"In 2012, before Paul Thomas Anderson released his "The Master" on 70mm film, the format had not been commercially presented for nearly 50 years. His enthusiasm to release the movie on that film format led others, like Quentin Tarantino, to retrofit old theaters to be equipped to project the Ultra Panavision 70 format for "The Hateful Eight," viewing the effort as "film's saving grace." Just like vinyl records, all the cool kids now want their movies to be on film and shown in 70mm."
"Just as in 2012, Anderson's push to both shoot in and project the film in VistaVision did not happen overnight. It's a format that has not been commercially available for decades, and like Tarantino had to do for "The Hateful Eight," he's spent a chunk of the "Battle" press tour explaining what VistaVision is and why you should care. A similar thing happened with another Warner Bros. release this year, "Sinners," which found filmmaker Ryan Coogler evangelizing the many different film formats his movie was"
Paul Thomas Anderson pursued shooting and projecting in VistaVision, reviving a film format absent from commercial exhibition for decades. That effort parallels a 2012 revival of 70mm projection that inspired Quentin Tarantino to retrofit theaters for Ultra Panavision 70. Contemporary filmmakers and studios are investing to recondition projectors and rebuild exhibition infrastructure for rare large-format screenings. Limited VistaVision showings for One Battle After Another currently run on only four screens worldwide in major cities. The resurgence reflects a cultural shift toward tangible, prestige film presentations and renewed interest in film stock and large-format projection.
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