It didn’t take long.



One minute, Quentin Tarantino had announced that his next movie was to be a Western called ‘The Hateful Eight’ then, quicker than you can say Royale With Cheese, he’d cancelled it.



QT decided to shelve the project after details leaked, pointing the finger of blame at an over-zealous Hollywood agent, saying that he was “very, very depressed” about the experience.



[Tarantino shelves 'The Hateful Eight']



"I finished a script, a first draft, and I didn't mean to shoot it until next winter, a year from now. I gave it to six people, and apparently it's gotten out,” Tarantino explained to Deadline, "There is an ugly maliciousness to the rest of it. I gave it to three actors: Michael Madsen, Bruce Dern, Tim Roth. The one I know didn't do this is Tim Roth. One of the others let their agent read it, and that agent has now passed it on to everyone in Hollywood."



















There’s no “apparently" about it QT, it’s out there. And we’ve read it. So what can we tell you about you about ‘The Hateful Eight’ from reading the script?



[Tarantino clashes with Krishnan Guru-Murthy]



First off, it’s worth pointing out that Tarantino films often differ drastically from script to screen (especially if this is a “first draft”), but we can get a good sense of what the final film could have looked like, even if it’s not a precise science.



Here’s five things we learned about ‘The Hateful Eight’ from its typo-ridden script.











1: It would have been shot in 70mm

This is one for film nerds, unsurprisingly coming from the king of film nerds himself. The first scene description of the script reads: “A breathtaking 70mm filmed (as is the whole movie) snow covered mountain range.”



Most modern films are shot on 35mm film, but 70mm is an older format which uses a larger negative to offer a much higher resolution image.









[Tarantino: Batman isn't interesting]



Utilised by epics such as 'Lawrence of Arabia’, ’The Sound of Music’, and ‘2001: A Space Odyssey’, 70mm suggests grand scope and is very rarely used by filmmakers in the modern era. Paul Thomas Anderson’s ‘The Master’ was the last film to get a widespread 70mm distribution back in 2012.



Tarantino clearly had grand visions for his Western if he wanted to shoot in the more expensive format, and using his first scene description to boast about using the rare film stock is just so typical of the outspoken auteur.









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