Quentin Tarantino has ‘Kill Bill 3′ story in mind

9 Dec 2015 | Author: | No comments yet »

‘Hateful Eight’ Premiere: Bob Weinstein Elaborates on 70mm Film Shoot.

The first trailer for The Hateful Eight, the latest from genre director Quentin Tarantino, touted that the audiences could see the feature in “glorious 70mm.” The world premiere of the film took place on Monday night at the ArcLight Hollywood Cinerama Dome, which is one of the Los Angeles locations that will be able to screen the movie in the format.

It’s been a minute since filmmaker Quentin Tarantino came to New York to participate in Rise Up October’s anti-police brutality protests, during which, you might remember, Tarantino told families of police brutality victims, “I’m on the side of the murdered.” And since the ensuing backlash from the Patrolmen’s Benevolent Association—whereby cops threatened to boycott Tarantino’s forthcoming “Hateful Eight”—fizzled out of the news cycle in early November, Tarantino’s kept a pretty low profile, as far as headlines are concerned. “Right now, [promoting the “Hateful Eight”] is my job,” Tarantino told The Guardian. “But when this is over, I want to go further with [anti-police brutality activism].” “I actually felt kind of vindicated,” Tarantino said. “By them making such a big deal about it, the subject ended up being in the press and on television – and people had to start making their own minds up about it in a way that wasn’t happening before.” Even by his outsized standards, Quentin Tarantino is going very big with the opening of “The Hateful Eight.” And the opening night crowd at Hollywood’s Arclight Cinerama Dome reveled Monday night in the sheer scope of the director’s eighth film – shot in rare 70 mm Super Cinemascope, running more than three hours and featuring an overture and intermission. Jackson was not about to let the filmmaker ditch the project. “I called him and said, ‘Dude, how are you not going to make this movie?’” Jackson recalls. Before the screening began, Bob Weinstein stood in front of the giant Cinerama Dome screen and told the story of when Tarantino first pitched the project to him during a visit to the director’s house.

Tarantino appeared giddy from the start of the premiere, when he introduced each of his players like a hyper-caffeinated, monster-truck-rally commentator. Weinstein recalled: “He explained that he wanted to shoot in 70mm and he wanted to distribute the film as a roadshow experience much like they did in the 1950s and ’60s. His energy remained high through the night and into the after-party, where he celebrated seeing “Hateful” for the first time on the dome’s giant screen. “Tonight was like seeing it for the first time for me,” the director rhapsodized.

Co-Chairman Harvey Weinstein sees it. “I think it’s his most political movie, and at the same time, his funniest movie,” Weinstein says. “So it’s a dichotomy. Since there were less than ten 70mm projectors at the time he said we would have to find the old ones, reconstruct them and service them, and then book the great, classic, old-style 1,500-seat theaters across the country to complete his vision.” Weinstein then said Tarantino told him that he didn’t have to commit to such a project, to which the exec responded: “F— yeah, Quentin. It makes sense that Tarantino would cultivate such a relationship, as some of his favorite directors pulled from stock companies of actors. “That always seemed like the way to go,” Tarantino says. “With me, though, there’s a bit more of a practicality to it: Not every actor can do my dialogue. Richard Gladstein, a producer on the film, said the unusual release “is not a gimmick” but a special presentation for viewers who like seeing films as an event. “Quentin is creating a piece of art,” added James Parks, who plays stage coach driver O.B. “There is a lot of craft involved, using the 70 mm and creating an atmosphere, an environment for people to take their time ….

Harvey Weinstein, who has backed all of the features Tarantino has directed over the past 23 years, adds: “Sam is the world champion pianist who interprets and plays Quentin’s music like nobody else. It’s a language unto itself.” “There are some people who, when they call you, you don’t care what they’re doing — you just drop your s— and do it,” Jackson says. “There’s no better place in the world to be than on a Quentin Tarantino set.

The film, releasing Christmas Day, arrives at a flashpoint for race relations, particularly on the heels of statements Tarantino made at an anti-police-brutality rally in October, where he equated police killings of Michael Brown, Eric Garner and others with murder. “When I see murders, I do not stand by,” Tarantino said to protesters at the New York event. “I have to call a murder a murder and I have to call the murderers the murderers.” The comments drew the ire of police unions, particularly the Fraternal Order of Police, whose executive director Jim Pasco issued a vague threat beyond mere calls to boycott the film. “Something is in the works, but the element of surprise is the most important element,” he said last month. The film is a John Ford-esque Western set in post-Civil War Wyoming during a blizzard that traps a ragtag group of strangers with violent proclivities inside a haberdashery. The latest Tarantino film is believed to be the first production since 1966’s Khartoum to use Ultra Panavision 70 anamorphic lenses during production. “Panavision had to retrofit the lenses for us and to get the technology working.” The lenses are expected to next be used for the stand-alone Star Wars film Rogue One.

No protesters greeted Tarantino, who has absorbed heavy criticism from police organizations since late October, after he spoke out about “murderers” in law enforcement. I’m just proud of the fact that he trusts me with his stuff.” Indeed, Jackson is the only actor Tarantino has ever granted rewrite privileges, the director says. I think they really think I’m just an out-of-touch, rich celebrity.” Given that Pasco said his organization will try to “hurt [Tarantino] in the only way that seems to matter to him … economically,” the director assumes it’s a threat to keep police from serving as technical advisors on his films or assisting in his productions and events. “Now, let’s put that in perspective,” Tarantino says. “In 1973, Sidney Lumet did the movie ‘Serpico.’ Both the Peter Maas book and that movie were very critical and accusatory of corruption inside the NYPD. Often it’s a creative lightning bolt that adds a new dynamic to a scene, such as in “Django Unchained,” when Jackson’s character Stephen begins parroting everything plantation owner Calvin Candie (Leonardo DiCaprio) says. Although Tarantino did not address the controversy, producer Gladstein defended the helmer’s comments. “Quentin spoke from his heart about how he felt about certain injustices,” Gladstein said. “The only logical response to that is applause.”

Solving the crime brings themes of deception and betrayal among a whodunit ensemble that includes Kurt Russell, Jennifer Jason Leigh, Walton Goggins, Bruce Dern, Tim Roth, Michael Madsen, Demian Bichir and James Parks. The camaraderie between Jackson and Tarantino is on full display during their cover shoot and joint interview at a dark, lodge-like drinking post in L.A.’s San Fernando Valley that could almost be the setting of Tarantino’s tense upcoming Western. The pair, similarly edgy, fearless artists who effortlessly tap into their dark sides, share an easy rapport, conversing and laughing at each other’s tales as they pose for the cameras. They got off to a sour start when they met; Jackson bombed an audition for “Reservoir Dogs,” due largely to being far more prepared to engage with the material than with his reading partners (who happened to be producer Lawrence Bender and Tarantino himself).

He can be ornery, but it helps bring out (the best in) you.” Roth echoes the sentiment: “When two people connect in that way — both of them having the ability to deliver at 100% — it’s pretty wonderful for the rest of us. He compares one of his scripts to a Russian matryoshka doll, bearing new depth with every turn of the page. “I read so much shit between books, comic books, scripts, and I’m usually 20 pages ahead of most writers because I know where they’re going,” Jackson says. “But I’m never that way when I’m reading his stuff. When Jackson got wind of the dust-up, he couldn’t help but see an unfortunate undercurrent in the official reaction. “If you’re a good cop, he wasn’t talking to you, and you don’t need to be offended,” he says. “If you police your ranks, then we don’t need to be out here in the streets doing what we’re doing.” Tarantino, meanwhile, stands by his remarks, and further tells Variety: “I don’t think of the police as a sinister organization that targets private citizens. When cameras began to roll last December, the events in Ferguson, Mo., where a white police officer shot and killed unarmed black teenager Michael Brown, were still echoing through the zeitgeist.

One line in the movie — “Ask people in South Carolina if they feel safe.” — even had to be dropped after a gunman killed nine people at Emanuel African Methodist Episcopal Church in Charleston last June. But in the framework of that, it’s like, ‘Show me what you want to do.’ It’s freeing.” Tarantino’s screenwriting process had long been one of cranking out drafts internally without ever showing anyone the progression. By the time his inner circle would get a look, “last draft” would be scrawled across the script, indicating the set-in-stone finality of his words. Let that third act be something that’s genuinely informed from doing a couple of different drafts.’” The story’s finale had not been fully formed, and plot threads were willfully left dangling when he circulated the script for thoughts and feedback. While testing lenses at Panavision in Woodland Hills, however, cinematographer Richardson stumbled onto something that took things to the next level. “It was like ‘The Wizard of Oz,’” he says. “We opened up a curtain to go back, and behind there were these lenses that had been sitting on shelves for years.

Notes producer Richard Gladstein, “We rented an old Mason hall in Telluride, and put in a projection booth.” And once a week, Tarantino flew back to Los Angeles to screen edited footage in 70mm at the DGA Theater. While only sixteen 70mm prints for “The Master” were struck for distribution, and 12 for “Interstellar,” the plan for the “Hateful Eight” roadshow is to play in 100 theaters when it opens Dec. 25.

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