Hateful Eight Samuel L Jackson

The Grand Return to Grandeur – The Hateful Eight‘s 70mm Vision

Quentin Tarantino. 70mm film. A snow-swept Western. These elements coalesced to create The Hateful Eight, a film that wasn’t just a cinematic experience, but a bold statement about the enduring power of traditional filmmaking. In an era dominated by digital, Tarantino’s decision to shoot on Ultra Panavision 70mm, utilising rare, refurbished lenses from a bygone era, was a revolutionary act. This article delves into the fascinating production journey of The Hateful Eight, exploring the technical marvel of shooting on 70mm film and the meticulous process of bringing those classic 70mm lenses back to life, revealing how these choices profoundly shaped the film’s unique aesthetic and immersive quality. Prepare to step back in time and discover why this cinematic gamble paid off in spectacular fashion.

Chapter I. The Call of the Wide-Open West: Why 70mm for The Hateful Eight?

Quentin Tarantino is a filmmaker renowned for his meticulous attention to detail and his profound reverence for cinematic history. So, when it came to The Hateful Eight, a sprawling, character-driven Western set against a vast, unforgiving landscape, his choice of format was no accident. For Tarantino, the decision to shoot The Hateful Eight in 70mm wasn’t simply a stylistic flourish; it was a deeply ingrained artistic necessity rooted in his admiration for the grand scale of classic epics.

Think of films like William Wyler’s Ben-Hur (1959) or David Lean’s Lawrence of Arabia (1962). These weren’t just movies; they were events, presented with a breathtaking scope that truly transported audiences. This was the immersive quality of 70mm that Tarantino sought to resurrect. The wider aspect ratio, the extraordinary detail, the richer colours, and the unparalleled depth of field offered by 70mm film create a viewing experience that digital simply struggles to replicate. It’s a format that beckons the audience to lean in, to absorb every nuance of the frame.

Tarantino’s specific choice of Ultra Panavision 70 further underscored his commitment. This particular anamorphic format, with its expansive 2.76:1 aspect ratio, was historically significant, having been used for only a handful of truly epic productions. Its unique ability to capture both vast, sweeping landscapes and claustrophobic, intimate interiors simultaneously was perfect for The Hateful Eight‘s dual nature – a sprawling Western that eventually traps its characters within the confines of Minnie’s Haberdashery.

As Tarantino himself has often stated, “If you’re going to shoot on 70mm, you’re trying to create an experience for the audience that they can’t get anywhere else. It’s like a Broadway play, except it’s a movie.” He envisioned The Hateful Eight as a “roadshow” presentation, much like the grand releases of the 1950s and 60s. This meant a longer cut of the film, complete with an overture and intermission, designed to be seen in the grandest possible way. The sheer visual impact of 70mm was paramount to this vision, ensuring that every audience member felt truly immersed in the snow-bound world of the film.

While modern digital cinematography offers impressive resolution and colour gamut, a key difference lies in the organic feel of 70mm. Its unique grain structure and handling of light and shadow provide a depth and texture that many filmmakers and purists believe remains unmatched. Behind-the-scenes interviews with cast and crew often highlighted this. Samuel L. Jackson, for example, remarked on the “incredible clarity” that 70mm brought to the sets. For The Hateful Eight, this wasn’t just about technical superiority; it was about achieving a specific aesthetic and emotional connection that only 70mm could deliver.

7omm widescreen Hateful Eight

Chapter II. Resurrecting Cinema’s Giants: The Refurbished 70mm Lenses of The Hateful Eight

One of the most remarkable aspects of The Hateful Eight‘s production was not just the decision to shoot on 70mm, but the extraordinary effort involved in sourcing and restoring the highly sought-after lenses required for such an undertaking. The reality is, working Ultra Panavision 70mm lenses are incredibly scarce in the modern era. These are not readily available items; they are relics of a bygone cinematic age.

The journey to find these historical lenses was a meticulous and often challenging one. Panavision, the legendary motion picture equipment company, played a pivotal role. They delved deep into their archives, unearthing precious vintage optics that had lain dormant for decades. Beyond their own extensive collection, the search extended to private collectors and film enthusiasts around the globe. Each lens found was a triumph, a piece of cinematic history brought back into the light.

However, simply finding these lenses was only the first step. The significant undertaking of refurbishing and recalibrating these decades-old lenses for modern production standards was a monumental task. As Dan Sasaki, the Vice President of Optical Engineering at Panavision, has detailed in numerous interviews, the process was akin to archaeological restoration. Each lens had to be meticulously disassembled, cleaned, and inspected for any signs of wear, degradation, or damage. Glass elements might need re-polishing, coatings might need re-applying, and mechanical components required intricate adjustments to ensure they performed flawlessly with contemporary camera bodies and accessories.

What makes these vintage lenses so special, beyond their rarity, are their unique optical characteristics. Unlike the pristine, hyper-sharp imagery often associated with modern digital lenses, these older optics possess a subtle charm. They might exhibit delicate flares, a gentle fall-off in sharpness towards the edges of the frame, or a slightly softer rendition of out-of-focus areas. These seemingly “imperfections” are precisely what contribute to a distinct “filmic” look, imbuing the images with a timeless quality that feels organic and authentic. For The Hateful Eight, these nuances were not flaws but desirable artistic attributes, contributing to the film’s gritty realism and classic Western aesthetic.

The collaboration between Tarantino, cinematographer Robert Richardson, and the experts at Panavision was crucial. Ensuring that these refurbished 70mm lenses could be seamlessly integrated with modern camera technology, and that their performance met the exacting standards of a contemporary film production, was a testament to the dedication of all involved. The lenses were not just functional; they were reborn, ready to capture a new epic for a new generation.

Ultra Panavision 70

Chapter III. The Art and Logistics of Shooting on 70mm Film

While the allure of 70mm film is undeniable, the practical realities of shooting on such a large format present a unique set of challenges that differentiate it significantly from modern digital workflows. For The Hateful Eight, these challenges were embraced as part of the artistic process, demanding a specific level of discipline and technical expertise from the entire crew.

One of the most immediate practical considerations is the sheer size and weight of 70mm cameras. They are substantially larger and heavier than their digital counterparts, requiring more robust camera support systems and a greater physical effort from camera operators and grips. Furthermore, 70mm film stock is expensive and comes in shorter rolls compared to 35mm, meaning fewer takes per roll before a reload is necessary. This demands a more disciplined approach to rehearsals and a clearer understanding of the shot before the camera even begins to roll. The loading and unloading of film magazines become a more intricate and time-consuming process, adding precious minutes to the shooting day.

The entire workflow involved in 70mm production is distinct. From the moment the film is exposed, it embarks on a journey that includes careful handling, swift transport to the lab for development, and then the creation of “dailies” – raw footage that allows the director and cinematographer to review the previous day’s work. This process is far less instantaneous than checking a monitor on a digital set and requires a deep trust in the team and the process.

At the helm of The Hateful Eight‘s stunning visuals was legendary cinematographer Robert Richardson. A long-time collaborator with Tarantino and a master of his craft, Richardson’s extensive experience working with film was invaluable. While the specific demands of 70mm were unique, his understanding of light, composition, and the nuanced behaviour of film stock allowed him to adapt seamlessly. As Richardson himself noted, “There’s nothing like 70mm. It has a beautiful resolution.” This format allowed for breathtaking wide landscapes and incredibly detailed interiors, such as those within Minnie’s Haberdashery, where every texture and shadow came to life.

The choice of Kodak film stock was another crucial element. The specific emulsions chosen were carefully considered to complement the refurbished lenses and achieve the desired visual aesthetic. The interplay between the vintage glass and the contemporary film stock resulted in images with a distinctive grain, rich colour saturation, and a remarkable tonal range that simply couldn’t be replicated digitally.

Finally, the implications for lighting and set design when shooting with such a wide aspect ratio and potentially shallow depth of field were significant. Every element within the expansive frame became important, requiring meticulous attention to detail from the art department. Lighting had to be precise, ensuring that the vastness of the exteriors and the confined intimacy of the interiors were both beautifully rendered and consistently lit to maximise the unique qualities of the 70mm format. It was a production where every technical decision served a clear artistic purpose.

Tarantino Hateful eight

Chapter IV. The Immersive Experience: How 70mm Defined The Hateful Eight‘s Aesthetic

The decision to shoot The Hateful Eight in 70mm was not merely a technical one; it was an aesthetic choice that fundamentally defined the film’s visual style and audience experience. The expansive canvas of the 70mm frame allowed Tarantino and Richardson to craft a cinematic world that felt both grand and intimately suffocating, perfectly reflecting the narrative’s tension.

The most striking aspect of the 70mm format for The Hateful Eight is undoubtedly the wide aspect ratio of 2.76:1. This ultra-widescreen presentation immediately creates a sense of epic scale, even when characters are confined within the close quarters of Minnie’s Haberdashery. It allows for multiple characters to occupy the frame simultaneously, often in distinct pockets of activity, enhancing the ensemble nature of the film and allowing the audience’s eye to wander and discover details. This visual breadth mirrors the vast, isolated landscape of the film’s setting, even when the narrative becomes claustrophobic.

Beyond the aspect ratio, the heightened detail and texture inherent in 70mm film are profoundly impactful. Every stitch on a period costume, every flake of snow, every weathered plank of wood in Minnie’s Haberdashery is rendered with an astonishing clarity and tactile quality. This level of detail pulls the viewer deeper into the world, making the environment feel tangible and authentic. It’s a visual richness that truly brings out the nuances of the film’s design and meticulous set dressing. Film critics widely praised this aspect; for instance, many reviews highlighted how the 70mm photography made the treacherous snowy expanses feel truly immense.

Furthermore, The Hateful Eight masterfully utilises deep focus, a technique greatly facilitated by the 70mm format. This allows for multiple planes of action within a single shot to remain sharp, enabling audiences to absorb information across the entire frame. This fosters a more active viewing experience, encouraging viewers to explore the composition and discover visual cues that enhance the narrative. Unlike many modern films that rely on shallow depth of field to guide the viewer’s eye, The Hateful Eight invites exploration, reflecting the film’s deliberate pacing and slow reveal of character motivations.

The unique colour rendition and contrast of 70mm film also contribute significantly to the film’s rich and sometimes unsettling visual palette. The colours possess a certain richness and analogue quality, and the contrast creates deep, inky blacks and luminous whites, particularly striking in the snow-covered landscapes. This contributes to a sense of timelessness and a slightly heightened reality that perfectly complements Tarantino’s stylistic approach.

Finally, the “roadshow” theatrical experience, complete with an overture and intermission, embarked on a limited “roadshow” run in select US and UK cinemas. In the US, this exclusive 70mm presentation commenced on Christmas Day 2015, playing in approximately 100 specially equipped theatres nationwide. These screenings offered a longer version of the film – around 12 minutes of additional footage compared to the wider digital release – complete with a musical overture and a traditional intermission, mirroring the lavish film presentations of the 1950s and 60s. For the UK, the roadshow was significantly more limited, initially playing exclusively at the Odeon Leicester Square in London from its release on 8th January 2016, before moving to a very select few venues like the Filmhouse Cinema in Edinburgh and later the Parkway Cinema in Barnsley. This painstaking effort to distribute and project the film in its intended format created a unique and highly sought-after event for cinephiles, a testament to Tarantino’s commitment to the cinematic medium.

Hateful eight Cast

Chapter V. The Legacy of 70mm: The Hateful Eight‘s Impact on Modern Cinema

The Hateful Eight‘s audacious production, particularly its reliance on 70mm film and refurbished vintage lenses, was more than just a successful artistic endeavour; it was a potent catalyst that sparked a notable resurgence of interest in large-format filmmaking. In a cinematic landscape increasingly dominated by digital acquisition and exhibition, Tarantino’s commitment to photochemical processes served as a powerful reminder of film’s unique aesthetic qualities.

The film’s success, both critically and in its theatrical presentation, demonstrated that there was still a significant audience appreciation for the immersive experience that 70mm offers. This opened doors and encouraged other visionary filmmakers to explore the format. Films like Christopher Nolan’s Dunkirk (2017) and, more recently, Oppenheimer (2023), both shot extensively on large-format film, directly benefited from the groundwork laid by The Hateful Eight. These productions proved that while challenging, shooting on 70mm was a viable and artistically rewarding path, capable of delivering a truly unparalleled cinematic experience.

However, the legacy of The Hateful Eight‘s 70mm production isn’t without its challenges. The infrastructure for shooting, processing, and projecting 70mm film remains limited. Investing in the necessary cameras, lenses, film stock, and projection equipment is a significant undertaking for any production. Yet, Tarantino’s film highlighted the importance of preserving and maintaining historical film equipment and the expertise required to operate it. It underscored the value of maintaining our cinematic heritage, not just as a historical curiosity, but as a living, breathing art form.

The film also reignited the broader discussion around the choice between digital and analogue filmmaking. While digital offers unparalleled flexibility and cost-effectiveness, The Hateful Eight powerfully articulated the unique strengths of photochemical film – its organic grain, its distinct colour rendition, and its unparalleled depth and texture. Industry discussions amongst cinematographers and directors often refer to The Hateful Eight as a benchmark for what can be achieved with large-format film, prompting consideration for its use in projects where the aesthetic impact is paramount. It’s not a matter of one being inherently “better” than the other, but rather understanding and leveraging the specific artistic qualities that each format brings to the table.

Ultimately, The Hateful Eight‘s 70mm production serves as a powerful testament to the enduring artistic value of traditional filmmaking in a rapidly evolving digital age. It championed a hands-on, artisan approach to cinema, proving that sometimes, the most innovative visions are achieved by looking back at the grandeur of the past. The film’s impact continues to reverberate, inspiring new generations of filmmakers and audiences to appreciate the unique magic that only large-format film can deliver.

Conclusion: A Widescreen Masterpiece for the Ages

The Hateful Eight‘s journey from script to screen was inextricably linked to Quentin Tarantino’s audacious decision to shoot on 70mm film with painstakingly refurbished vintage lenses. This was not merely a stylistic choice but a fundamental commitment to a grander, more immersive cinematic experience. The challenges were immense, the technical feats remarkable, but the result is undeniable: a film that stands as a powerful testament to the enduring allure and unique artistry of photochemical filmmaking, solidifying its place as a widescreen masterpiece for the ages. Its production serves as a powerful reminder that sometimes, looking to the past can forge the most breathtaking visions for the future of cinema.

Have you experienced The Hateful Eight in glorious 70mm? Share your thoughts on its visual impact and how the format enhanced your viewing experience in the comments below! What other films do you believe truly shine in large format?

1 Comment

Leave a Reply

Your email address will not be published. Required fields are marked *