Now, I get questions all the time about people
going, “OK, so you shot it in 70, right?”
“Yeah.” “But I mean, most of it takes
place inside of a big shack, right? Like a
bar, kind of way station shack, right? It’s
all indoors, right?” “Yeah.” And the
part that doesn’t take place indoors takes
place in a stage coach, right?” “Yeah?”
And then they go, “Well, why shoot it in
70?” And I understand the question, but
to me that’s just a very narrow view of
70. I mean, it basically is just suggesting
that, you know, the only reason you would
shoot 70 is if you just want to shoot mountain
ranges or vast desert landscapes or, basically,
landscapes in general. I mean, that’s basically
what everyone’s saying. You know: “If
you’re going to do this big outdoor movie
with a bunch of landscapes and stuff, well,
then that would make sense to shoot it on
70, but if it mostly takes place indoors,
why are you shooting it on 70?” Well, I
don’t think it’s just the format just
made to shoot the Grand Canyon. I don’t
think it’s a format that like its only place
is the Sahara Desert, or its only place is
the Gobi Desert, or the only place is, you
know, the Rocky Mountains of Colorado on a...
a big wide vista. I think it’s one of the
most dynamic, beautiful-looking formats that
there is. And I’ve always understood from…
my very first movie, Reservoir Dogs, which
was a Scope movie, even though it all took
place in... in a warehouse and everyone was
like saying, “Well, why are you shooting
Scope for your first movie, if you’re just
taking place in a warehouse? Well, I actually
believe that these big formats actually offer
more intimacy, that you can be closer to the
characters. It can bring you closer and it
can actually inveigh (convey - ed) the intimacy
of the characters, in its bigness and those
big close-ups and stuff. But also it’s just
the fact that I just, like I said, I don’t
think it’s just a format that’s only meant
for travelogues. And if that were the case,
that would be the case, but I don’t think
it is. I think it’s a very narrow view of
the uses of 70 mm film, especially when you
have somebody like Bob Richardson doing the
shooting and doing the lighting, so, you know,
we’ll see what they say, but hopefully when
people see Hateful Eight, they won’t ask,
“Why did you bother shooting it on 70?”
"How gorgeous it is, and how vivid it is and
how intimate it is" will be the answer.
