The Hateful 8 | full press conference New York (2016) Quentin Tarantino

my name is Sean horn I'm the host of the frame on KPCC I'm gonna bring the talent in we'll have about a 10 minute conversation amongst ourselves and we'll take questions from you all but thank you very much for your patience starting the back row Tim Roth Demyan Bashir Channing Tatum Bruce Stern hello Bruce Michael Madsen front row Kurt Russell Jennifer Jason Leigh Quentin Tarantino Samuel Jackson and Walton Goggins heard to you and Jennifer said each other and everything is that right Oh Quentin I'm gonna start with Quentin Quentin thank you guys for coming and thank you for your patience I want to have you don't asked a question about ultra Panavision obviously it's epic and scale in terms of what it gives you in the frame but I want to talk about what it gives your actors in terms of intimacy in terms of the close-ups in terms of the relationship of one actor the other and what that means to you as a filmmaker to be able to shoot actors in 70 millimeter well you've actually kind of answered your own question a little bit no because literally that is that the one of the tricks that I thought about was the intimacy that it provides you in basically in close-ups I mean I've shot a lot of close-ups of this man right here but I've never shot them as beautiful as I did in this movie I mean there is a I think you find yourself taking back strokes in his eyes it's just the way it is you know but one of the things that I remember when I did the film when it was reported that I was gonna do it in this format people were actually speculating and I guess I understand it they were like well yeah okay that sounds all really great but why would he do it for a thing that just so set down and you know I think that's actually just kind of a not a very profound thinking when it comes to 65 millimeter that is basically just for shooting travelogues Mountain sceneries or and nature and stuff I actually felt that especially in bringing it into Minnie's haberdashery if the film isn't suspenseful I the pressure cooker situation of what's going on in the movie if that's not part of it if the threat of violence and the the pressure cooker situation isn't is if the temperature isn't always getting up a notch every few every scene or so then the movies gonna be boring it's not gonna work and I actually felt that the big format would one it would put you in Minnie's haberdashery you are in that place you are amongst those characters and I thought it would make it more intimate when I got in close with them but the other thing that I thought would be very very important is there's always two plays going on in this movie once you're in minis in particular there's two plays going on at all times there's the characters that are in the foreground of any given scene and then there's the characters in the background and you always have to be keeping track especially in this scenario of where everybody is it's like they're their pieces on a chessboard and you always have to see it and so maybe it might be Chris Mannix and general Smithers who are dealing but you're also clocking a Joe gage at his table and you're clocking John Ruth and Daisy at the bar and that and that becomes important unless I don't want it to be unless I want to cut them out and not show it to you but you I think that helped ration up the tension as things went on and for the actors themselves I mean that one of the limitations about 70 typically is that the magazines are very short a little wonky but it means you have very short takes but you were able to equip your cameras with a lot more film so you could shoot your actors for 6 & 7 minutes at a time yeah even longer than that I mean the Panavision came up with a 2,000 foot mags alright we were able to like shoot it for 11 minutes at a time which I mean I can't even imagine doing this material if we had to break it up in four minute goes we had we had to do it like that I mean the only real big limitation that I had as far as my shooting was the Weinstein we're very generous with me so I didn't have to dole out the footage in a certain way I mean I I wasn't completely cavalier about it but but I didn't really change my shooting style for it and that wouldn't have been the idea is it completely changed my shooting style so I shot the way I wanted to shoot however the only real disadvantage I felt at the time but then I don't feel now was we weren't able to get a zoom lens and I had really gotten used to using a zoom lens and the little zoom creep I've really gotten used to that but actually that was also kind of a nice thing to not actually to to be forced to not use all the tools that you've gotten used to from time to time and be able to work in a different way I'm gonna ask this question to Demi and Channing and Jennifer whoever wants to answer it you guys are all virgins to a Quentin set rookies what are we want to call it neophytes when you're asking other practically interns Waterboys subscribing Channing's acting great okay you get the drift here's my question all about Channing answer this one what do you what do you want to know from the other actors about what to expect and what is the surprising what is surprising about being on a Quentin set that's different from other movie sets well first off this I mean it is an actual alumni so I think being an acquaintance film and you really feel that all these guys worked together a lot and it is a unique experience to be an acquaintance movie I can promise you and and you're really intimidated but every single person was so I mean Sam I did my first movie ever with Sam and and to come full circle like this is it's pretty extraordinary I think on the first day I must have looked so geeked out because the very first shot was this crazy I'm I'm just like wide-eyed and trying to figure out what not to screw up and Tim goes yep yep you're about to be an acquaintance together Chan so bugs aired but it was amazing I mean every single person here is people that I admire greatly and it was a learning lesson every single moment when we were in rehearsal I go you do realize you get to shoot coach Channing Channing hasn't seen the film yet sure you're kind of spoiling it there I won't ask Jennifer and Kurt about are you guys and I said this when we came in maybe your mics weren't on you guys always still sit side by side and our you side by side throughout the show meaning when the cameras weren't on did you try to actually change yourselves to one another probably the first time we've ever sat thinking that yeah you're wrong see on the wrong side starting to go with it and I say [ __ ] now now it's okay right with the world I almost felt like I was on a date or something this is much more right but Kurt after your character is no longer among the living is that still you lying on the floor there yeah you know I'd spent the four and a half months chained to Jennifer and I it felt very strange the concept of people starting to drop like flies and the actors that had been there for us or no we're not going to be there for them it just felt really weird outside from the fact that I had a you know a really good ticket a front-row seat to watch all these guys and not have to worry about lions and they just listen to it and watch it be played out but I wanted to be there for her to do whatever she needed to do look in the movie I'm dead for whatever period of time it is it's not three weeks or however long it took us to do it so for her you know if she felt like she needed to pause on Ruth and I knew that by being there and by continuing the I don't know day-to-day that we all had talking to each other and it just was something that had to happen until they had a dummy for him it's it was 30 degrees in that room you know so they had a full dummy with a full face cast beautiful like you couldn't tell from far away I mean has a lot of this video sat in a chair in the in the makeup room at different people would go up and I might have a lot of pictures say that but now it's originated but it can't be found on the black wig I've got a question for Sam other actors can jump in if they wanted I just know I do want to say one thing which is I couldn't have done that scene without him there and that really was three weeks of like 16-hour days lying on a cold floor but I needed him and he was so there for me and it's just like but really really touched me because as much as Daisy wanted to kill him you know be careful what you wish for and I would never have really truly experienced that had he not been there for me to paw and miss and feel the heat leaving his body so that was that's we have something to announce okay okay now I'm coming to you Sam but other actors right you can you can answer this Quentin's obviously very precise in his language and when you make a Quentin movie if people don't know you say the lines that Quentin has written as an actor when there's no yes yes keep the myth alive yes outside of yourself right the other actors have I mean I guess it's a good point of debate what does that give you us an actor when you're staying relatively close I think other actors may be a little bit closer to what's written in terms of what it gives you as an actor a lot of actors like to wing it like to improvise when you're staying close to the dialogue what does that benefit you in terms of your performance not a lot that you need to change when Quentin and I have conversations about what I what I say and I don't just willy-nilly change things if I want to say something else I'll go to him and discuss it with him and we'll talk about it and he'll say well let me hear what I wrote and I'll say what he wrote don't let me know what you want to say and I'll say what I want to say which is very close to what he wrote I just want to say it another way because I think it comes out of that character's mouth a different way and he'll say okay or he'll say no I'll leave it the way I wrote it and that's generally what happens rest of these [ __ ] need to say what he said generally when I get it it's exactly it's it's exactly what it needs to be as characterization starts and as we're in rehearsal there are times when I feel like I didn't I didn't say enough right I have enough to say and I'll say to him could you add something here so that I can answer that or clarify this and Quentin will do that but by the time the rehearsal period is over and we get there and we're ready to do it nothing changes except I mean the only only big change we had being around the studio table and in menace in the studio and being outdoors with the stagecoach was the cold that was the one thing there was the wild card that we didn't really know about and all of a sudden they changed the urgency of everything we wanted to do especially I do it's like okay I want to get inside that stage goes now go I don't like the snow running down my neck Hey Bruce someone asks the same question to you about working with Quentin as an actor you've worked with a lot of great directors over the course of your career what is it special to you about working with Quentin and how does he affect you as an actor in my journey I don't think I've ever said this before but this is the first movie I've ever done where I felt privileged to lend a hand because that's what you do for him he expects everybody I don't know what percentage he'd say but let's say casting is 20 80 percent of a movie and he expects the people that he brings to do what he hired them to do and not act and be somebody else and I felt that he asked me to come along and lend a hand and so that's basically what it is I mean you've got when you go to work for him everybody on the set and we're talking about everybody behind the camera or division by division by division everybody knows you have a chance to go to the playoffs but what you don't know is that what you're going to end up in this one it's my first time in an opera because the guy made an opera and just to be a part of that not I couldn't sit through a [ __ ] opera but I want to turn it over to some audience questions some press questions will try to move it along I'll go here and be sure to include our back row we got a lot of people here so the shorter the better so we can get to as many as possible hang on one sec we have my question for Quinton as a filmmaker you're always more interested in the past whether it's historical periods or cinematic styles I just wonder if you ever have a hankering or how you think you'd tackle it if you looked in the other direction not necessarily making a film set in the future but you know adapting your style away from westerns and the cold John as we know you thought that's a really interesting idea I don't think anyone's ever proposed exactly the way you proposed it to me everyone always talks about the science fiction genre in particular which always makes me think about people and spaceships and that's enough I can appreciate that but that's not really where I think my my dramatist aspect lies however the way you've posted before I don't think I've ever thought about it as far as like dealing with a future society like ours but what would that and what would that entail and what would it mean to jump you know 20 years or 50 years or a hundred years in the future and literally look at it from that point of view I've never really thought about that before but that I'm there's a profound thought I have to admit but let me ask you a corollary of that just making a period film allow you the ability to comment on the present in ways that a present-day film doesn't yeah well I think you there's a definitely case where if you try to when you try to when you try to deal I'm not saying it's a bad thing to do but when you try to deal with present themes in the present you know your that is what you're doing yeah that is the railroad you're building and that's where and that's where that train is going and that can actually be fantastic we can all point at the versions in cinema history that has been profound um I do like putting scenario first I do like putting story first and I actually like masking whatever I want to say in the guise of genres I can say it with my left hand and then deal with the right hand with the genre dictates however in that in this instance per se or in particular I guess and what I meant is it's one of the benefits of the western genre I think there's no weather's honor that has dealt that deals with America better in its in a subject xual way than the Western is being made in the in the different decades ie like the 50s westerns very much put forth an Eisenhower idea of America and an American exceptionalism aspect of it where the westerns of the 70s were very cynical about America and the one of the you know it was a drag that that first draft of the script got out when it did however as we were making this movie was during that last year-and-a-half where many of the themes that we were dealing with we were watching on television when we got home and we would come to the set and we would talk about them but the one good thing about the script getting out there as soon as I'm on record for having written this before all this [ __ ] started popping off in the last year and a half next question that's going about that too is that a lot earlier in that other script will go here wait for your microphone again spread the love around Mario from Mexico I would like to ask with the Mexican fellow are there they of course you've never Mexico yeah can you talk you you're famous in Mexico to explore to the bones the characters and hanging form for training can you talk about how much fun do you have in the set and how much do you were allowed to do it in your character we were making coke cover only hello Trump you know I just had the best seat in the house how seats you know from day one meeting this guy right here and being being being a big fan of his films forever it was just great to see how you know to see him in action and see him how he does what he does and then I remember having this first table reading with all these beautiful actors reading those lines that was for me you know a beautiful ride and I still have the best seat in the house you know I'm just having a lot of fun and you need a crazy director a free director director that's not afraid of taking risks in order to help you get you know where you want to go so that's pretty much what we did good question I'm gonna go here go ahead yep wait for the mic oh this is for Michael and Tim you guys have been with Quentin from the very beginning so what's a venn and now situation for mr. canty no Michaels ready well at least we didn't get stuck together this time Tim and I embraced each other on the set of Reservoir Dogs and we had both so much blood on our bodies that we were stuck together and we were stuck together like more than we wanted to be it was like the hug that lasted a little too long and and they actually had to use a hey-hey garden hose to uh to separate us yeah so was good in our deaths this time that we were on the opposite sides of the room but I I enjoyed so much watching Tim and watching him find his character I think back in the dog days I was young man and I was very naive I didn't know what the hell I was doing not that I do now but I I enjoyed watching Tim and I enjoyed watching him much more than I would have remembered from the years before that's what change for me is I grew to appreciate and watch him how wonderful he is you know as a friend also it's been a trip it's been a trip it was kind of a weird sensation to be the old school the old the old boys coming in because Sam's been around around as much as I have around Quentin but I've been I have a had a long break I know I didn't make it make it back in since sort of forums and public functions so for us it's kind of a right support rooms forum sorry but so I didn't know the new new kind of version of what of how he filmed and and the and the kind of atmosphere that on set that he he's encouraged and developed it was brand new for me so it's almost in a sense like coming to Quentin fresh again wonderful Quentin are you writing for specific actors for most the roles some of the roles yeah in this case yeah everybody here that I'd work with before I wrote for them in that case the the wild cards were Dahmer goo and Bob and Joey next question let's go here wait for the mic my question is for Walton what's the over-under on whether your character in hateful eight is related to your character in Django whether what's over and under and whether or not your character in Django is related to your character and hateful eight ah Wow yeah yeah yeah maybe that's yeah that day that's his uncle or something like that yeah yeah what a shitty family worst family in America The Borgias of America earlier that was so interesting to me you talked about Quentin and people talk about Quinn's dialogue but from an actor's perspective but you have to understand this is this is like finding like gold in a river this is like panning for gold like in the gold rush days in California when you come across this when you get this invitation and it was one day in particular this is a great story it was one day in particular where I read this stuff like 300 times we all do and Quentin said at the outset he said you need to know these words as every actor up here does not just so that you can be ready at any given moment to kind of go wherever it is in story but so that you can give this man a hundred different versions if that's what he needs in order to reach his his vision right and that's just kind of what I do that's how I look at it and there was one day in particular work when gave me a monologue like and it was just like a page and I've spent 14 years in television learning 10 pages for me like in an hour is no problem but this is Quentin Tarantino dialogue and and it started off in the morning I got it first thing as soon as I got there right after our coffee like like our Co we have a coffee club in the morning and so and some sitting there man I'm having the best [ __ ] day I know a hundred and fifty pages of this grant know everybody's [ __ ] and then I get this this thing it's like from Coco there just kind of comes up says hello hey Quentin wants you to say this later on today and it's like like like here right it's the whole thing and it just like freaked me out and I get brought me down it was like because it's like oh [ __ ] really now I got to get up from the coffee and I start walking around and and people see that I'm I'm freaking out a little bit and temp temp says uh hey man what's wrong what's wrong with you I said look I got it this right here I got this today I got this today so you got that man no I don't I don't [ __ ] and they Kurt like literally an hour later and I'm and I'm just pacing around back and forth that Kurt said hey man what's this and he said you got this I said no I [ __ ] don't cuz I just walk in I pace and then that night it all came down to uh it was the last thing that we shot and it was with me and Bruges and we're sitting there in the chair and even then I'm just [ __ ] freaking out and Quinton just looks at me and says you got this rolling out this is for Quinton um in a sense in a sense you created your own genre your movies are powerful and thought-provoking and Austin dancing on the edge of being politically correct what are your thoughts on being politically correct in today's society I don't have much thought on that other than just kind of I guess in a conversation like the way you're having it right now the way you're asking for it it's me right now I just I just don't think about it that way I mean it isn't one can be inclined to say Oh after this political correctness I don't have time for that but those of the you know but in in polite society there is such a thing as sensitivity to some issues as time has gone on and there was a time that we weren't politically correct at all and we all wince at moments when we look past and we see that I don't really know what the answer is as far as that as far as that is concerned however me as an artist I don't really think about it at all it actually is not my job to think about that and especially in terms of with me as a writer in particularly as I mean I also as a filmmaker but I'm not worried about the filmmaking part because if I'd written it that's what I'm gonna do but in particularly as a writer it is my job to to ignore social critics or the response that social critics might have when it comes to the opinions of my characters the way they talk or anything that can happen to them I mean we can talk about exactly yeah we can talk about the race stuff which we ZAF actually talk but I'm sure somebody some people here sitting in the room might be uncomfortable about the violence that is handed out to Jennifer's character and actually I'm playing with that in the course of the movie when she gets that cracked in the head by John Ruth at the beginning of the movie that is meant to send a shockwave out through the audience and and you're meant to think you're not necessarily meant to like Don Raghu in that moment but you are meant to think that John Ruth is a brutal bastard at that moment because that does seem like a rather overreaction to what she to what she did and what she said now time goes on and you see how you feel about the characters but it's meant to do that but there is this aspect of the way this story works in general is I have trapped eight people actually nine people if you include Obi he's not part of the hateful eight is not hateful all right hateful eight and Obi all right would be the yabbies yeah but the thing is though uh but the way the story works part of the actual that tension that we're talking about the pressure cooker that we're talking about and because of you know where I'm coming from you know in that vaguely s Peckinpah ask away to some degree or another is anything can happen to these guys anything can happen to these characters any piece of outrageous violence could happen to them and there is and I paint in a system where there aren't color book lines I can cross those lines you know the way the way graphic novels I don't mean graphic novels as in a comic book but the way novels that deal with violence kind of almost seem to go anywhere in a way that movies aren't allowed to go and so in that scenario what I'm gonna make it that OH seven of these characters anything can happen to them but when it comes to this eight care I have to protect her because she's a woman and they can't have the Destiny that it can happen to any of these other characters no that goes against the entire story I'm not gonna think like that and when I think of I guess a bit basically an artistic hero in that you know predecessor when it comes to that I think if somebody like Ken Russell who was you know who was raked over the coals by the press in England constantly for the boundaries he pushed and he said you know do they look do they let these people get you down because I don't think about them I can't think about them it's my job not to think about them because I believe in what I'm doing a hundred percent and I am doing what I'm doing if you don't like it don't go see it well wait and thank you guys for your patience thank you guys for sharing your time

Channel: moviemaniacsDE

Views: 39,012

Rating: 4.8295741 out of 5

Keywords: film, movie, teaser, moviemaniacs, The Hateful Eight (Film), Official Trailer, Quentin Tarantino (Film Director), Jennifer Jason Leigh (Film Actor), Kurt Russell (Film Actor), Bruce Dern (Film Actor), Tim Roth (Film Actor), Michael Madsen (Film Actor), Samuel L. Jackson (Film Actor), Walton Goggins (TV Actor), Channing Tatum (Celebrity), Demián Bichir (Award Winner)

Id: A9qOqiGDaL4

Length: 31min 31sec (1891 seconds)

Published: Tue Dec 15 2015