According to the report buyers were stymied at AFM where TWC, the film producer and seller, first had the film available. Word then was that TWC was considering a global VOD deal with Netflix. But now distributors can make bids for the rights but not without some stipulations.
I understand someone wanting control of how their film is watched. I understand over the years that someone of Tarantino's infamy feels he can make these kind of demands. Very few directors carry that kind of clout, earned or assumed. But the report is right. At least here in Canada there are very few cinemas equipped to run a 70mm print. I was chatting with another ScreenAnarchy writer who sure as heck knows what each and every cinema here in Toronto can project and only two can run a 70mm print.Final deals are taking time, buyers say, as Tarantino is demanding he personally approve the distributor for the film in every territory.As was previously reported, the director is also requiring all distributors to release the film first on 70 mm, a move that will limit its initial exposure, as there are fewer theaters equipped to screen the older format. After its initial 70 mm run, Hateful Eight will have a regular 35 mm run.
The rub of it is that the screens at these two venues are too small for this to make any good of the format. And across the Great White North there are but a handful of places equipped for 70mm. And how about the irony that the cinema Tarantino owns, The New Beverly, could not even play it until it begins the 35mm run? Under the guise of presenting it the best way he sees fit he is also creating the demand by making the smaller markets wait their turn.
And now the demand that he approve whoever distribute his film. Is he maximizing presentation or profit? Why do you think Tarantino is taking this position on the distribution of this film as well? Is he still a little sore from the script leak? Is he simply protecting his film as he sees fit?
What is really going on here?