BMD wrote:Quentin Tarantino Finds The Future Of Theatrical Exhibition In The Past
Details on the extended HATEFUL EIGHT cut playing roadshows only.

Today Hollywood is under assault by piracy and shrinking home video windows. It's harder to get people out of their house to pay money for a movie, and so the studios are leaning on spectacle to convince people they need to see a movie opening weekend and not wait for Netflix. The rise of 3D and Dolby Atmos and other presentation improvements are intended to convince people to see films in theaters and not torrent them on their laptops. The problems facing exhibition seem unprecedented, but they're actually old hat. The industry had similar problems in the 1950s, as TV threatened theatrical bottom lines. The studios fought back in similar ways: they leaned on spectacle (the historical epic with casts of thousands!) and they leaned on presentation improvements (this is why we have widescreen movies, because TVs used to be square). They also utilized the roadshow presentation format, a way of turning a night at the movies into a night at the theater.

Quentin Tarantino is going back to the roadshow format with The Hateful Eight, and he has revealed that he has cut two different versions of his movie - one that is six minutes longer and has a 12 minute intermission for the roadshow presentation and one for general audiences. The differences won't just be additional scenes; the actual editing of the picture is different in the roadshow version.

Talking to Variety Tarantino said:

“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.”

That's exactly how the old roadshow presentations worked; films like Lawrence of Arabia would be longer and grander in their roadshow releases and then truncated for a general release.

The 70mm version will open in limited release two weeks before the shorter general audiences version. I hope that Tarantino includes other staples of the classic roadshow presentations: they had reserved seats and you got a souvenier program with your ticket. There would be an overture at the beginning as well. Traditionally there were few or no trailers or shorts - hopefully the roadshow Hateful Eight can play without ads up front.

This is an exciting way to make moviegoing an event. I think one of the reasons the Alamo Drafthouse is such a popular theater chain is that it makes moviegoing special - limited ads before films, strict no talking policy, a carefully curated pre-show that ties in to the feature, lobbies that have fun designs that aren't just about shilling the new releases. Going to an Alamo feels like going out, as opposed to the generally soulless experience of going to a generic multiplex. Tarantino understands this, understands that going to the movies can and should be exciting sometimes, should feel special and unique. Going to the movies shouldn't just feel like sitting in the noisy living room of someone with a bigger TV, it should feel like a night out on the town, an escape, a joy.

Of course not everyone will get to experience The Hateful Eight in its 70mm roadshow format. If you don't live in a town that supports this kind of event film presentation you should move now.

TC wrote:i'll be hitting a 70mm on the weekend.

TC wrote:i loved it.

Reverb wrote: Martin Responds to “Hateful Eight” Destruction of Antique Six String
Feb 04, 2016 by Chris McMahon

Reverb’s story “The Hateful Eight” Hates on Six Strings” contains information about the destruction of the priceless 145-years-old instrument that Dick Boak, director of the museum, archives and special projects for C.F. Martin & Co., says the company was not previously aware of.

In the film, John Ruth, played by Kurt Russell, grabs a guitar from Daisy Domergue, played by Jennifer Jason Leigh, and smashes it, eliciting horror. However, the smashed guitar was an authentic Martin from the 1870s, on loan from the Martin Guitar Museum, rather than one of several copies on hand for the shoot.

“We were informed that it was an accident on set,” Boak says. “We assumed that a scaffolding or something fell on it. We understand that things happen, but at the same time we can’t take this lightly. All this about the guitar being smashed being written into the script and that somebody just didn’t tell the actor, this is all new information to us. We didn’t know anything about the script or Kurt Russell not being told that it was a priceless, irreplaceable artifact from the Martin Museum.”

According to the film’s Academy Award-winning sound mixer Mark Ulano, as quoted in SSNInsider.com, the scene was to be shot up to a certain point, a cut made, the guitar swapped out for a double and for the double to be smashed. “Well, somehow that didn’t get communicated to Kurt, so when you see that happen on the frame, Jennifer’s reaction is genuine,” Ulano said, as quoted in SSNInsider.com.

Further, Boak says that Martin did not offer a replacement, as stated in the SSNInsider.com. "As a result of the incident, the company will no longer loan guitars to movies under any circumstances,” Boak says.

To add insult to injury, Boak says the guitar was insured for its purchase price, which doesn’t reflect its value as an irreplaceable museum artifact. Boak also says that Martin requested that the pieces be returned for a possible restoration, not for inclusion in the Martin Museum as stated in SSNInsider.com. “Upon inspection of the pieces, we realized that the guitar was beyond fixing,” Boak said. “It’s destroyed.”

“We want to make sure that people know that the incident was very distressing to us,” Boak says. “We can’t believe that it happened. I don’t think anything can really remedy this. We’ve been remunerated for the insurance value, but it’s not about the money. It’s about the preservation of American musical history and heritage.”

Comicbook.com wrote: Quentin Tarantino Confirms Retirement After Two Final Films

Legendary director Quentin Tarantino confirmed that he will be calling it quits after completing his tenth film, which means that he will only be doing two more movies.

On Thursday at Adobe Max, the creativity conference held at the San Diego Convention Center, Tarantino said, "Drop the mic. Boom. Tell everybody. 'Match that sh*t.'"

The 53-year-old director revealed to the crowd that he is currently focusing on a historical nonfiction project, according to The Hollywood Reporter. Earlier this year, Tarantino teased a potential "Bonnie and Clyde-esque" tale set in Australia in the 1930's.

During the conference, moderator Ann Lewnes asked Tarantino what his personal definition of success might be.

"Hopefully, the way I define success when I finish my career is that I'm considered one of the greatest filmmakers that ever lived," Tarantino said. "And going further, a great artist, not just filmmaker."

The Django Unchained director also opened up about part of his creative methods. He explained that an integral step in his process when crafting the script involves taking a trip through his personal record collection.

"So much of [the movie's language] revolves around a sound or a song," he said. "Before I've started, I'm seriously thinking about the music. I'm listening to a track and picturing everyone at the Cannes Palais just loving it."

This isn't the first time that Tarantino has explained that he only wanted to make two more films. Many were not convinced, but the director confirmed those rumors today.

Earlier this summer at the Jerusalem Cinematheque in 2016, Tarantino stated regarding his future: "I'm planning on stopping at 10. So it'll be two more. Even if at 75, if I have this other story to tell, it would still kind of work because that would make those 10. They would be there and that would be that. But the one he did when he was an old f***ing man, that geriatric one exists completely on its own in the old folks' home and is never put in the same shelf next to the other 10. So it doesn't contaminate the other 10."

While Tarantino had back-to-back box office smashes with 2008 film Inglourious Basterds bringing in $120 million, and 2012's Django Unchained reeling in a career high $163 million; the director's most recent movie stumbled domestically. His 2015 whodunnit flick Hateful Eight brought in only $54 million in the United States. However, it did manage to add another $101 million internationally.

Reverb wrote:Martin Responds to “Hateful Eight” Destruction of Antique Six String

Reverb’s story “The Hateful Eight” Hates on Six Strings” contains information about the destruction of the priceless 145-years-old instrument that Dick Boak, director of the museum, archives and special projects for C.F. Martin & Co., says the company was not previously aware of.

In the film, John Ruth, played by Kurt Russell, grabs a guitar from Daisy Domergue, played by Jennifer Jason Leigh, and smashes it, eliciting horror. However, the smashed guitar was an authentic Martin from the 1870s, on loan from the Martin Guitar Museum, rather than one of several copies on hand for the shoot.

“We were informed that it was an accident on set,” Boak says. “We assumed that a scaffolding or something fell on it. We understand that things happen, but at the same time we can’t take this lightly. All this about the guitar being smashed being written into the script and that somebody just didn’t tell the actor, this is all new information to us. We didn’t know anything about the script or Kurt Russell not being told that it was a priceless, irreplaceable artifact from the Martin Museum.”

According to the film’s Academy Award-winning sound mixer Mark Ulano, as quoted in SSNInsider.com, the scene was to be shot up to a certain point, a cut made, the guitar swapped out for a double and for the double to be smashed. “Well, somehow that didn’t get communicated to Kurt, so when you see that happen on the frame, Jennifer’s reaction is genuine,” Ulano said, as quoted in SSNInsider.com.

Further, Boak says that Martin did not offer a replacement, as stated in the SSNInsider.com. "As a result of the incident, the company will no longer loan guitars to movies under any circumstances,” Boak says.

To add insult to injury, Boak says the guitar was insured for its purchase price, which doesn’t reflect its value as an irreplaceable museum artifact. Boak also says that Martin requested that the pieces be returned for a possible restoration, not for inclusion in the Martin Museum as stated in SSNInsider.com. “Upon inspection of the pieces, we realized that the guitar was beyond fixing,” Boak said. “It’s destroyed.”

“We want to make sure that people know that the incident was very distressing to us,” Boak says. “We can’t believe that it happened. I don’t think anything can really remedy this. We’ve been remunerated for the insurance value, but it’s not about the money. It’s about the preservation of American musical history and heritage.”

TC wrote:purchase price? what was that, 50¢?