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A month ago, we learned that an extended version of Quentin Tarantino«Western 2015 The Hateful Eight would arrive on Netflix. Many (including this author) have speculated that it would be the Roadshow Cut, a version played in limited theatrical release, which has never been shown in personal video. But that's not what happened.
Instead of, The Hateful Eight arrived on Netflix, broken into a miniseries consisting of four episodes. How and why did it happen? And Tarantino was involved? It turns out that it was it. The filmmaker organized and supervised the new miniseries himself.
Tarantino spoke / film exclusively about how the Hateful Eight The Netflix miniseries came together. The filmmaker also talked about cutting a new director in another of his films, and whether he said or not that he was going to make this rumor. Star Trek movie.
So, I guess my two big questions about this are how and why; how did this happen and what was your contribution? And what was its genesis, dividing it in these episodes?
Well, we finished the whole movie. And I had no reason at the moment to release the Roadshow version; because it was [its own thing]… it was pretty much this 70-millimeter screening. So as much as [releasing] all the prologue and intermission, it did not really make sense, unless playing during TCM Roadshow week or whatever.
So Netflix came to us and said, "Hey, look, if you're interested, if there are even more videos, [and] if you want to put it together so that you can put it in three or four episodes, depending on the number of additional sequences you have, we would be willing to do that. "
And I thought, wow, it's really intriguing. I mean, the movie exists as a movie, but if I had to use all the footage that we shot and see if I could put it together as an episode, I would be ready to try it.
So, about a year after it came out, maybe a little less, myself and my publisher, Fred Raskin, we got together and then we worked very hard. We edited the film in 50-minute pieces and we easily got four episodes. We did not re-edit everything from scratch, but we did a lot of re-editing, and the game is different. Some sequences are more similar than others to the movie, but the feeling is different. I have a different feeling that I really like a lot. And there was [already] In any case, the film has a literary aspect, so it really has this quality of "chapters that unfold".
There has been a debate about whether or not there are new images –
Yes, it's really frustrating that, on the one hand, it seems like all the websites in the world want to talk about it, but no one really wants to watch it. So that they can actually see for themselves if it's different. For example, 42 different websites would rather speculate on difference than on simple monitoring. So that's the whole misconception. "Oh, they're just replaying the credits … it's just what there was in the roadshow version." No! I do not know [an exact] the chronology as to the amount of new sequences, but about 25 minutes or more.
And there are sequences that play very different. You know, one of the things I really like, and that's one of the things [that] had not worked in the feature film, we had moved on, but in this kind of situation it was different. Have you seen the movie?
Yes.
D & # 39; agreement. So when you find yourself in a situation where the four pbadengers enter, take the place and kill everyone, and they sort of organize the place for when the stagecoach arrives.
Well, the way he is in the [original] the movie is, instead of telling me, "But then, when John Ruth and Daisy have arrived …", that's when we cut that sequence and go back … What we can do in this version, it's John Ruth and Daisy now enter the place and you will see the whole sequence again. John Ruth and Daisy enter Minnie's haberdashery, except that this is not said from the point of view of John Ruth and Daisy. That's from the point of view of the killers … WWe know what they did, we know how they got organized and we know that Daisy knows who they are … So we see how Tim Roth and how Michael Madsen and Daisy react to each other, while John Ruth is unconscious.
I have a question about the movie itself. I wonder if you think yourself that this movie was released a year or two earlier. I remember it was the Christmas 2015 release and I remembered that. I loved the movie. I think it's fantastic. But it's a really brutal movie. It deals with misogyny and racism, and obviously these things are not new. They've always been there, but it seems a year later, you know, we had elections and all that … all those ugly things that a lot of Americans thought were buried came out with all their might. And when that happened, it made me think a lot about this film because I feel that the film deals with it in a certain way.
Yeah, they are still fighting … in their own racist terms.
I had the impression that if it had been published in 2016 instead of 2015, the reaction would have been so different, simply because this ugliness was again in the foreground.
For you to know, I read your article. I was really taken with that. I really like that. I appreciate you calling us prescient. I must say … I did not really think about it [at the time]. As if I knew I had made an ugly little movie. And if you make an ugly little movie, people may not react so well, all right, it goes hand in hand with the desire to do something as bad, rancid. But I love it … but I can understand that it's not really a dish for everyone, but the truth is that I did not think about it at all. I just thought it was just the nature of the beast. But when I read your article, I thought, "Hey, he might be right.
So, to go back to the Netflix element, would you like to do something like that, for example, [Kill Bill] The bloody case? Or is it a unique thing for you?
[There’s] the idea that you can now make a film, and that the film is the film, and that the film has all the limitations of the film that a novel does not have, that's how it is. But the idea that after that, after all is finished, after the film is told and done, not that it's just a ghost or strange version, but the idea that you can have a more complete version come out, after the fact is that a little exciting. It's quite interesting. Now, in the case of Kill Bill all the bloody affair, Kill Bill It's the only movie I shot where all I shot is in the movie because we had two movies.
But for example, take Django [Unchained], I actually cut a director Django. It's about three hours and 15 minutes, or three hours and 20 minutes, something like that. It's the one I would not do as a mini-series, because it would be better [as a movie]. I was thinking about this idea, but it would work better as a movie. Just a little longer for me. So I did it. We wait some time after Once upon a time in Hollywoodand we'll publish it eventually.
And what is the status of Once upon a time in Hollywood?
I am on the scene right now.
I feel like I have to ask this question even though I do not know if you will want to answer it. But are you going to make a Star Trek movie? Is there a truth to that?
It's a very big possibility. I did not deal with these guys for a long time because I was doing my film. But we talked about a story and a scenario. The script was written and when I get out of my head, like Punxsutawney Phil,Once upon a time in Hollywoodwe will resume the discussion.
With the Hateful Eight Netflix cut, how about to interest people? tell them it's something new and not just what they've seen before?
Well, if you like the movie, the movie is a movie and I worked very hard [on it]. So, even if I propose a version that contains more things, it does not cancel the first version.
The first version is what we chose to be the movie. But now, if you've seen that, and you like it, and want more, this version gives you more … and it gives you more in a slightly different format. The film does not necessarily need to be like a longer movie. It was a long movie [to begin with]. But it gave me the opportunity, instead of just doing a super duped epic, to be able to use all my ideas … my scripts are always told with very complex narrative ideas …
Now, when editing a film, many of these ideas go unnoticed, because in the end, they do not serve you to make a linear film. But in this case, I was able to put everything back in place. And if you look at it as one chapter at a time [time]that is, 50 minutes at a time, you can absorb it. And in a fun way, you can look at it slightly differently. Do you want to continue watching it? You canbut you do not have to. Each episode ends with an emotional place and you can also see all the original narrative complexity of the set.
This interview has been edited and condensed for clarity.
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