I haven't seen. But, Roth's not in it.
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The only place I know of any where near here was a drive in, in Gu-Win, Al. And they just switched to digital.
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That's cool with all your checking and stuff SLO... a real fan would just know which films Tarantino has done....
But hey, if you have to use google, you would realize Roth was also in Four Rooms, in which Tarantino was a director.
Noob....
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But hey, if you have to use google, you would realize Roth was also in Four Rooms, in which Tarantino was a director.
Noob....
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PhillyGirl
Member
planomateo
Member
List of 70mm screens for the flick, not sure how accurate this is, article was updated today - "The Hateful Eight" 70mm Theatre List and Projection Details
Alabama
Hoover -- Carmike Patton Creek 15 + IMAX
Georgia
Atlanta -- Regal Atlantic Station 18 IMAX & RPX
Evanston -- Century 12 Evanston/CineArts 6 and XD
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“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.”
“The 70 is the 70,” he said. “You’ve paid the money. You’ve bought your ticket. So you’re there. I’ve got you. But 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. Or you’re at Hot Dog on a Stick and you just want to catch a movie.”
The sequences in question play in “big, long, cool, unblinking takes” in the 70mm version, Tarantino said. “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.”
Alabama
Hoover -- Carmike Patton Creek 15 + IMAX
Georgia
Atlanta -- Regal Atlantic Station 18 IMAX & RPX
Evanston -- Century 12 Evanston/CineArts 6 and XD
------
“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.”
“The 70 is the 70,” he said. “You’ve paid the money. You’ve bought your ticket. So you’re there. I’ve got you. But 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. Or you’re at Hot Dog on a Stick and you just want to catch a movie.”
The sequences in question play in “big, long, cool, unblinking takes” in the 70mm version, Tarantino said. “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.”
I wish could handle the I Max and 3D I know my Grandson would love it that way. The meds I take would allow me to watch it that way. I love taking him to watch his type of show. He got home and he the type he can't hope nothing back. Boy he told his mom and sister, and cousin and what happen. Boy can't hold a secret.
planomateo
Member
Good write up on 70mm, luckily I have one 20 mins south of me. Got two tickets for Saturday morning, they're definitely charging a premium for the 70mm $32 total.
The Hateful Eight Needs To Be Seen In 70mm, Despite The Risks
The Hateful Eight Needs To Be Seen In 70mm, Despite The Risks
Was it a site that its name rhymes with LutPocker?
If so, that's where I saw it. Pretty damn good. Really fucked up. Like, more fucked up than what Tarantino has traditionally been known for.
planomateo
Member
Great movie and I absolutely loved the dialogue. Glad I got to see it in 70mm. There was a 13 minute intermission about half way into the movie, they handed out these really cool booklet for the 70mm showings.
http://www.nytimes.com/2015/11/12/m...surrects-nearly-obsolete-technology.html?_r=1
LOS ANGELES — When Quentin Tarantino’s “The Hateful Eight” is released in a special roadshow version (with overture, intermission and additional footage) on Dec. 25, it will represent a feat worthy of the heist in the director’s “Jackie Brown.”
The film is scheduled to open on 96 screens in the United States and four in Canada, all in 70-millimeter projection, a premium format associated with extravaganzas of the 1950s and 1960s.
Yet from a theatrical standpoint, the technology is nearly obsolete. Last year, “Interstellar” opened in 70 millimeter at only 11 comparable locations. There were only 16 in 2012 for “The Master,” which renewed interested in the format. No film has opened with 100 70-millimeter prints since 1992. According to the National Association of Theater Owners, 97 percent of the 40,000 screens in the United States now use digital projection.
Over a period of a year and a half, the Weinstein Company, which will distribute the film, arranged for old projectors to be procured, purchased and refurbished and new lenses to be made for theaters.
“The charge that we got from Weinstein was that we needed to be prepared to do 100 screens,” said Chapin Cutler, a founder of Boston Light & Sound, the company hired to find and assemble the projectors.
Mr. Cutler said that the hunt began in January and continued through September. (The Weinstein Company plans to release a full list of theaters Thursday or Friday. The film is also currently facing calls for a police boycott because of Mr. Tarantino’s recent remarks about police violence.) Mr. Cutler discovered some worn-out machines in theaters and bought others from service companies. Some projectors dated to the 1950s. Gears, shafts, bearings and rollers had to be replaced, or in some cases the pieces had to be manufactured anew, based on original blueprints.
“We looked around for anybody who was selling them,” said Erik Lomis, Weinstein’s president of theatrical distribution and home entertainment. “We tried to keep it as quiet as possible as to why. Eventually word leaked out why we were looking for them, and then the price went up.”
Both Mr. Lomis and Mr. Cutler declined to comment on what the undertaking cost. Justin Dennis, the principal engineer at Kinora, a Chicago company that specializes in movie theater installations, noted the difficulty of setting a price for equipment that is no longer manufactured. He hazarded that he might charge $60,000 to $80,000 per screen to get the system up and running, not counting any costs for labor at the theater.
“We’ve been accused of actually cornering the market on 70-millimeter projectors,” Mr. Cutler said. “It’s probably pretty true. There probably aren’t too many out there that we didn’t find.” Most of them were destroyed, he added, during the conversion to digital projection.
“The Hateful Eight” is not just any 70-millimeter movie: It is only the 10th feature to make full use of shooting in Ultra Panavision, an extra-wide format, but it will actually have the technology’s largest opening in terms of screen numbers. Dan Sasaki, vice president of optical engineering at Panavision, said his company manufactured “basically a lens a day” during the production to retrofit its long-dormant technology.
The lenses produce an extremely wide image. Think of midcentury films like “Ben-Hur” or “It’s a Mad, Mad, Mad, Mad World.” Before “The Hateful Eight,” the last Ultra Panavision feature was “Khartoum” in 1966.
Ultra Panavision is perhaps best-known among cinephiles for its unusual dimensions: It has an aspect ratio of 2.76:1, which means that the image has 2.76 feet of width for every foot of height. (By contrast, most American movies are projected at 1.85:1 or 2.39:1.) Mr. Cutler said there would be space at the top and bottom of most of the screens that show “The Hateful Eight.”
Ultra Panavision also produces subtle aesthetic effects, unusual even to viewers familiar with 70 millimeter. The lens “for lack of a better word is a softer lens,” Mr. Sasaki said. During a screening of test footage for the film, he pointed out the impressionistic qualities of the focus and explained how the image catered to our eyes’ natural depth cues.
With projectors found and lenses made, the next hurdle is labor: Most theaters no longer have projectionists with a working knowledge of these machines. Mr. Cutler’s company will provide training for each site. “One way or the other, we will fulfill this need,” he said. “It will be a combination of house staff that we can train, professional projectionists that we can bring in, projectionists that we can find locally, and potentially some technical staff that we’ll bring in.” Every theater showing the film will get a spare set of belts, fuses and light bulbs, and instructions. Mr. Cutler’s staff will also be standing by for calls.
One consequence of the acquisition campaign is that the Weinstein Company is now probably the largest owner of 70-millimeter projectors in the country, with 120 complete systems. But the installations for “The Hateful Eight” are temporary. When the movie expands its release in January, the added theaters will mostly use digital projection, Mr. Lomis said, although some of the 70-millimeter sites may continue their runs.
“I don’t think this would be the time to comment on what we’re going to do with the equipment afterwards,” he said. “Certainly we would be listening to offers.”
Such offers may not be entirely far-fetched. Mr. Sasaki noted a quiet uptick in interest in shooting on large-format celluloid in the last five years. “Oddly enough, there’s been this resurgence,” he said, pointing to “Jurassic World,” which used 65-millimeter film in certain shots.
For Mr. Sasaki, the possibilities are gratifying. “What Quentin Tarantino did is amazing,” he said. “He built up this infrastructure which is going to open up the floodgates for potential use.”
http://www.nytimes.com/2015/11/12/m...surrects-nearly-obsolete-technology.html?_r=1
LOS ANGELES — When Quentin Tarantino’s “The Hateful Eight” is released in a special roadshow version (with overture, intermission and additional footage) on Dec. 25, it will represent a feat worthy of the heist in the director’s “Jackie Brown.”
The film is scheduled to open on 96 screens in the United States and four in Canada, all in 70-millimeter projection, a premium format associated with extravaganzas of the 1950s and 1960s.
Yet from a theatrical standpoint, the technology is nearly obsolete. Last year, “Interstellar” opened in 70 millimeter at only 11 comparable locations. There were only 16 in 2012 for “The Master,” which renewed interested in the format. No film has opened with 100 70-millimeter prints since 1992. According to the National Association of Theater Owners, 97 percent of the 40,000 screens in the United States now use digital projection.
Over a period of a year and a half, the Weinstein Company, which will distribute the film, arranged for old projectors to be procured, purchased and refurbished and new lenses to be made for theaters.
“The charge that we got from Weinstein was that we needed to be prepared to do 100 screens,” said Chapin Cutler, a founder of Boston Light & Sound, the company hired to find and assemble the projectors.
Mr. Cutler said that the hunt began in January and continued through September. (The Weinstein Company plans to release a full list of theaters Thursday or Friday. The film is also currently facing calls for a police boycott because of Mr. Tarantino’s recent remarks about police violence.) Mr. Cutler discovered some worn-out machines in theaters and bought others from service companies. Some projectors dated to the 1950s. Gears, shafts, bearings and rollers had to be replaced, or in some cases the pieces had to be manufactured anew, based on original blueprints.
“We looked around for anybody who was selling them,” said Erik Lomis, Weinstein’s president of theatrical distribution and home entertainment. “We tried to keep it as quiet as possible as to why. Eventually word leaked out why we were looking for them, and then the price went up.”
Both Mr. Lomis and Mr. Cutler declined to comment on what the undertaking cost. Justin Dennis, the principal engineer at Kinora, a Chicago company that specializes in movie theater installations, noted the difficulty of setting a price for equipment that is no longer manufactured. He hazarded that he might charge $60,000 to $80,000 per screen to get the system up and running, not counting any costs for labor at the theater.
“We’ve been accused of actually cornering the market on 70-millimeter projectors,” Mr. Cutler said. “It’s probably pretty true. There probably aren’t too many out there that we didn’t find.” Most of them were destroyed, he added, during the conversion to digital projection.
“The Hateful Eight” is not just any 70-millimeter movie: It is only the 10th feature to make full use of shooting in Ultra Panavision, an extra-wide format, but it will actually have the technology’s largest opening in terms of screen numbers. Dan Sasaki, vice president of optical engineering at Panavision, said his company manufactured “basically a lens a day” during the production to retrofit its long-dormant technology.
The lenses produce an extremely wide image. Think of midcentury films like “Ben-Hur” or “It’s a Mad, Mad, Mad, Mad World.” Before “The Hateful Eight,” the last Ultra Panavision feature was “Khartoum” in 1966.
Ultra Panavision is perhaps best-known among cinephiles for its unusual dimensions: It has an aspect ratio of 2.76:1, which means that the image has 2.76 feet of width for every foot of height. (By contrast, most American movies are projected at 1.85:1 or 2.39:1.) Mr. Cutler said there would be space at the top and bottom of most of the screens that show “The Hateful Eight.”
Ultra Panavision also produces subtle aesthetic effects, unusual even to viewers familiar with 70 millimeter. The lens “for lack of a better word is a softer lens,” Mr. Sasaki said. During a screening of test footage for the film, he pointed out the impressionistic qualities of the focus and explained how the image catered to our eyes’ natural depth cues.
With projectors found and lenses made, the next hurdle is labor: Most theaters no longer have projectionists with a working knowledge of these machines. Mr. Cutler’s company will provide training for each site. “One way or the other, we will fulfill this need,” he said. “It will be a combination of house staff that we can train, professional projectionists that we can bring in, projectionists that we can find locally, and potentially some technical staff that we’ll bring in.” Every theater showing the film will get a spare set of belts, fuses and light bulbs, and instructions. Mr. Cutler’s staff will also be standing by for calls.
One consequence of the acquisition campaign is that the Weinstein Company is now probably the largest owner of 70-millimeter projectors in the country, with 120 complete systems. But the installations for “The Hateful Eight” are temporary. When the movie expands its release in January, the added theaters will mostly use digital projection, Mr. Lomis said, although some of the 70-millimeter sites may continue their runs.
“I don’t think this would be the time to comment on what we’re going to do with the equipment afterwards,” he said. “Certainly we would be listening to offers.”
Such offers may not be entirely far-fetched. Mr. Sasaki noted a quiet uptick in interest in shooting on large-format celluloid in the last five years. “Oddly enough, there’s been this resurgence,” he said, pointing to “Jurassic World,” which used 65-millimeter film in certain shots.
For Mr. Sasaki, the possibilities are gratifying. “What Quentin Tarantino did is amazing,” he said. “He built up this infrastructure which is going to open up the floodgates for potential use.”
Saw it last night.
Really good movie. Very funny.
Really good movie. Very funny.
rocknthefreeworld
Member
Tarantino said some stuff about cops so they are picketing his movie.
Retired police officers, supporters protest opening of movie at Rialto Theater | Villages-News.com
Retired police officers, supporters protest opening of movie at Rialto Theater | Villages-News.com
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