Courtney Hoffman, Yohei Taneda, Heba Thorisdottir Q&A: ‘The Hateful Eight’
Quentin Tarantino makes movies that reap Oscar nominations with three of his films — “Pulp Fiction” (1994), “Inglourious Basterds” (2009), and “Django Unchained” (2012) — making it into the Best Picture lineup. This year, “The Hateful Eight” a violent, post-Civil War era western, is a strong contender across the board.
Watch our chats with the creative talents responsible for its period costumes and set designs as well as its elaborate makeup.
Costume designer Courtney Hoffman’s first job on a Tarantino set was as Christoph Waltz’s personal costumer on “Django Unchained.” Hoffman says that when she first got called about working on “The Hateful Eight,” she “watched every Spaghetti western I could think would possibly be relevant. I had already known probably more about the western genre than any other genre of films because I’ve just been fortunate to work in it quite a bit. I’ve probably lived in the 1800s for like three or four years now, I think.”
Production designer Yohei Taneda had worked with Tarantino on 2003's “Kill Bill: Vol 1” for which he reaped a bid from the Art Directors Guild. For “The Hateful Eight,” he was tasked with creating Minnie’s Haberdashery, the set in which the majority of the story takes place. “We made the haberdashery in the mountains of Colorado,” he explains, “and then we made the same set on a soundstage in Los Angeles.” Because so much takes place inside and outside of this location, Taneda built a model so that, “all the movements of the characters within the script were actually simulated within the miniature.”
Heba Thorisdottir has served as makeup department head on “Kill Bill: Vol. 1 and 2,” “Inglourious Basterds,” and “Django Unchained.” When it comes to working with Tarantino, she reveals, “Quentin has a very specific vision of how he wants actors to look. Some of it is very within the period, and then sometimes he doesn’t care, he just wants it a certain way. It doesn’t matter what period it’s in, that’s just the way he wants it to look." And, she adds, "It wasn’t so much on this one as it has been in the past, because I think they were all pretty much within the period, so we just made their skin look exposed and reddish and dirty. We figured they wouldn’t really shower a lot.” She recently received a Broadcast Film Critics Association nomination for her efforts.