Hateful Eight

[Kenny N Suleimanagich]

Its a shame that most theaters putting in the 70mm projectors won't be keeping them there. Its the only way to make sure any future films have a chance to be seen in 70mm.

 

I’d say it’s still good to have the projectors in working order and crated, ready to ship and use, maintained by the team that restored them.

Edited December 2, 2015 by Kenny N Suleimanagich

[Bill DiPietra]

FYI...the theater list has been updated:

 

http://in70mm.com/news/2016/hateful_8/index.htm

 

• Knoxville, TN - Regal Pinnacle 18
• Atlanta, GA - Regal Atlantic Station 16

...and...

• New York - Village East Cinema

[Tyler Purcell]

In other good news... reviews are coming out about the film, so far it's all good!

[Jay Young]

 

FYI...the theater list has been updated:

 

http://in70mm.com/news/2016/hateful_8/index.htm

 

• Knoxville, TN - Regal Pinnacle 18
• Atlanta, GA - Regal Atlantic Station 16

 

 

YAYAYAYAAAAAAA.. Now I don't have to drive more than 4 hours to see it!

 

In other good news... reviews are coming out about the film, so far it's all good!

 

I always avoid reviews, as they are generally wrong in my opinion.

[Manu Delpech]

Disastrous 70 mm press projection at the Crest Theatre yesterday, saw that on Twitter, half the movie was projected out of focus, and they switched to the DCP for the second half :D Drew McWeeny wrote an article about it:

 

http://www.hitfix.com/motion-captured/what-one-bad-screening-of-the-hateful-eight-means-for-the-future-of-film

 

 

This is the kind of stuff that makes film look bad. Sigh. Like he says, Tarantino is going to go apesh*t when he finds out about it.

[Tyler Purcell]

poop, that's just wrong. Press screenings should be something very special and that one looks like it wasn't. I mean, they may have had a bad anamorphic decoder element, which is something I'm sure everyone is talking about right now. Personally, I feel it was a mistake to shoot in anamorphic because it adds one more variable to a system that really is barely working to begin with.

 

Heck, even when I saw Interstellar on 70 @ The Cinerama dome, during the 70mm trailer for Inherent Vice that preceded it, the projectionist was adjusting the loop, framing and focus for a good portion of the trailer to insure the feature (when it came on) would be perfect and ya know what, it was!

[Tyler Purcell]

Ohh and for anyone in LA...

 

LACMA is showing back to back roadshow 70mm version of It's a Mad Mad World and Hateful Eight, Sat Dec 19th starting at 1:30. This MAYBE the best place to see it because those guys show a lot of 70mm and they have a dedicated projector PLUS Mad Mad World is also in the same anamorphic format, so I'm sure it will be rock solid. Not the best theater in the world, I'll still be squeezing in an appointment to the Cinerama dome if they show it, but well worth the screening!

 

Tickets are on sale now http://www.lacma.org/event/mad-mad-mad-world

[JD Hartman]

Based on the link, there's not a single theater left in New Jersey with 70mm projection capabilities.

[Manu Delpech]

http://www.joblo.com/movie-news/exclusive-the-weinstein-company-making-changes-to-the-hateful-eight-release-123

 

 

Uh oh

 

"Your options to see THE HATEFUL EIGHT are about to open up just in time for the holidays, as The Weinstein Company is in the process of altering their rollout for Quentin Tarantino's latest film.

Confirmed by multiple sources, the studio is set to allow a small number of theaters in select cities to show a DCP (Digital Cinema Package) version of Tarantino's Road Show cut of THE HATEFUL EIGHTas of Christmas Day. As it previously stood, that edit of the film - complete with overture and intermission - was only going to be shown in 70mm, with digital presentations coming on-board in early-January for the wide release, but even that plan has been shifted now with the movie moving up on the calendar from its initial January 8 release date to January 1.

How exactly did we get here?

The Weinstein Company's goal was to have THE HATEFUL EIGHT in 100 theaters for Christmas Day, helping to retrofit a number of venues to be able to project 70mm as Tarantino intended. However, they also insisted that the theaters pick up the cost of the 70mm prints, which is rather expensive. As a result, many prospective locations balked at showing the film, believing that they'd end up in the red once the film's run was done, unable to sell enough tickets in their moderately-sized houses to justify the cost. A number were still game to press on, but TWC's target was effectively cut in half, with 70mm showings being cut down to about 50 theaters.

In the hopes of boosting those numbers up once again and making the film a bit more accessible to those who would like to see the Road Show cut, the DCP option surfaced. The number of locations that will be showing the film in that way is still being finalized, but what I'm hearing is that it'll be around 50 in order to hit that 100 theater total they'd wanted originally.

On January 1, the multiplex version will kick in, offering audiences the option to see a slightly different cutof the film, with no overture nor intermission in tow, thus shortening the exclusive window the first wave of theatergoers will have all to themselves.

This obviously wasn't the plan for Quentin Tarantino or The Weinstein Company, but once those 70mm venues didn't come close to matching what they had hoped for, a new strategy needed to be employed... and this is it. Although this has yet to be confirmed, we expect an announcement of this change very soon."

[David Cunningham]

Boooooo

[Satsuki Murashige]

Wow, that sucks. Now the theaters that did commit to 70mm and paid for prints on the understanding of having that exclusive two week run probably feel like they are getting shafted by Weinstein. They really poisoned the well there (and maybe their relationship with Tarantino as well) for any future roadshow and 70mm releases. I guess TWC was really counting on that holiday week box office in 100 theaters but it seems like a really short-sighted decision to me. Moving up the wide release date seems like a weak move on their part, like they don't really believe in their film or their previous release strategy and just want their money back as fast as possible.

 

Will definitely be going to see the 70mm version and encouraging others to do the same.

[Jay Young]

I understand that cinemas in general are a "hard to ROI business" and decisions have to be made by people who usually can't be bothered to see films in the first place. I understand that a 70mm print is expensive but I would FOR SURE if paying for the actual printing costs have to have a contract to keep the print forever in my cinema if I was actually not renting the print. That probably could have been worded better, but its early.

 

This just sounds like TWC wanting to make money.

[Manu Delpech]

And also offering the possibility to see the full Roadshow version in a DCP, because many won't be able to see it in 70 mm.

[Bill DiPietra]

Wow, that sucks. Now the theaters that did commit to 70mm and paid for prints on the understanding of having that exclusive two week run probably feel like they are getting shafted by Weinstein. They really poisoned the well there (and maybe their relationship with Tarantino as well) for any future roadshow and 70mm releases. I guess TWC was really counting on that holiday week box office in 100 theaters but it seems like a really short-sighted decision to me. Moving up the wide release date seems like a weak move on their part, like they don't really believe in their film or their previous release strategy and just want their money back as fast as possible.

 

Despite what the Weinsteins may say at a press conference, at the end of the day they're businessmen - not filmmakers.

[Rafael Rivera]

Just hoping to see it in 70mm anywhere, I have a feeling that this might be a once-in-a-lifetime event...

 

 

[Tyler Purcell]

The sad part in all of this is that they COULD have done a limited week-long public release THIS WEEK, one week PRIOR to Star Wars in New York and L.A.. That's all they need to qualify for the oscar's. Then, they could have put everything on snooze until AFTER the Star Wars mess and launched nationally sometime towards the end of January.

 

Everything about this launch reeks of horrible organization.

 

There was never a need to install 70mm projectors into cineplexes, that's a HUGE mistake. There are literally 100's of theaters across the country with 35/70 projectors already installed. The problem is that most theaters don't know how to work them. So it's really simple to send a person out, get things cleaned up and find someone passionate about doing a good job, to run the show.

 

During a classic roadshow, prints move from theater to theater. So why not do the same thing here? Run it a week in one city and then pack up the whole thing and move it to the next? This way you could have maybe a group of 4 - 6 people who drive in a truck from city to city with the film prints and deal with everything from re-calibrating the projectors to running the films for that week. Do a thursday - sunday run, get in the truck and drive monday-wednesday to the next destination. Spend the money on marketing, rather then striking prints. The rest of the theaters could run 35mm prints full-time if they have projectors.

 

So my proposal would be to start the full roadshow experience sometime mid-late January with permanent prints DONATED to art-houses in Los Angeles, New York and Chicago. The rest of the screenings in 70mm would be a traveling road show going from city to city. Heck, you could even bring complete 70mm projector heads and platter systems with the traveling show if necessary. They should have also struck a few 15/70 blow up prints for IMAX theaters who still run film. That would have solved some of the venue issues as well.

 

What a friggin' mess!

[Kenny N Suleimanagich]

Deadline cleared up some of those rumors.

 

http://deadline.com/2015/12/quentin-tarantino-the-hateful-eight-january-1-wide-opening-1201665316/

[Tyler Purcell]

Yea, IDK man... I think the rumors are probably correct, only time will tell.

[Jay Young]

The sad part in all of this is that they COULD have done a limited week-long public release THIS WEEK, one week PRIOR to Star Wars in New York and L.A.. That's all they need to qualify for the oscar's. Then, they could have put everything on snooze until AFTER the Star Wars mess and launched nationally sometime towards the end of January.

 

Everything about this launch reeks of horrible organization.

 

There was never a need to install 70mm projectors into cineplexes, that's a HUGE mistake. There are literally 100's of theaters across the country with 35/70 projectors already installed. The problem is that most theaters don't know how to work them. So it's really simple to send a person out, get things cleaned up and find someone passionate about doing a good job, to run the show.

 

During a classic roadshow, prints move from theater to theater. So why not do the same thing here? Run it a week in one city and then pack up the whole thing and move it to the next? This way you could have maybe a group of 4 - 6 people who drive in a truck from city to city with the film prints and deal with everything from re-calibrating the projectors to running the films for that week. Do a thursday - sunday run, get in the truck and drive monday-wednesday to the next destination. Spend the money on marketing, rather then striking prints. The rest of the theaters could run 35mm prints full-time if they have projectors.

 

So my proposal would be to start the full roadshow experience sometime mid-late January with permanent prints DONATED to art-houses in Los Angeles, New York and Chicago. The rest of the screenings in 70mm would be a traveling road show going from city to city. Heck, you could even bring complete 70mm projector heads and platter systems with the traveling show if necessary. They should have also struck a few 15/70 blow up prints for IMAX theaters who still run film. That would have solved some of the venue issues as well.

 

What a friggin' mess!

 

I totally agree, I thought a road show! was one in which you had to WAIT for the film to come to a city near you.

It's cool that he wanted to install 70mm projectors in a bunch of cinemas, but ultimately not as workable as a plain old roadshow version.

[Alexandros Angelopoulos Apostolos]

How will you guys know the projection will be in 70 mm?

[Mark Dunn]

How will you guys know the projection will be in 70 mm?

From the publicity to start with, or do you mean as opposed to 35mm? 70 is sharper and UP has a wider AR than 'scope, unless they letterbox the prints, in which case the masks would give it away.

Assuming the cinema got its screen masking right.

[Alexandros Angelopoulos Apostolos]

Oh, I meant that a particular cinema will be able to show it that way.

Edited December 14, 2015 by Alexandros Angelopoulos Apostolos

[Tyler Purcell]

Ok guys, release list is finally out!

 

http://tickets.thehatefuleight.com/showtimes

 

Type in your nearest city and see where it's showing. So far they got most of the coastal cities covered, which is great.

 

Remember, they are screening it a few places in digital, which is clearly marked as "2D" vs "70mm" in a drop down menu towards the top IF digital is available in your area.

[Jay Young]

Ok, I realise this is not a real road show, but all 70mm prints are only available on Christmas day?

Well, I guess that rules me out.

 

 

Actually I guess some cinemas are showing it only on the 25th and others are showing it on Saturday? Or perhaps some websites are not listed?

I would much rather drive to Knoxville than Atlanta, but at least Atlanta has a Saturday 26th showing listed.

[David Mullen ASC]

Looks like a 2-week block of 70mm screenings from the website link?