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What did you think about the 7OMM Road Show Version of
The Hateful Eight? |
Read more at in70mm.com The 70mm Newsletter
|
Written by: - |
Date:
26.12.2015
Updated
28-07-24 |
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.
From
reddit.com:
• "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."
From
amctheatres.com:
•
"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.
Cheers Thomas
in70mm.com
|
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
Internet link:
reddit.com
Tower Theatre, Sacramento:
newscastic.com
youtube.com
October Cinema, Moscow
youtube.com
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“Will Oklahoma
get it in 70?”
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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.
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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.
Film: A+
Presentation: A+
Print: A+
Sound: A+
Audience: A+
Program: A+
Overall: A+
Chris Bodily
Norman, OK, USA
05.08.2016
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70mm is for Epics,
Not Epic Failures!
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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
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The screen was tiny
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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.
Best regards,
Kenny Cagle, Hot
Springs, AR
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"The Hateful Eight"
in New York
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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
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"The Hateful Eight"
in 70mm reminds me
of how films used to
be
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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.
Peter Dixon
Melbourne, Australia
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Overall that was THE
movie going
experience
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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
15.01.2016
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I loved the film and
the roadshow
presentation
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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
15.01.2016
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Presentation Counts
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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
15.01.2016
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Performances were
highly effective
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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
14.01.2016
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Simply great!
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Simply great!
Rigoletto,
Stockholm, Sweden
Göran Falkmer,
Stockholm, Sweden
12.01.2016
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I admire Mr.
Tarentino for
attempting this
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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.
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It IS good, it IS
violent, it's
incredibly well
written
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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
10.01.2015
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I was very impressed
with the
Ultra Panavision 70
picture
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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
09.01.2015
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I think I stay with
my memories of how
to put on a show!
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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.
09.01.2016
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A proper roadshow
presentation
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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
08.01.2016
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Fantastic
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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
07.01.2016
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I liked the shape of
the thing
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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
wahlner.com
06.01.2016
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I liked the roadshow
experience better
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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
06.01.2016
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I was most impressed by the incredible detail
provided in the interior shots
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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.
Will Morrow
Fairplay, CO 80440, USA
05.01.2016
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I discovered that there would be showings in
Stockholm
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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)
04.01.2016
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A lot of people drove up to 300 KM to see the film
in 70MM
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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".
Sincerely,
Bruno Lemonnier,
Managing director and projectionist @
Apollo Ciné 8
ROCHEFORT, FRANCE
05.01.2016
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I admire the devotion to film and 70mm in
particular
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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
LFexaminer.com
04.01.2016
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Story was good and I didn’t notice the 3 hour
running time
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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
04.01.2016
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The only 70mm roadshow presentation south of
Chicago
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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.
Ratings:
Overall presentation: 3 stars out of 4.
Film: 3.5 out of 4.
James Renderman, Chicago, USA
01.01.2016
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Bring some showmanship back
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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
31.12.2015
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The film would go in and out of focus in certain
areas
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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
30.12.2015
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The Weinstein Company should be commended for
supporting Tarantino's vision for 70mm presentations
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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.
Best regards,
Bill Kallay, Hollywood, CA, USA
30.12.2015
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It was fun seeing it on 70mm film, it’s not a film
that I’m going to want to see again
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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
29.12.2015
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All in all a fantastic experience
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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!
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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.
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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
29.12.2015
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If you have the chance to view it this way then do
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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
29.12.2015
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We applaud Tarantino and the Weinstein Company and
Boston Light for pulling it all off
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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
28.12.2015
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When they passed out the programs, I had chills
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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.
28.12.2015
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Let the 70mm revival continue!
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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.
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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!
Best Wishes,
Brian Rose, Kansas City, Missouri
Long Time in70mm.com reader, first time contributor!
29.12.2015
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That special experience you can’t get at home
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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
28.12.2015
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We loved it!
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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
27.12.2015
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The Ultra Panavision 70 logo almost brought tears
to my eyes!!!
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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
27.12.2015
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People got a rise out of the Cinerama logo
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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
25.12.2015
*) 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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28-07-24 |
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