Got to see The Hateful Eight in 70mm Christmas Day

[DeepseekerADS]

A very good movie, very good. My kids and I saw it together on Friday at the AMC Forum 30 in Sterling Hights, MI. It was a long showing with a solid 20 minutes of intermission and fitting music - came out to be over 3 hours. News stated there would only be 90 70mm screenings nationwide, so we were very fortunate. This one will be a classic.

 

[Terry Soloman]

I'm boycotting it, but I am glad you enjoyed it.

Tarrantino said some pretty nasty things about police officers.

 

[jeff of pa]

in 70mm ? did it really make anything seem different ?
I haven't been in a Movie Theater since the 1970's
or a Drive in since the 1980's.
I think they ran 35mm back then

I will never watch it because it's a Western & not an early Comedy .
I'm pretty sure the Last Serious Western I saw was the Good The Bad & the Ugly when it was Brand New. & that would have Been 1966 in an indoor theater .
at age 11 then, I don't even remember if I enjoyed it.

just wondering why they feel it's necessary to say in 70mm

 

[patiodadio]

I'm boycotting it, but I am glad you enjoyed it.

Tarrantino said some pretty nasty things about police officers.

I have noticed that most of the Hollywood elite don't make any sense at all. They make movies where everyone shoots anything that moves, blood & guts everywhere and yet they are anti-gun, anti-police etc.

 

[jeff of pa]

it's called the constitution of the united states and freedom of speech .
as long as it's said in Public or Private
& not banned by the owner of the establishment it's said in.
I don't see where he didn't have the right to speak his opinion.



no different then the right of the people to keep and bear Arms.

either you are pro constitution or not .

sorry !

Politics are not allowed here.
This is Not a Free Country.
this is A forum Owned & with Rules.
so I'll stop. too

 

[Southpaw13]

Also just saw this movie in 70mm,wife and daughter didn't enjoy it as much as I did. I thought the old school with chapter headings and intermission was pretty nostalgic.

 

[DeepseekerADS]

My old eyes didn't really see a major difference. I guess he wanted a gala such as Ben Hur - bring back the power of Cinemascope or something. It mostly worked for the outdoor scenes, but most of the movie was indoors.

Lots & lots of blood & killings. I don't like the guy, but I'd have watched this anyway. MY $8.50 for the ticket didn't put much more than a buck in his pocket. It's the millions of others who watch it who will enrich him further. His politics ain't mine.

 

[Luriya]

Half these guys in hollywood probably have horrible morals and viewpoints but that didn't deter me. It was a decent movie. Still think Pulp Fiction is his best work.

 

[Ryano]

What I like about Tarantino is his writing. The dialogue is very inventive and he gets actors that perfect for the parts. Most of the time he already has the cast in mind when he's writing the script. This film, like his others, seems even better each time I watch it. Tarantino doesn't glamorize the "Wild West" and really shows us how rough and ruthless frontier life was back then. If you enjoyed Kurt Russell as Wyatt Earp in Tombstone you've got to see him as the meanest, grouchiest bounty hunter west of the Rio Grande.. and Sam Jackson is just perfect as the deadly Union Major feared by Jonny Rebs. It's just a great film.

 

[digger27]

70mm is about larger negatives that can hold much more information and prints made from movies shot in this size are much larger too.
About 10X's the resolution of normal 35mm prints.
The movie Interstellar, which was shot in both 35mm and several scenes in 65mm, the prints in 35mm for most cinemas came on just a few rolls the theatres would play, if you caught this movie in IMAX playing in true 70mm, the way the director preferred people see it, that one came on 49 rolls weighing over 600lbs.
Better color, sharper images and in the case of Super Panavision 70 wider images that are not cropped like 2001: A Space Odyssey, West Side Story or Lawrence of Arabia.
Some of the large, wide scenes in movies like that have a different impact when seen in normal 35mm.
Also more room for audio tracks on 65/70mm movies.
It is an expensive process and takes some special equipment to do it justice which not all cinemas are equipped to handle so 35mm became the standard for most movie theatres long ago.
Most can't tell the difference unless you see each kind of print side by side but there is a difference...no matter what kind of content you are watching.

There are a few different processes under different names, the original Cinerama was a very wide image projected by 3 projectors on a curved screen that became popular in the 50's as an event used by the movie industry to combat a huge perceived threat...television.
70mm Cinerama movies are an attempt to imitate that early process, for instance.
More info here.
https://en.m.wikipedia.org/wiki/List_of_70_mm_films


American 65/70 mm films

• Oklahoma! (1955) — Todd-AO @ 30 frame/s; this production also shot in 35 mm CinemaScope @ 24 frame/s
• Around the World in Eighty Days (1956) — Todd-AO; shot twice, with cameras running at 30 and 24 frame/s, respectively
• Raintree County (1956) — MGM Camera 65; exhibited only in 35 mm CinemaScope since all the 70 mm cinemas were booked
• South Pacific (1958) — Todd-AO
• Ben-Hur (1959) — MGM Camera 65
• Porgy and Bess (1959) — Todd-AO
• The Big Fisherman (1959) — Super Panavision 70
• Scent of Mystery (1960) — Todd-70 and Smell-O-Vision. Todd-Belock 8-channel Sound, which used a control signal to "steer" the single surround channel to three surround tracks (right wall, left wall and rear wall). This title was later re-edited, optically converted to 3-strip Cinemiracle and re-released without the odors as Holiday in Spain in 1961. It was exhibited in both Cinerama and Cinemiracle.
• Can-Can (1960) — Todd-AO
• The Alamo (1960) — Todd-AO
• Exodus (1960) — Super Panavision 70
• West Side Story (1961) — Panavision 70
• Mutiny on the Bounty (1962) — Ultra Panavision 70
• It's a Mad, Mad, Mad, Mad World (1963) — Ultra Panavision 70; shown in 70 mm Cinerama
• Cleopatra (1963) — Todd-AO (shooting started in CinemaScope, changed to 3-panel Cinerama and finally to Todd-AO. The anamorphic and 3-panel footage was discarded.)
• The Fall of the Roman Empire (1964) — Ultra Panavision 70
• My Fair Lady (1964) — Super Panavision 70
• Cheyenne Autumn (1964) — Super Panavision 70
• The Sound of Music (1965) — Todd-AO (second unit photography [aerial shots] in Superpanorama 70)
• Those Magnificent Men in Their Flying Machines (1965) — Todd-AO (some scenes in Superpanorama 70)
• The Agony and the Ecstasy (1965) — Todd-AO
• The Greatest Story Ever Told (1965) — Ultra Panavision 70; shown in 70 mm Cinerama
• The Hallelujah Trail (1965) — Ultra Panavision 70; shown in 70 mm Cinerama
• Battle of the Bulge (1965) — Ultra Panavision 70; shown in 70 mm Cinerama
• Lord Jim (1965) — Super Panavision 70
• Khartoum (1966) — Ultra Panavision 70; shown in 70 mm Cinerama
• Grand Prix (1966) — Super Panavision 70 (some scenes in Superpanorama 70); shown in 70 mm Cinerama
• The Bible: In The Beginning (1966) — Dimension 150 (credited as D-150)
• Doctor Dolittle (1967) — Todd-AO
• 2001: A Space Odyssey (1968) — Super Panavision 70; some shots in Todd-AO; aerial shots from the stargate sequence in Superpanorama 70. Shown in 70 mm Cinerama
• Ice Station Zebra (1968) — Super Panavision 70 (shooting started in Ultra Panavision 70 then switched to Super Panavision 70); shown in 70 mm Cinerama
• Star! (1968) — Todd-AO
• Hello, Dolly! (1969) — Todd-AO
• Krakatoa, East of Java (1969) — Todd-AO and Super Panavision 70 shown in 70 mm Cinerama
• Airport (1970) — Todd-AO
• Patton (1970) — Dimension 150
• Song of Norway (1970) — Super Panavision 70, shown in 70 mm Cinerama, advertised as "On the Cinerama screen" in some countries
• The Last Valley (1970) — Todd-AO (made for 70 mm Cinerama, but never shown in that format)
• Tron (1982) — Super Panavision 70. Live-action all filmed in color 65mm; CGI sequences filmed in 65mm B&W and composited to a VistaVision intermediate then optically printed back to 70mm IP.
• Far and Away (1992) — Panavision System 65; segments in Arri 765 and VistaVision
• Baraka (1992) — Todd-AO, documentary
• Hamlet (1996) — Panavision System 65; segments in Arri 765
• Samsara (2011) — Panavision System 65, documentary
• The Master (2012) - Panavision System 65
• The Hateful Eight (2015) - Ultra Panavision 70 (the first 70mm Cinerama release since 1970)
• Dunkirk (2017) - Panavision System 65

European 65/70 mm films

• Lawrence of Arabia (United Kingdom production USA distribution 1962) — Super Panavision 70
• Flying Clipper — Traumreise unter weissen Segeln (West Germany 1962) — Superpanorama 70. A re-edited version was shown as Mediterranean Holiday (1964) in 70 mm Cinerama and in Wonderama in the USA
• Shéhérazade (France/Spain/Italy 1963) — Superpanorama 70
• La Tulipe noire/The Black Tulip (France/Italy/Spain 1964) — Superpanorama 70; shown in 70 mm Cinerama
• Old Shatterhand (West Germany/Yugoslavia/France/Italy 1964) — Superpanorama 70
• Onkel Toms Hütte /La Case de l'Oncle Tom/Uncle Tom's Cabin (France/Italy/West Germany/Yugoslavia 1965) — Superpanorama 70
• Der Kongress amüsiert sich/Congress of Love (West Germany/Austria 1966) — Superpanorama 70
• El Fantástico Mundo del Dr Coppelius /Dr. Coppelius (Spain/US 1966) — Superpanorama 70
• Pampa Salvaje/Savage Pampas (Spain/Argentina/US 1966) — Superpanorama 70
• Play Time (France 1967) — filmed with 65 mm Mitchell cameras, with an aperture masked for a non-standard aspect ratio of approximately 1.7:1
• Con la muerte a la espalda/With Death On Your Back (Spain/France/Italy 1967) — Hi-Fi Stereo 70 [SUP][1][/SUP]
• La Marca del Hombre Lobo (Spain 1968) — Hi Fi Stereo 70. Re-edited with new footage and released in the USA in 35 mm 3D as Frankenstein's Bloody Terror.[SUP][2][/SUP]
• Chitty Chitty Bang Bang (United Kingdom 1968) — Super Panavision 70
• Ryan's Daughter (United Kingdom 1970) — Super Panavision 70
• Liebe in drei Dimensionen/Love in 3D (West Germany 1973) — Triarama
• Map of the Human Heart (Australia/United Kingdom 1993) — Panavision System 65. Released in 35mm only.
• As Wonderland Goes By (Australia/Bulgaria 2012) - Panavision System 65