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The legendary director tells a story about eight travellers caught in a storm in post-Civil War Wyoming in his latest film, The Hateful Eight.
Academy Award-winning director Quentin Tarantino will bring his latest film, The Hateful Eight, to the UK for its premiere in Leicester Square. In the film, two passengers hurtle in a stagecoach through the US state, aiming for the town of Red Rock. The party of four becomes lost in a blizzard and takes refuge at a stagecoach stopover on a mountain pass, where they meet four more people: caretaker Bob (Demian Birchir), hangman Oswaldo Mobray (Roth), cow-puncher Joe Gage (Michael Madsen), and Confederate General Sanford Smithers (Bruce Dern). Shot in 70mm film instead of the usual 35mm, it will open in the West End with a wide-scope and high-resolution image quality – alongside the standard release in digital theatres.
Vote pour faire monter ce titre dans le TOP MENSUEL et le faire apparaitre dans le TOP 50 ! We have done some thorough interviews with the actors from the latest epic war film, Inglourious Basterds, but the series really isn’t complete without talking to the man behind the film, Quentin Tarantino.
When we spoke to the self proclaimed cinephile, Tarantino revealed how he came up with the idea for the film, his favorite characters, and the lackluster reviews the movie received at Cannes.
In the promotions for this film Brad Pitt’s Aldo Raine is front and center, even though the story focuses more on Shossana and Landa.
QT: When I started writing it years ago, I had all the characters, but I had a different story line in mind. Is there more footage that may come out on the DVD or a different Director’s Cut of Inglourious Basterds?
Apres un 1er marteau pour demontrer toute les operations ,  c'est Quentin dirige et moi je frappe . What matters is that when you sit down to watch Django Unchained, you are witnessing the birth of something new. They are bounty hunter John Ruth (Russell) and his prize fugitive Daisy Domergue (Jennifer Jason Leigh). This is totally not trying to bend over and make Brad [Pitt] seem bigger than he already is, but I think it is a movie with three leads.
The first three stories, and then from chapter four until the end, is like the straight-ahead adventure. The thing is, especially in this script, I really made it a point to be disciplined on this. There was an aspect of the Bride, not just fighting through her death list, she is fighting through the whole history of exploitation cinema, with every character on that list representing a different genre.


I don’t know about you, but I always know I am watching a movie when I am watching a movie.
We were working on this at such an accelerated pace, I couldn’t afford to shoot stuff that I didn’t think was going to make the film. If it were a Devil’s Brigade movie from the mid-60’s that Mike Myers scene would be the first scene of the movie; as he sends them on their mission. He came in and picked up the script and half way through the reading of that first scene, I knew I had found my guy.
It is the number one thing you say when you go to a film festival, especially when you go to Cannes. I didn’t really want an unwieldy movie, and I knew I didn’t have time to shoot a bunch of stuff that may or may not make the cut. The thing is, even the whole structure of the movie to me, was to set up the first three chapters for these three characters. I really like proposing things and bringing them up, but not answering them, and letting you figure out stuff.
Again it was great because I didn’t have anybody in mind, so the character could become the character. The thing that is very fascinating is, I have heard some people say, “Well, wouldn’t the Nazis round them up?” No, no, no, no. I don’t think this is it, but I remember when I first started the movie after Jackie Brown, it was one of the things that I wanted to be my The Good, The Bad, and The Ugly, and it was. This may have been done on purpose, as a way of branding the pictures, but it seems more likely that is was simple expediency, reusing the same artwork to save time and money, with variations reflecting the shifting tastes over time of the artists involved. You get Shossana’s backstory even though you don’t know her in the first chapter, and in the third chapter you do. If I were writing it for somebody else, maybe he wouldn’t be so multi-lingual, because then he couldn’t do that. Most critics are cinephiles to one degree or another, so there is nothing a cinephile loves more than showing off their knowledge. Basically, where they were coming from, they didn’t have a “Black problem”, the way they had a “Jewish problem”, the way they had a “homosexual problem”, the way they had a “gypsy problem”, or a “Communist problem.” France was the only place you were going to find them. Oddly enough though, as much as I love Sergio Leone, if you are familiar with a lot of those directors, I think my work resembles more of Sergio Corbucci. They want to play games with the mastermind when they sit down to watch my movies, and they start playing a game of “spot the reference” that a lot of is completely of their own making.


One is because it is more of Shossana’s back-story from 1941 to 1944, and you know, I don’t want to show that at all now. The minute I start throwing my two cents in then everyone lets go of what they have come up with. Even when I worked at Video Archives, Inglourious Basterds became our name for a bunch of guys on a mission movie. Not that I am trying to do either of those guys, but he is the other master as far as I’m concerned. I have no problem saying, “I am working inside of a genre.” I think every movie is a genre. I really want the audience to actually come up with it in their own mind about how she survived.
The ironic reality is this, if I was a Black guy in Nazi occupied France I’d keep a low profile to be sure, having said that, he would have more rights in Nazi occupied Paris than he would have in downtown Dallas at that same time. An Eric Rohmer movie is a genre movie, and if you make a movie like his, you are kind of making an Eric Rohmer-style movie. If this character on the page is ever going to get on the screen, that doesn’t mean fluent in languages. Paul Thomas Anderson, his dialogue is as good as mine, but he breaks it up where he has the 20 minute opening that is silent in There Will Be Blood.
It didn’t fit into the section that I had planned it, but it worked so well that if the movie is a hit, and if I were to do a prequel with the Basterds, I could just plug it right into the other movie.
There is an aspect about the original story that I don’t do in this movie, but it was really neat. You do some nipping, and pruning, and monkey around with a couple scenes and all of the sudden, one minute longer plays ten minutes less.
So, I came up with a whole new story, and that story is the Fredrick Zoller story; the story of him being a war hero, then making this movie, and now the mission would be blowing up the Premier. They can’t go to the Americans because they are going to go to jail for the rest of their lives and they can’t go to the Germans, so they are trying to get to Switzerland.
When I bought it, I didn’t know how much of this was going to be a remake, but at least I could use the title.



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