American Cinematographer - December 2015 - 38
◗
Wide Wide West
approximately 100 theaters. The plan is
designed "to hearken back to the
romantic days of cinema," explains
producer Shannon McIntosh.
A digital-cinema version, slightly
shorter in length and without all the
bells and whistles, will subsequently go
out in wide release to the rest of the
world, but Tarantino's virtually singular
goal from day one has been to make a
splash with a high-profile, large-format,
projected-film extravaganza. Foreseeing
the inevitable uphill battle for studio
approval, he sold the large-format idea
to the Weinstein Co. based on the
notion that while exhibiting the movie
might be a complicated and costly affair
- involving the retrofitting of 100 or so
digital theaters across the country - he
could make the movie good enough and
cost-efficient enough that "we could
end up [recouping] a third of our budget
and paying for the operating expenses in
just two weeks in 100 theaters." (See
sidebar on page 46 for more about the
roadshow presentation.)
"I thought maybe I could shoot it
in a format that would demand that
they release it on film," Tarantino
continues. "If [the studio] is going to
spend the money to shoot on 70mm,
they'd want some sort of bang for their
buck. So I figured we'd propose the big
roadshow thing and see where we were
after that. But then, the weird part was
that I felt maybe we could show that
70mm wasn't a lost cause. The excitement of the whole thing is that we
might have accidentally bumped into a
really good idea - the saving of film
[for theatrical exhibition]."
Assuming they would shoot
70mm in the spherical format,
Tarantino and Richardson asked
Panavision to show them various
options. Fate intervened last summer,
however, when Richardson and his 1st
AC, Gregor Tavenner, met with the
company's vice president of optical
engineering and lens strategy, ASC
associate Dan Sasaki, and made a
discovery that turned the project on its
ear. Deep in the bowels of Panavision's
headquarters in Woodland Hills, Calif.,
Top: Richardson
operates from a
GF-16 crane on an
elevated track.
Middle: Three
translucent black
20'x30' frames
rigged on fourwheel-drive Gradalls
tame the bright,
high-elevation
sunshine. Bottom:
Three crewmembers,
stacked as the
corpses of the Van
Hootin gang, are
dressed with snow
as the production's
tracks are erased.
38
December 2015
American Cinematographer
American Cinematographer - December 2015
Table of Contents for the Digital Edition of American Cinematographer - December 2015
Contents
American Cinematographer - December 2015 - Cover1
American Cinematographer - December 2015 - Cover2
American Cinematographer - December 2015 - 1
American Cinematographer - December 2015 - 2
American Cinematographer - December 2015 - Contents
American Cinematographer - December 2015 - 4
American Cinematographer - December 2015 - 5
American Cinematographer - December 2015 - 6
American Cinematographer - December 2015 - 7
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