Issue link: http://digital.copcomm.com/i/600849
62 CINEMONTAGE / FALL 2015 of Smithers' son finishing the line, but with Sam Jackson's voice coming out of his mouth. CM: What are the differences in how the Multiplex version is cut together from the Road Show version? FR: There are two obvious differences, which is that for the Multiplex version, the overture — a three-and-a-half minute piece of music that plays over a single graphic — has been removed, as has the intermission. The scene that ends Chapter Three — the Warren/Smithers confrontation — is a bit of a shocker, and definitely leaves you wanting to talk about what you've just seen. So when the decision was made about where to place the intermission, it was a no-brainer. The Multiplex version goes right from Chapter Three to Chapter Four. Additionally, there are a few scenes for which we cut shorter versions, utilizing different footage. One of the notable things about the Road Show versions of movies back in the 1960s is that they would generally be approximately 10 minutes longer than regular release versions, so Quentin's plan has always been to emulate that. As mentioned earlier, in one instance, a Multiplex edit came about because Quentin didn't think the Road Show version of the scene would play in the digital format. In another instance, there was a brief, but very entertaining dialogue exchange between Kurt Russell and Tim Roth that we realized could potentially be dropped. We tried an alternate cut in which we removed it, and it absolutely worked, but we missed the fun of that 20-second exchange. So it lives in the Road Show version, and it's gone from the Multiplex version. Releasing multiple versions has allowed us to have our cake and eat it too. CM: How was editorial set up on this picture? FR: We were on location in Telluride for the first two months of the shoot. The construction department converted some empty office space into a cutting room that conveniently was located a half-block away from the theatre we used for our dailies screenings. Once production relocated to Los Angeles, we were set up at Sunset-Gower Studios, where our production office was based. And once production came to a close, we moved to a space in Hollywood. Quentin and Sally never worked on a studio lot, and when we started Django Unchained, Quentin told me he wanted to continue that trend. While staying away from a studio lot may be somewhat untraditional, it's created a friendlier atmosphere, and I think that's why it appeals to Quentin. CM: What was your method of collaboration with Tarantino on this movie? FR: We screened film dailies together while we were shooting in Telluride, and he'd lean over and let me know if there was something specific that he liked. Or I'd make a point to note whenever he laughed, which, as I learned during Django, was a pretty good indication of his happiness with a particular beat. He doesn't watch a frame of edited footage during production as, at that point, he The Hateful Eight. The Weinstein Company