Quentin Tarantino ha terminato il montaggio del suo nuovo film, The Hateful Eight, e ha annunciato che la versione che sarà proiettata in pellicola 70mm, a partire dal giorno di Natale in circa 100 cinema negli Stati Uniti, sarà lunga tre ore e due minuti, di cui sei dedicati ad un’overture e ad un’intermission, alla maniera di 2001: Odissea nello spazio.
La versione digitale invece che debutterà due settimane dopo negli Stati Uniti e nel resto del mondo sarà 12 minuti più corta.
Tarantino ha spiegato così i tagli: “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. 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.”
Nel fine settimana Christopher Nolan, intervenuto al BFi Festival di Londra, si era congratulato con Tarantino per la scelta di proiettare il suo film in anteprima a 70mm: “Well, we’re paying the same for a cinema ticket as we were before, so where are all these marvelous savings [from digital projection]? I love what Quentin Tarantino is doing with ‘The Hateful Eight,’ putting 70mm projectors in cinemas in North America for the original run of his film. He’s said it’s difficult, but it’s worth it”.
“For some reason, it’s become acceptable to say — we’re providing an empty room with a TV in it for you to watch a film. We’re not putting on a show. This has to change. Forget film. If that experience isn’t valued, people will stop going. The idea it’s dying as an experience or undervalued by younger cinema goers is complete bollocks. But the experience has to be great or, of course, people won’t come”.
“One of the terrible things happening with independent distribution in the States is there is a level of Blu-Ray distribution that is going on. Theatre owners should be saying no to that. Exhibition shouldn’t work in such a way that you present the worse possible version of the film until someone in the audience complains. Exhibitors need to put their best foot forward and have standards. No cinema should be showing a consumer grade format to an audience. At least, they shouldn’t be doing it without saying to the public this is best we can get”.
Nolan è tornato anche sulla sua scelta di girare in pellicola: “For years, filmmakers who wanted to shoot digital would promote the fact that the cameras are lighter, easier or whatever, but my response would always be, ‘If David Lean, or rather David Lean’s crew, can put a 65mm in the desert, why should I care that your camera is lighter, unless you’re doing something with it you couldn’t do’.
But if what you’re doing is traditional film craft, the audience shouldn’t care what it cost, what the budget of the film was, or how difficult it was to make or how difficult it is for the theater houses to present the film.”