DJANGO UNCHAINED Gets An American Teaser Poster Now, Too!!
The Kidd here...
Yesterday, we got our first glimpse at the Spanish teaser poster for Quentin Tarantino's coming "Southern," DJANGO UNCHAINED, which will find its way into our stockings for Christmas Day. Today, I've got it for you in English.
Nothing's changed, but what strikes me the most is the lack of title on the one sheet. After INGLOURIOUS BASTERDS, does Tarantino have the name to bring in the general public? We already know it's enough to put our asses in the seats, but what about that guy over there? Is he coming to see "the new film by Quentin Tarantino"? God, I hope so. It'll make his life better, I'm sure.
In addition, the official site has been launched for the film. There's not much there yet, outside of the above imagery, but it just means that we're one step closer to seeing what QT has in store for us come December.
"The Infamous Billy The Kidd"
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April 12, 2012, 11:41 a.m. CST
April 12, 2012, 11:42 a.m. CST
April 12, 2012, 11:48 a.m. CST
Just updated the last one n stuff?
April 12, 2012, 11:50 a.m. CST
Can't say for sure (I'd like to hope so), but it sure as hell is more marketable than "Django Unchained" wouldn't you say? And now this average man is going to be compelled to Google this title on his iPad nanotouch, I'd like to assume.
April 12, 2012, 11:51 a.m. CST
by Tank Williams
April 12, 2012, 11:52 a.m. CST
He's just as well-known as someone like M. Night. Even if people don't necessarily know what movies he has made, they know the name, and they know he's popular.
April 12, 2012, 11:56 a.m. CST
by Cedric Ford
April 12, 2012, 11:56 a.m. CST
by Cedric Ford
April 12, 2012, 11:57 a.m. CST
To "Django Rising". Also, instead of a chain, the logo will be an "X" with floating heads of the stars poorly Photoshopped around it.
April 12, 2012, 11:59 a.m. CST
by Samuel Fulmer
April 12, 2012, noon CST
by Samuel Fulmer
I don't think that whole bloody affair thing will ever come to DVD/Blu Ray.
April 12, 2012, 12:01 p.m. CST
and 2012 is our last year on Earth, well what a year it will be for movie geeks! Will Avengers Assemble suck? prob Will DKR be what fans expect? not sure Will Prometheus rock? Fuck ya What about Spidey? World War Z anyone? Django will be so cool as Q Lastly The Hobbit, nuf said. Thank You 2012
April 12, 2012, 12:02 p.m. CST
April 12, 2012, 12:04 p.m. CST
are in. http://www.slashfilm.com/early-buzz-the-avengers/ And they're great. Suck it, haters. Joss knocked it out of the park.
April 12, 2012, 12:05 p.m. CST
And that's a good thing.
April 12, 2012, 12:08 p.m. CST
After Inglorious Basterds does QT have the name to bring in the general public?
April 12, 2012, 12:09 p.m. CST
by Robert Evans
April 12, 2012, 12:13 p.m. CST
by Turd Furgeson
Nothing? I'm not in the Ain't It Late News douchebag camp but TDKR is probably going to be the biggest movie of the year. Please cover it.
April 12, 2012, 12:20 p.m. CST
by Riley Harrison
While a lot of people not only know who Quentin Tarantino is, but also FOLLOW what he's doing in terms of his next project, the majority of people only know the name as a director that makes kick ass films. So putting something such as "DJANGO UNCHAINED" on a poster, especially with the minimalist, retro theme displayed above, might actually confuse many of those non-followers to think that this is some modern day boring Spaghetti Western or some strange, cultural film about an un-pronounceable character named Django, thus losing their interest. Choosing to play it safe by only name dropping the director himself is smart in that it should initially draw in that "outside" crowd enough to familiarize themselves with Tarantino's newest project, and thus allow a second poster release to show the film's title without sparking confusion, chaos, and uproar to something so "foreign" sounding. Heaven forbid, the general audience ever accepts a foreign-sounding name for a film's title...
April 12, 2012, 12:22 p.m. CST
Inglorious Basterds opened with 38 mil and ended up with 120 million domestic, 321 million worldwide...and thats not a success?
If think QT brings out the movie geeks opening weekend, and the general public eventually follows by word of mouth, giving his movies legs.
April 12, 2012, 12:23 p.m. CST
Correct, movie poster geeks? I have high hopes for this movie. Inglorious Basterds was very entertaining, and I am expecting QT to at least maintain that level of quality with Django Unchained. I prefer the western genre, particularly spaghetti westerns, to WWII anyway, so that alone makes me really interested in this.
April 12, 2012, 12:24 p.m. CST
what Stephen King is to popular fiction. The name alone will sell the work. When was the last time Stephen King's name was smaller than the title of his book? Just say Quentin Tarantino and we'll come running.
April 12, 2012, 12:26 p.m. CST
Does the bulk of the film concentrate on an improbable revenge story instigated by a native American woman who witnesssed her tribe massacred by a sociopathic US Cavalry General? Is Django refered to as a "nigger" at every available opportunity? Is there a saloon scene where everyone shoots the shit like the script writer was coked out of his brains? Can't wait.
April 12, 2012, 12:27 p.m. CST
and also to make it seem more like a tease, just a hint of what is to come. I don’t think it is because people would be turned off by the title ‘Django Unchained.’ And I definitely think QT has enough name recognition to get people interested. It won’t be a blockbuster no matter how it is promoted.
April 12, 2012, 12:36 p.m. CST
Just the fact that QT's name is on this will make it a hit.
April 12, 2012, 12:40 p.m. CST
Of course AICN wouldn´t say a thing about the premiere, maybe it will be reported two weeks from now. Talbacks are the real reason I keep checking this site now.
April 12, 2012, 12:47 p.m. CST
by Lone Fox
Sweet poster, very Saul Bass. Tarantino's one of the few directors that the average cinema goer WILL go see because of his name alone.
April 12, 2012, 12:50 p.m. CST
As if you're the one reporting it.
April 12, 2012, 12:53 p.m. CST
by Joe Jones
This will make his tiny little empty head explode.
April 12, 2012, 1:01 p.m. CST
by Samuel Fulmer
How else will he drum up publicity for Red Hook Summer to counteract all the bad reviews.?
April 12, 2012, 1:03 p.m. CST
by Anthony Torchia
trailer trailer trailer please!
April 12, 2012, 1:07 p.m. CST
When the the first official poster comes. Di Caprio has become Scorsesse's fetish actor in the last decade, so i guess there must be a lot of curiosity about what will Tarantino has planned for him.
April 12, 2012, 1:14 p.m. CST
by Cedric Ford
April 12, 2012, 1:14 p.m. CST
by Cedric Ford
April 12, 2012, 1:15 p.m. CST
by chad kuhns
Tarantino is a smart man, and he knows that while he isn't exactly a niche director, most of his work is love it or hate. The best thing he can do is make it known it's a Tarantino film, to get the non internet fanboys psyched, and to let the Tarantino haters know to stick clear. We live in a world where from the producers of "Meet The Spartans" is considered a selling point on posters, so why can't Tarantino use it too.
April 12, 2012, 1:16 p.m. CST
April 12, 2012, 1:24 p.m. CST
Learn something new everyday...this made me look up Saul Bass posters, and learned that Mr. Bass designed the iconic poster for
Kubrick's The Shining. Whaddayaknow?
April 12, 2012, 1:29 p.m. CST
by Flames gotta Eat
April 12, 2012, 1:37 p.m. CST
despite the hacky "Saul Bassiness." Still three different visual elements in three different styles, still not a clever visual pun. Should have gotten Olly Moss if they wanted that. Just because you can invoke Saul Bass doesn't automatically make it well designed.
April 12, 2012, 1:41 p.m. CST
I truly mean this, not quite sure if it is the title character or something else...explanations?
April 12, 2012, 1:59 p.m. CST
April 12, 2012, 2:01 p.m. CST
by Erik Radvon
I remember spotting a Dick Tracy teaser poster while at Disney World wayyy back when. It was simply a stylized image of Warren Beatty speaking into his watch with the tagline "I'm on my way." Movie comes out in, what, seven or eight months? I'm sure plenty of posters with the title will crop up between now and then. That's why this one is called a "teaser."
April 12, 2012, 2:09 p.m. CST
by Jon Forbing
But then there's guys like me, who are obsessed with old movies like "Django", and love dialogue. Apparently, QT is for us. Though, admittedly, I found some fault with "Inglourious Basterds".
April 12, 2012, 2:28 p.m. CST
Can't anybody make it out?
April 12, 2012, 3:23 p.m. CST
So there going to release this film around the same time The Hobbit comes out? Hopefully the studio is considering a change in the release date or they'll end up in Peter Jackson's shadow.
April 12, 2012, 3:56 p.m. CST
This story probably could have been done by updating the previous article instead of creating a whole new one, especially considering it's the same poster but in English
April 12, 2012, 6:13 p.m. CST
Real close today Kiddo.
April 12, 2012, 6:41 p.m. CST
April 12, 2012, 7:48 p.m. CST
April 12, 2012, 8:36 p.m. CST
by Nasty In The Pasty
...and that was mainly due to confusing advertising that tried to edjucate modern viewers who have likely never seen a double-feature just what "grindhouse" actually MEANT as opposed to showing lots of action and hot women. Plus it was three+ hours long. Had both Tarantino's Death Proof and Robert Rodriguez's Planet Terror been released seperately, they probably would have made modest profits. I mean, I was howling with laughter throughout the entire feature, but it was basically a $100+ million inside joke that only a VERY small group of cineastes would really appreciate. That's why Inglourious Basterds was the first Tarantino movie since Pulp Fiction to make over $100 million in the U.S...an easilly-digestable marketing campaign, plus a popular mainstream star (Brad Pitt).
April 12, 2012, 8:39 p.m. CST
by Nasty In The Pasty
There are always about half-a-dozen movies released on Christmas Day, and usually most of them find an audience by targeting a specific niche. I'm sure there'll be some shiity CG kiddie film coming out the same day, plus an adult romcom and some piece of Oscar bait.
April 12, 2012, 9:52 p.m. CST
“Inglorious Basterds” is a pretty important Quentin Tarantino film for me; it is not my favourite Tarantino film but it does make for a grand example of his style, underlineing many of the frustrations of his particular breed of filmmakeing while at the same time elucidateing his incredible brilliance as a filmmaker of the highest order. Lately, with the disturbing and highly unhealthy amount of salivation that I’ve noticed in myself during this period of waiting for “Django Unchained” to be released, I’ve pacified myself with the occasional thoughts about what this film could be – not merely in terms of actualization, but as a member of the thematic family of threads that Tarantino has built up throughout his career. It suddenly stuck me that this is yet another revenge film by Tarantino, his third of six films overall. Not only that, it comes on the heels of “Inglorious Basterds,” which I would call a revenge film in the exact same breath that I would use to call it a WWII film. I began to worry – is Mr. Tarantino stuck in a rut? Then I cleared myself of that notion, realizeing that this, of all his films, is one of unparalleled scope, besting even the “Once Upon A Time in Occupied France” promise of “Inglorious Basterds.” Then I became to think in the realm of director motifs and the possibility of Tarantino working out a theme of revenge in a film cycle. For, in fact, who could have predicted the film that was to become “Inglorious Basterds,” one of his most mature and self-aware films, after the manic grandeur of “Kill Bill”? The only true problem with “Inglorious Basterds” was incredible amount of expectation that precedes a new film by Mr. Tarantino. This is complicated by the fact that, due to his enthusiastic nature, Mr. Tarantino is quite something of the self-promoter. The result was that over half a decade we were hearing tale of “the Quentin Tarantino WWII film” that included Adam Sandler and every other star in Hollywood storming the beach at Normandy. It was the fault of our own overactive imaginations, and that of film columnists everywhere. The resultant film belongs in fact to young Soshania. The Basterds themselves are more a mechanism for gratification than anything else. They are the Id of the audience, a chance at the joy of victory that, for many of us in post-Holocaust society, is deeply missing. For the two halves of the audience, “Inglorious Basterds” is two different films. First it is merely a film, an entertainment. For the rest, it is not so much a meditation but a highly stylized deconstruction of the entire genre of the WWII, encapsulated in the bright and shiney shell of expectation that is the revenge picture. What keeps it from being pure exercise is the great ability that Mr. Tarantino has for character writeing, for building from an idea an individual – and Shosanna is easily one of his most likeable and memorable characters. She is beautiful and tragic, and while not so much given the opportunity to be more than that, she is much like an iconic Leone character: on her shoulders is the task of being representative of an entire trope in literature, film, and art – the victim. Like it or not, Shosanna falls victim to the evils of men; even in escapeing her hunters, she finds herself trapped in the event itself, tormented by the will and ease with which this men are allowed, destroying countless lives. Her death is a sacrifice. And Tarantino has the weight of a true artist in his depiction of her plight, haveing both the cruelty and the empathy to allow her to join the millions of other corpses which lined the country and city roads and routes on which WWII criss-crossed Europe, cutting its back like reigns buried in the blood of a tired farmer’s hands - or stripes on a slave’s back. The Death of Shosania is the price we all paid. The true heroes, the ones who stood up, who shared the voice of the suffering, they died on the cutting room floor. So as Shosanna is denied the right of life, the joy of children to come, the comfort of marriage and the confines of a home, what we are left with is the Basterds. Cold, crash, merciless – envisioned by our own need for closure, and for satisfaction. They are the dream of revenge. They do what we cannot, and could not, do. They loom on the horizon: A HERO. But what they are in fact is the cold remainder of a war that touched all like a death’s hand and left the imagination asunder. They are cold comfort of vengeance in the wake of the inexorable; fantasy figures that rewrite history for us, do for us that which we wish God had done: killed Hitler, allowed his death. They do what we wish we could have done. They are Our Rage. We do not want to be Shosanna, doomed to die before our hopes of retribution, our stand-ins for salvation, are completed. This is a helplessness we can barely handle, even half-a-century later. The Basterds, like us, are the survivors. So when Tarantino has Lt. Aldo “the Apache” Raine say his words for him, “I think I’ve created my masterpiece,” we are likely to scoff (I definitely did upon the first time seeing it). And yet, he has made a film, not of World War II, but of all the World War II films combined and cobbled together, distilled to their essential elements. We shows us what it is that we are seeking from these films: a chance to relive the inevitable, in the slight possibility that it might work out better for us, that we can see some glimmer of brightness behind it all. He does not have to show us the concentration camps, they are already there in our mind. All he has to do is show us a young girl and what it is that she has to give up in, merely because of where she was born and who she was born as. And the power that the Nazis in Tarantino’s film flaunt, even as the true magnitude of their evil is seen off-screen, their violence always hidden in a cellar somewhere, a hidden room, in the hearts hidden behind crisp and beautiful military uniforms arrayed with commendations and the spoils of exploits of supposed bravery, he has with them created his most impassioned statement against villainy: it is not one villain we must fear, but a great mass of them joined in a single image, in the dream of the demise of all others. For Tarantino, these Nazis are everything that is evil with the world. And they are not evil for what we see them do, but because of the leverage that they have on all others in the film. Even his supposed sympathetic Nazi, Fredrick Zoller, becomes before our eyes a monster, a man enraptured by his own image of himself, captured in the grip of madness that is his sudden empowerment. He is just as power hungry, just as corrupt: a rapist, a pig, a war profiteer, a swaggering example of ego and its disgusting internal bile. Tarantino’s film is not a cry of victory in my eyes; it is, for me, the desperate plea of a world changed by horror, and desperate in its need, to the point of scouring together a false history, something with which to pacify the heart sickened by despair. There is triumph, but there is cynicism too. The carnage of the end, it is a hollow victory. And if there is any battle cry, it is that we defeated the image itself of Nazism. We, the audience of these films of World War II, we the survivors, we have carved the swastika on the heads of those very ones who used it as an excuse for degradation and humiliation of others. We have turned the weapon on those who chose to use it. Now, it is the scarlet letter itself. So if “Inglorious Basterds” did not provide us with what we had hoped for, or even if it did not provide what it had promised, I believe it gave us so much more. It is a film to be reckoned with, full of guts, grit, and a wounded, pitiful pride. The sorrow of it is exquisite, and the glory a poor substitute for what was lost. It is a nail, in the coffin. And salt in the wound.
April 12, 2012, 9:55 p.m. CST
"Jackie Brown" also had a Christmas release date; its tagline was "This Christmas, Santa's Got a Brand New Bag," over a picture of Pam Grier, Sam Jackson as Ordell Robbie, and a smokeing gun. Awesome.
April 12, 2012, 10:37 p.m. CST
But that's just me I guess.
April 13, 2012, 4:33 a.m. CST
by Motoko Kusanagi
But leaving out the title? Who the hell is this Quenteen Tarantuna anyway? Sounds like a one trick pony name... :-P
April 13, 2012, 7:50 a.m. CST
That little essay was a joy to read. Well said.
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