- A short exchange between Ruth and Oswaldo about Joe Gage.
- The scene involving Bob, the plucked chicken and how a plucked chicken is bad luck and the bounty of Major Warren's head that Chris Mannix tells General Smithers about is removed. It goes straight to John Ruth explaining his theory that someone in Minnie's is there to free Daisy.
- There is no twelve-minute intermission. After Chapter 3 ends, there are several moments of black screen with the wind howling and a fade to Chapter 4. The general release version also cuts out the Crystal Gayle song "Ready for the Times to Get Better" that opens the second half of the movie.
- When Daisy performs "Jim Jones at Botany Bay". instead of the song being performed in one shot, the first part uses a different shot with a different performance.
General Sandford Smithers a Confederate General and known Racist, and murderer of innocent Black Union troops, chooses to stop at Minnie's Haberdashery for the day, yet some might wonder why he chose to stop Minnie's since Minnie is black, and Charly who works for Minnie is also black, and Smithers is known to be cruel and unruly toward black people.
It is most likely implied that he did not know of Minnie's Haberdashery, as he has not spent much time in Wyoming, and much likely did not know Minnie, Charly and Gemma were of African decent. Since Smithers was going to Red Rock to advise the stone maker on how to make the headstone for his son Chester Smithers, he most likely got caught on the wrong side of the storm which later turned into a blizzard, he most likely stopped to get coffee and supplies, and had no knowledge of Minnie and her crew.
Charly makes mention to Judy and Ed that they have one person waiting for a stage heading to Red Rock, and that Minnie wants the person out of the Haberdashery, while its not stated clearly if she's talking about Smithers, but after seeing his attitude toward Marquis Warren and even John Ruth its strongly implied that they are talking about Smithers, he probably used derogatory terms for blacks toward Minnie Charly and Gemma, and when the four men enter, he seems to be ignoring them completely and focusing his attention on Sweet Dave and their chess game.
So to answer in short, General Smithers likely did not know who Minnie was much less know she was black, he just saw the Haberdashery and wanted to stop for a little bit to get warm, and get supplies.
It is most likely implied that he did not know of Minnie's Haberdashery, as he has not spent much time in Wyoming, and much likely did not know Minnie, Charly and Gemma were of African decent. Since Smithers was going to Red Rock to advise the stone maker on how to make the headstone for his son Chester Smithers, he most likely got caught on the wrong side of the storm which later turned into a blizzard, he most likely stopped to get coffee and supplies, and had no knowledge of Minnie and her crew.
Charly makes mention to Judy and Ed that they have one person waiting for a stage heading to Red Rock, and that Minnie wants the person out of the Haberdashery, while its not stated clearly if she's talking about Smithers, but after seeing his attitude toward Marquis Warren and even John Ruth its strongly implied that they are talking about Smithers, he probably used derogatory terms for blacks toward Minnie Charly and Gemma, and when the four men enter, he seems to be ignoring them completely and focusing his attention on Sweet Dave and their chess game.
So to answer in short, General Smithers likely did not know who Minnie was much less know she was black, he just saw the Haberdashery and wanted to stop for a little bit to get warm, and get supplies.
It is never clearly stated if Minnie and Sweet Dave are a couple, though it is heavily implied throughout that they are romantically connected.
In Tarantino's original script, he had wrote that Minnie was in fact Sweet Dave's slave, and after slavery was abolished they stayed together and came to Wyoming which was a free territory before the war, as Wyoming did not officially become a state until 1890. Tarantino has stated that he left it up to the audience as to whether or not they are in love or not. Though there are some clues which hint at the fact that they are a couple.
For one Major Warren refers to Sweet Dave as Minnie's man countless times in the film, which is a pretty dead giveaway as often people refer to someone's significant other as their man or woman especially in the 1800's it was not uncommon. Another clue is their slightly flirtatious interactions with each other, especially when Minnie tells Dave to ask her if her ass is fat so she can show off her french skills she learned from Jody something she demands in a very girlfriend/wife-like way. Characters often refer to them as Minnie and Sweet Dave as well and is not simply a helper or worker like Charley and Germa.
In short yes Minnie and Dave are likely in a relationship.
In Tarantino's original script, he had wrote that Minnie was in fact Sweet Dave's slave, and after slavery was abolished they stayed together and came to Wyoming which was a free territory before the war, as Wyoming did not officially become a state until 1890. Tarantino has stated that he left it up to the audience as to whether or not they are in love or not. Though there are some clues which hint at the fact that they are a couple.
For one Major Warren refers to Sweet Dave as Minnie's man countless times in the film, which is a pretty dead giveaway as often people refer to someone's significant other as their man or woman especially in the 1800's it was not uncommon. Another clue is their slightly flirtatious interactions with each other, especially when Minnie tells Dave to ask her if her ass is fat so she can show off her french skills she learned from Jody something she demands in a very girlfriend/wife-like way. Characters often refer to them as Minnie and Sweet Dave as well and is not simply a helper or worker like Charley and Germa.
In short yes Minnie and Dave are likely in a relationship.
Yes, he is the narrator of the film.
Most movies throughout history have been shot and projected on 35 mm film. A piece of 35 mm film is four perforations (the holes on the side of the film that the gears in a projector use to advance it) high and 35 mm wide. This is the standard movie format, and is what most contemporary digital cameras and projectors attempt to match in terms of picture quality. 70 mm film is five perforations high and 70 mm wide. Because 70 mm is a bigger piece of film, the movie has a much better picture quality than normal 35 mm or digital (higher resolution, more colour density, better contrast, wider dynamic range, and so on), and therefore can also be projected on much bigger, wider movie screens. Anamorphic is a type of camera lens that widens the filmed image which are typically used on 35 mm film cameras to produce widescreen pictures. Normally, 70 mm films don't use anamorphic lenses because the larger piece of film is already wide. However some rare films such as Ben-Hur (1959) (1959) and It's a Mad Mad Mad Mad World (1963) (1963) have placed anamorphic lenses on 70 mm cameras in order to produce an ultra-widescreen image. Viewing The Hateful Eight in an anamorphic 70 mm theatre will offer a far wider and higher picture quality than in any normal theatre.
He reportedly told film students in Rome that he would never collaborate with Quentin Tarantino again, because the director didn't give him enough time. He also felt "he places music in his films without coherence" and that "you can't do anything with someone like that." In a later statement however, he clarified that his comments were taken out of context with only a part of them being reported. The composer went on to say that he has "a great respect for Tarantino" and wrote, "I am glad he chooses my music." Morricone collaborated with him again on The Hateful Eight, giving it an original score, which is a first for a Tarantino film.
Yes. A museum loaned a 145-year-old antique guitar from the time period the film is set, the very one Daisy is seen playing in the film. According to the film's Academy Award-winning sound mixer Mark Ulano, as quoted in SSNInsider, the scene was to be shot up to a certain point, a cut made, the guitar swapped out for a replica and for the replica to be smashed. "Well, somehow that didn't get communicated to Kurt, so when you see that happen on the frame, Jennifer's reaction is genuine.". When Kurt learned of the error, he reportedly felt horrible.
More recently, Kurt has set the record straight. He said: "I love how these stories evolve. Jennifer had several guitars she was using to practice the song she had to sing. I guess the one in particular she liked, was this Martin. Nobody told me it was 145 years old. It was just 'a Martin'. I remember someone at the time telling me it was worth about $15,000. And I thought 'oh, that's cool.'.
"Then the time comes to shoot the scene, and I knew that she had been working on this one guitar. And because I've done a thousand shows, I never imagined they'd be using the one she would be taking home. Not that it was a *priceless* Martin. Because it *wasn't*! Nobody said that. Nobody made that claim. But when we did the take; you can actually see I take an extra beat. Nobody says anything. So I smash it. And you can tell when I grab her and sit her down, she's not happy about it. So after the shot was over I said 'Tell me that's not the guitar you've been practicing with.' To which she said 'Yep.'.
"I only felt bad about that. I didn't give a shit about the guitar. Suddenly, within a week; the guitar is being reported as being worth $25,000. Then when the movie comes out, it's worth $45,000. I promise you, in another 10 years, it'll be older than when Martin existed!"
More recently, Kurt has set the record straight. He said: "I love how these stories evolve. Jennifer had several guitars she was using to practice the song she had to sing. I guess the one in particular she liked, was this Martin. Nobody told me it was 145 years old. It was just 'a Martin'. I remember someone at the time telling me it was worth about $15,000. And I thought 'oh, that's cool.'.
"Then the time comes to shoot the scene, and I knew that she had been working on this one guitar. And because I've done a thousand shows, I never imagined they'd be using the one she would be taking home. Not that it was a *priceless* Martin. Because it *wasn't*! Nobody said that. Nobody made that claim. But when we did the take; you can actually see I take an extra beat. Nobody says anything. So I smash it. And you can tell when I grab her and sit her down, she's not happy about it. So after the shot was over I said 'Tell me that's not the guitar you've been practicing with.' To which she said 'Yep.'.
"I only felt bad about that. I didn't give a shit about the guitar. Suddenly, within a week; the guitar is being reported as being worth $25,000. Then when the movie comes out, it's worth $45,000. I promise you, in another 10 years, it'll be older than when Martin existed!"
Yes, but only the 70 mm "Roadshow" version which runs 20 minutes longer than the general release version of "The Hateful Eight" contains both an Overture and a 12 minute Intermission half way through. The Intermission occurs at the conclusion of Chapter 3, after Major Warren tells a graphic and brutal story of how he tortured and killed Gen. Smithers son.
"The first four fifths of the leaked script are almost identical to the finished film. Minor changes involve the following details: The Mexican character Bob was originally a Frenchman (played in the live reading by Denis Menochet); Joe Gage is alternately shown eating peanuts and writing his life story; a long discussion between Mannix and Warren as we wait to see the effect of a poisoned cup of coffee on Ruth and the coach driver, O.B., has been modified, replaced by a scene in which Domergue plays the guitar (fans may want to find out more about the scene in which said guitar is smashed to smithereens); the brutal demise of Ruth is slightly more elaborate in the film." Read more here.
The Roadshow version of the film runs 20 minutes longer than the wide release theatrical cut. Some conversations have trimmed down, and there is no overture and intermission in the shorter version. Specifically, there are two main changes. (1) The overture, the faux retro Weinstein Company and Cinerama logos have been removed from the general release. It instead opens with the standard Weinstein Company logo and goes straight to the opening shots. (2) During the stagecoach ride, the conversation about John Ruth's "beast friend" Cauliflower is cut out.
[hr]
Warren - Yea it is. Me and old Lash rode a lot of miles together. Could say he was my best friend if I considered stupid animal friends. Nevertheless, I'm gonna miss him.
[hr]
(Roadshow only)
Ruth - I had a horse like that once. About 20 years ago. Called him, "Cauliflower". I used to call him, "My Beast Friend".
Warren - And what happened to him?
Ruth - Some rattlesnake shot him up from under me.
Warren - You make it right?
Ruth - Oh ho ho oh, you know I did. [hr] Warren - Who's this Daisy Domergue?
Oswaldo - But ultimately what's the real difference between the two? The real difference is me, the hangman. To me it doesn't matter what you did, when I hang you I won't get no satisfaction from your death. It's my job. I hang you in Red Rock, I move on to the next town, I hang someone else there. The man who pulls the lever that breaks your neck will be a dispassionate man and that dispassion is the very essence of justice. For justice delivered without dispassion is always in danger of not being justice. [hr] (DCP only)
Ruth - Amen [hr] (Roadshow only)
Ruth - How about that cowboy fella? What's he writing in that book?
Oswaldo - His diary I suppose.
Ruth - What's his story?
Oswaldo - Don't know, doesn't say much.
Ruth - What do you mean he doesn't say much? You rode up that old mountain together, did ya?
Oswaldo - And he didn't say much?
Ruth - What's his name?
Oswaldo - I don't know.
Ruth - He never said his name.
Oswaldo - I don't think so. [hr] [Ruth goes on over to Joe Gage.]
Ruth - As long as the bar is Philadelphia, I agree. (Blackout with beat) [hr] (Roadshow only)
Ruth - The hell is this?
Bob - It's a chicken.
Ruth - No it's not. It's a half-plucked chicken. And half-plucked chicken is bad luck and we don't need back luck in a blizzard. Now what's it doing here?
Ruth - I was plucking it when your coach arrived.
Ruth - Stopped to take care of the passengers, huh?
Bob - Hea.
Ruth - Pluck the chicken!
Mannix - That's Major Marquis, the n!gga that burned down Wellenbeck Prison Camp. Killed 47 Rebs and 37 Yankees. Now his own side gone just drummed his ass out of the cavalry with a yellow stripe down his back. (Door swings open. It's the O.B. Starts hammering door shut.) Put a warrant on that n!gga's head. 30 thousand. Then it dropped down to 8. Last days of the war it was 5. Now ma fellas went looking to lift that warrant and a lot of n!ggas got their head chopped off. But nobody ever did get the right n!gga head.
General - That n!gger!? Is the n!gger with the 5 thousand-dollar reward on his head!!??
Mannix - No. That ain't nothing to do anymore, but during the war, yea. That's that n!gga.
[O.B. finishing hammering door]
O.B. - That damn door is a dirty whore.
Ruth - I just made some more coffee. Grab some cups. Get some in ya. [hr] Ruth - Still got that deal we talked about in the wagon? I help you protect your 8 thousand, you help me protect my 10?
Ruth - I had a horse like that once. About 20 years ago. Called him, "Cauliflower". I used to call him, "My Beast Friend".
Warren - And what happened to him?
Ruth - Some rattlesnake shot him up from under me.
Warren - You make it right?
Ruth - Oh ho ho oh, you know I did. [hr] Warren - Who's this Daisy Domergue?
Oswaldo - But ultimately what's the real difference between the two? The real difference is me, the hangman. To me it doesn't matter what you did, when I hang you I won't get no satisfaction from your death. It's my job. I hang you in Red Rock, I move on to the next town, I hang someone else there. The man who pulls the lever that breaks your neck will be a dispassionate man and that dispassion is the very essence of justice. For justice delivered without dispassion is always in danger of not being justice. [hr] (DCP only)
Ruth - Amen [hr] (Roadshow only)
Ruth - How about that cowboy fella? What's he writing in that book?
Oswaldo - His diary I suppose.
Ruth - What's his story?
Oswaldo - Don't know, doesn't say much.
Ruth - What do you mean he doesn't say much? You rode up that old mountain together, did ya?
Oswaldo - And he didn't say much?
Ruth - What's his name?
Oswaldo - I don't know.
Ruth - He never said his name.
Oswaldo - I don't think so. [hr] [Ruth goes on over to Joe Gage.]
Ruth - As long as the bar is Philadelphia, I agree. (Blackout with beat) [hr] (Roadshow only)
Ruth - The hell is this?
Bob - It's a chicken.
Ruth - No it's not. It's a half-plucked chicken. And half-plucked chicken is bad luck and we don't need back luck in a blizzard. Now what's it doing here?
Ruth - I was plucking it when your coach arrived.
Ruth - Stopped to take care of the passengers, huh?
Bob - Hea.
Ruth - Pluck the chicken!
Mannix - That's Major Marquis, the n!gga that burned down Wellenbeck Prison Camp. Killed 47 Rebs and 37 Yankees. Now his own side gone just drummed his ass out of the cavalry with a yellow stripe down his back. (Door swings open. It's the O.B. Starts hammering door shut.) Put a warrant on that n!gga's head. 30 thousand. Then it dropped down to 8. Last days of the war it was 5. Now ma fellas went looking to lift that warrant and a lot of n!ggas got their head chopped off. But nobody ever did get the right n!gga head.
General - That n!gger!? Is the n!gger with the 5 thousand-dollar reward on his head!!??
Mannix - No. That ain't nothing to do anymore, but during the war, yea. That's that n!gga.
[O.B. finishing hammering door]
O.B. - That damn door is a dirty whore.
Ruth - I just made some more coffee. Grab some cups. Get some in ya. [hr] Ruth - Still got that deal we talked about in the wagon? I help you protect your 8 thousand, you help me protect my 10?
"Ouverture" by Ennio Morricone - The Overture (heard only in the roadshow version)
"Neve (Versione Integrale)" by Ennio Morricone - First used in the opening panoramic shots of the Wyoming countryside/mountains before the credits; next used at the beginning of chapter 3 when the stagecoach arrives at Minnie's Haberdashery; the majority is used when Major Warren tells the story of meeting General Smithers' son and what he made him do for a blanket.
"L'Ultima Diligenza di Red Rock (Versione Integrale)" by Ennio Morricone - The opening credits; the beginning is later used when the Jody Domergue Gang prepare to execute the inhabitants of Minnie's Haberdashery; sections not used in the opening credits are used for the second half of the end credits.
"Regan's Theme (Floating Sound)" by Ennio Morricone, from Exorcist II: The Heretic (1977) - The stagecoach races through the mountains in slow motion during a break from the snowstorm.
"Apple Blossom" by The White Stripes - Daisy Domergue studies Major Warren in the stagecoach.
"Eternity" by Ennio Morricone, from The Thing (1982) - Major Warren, Chris Mannix, Bob and O.B. lead the horses into the stable before Chris and O.B. go to hammer stakes that make trails leading to the barn and outhouse.
"Silent Night" by Demián Bichir - Bob plays the piano as Major Warren and General Smithers talk about life after the Civil War.
"La Puntura Della Morte" by Ennio Morricone - Major Warren goads General Smithers into shooting at him.
"Ready for the Times to Get Better" by Crystal Gayle - The Entr'acte to the second half of the film / the opening of chapter 4 (heard only in the roadshow version).
"Narratore Letterario" by Ennio Morricone - the narrator reveals Daisy's knowledge of the coffee being poisoned during Major Warren's killing of General Smithers; later reused in its entirety at the beginning of chapter 5 when the morning stagecoach arrives at Minnie's.
"Jim Jones at Botany Bay" by Jennifer Jason Leigh - Daisy plays the guitar while keeping eyes on John Ruth.
"Bestiality" by Ennio Morricone, from The Thing (1982) - John Ruth and O.B. feel the effects of the poisoned coffee and Ruth tries to murder Daisy; also used when Major Warren and Chris Mannix hang Daisy in the center of Minnie's at the end.
"Io Non Ho La Pistola" by Ennio Morricone - Jody shoots Major Warren in the testicles; Chris Mannix and Oswaldo Mobray shoot each other. (available only on the FYC album)
"I Quattro Passeggeri" by Ennio Morricone - Minnie and her employees meet "the Four Passengers."
"La Musica Prima del Massacro" by Ennio Morricone - the English translation speaks for itself.
"Now You're All Alone" by David Hess from The Last House on the Left (1972) - Joe Gage pursues Charly in the snow.
"Despair" by Ennio Morricone, from The Thing (1982) - Major Warren and Chris Mannix kill what's left of the Jody Domergue Gang before trying to shoot Daisy and arguing over her deal.
"L'Inferno Bianco" by Ennio Morricone - Major Warren tries to wake Chris Mannix up as Daisy goes for one of his guns.
"La letters di Lincoln (Strumentale])" by Ennio Morricone - Chris Mannix reads the Lincoln Letter out loud.
"There Wont Be Many Coming Home" by Roy Orbison, from The Fastest Guitar Alive (1967) - The end credits.
"Neve (Versione Integrale)" by Ennio Morricone - First used in the opening panoramic shots of the Wyoming countryside/mountains before the credits; next used at the beginning of chapter 3 when the stagecoach arrives at Minnie's Haberdashery; the majority is used when Major Warren tells the story of meeting General Smithers' son and what he made him do for a blanket.
"L'Ultima Diligenza di Red Rock (Versione Integrale)" by Ennio Morricone - The opening credits; the beginning is later used when the Jody Domergue Gang prepare to execute the inhabitants of Minnie's Haberdashery; sections not used in the opening credits are used for the second half of the end credits.
"Regan's Theme (Floating Sound)" by Ennio Morricone, from Exorcist II: The Heretic (1977) - The stagecoach races through the mountains in slow motion during a break from the snowstorm.
"Apple Blossom" by The White Stripes - Daisy Domergue studies Major Warren in the stagecoach.
"Eternity" by Ennio Morricone, from The Thing (1982) - Major Warren, Chris Mannix, Bob and O.B. lead the horses into the stable before Chris and O.B. go to hammer stakes that make trails leading to the barn and outhouse.
"Silent Night" by Demián Bichir - Bob plays the piano as Major Warren and General Smithers talk about life after the Civil War.
"La Puntura Della Morte" by Ennio Morricone - Major Warren goads General Smithers into shooting at him.
"Ready for the Times to Get Better" by Crystal Gayle - The Entr'acte to the second half of the film / the opening of chapter 4 (heard only in the roadshow version).
"Narratore Letterario" by Ennio Morricone - the narrator reveals Daisy's knowledge of the coffee being poisoned during Major Warren's killing of General Smithers; later reused in its entirety at the beginning of chapter 5 when the morning stagecoach arrives at Minnie's.
"Jim Jones at Botany Bay" by Jennifer Jason Leigh - Daisy plays the guitar while keeping eyes on John Ruth.
"Bestiality" by Ennio Morricone, from The Thing (1982) - John Ruth and O.B. feel the effects of the poisoned coffee and Ruth tries to murder Daisy; also used when Major Warren and Chris Mannix hang Daisy in the center of Minnie's at the end.
"Io Non Ho La Pistola" by Ennio Morricone - Jody shoots Major Warren in the testicles; Chris Mannix and Oswaldo Mobray shoot each other. (available only on the FYC album)
"I Quattro Passeggeri" by Ennio Morricone - Minnie and her employees meet "the Four Passengers."
"La Musica Prima del Massacro" by Ennio Morricone - the English translation speaks for itself.
"Now You're All Alone" by David Hess from The Last House on the Left (1972) - Joe Gage pursues Charly in the snow.
"Despair" by Ennio Morricone, from The Thing (1982) - Major Warren and Chris Mannix kill what's left of the Jody Domergue Gang before trying to shoot Daisy and arguing over her deal.
"L'Inferno Bianco" by Ennio Morricone - Major Warren tries to wake Chris Mannix up as Daisy goes for one of his guns.
"La letters di Lincoln (Strumentale])" by Ennio Morricone - Chris Mannix reads the Lincoln Letter out loud.
"There Wont Be Many Coming Home" by Roy Orbison, from The Fastest Guitar Alive (1967) - The end credits.
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