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- H8teful: Reconstructed Hateful 8 Roadshow Version Ex. Q. T. V. O.
H8teful: Reconstructed Hateful 8 Roadshow Version Ex. Q. T. V. O.
Updated
Faneditor Name:
Original Movie Title:
Genre:
Fanedit Type:
Original Release Date:
2015
Original Running Time:
167
Fanedit Release Date:
Fanedit Running Time:
191
Time Added:
24
Subtitles Available?
Available in HD?
Additional Links:
Brief Synopsis:
IN April 2019 Netflix made available an extended version of the director’s “The Hateful Eight”.
The movie was presented as a miniseries with four episodes each running approximately 50 minutes.
I have used this as the basis for reconstructing The Unavailable Roadshow version of the movie and included my adjustments removing the QT Voiceover flashback and the scoring change I made at the end. The same tweaks I made to the Ex Q.T.V.O Theatrical version Edit are identical here. I have also reinstated the original Chapters from the Theatrical and Roadshow versions rather than adhering to the 4 chapter mini series structure.
Tarantino’s theatrical cut ran 168 minutes, The Roadshow Version ran 187 Minutes while the four episodes of the extended cut make up 210 minutes (but that includes 4 sets of opening and end credits). If you remove those, you have the Roadshow effectively.
This version runs 191 minutes and for now is the longest version you can watch (that's the overture adding 4 mins).
I will not make available The unaltered roadshow version since I believe the flashback to be a serious flaw in tone and pacing.
Hope y’all enjoy this…and for the geeks, I have added those tiny markers in the lower right to indicate extra material compared to the Theatrical version.
The movie was presented as a miniseries with four episodes each running approximately 50 minutes.
I have used this as the basis for reconstructing The Unavailable Roadshow version of the movie and included my adjustments removing the QT Voiceover flashback and the scoring change I made at the end. The same tweaks I made to the Ex Q.T.V.O Theatrical version Edit are identical here. I have also reinstated the original Chapters from the Theatrical and Roadshow versions rather than adhering to the 4 chapter mini series structure.
Tarantino’s theatrical cut ran 168 minutes, The Roadshow Version ran 187 Minutes while the four episodes of the extended cut make up 210 minutes (but that includes 4 sets of opening and end credits). If you remove those, you have the Roadshow effectively.
This version runs 191 minutes and for now is the longest version you can watch (that's the overture adding 4 mins).
I will not make available The unaltered roadshow version since I believe the flashback to be a serious flaw in tone and pacing.
Hope y’all enjoy this…and for the geeks, I have added those tiny markers in the lower right to indicate extra material compared to the Theatrical version.
Intention:
To reconstrcut the Roadshow Version
Additional Notes:
The four episodes of the series were titled “Last Stage to Red Rock” (50 minutes), “Minnie’s Haberdashery” (51 minutes), “Domergue’s Got A Secret” (53 minutes), and “The Last Chapter” (56 minutes). The first three episodes match up to corresponding chapter titles in Tarantino’s theatrical cut. The film’s second chapter, “Son of a Gun,” has been absorbed into the extended cut’s first episode. The “Last Chapter” episode encompasses the final two film chapters: “The Four Passengers” and “Black Man, White Hell.”
Other Sources:
Hateful 8 CD Score
www.movie-censorship.com
www.movie-censorship.com
Special Thanks:
ArtisDead for being a "Mean MoFo" and delivering KILLER artwork
Release Information:
Digital
Special Features
Lower lefthand screen indicator for new scenes and material
Editing Details:
When I first saw this, I immediately balked at the flashback voice over. There was also one scoring piece I disliked, so I replaced it. Apart from a few other tweaks, I now think this is perfect.
Also the scene after the intermission (which is not present) required a full audio rebuild as they drag the corpse out into the snow.
The removal of the Q.T.V.O. also required a similar full audio rebuild, as di the one major scor replacement...(watch to see where).
All this with all the extra Roadsho scenes
Also the scene after the intermission (which is not present) required a full audio rebuild as they drag the corpse out into the snow.
The removal of the Q.T.V.O. also required a similar full audio rebuild, as di the one major scor replacement...(watch to see where).
All this with all the extra Roadsho scenes
Cuts and Additions:
FuULL AUDIO REBUILDS:
The Flashback removal scene
The post intermission scene exterior
ADDITIONAL MATERIAL: IN ful with additional dialogue and time differences
Marquis and John turning away to the side lasts a little bit longer in the Theatrical Version.
Meanwhile in the Extended Version Marquis pleads for help with the corpses on the way to Red Rock. A deal with O.B. is made and John helps Marquis to keep the horses still while loading the bodies.
Marquis: "Say, partner, you give me a hand tying these three fellows up on the roof, I'll make it worth your while we get to Red Rock."
O.B.: "Now, I hear you making $8,000 off these dead fuckers?"
Marquis: "Yeah."
O.B.: "Well, I'll help you for $250."
Marquis: "How about $150, and I pay for all your booze the first two days we're in Red Rock?"
O.B.: "Hmm."
Marquis: "They got a little social club in Red Rock?"
O.B.: "Why, yes, they do."
Marquis: "Let's take you to a night there, too. Now, that's a good deal, sir."
O.B.: "Shit fire, that's a damn good deal. But I can't leave these horses unattended, so you gonna have to get them folks to hold the horses."
Marquis: "Shit. I'll see what I can do."
He is going towards John, who is urinating: "Mr. Ru... Excuse me, you think you could, uh, hold on to these horses while we load these fellas on the roof?"
John: "Yeah, course. Come on, tramp."
He holds the reins, while Marquis is walking to the dead bodies.
Marquis says the full sentence "I'm gonna miss him" onscreen in the extended version, while in the theatrical version this is heard offscreen, when he lightens a match on his boots.
Additionally there's a little more dialogue only in the extended version.
John: "Had a horse like that once. About 20 years ago. Called him Cauliflower. I used to call him my beast friend."
Marquis: "And what happened to him?"
John: "Some rattlesnake shot him out from under me."
Marquis: "You make it right?"
John: "Oh, you know I did."
Marquis grins.
Before the versions synchronize again with the view of Daisy, you can hear O.B. saying "Leche!" a first time offscreen. In the theatrical version John is shown at this moment, in the extended version it's Marquis.
Extended Version 23 sec longer
Alternative
When you hear "There's another fella" both versions show different settings. The Extended Version shows the long shot a little bit sooner.
Theatrical Version 0,5 sec longer
Alternative
This long shot is shown longer in the Theatrical Version and John leaves Daisy.
The Extended Version changes to a frontal shot and John ask Daisy some critical questions.
John: "Is that it, Daisy? That the surprise you got planned for me? 'Cause I know you got a surprise planned for me."
Daisy: "Maybe the surprise is I'm tired of running."
John: "You facing a rope, tramp. Ain't nobody get tired of running from that."
Daisy: "You might be surprised, John."
John: "If you're counting on surprising me, Daisy, don't count on it."
He then walks on, while the long shot starts sooner.
Extended Version 25,4 sec longer
Alternative
In the Extended Version John points to the back in this scene and then the recording from the Theatrical Version is shown. The following dialogue is much longer and in alternative takes from the Theatrical Version. The identical parts are marked with italics fonts.
Theatrical Version
John: "This changes things, son. $8,000 a whole lot of money for a nigger. But with a partner, 18's a whole lot better."
Marquis: "You really think I'm in cahoots with that fella, or her?!"
Extended Version
John: "You know that fella?"
Marquis: "I know me some people around here. Spend a lot of time on this mountain hiding out from bushwhackers. Could be I know that fella. Maybe I don't. I wasn't expecting nobody."
John: "You weren't, eh?"
Marquis: "No, I weren't."
John: "This changes things, son. $8,000 a whole lot of money for a nigger. But with a partner, 18's a whole lot better."
Marquis: "I ain't got a partner no more."
John: "So you say."
Marquis: "You take a gander at them three frozen fuckers up there and see if you see any bullet holes in their back. Well, maybe Reverend Roy McCracken. Him I did shoot in the back. But, shit fire, he deserved it. He not only killed my partner, he tried to steal my damn horse."
Extended Version 31,8 sec longer
In the Extended Version Marquis now also says "You really think I'm in cahoots with that fella, or her?!".
Before the Theatrical Version starts a few moments later with the rest of the shot, John also reacts with: "That's my problem, boy. I don't know. And until I do, you in chains."
10,6 sec
Alternative
In the Theatrical Version Chapter 2 is initiated while in the Mini-Series Version this is integrated in Episode 1 without reference.
The Extended Version shows Chris again as a transition, he's shouting "Hey!". Then you can see Marquis a little bit sooner from behind. The dialogue starts onscreen, not in the chapter overlay as in the Theatrical Version.
Theatrical Version 1,6 sec longer
In the Theatrical Version John replies in the same setting "Amen" and raises his mug. He drinks in a close up, while Joe is shown on the other end of the room.
Instead, in the Extended Version the camera view is switched to Joe while John asks: "How about that cowboy fella? What's he writing in that book?"
Oswaldo: "His diary, I suppose."
John: "What's his story?"
Oswaldo: "Don't know. He doesn't say much."
John: "What do you mean he doesn't say much? You rode up that whole mountain together, didn't you?"
Oswaldo: "And he didn't say much."
John: "What's his name?"
Oswaldo: "I don't know."
John: "He never said his name?"
Oswaldo: "I don't think so."
Extended Version 16.7 sec longer
The Theatrical Version shows Sandy an insignificant half second longer. No images shown or counted as alternative material.
Instead, the Extended Version switches once again to a view of Chris who initiates the toast. A dialogue follows and Chris questions John about Joe. John introduces himself to Joe and asks for the brandy. Chris brings the brandy back to General Sandford and continues his toast.
Chris: "Where's home?"
Sandy: "Georgia. Yeah."
Chris: "Well, what say we have us a drink? To Chester Charles Smithers. A drink to your service to the South, sir. And a drink to the great state of Georgia."
Sandy: "Well, that's a drink I'd enjoy. From Erskine Mannix's boy to my boy."
Chris: "And that's a drink. I'd like to drink. Excuse me, General."
He walks over to John; "What's to drink, John Ruth?"
John: "Tequila and mescal. And brandy."
Chris: "Where's the brandy?"
John: "Over there."
Chris: "Who's he?"
John: "Another passenger."
Chris: "What's his name?"
John: "Joe Gage."
Chris: "What's he writing in that book?"
John: "His life story."
Chris walks toward him; "Joe Gage, is it?"
Joe: "It is."
Chris: "Pleased to meet you. I'm Chris Mannix, the new sheriff of Red Rock."
Joe: "You, too, Chris."
Chris: "Can me and my new friend have some of your brandy, Joe?"
Joe: "Help yourself, Chris."
Chris: "Thanks a bunch, Joe."
Joe: "You're welcome, Chris."
Chris walks back to Sandy; "General. This is a drink to Chester Charles Smithers! This is a drink to one man's commitment to a cause. And this is to the red in Georgia clay! Cheers. Mmm. Ah. General Sandy Smithers. It's a small damn world."
John: "I don't know about the world, but this goddamn mountain sure seems pretty fucking small."
Extended Version 170.6 sec (= 2:51 min) longer
62:57 / 26:22-26:24
After the door is opened, a small recut to Sandy follows.
2.1 sec
Alternative
In the Theatrical Version Marquis walks forward, thereupon Sandy and Chris make nasty remarks about him.
Marquis: "O.B."
Chris: "Do you know that nigger, sir?"
Sandy: "I don't know that nigger. But I know he's a nigger, and that's all I need to know."
The legs are shown a little bit sooner.
n the Extended Version Marquis talks in more detail with O.B. while the N-word dialogue is missing for the moment.
Marquis: "O.B., got a proposition for you."
O.B.: "Well... what do you propose?"
Marquis: "You asked for $250 the first time, right?"
O.B.: "Yeah."
Marquis: "Well, how about $350?"
O.B.: "Well, how about it?"
Marquis: "Help me take them fellas down off the roof, stash them in snow. When the snow melts, tie them back on."
O.B.: "The same deal? About the booze and them ladies in Red Rock?
Marquis: "Mm-hmm."
O.B.: "You got yourself a deal, smoke.
Oswaldo gets up and O.B. introduces him; "Oh, Major Warren, this is, uh..."
Oswaldo takes his card: "Oswaldo Mobray, Major. At your service."
Marquis: "Oh-ho. You're the executioner in these parts."
Oswaldo: "Yeah, precisely."
Marquis: "Well, fella over at the bar brought you a customer."
Oswaldo: "So it would appear."
Marquis returns the card: "Yeah, well, my three felons, they won't be needing your services."
Oswaldo: "All right."
Extended Version 48.9 sec longer
Alternative
In the Theatrical Version the hat is put on a little bit longer, while Chris starts saying: "Well, that nigger..." offscreen.
Instead, in the Extended Version the same part of the dialogue from the Theatrical Version has been included.
Chris: "Do you know that nigger, sir?"
Sandy: "I don't know that nigger. But I know he's a nigger, and that's all I need to know."
When Chris starts saying "Well, that nigger...", you can see the half view of Sandy.
Extended Version 9.6 sec longer
The Theatrical Version fades out to black.
The Extended Version shows more of whats happens in the room while Daisy pees calmly standing next to John. After this, he critizises Bob in detail for his wrong method of plucking a chicken. At last Chris and Sandy are chatting and O.B. walks through the room sooner.
John: "Are you done yet?"
He discovers the half finished chicken and bitches to Bob; "The hell is this?"
Bob: "It's a chicken."
John: "No, it's not. It's a half-plucked chicken. A half-plucked chicken is bad luck, and we don't need bad luck in a blizzard. Now, what's it doing here?"
Bob: "I was plucking it when your stage arrived."
John: "Stopped to take care of the passengers, huh?"
Bob: "Yeah."
John: "Well, you're not taking care of passengers now."
Bob: "I thought better to deal with the stew."
John: "Pluck the chicken."
Bob follows the task reluctantly.
Chris describes: "Oh, that's Major Marquis, the nigger that burnt down Wellenbeck prison camp. Killed 47 rebs and 37 Yankees. Now, his own side drummed his black ass out of the cavalry with a yellow stripe down his back. And the Confederacy, General, if you will remember, put a reward on that nigger's head. $30,000! And then it dropped down to eight. Last days of the war, it was five. Now, a lot of fellas went looking to collect that reward, and a lot of niggers got their head chopped off. But nobody ever did get them the right nigger head."
Sandy: "That nigger is the nigger with the $5,000 reward on his head?!"
Chris: "Well, there ain't no reward no more. But during the war, yeah. That's that nigger."
In the meanwhile O.B. enters the room and slams the door; "That damn door is a dirty whore."
John: "I just made some more coffee. Grab some cups and get some in ya."
Extended Version 182.7 sec (= 3:03 min) longer
he Theatrical Version shows John an insignificant moment longer. No images shown or counted as alternatively material.
Instead, the Extended Version John makes more promises and an announcement: "When we get to Red Rock, I'll replace the weapons you lost. That's the best I can do. When he leaves, you and you nail the door behind him. Get to it!"
Extended Version 20.7 sec longer
After the exterior view of the cabin an outside view is added. Following the added instructions, the door is boarded up from inside. John continues attacking Joe and commands him laying down on the bed. Bob is asked to put his rifle on the table, which still hangs on the wall. More weapons are collected and destroyed, threatening the present persons in case they are hiding even further weapons.
John: "You, back to the bar. You, back to the bed. You were doing good the way you were, lying down. So, lie down!"
Joe follows this command and lays down on the bed.
John: "Okay, Mr. Mex, where's your guns?"
Bob: "I don't have a gun."
John: "What's that?"
A rifle on the wall is shown.
Bob: "Oh, well... there is that."
John: "Take it off the wall and put it on that table. Open your coat. Wide open. Sit your ass down on that bench."
John removes the cartridges from the weapon and smashes it on the wall.
John: "So...any more guns I don't know about? Now, later on, I'm gonna remember asking this question and I'm gonna remember your answer, so one more time. Any more guns I don't know about?"
Bob raises his hand: "I just want to make an announcement."
John: "What announcement?"
Bob: "Stew is on."
194.3 sec (= 3:14 min)
The Extended Version shows an additional short shot from inside. The Theatrical Version shows the next shot outside a bit sooner (without the appearing spot light)
Extended Version 1.5 sec longer
Chris asks Sandy why he isn't sitting on the table with the other persons and the nasty N-word is mentioned again.
Chris: "Why you want to sit here by yourself? Everybody's sitting right over here. Just come have a little..."
Sandy: "Well, if you're hungry, go sit at the table."
Chris: "Well..."
Sandy: "And then you will be eating with a nigger."
9.1 sec
Sound modification
Following dialogue is only heard in the Extended Version over the next shot from the table.
Chris: "You ain't got to sit next to that nigger."
Sandy: "Judas was at the table."
Chris: "General, you ain't got to sit with that nigger. You can sit next to me."
Sandy: "I will never change my mind on this matter."
Chris: "Now, just come sit at the table, have a bowl of stew with us. Just a small bowl?"
Sandy: "No."
Chris: "One little, small bowl?"
Chris: "N-O!"
Alternative
The Theatrical Version shows Marquis' full frontal shot much longer.
n the Extended Version Marquis also sits down on the table and listens to Sandy's excessive hate tirades from the background.
Chris: "General, you need to get some food in you. Please. I'll bring you a little, small bowl. I'll get you a cup of coffee."
Sandy: "I said no to you."
Chris: "Wouldn't it be nice to sit with a group of people?"
Sandy: "Sit with a nigger at the table and eat?"
Chris: "General Smithers, I'm afraid I'm gonna have to insist. Please."
Sandy: "Hey. What privilege do you never have? Touching an officer above you in rank. General, son."
Chris: "Well, can I bring you..."
Sandy: "Go eat your dinner with your nigger friend."
Marquis: "Amen."
Chris: "General, you ain't got to sit next to that nigger."
Sandy: "You must be toying with me, son."
Chris: "I'll bring you a blanket."
Sandy: "I got a blanket."
Chris: "You need to get some food in your stomach, General."
Warren: "You know, Bob..."
Sandy: "Do you think I, for a minute, that I want to go over and sit and eat? If old Minnie was here, she'd have made some cornbread."
Chris: "Please, just bring you a little bowl of stew over here to your chair."
Sandy: "No. Have you forgotten how to take an order, Captain? You are dismissed."
Chris: "Yes, sir. I still don't feel good about not getting you something to eat. Let me know if you change your mind."
Before he stands up, Marquis argues a bit longer with the three guys. The Theatrical Version shows a different transition with an alternative shot of the men.
Marquis: "Now, why is The Hangman, who got nothing on his mind 'cept getting this gal to the gallows, brewing the coffee in Minnie's Haberdashery?"
Oswaldo: "Because his coffee was dreadful."
Marquis: "Is that right? Well, ain't that interesting."
Bob: "Well, you didn't have any of my coffee, bounty hunter, so don't be so sure about what this little man says."
Joe: "I had some of his coffee. Wasn't the best coffee I ever drank, but wasn't nothing wrong with it."
Bob: "Well, if you want me to make a pot of coffee, all you have to do is ask."
Marquis: "Maybe. Maybe."
With these last words in mind, the following words from Marquis in the Theatrical Version ("But it's the stew that's got me thinkin'") make more sense.
ody an insignificant moment longer and Joe replies: "I say the first 45 seconds he's in the room is a good time."
Jody: "If you got a shot, Grouch, take it. But be right. Or my sister is dead."
11.2 sec
The Extended Version shows this previous shot with John coming in a bit longer, then many discussions inside. John boards up the door as well, bitches about Bob's coffee and John sits with a drawn gun at the table. But the situation stays calm after all.
Grouch: "Shut that door, there's a goddamn blizzard out there!"
Oswaldo: "Close the door!"
Grouch: "You got to nail it shut."
Oswaldo: "You have to nail it shut."
Joe: "The hammer and nails are by the door."
Oswaldo: "Nails by the door!"
John: "Give me a hammer."
Oswaldo: "You need two pieces of wood!"
Joe: "One ain't good enough!"
Oswaldo: "Two pieces of wood!"
Joe: "The fucking thing is busted!"
Oswaldo: "Not just one piece of wood!"
John: "Give me another piece of wood."
Daisy: "Yeah, all right."
John: "I need a nail."
Daisy: "Here."
John: "Jesus. That door's a son of a gun. Who's the idiot who broke that? That Mexican fella?"
Oswaldo: "Good heavens. A woman? Out in this white hell? You must be frozen solid, poor thing."
John: "Looks like Minnie's got her a full house. When did you fellas arrive?"
Oswaldo: "About 40 minutes ago."
John: "That cowboy fella in the corner, that's your driver?"
Oswaldo: "Oh, no, he's a passenger. The driver lit out. Said he was going to spend the blizzard shacked up with a friend."
John: "Lucky devil."
He takes a sip from the coffee but spits it out immediately; "Christ, that's awful! Christ Almighty. What'd that Mexican fella do? Soak his old socks in the pot?"
Oswaldo: "Yes, I think we all felt the same way, but we're a little too polite to say something."
Daisy: "He don't have that problem.
John: "Where's the well water?"
Oswaldo: "Over there."
John: "So... all three of you fellas headed to Red Rock when a..."
Joe is aiming; "Come to papa."
John: "...blizzard stopped ya, huh?"
Oswaldo: "Yes. All three of us were on that stagecoach out there."
John fills the coffee pot and asks: "Coffee beans?"
Oswaldo: "Over there."
John: "Get your hand out of there."
Oswaldo gives Daisy a hand sign and Joe winks her too.
Daisy: "New sheriff of Red Rock's traveling with us."
John: "Sheriff of Red Rock. That'll be the day. He's a goddamn sheriff, I'm a monkey's uncle."
Daisy: "Good. You can share bananas with your nigger friend in the stable."
Oswaldo: "So... the new sheriff of Red Rock is traveling with you?"
Joe: "Looks like we're gonna have to do this the hard way."
John: "No, he's lying. He ain't sheriff of nothin'. He's a Southern renegade. He's just talkin' hisself out of freezin' to death, is all. What the fuck I tell you about talkin', huh? I'll bust you in the mouth right in front of these people. I don't give a fuck!"
Joe: "Just you wait, you fuck."
Oswaldo: "You never gave your name, sir."
John: "John Ruth."
Oswaldo: "You a lawman?"
John: "I'm taking her to the law."
Oswaldo: "So you're a bounty hunter."
John: "That's right, buster."
It fades to a black image.
Marquis and Chris are shown in a nearer shot in the Theatrical Version. In the Extended Version the shot of both starts sooner and more far away.
No time difference
shot from Marquis and Chris from the Theatrical Version is used here too.
Joe: "Point is, you ain't a part of this drama, Chris. We are. Warren is. Ruth was. But you ain't. So, Chris, let's make a deal."
Chris laughs: "You gon' make a deal with me! I just shot Oswaldo."
Daisy: "Yeah. But he shot you, too. And he shot you first. And that was before you knew the situation. Now you know the situation. Look, this only works if we're all reasonable."
Oswaldo: "Hey, Pete! Tell him "No hard feelings. No worries, mate."
Marquis grimaces with pain.
47.8 sec
The Flashback removal scene
The post intermission scene exterior
ADDITIONAL MATERIAL: IN ful with additional dialogue and time differences
Marquis and John turning away to the side lasts a little bit longer in the Theatrical Version.
Meanwhile in the Extended Version Marquis pleads for help with the corpses on the way to Red Rock. A deal with O.B. is made and John helps Marquis to keep the horses still while loading the bodies.
Marquis: "Say, partner, you give me a hand tying these three fellows up on the roof, I'll make it worth your while we get to Red Rock."
O.B.: "Now, I hear you making $8,000 off these dead fuckers?"
Marquis: "Yeah."
O.B.: "Well, I'll help you for $250."
Marquis: "How about $150, and I pay for all your booze the first two days we're in Red Rock?"
O.B.: "Hmm."
Marquis: "They got a little social club in Red Rock?"
O.B.: "Why, yes, they do."
Marquis: "Let's take you to a night there, too. Now, that's a good deal, sir."
O.B.: "Shit fire, that's a damn good deal. But I can't leave these horses unattended, so you gonna have to get them folks to hold the horses."
Marquis: "Shit. I'll see what I can do."
He is going towards John, who is urinating: "Mr. Ru... Excuse me, you think you could, uh, hold on to these horses while we load these fellas on the roof?"
John: "Yeah, course. Come on, tramp."
He holds the reins, while Marquis is walking to the dead bodies.
Marquis says the full sentence "I'm gonna miss him" onscreen in the extended version, while in the theatrical version this is heard offscreen, when he lightens a match on his boots.
Additionally there's a little more dialogue only in the extended version.
John: "Had a horse like that once. About 20 years ago. Called him Cauliflower. I used to call him my beast friend."
Marquis: "And what happened to him?"
John: "Some rattlesnake shot him out from under me."
Marquis: "You make it right?"
John: "Oh, you know I did."
Marquis grins.
Before the versions synchronize again with the view of Daisy, you can hear O.B. saying "Leche!" a first time offscreen. In the theatrical version John is shown at this moment, in the extended version it's Marquis.
Extended Version 23 sec longer
Alternative
When you hear "There's another fella" both versions show different settings. The Extended Version shows the long shot a little bit sooner.
Theatrical Version 0,5 sec longer
Alternative
This long shot is shown longer in the Theatrical Version and John leaves Daisy.
The Extended Version changes to a frontal shot and John ask Daisy some critical questions.
John: "Is that it, Daisy? That the surprise you got planned for me? 'Cause I know you got a surprise planned for me."
Daisy: "Maybe the surprise is I'm tired of running."
John: "You facing a rope, tramp. Ain't nobody get tired of running from that."
Daisy: "You might be surprised, John."
John: "If you're counting on surprising me, Daisy, don't count on it."
He then walks on, while the long shot starts sooner.
Extended Version 25,4 sec longer
Alternative
In the Extended Version John points to the back in this scene and then the recording from the Theatrical Version is shown. The following dialogue is much longer and in alternative takes from the Theatrical Version. The identical parts are marked with italics fonts.
Theatrical Version
John: "This changes things, son. $8,000 a whole lot of money for a nigger. But with a partner, 18's a whole lot better."
Marquis: "You really think I'm in cahoots with that fella, or her?!"
Extended Version
John: "You know that fella?"
Marquis: "I know me some people around here. Spend a lot of time on this mountain hiding out from bushwhackers. Could be I know that fella. Maybe I don't. I wasn't expecting nobody."
John: "You weren't, eh?"
Marquis: "No, I weren't."
John: "This changes things, son. $8,000 a whole lot of money for a nigger. But with a partner, 18's a whole lot better."
Marquis: "I ain't got a partner no more."
John: "So you say."
Marquis: "You take a gander at them three frozen fuckers up there and see if you see any bullet holes in their back. Well, maybe Reverend Roy McCracken. Him I did shoot in the back. But, shit fire, he deserved it. He not only killed my partner, he tried to steal my damn horse."
Extended Version 31,8 sec longer
In the Extended Version Marquis now also says "You really think I'm in cahoots with that fella, or her?!".
Before the Theatrical Version starts a few moments later with the rest of the shot, John also reacts with: "That's my problem, boy. I don't know. And until I do, you in chains."
10,6 sec
Alternative
In the Theatrical Version Chapter 2 is initiated while in the Mini-Series Version this is integrated in Episode 1 without reference.
The Extended Version shows Chris again as a transition, he's shouting "Hey!". Then you can see Marquis a little bit sooner from behind. The dialogue starts onscreen, not in the chapter overlay as in the Theatrical Version.
Theatrical Version 1,6 sec longer
In the Theatrical Version John replies in the same setting "Amen" and raises his mug. He drinks in a close up, while Joe is shown on the other end of the room.
Instead, in the Extended Version the camera view is switched to Joe while John asks: "How about that cowboy fella? What's he writing in that book?"
Oswaldo: "His diary, I suppose."
John: "What's his story?"
Oswaldo: "Don't know. He doesn't say much."
John: "What do you mean he doesn't say much? You rode up that whole mountain together, didn't you?"
Oswaldo: "And he didn't say much."
John: "What's his name?"
Oswaldo: "I don't know."
John: "He never said his name?"
Oswaldo: "I don't think so."
Extended Version 16.7 sec longer
The Theatrical Version shows Sandy an insignificant half second longer. No images shown or counted as alternative material.
Instead, the Extended Version switches once again to a view of Chris who initiates the toast. A dialogue follows and Chris questions John about Joe. John introduces himself to Joe and asks for the brandy. Chris brings the brandy back to General Sandford and continues his toast.
Chris: "Where's home?"
Sandy: "Georgia. Yeah."
Chris: "Well, what say we have us a drink? To Chester Charles Smithers. A drink to your service to the South, sir. And a drink to the great state of Georgia."
Sandy: "Well, that's a drink I'd enjoy. From Erskine Mannix's boy to my boy."
Chris: "And that's a drink. I'd like to drink. Excuse me, General."
He walks over to John; "What's to drink, John Ruth?"
John: "Tequila and mescal. And brandy."
Chris: "Where's the brandy?"
John: "Over there."
Chris: "Who's he?"
John: "Another passenger."
Chris: "What's his name?"
John: "Joe Gage."
Chris: "What's he writing in that book?"
John: "His life story."
Chris walks toward him; "Joe Gage, is it?"
Joe: "It is."
Chris: "Pleased to meet you. I'm Chris Mannix, the new sheriff of Red Rock."
Joe: "You, too, Chris."
Chris: "Can me and my new friend have some of your brandy, Joe?"
Joe: "Help yourself, Chris."
Chris: "Thanks a bunch, Joe."
Joe: "You're welcome, Chris."
Chris walks back to Sandy; "General. This is a drink to Chester Charles Smithers! This is a drink to one man's commitment to a cause. And this is to the red in Georgia clay! Cheers. Mmm. Ah. General Sandy Smithers. It's a small damn world."
John: "I don't know about the world, but this goddamn mountain sure seems pretty fucking small."
Extended Version 170.6 sec (= 2:51 min) longer
62:57 / 26:22-26:24
After the door is opened, a small recut to Sandy follows.
2.1 sec
Alternative
In the Theatrical Version Marquis walks forward, thereupon Sandy and Chris make nasty remarks about him.
Marquis: "O.B."
Chris: "Do you know that nigger, sir?"
Sandy: "I don't know that nigger. But I know he's a nigger, and that's all I need to know."
The legs are shown a little bit sooner.
n the Extended Version Marquis talks in more detail with O.B. while the N-word dialogue is missing for the moment.
Marquis: "O.B., got a proposition for you."
O.B.: "Well... what do you propose?"
Marquis: "You asked for $250 the first time, right?"
O.B.: "Yeah."
Marquis: "Well, how about $350?"
O.B.: "Well, how about it?"
Marquis: "Help me take them fellas down off the roof, stash them in snow. When the snow melts, tie them back on."
O.B.: "The same deal? About the booze and them ladies in Red Rock?
Marquis: "Mm-hmm."
O.B.: "You got yourself a deal, smoke.
Oswaldo gets up and O.B. introduces him; "Oh, Major Warren, this is, uh..."
Oswaldo takes his card: "Oswaldo Mobray, Major. At your service."
Marquis: "Oh-ho. You're the executioner in these parts."
Oswaldo: "Yeah, precisely."
Marquis: "Well, fella over at the bar brought you a customer."
Oswaldo: "So it would appear."
Marquis returns the card: "Yeah, well, my three felons, they won't be needing your services."
Oswaldo: "All right."
Extended Version 48.9 sec longer
Alternative
In the Theatrical Version the hat is put on a little bit longer, while Chris starts saying: "Well, that nigger..." offscreen.
Instead, in the Extended Version the same part of the dialogue from the Theatrical Version has been included.
Chris: "Do you know that nigger, sir?"
Sandy: "I don't know that nigger. But I know he's a nigger, and that's all I need to know."
When Chris starts saying "Well, that nigger...", you can see the half view of Sandy.
Extended Version 9.6 sec longer
The Theatrical Version fades out to black.
The Extended Version shows more of whats happens in the room while Daisy pees calmly standing next to John. After this, he critizises Bob in detail for his wrong method of plucking a chicken. At last Chris and Sandy are chatting and O.B. walks through the room sooner.
John: "Are you done yet?"
He discovers the half finished chicken and bitches to Bob; "The hell is this?"
Bob: "It's a chicken."
John: "No, it's not. It's a half-plucked chicken. A half-plucked chicken is bad luck, and we don't need bad luck in a blizzard. Now, what's it doing here?"
Bob: "I was plucking it when your stage arrived."
John: "Stopped to take care of the passengers, huh?"
Bob: "Yeah."
John: "Well, you're not taking care of passengers now."
Bob: "I thought better to deal with the stew."
John: "Pluck the chicken."
Bob follows the task reluctantly.
Chris describes: "Oh, that's Major Marquis, the nigger that burnt down Wellenbeck prison camp. Killed 47 rebs and 37 Yankees. Now, his own side drummed his black ass out of the cavalry with a yellow stripe down his back. And the Confederacy, General, if you will remember, put a reward on that nigger's head. $30,000! And then it dropped down to eight. Last days of the war, it was five. Now, a lot of fellas went looking to collect that reward, and a lot of niggers got their head chopped off. But nobody ever did get them the right nigger head."
Sandy: "That nigger is the nigger with the $5,000 reward on his head?!"
Chris: "Well, there ain't no reward no more. But during the war, yeah. That's that nigger."
In the meanwhile O.B. enters the room and slams the door; "That damn door is a dirty whore."
John: "I just made some more coffee. Grab some cups and get some in ya."
Extended Version 182.7 sec (= 3:03 min) longer
he Theatrical Version shows John an insignificant moment longer. No images shown or counted as alternatively material.
Instead, the Extended Version John makes more promises and an announcement: "When we get to Red Rock, I'll replace the weapons you lost. That's the best I can do. When he leaves, you and you nail the door behind him. Get to it!"
Extended Version 20.7 sec longer
After the exterior view of the cabin an outside view is added. Following the added instructions, the door is boarded up from inside. John continues attacking Joe and commands him laying down on the bed. Bob is asked to put his rifle on the table, which still hangs on the wall. More weapons are collected and destroyed, threatening the present persons in case they are hiding even further weapons.
John: "You, back to the bar. You, back to the bed. You were doing good the way you were, lying down. So, lie down!"
Joe follows this command and lays down on the bed.
John: "Okay, Mr. Mex, where's your guns?"
Bob: "I don't have a gun."
John: "What's that?"
A rifle on the wall is shown.
Bob: "Oh, well... there is that."
John: "Take it off the wall and put it on that table. Open your coat. Wide open. Sit your ass down on that bench."
John removes the cartridges from the weapon and smashes it on the wall.
John: "So...any more guns I don't know about? Now, later on, I'm gonna remember asking this question and I'm gonna remember your answer, so one more time. Any more guns I don't know about?"
Bob raises his hand: "I just want to make an announcement."
John: "What announcement?"
Bob: "Stew is on."
194.3 sec (= 3:14 min)
The Extended Version shows an additional short shot from inside. The Theatrical Version shows the next shot outside a bit sooner (without the appearing spot light)
Extended Version 1.5 sec longer
Chris asks Sandy why he isn't sitting on the table with the other persons and the nasty N-word is mentioned again.
Chris: "Why you want to sit here by yourself? Everybody's sitting right over here. Just come have a little..."
Sandy: "Well, if you're hungry, go sit at the table."
Chris: "Well..."
Sandy: "And then you will be eating with a nigger."
9.1 sec
Sound modification
Following dialogue is only heard in the Extended Version over the next shot from the table.
Chris: "You ain't got to sit next to that nigger."
Sandy: "Judas was at the table."
Chris: "General, you ain't got to sit with that nigger. You can sit next to me."
Sandy: "I will never change my mind on this matter."
Chris: "Now, just come sit at the table, have a bowl of stew with us. Just a small bowl?"
Sandy: "No."
Chris: "One little, small bowl?"
Chris: "N-O!"
Alternative
The Theatrical Version shows Marquis' full frontal shot much longer.
n the Extended Version Marquis also sits down on the table and listens to Sandy's excessive hate tirades from the background.
Chris: "General, you need to get some food in you. Please. I'll bring you a little, small bowl. I'll get you a cup of coffee."
Sandy: "I said no to you."
Chris: "Wouldn't it be nice to sit with a group of people?"
Sandy: "Sit with a nigger at the table and eat?"
Chris: "General Smithers, I'm afraid I'm gonna have to insist. Please."
Sandy: "Hey. What privilege do you never have? Touching an officer above you in rank. General, son."
Chris: "Well, can I bring you..."
Sandy: "Go eat your dinner with your nigger friend."
Marquis: "Amen."
Chris: "General, you ain't got to sit next to that nigger."
Sandy: "You must be toying with me, son."
Chris: "I'll bring you a blanket."
Sandy: "I got a blanket."
Chris: "You need to get some food in your stomach, General."
Warren: "You know, Bob..."
Sandy: "Do you think I, for a minute, that I want to go over and sit and eat? If old Minnie was here, she'd have made some cornbread."
Chris: "Please, just bring you a little bowl of stew over here to your chair."
Sandy: "No. Have you forgotten how to take an order, Captain? You are dismissed."
Chris: "Yes, sir. I still don't feel good about not getting you something to eat. Let me know if you change your mind."
Before he stands up, Marquis argues a bit longer with the three guys. The Theatrical Version shows a different transition with an alternative shot of the men.
Marquis: "Now, why is The Hangman, who got nothing on his mind 'cept getting this gal to the gallows, brewing the coffee in Minnie's Haberdashery?"
Oswaldo: "Because his coffee was dreadful."
Marquis: "Is that right? Well, ain't that interesting."
Bob: "Well, you didn't have any of my coffee, bounty hunter, so don't be so sure about what this little man says."
Joe: "I had some of his coffee. Wasn't the best coffee I ever drank, but wasn't nothing wrong with it."
Bob: "Well, if you want me to make a pot of coffee, all you have to do is ask."
Marquis: "Maybe. Maybe."
With these last words in mind, the following words from Marquis in the Theatrical Version ("But it's the stew that's got me thinkin'") make more sense.
ody an insignificant moment longer and Joe replies: "I say the first 45 seconds he's in the room is a good time."
Jody: "If you got a shot, Grouch, take it. But be right. Or my sister is dead."
11.2 sec
The Extended Version shows this previous shot with John coming in a bit longer, then many discussions inside. John boards up the door as well, bitches about Bob's coffee and John sits with a drawn gun at the table. But the situation stays calm after all.
Grouch: "Shut that door, there's a goddamn blizzard out there!"
Oswaldo: "Close the door!"
Grouch: "You got to nail it shut."
Oswaldo: "You have to nail it shut."
Joe: "The hammer and nails are by the door."
Oswaldo: "Nails by the door!"
John: "Give me a hammer."
Oswaldo: "You need two pieces of wood!"
Joe: "One ain't good enough!"
Oswaldo: "Two pieces of wood!"
Joe: "The fucking thing is busted!"
Oswaldo: "Not just one piece of wood!"
John: "Give me another piece of wood."
Daisy: "Yeah, all right."
John: "I need a nail."
Daisy: "Here."
John: "Jesus. That door's a son of a gun. Who's the idiot who broke that? That Mexican fella?"
Oswaldo: "Good heavens. A woman? Out in this white hell? You must be frozen solid, poor thing."
John: "Looks like Minnie's got her a full house. When did you fellas arrive?"
Oswaldo: "About 40 minutes ago."
John: "That cowboy fella in the corner, that's your driver?"
Oswaldo: "Oh, no, he's a passenger. The driver lit out. Said he was going to spend the blizzard shacked up with a friend."
John: "Lucky devil."
He takes a sip from the coffee but spits it out immediately; "Christ, that's awful! Christ Almighty. What'd that Mexican fella do? Soak his old socks in the pot?"
Oswaldo: "Yes, I think we all felt the same way, but we're a little too polite to say something."
Daisy: "He don't have that problem.
John: "Where's the well water?"
Oswaldo: "Over there."
John: "So... all three of you fellas headed to Red Rock when a..."
Joe is aiming; "Come to papa."
John: "...blizzard stopped ya, huh?"
Oswaldo: "Yes. All three of us were on that stagecoach out there."
John fills the coffee pot and asks: "Coffee beans?"
Oswaldo: "Over there."
John: "Get your hand out of there."
Oswaldo gives Daisy a hand sign and Joe winks her too.
Daisy: "New sheriff of Red Rock's traveling with us."
John: "Sheriff of Red Rock. That'll be the day. He's a goddamn sheriff, I'm a monkey's uncle."
Daisy: "Good. You can share bananas with your nigger friend in the stable."
Oswaldo: "So... the new sheriff of Red Rock is traveling with you?"
Joe: "Looks like we're gonna have to do this the hard way."
John: "No, he's lying. He ain't sheriff of nothin'. He's a Southern renegade. He's just talkin' hisself out of freezin' to death, is all. What the fuck I tell you about talkin', huh? I'll bust you in the mouth right in front of these people. I don't give a fuck!"
Joe: "Just you wait, you fuck."
Oswaldo: "You never gave your name, sir."
John: "John Ruth."
Oswaldo: "You a lawman?"
John: "I'm taking her to the law."
Oswaldo: "So you're a bounty hunter."
John: "That's right, buster."
It fades to a black image.
Marquis and Chris are shown in a nearer shot in the Theatrical Version. In the Extended Version the shot of both starts sooner and more far away.
No time difference
shot from Marquis and Chris from the Theatrical Version is used here too.
Joe: "Point is, you ain't a part of this drama, Chris. We are. Warren is. Ruth was. But you ain't. So, Chris, let's make a deal."
Chris laughs: "You gon' make a deal with me! I just shot Oswaldo."
Daisy: "Yeah. But he shot you, too. And he shot you first. And that was before you knew the situation. Now you know the situation. Look, this only works if we're all reasonable."
Oswaldo: "Hey, Pete! Tell him "No hard feelings. No worries, mate."
Marquis grimaces with pain.
47.8 sec
User reviews
7 reviews
Overall rating
9.6
Audio/Video Quality
9.7(7)
Visual Editing
9.4(7)
Audio Editing
9.7(7)
Narrative
9.9(7)
Enjoyment
9.4(7)
Overall rating
10.0
Audio/Video Quality
10.0
Visual Editing
10.0
Audio Editing
10.0
Narrative
10.0
Enjoyment
10.0
THE BALLS ON THIS MAN!!!! I love it.
Written & Directed and almost f***ed up by Quentin Tarantino ... and rescued by WRAITH.
Kudos to you!
I never saw the real thing, meaning the Roadshow. I saw the Original and the Disc Version and so for me, seieng more,
in depths and watching it so flawlessly integrated and build was amazing.
I never heard the voice over, but i trust Wraith in killing it. ALl the extras just mad emy day, this is my go to now.
(not the first time i write this when it comes to Wraithm!)
Q.T.'s overall output has its hits and misses for me personally, and I would place The Hateful Eight on the hits' side.
I know that back than, it did not win, made not enough money ?
But for me its pure fun, the dialogues are perfect and seeing some more in depths views of some characters just shows that more.
Its shiny and wastefull over-the-top entertainment and Wraith safed it, made it even better (sh, no one tell QT please).
Impressed as always!
Written & Directed and almost f***ed up by Quentin Tarantino ... and rescued by WRAITH.
Kudos to you!
I never saw the real thing, meaning the Roadshow. I saw the Original and the Disc Version and so for me, seieng more,
in depths and watching it so flawlessly integrated and build was amazing.
I never heard the voice over, but i trust Wraith in killing it. ALl the extras just mad emy day, this is my go to now.
(not the first time i write this when it comes to Wraithm!)
Q.T.'s overall output has its hits and misses for me personally, and I would place The Hateful Eight on the hits' side.
I know that back than, it did not win, made not enough money ?
But for me its pure fun, the dialogues are perfect and seeing some more in depths views of some characters just shows that more.
Its shiny and wastefull over-the-top entertainment and Wraith safed it, made it even better (sh, no one tell QT please).
Impressed as always!
User Review
Do you recommend this edit?
Yes
Format Watched?
Digital
V
Overall rating
8.6
Audio/Video Quality
9.0
Visual Editing
7.0
Audio Editing
10.0
Narrative
10.0
Enjoyment
8.0
It had been a while since I had seen the original and this was a great way to rewatch. For an edit like this, I think the best compliment that you can give is that you didn't notice any edits. And I would totally say that about this edit but for the fact that the editor decided to add text to the bottom right corner of the screen ("EXT", "ALT", etc.) every time an edit was made. This is more jarring than a harsh cut - there's nothing better to pull the audience out of the narrative and be reminded that they're watching an edit and text flashing on the screen to indicate that. If this was an option that you could enable like subtitles, I think it would be a really great feature, but it isn't. It's a shame becuase the editing really is flawless otherwise. Well, almost. At 1:44:01 a flash frame of a screen saying "No Data" comes across. It's clear and obvious and really should have been spotted during editor review and fixed before release.
Other than that, I loved everything about this edit, including the removal of the QTVO. Recommended, despite the issues, for fans of the original.
Other than that, I loved everything about this edit, including the removal of the QTVO. Recommended, despite the issues, for fans of the original.
A
Overall rating
9.8
Audio/Video Quality
10.0
Visual Editing
9.0
Audio Editing
9.0
Narrative
10.0
Enjoyment
10.0
Normally I don’t watch stuff where the narrative centres around a bunch of villain protagonists with very few if any redeeming qualities and yet with both the theoretical edition and this edit I find that the occasional banter between the eight possibly nine if counting OB puts a smile on my face and even gets a good chuckle out of me on occasion.
The whole character and motive building aspect of it all also adds quite the intrigue especially the parts as to what aspect of there statements and vocations are real or fabricated with there respective backgrounds and morally grey to black sense of ethics providing some interesting conflict that explores the very nature of human evil itself and how one can become so absorbed by there own sense of ethics and practices that they believe themselves to be in the right.
The added character interaction bestowed upon via the extended scenes helps the overall film to flow more naturally and gives more insight into the minds and motivations behind the eight that has the benefit of showing them all to be more cautious and pragmatic in there goals and ambitions, the extra dialogue also gives a little more narrative prominence to those of the eight that I thought were a little underdeveloped or underutilised in the theatrical cut.
On the technical side of things the removal of the directors first voice over and use of sfx helped to maintain the immersion and felt more natural to me compared to the theoretical version where my immersion was completely broken, your use of alternate text throughout the edit blends rather well with that of the films text and your use of audio and visual transitions is for the most part both authentic and smooth helping to set the perfect tone and pace of the previous and proceeding scenes.
Finally the first overture screen from the Roadshow version serves as a good opportunity for audiences to use the lavatory or grab some good ole fashioned beverages ready for cinematic consumption with the shorter intermission time soon after allowing for the audience to either stretch there legs for a little bit or grab some more beverages and maybe discuss and reflect upon the films many aspects such as it’s cinematography before they are ready to resume the intrigue of the narrative.
The whole character and motive building aspect of it all also adds quite the intrigue especially the parts as to what aspect of there statements and vocations are real or fabricated with there respective backgrounds and morally grey to black sense of ethics providing some interesting conflict that explores the very nature of human evil itself and how one can become so absorbed by there own sense of ethics and practices that they believe themselves to be in the right.
The added character interaction bestowed upon via the extended scenes helps the overall film to flow more naturally and gives more insight into the minds and motivations behind the eight that has the benefit of showing them all to be more cautious and pragmatic in there goals and ambitions, the extra dialogue also gives a little more narrative prominence to those of the eight that I thought were a little underdeveloped or underutilised in the theatrical cut.
On the technical side of things the removal of the directors first voice over and use of sfx helped to maintain the immersion and felt more natural to me compared to the theoretical version where my immersion was completely broken, your use of alternate text throughout the edit blends rather well with that of the films text and your use of audio and visual transitions is for the most part both authentic and smooth helping to set the perfect tone and pace of the previous and proceeding scenes.
Finally the first overture screen from the Roadshow version serves as a good opportunity for audiences to use the lavatory or grab some good ole fashioned beverages ready for cinematic consumption with the shorter intermission time soon after allowing for the audience to either stretch there legs for a little bit or grab some more beverages and maybe discuss and reflect upon the films many aspects such as it’s cinematography before they are ready to resume the intrigue of the narrative.
User Review
Do you recommend this edit?
Yes
Format Watched?
Digital
P
(Updated: November 09, 2022)
Overall rating
10.0
Audio/Video Quality
10.0
Visual Editing
10.0
Audio Editing
10.0
Narrative
10.0
Enjoyment
10.0
Having only seen the theatrical version, and then only once, I found myself overwhelmed by the attention to detail and the flawless way in which Wraith had re-integrated the extended scenes - and I did not notice any errors in the audio either.
As for the storyline itself, the extended scenes add far greater depth to the characters, their distrust and hatred of one another and, to a lesser extent, the increased complexity of the people involved. Other film critics tend to analyse the characters of Major Warren (Samuel L. Jackson) and General Sandford Smithers (Bruce Dern) and their racist hatred of each other, but from my perspective, the character of Joe Gage Douglass (Michael Madsen) is the most intriguing.
For example, the character of Joe is shown several times to have remorse for his actions... Prior to killing Six-House Judy (Zoe Bell), he gave second glances at her inside Minnie's Haberdashery (while he stood in front of the stove warming his hands). Later, both Joe and Oswaldo (Tim Roth) had sad looks on their faces, shown just after Minnie's conversation "in French." Joe was also shown looking out the window at Judy as she attended to the horses and the wagon. After shooting her, twice, he wipes blood splatter from his face, and gives her a last lingering look, and then makes second glances down the well after dumping her body there. Later in the story (earlier in the movie), he is shown writing his memoirs, which could be interpreted as Joe writing a confession. He already recognised the fact that he had murdered someone that he had genuine feelings for, and that he had effectively destroyed his own chance at happiness. When he murdered Judy, he killed a part of himself, and this makes his own hard-hearted behaviour later in the movie all the more tragic. (When he admitted to putting the poison in the coffee, did he really do so to save the life of Daisy Domergue, or did he do it because he actually wanted to be shot?)
It was these subtle aspects of all the characters (not just Joe) that Wraith brought forward and highlighted to the audience.
Lastly, since I have never seen the miniseries with Tarantino's voice-over narration, I did not notice its absence and found no imperfections in the audio.
This is a stellar example of what a dedicated fan-editor can do.... Well done Wraith.
As for the storyline itself, the extended scenes add far greater depth to the characters, their distrust and hatred of one another and, to a lesser extent, the increased complexity of the people involved. Other film critics tend to analyse the characters of Major Warren (Samuel L. Jackson) and General Sandford Smithers (Bruce Dern) and their racist hatred of each other, but from my perspective, the character of Joe Gage Douglass (Michael Madsen) is the most intriguing.
For example, the character of Joe is shown several times to have remorse for his actions... Prior to killing Six-House Judy (Zoe Bell), he gave second glances at her inside Minnie's Haberdashery (while he stood in front of the stove warming his hands). Later, both Joe and Oswaldo (Tim Roth) had sad looks on their faces, shown just after Minnie's conversation "in French." Joe was also shown looking out the window at Judy as she attended to the horses and the wagon. After shooting her, twice, he wipes blood splatter from his face, and gives her a last lingering look, and then makes second glances down the well after dumping her body there. Later in the story (earlier in the movie), he is shown writing his memoirs, which could be interpreted as Joe writing a confession. He already recognised the fact that he had murdered someone that he had genuine feelings for, and that he had effectively destroyed his own chance at happiness. When he murdered Judy, he killed a part of himself, and this makes his own hard-hearted behaviour later in the movie all the more tragic. (When he admitted to putting the poison in the coffee, did he really do so to save the life of Daisy Domergue, or did he do it because he actually wanted to be shot?)
It was these subtle aspects of all the characters (not just Joe) that Wraith brought forward and highlighted to the audience.
Lastly, since I have never seen the miniseries with Tarantino's voice-over narration, I did not notice its absence and found no imperfections in the audio.
This is a stellar example of what a dedicated fan-editor can do.... Well done Wraith.
User Review
Do you recommend this edit?
Yes
Format Watched?
Digital
D
Overall rating
9.3
Audio/Video Quality
10.0
Visual Editing
10.0
Audio Editing
10.0
Narrative
9.0
Enjoyment
9.0
I am a big fan of this movie and I have never seen anything other than the theatrical release.
I really loved seeing the extra scenes even though I can see why they where cut as like any Tarrinto film its dialogue heavy.
The video, audio and editing was excellent, Thanks Wraith
I really loved seeing the extra scenes even though I can see why they where cut as like any Tarrinto film its dialogue heavy.
The video, audio and editing was excellent, Thanks Wraith
User Review
Do you recommend this edit?
Yes
Format Watched?
Digital
R