By Jake Howell jake.howell@utoronto.ca

From Cannes, 90 Seconds Of HATEFUL 8

In 2012, when there was a Django Unchained banner resting high above the Croisette, it felt like a poorly-kept secret that The Weinstein Company would be showing extended footage of Tarantino’s 7th film (this is after a few weeks of speculation that the film would be ready for Cannes, until it wasn’t).

And sneak us some Django they did. Three years ago, that event was more intimate—and more pertinently, the event was smaller. That year TWC showed only three films: The Master, Silver Linings Playbook, and then a number of memorable scenes from Django, and by the time it was over, everyone was pretty ramped up. And recall that all three films of those films were strong.

Weinstein’s panel this year showed sneak peek teasers of ten titles: Adam Jones, Southpaw, Carol, No Escape, The Little Prince, Macbeth, Tulip Fever, Hands of Stone, Lion, and The Hateful Eight.

By the end of it, with each one of them more or less informing us of the respective Academy Award winning/nominated talent (I mean, it’s Weinstein, c’mon), the films and trailer beats began to merge together as a shrug-worthy reel of “yup, those are movies alright,” and realistically very little stood out, including The Hateful Eight, which I’m up front about being in the tank for when it eventually hits my eyeballs.

Impressions: they’re hard and probably reductive, especially when we’re only given 90 seconds. I realize now that I wrote none for Tarantino’s film, because I was glued to the screen for as much information as possible. Still, nothing much to glean. The teaser opened with Samuel L. Jackson saying to a mysterious carriage, “Got room for one more?” which spoke to me as a line coming from QT himself, somehow; as if he’s trying to make sure he hasn’t overstayed his welcome with Django being universally understood as too long.

Yeah, man, we got room for one more. Don’t start writing novels just yet.

But realistically: this Hateful Eight footage was almost 100% dialogue. Basically zero violence. And in terms of lines, I didn’t hear anything that was really humming or notable—is that a bad sign? Hard to say. Previous trailers don’t have that issue. But Tarantino staples, like a pointed gun under a wooden table, were certainly back (though I’ll say that particular image felt like a retreading), and the tagline “Eight strangers / one deadly connection implies that the film is going to have more of a Reservoir Dogs feel in that stand-off scenario (or competing interests) way. I haven’t read the script, which has surely changed loads since its leak, but that’s the way it felt.

Other highlights from this demo, surprisingly, were from Adam Jones, a film where Bradley Cooper plays a high-end executive chef. I can’t say much distinctively about this—it’s a Bradley Cooper comedy/drama!—but it definitely had a stronger sense of artistic variation. Shots of food; a distinct element of pacing, like the film is going to be a three-course meal. It also featured “Trainwreck” by DFA1979, which is a sign of confidence to me. The screening led with this and closed with Tarantino, which felt deliberate, and perhaps another hint to overall quality to their 2015 slate.

Southpaw, featuring a totally busted-up and tattooed Jake Gyllenhaal, looks like it might actually be pretty interesting. It’s certainly looking stronger than the seemingly-mediocre Hands of Stone, a Robert De Niro boxing film that managed to show us its entire rote plot in 90 seconds.

No Escape – Owen Wilson is not a dramatic actor. He should not be in dramatic movies, especially some that look like they’re easily recut with the addition of Yakety Sax as a braindead romp. “How far will you go,” the film asks, “to protect the ones you love?” If it involves walking to a cineplex to see this unlikely motion picture event, that might be a difficult question.

Finally—and I know these thoughts are fairly disjointed—Alicia Vikander (Ex Machina) and Rooney Mara are sure to have a big year, given their two films apiece for Harvey. At the event Gyllenhaal was also trumpeted by Weinstein himself as having deserved a nomination for Nightcrawler, which he hopes to “get revenge” for with Southpaw. Maybe? Who knows. But the rest of the crop seemed a little too gimmicky, or perhaps a worthwhile attempt at awards. The Little Prince, mind you, did have some intriguing combinations of animation style, which was cool to see (think Pixar CG in one scene, stop-motion the second). Carol looked very strong, yet impossible to gauge—it’s not that kind of movie. But then again, we’re seeing Carol this week in the Competition, so stay tuned.

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“Let me try and be as direct as I possibly can with you on this. There was no relationship to repair. I didn’t intend for Harvey to buy and release The Immigrant – I thought it was a terrible idea. And I didn’t think he would want the film, and I didn’t think he would like the film. He bought the film without me knowing! He bought it from the equity people who raised the money for me in the States. And I told them it was a terrible idea, but I had no say over the matter. So they sold it to him without my say-so, and with me thinking it was a terrible idea. I was completely correct, but I couldn’t do anything about it. It was not my preference, it was not my choice, I did not want that to happen, I have no relationship with Harvey. So, it’s not like I repaired some relationship, then he screwed me again, and I’m an idiot for trusting him twice! Like I say, you try to distance yourself as much as possible from the immediate response to a movie. With The Immigrant I had final cut. So he knew he couldn’t make me change it. But he applied all the pressure he could, including shelving the film.”
James Gray

“I’m an unusual producer because I control the destiny of a lot of the films I’ve done. Most of them are in perfect states of restoration and preservation and distribution, and I aim to keep them in distribution. HanWay Films, which is my sales company, has a 500-film catalogue, which is looked after and tended like a garden. I’m still looking after my films in the catalogue and trying to get other people to look after their films, which we represent intellectually, to try to keep them alive. A film has to be run through a projector to be alive, unfortunately, and those electric shadows are few and far between now. It’s very hard to go and see films in a movie house. I was always involved with the sales and marketing of my films, right up from The Shout onwards. I’ve had good periods, but I also had a best period because the film business was in its best period then. You couldn’t make The Last Emperor today. You couldn’t make The Sheltering Sky today. You couldn’t make those films anymore as independent films. There are neither the resources nor the vision within the studios to go to them and say, “I want to make a film about China with no stars in it.”Then, twenty years ago, I thought, “OK, I’m going to sell my own films but I don’t want to make it my own sales company.” I wanted it to be for me but I wanted to make it open for every other producer, so they don’t feel that they make a film but I get the focus. So, it’s a company that is my business and I’m involved with running it in a certain way, but I’m not seen as a competitor with other people that use it. It’s used by lots of different producers apart from me. When I want to use it, however, it’s there for me and I suppose I’m planning to continue making all my films to be sold by HanWay. I don’t have to, but I do because it’s in my building and the marketing’s here, and I can do it like that. Often, it sounds like I’m being easy about things, but it’s much more difficult than it sounds. It’s just that I’ve been at it for a long time and there’s lots of fat and security around my business. I know how to make films, but it’s not easy—it’s become a very exacting life.”
~ Producer Jeremy Thomas