Quentin Tarantino Django Unchained

The Hateful Eight will be the eighth film by Quentin Tarantino, and the director is still planning on retiring after his tenth. A few years ago, the director suggested the retirement plan. Now, with his eighth film almost ready to go, he’s more serious than ever:

I don’t believe you should stay on stage until people are begging you to get off. I like the idea of leaving them wanting a bit more. I do think directing is a young man’s game and I like the idea of an umbilical cord connection from my first to my last movie. I’m not trying to ridicule anyone who thinks differently, but I want to go out while I’m still hard…I like that I will leave a ten-film filmography, and so I’ve got two more to go after this.

Read more about Quentin Tarantino retiring, as well as his ambitious 70mm plans for The Hateful Eight, below.

The quote and information came from Deadline, which was on hand when Tarantino spoke in front of an audience at the American Film Market. Along with the director were a few of his stars: Walton Goggins, Samuel L. Jackson, Kurt Russell and Jennifer Jason Leigh. Many didn’t believe Tarantino when he talked about retiring, but he did sort of leave the door open:

It’s not etched in stone, but that is the plan. If I get to the tenth, do a good job and don’t screw it up, well that sounds like a good way to end the old career. If, later on, I come across a good movie, I won’t not do it just because I said I wouldn’t. But ten and done, leaving them wanting more, that sounds right.

That could be a long way away at this point. Tarantino enthusiastically wooed the buyers at AFM talking about how The Hateful Eight was going to be a 70mm event:

If we do our jobs right by making this film a 70 mm event, we will remind people why this is something you can’t see on television, and how this is an experience you can’t have when you watch movies in your apartment, your man cave or your iPhone or iPad. You’ll see 24 frames per second play out, all these wonderfully painted pictures create the illusion of movement. I’m hoping it’s going to stop the momentum of the digital stuff, and that people will hopefully go, ‘Man, that is going to the movies, and that is worth saving and we need to see more of that.

He then detailed a plan where the film would open in 70mm alone for at least two weeks, or maybe even a month, before going to digital theaters. It’s a plan, on a much larger scale, than Christopher Nolan did earlier this week with Interstellar.

We’re not doing the usual 70 mm, where you shoot 35 mm and blow it up. We’re shooting 65 mm which, when you turn it into a print, is 70mm. Panavision is not only behind this movie, they look at it as a legacy. They are inventing a lot of the stuff we need, and this is being supervised by my three-time Oscar winning cinematographer Bob Richardson, who’s back with me and after Kill Bill, Inglourious Basterds and Django Unchained. I couldn’t do this if he wasn’t in my corner….We are literally coming out with the biggest wide screen movie shot in the last 40 years.

There’s much, much more from the director at Deadline’s full story, including the lenses he plans to use, the inspirations for the film, the actors discussing the dialogue and more. But the two biggest things are that impending retirement and the 70mm enthusiasm. What do you think?

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