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The Hateful Eight - in 65mm?? |
Read more at in70mm.com The 70mm Newsletter
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Written and collected by: Thomas Hauerslev |
Date:
31.07.2014.
Updated
28-07-24 |
2015.07.12
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
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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
Internet link:
The Hateful 8
"The Hateful Eight" trailer
Wall Street Journal
deadline.com
hollywoodreporter.com
slashfilm.com
blogs.indiewire.com
cinematography.com
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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.
Dino
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deadline.com
variety.com
deadline.com
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....
12.06.2015
"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.
04.02.2015
New anamorphic x1,25 projection lenses to be produced.
More than 100 70mm prints to be made - largest 70mm release since
"Far and Away".
27.01.2015
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.
Don W.
30.09.2014
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
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03.09.2014
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
30.07.2014
Hi Thomas,
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
Regards
Paul Shackleton
30.07.2014
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!
Morgan Montague
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Ultra Panavision 70
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From
deadline.com
“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.”
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Ultra Panavision 70 -
almost like a real story
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Wanted: 70mm Projectors
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28.02.2015
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.....
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From Panavision's Facebook page
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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.
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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
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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.
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In Ultra Panavision 70:
An Homage To D. W. Griffith
"As Good as it Gets"-
Demonstrates power of large format
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"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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28-07-24 |
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