How Quentin Tarantino Influenced the Marketing Strategies of The Hateful Eight
By Daniel Blumensev
Jan 3, 2017
Jan 3, 2017
On November 16, 2011 the Daily Mail released a morbid article about the ‘eclipse’ of 35mm film exhibition by digital projection by 2012 and the newspaper also predicted the dissapearance of film stock by 2015 (Waugh 2011). This shocking news kept the celluloid world and its supporters in a supposed digital autocracy for only two and a half years as on July 30, 2014 The Hollywood Reporter announced the precarious ‘return’ of film, with directors like Christopher Nolan and J.J. Abrams having campaigned and successfully convinced the major Hollywood studios to continue to pay for at least some film processing (Giardina 2014) and in the same year the autocracy of digital projection was challenged by Christopher Nolan’s 70mm release of Interstellar (2014 Christopher Nolan), running on 70mm film in selected cinemas all over the globe including London’s Leicester Square Odeon cinema. Finally in early 2015, with giant Hollywood productions such as JJ Abrams’ Star Wars: The Force Awakens (2015 JJ Abrams) being shot on 35mm, Kodak made an agreement with Hollywood’s big six studios to continue to provide them with film stock. Not only is shooting on film and film projection making a return but it is also becoming profitable with Kodak gaining profit from its 70mm releases of Interstellar, The Hateful Eight (2015 Quentin Tarantino), The Force Awakens, Batman vs. Superman (2015 Zac Snyder), and Rogue One (2016 Gareth Edwards) (BFI 2016). This case study will focus on The Weinstein Company’s 70mm roadshow marketing strategies of Quentin Tarantino’s latest film The Hateful Eight. The marketing of The Hateful Eight did not shape the film. It was in fact the film’s own 70mm format and epic nature, as well as the cinephilic demands of its director Quentin Tarantino that shaped the film’s marketing, having The Weinstein Company carry out Tarantino’s marketing demands due to his past profit towards the company.
Quentin Tarantino is a celluloid advocate and his picture The Hateful Eight marks the first time he used his love of film as a marketing tool to promote the picture. However, promoting the film through the use of and projection of film was not his original intent. Tarantino said in an interview that since he’s working on film, he might as well try out its superior format: 70mm (Weinstein 2015). The final result of a roadshow release was shaped thus forth: since his script of The Hateful Eight was a western of epic scope and proportion Tarantino decided to photograph the film not only on double the resolution and image size of 35mm film being 70mm but also on a rare variant of the 70mm called Ultra Panavision 70, the widest film format there is. In the 1950s through to the 1970s, most CinemaScope or in other words wide format movies, had an aspect ratio of 2.35:1, however Ultra Panavision 70 increased the frames ratio to a massive 2.76.1, making Ultra Panavision the widest frame format of all time (Monaco 2008: 71). 70mm projection was first used for roadshow releases of pictures in the 1950s up to the early 1970s and then modestly used up until today with Rogue One being the latest example (Kashner and Macnair 2003: 128). Being aware of but too young to experience the 1960s roadshow spectacles, Tarantino decided to finally experience one by releasing his own film The Hateful Eight as a roadshow engagement in approximately 100 theaters worldwide, before the film’s general release (Keninsberg 2015).
Although the roadshow release of The Hateful Eight demanded around 100 theaters to be retrofitted with anamorphic equipped 70mm projectors as well as cutting new holes in the projection booth for the perfect distance for the film’s wide aspect ratio (Bernstein 2015), this exciting technological comeback gave The Weinstein Company, a ‘new’ and unique way to attract as many audiences as possible (Fischer 2015). The Weinstein Company or TWC is an American mini-major film studio and distrubution company founded in 2005 by Miramax Films co-founders Bob and Harvey Weinstein and contains a number of divisions including Dimension Films, famously associated with producing Robert Rodriguez pictures (Weinstein 2017). Marketing The Hateful Eight roadshow release, TWC put ‘See it in glorious 70mm’ at the end of both of their Hateful Eight trailers. Using the projection of 70mm as a marketing element was pushed by Tarantino himself and TWC was assured of this marketing move not only due to promoting a project involving one of the most popular directors on the planet as well as his previous major box office success with his 2012 film Django Unchained (Quentin Tarantino) earning a colossal $420.9 million in ticket sales world-wide, but also by the success of the previous year’s 70mm run of Nolan’s Interstellar (BoxOfficeMojo 2017). However, unlike Batman Vs. Superman which was only projected in 70mm as a marketing tool, Quentin Tarantino, being an advocate of celluloid and a cinephile, used the projection and capture of The Hateful Eight in 70mm mainly in order to promote the film’s narrative and give audiences the astonishing experience of the roadshow, and due to his immense love for cinema which he constantly publically advocates, Tarantino probably only considered the financial assets of 70mm as a benefit simply adding onto the greater cinephilic whole.
Apart from the projection of 70mm, Taratino’s roadshow vision gave TWC other exclusive elements on which to promote the picture’s roadshow release. Tarantino, sticking to the conventions of 1950s and 1960s roadshows, made the roadshow print of The Hateful Eight contain a few exclusive extra minutes not present in the regular release, giving audiences another special reason, apart from the already exciting and glorious presentation of the film on 70mm, to watch the film in its roadshow release. Furthermore, if the projection of 70mm with a couple of exclusive extra minutes on it is not enough, the 70mm print also contains an overture and an intermission, adding more specialty and exclusivity to the roadshow release. On top of all this Tarantino also pushed TWC to create theater-like programs solely for the roadshow, in which the film’s cast is beautifully presented with the actors names and their respective character pictures below. The program also contained information on the film’s Colorado production as well as on The Hateful Eight’s Ultra Panavison 70 presentation.
One of the reasons towards Quentin Tarantino’s decision to retire after having made ten films, leaving his fans only two yet to come as of now, was, as he stated a few years back, is due to the radical decline in celluloid as a working tool. Thus Tarantino does not want to make films in a ‘film’less world, explicitly advocating his immense support for celluloid shooting and projection, advocating its magic and illusion of movement. Thus one can understand that, due to being an enormous film supporter, it was entirely the director’s own decision to shoot The Hateful Eight on 70mm, including the fact that he says this in The Hateful Eight featurette, and only after Tarantino independantly decided to shoot his film on 70mm and release it as a roadshow did TWC grasp on this element and used it as their marketing campaign.
TWC’s exclusive 70mm roadshow campaign proved successful and brought The Hateful Eight to gross $155.7 million worldwide, against a budget of around $44 million (BoxOfficeMojo 2017), making an 111.7 dollar profit. The reason towards the success of TWC’s roadshow campaign was that TWC advertized an experience, in Quentin Tarantino’s own words in The Hateful Eight featurette: ‘[not witnessed] since 1966 [with Basil Dearden’s and Eliot Elisofon’s] Khartoum (1966)’ (Weinstein 2015). The Hateful Eight’s worldwide 111.7 dollar profit was achieved due to TWC’s and Tarantino’s marketing element of The Hateful Eight’s Ultra Panavision 70 release not having been done since 1966, being the 11th film to have ever been shot on Ultra Panavision and that their presentation is the first 70mm Cinemara release since 1970, thus attracting most probably not only Tarantino and cinema fans but also the regular public as well, stimulating their interest in the roadshow with this astonishing fact. Also, the success of the roadshow campaign rested in the fact that it advertized something different that audiences would not be able to get with the film’s normal theatrical release. The roadshow marketing campaign sold a chance for 2015’s public to watch a film like it was originally meant to be seen, on film, and on top of that on its superior and grandiose format: 70mm. Furthermore the roadshow gave audiences a chance to feel special, giving them an exclusive program and a few extra minutes that will never be seen again, not on the film’s theatrical release nor on its home video one. This roadshow characteristic of the exclusive extra minutes played particularly well with Tarantino fans who crave to see as much as possible of the director’s work, and the fact of Quentin Tarantino’s global mammoth popularity, meaning thousands if not millions of fans, proved a great financial asset to TWC and the film itself.
Being an avid celluloid supporter since the advent of the digital age, Quentin Tarantino influenced TWC to create two featurettes explaining and promoting the 70mm roadshow release. The first featurette is the ‘70mm Roadshow Featurette’ and the second featurette ‘Behind-the-Scenes Featurette’ is simply an extended and more in-depth explanation of the roadshow and 70mm. The behind-the-scenes featurette starts out with one of the film’s main actors Samuel L. Jackson explaining to the viewers what a roadshow is and then it cuts to the director himself, in the foreground of a classic film editing desk to his left and film canisters to his right, explaining to the audiences why he chose to film in 70mm and his plan for the roadshow release. TWC cleaverly plays on the star-power of both Samuel L. Jackson and Quentin Tarantino himself, having them explain to the audiences, or in other words: buyers, why they should pay for The Hateful Eight roadshow. The roadshow 70mm engagement is also helped to sell by the film’s other star cast members and by the film’s crew and Panavision personnel. TWC had Tim Roth say ‘For the actors…it’s like we are in a movie, we are not on a harddrive, we are in a movie’, cleaverly using an extremely recognizable face to sell the film’s celluloid projection release with a catchy and thought-provoking phrase (Weinstein 2015). Even though on December 20, 2015 a number of film screener copies were uploaded to the internet in the midst of the awards season, as one can see that TWC’s roadshow campaign, as well as the popularity of Quentin Tarantino himself, did in fact work, gaining The Hateful Eight a great profit in gross.
Unlike relying on the success and popularity of its ‘first film’ in the promotion of sequels, or relying on crude humor, star power, sexual imagery resulting in female discrimination, and visual spectacle, The Weinstein Company, completely compelled by Tarantino, promoted The Hateful Eight through Quentin Tarantino’s vintage experience of the 70mm roadshow. The advertizing of The Hateful Eight was shaped entirely by the director himself and through his advocation of celluloid and his love of old films and Hollywood history. The roadshow promotion proved to be a success, gaining The Hateful Eight a worldwide gross of $155.7 million in ticket sales, due to the roadshow’s 70mm film presentation: a projection rare in the 21st century as well as due to the other exclusivities of the roadshow release not being present in the normal theatrical screenings, such as the longer running time of the feature, an overture an intermission and a colorful information-filled program. However it was mainly the collosal popularity of Quentin Tarantino that brought The Hateful Eight it financial success, as the $155.7 million could have come mostly from the regular theatrical engagements and not the roadshow releases, however it was the roadshow talk advertized by TWC that brought audiences to pay and see the film in any case, whether in 70mm or 35mm or digital.
Quentin Tarantino is a celluloid advocate and his picture The Hateful Eight marks the first time he used his love of film as a marketing tool to promote the picture. However, promoting the film through the use of and projection of film was not his original intent. Tarantino said in an interview that since he’s working on film, he might as well try out its superior format: 70mm (Weinstein 2015). The final result of a roadshow release was shaped thus forth: since his script of The Hateful Eight was a western of epic scope and proportion Tarantino decided to photograph the film not only on double the resolution and image size of 35mm film being 70mm but also on a rare variant of the 70mm called Ultra Panavision 70, the widest film format there is. In the 1950s through to the 1970s, most CinemaScope or in other words wide format movies, had an aspect ratio of 2.35:1, however Ultra Panavision 70 increased the frames ratio to a massive 2.76.1, making Ultra Panavision the widest frame format of all time (Monaco 2008: 71). 70mm projection was first used for roadshow releases of pictures in the 1950s up to the early 1970s and then modestly used up until today with Rogue One being the latest example (Kashner and Macnair 2003: 128). Being aware of but too young to experience the 1960s roadshow spectacles, Tarantino decided to finally experience one by releasing his own film The Hateful Eight as a roadshow engagement in approximately 100 theaters worldwide, before the film’s general release (Keninsberg 2015).
Although the roadshow release of The Hateful Eight demanded around 100 theaters to be retrofitted with anamorphic equipped 70mm projectors as well as cutting new holes in the projection booth for the perfect distance for the film’s wide aspect ratio (Bernstein 2015), this exciting technological comeback gave The Weinstein Company, a ‘new’ and unique way to attract as many audiences as possible (Fischer 2015). The Weinstein Company or TWC is an American mini-major film studio and distrubution company founded in 2005 by Miramax Films co-founders Bob and Harvey Weinstein and contains a number of divisions including Dimension Films, famously associated with producing Robert Rodriguez pictures (Weinstein 2017). Marketing The Hateful Eight roadshow release, TWC put ‘See it in glorious 70mm’ at the end of both of their Hateful Eight trailers. Using the projection of 70mm as a marketing element was pushed by Tarantino himself and TWC was assured of this marketing move not only due to promoting a project involving one of the most popular directors on the planet as well as his previous major box office success with his 2012 film Django Unchained (Quentin Tarantino) earning a colossal $420.9 million in ticket sales world-wide, but also by the success of the previous year’s 70mm run of Nolan’s Interstellar (BoxOfficeMojo 2017). However, unlike Batman Vs. Superman which was only projected in 70mm as a marketing tool, Quentin Tarantino, being an advocate of celluloid and a cinephile, used the projection and capture of The Hateful Eight in 70mm mainly in order to promote the film’s narrative and give audiences the astonishing experience of the roadshow, and due to his immense love for cinema which he constantly publically advocates, Tarantino probably only considered the financial assets of 70mm as a benefit simply adding onto the greater cinephilic whole.
Apart from the projection of 70mm, Taratino’s roadshow vision gave TWC other exclusive elements on which to promote the picture’s roadshow release. Tarantino, sticking to the conventions of 1950s and 1960s roadshows, made the roadshow print of The Hateful Eight contain a few exclusive extra minutes not present in the regular release, giving audiences another special reason, apart from the already exciting and glorious presentation of the film on 70mm, to watch the film in its roadshow release. Furthermore, if the projection of 70mm with a couple of exclusive extra minutes on it is not enough, the 70mm print also contains an overture and an intermission, adding more specialty and exclusivity to the roadshow release. On top of all this Tarantino also pushed TWC to create theater-like programs solely for the roadshow, in which the film’s cast is beautifully presented with the actors names and their respective character pictures below. The program also contained information on the film’s Colorado production as well as on The Hateful Eight’s Ultra Panavison 70 presentation.
One of the reasons towards Quentin Tarantino’s decision to retire after having made ten films, leaving his fans only two yet to come as of now, was, as he stated a few years back, is due to the radical decline in celluloid as a working tool. Thus Tarantino does not want to make films in a ‘film’less world, explicitly advocating his immense support for celluloid shooting and projection, advocating its magic and illusion of movement. Thus one can understand that, due to being an enormous film supporter, it was entirely the director’s own decision to shoot The Hateful Eight on 70mm, including the fact that he says this in The Hateful Eight featurette, and only after Tarantino independantly decided to shoot his film on 70mm and release it as a roadshow did TWC grasp on this element and used it as their marketing campaign.
TWC’s exclusive 70mm roadshow campaign proved successful and brought The Hateful Eight to gross $155.7 million worldwide, against a budget of around $44 million (BoxOfficeMojo 2017), making an 111.7 dollar profit. The reason towards the success of TWC’s roadshow campaign was that TWC advertized an experience, in Quentin Tarantino’s own words in The Hateful Eight featurette: ‘[not witnessed] since 1966 [with Basil Dearden’s and Eliot Elisofon’s] Khartoum (1966)’ (Weinstein 2015). The Hateful Eight’s worldwide 111.7 dollar profit was achieved due to TWC’s and Tarantino’s marketing element of The Hateful Eight’s Ultra Panavision 70 release not having been done since 1966, being the 11th film to have ever been shot on Ultra Panavision and that their presentation is the first 70mm Cinemara release since 1970, thus attracting most probably not only Tarantino and cinema fans but also the regular public as well, stimulating their interest in the roadshow with this astonishing fact. Also, the success of the roadshow campaign rested in the fact that it advertized something different that audiences would not be able to get with the film’s normal theatrical release. The roadshow marketing campaign sold a chance for 2015’s public to watch a film like it was originally meant to be seen, on film, and on top of that on its superior and grandiose format: 70mm. Furthermore the roadshow gave audiences a chance to feel special, giving them an exclusive program and a few extra minutes that will never be seen again, not on the film’s theatrical release nor on its home video one. This roadshow characteristic of the exclusive extra minutes played particularly well with Tarantino fans who crave to see as much as possible of the director’s work, and the fact of Quentin Tarantino’s global mammoth popularity, meaning thousands if not millions of fans, proved a great financial asset to TWC and the film itself.
Being an avid celluloid supporter since the advent of the digital age, Quentin Tarantino influenced TWC to create two featurettes explaining and promoting the 70mm roadshow release. The first featurette is the ‘70mm Roadshow Featurette’ and the second featurette ‘Behind-the-Scenes Featurette’ is simply an extended and more in-depth explanation of the roadshow and 70mm. The behind-the-scenes featurette starts out with one of the film’s main actors Samuel L. Jackson explaining to the viewers what a roadshow is and then it cuts to the director himself, in the foreground of a classic film editing desk to his left and film canisters to his right, explaining to the audiences why he chose to film in 70mm and his plan for the roadshow release. TWC cleaverly plays on the star-power of both Samuel L. Jackson and Quentin Tarantino himself, having them explain to the audiences, or in other words: buyers, why they should pay for The Hateful Eight roadshow. The roadshow 70mm engagement is also helped to sell by the film’s other star cast members and by the film’s crew and Panavision personnel. TWC had Tim Roth say ‘For the actors…it’s like we are in a movie, we are not on a harddrive, we are in a movie’, cleaverly using an extremely recognizable face to sell the film’s celluloid projection release with a catchy and thought-provoking phrase (Weinstein 2015). Even though on December 20, 2015 a number of film screener copies were uploaded to the internet in the midst of the awards season, as one can see that TWC’s roadshow campaign, as well as the popularity of Quentin Tarantino himself, did in fact work, gaining The Hateful Eight a great profit in gross.
Unlike relying on the success and popularity of its ‘first film’ in the promotion of sequels, or relying on crude humor, star power, sexual imagery resulting in female discrimination, and visual spectacle, The Weinstein Company, completely compelled by Tarantino, promoted The Hateful Eight through Quentin Tarantino’s vintage experience of the 70mm roadshow. The advertizing of The Hateful Eight was shaped entirely by the director himself and through his advocation of celluloid and his love of old films and Hollywood history. The roadshow promotion proved to be a success, gaining The Hateful Eight a worldwide gross of $155.7 million in ticket sales, due to the roadshow’s 70mm film presentation: a projection rare in the 21st century as well as due to the other exclusivities of the roadshow release not being present in the normal theatrical screenings, such as the longer running time of the feature, an overture an intermission and a colorful information-filled program. However it was mainly the collosal popularity of Quentin Tarantino that brought The Hateful Eight it financial success, as the $155.7 million could have come mostly from the regular theatrical engagements and not the roadshow releases, however it was the roadshow talk advertized by TWC that brought audiences to pay and see the film in any case, whether in 70mm or 35mm or digital.
Bibliography
Bernstein, Paula (2015) ‘Quentin Tarantino to Retrofit Theaters to Accomodate [sic] 'Hateful Eight' in 70mm’ Indiewire, 9 June. Available HTTP: http://www.indiewire.com/2015/06/quentin-tarantino-to-retrofit-theaters-to-accomodate-hateful-eight-in-70mm-61135/ (24 Feb 2017).
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Fischer, Russ (2015) ‘Quentin Tarantino Helps Get 70mm Projectors in 50 Theaters for 'The Hateful Eight’, SlashFilm, 8 June. Available HTTP: http://www.slashfilm.com/hateful-eight-70mm/ (26 Feb 2017).
Giardina, Carolyn (2014) ‘Christopher Nolan, J.J. Abrams Win Studio Bailout Plan to Save Kodak Film’ The Hollywood Reporter, 30 July. Available HTTP: http://www.hollywoodreporter.com/behind-screen/christopher-nolan-jj-abrams-win-722363 (24 Feb 2017).
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BFI Statistical Yearbook (2016) ‘Top Films in 2015’ Bfi Statistical Yearbook, April. Available HTTP: http://www.bfi.org.uk/sites/bfi.org.uk/files/downloads/bfi-top-films-of-2015.pdf (27 Feb 2017).
Box Office Mojo (2017) ‘The Hateful Eight (2015)’ Box Office Mojo, 28 Feb. Available HTTP: http://www.boxofficemojo.com/movies/?id=thehatefuleight.html (27 Feb 2017).
Fischer, Russ (2015) ‘Quentin Tarantino Helps Get 70mm Projectors in 50 Theaters for 'The Hateful Eight’, SlashFilm, 8 June. Available HTTP: http://www.slashfilm.com/hateful-eight-70mm/ (26 Feb 2017).
Giardina, Carolyn (2014) ‘Christopher Nolan, J.J. Abrams Win Studio Bailout Plan to Save Kodak Film’ The Hollywood Reporter, 30 July. Available HTTP: http://www.hollywoodreporter.com/behind-screen/christopher-nolan-jj-abrams-win-722363 (24 Feb 2017).
Kashner, S. and MacNair, J. (2003). The Bad & the Beautiful. New York: W.W. Norton.
Kenigsberg, Ben (2015) ‘Tarantino's 'The Hateful Eight' Resurrects Nearly Obsolete Technology’ The New York Times, 11 Nov. Available HTTP: https://www.nytimes.com/2015/11/12/movies/tarantinos-the-hateful-eight-resurrects-nearly-obsolete-technology.html?_r=0 (26 Feb 2017).
Monaco, P. (2008). The Sixties: 1960-1969. 1st ed. Berkeley, Calif. University of California Press.
The Weinstein Company (2015) ‘The Hateful Eight – Behind-The-Scenes Featurette’
From The Weinstein Company, 2015. On-line. Available HTTP: https://www.youtube.com/watch?v=WlYIe8EHdnM (26 Feb 2017).
The Weinstein Company (2017) ‘About The Weinstein Company’, Weinsteinco.com. Available HTTP: http://weinsteinco.com/about-us/ (27 Feb 2017).
Waugh, Rob (2011) ‘Digital cinema 'will eclipse' 35mm film by early 2012 - and celluloid will disappear by 2015’ Daily Mail, 16 Nov. Available HTTP: http://www.dailymail.co.uk/sciencetech/article-2062289/Digital-cinema-eclipse-35mm-film-early-2012--celluloid-disappear-2015.html (24 Feb 2017).
Filmography
Batman Vs. Superman (2016) Directed by Zac Snyder [Film]. USA: Warner Bros.
Django Unchained (2012) Directed by Quentin Tarantino [Film]. USA: The Weinstein Company.
Interstellar (2014) Directed by Christopher Nolan [Film]. USA: Paramount Pictures.
Khartoum (1966) Directed by Basil Dearden and Eliot Elisofon [Film]. USA: Julian Blaustein Productions Ltd.
Rogue One (2016) Directed by Gareth Edwards [Film]. USA: LucasFilm.
Star Wars: The Force Awakens (2015) Directed by JJ Abrams [Film]. USA: LucasFilm.
The Hateful Eight (2015) Directed by Quentin Tarantino [Film]. USA: Double Feature Films.
Django Unchained (2012) Directed by Quentin Tarantino [Film]. USA: The Weinstein Company.
Interstellar (2014) Directed by Christopher Nolan [Film]. USA: Paramount Pictures.
Khartoum (1966) Directed by Basil Dearden and Eliot Elisofon [Film]. USA: Julian Blaustein Productions Ltd.
Rogue One (2016) Directed by Gareth Edwards [Film]. USA: LucasFilm.
Star Wars: The Force Awakens (2015) Directed by JJ Abrams [Film]. USA: LucasFilm.
The Hateful Eight (2015) Directed by Quentin Tarantino [Film]. USA: Double Feature Films.