The Hateful Eight

[Keth]

Either search is shittier than I thought, or Tim G. deleted more threads than I thought. EIther way.

 

 

 

 

 

 

Man, Michael Madsen is one lucky motherfucker that Tarantino is still making movies.

 

 

 

 

 

Edited May 9, 2015 by Axels

[Mr. Hakujin]

Yeah, I like what I'm seeing here. Between this and The Revenant, 2016 is looking to be the year for revenge flicks set in the American wilderness of the 1800s.

[The NZA]

[alive she cried]

I wish I had designed that poster.

[The NZA]

it's fantastic, right? its the kind i wish i saw more often.

[Mr. Hakujin]

I'm so ready for this film. I'm so ready to see Kurt Russel in this film.

[Da Cap'n 2099]

Do I have to watch The Hateful 1-7 to get 8?

 

 

Yeah, can't wait for this.

 

[alive she cried]

Also Sin posted this on Facebook, not sure if ye saw it, but as if this couldn't get better. Ennio Morricone is scoring this with all original material.

[Mr. Hakujin]

Please say this means there will be echo-y whistling on this soundtrack.

 

*crosses fingers*

[Keth]

[The NZA]

callin it right now: even if Star Wars doesn't disappoint (like it's done for a while now), this will be the better holiday movie

[Da Cap'n 2099]

This looks like Reservoir Dogs in the wild west. I'm down for that.

[Keth]

[Iambaytor]

Normally I'd have a problem with capitalizing the first letter of every word but with Samuel L. Jackson it just seems right.

[The NZA]

Vulture: Tarantino on Hateful Eight, White Supremacy, Obama and More

 

We’re five months from the release of The Hateful Eight. How close to finishing are you?

We’ve got a little bit more than an hour finished right now. I just got back from seeing an hour of the movie cut together.

 

Are you happy with it?

I’m not committing suicide yet. It is what it is. We’re rushing and trying to get to the end. Then you go through it and try to make it even better. But first, you just get to the end.

 

Every movie I’ve ever done, there has always been some date we were trying to meet, whether it was with Reservoir Dogs, trying to meet the Sundance date, or Pulp Fiction, meeting the Cannes date. But we always pull it off. And this way you don’t have that situation where you finish the movie and then the people who paid to make it get to sit around and pick it to death.

 

So you don’t get notes from the studio anymore?

No, you do. Oh, yeah.

 

Is it different now, coming off Django Unchained and Inglourious Basterds? Those were the biggest hits of your career. Did that box office change things?

I don’t think so, as far as me making the story I want to tell. But I learned a big lesson with Grindhouse, and I try not to repeat the mistake. Robert Rodriguez and I had gotten used to going our own way, on these weird roads, and having the audience come along. We’d started thinking they’d go wherever we wanted. With Grindhouse, that proved not to be the case. It was still worth doing, but it would have been better if we weren’t caught so unaware by how uninterested people were.

 

...

 

So what is Hateful Eight saying about the 2010s?

I’m not trying to make Hateful Eight contemporary in any way, shape, or form. I’m just trying to tell my story. It gets to be a little too much when you try to do that, when you try to make a hippie Western or try to make a counterculture Western.

 

Hateful Eight uses the Civil War as a backdrop, sort of like how The Good, the Bad and the Ugly does.

The Good, the Bad and the Ugly doesn’t get into the racial conflicts of the Civil War; it’s just a thing that’s happening. My movie is about the country being torn apart by it, and the racial aftermath, six, seven, eight, ten years later.

 

That’s going to make this movie feel contemporary. Everybody’s talking about race right now.

I know. I’m very excited by that.

 

Excited?

Finally, the issue of white supremacy is being talked about and dealt with. And it’s what the movie’s about.

 

How did what’s happening in Baltimore and Ferguson find its way into The Hateful Eight?

It was already in the script. It was already in the footage we shot. It just happens to be timely right now. We’re not trying to make it timely. It is timely. I love the fact that people are talking and dealing with the institutional racism that has existed in this country and been ignored. I feel like it’s another ’60s moment, where the people themselves had to expose how ugly they were before things could change. I’m hopeful that that’s happening now.

 

You supported Obama. How do you think he’s done?

I think he’s fantastic. He’s my favorite president, hands down, of my lifetime. He’s been awesome this past year. Especially the rapid, one-after-another-after-another-after-another aspect of it. It’s almost like take no prisoners. His he-doesn’t-give-a-shit attitude has just been so cool. Everyone always talks about these lame-duck presidents. I’ve never seen anybody end with this kind of ending. All the people who supported him along the way that questioned this or that and the other? All of their questions are being answered now.

 

Some of their worry was for the smaller movies that are being crowded out of theaters by blockbusters.

People say that every six years. We all agree that the ’70s — or the ’30s, depending on what you feel — is probably the greatest decade in cinema history, as far as Hollywood cinema is concerned. I think the ’90s is right up there. But people said what Spielberg is saying all through the ’90s, and they said it all through the ’70s.

 

So you’re not worried at all?

Not for those bullshit reasons you just gave. If you go out and see a lot of movies in a given year, it’s really hard to come up with a top ten, because you saw a lot of stuff that you liked. A top 20 is easier. You probably get one masterpiece a year, and I don’t think you should expect more than one masterpiece a year, except in a really great year.

 

And in fairness to blockbusters, nothing stinks worse than bad Oscar bait.

The movies that used to be treated as independent movies, like the Sundance movies of the ’90s — those are the movies that are up for Oscars now. Stuff like The Kids Are All Right and The Fighter. They’re the mid-budget movies now, they just have bigger stars and bigger budgets. They’re good, but I don’t know if they have the staying power that some of the movies of the ’90s and the ’70s did. I don’t know if we’re going to be talking about The Town or The Kids Are All Right or An Education 20 or 30 years from now. Notes on a Scandal is another one. Philomena. Half of these Cate Blanchett movies — they’re all just like these arty things. I’m not saying they’re bad movies, but I don’t think most of them have a shelf life. But The Fighter or American Hustle — those will be watched in 30 years.

 

You think so?

I could be completely wrong about that. I’m not Nostradamus.

 

Have you seen True Detective?

I tried to watch the first episode of season one, and I didn’t get into it at all. I thought it was really boring. And season two looks awful. Just the trailer — all these handsome actors trying to not be handsome and walking around looking like the weight of the world is on their shoulders. It’s so serious, and they’re so tortured, trying to look miserable with their mustaches and grungy clothes.

 

Now, the HBO show I loved was Aaron Sorkin’s The Newsroom. That was the only show that I literally watched three times. I would watch it at seven o’clock on Sunday, when the new one would come on. Then after it was over, I’d watch it all over again. Then I would usually end up watching it once during the week, just so I could listen to the dialogue one more time.

 

How could It Follows have been great? Would you have done something differently?

He [writer-director David Robert Mitchell] could have kept his mythology straight. He broke his mythology left, right, and center. We see how the bad guys are: They're never casual. They're never just hanging around. They've always got that one look, and they always just progressively move toward you. Yet in the movie theater, the guy thinks he sees the woman in the yellow dress, and the girl goes, “What woman?” Then he realizes that it's the follower. So he doesn't realize it's the follower upon just looking at her? She’s just standing in the doorway of the theater, smiling at him, and he doesn’t immediately notice her? You would think that he, of anybody, would know how to spot those things as soon as possible. We spotted them among the extras.

 

The movie keeps on doing things like that, not holding on to the rules that it sets up. Like, okay, you can shoot the bad guys in the head, but that just works for ten seconds? Well, that doesn't make any fucking sense. What's up with that? And then, all of a sudden, the things are aggressive and they're picking up appliances and throwing them at people? Now they're strategizing? That's never been part of it before. I don't buy that the thing is getting clever when they lower him into the pool. They're not clever.

 

Also, there’s the gorgeously handsome geeky boy — and everyone's supposed to be ignoring that he's gorgeous, because that’s what you do in movies — that kid obviously has no problem having sex with her and putting the thing on his trail. He's completely down with that idea. So wouldn't it have been a good idea for her to fuck that guy before she went into the pool, so then at least two people could see the thing? It’s not like she'd have been tricking him into it. It’s what I would've done.

[The NZA]

Tarantino to Release Two Versions of Varying Length of "The Hateful Eight"

 

“The roadshow version has an overture and an intermission, and it will be three hours, two minutes,” Tarantino told Variety. “The multiplex version is about six minutes shorter, not counting the intermission time, which is about 12 minutes.”

 

The two-time Oscar winner was not ordered to truncate the film for wider release. Rather, he liked the idea of the roadshow experience having a little something extra. “Nor did I want to treat the multiplex release like this left-handed version, either,” he said. So he tweaked certain scenes to better suit the separate viewing experiences.

 

“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.”

[Keth]

Saw this last night in 70 mm. Pretty damn good! It was a fun movie going experience too with the overture and intermission. Story was great and the acting was fantastic as usual in these movies. Had a very Reservoir Dogs whodunnit vibe to it. Not QT's best, but certainly not his worst (he's never made a BAD movie). I think they said "nigger" more times in this than Django though and it was uncomfortable the way the audience laughed at some of the times it was said. It was a very funny movie though of course. I've always viewed Tarantino's movies as black comedies.

 

Everyone has their own taste when it comes to QT movies. My ranking goes:

 

1.Pulp Fiction

2.Inglourious Basterds

3.Kill Bill (count both as one movie)

4.Django Unchained

5.The Hateful 8

6.Reservoir Dogs

7.Deathproof

8.Jackie Brown

[Mr. Hakujin]

Looking forward to seeing this in 70MM here as well. Speaking of which, here is an interview QT & PTA did on the format of 70MM, and apparently only about 100 cinemas around the country still have 70MM. There are some semi-spoilerish mentions of things about Hateful 8 midway through the interview.

 

Edited December 30, 2015 by Mr. Hakujin

[The NZA]

Saw this last night in 70 mm. Pretty damn good! It was a fun movie going experience too with the overture and intermission. Story was great and the acting was fantastic as usual in these movies. Had a very Reservoir Dogs whodunnit vibe to it. Not QT's best, but certainly not his worst (he's never made a BAD movie). I think they said "nigger" more times in this than Django though and it was uncomfortable the way the audience laughed at some of the times it was said. It was a very funny movie though of course. I've always viewed Tarantino's movies as black comedies.

 

agreed with a lot of this - it basically took that City on Fire/Reservoir scene and spent the first 3 acts hanging around the house with it, and did the Tarantino thing in the final one where we rewind a bit...enjoyable, but Donatella zoned out after the first 20 minutes and it's totally the kinda film that if you're not on board by that point, it's not gonna win you back.

 

Everyone has their own taste when it comes to QT movies. My ranking goes:

 

1.Pulp Fiction

2.Inglourious Basterds

3.Kill Bill (count both as one movie)

4.Django Unchained

5.The Hateful 8

6.Reservoir Dogs

7.Deathproof

8.Jackie Brown

 

woof...i like a lot of this, but Reservoir seems low, and Deathproof > Jackie? man you really didn't like that one!

also, does True Romance count if QT wrote it?

[Keth]

Mind you alot of that list runs together and is super close. But Jackie Brown... man I love the cast and it should be higher for me, but I've watched it 3 or 4 times and for me it's just QT's dullest flick. It's still good! Just not great.

 

And Deathproof kinda has the opposite effect for me. First time I saw it it was fine. But each new viewing I like it more and more.

[The NZA]

i wonder if i'd cotton to it more on another viewing...i just really don't have any desire, you know? kurt russell, hot chicks, great ending & that vanishing point rant, i remember so little else about it, other than thinking "I wish i was still watching Planet Terror"

[Keth]

Oh yeah if you saw it as the double feature it definitely pales in comparison to Planet Terror.

[Mr. Hakujin]

Saw it tonight in 70MM and was kinda let down by the whole promise of a "70MM experience." Maybe I'm "spoiled" by 3D and IMAX, but the 70MM print didn't really draw me in the way Tarantino & PT Anderson say it did them in that video. It was still a fun, violent film, well, at least it was once the intermission was over. I can see how Donatella checked out, but I was amped up to see this film, so even with the slow start I managed to stay engaged throughout. I will say this film had one of the least satisfying payoffs or endings for me. However, pretty much all the dialogue from Samuel L. Jackson's character felt like prime Tarantino.

 

 

That whole "sign" soliloquy Jackson delivered to Mexican Bob while playing detective reminded me of the feeling I got when I first heard Jimmy's kitchen rant to Jules and Vincent in Pulp Fiction--it was so outrageous yet it was so cleverly written and well performed that I couldn't help but marvel at how I was laughing at something so terribly racist.

 

 

Mind you alot of that list runs together and is super close. But Jackie Brown... man I love the cast and it should be higher for me, but I've watched it 3 or 4 times and for me it's just QT's dullest flick. It's still good! Just not great.

 

And Deathproof kinda has the opposite effect for me. First time I saw it it was fine. But each new viewing I like it more and more.

I agree with you on this Axels. On paper I should love Jackie Brown way more than I do. It's gone from aaight to good in my book after two or three viewings. Whereas Deathproof went from good to great after two viewings. Here's my current list, but the top three are the only ones I don't see changing after I watch them again.

 

1.Pulp Fiction

2.Inglourious Basterds

3.Kill Bill (count both as one movie)

4.Reservoir Dogs

5.Django Unchained

6.The Hateful 8

7.Deathproof

8.Jackie Brown