In THE HATEFUL EIGHT, set six or eight or twelve years after the Civil War, a stagecoach hurtles through the wintry Wyoming landscape. The passengers, bounty hunter John Ruth (Kurt Russell) and his fugitive Daisy Domergue (Jennifer Jason Leigh), race towards the town of Red Rock where Ruth, known in these parts as ‘The Hangman,’ will bring Domergue to justice. Along the road, they encounter two strangers: Major Marquis Warren (Samuel L. Jackson), a black former union soldier turned infamous bounty hunter, and Chris Mannix (Walton Goggins), a southern renegade who claims to be the town’s new Sheriff.
Losing their lead on the blizzard, Ruth, Domergue, Warren and Mannix seek refuge at Minnie’s Haberdashery, a stagecoach stopover on a mountain pass. When they arrive at Minnie’s, they are greeted not by the proprietor but by four unfamiliar faces. Bob (Demian Bichir), who’s taking care of Minnie’s while she’s visiting her mother, is holed up with Oswaldo Mobray (Tim Roth), the hangman of Red Rock, cow-puncher Joe Gage (Michael Madsen), and Confederate General Sanford Smithers (Bruce Dern). As the storm overtakes the mountainside stopover, our eight travelers come to learn they may not make it to Red Rock after all.
THE HATEFUL EIGHT will screen in glorious 70mm for a one week exclusive season from January 14 at the following locations:
The Astor Theatre
1 Chapel Street,
St. Kilda, VIC 3182
200 Camberwell Road,
Hawthorn East, VIC 3124
Sun Theatre Yarraville
8 Ballarat Street,
Yarraville, VIC 3013
Tarantino's decision to use 70mm is both practical and personal; in an age where cinema is relying more and more on digital technology, THE HATEFUL EIGHT is Tarantino’s deeply nostalgic ambition to remind us all what it really means to go to the movies.
THE HATEFUL EIGHT was shot entirely on film... “real” film... using Ultra Panavision, a super-wide format that only a handful of other films have ever used, including Ben Hur. In fact, Tarantino and his crew didn’t just use the same type of lenses used to capture Ben Hur’s epic scale, they dusted off the exact lenses from that production found in storage.
The result is the sweeping large format of 65mm film that, when projected in the 70mm format, gives the filmmaker almost four times as much visual information to play with as does the classic 35mm film stock. When a movie is shot on 70mm film, the frames are the same height as the modern ones, but nearly twice as wide. Because the frame is much bigger, it is being blown up less in the process of projecting it on the screen and thus audiences see more detail, more depth of colour and more life. The primary difference with 70mm is a gloriously better image.