The cast and crew of Tarantino's The Hateful Eight discuss the upcoming old-fashioned roadshow screenings of the first film to be projected in Ultra Panavision 70 in nearly fifty years. [more inside]
“I gave it to three motherf***ing actors. We met in a place, and I put it in their hands. Reggie Hudlin’s agent never had a copy. It’s got to be either the agents of Dern or Madsen. Please name names.” Quentin Tarantino decided he won't make The Hateful Eight, which was slated to be his next big film. The script is now floating around the 'net, and summaries of the plot abound, telling of an ensemble cast in a very bloody Western centered on bounty hunters. If you don't want to track down the 146 page document, here is a summary of the six "most Tarantino" elements in the film, which was to be shot in 70 mm film, and in CinemaScope to boot. [more inside]
"The rise in popularity of television is credited with inciting the move to the widescreen systems that flourished throughout the 50s, 60s, and 70s. This is only partially true. In the early 1950s, studios did begin to compose their movies so that the top and bottom of the picture could be chopped off and a wider screen would show the center of the old 1.37:1 frame. The aspect ratio used by the various studios varied from about 1.5:1 up to the common 1.85:1. But the real reason for the birth of a multitude of widescreen and large format systems was the 1952 opening of a movie made in a process that had its roots in a World War II aerial gunnery trainer. This Is Cinerama (modern YouTube trailer; Wikipedia) shook the industry to the core. The public and reviewers loved it. Its giant screen filled with three oversized 35mm images and an incredible new sound system called Stereophonic were a marvel to behold, and the studios immediately rushed to find something that could do what Cinerama did (Google books preview of the August 1952 issue of Popular Mechanics)." [more inside]
What you see here is a prime example of what happens to film that is neglected and improperly stored. This is an original reel from It's a Mad, Mad, Mad, Mad World that is now untouchable. The film has turned acidic, sporting the strongest and most foul vinegar-like odor I have ever smelled. In fact, Robert Harris told me a story of how his contact lenses were singed by the fumes the film produced, causing temporary retinal damage to his eye. [more inside]
To record the history of the large format movies and the 70mm cinemas as remembered by the people who worked with the films.
At the mostly abandoned Moffett Field in an abandoned McDonald's, digital archeologists attempt to restore, recover and archive abandoned high resolution imagery and data from previous manned Moon missions, using an abandoned Ampex 2" tape drive found in a chicken coop - the last working machine in the world, restored by the last man alive capable of rebuilding the heads. This is likely only part of their weird story.
Baraka is an astonishing film voyaging six continents and twenty-four countries. Directed by Ron Fricke, it is a visual tour de force painstakingly shot on Todd AO-70mm film. Information on the film (and its upcoming sequel!) can be found here or you can always watch the making of.