Peter Suderman on Quentin Tarantino's Analog Cinema Throwback, The Hateful Eight
I wrote about how Quentin Tarantino brought back a decades-old 70mm film format for a special "roadshow" version of his latest film, The Hateful Eight, for Vov this week.
Here's how it starts:
Leave it to Quentin Tarantino to revive an archaic, epic film format and use it to create one of the most intimate, theatrical movie experiences in years.
The Hateful Eight, his latest work, is a talky, stagey production, featuring a small cast and just a few cramped locations. The movie, a brutal neo-Western about bounty hunters and gunslingers in the aftermath of the Civil War, is set in the snowy mountains of Wyoming. But much of the dialogue takes place inside a cramped stagecoach, and the second half of the film is confined almost entirely within a single-room set that in both size and layout feels more like a theater stage than a traditional movie set.
Yes, there have been reports of problems with the aging projection technology, but in some ways that's part of the package. The roadshow version of the film is basically Tarantino's argument for the analog cinema experience—a love letter to cinema as a physical medium, flaws and all.
Read the whole piece here.
