CineMontage

Fall 2015

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60 CINEMONTAGE / FALL 2015 animal than anything on which I'd previously worked." Raskin was serving as editor on his second film for Tarantino following 2012's Django Unchained and, before that, as an assistant to the director's longtime editor and friend, the late Sally Menke, ACE. Raskin recently spoke with CineMontage about how unusual, and enjoyable, working on the project ended up being. Following are highlights from that conversation. CineMontage: What was your reaction when you started seeing Bob Richardson's Ultra Panavision 70 footage? Had you and Tarantino discussed how the nature of this particular format would impact your cutting style? Fred Raskin: I'm a little ashamed to admit that, aside from my general excitement at seeing 2.76:1 compositions, I don't think I was aware there would be any difference creatively. But once the footage started coming in, the combination of the beauty of the 70mm and that super-wide aspect ratio led us to hold on to wide shots substantially longer than we would have otherwise. When you are seeing these beautiful compositions — and the clarity of the image is such that you can see the depth of the performances in the actors' eyes — why would you cut away? There's a scene in which Jennifer Jason Leigh's character plays guitar. In the 70mm Road Show release, the scene plays out in one long take, while in the Multiplex version, that same scene contains a handful of cuts. Quentin felt that holding that long on one take wouldn't have had the same impact in the digitally exhibited version. CM: How does this film compare to Djanjo Unchained and other Tarantino films? animal than anything on which I'd previously Top, left: The Italian- made Prevost machine trademark badge. Top, right: An oveview of the Prevost machine built to view and edit 70mm picture film. The frame image is projected from a lens assembly at the aperture into the mirror suspended at the top of the machine and viewed on the screen at the desk level. The Hateful Eight. The Weinstein Company

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