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Ah, the good ol’ digital vs film debate. Well, you won’t get any of that in the article or podcast. With Quentin Tarantino’s The Hateful Eight coming out Dec 25, 2015, and it is shot on “Glorious 70mm,” there has been a lot of chatter about film again.
With filmmakers like Christopher Nolan shooting 35mm and IMAX on his latest film and JJ Abrams shooting Star Wars: The Force Awakens in 35 mm, film seems to still be an art form that many filmmakers are not ready to let go of just yet.
What Quentin Tarantino has done with The Hateful Eight is unique. He has brought back to life the Ultra Panavision 70 technique along with anamorphic 65mm lenses that haven’t been seen since the ’60s.
Here are some specs:
- Camera: Panavision 65 HR Camera and Panavision Panaflex System 65 Studio
- Lenses: Panavision APO Panatar
- Film Stock 65mm: Kodak Vision3 200T 5213, Vision3 500T 5219
- Aspect Ratio: 2.75:1
Quentin Tarantino has some very strong opinions about shooting digital.
“Part of the reason I’m feeling [like retiring] is, I can’t stand all this digital stuff. This is not what I signed up for,” he said.
“Even the fact that digital presentation is the way it is right now – I mean, it’s television in public, it’s just television in public. That’s how I feel about it. I came into this for film.”
“I hate that stuff. I shoot film. But to me, even digital projection is – it’s over, as far as I’m concerned. It’s over.”
“If I’m gonna do TV in public, I’d rather just write one of my big scripts and do it as a miniseries for HBO, and then I don’t have the time pressure that I’m always under, and I get to actually use all the script,” he explained.
“I always write these huge scripts that I have to kind of – my scripts aren’t like blueprints. They’re not novels, but they’re novels written with script format. And so I’m adapting the script into a movie every day.”
This is what he said he’d do if he would write another huge epic.
“The one movie that I was actually able to use everything – where you actually have the entire breadth of what I spent a year writing – was the two Kill Bill movies because it’s two movies. So if I’m gonna do another big epic thing again, it’ll probably be like a 6-hour miniseries or something.”
The Hateful Eight will be getting a nation-wide release in Ultra Panavision 70, which means it’ll be the first fiction feature film screened in anamorphic 70mm with a single-projector Cinerama system since Khartoum in 1966.
Watch Quentin Tarantino, director of photography Bob Richardson and Panavision explain how they brought Ultra Panavision 70, back to life in The Hateful Eight.
A Christmas Eve Conversation With Quentin Tarantino & Paul Thomas Anderson on 70mm Film
Quentin: I didn’t realize how much of a lost cause [35mm] was. At the same time I didn’t realize to the same extent 70mm would be a drawing point. Not just to me and other film geeks. There is no intelligent argument to be had that puts digital in front of [70mm]. It actually might be film’s saving grace. Film’s last stand. Film’s last night in the arena — and actually conquer.
Check out this amazing documentary SIDE BY SIDE, produced by Keanu Reeves, takes an in-depth look at this revolution.
Through interviews with directors, cinematographers, film students, producers, technologists, editors, and exhibitors, SIDE BY SIDE examines all aspects of filmmaking — from capture to edit, visual effects to color correction, distribution to archive.
At this moment when digital and photochemical filmmaking coexist, SIDE BY SIDE explores what has been gained, what is lost, and what the future might bring.