“ actually Steve McQueen’s personal print with extra 20 minutes,” Tarantino teased.
This should be the case with the upcoming screening of “ Papillion.” And it would seem regardless of what’s showing, Tarantino definitely wants to make it special experience for anyone who buys a ticket. For example, the theater’s screenings of Paul Mazursky‘s “ Bob & Carol & Ted & Alice” come from a new print struck by Columbia Pictures as a thank you to Tarantino for the success of “ Django Unchained.” Moreover, this print has been color timed by Mazursky himself. ”īut this doesn’t mean he’s only going to be showing worn 35mm reels at the New Beverly. “If you just want pristine stuff, stay at home at watch a Blu-ray. “I think all these prints have quality and personality, whether they’re pristine or not,” Tarantino added. That’s my print of ‘Junior Bonner,’ that’s how I’ve seen it for the last twenty years, that’s how I want to see it for the next twenty years. And I don’t want to show a pristine version of it. “It’s a little washed out, it’s a little beat up, but it has character. We’re showing ‘ Junior Bonner’ coming up, my print of it isn’t great, but I love that print of ‘Junior Bonner.’ I’ve shown that all over the world, and that print is fantastic,” he explained.
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But in the Palais, I felt like there was some glass between me and the movie that wouldn’t have been there had we shown the 35mm print,” Tarantino continued, saying the experience made him “double down” on his programming approach at the New Beverly.įor Tarantino, seeing a film on 35mm isn’t necessarily about how “good” the picture is, but rather more about texture. “I’m really about the whole culture of film prints. “Is that fine in my home? Yeah, absolutely it’s fine in my home, I don’t think about it. I was depressed the whole screening because I’m sitting in the Grand Palais, the big house, and I felt like I should be pointing the remote control at the screen and hitting play. Anyway, we have all the big speeches, we all talk, it’s the closing night of the Cannes Film Festival, and I sit down…this is a movie I’ve seen a million times. Did it look nice? Yeah, it looks nice, but my laserdisc looks nice, my DVD looks nice, alright? We’re not talking about nice. I have an IB Technicolor, a beautiful Techniscope print of ‘Fistful Of Dollars’ -I could have brought that. “I just had a really uncomfortable experience in Cannes this last year, because they had the 50th anniversary of ‘ Fistful Of Dollars’ ” said the director, who was invited to help present the film. “They showed this 4K restoration.
Indeed, it was his time spent on the Croisette this year that inspired him to be more active in his advocacy for the analog format.
“The fight is lost if all we have is digital and DCP presentations, because to me, that’s just television in public, any way you cut it,” Tarantino added, echoing sentiments he made earlier this year at Cannes. Oscars 2023: Best Makeup and Hairstyling Predictions Quentin Tarantino Slams François Truffaut, Calls Filmmaker a 'Bumbling Amateur' Hollywood Remembers Jean-Luc Godard: Filmmakers Pay Tribute to New Wave Iconoclast As far as I’m concerned, if we’re just acquiescing to digital projection, we’ve already ceded too much ground to the barbarians.” “Everyone is fighting for shooting on film -and I go, ‘yeah, I’m fighting for that too,’ and that’s important to me too, and in fact, if I can’t shoot on film I’ll stop making movies. And I’m just really, really against it,” he said. “What made me say, ‘now is the time,’ -aside from wanting to do it for a long, long time- was the whole death of 35mm for the most part, as far this town is concerned.
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