--- title: Quentin Tarantino's 'The Hateful Eight' Deserves to Ride Again description: One midnight during the 2010 Venice Film Festival, Quentin Tarantino loped onto the stage of the Perla theater to introduce Minnesota Clay, the 1964 spaghetti... canonical: https://time.com/archive/7114673/quentin-tarantino-the-hateful-eight-script/ author: TIME Staff article:opinion: false article:content_tier: free article:published_time: 2014-02-08T15:00:36.000Z article:modified_time: 2026-03-16T05:04:42.951Z article:section: Entertainment og:title: Quentin Tarantino's 'The Hateful Eight' Deserves to Ride Again og:description: One midnight during the 2010 Venice Film Festival, Quentin Tarantino loped onto the stage of the Perla theater to introduce Minnesota Clay, the 1964 spaghetti... og:url: https://time.com/archive/7114673/quentin-tarantino-the-hateful-eight-script/ og:site_name: TIME og:image: https://static.time.com/v3/assets/bltea6093859af6183b/blt0b1355d1ba1508a3/698a8d66457a524b30d6fd14/455038863.jpg?branch=production&width=1200&quality=75&auto=webp&crop=16:9 og:image:width: 4456 og:image:height: 2507 og:image:alt: Variety Home Entertainment Hall Of Fame og:type: article twitter:card: summary_large_image twitter:title: Quentin Tarantino's 'The Hateful Eight' Deserves to Ride Again twitter:description: One midnight during the 2010 Venice Film Festival, Quentin Tarantino loped onto the stage of the Perla theater to introduce Minnesota Clay, the 1964 spaghetti... twitter:image: https://static.time.com/v3/assets/bltea6093859af6183b/blt0b1355d1ba1508a3/698a8d66457a524b30d6fd14/455038863.jpg?branch=production&width=1200&quality=75&auto=webp&crop=16:9 ---  * [Entertainment](/section/entertainment/) # Will Quentin Tarantino's 'The Hateful Eight' Ride Again? > Sponsored content. 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Terms and conditions apply. * Savings buckets are a feature of Ally Bank's Savings Account. * No ATM fees from Ally Bank at Allpoint and Moneypass ATMs plus we reimburse for fees charged by other ATM owners nationwide up to $10 per statement cycle. * Early direct deposit offers eligible direct deposits up to two days sooner. * Spending buckets are a feature of Ally Bank's Spending Account. by [TIME Staff](https://time.com/author/time-staff/) Feb 8, 2014 3:00 PM UTC  LOS ANGELES, CA - DECEMBER 10: Director/Producer Quentin Tarantino attends the 33rd annual Variety Home Entertainment Hall of Fame on December 10, 2013 in Los Angeles, California. (Photo by Jerod Harris/Getty Images for Variety) LOS ANGELES, CA - DECEMBER 10: Director/Producer Quentin Tarantino attends the 33rd annual Variety Home Entertainment Hall of Fame on December 10, 2013 in Los Angeles, California. (Photo by Jerod Harris/Getty Images for Variety) Jerod Harris—2013 Getty Images by [TIME Staff](https://time.com/author/time-staff/) Feb 8, 2014 3:00 PM UTC One midnight during the 2010 Venice Film Festival, Quentin Tarantino loped onto the stage of the Perla theater to introduce _Minnesota Clay_, the 1964 spaghetti Western directed by Sergio Corbucci. Tarantino wasn’t just the President of the Jury that year, but also the inspirer of a festival retrospective of Corbucci’s works. He began his 12-minute speech by declaring, “This is for the people in this room, not for YouTube,” and advised everyone to shut off recording equipment. Tarantino was enlightening, authoritative and passionate that night — especially when he noticed one fellow in the aisle with a camera phone. After a couple of angry warnings, he had the guy thrown out. Within a week, [a video of his performance](http://www.youtube.com/watch?v=TVeA8DjdwqM) was on YouTube. The problem with being Quentin Tarantino — the world-famous auteur of _Reservoir Dogs_, _Pulp Fiction_, _Jackie Brown_, the two-part _Kill Bill_, _Death Proof_, _Inglourious Basterds_ and _Django Unchained_ — is that he’s shadowed by an army of geeks who are exactly like the Tarantino of 25 years ago. This former clerk at the Manhattan Beach, Cal., Video Archives has seen and thought smartly about every low-budget action film made over the past half-century in the U.S., Hong Kong, South Korea, South America, the Philippines and, of course, Italy. His avatars share his obsessions: They pore over fabulous, obscure films, often in illegal dupes, and try tracking down every precious artifact of those buried treasures — posters, director interviews, inside dish and even unpublished screenplays. **(READ:** [**Quentin Tarantino’s Master Class at the 2008 Cannes Film Festival**](http://content.time.com/time/arts/article/0,8599,1808649-2,00.html)**)** A couple of weeks ago, Tarantino called [Deadline Hollywood’s Mike Fleming Jr.](http://www.deadline.com/2014/01/quentin-tarantino-hateful-eight-leak-novel/) to rage against the perfidy of the movie business. He had completed a first draft of a Western script, _The Hateful Eight_, and sent it to six friends, including Reginald Hudlin, a producer on _Django Unchained_, and the actors Tim Roth, Michael Madsen and Bruce Dern. Someone (not Roth, Tarantino was sure) had copied the screenplay and shared it with “everyone in Hollywood.” So dammit, the director would not shoot his script next winter as he had planned: “I give it out to six people, and if I can’t trust them to that degree, then I have no desire to make it.” He said he would negotiate with publishers to make a book of the screenplay. By speaking out against what he saw as a betrayal, Tarantino perhaps inadvertently made _The Hateful Eight_ the year’s must-read script. Three days later, the inevitable happened: the website Gawker posted a link to what it said was _the_ screenplay. And three days after that, the _predictable_ happened: Tarantino’s lawyers sued Gawker for a million dollars in damages. **(SEE: TIME Video on** [**the Tarantino** **_Hateful Eight_** **fracas**](http://entertainment.time.com/2014/01/22/tarantino-halts-plans-for-new-film-after-script-leaks/)**)** The scripts for _Kill Bill_, _Inglourious B_ _asterds_ and _Django Unchained_ had made their way to the Internet before they went into production, though never at such an early stage. So what was the big deal? “I do like the fact that everyone eventually posts it, gets it and reviews it on the net,” the writer-director told Fleming. “Frankly, I wouldn’t want it any other way. I like the fact that people like my shit, and that they go out of their way to find it and read it.” Then the explosion. “But I gave it to six motherf—ing people!” He may still give it to the world. Like the Bride played by Uma Thurman in _Kill Bill_, the project may have risen from the dead. As Jeff Sneider of The Wrap [tweeted](http://blogs.indiewire.com/theplaylist/rumor-the-hateful-eight-is-back-on-quentin-tarantino-to-rewrite-script-20140201): That’s great news, since the _Hateful Eight_ first draft is a super-cruel, ferociously cool read. (Not that I’ve read it.) And the secret word for this Western in the snow is… _Corbucci_. **(READ: Corliss on** [**_Kill Bill Vol. 1_**](http://content.time.com/time/subscriber/article/0,33009,1005935,00.html) **and** [**_Vol. 2_**](http://content.time.com/time/subscriber/article/0,33009,993933,00.html)**)** “When a writer writes a script, he directs it in his head,” said David Newman and Robert Benton, the screenwriters who dreamed up _Bonnie and Clyde_. “And when a directs directs a script, he rewrites it on the screen.” A good script puts the reader _in the picture_ — painting in words the images and characters meant to splash across the screen. Because Tarantino’s writing is so vivid, the Wyoming hills come alive with the sound of “nerve-jangling music,” the aroma of good coffee and the menace of bad men convening in a kind of Appalachian summit of warped machismo. “I had so much fun doing _Django_,” he told Jay Leno on _The Tonight Show_ last November. “I love Westerns so much that after I taught myself how to make one, it’s like ‘Okay! Let me make another one now that I know what I’m doing’.” Apparently he wanted a panoramic sprawl of vistas, as photographed in 70mm — a format rarely used nowadays, though Paul Thomas Anderson filmed _The Master_ in 70. **(READ: A review of** [**_Django Unchained_**](http://entertainment.time.com/2012/12/12/django-unchained-tarantino-frees-the-slaves/)**)** The script’s first words: --- > “” --- The upper-case evocation of visual grandeur — referencing the John Ford Westerns _Stagecoach_ and _The Searchers_, a tale of two men hunting a precious bounty in the snow — is just the eye candy served up before the poison pellets of dialogue. Aside from being the first Tarantino movie title since _Kill Bill_ a decade ago that doesn’t send SpellCheck into a tizzy (“Inglourious?” “Basterds?” “Django?”), _The Hateful Eight_ would be his indoorsiest feature film since 1992’s _Reservoir Dogs_. Like _Dogs_, it has two main locations — the interior of the stagecoach and, for four of its five “chapters,” a general store and bar-restaurant known as Minnie’s Haberdashery — and eight main characters with violent backgrounds and criminal intent. (One character is addressed as “Mr. Black,” which recalls _Dogs’_ color-coordinated pseudonyms of the men pulling a heist.) **(READ:** [**TIME Discovers Tarantino with** **_Reservoir Dogs_**](http://www.mtv.com/news/articles/1721732/quentin-tarantino-hateful-eight.jhtml)**)** With all the action taking place in 24 hours, before and during a snowstorm that isolates Minnie’s from the nearby town of Red Rock, _The Hateful Eight_ could almost be a play. Two plays, in fact: both made into memorable movies, both about criminals holding innocents people hostage. In Archie Mayo’s 1936 film version of Robert E. Sherwood’s _The Petrified Forest_, set in an Arizona roadside restaurant, Humphrey Bogart as gunman Duke Mantee snarls threats at Bette Davis and Leslie Howard. And in John Huston’s 1948 film of Maxwell Anderson’s _Key Largo_ — Florida hotel, tropical storm — gangster Edward G. Robinson lords it over Bogart and Lauren Bacall. Throw in another filmed play: William Inge’s _Bus Stop_, with chantoozy Marilyn Monroe wooing bumptious cowboy Don Murray in a diner during a Kansas blizzard. In _The Hateful Eight_, the Marilyn equivalent — evil twin, really — is Daisy Domergue (who could be played by Thurman), the stagecoach prisoner of bounty hunter John Ruth (most likely Madsen). Ruth is bringing Daisy to Red Rock to face the hangman for some really rotten crime. As the script describes her: “This once pretty WHITE LADY (maybe before the trip, maybe years ago), wears a once pretty dress, and a once sexy smirk.” But she hasn’t lost her wiles, and the ruthless John Ruth suspects that one or more of her confederates will try to free Daisy. **(PHOTO GALLERY:** [**A Look Back at 20 Years of Tarantino**](http://entertainment.time.com/2012/01/20/quentin-tarantino-a-cinematic-history/)**)** On the way, two other tough men hitch a ride: Maj. Marquis Warren (a perfect fit for Samuel L. Jackson), who fought for the North in the recently concluded Civil War; and Chris Mannix, late of a rebel paramilitary group, who says he is the new sheriff of Red Rock. ([The Nolanfans.com contributor known as Allstar](http://media.nolanfans.com/forums/viewtopic.php?f=17&t=14292&start=260) suggests Joseph Gordon-Levitt for the Chris role.) When the coach arrives at Minnie’s, Ruth finds that Minnie is gone and a Frenchman named Bob (Allstar guesses Vincent Cassel) is running the place. Also in residence: an Englishman, Oswald Mobray (Roth?), an aged Confederate General, Sanford Smithers (Dern, with a drawl) and a “cowboy fella, in a cow puncher uniform complete with cool brown cow puncher hat,” called Joe Gage (Allstar suggests Matthew McConaughey). You could say that, like _Django Unchained_, this is a Western about two bounty hunters, one white (Ruth), one black (Warren), with many profane and illuminating exchanges on the place of people of color in the America of the 19th century, and the 21st, too. Every Tarantino movie needs at least one WTF scene, and in the draft of _The Hateful Eight_ there’s a doozy involving Warren — identified as “a sly LEE VAN CLEEF type with a bald pate, silver hair on the sides, a distinguished mustache, and a tall slim frame” — and Sandy “Don’t Give a Damn” Smithers. Even on the page, it’s a stomach-turning and soul-singeing. It’s also huge: “We see what Maj. Warren describes. But we see it in the BIG WIDE 70MM SUPER CINEMASCOPE VERSION.” **(READ:** [**Tarantino talks with Jeff Ressner about** **_Pulp Fiction_** **and** **_Jackie Brown_**](http://content.time.com/time/subscriber/article/0,33009,986867,00.html)**)** Fans with even a fifth of Tarantino’s synoptic movie lore will recognize names and motifs from disreputable old films. The Major is named for Western writer-director Charles Marquis Warren, who created the TV series _Gunsmoke_ and the movies _Seven Angry Men_ (one short of Eight) and _Tension at Table Rock_ (just the other side of Red Rock, perhaps?). Daisy’s surname, “pronounced Dahmer-goo,” is a tribute to Faith Domergue, the Howard Hughes protégée who played the female lead in the Western _Santa Fe Passage_, directed by Tarantino favorite William Witney. When we first see Warren, he is sitting atop the three corpses of men he killed for bounty; one, he says, is “Warren Vanders”; that’s name of an actor who appeared in Western movies and TV shows, including _Bonanza_ episodes directed by Witney. The important function of a pot of coffee — Tarantino, in his genius-with-a-ninth-grade-education way, spells it “coffy” — triggers memories of the young Pam Grier, star of _Jackie Brown_, in the blaxploitation film _Coffy_. But the main referent is Corbucci, who had virtually no American reputation in his lifetime; he died in 1990 at 63\. To the Italian audience he was known as “the other Sergio,” since he followed and expanded on Leone’s itch to honor, update and subvert the classic American Western. The two men shared a bitter, comic tone, and both used composer Ennio Morricone to infuse operatic grandeur into their tart tales. They had also given young American TV actors their first feature-film starring roles: Clint Eastwood in Leone’s 1964 _A Fistful of Dollars_, Burt Reynolds in Corbucci’s _Navajo Joe_ in 1966\. The same year, Corbucci’s _Django_, a smash throughout Europe, spawned more than a hundred imitations and made an international star of Franco Nero — who has a nice cameo in _Django Unchained_, telling Jamie Foxx that, yes, he knows that the D in his name is silent. **(READ: A tribute to** [**the Music Man with No Name — composer Ennio Morricone**](http://content.time.com/time/subscriber/article/0,33009,1590436,00.html)**)** In the list of the 20 all-time best Italian Westerns he provided to [the Spaghetti Western Database](http://www.spaghetti-western.net/index.php/Quentin%5FTarantino%27s%5FTop%5F20%5Ffavorite%5FSpaghetti%5FWesterns), Tarantino cedes pride of place to Leone: _The Good, the Bad and the Ugly_ and _For a Few Dollars More_ hold the top two slots, while _Once Upon a Time in the West_ and _A Fistful of Dollars_ are fifth and sixth. But four Corbuccis appear as well: _Django_ in third place, _The Mercenary_ fourth, _Navajo Joe_ ninth and _The Great Silence_ 14th. What Tarantino admires, he often borrows and Americanizes. The ear-cutting scene in _Reservoir Dogs_ is straight from C0rbucci’s _Django_ — except that, in the original, the victim is forced to eat his own ear. In _Django U_ _nchained_, a saloon bears the name “Minnesota Clay”; Tarantino has said Corbucci was the film’s “spiritual godfather.” _Kill Bill Vol. 2_ samples Morricone’s theme from _The Mercenary_; and Corbucci is one of eight men to whom Tarantino dedicated the film. (The others: Leone, Witney, Van Cleef, Charles Bronson, Italian horror specialist Lucio Fulci and Hong Kong martial-arts directors Chang Cheh and Lo Lieh.) One delightfully weird connection: in 2007 Tarantino did a nice acting turn in Japanese director’s Takashi Miike’s nutsy Corbucci tribute _Sukiyaki Western Django_. **(READ:** [**The Western, the genre they couldn’t kill**](http://content.time.com/time/arts/article/0,8599,1664187,00.html)**)** The movie’s closest Corbucci kin is the “Northern Western” _The Great Silence_, in which bounty hunters led by Klaus Kinski’s aptly-named Loco prey on outlaws hiding in the Utah mountains. The mute hero (Jean-Louis Trintignant) rides through snowy landscapes — as Jamie Foxx and Christoph Waltz do in _Unchained_, as Ruth and Warren do in the _Hateful Eight_ script— on his path to dark destiny. The octet of scoundrels in this first draft will travel just as rough a road. Whether we get to see that road in all its snarling grandeur remains to be seen. This week, MTV.com’s Kevin P. Sullivan tried nudging the filmmaker along with an [“open letter”](http://www.mtv.com/news/articles/1721732/quentin-tarantino-hateful-eight.jhtml) that said: --- > “” --- That’s right. Tarantino should do it for his younger self, the one who loved movies — especially Sergio Corbucci movies — so much that he _had_ to make a few great ones. 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