This doesn’t quite make sense, I know, but I swear there is nothing new here. The credits come to about 27 minutes, which is more than the difference between the roadshow and theatrical releases. So these added minutes, if you want to experience them, don’t even occur naturally. On the one hand, they are cool credits! And it’s great to get more opportunities to listen to Morricone’s music however, there is a dark, final punchline: Netflix automatically jumps away from closing credits and skips the opening unless you tell it not to. Photograph: Allstar/The Weinstein Company Kurt Russell, Jennifer Jason Leigh and Tim Roth in The Hateful Eight. The new stuff that we thought we were getting, if for only a brief glorious film Twitter moment, is nothing but rerunning the credits. By cutting this up into four “episodes”, it means opening and closing credits in each chapter, plus a short replay of the last scene in episodes two, three and four. Clearly there must be new material in here to get this up to 210 minutes, right? Well, no. It’s a nice addition for those that were playing CSI: Wyoming. When the film does flashback to “earlier this morning” toward the end, there is an aha! moment when you discover why the chicken was only half-plucked. It’s not vital, but part of The Hateful Eight’s appeal, as with so much of Tarantino’s writing, is the slow build to violence from seemingly unimportant minutiae. But the longer cut does include a bit of business with Demián Bechir’s character plucking a chicken. Some of the differences are literally just alternate takes or camera angles for reasons we can only guess. (Without a later release, it took some piecing together from the collective fanboy memory.) Reddit scholars have put together that there are also a few moments that were present in the roadshow version. This differential represents more than just the musical sections. The shorter version was, until now, the only one available on home video or Netflix. The official running time for this version is 187 minutes, so a full 20 more than the mainstream theatrical lame-o digital cut. The Hateful Eight’s roadshow featured an overture of Ennio Morricone’s lush score and an entr’acte after the intermission. I had the good fortune to see it at New York City’s Village East cinema, a converted 1920s Yiddish theater in lower Manhattan. Weinstein struck prints – actual physical prints of the sort that make film purists wobbly at the knees – and sent them hither and yon. Old projectors were sourced just for this event. Technically, this was not a real roadshow rollout, as it did not travel from town to town, but a sneak peek at 100 theaters that had the capacity to project 70mm film. ![]() To add to the 60s nostalgia vibe, and also to goose the movie’s mystique for marketing purposes, The Hateful Eight enjoyed what was called a “roadshow” release a week before the general one. ![]() ![]() Perhaps you saw him on the press tour, boasting about cinematographer Robert Richardson finding old lenses that hadn’t been used since the 1966 Charlton Heston picture Khartoum. ![]() As such, Quentin Tarantino shot the film in the rare Ultra Panavision 70 format. Anything to keep its in-house genius happy. The Hateful Eight, perhaps the final substantial release from The Weinstein Company (its logo now the most hateful thing about the damn movie), had a unique rollout back in 2015. Let’s walk through this in a slow and methodical way like Samuel L Jackson negotiating a carriage ride from Kurt Russell. So the answer to both questions of “is it changed?” and “is it longer?” is an annoying “yes, technically, but not really”. Even a period-appropriate abacus will show you that there is a differential here of 43. The version that was already on Netflix (and the one that still shows up first when you do a search, at least on my Roku) is 167 minutes. A quick glance on Netflix shows that The Hateful Eight: Extended Version’s “season one” is four chapters at a respective running time of 50, 51, 53 and 56 minutes.
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