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Topic: HATEFUL EIGHT 70mm - all discussion
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Mark Ogden
Jedi Master Film Handler
Posts: 943
From: Little Falls, N.J.
Registered: Jun 99
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posted 12-16-2015 02:20 PM
Poor QT. Who told him to put his picture up against the most anticipated movie of the year?
http://deadline.com/2015/12/the-hateful-eight-star-wars-force-awakens-arclight-theater-fight-1201668018/
Quentin Tarantino Blasts Disney On Howard Stern Show As ‘Force Awakens’ Pushes ‘The Hateful Eight’ Out Of Cinerama Dome
Quentin Tarantino went on the Howard Stern Sirius radio show and spoke about how Disney is strong-arming Arclight Cinemas to push the director’s 70MM presentation of his eighth film The Hateful Eight aside in favor of Star Wars: The Force Awakens in LA’s famed Cinerama Dome. The director first learned about this on Monday. The western was originally due to play there claims Tarantino starting on Dec. 25th, but now Force Awakens is getting an extended play through the holidays.
“It was real bad news and it fucking pissed me off,” Tarantino told Stern. “They are going out of their way to fuck me.”
All per Tarantino: when ArcLight Cinemas told Disney they were honoring their contract for Hateful Eight, Disney threatened to pull Force Awakens from all ArcLight locations.
For years there was a clearance boundary whereby if a film was playing at the Chinese Theater on Hollywood Blvd, then it couldn’t be playing at the Cinerama Dome. But that’s not the situation here with Star Wars: The Force Awakens: It’s playing at the TCL Chinese Theater, Disney’s El Capitan and The Cinerama Dome.
Living here in L.A., The Cinerama Dome is a prized venue for Tarantino. In fact the Cinerama logo appears in the opening credits of The Hateful Eight. The premiere for the film was held on Monday, Dec. 7 at the Cinerama Dome and the director told Deadline’s Pete Hammond, “I made The Hateful Eight for the Dome … This is the first time seeing it at the Dome for me too, and it was like I hadn’t even seen it before, not like this.”
“It’s vindictive, it’s mean, and it’s extortion,” Tarantino added. The Oscar-winning fimmaker further added that his beef isn’t with Force Awakens director J.J. Abrams, but with the top suits at Disney. In fact, Abrams worked with Tarantino when the director starred as McKenas Cole on Abrams’ ABC show Alias. “I made a lot of money for the Disney corporation,” Tarantino told Stern referring to the days when Disney owned Miramax and released such titles as Pulp Fiction ($213.9M worldwide) and the Kill Bill two pic saga (combined $333M worldwide) as well as Jackie Brown ($40M domestic).
It’s no secret that there is a particularly hard fight for screens this holiday season with a glut of films and in fact, Hateful Eight wisely changed up its distribution pattern to accommodate that glut. “It’s so damn crowded right now that everyone is pushing everything,” said one exhib about the fight for screens. “I had (one studio) tell me I have to hold (their movie) on one line while on the other I had (another studio) screaming at me about (their film). “The real problem is that it’s too packed and it’s hard to juggle all these films and we are telling them (the studios) that’s there are too many movies to juggle right now.”
During the broadcast, Stern told Tarantino that Walt Disney Company CEO Bob Iger was an avid listener. The radio host addressed an absent Iger during the show, calling out: “Listen Bob … I don’t give a shit about this theater. Quentin’s a weirdo — sorry Quentin … They’ve got the stupid 70mm – they got all that shit that he cares about. He just wants to show his goddamn movie there. You’re sitting on top of the world. You’ve got Star Wars. What, do you need this?”
Deadline has reached out to the Weinstein Co. and Disney, and is waiting to hear back.
In a statement yesterday, Arclight Cinemas announced how they were preparing for Star Wars: The Force Awakens; that the Dome was upgraded with dual-head Christie 6P laser projectors and Dolby 3D, which can project more than double the light of an average 3D projection system and enable moviegoers to see the nuances in Star Wars: Episode VII.
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Leo Enticknap
Film God
Posts: 7474
From: Loma Linda, CA
Registered: Jul 2000
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posted 12-16-2015 03:21 PM
quote: Tarantino
“It was real bad news and it fucking pissed me off. They are going out of their way to fuck me.”
It would appear the dialog in my imaginary scene between Tarantino and Weinstein wasn't too wide of the mark, then.
An update on Sunday's show at the Egyptian: I’ve just been in touch with Chapin Cutler, who received the loaner lens sets used in Sunday’s Egyptian show back in Boston today, and had a look at them. It appears that for some reason, and we can’t be 100% sure what that reason was, the astigmatism setting on one of them drifted a bit. This must have happened between the technical rehearsal screening (of the entire show) on Sunday morning and the actual show in the afternoon, because a producer who attended the rehearsal was totally happy with the technical presentation. My guess is that heat cycling caused the locking screw on the astigmatism ring to loosen, but that is just a guess (as I wrote earlier, I personally did not project Sunday's screening or any of the Egyptian shows that have taken place so far). Chapin has asked me to make clear that the lenses left Boston in good working order, which I am very happy to do. This lens set was used for two complete screenings of the film before the one in which we experienced the problem, without any complaints of any focus issue.
The lesson from this would appear to be that the astigmatism rings are not a “set and forget” item, and that the projectionists working these shows do need to check that they are locked and tight at the start of each shift
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Leo Enticknap
Film God
Posts: 7474
From: Loma Linda, CA
Registered: Jul 2000
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posted 12-16-2015 04:17 PM
To be fair, "set and forget" is what is normally done with the astigmatism setting on an anamorph, without any problems. That's why the locking screw is there: you adjust it correctly, using an RP-40 (for '35 scope) or 91 (UP70) loop, tighten the lock screw, and should not have to touch it again unless the lens moves to another theater.
I guess that in this case, the bulk and weight of the UP70 anamorphs being held by the prime behind it might be setting up some vibrations that are making the lock screw vulnerable. All I know is that in our case, the astigmatism setting changed without us fucking with it, as Tarantino would say. I'm not going to be working the runs in any of the temporary installation screens, but if I was, I'd be adding a check of that lock screw to the start-of-shift procedure.
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