Tarantino Tales: Episode 8 - The Hateful Eight

Custom FE WARNING added
Red Apple Crew Logo added
FE LOGO added
“A bite from the Red Apple Crew Added”
Original music used for intro with some shots re-ordered.
“Wyoming 1877” caption added
Opening cuts to Major Warren as Stagecoach approaches and is truncated with a custom CRASH ZOOM into the opening titles.
Added Custom Titles for the series with Episode specific shots.
ACT ONE caption “The Bounty Hunters Picnic” added
CAST captions added to establishing shots to maintain episodic feel
First part of stagecoach ride trimmed.
We do not see Major Warren discussion outside the stagecoach
First part discussion is limited to points of banter to establish that
Warren and John Ruth know each other previously
The letter reading takes place
Doumergue is established as a nutjob
After John Ruth elbows Doumergue, edited to permit Warren a direct look while she lick her blood.
After Doumergue falls out of the stagecoach, the scene is trimmed to the essentials, and includes material from the Netflix Extended version.
Mannix’ appearance is re-edited as is his approach to the stagecoach which is far shorter.
Discussion focuses again ONLY on the plot elements required…The bounty, Mannix claim to be the Sherriff.
All songs removed from the journey to Minnie’s, with the stagecoach long shot now re-scored with the intro from “A gringo Like Me” from “Gunfight at Red Sands” by Ennio Morricone
Second part of stage coach ride removes reference to Warren destroying the POW camp, and most of Mannix’s marauders discussion is removed. Scene is truncated when Warren tells Mannix why HE joined the civil war.
JB Foley carefully synchronised throughout by creating custom portions to fade in and out of throughout the ride to maintain audio flow. NO SCORING was used to disguise any cuts in order to maintain the feel of the original movie.
ACT TWO caption added “Eight H8fuls Gather under Duress”
The stagecoach approach to Minnie’s is shortened requiring a scoring segue alteration.
As the stagecoach gets ready to empty out, a cutaway to an interior scene from the removed later flashback is used, with audio synchronised for continuity.
The next couple of minutes inter cut between the original arrival at Minnie’s and the later flashback version (which does not appear in this edit). This is done to quickly establish how many other protagonists are in Minnie’s PRIOR to John Ruth so that viewers are ahead of the game. This then permits truncated introductions to the new protagonists.
This is edited to NOT give away who is working with Doumergue.
The stable scene with Warren and “Bob” is shortened to permit JB to return directly to Minnie’s and to make Warren a tad more direct in his suspicions
Stable scene is split to permit intercutting with Minnie’s, thus facilitating massive removals from the interior of Minnie’s.
Scene return to Ruth and Oswaldo discussion with careful folley and dialogue trims as Oswaldo lays his hat down…this reduces the banter to ONLY what viewers and Ruth need to know.
Hard cut with foley smoothing BACK to the stables and Warren and “Bob” discussion,
Return to Minnie’s to a shortened version of the intro to “Joe Gage” discussion with Ruth. All we need to know is his name for later, and not the full back story. This makes Ruth appear far more focused and selfish.
The discussion is shortened ending with Ruth meeting the General which is interrupted by Mannix and JB finally entering Minnie’s.
As the door is again being closed, we return to the final part of the newly split stable scene with Warren and “Bob”.
Back inside Minnie’s, Mannix and Oswaldo’s discussion is carefully shortened and ends with “Nword in the stable” allowing for Warren’s entry into Minnie’s juxtaposed. There is no mention of the Lincoln letter, since it has not been mentioned, and is not mentioned either in the theatrical version, which is a continuity error.
As Warren and “Bob” close the door, overlapping dialogue from later in the movie is repurposed with inserts to permit establishing the relationship between Mannix and The General quickly over the hammering. This is a complex 55 secs of audio and visual sleight of hand.
As Warren finally enters and gets a coffee, this is now scored with “Primo Deserto” from “The Big Gundown” by Ennio Morricone, to heighten viewer’s empathy with Warrens growing suspicions.
ACT THREE caption “Mendacity at The Last Supper” is added.
As act three opens, dialogue plays in the background between Mannix and The General, to establish the bigotry.
This conversation is relocated to overlap, predominantly as audio, while the protagonist gathers for dinner. Mannix does not take his first seat in order to maintain protagonists poisoning as the scene is truncated. The letter is NOT revealed as a fake. This is a major change from the Theatrical versions and is done so to heighten the new ending.
Warren does not have an extended discussion at the table and the start of the discussion between Warren and the General is Intercut with “Bob’s” piano plating, which is carefully shortened while maintaining the melody, in order to GET TO THE POINT.
Warren’s tale about the General’s son, is trimmed in the centre section while maintaining musical integrity. The shooting is a hybrid of the flashback and original versions.
ACT FOUR caption added “desanguination at Hades Gate” added
New scoring using the Overture to The Hateful Eight is added to the first 80 secs of the fourth act to heighten the tension.
The removal of the General’s body is a complete new audio build of the scene.
Doumergue’s request to play the guitar, pick it up and begin signing is shortened as is the song that follows. Some scene repurposing of shots takes place to maintain protagonists positioning.
A clumsy music audio fade in of the track “Bestiality” from THE THING is smoothed by extending the track to earlier in its original cue and aligning it with where the cue starts in the Theatrical version, thus removing the awkward original fade in. This required the shots building up into the scene to be re-purposed and shortened slightly together with overlays shots of Mannix and Oswaldo lighting candles.
The consequences of the coffee playout uncut.#
The section where Warren interrogates the suspects is highly restructured while maintaining protagonist positioning. 43 edits are made with an additional 9 overlayed repurposed shots, and multiple dialogue trims and repositioning, including Mannix not naming Gage, since he was never told Gage’s name in this edit.
Warren derives enough evidence and not as much as in the Theatrical version, in order to still conclude who did what. Banter is significantly reduced.
Epilogue Caption and title “The Purgatory of the Damned” is added.
In order to place Joe gage in the correct position without extended banter, his request to sit down is moved right up the running order.
The convoluted discussions leading to a deal are removed and only the OFFER of a deal is made leading to the final shoot out.
The second poorly faded in music cue in the original is when Mannix starts shooting. It was VERY poorly faded in, almost as if they decided to truncate the scoring late in post-production. The music Cue is “Despair” from THE THING by Ennio Morricone. This piece now plays out far earlier as Jody emerges, and is blended into the portion original used and is then extended to continue to play until it naturally fades out.
Mannix fainting and Doumergue chopping off Ruth’s arm are removed, thus when Doumergue meets her fate, the shots of Ruth’s severed arm are removed or cropped out with some shot replacement repurposing where required.
Since in this version the LETTER is genuine, the final scene score with “Goodbye Colonel” from “For a Few Dollars More” by Ennio Morricone. This is a much more sombre track than the music used and required an audio rebuild for the screwing up of the letter which is now UNREAD, in a final act of defiant bigotry by Mannix.
Custom Credits added.
Added mid credit scene of flashback to Minnie’s from an abandoned opening.
Custom credits continue until a short post credit scene followed by Custom Logos.
Music used “Dopo La Congriua” from Django Unchained by Ennio Morricone and “A Gringo Like me” from “Gunfight at Red Sands” by Ennio Morricone.
Thanks credits added