[Konvas] NEXT Tarentino WESTERN

Patrick O'Donnell odonnell.law at gmail.com
Sat Dec 5 18:29:48 EST 2015

Obviously, you have extensive experience with how Hollywood works, and I
don't.  I'm not a Tarantino fan, but whatever you think of his work, I
don't think The Hateful Eight is going to have a negative impact on the
ability to use film.  Hollywood has been making crappy movies since they
started making them (and, to paraphrase Theodore Sturgeon, 90% of
everything is crap, so this goes for all art forms.)  I don't know that the
expense of transferring 65mm to 4K is going to stop executives from
throwing money at movies - every year, there are many flops that have huge
budgets, and studios still keep making them.  Judging from their past
records, I'm pretty sure that most of those executives have no idea as to
what makes a good movie or a hit - they just try to copy what was
successful before and hope it works, and if it doesn't, they leave a strong
enough trail so that someone else will take the blame for it.  So far,
Tarantino has made money (I believe Django had his biggest box office to
date) which is why Miramax is willing to spring for the 65mm production and
projection.  And I hope the movie does well, so that this tool remains a
possible option for other filmmakers.

On Sat, Dec 5, 2015 at 4:29 PM, <colcam at aim.com> wrote:

>  Number one, this is a business, not an art show.  We have budgets, and
> have to meet them, but the real life deal is that craft services cost more
> than film and processing would cost.  The end product, however, is going
> mostly 4k digital, and the proper transfer from film final print positive
> to a redundant 4k exhibition print is not cheap.  Make that NOT CHEAP in
> all caps, usually six to eight times the cost to transfer to 1920x1080/24p
> because of the color ranges and corrections that need to be done.
> When you do "glam counts, nothing else" work like QT rides on and
> attribute value to junk story work with great equipment and a HUGE increase
> in film costs for a strange film format and amazing prices to transfer,
> guess what?  You kill the ability of anyone else to sell film versus
> digital.  The suits see a mammoth film cost to digital transfer and film
> distribution on top of that, and unless you are going to be one of the top
> one hundred movies of all time, nope, not interested.   This is a bastard
> format that did not make it in the marketplace, but it is being sold here
> because of the genius of the people in charge.
> QT was a good writer, but he wants to focus inward and deal with bad boy
> and violence as comedy, ugly as neat and pretty, and it affects marketable
> status for all other film work, and that applies even more if you go to the
> special even methods.
> My preferred format is 35mm anamorphic, and it is cheaper and easier to
> shoot, to film project at the venues, to do 4k and 8k transfer work-- and
> the quality is real, not hype.  You want the Ultra 2.75 wide look?  Hard
> matte the top and bottom, less than one millimeter of the anamorphic frame
> to jump from 2.4:1 to 2.75:1
> Set up this as an event and you undercut film for real work unless
> everyone above the line is bankable.   People who do not know the system
> ask the wrong questions, and they keep work from being done the best way--
> and this is going to make it worse, and force more work to start digital to
> avoid the unreal costs for this bastard system we would not be using.
> -----Original Message-----
> From: Patrick O'Donnell <odonnell.law at gmail.com>
> I don't understand - how does Tarantino, or his producers, using
> filmundercut other people from using film, or making movies?  How did Kill
> Billundermine other releases?From my naive perspective, it seems that more
> Hollywood productions usingfilm means that there will be more film
> available for non-Hollywoodproductions.On Fri, Dec 4, 2015 at 5:47 PM, <
> colcam at aim.com> wrote:>>>>  I do not have an opposition to film.
> Remember, I was the guy with four> 35c bodies, two 35h bodies, eleven Arri
> 2c bodies-- and eighty one lenses,> including a LOMO anamorphic set of nine
> and an original Cinemascope set of> five.   I also had a fair assortment of
> 16mm and super16, too, and I used> the stuff.  I know film, and what it can
> do.>> The problem is the content and producers of the work and their
> proven> track records, pushing this out so it makes a quick buck but
> undercuts> anyone else because it "proves" something that only the guys in
> the corner> office understand.  Kill Bill made money-- but undermined other
> releases> for years.  This is set up to drive another nail in the coffin of
> film.>>>> -----Original Message-----> From: Patrick O'Donnell <
> odonnell.law at gmail.com>>> Colcam,Maybe you can explain what your
> opposition to film is?  Because I> get thesense that you feel like it's a
> gimmick but I don't know> why.Thanks,PatrickOn Fri, Dec 4, 2015 at 12:28
> AM, Andrew Overtoom <> overtoom at mac.com> wrote:> Okay, I read them -- now
> what? Sounds like they> did a good job.  Btw the> Weinstein Co did Carol
> too, shot on 16mm.  The> other side of the film> platter, so to speak. I
> saw it last week at the DGA> theater here in Los> Angeles. Its beautiful.>>
> -Andrew>> Sent from where I> am, to where you are... through a series of
> tubes>> > On Dec 3, 2015, at> 5:58 PM, colcam at aim.com wrote:> >> >> >> >>
> > Go to DEADLINE.com and look> for these two stories:> >> >> >> > How
> Weinstein Co. Distribution Chief> Erik Lomis Rescued 70MM Cinema For>
> Quentin Tarantino’s ‘The Hateful> Eight’> >> >> >> >> > and> >> >> >> >> >>
> > Harvey Weinstein To HFPA And> Golden Globes: 'The Hateful Eight' Is A>
> Comedy!> >> >> >> >> >> >> >>>
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