With Once Upon a Time... in Hollywood, his sixth film with Quentin Tarantino, cinematographer Robert Richardson sought to capture '60s Los Angeles in all its glory, filtered through the auteur's singular aesthetic, as well as his childhood memories.
Following a frustrated television actor struggling to make his transition to features and his loyal stunt double, the starry pic often lingers on the world behind the scenes of Hollywood's Golden Age, featuring recreations of real television series of the era—including Lancer and Hullabaloo—the fictional Bounty Law, as well as bits of cinematic wizardry that place Leonardo DiCaprio's Rick Don in well-known dramas, like John Sturges' The Great Escape.
Balancing the overarching aesthetic of Once Upon a Time with that of each of these productions, Richardson wound up shooting with a handful of cameras and many more lenses, on Super 8, 16 and 35mm, daunted by the question of whether all these formats would gel together nicely in the final film.
Tapping into the cinematic grammar of the various projects Tarantino was examining, while honing a fitting look for those that don't exist, the DP was put through his paces with this ambitious piece, finding it in the end “an absolute joy” that was “absolutely unique.”
While the challenges of bringing Once Upon a Time... in Hollywood to the screen were many, the biggest challenge for Richardson was one he's faced on every film he's shot to date. “Every time I start a film, I feel the same degree of fear. When you shoot [on] film particularly, there's a greater fear that exists within me,” the DP says. “It's like, did I get the right exposure? I don't have high-definition monitors telling me, Oh, that's right. You've got it perfect. There's nothing there. It's you doing it with your [light] meter, just believing that what you're doing is at the level you need it to be.”
Speaking with Deadline, Richardson offers his insights into the process of photographing Tarantino's latest, as well as his feelings about losing his closest collaborator, with the auteur's impending retirement from directing.
ROBERT RICHARDSON: Well, he told me very little about the project until he asked me to come by and read it. I was sort of in the dark. I had been told it had something to do with the time period and the shifts between generational movies—in other words, from studio system to the Coppola, Scorsese, Lucas, De Palma world. So, I had really no previous information and no opinion whatsoever until I went and read the script at his house.
DEADLINE: What was that first read like?
RICHARDSON: Highly stimulating, to say the least. You know, I'm in the room with Quentin, and Quentin's watching me the entire time I'm reading, and I was taking notes, because so much of the information within the script was about music, was about actors I didn't know, about television series I was unfamiliar with. It was just a tremendous amount to absorb. So, I laid down notes as I read the script, and he never left the room.
I was reading at the dining room table, and he was in the living room, and he would glance periodically towards me to see, what level of response did I have? And it was quite remarkable, honestly. It was an extraordinarily well written script, as everything I've read by Quentin is, and I was just deeply, deeply locked in—and eventually, I just lost him, as a human being in the room. I was in the script.
The only issue that came up when I finished the script [is] I said, “Wait a minute, where's the last act?
DEADLINE: Tarantino was watching you the entire time? This must have been a three- or four-hour read.
RICHARDSON: Yes, it was. [Laughs] That's the intimidating factor of Quentin. Quentin had no problem watching me for three hours. I had a problem thinking, Dude, this is weird that you're watching me read this. And at the same time, I thought, you know what? I don't have an issue. I've known Quentin for way too long now. There's not really a barrier that I feel I wouldn't be willing to be put to task with, because Quentin's become someone that's perhaps the closest collaborator I've been with in many, many years.
I mean, Oliver [Stone] was obviously an extremely close collaborator. But Quentin has become that for me, and another step. So, it was quite remarkable to be able to sit in the room and have him watching, because I have no problem being quite honest. So, if I didn't like the script, he would've known it, you know? I couldn't hide that; I wouldn't try to hide that. But I loved the script, and the actors hadn't even been picked at that point, so I was trying to imagine who might be in it. He had some names, and he had told me some of the names, but nothing had been locked.
DEADLINE: Reading the script, what stood out to you as exciting, in terms of what you might be able to do with the camera?
RICHARDSON: Well of course, to be able to deal in different time frames with different mediums—to go back and to have to deal with how television was shot. It was shot on film to do interviews for television, as well—as well as doing black-and-white material from earlier shows, basically with Leo [DiCaprio], and then later with Lancer. All of that was fascinating to me, and of course I knew very well the Polanski aspect, and the time period. I've been in that time period before, with The Doors, and the same [production] designer was on that, who was on this.
DEADLINE: It must have been much more logistically complicated to shoot out on location in Los Angeles for this film. Much has changed since the 1991 release of The Doors.
RICHARDSON: Yeah. I mean, there were a hundred locations or sets, somewhere around that number. It was very, very complex for me to shoot. The way in which we shoot now on many projects has shifted tremendously from only a few years ago, and that's essentially the influence of digital, and also smartphones. The aesthetics have ered, and the manner of capture has ered.
There's a tendency to create only with what is available, and when you go back to film, and you have to shoot film at a different ASA, you need to model it more, and you have to add to it more than you do now, when you deal with 800 to 1600, or whatever number ASA you want to shoot at, depending upon the gear. And the way in which you format, Quentin hasn't changed. Quentin stays in that spot, where he's directing every shot to be precisely what he sees in his head. That is really the great joy of making a movie with Quentin, is that he has a strong, strong mind towards what he has seen in his brain for years. He wants that put down; that's what he wants, and that's why we love Quentin.
DEADLINE: What did you discuss with Tarantino early on, in terms of an overarching aesthetic for Once Upon a Time? Obviously, he wanted to recreate '60s LA with extreme precision.
RICHARDSON: First of all, it's Quentin, as Quentin is in many films. He has certain things he likes to repeat. I think that for me, what we talked about was to have a color palette that was rich, that did not feel as if it was period, as if you would have gone back in the 1960s and put a sepia [filter over it]. There was no attempt to desaturate. The attitude had to be contemporary, full of color, but still in some way thread the needle towards a period of time that's well known to everyone. We wanted it to feel not slick, not to fall into the path of that which is too polished, to leave something rough around the edges, yet not lose the quality of the way in which we shot, or lit, or acted—to not lose it, but to be mindful at all times of the time period we're trying to capture, and to keep the freedom that was coming alive—but at the same time, holding onto the characters' movement, particularly Leo's slump, his falling from a , and the fear of what it was not to find what he actually wanted, which was a feature career. Then, he may forever be extinguished from the world, in terms of a respect for his work, and yet you have Brad [Pitt] and Margot [Robbie], who keep a bright star burning everywhere, no matter what they're going through.
That was the balance we tried to find, in the way we shot. Quentin, of course, juxtaposes Brad's life, in a trailer with a dog, and yet he's watching Mannix, and what a bright smile he has. It's really a beautiful juxtaposition, and that was the complexity of shooting the movie, was to find a way to say something about each one that spoke separately to them—to allow the actors to shine, in the way they were telling their part of the story.
DEADLINE: This film had you shooting on several different kinds of cameras and a huge variety of lenses, in Super 8, 16 and 35mm. Have you ever shot with such a wide array of formats before for one single film?
RICHARDSON: Not with Quentin. Natural Born Killers is [similar], which is a Quentin script, so I guess that's with Quentin to some extent—hough he disowns that one. The script, that is...I don't actually know. We've never really gone into a detailed conversation about that film. But of course, that was multiple formats, and so was JFK—and Nixon, as well. They're just amazingly complex, in terms of how you thread that—even the work with Errol Morris.
It wasn't the most I've ever done, but it was great with Quentin. He's very specific. Quentin chose when to move to something, and it was for a specific reason. For NBK, with Oliver and myself, we went for something that was a bit more Jackson Pollock. JFK was extremely specific in why it's used, what is used, and when it's used, and in this case, it's very similar. Why we used what we used, when we used it, is what it was all about. We could've gone another couple steps, but some decisions were made—like, 70mm was discarded, for reasons that were technical, primarily, and financial, to some extent.
DEADLINE: Could you break down how you applied certain formats to certain scenes—for example, those taking place on the sets of real television series of the '60s, or the set of Bounty Law?
RICHARDSON: Well certainly, if you look at Bounty Law, it's black and white, and it was shot on black-and-white film. And it was in 1.33, which is vastly different than [ Once Upon a Time], which was shot in 2.40, or anamorphic scale. It wasn't an anamorphic show, so you have that, and you have Super 8, which is again, a sort of 1.33 format home movie. [It was] complicated for some of that, but also getting film is more complicated now than it was before.
We had some issues with getting reversal stocks, and some failures in the stocks, and we did some 16mm shooting, as well. In some of those sequences, too, I was a bit afraid that the Super 8 would not work, so we duplicated some in 16. That 16 sequence, for example, by the pool, that's in the movie, I shot on Super 8, and then I shot it on 16. Because I didn't know what was going to happen to the stock, how long it was going to take—and if it came out, would it be strong enough, visually? It ended up being used as 16mm, but [when] the 16mm went into the lab, it broke while being developed, so what you see on the screen, which was very Stan Brakhage—these large scrapes and very odd detailing on the top of the celluloid—was because it sat in a tank for a vast amount of time, before they could get it out and remove it. And they were only able to retrieve essentially what you saw.
DEADLINE: Could you expand on the approach to other recreations—for example, the film's recreation of Hullabaloo?
RICHARDSON: Hullabaloo, we did shoot with 35, in a spherical manner. We debated whether to shoot it on video, and chose to do it in 35, but the way we lit was as you would have lit a sequence like that—very flat light. And that is actually what makes it so interesting. We tried to make it look effortless—like, you don't have to think about what that scene is, or how it was shot, because it doesn't draw attention to itself. It just fits within the movie. The attempt on this film is to make it seamless. You shouldn't be drawing attention to the imagery, or what's difficult, or what's not difficult. You shouldn't be thinking about whether the camera actually went up over that roof, meeting Leo in the pool. It's like, if you're thinking about how we did the shot, then we made an error—and there are no visual effects there. It's literally, the camera moves, and comes back from that distance, and we created that shot. I think that could have been take one or two.
It fell into place so easily, and I must say that the first time I did that in a rehearsal, before we brought the actors in, I was deeply surprised. Because I thought this was going to be a nightmare to achieve. But it's such a strong crew that surrounds me, and all of the spirits of film were behind us on this movie. Whatever the reason is, we had very good karma, and everyone was moving at the same level, which is not often the case when making a film. It was amazing, the synchronicity.
RICHARDSON: Obviously, the Steve McQueen aspect of The Great Escape was a challenge. Like, how do you introduce a character into a movie and make it feel as if he's in that film? All of that is, you're creating and trying to utilize movie language. We were sitting down with [Visual Effects Designer] John Dykstra to say, what do I do, and then evaluating, how do I light this? I'm looking at the shadows in the background of this actual sequence—“How do I create this look? What do you think they might have used?”—researching photographs to find out what you think they [did] behind the scenes. Any information we could get, we took, in order to be able to make that, and decide, what lens do you think they used at that time? Because it's not going to match what lenses we're utilizing in this time period. So, how do we get that so John doesn't have difficulty tying Leo in?
John and I talked about it, and we came to a decision on a certain lens that seemed to be the most likely lens that would be the closest to that time period, and then lit it in a similar way, so that we feel as if it matched, based upon what we saw in the film that Sturges directed.
DEADLINE: How exactly did you arrive at your conclusion, as to the kind of lens they were probably using for the real scene from The Great Escape,and the kind of lens you should use to match that scene?
RICHARDSON: Well, you start with, what's the size of the frame? How far apart are [the characters]? Does it seem to be a similar framing? Do you think they were on a zoom? No, I don't think they were on a zoom; we were dealing with a prime lens. What prime lens did you think was best? Let's look at the depth of field. They're clearly lighting it from one side, yet probably using arcs. You can see when they had a cover over the set. So, [I was able to glean] a lot of information. It just took time and a few tests, to see whether or not it felt like the correct lens.
DEADLINE: What did the set for that recreation look like?
RICHARDSON: There was no set. We shot that in a parking lot with a green screen. It was the only way to do it, because you had to do a body replacement. You can't replicate the background. We built a ramp for [DiCaprio], so it looked like he was moving in a certain way. It was all done to the specs of what the film was, [keeping] the general movement to see that it could replace properly, and stay within the perspective. Then, you had to take Steve McQueen out and rotoscope him in—or whatever they utilized for a technique to achieve that.
But it was more about coming to a conclusion of what was the best way to achieve it, and then what we would do is, as we looked at it, we would [say], “Oh, I think the camera was maybe three inches higher.” We'd play it back directly atop the other material in the original film to determine what , so that you wouldn't have this issue. Because Leo's versus Steve McQueen's is different in the first place.
DEADLINE: So much of Once Upon a Time... in Hollywood takes place in cars. What kinds of techniques and technology did you employ to capture these moments?
RICHARDSON: We used primarily old-school mounts, suction cups, cameras on them—sometimes on trailers—because it allowed Quentin to have more conversation with the actors during the sequence, and a lot of free camera movement, as well, car-to-car. We tried to keep a freedom to that, which was actually quite a joy, because I hadn't done that much car material. You know, I've always wanted to make a road movie. So for me, there were multiple tools utilized, from ordinary to more advanced, such as car-to-car, and you had to be in total sync with the driver, and the operator of the crane. We utilized contemporary elements to achieve what wouldn't have been able to be done years ago in the same degree, or with the same degree of precision, now allowing for the element that we talked about earlier, which was to leave a rough edge on the sides.
DEADLINE: Having worked with Tarantino for so many years, how do you feel about his declaration that his next film will be his last?
RICHARDSON: I said to him, “I'm going to be terribly sad if you stop, but I understand that this is where you want to go in your career, and that you feel like at some point, you don't want to make movies anymore.” I also respect him deeply, because if he feels he's at the end of what might be his best work, you have to slide with that. I don't want to step in the path of that, but I hate to lose somebody that I've loved collaborating with. Because it's rare in our lives, [for] anyone in the business, to find someone that you deeply love and respect, and that creates at the level in which he's creating, [with] a huge, massive fire within his belly and his mind. That is what we all want, as collaborators, [to work with those] at the very top of their form, who only are making it because they love it.
Sony dropped a lot of dough on Once Upon a Time in Hollywood, and they want to make sure they get their money’s worth. They’re angling Quentin Tarantino‘s hit for awards season glory, and that means they’re going to keep the movie in the public eye. The film got a theatrical re-release last weekend with additional scenes, and now, Tarantino and stars Leonardo DiCaprio and Brad Pitt are getting together again for your viewing pleasure. The three will take part in a moderated panel discussion to discuss the making of Once Upon a Time in Hollywood, and that discussion is set to be live-streamed exclusively in theaters across the country on Saturday.
Want to get the inside scoop on the making of Once Upon a Time in Hollywood? This weekend you’ll have your chance. On November 2 at 3:30 p.m. Eastern time and 12:30 p.m. Pacific time, a screening of the film will be held in theaters across the country. After the screening, moviegoers will be able to watch a live-stream of Quentin Tarantino, Brad Pitt, and Leonardo DiCaprio taking part in a moderated Q&A about the film. The event will be live-streamed from Tarantino’s own New Beverly, and the Tarantino, DiCaprio, and Pitt are expected to discuss “the production, their reasons for wanting to make the film, and the challenges and triumphs of bringing 1969-era Hollywood to glorious life on the screen.
The event will be free for all moviegoers but will require tickets. Tickets will be distributed only at the theaters showing the event on a first-come, first-served basis. Moviegoers interested in attending the event should arrive early as tickets will be limited. The event will be exclusive to theaters and will not be streamed online.
Here’s a list of theaters showing the event:
Ann Arbor, MI
603 E Liberty Street
Regal Hollywood 24 Chamblee
3265 NE Expressway Access
320 E 6th Street
Arclight Bethesda 16
7101 Democracy Blvd
Arclight Lincoln Park 14
1500 North Clybourn
231 W Jefferson Blvd
Los Angeles, CA
New Beverly Cinema
7165 Beverly Blvd
Los Angeles, CA Sherman Oaks
Arclight Galleria Sherman Oaks 16
15301 Ventura Blvd
Mega-Plex Marché Central 18
901 Crémazie Ouest
New York Manhattan
**Start time at 6:15 p.m. ET at this location only**
**Q&A to be followed by the film at this location** Regal Essex Crossing 14
129 Delancey Street
New York Yonkers
Alamo Yonkers 6
2548 Central Park Ave
Philadelphia Oaks, PA
Regal Marketplace @ Oaks Stadium 24
180 Mill Road
Portland Vancouver, WA
Regal Cascade 16
1101 ESE 160th Ave
Arclight La Jolla 14
4425 La Jolla Village Drive
Alamo New Mission 2550 Mission Street
San Francisco San Rafael, CA
Christopher B Smith Rafael Film Center
1118 4th Ave
Regal Meridian Cinemas 16
1501 Seventh Ave
Shangri-La Hotel Toronto
188 University Avenue
Sony Pictures Imageworks
500-725 Granville Street
Quentin Tarantino’s Once Upon a Time… in Hollywood visits 1969 Los Angeles, where everything is changing, as TV star Rick Dalton Leonardo DiCaprio and his longtime stunt double Cliff Booth Brad Pitt make their way around an industry they hardly recognize anymore. The ninth film from the writer-director features a large ensemble cast and multiple storylines in a tribute to the final moments of Hollywood’s golden age. Written and Directed by Quentin Tarantino. Produced by David Heyman, Shannon McIntosh and Quentin Tarantino. Georgia Kacandes, YU Dong and Jeffrey Chan serve as executive producers. The film stars Leonardo DiCaprio, Brad Pitt, Margot Robbie and Al Pacino.
The announcement of the Q&A comes on the heels of the film being rereleased into theaters with 10 minutes of new footage.
Fans of Once Upon a Time in Hollywood will have an opportunity to hear from the leading men and director Quentin Tarantino during a moderated panel discussion this weekend that will be live-streamed in select theaters this weekend, Sony said Tuesday.
On Saturday, a select group of theaters across the country will show the film and then have the streaming Q&A session live at 3.30 p.m. ET.
Stars Leonardo DiCaprio and Brad Pitt will join Tarantino at his New Beverly Cinema location to discuss the making of the throwback Hollywood period piece.
According to Sony, the event will be free for all moviegoers but will require a ticket, which will be distributed only at the theaters showing the Q&A on a first-come, first-served basis.
Once Upon a Time in Hollywood, Tarantino's ninth movie, is set in 1969 Hollywood and follows the lives of fading Western TV star Rick Dalton DiCaprio and his stuntman Cliff Booth Pitt as they navigate a fast-changing industry and the influx of the Manson Family. The film features a star-studded ensemble that includes Margot Robbie, Luke Perry, Margaret Qualley and Bruce Dern.
Once Upon a Time in Hollywood has earned $369 million worldwide and is Tarantino's second-highest-grossing pic after 2012's Django Unchained.
The live-streamed Q&A comes on the heels of Once Upon a Time in Hollywood being rereleased into theaters with 10 minutes of new footage, likely a push for awards season as the film gains traction in the Oscars race. Its rerelease over the weekend brought in another $555,000 from 1,674 theaters.
The California theaters showcasing the Q&A on Saturday are:
A new deleted scene from Quentin Tarantino’s “Once Upon a Time in Hollywood,” as revealed by Entertainment Weekly, is the first of many cut scenes soon to come from the summer hit Hollywood love letter. The film’s upcoming December 10 Blu-ray release promises 20 minutes of additional footage, and the below clip offers a charming snippet of the bonus materials to expect. Here, the scene features stars Timothy Olyphant, Luke Perry, and Julia Butters on the set of the 1960s cowboy TV series “Lancer,” which Tarantino lovingly recreated as a starring vehicle for his fictional Rick Dalton Leonardo DiCaprio.
Currently, “Once Upon a Time in Hollywood” is touring multiplexes as an extended cut, a cash grab that adds new context to Tarantino’s film. As IndieWire previously wrote, “It's nothing that significantly adds to the experience or can't wait to be watched on the Blu-ray, but the bonus footage that now bookends the film is a swell incentive for anyone looking for an excuse to revisit one of the year's best films on the big screen.”
The new footage as seen in the extended cuts features quirky commercials designed to look like they might have played on American TV sets in 1969, plus James Marsden as a young Burt Reynolds, among other goodies. The deleted scene below actually appears as a post-credits, Marvel-style sequence in the new cut, with cheesy banter between Olyphant and Perry, and young star Butters getting more screen time after her impactful, brief scene in the original movie. More details on the re-release here.
For “Once Upon a Time in Hollywood” completists, the special-edition 4K edition of the film will also include a 7-inch vinyl featuring songs from the film, a Rick Dalton poster, and a Mad Magazine parody of the fictional Dalton series “Bounty Law.” Before the home video release, “Once Upon a Time in Hollywood” will land on digital platforms November 26 — right in time for Thanksgiving, and in the thick of awards consideration season.
“Once Upon a Time in Hollywood” will no doubt be a major awards-season player, with Sony recently confirming that DiCaprio will vie for Best Actor, and his co-star Brad Pitt will compete for Best Supporting Actor.
It looks like Quentin Tarantino may have a shot a whole episode of the fictional Lancer show from Once Upon a Time in Hollywood. The digital and Blu-ray release of the acclaimed movie is on the way with 20 minutes of additional scenes. We now have a look at one of the deleted scenes and it's of the late Luke Perry and Timothy Olyphant in the 60s cowboy Lancer series with young actress Julia Butters. One has to wonder just how much extra footage Tarantino has from the entire movie.
Quentin Tarantino says that most of the footage that didn't make the final Once Upon a Time in Hollywood cut is from the Lancer series. The director even wrote and shot scenes that would allow the audience to have a better understanding of the episode.
Luke Perry and Timothy Olyphant are bickering in the deleted scene, while Julia Butters tells the two adults to knock it off. It's not clear if any of the deleted scenes from the movie will end up in a director's cut in this Blu-ray release, but some will find their way to the big screen.
Related: Bruce Lee's Daughter Suggests Tarantino Shut Up After His Response to Backlash
Once Upon a Time in Hollywood is getting rereleased in theaters with extra footage, which adds some scenes from the upcoming Blu-ray release. In addition to the 20 minutes of new scenes, the 4K Ultra HD, Blu-ray, and digital versions also feature five behind-the-scenes featurettes including, Quentin Tarantino's Love Letter to Hollywood, Bob Richardson - For the Love of Film, Shop Talk - The Cars of 1969, Restoring Hollywood - The Production Design of Once Upon a Time in Hollywood, and The Fashion of 1969. The Blu-ray package is looking like the way to go for this particular movie.
Once Upon a Time in Hollywood will also be available in a limited 4K UHD Collector's Edition with a poster for the Rick Dalton film Operazione Dyn-o-mite!, an exclusive Mad magazine parody of the Rick Dalton TV series Bounty Law, and a 7" record. Quentin Tarantino and crew went all out for the physical version of the movie and did the same with the recently released soundtrack, which is on double colored vinyl.
The digital version of Once Upon a Time in Hollywood comes out on November 26th, while the physical editions, including the limited set, will be out on December 10th, which is just in time for the holidays. The limited set seems like must-have for any fan of Quentin Tarantino's work, so one might want to grab that one early in case they sell out. Audiences have been gravitating towards some of the special edition box sets over the past few years, especially with the vinyl resurgence currently underway. Some fans like to have the physical artifact in their possession. The deleted scene was provided to us from Entertainment Weekly.
At long last, we have word of the home media release of Once Upon a Time in Hollywood. The latest film from Quentin Tarantino will hit digital in November and Blu-ray in December, and the latter comes in a special 4K collector’s edition loaded with a vintage poster, a vinyl record, and more. Get the full details on the Once Upon a Time in Hollywood Blu-ray below, along with a clip of a deleted scene.
Once Upon a Time in Hollywood Clip
I’ve been eagerly awaiting the release date for the Once Upon a Time in Hollywood Blu-ray, and now it’s here. The Quentin Tarantino film starring Leonardo DiCaprio, Brad Pitt, and Margot Robbie hits Digital on November 25, and 4K Ultra HD, Blu-ray & DVD on December 10. I know many of you out there have switched over to digital-only material, but for the nerds like me who still value physical media, there’s a super cool collector’s edition to sweeten the pot.
The collector’s edition features a “7” vinyl record with two of the soundtrack’s grooviest tunes complete with turntable adapter, a collectible vintage poster for the Rick Dalton film Operazione Dyn-o-mite! and an exclusive new MAD Magazine parody of the Rick Dalton TV series Bounty Law, Lousy Law.” The Blu-ray release also features twenty additional minutes of footage. The film returned to theaters over the weekend with 10 minutes of new footage, so even if you saw that, you’re getting even more on the Blu release. Here’s a list of the special features included.
Over Twenty Minutes of Additional Scenes Five exclusive behind the scenes pieces including: Quentin Tarantino’s Love Letter to Hollywood Bob Richardson – For the Love of Film Shop Talk – The Cars of 1969 Restoring Hollywood – The Production Design of Once Upon a Time…in Hollywood The Fashion of 1969
But wait, there’s more! Certain retailers with have their own unique special editions. The Walmart version comes with “Rick Dalton” movie poster cards; a vintage-style film magazine with over 26 never-before-seen production photos comes with the Target release, and Best Buy offers a collectible steelbook.
Quentin Tarantino’s ONCE UPON A TIME IN HOLLYWOOD visits 1969 Los Angeles, where everything is changing, as TV star Rick Dalton Leonardo DiCaprio and his longtime stunt double Cliff Booth Brad Pitt make their way around an industry they hardly recognize anymore. The ninth film from the writer-director features a large ensemble cast and multiple storylines in a tribute to the final moments of Hollywood’s golden age.