Development ofDjango Unchained began in 2007, when Tarantino was writing a book on Corbucci. By April 2011, Tarantino sent his final draft of the script toThe Weinstein Company (TWC). Casting began in the summer of 2011, withMichael K. Williams andWill Smith being considered for the role of the title character before Foxx was cast. Principal photography took place from November 2011 to March 2012 in California, Wyoming, and Louisiana.
Django Unchained premiered at theZiegfeld Theatre in New York City on December 11, 2012, and was theatrically released by The Weinstein Company on December 25, in the United States, withSony Pictures Releasing International handling international distribution. It was a commercial success, grossing $426 million worldwide against a $100 million budget, becoming Tarantino's highest-grossing film to date. The film received acclaim from critics, mainly for Waltz's & Dicaprio's performance and Tarantino's direction and screenplay.
In 1858 Texas, several male African Americanslaves are being 'driven' by the Speck Brothers, Ace and Dicky. Among the shackled slaves isDjango, sold off and separated from his wife, Broomhilda. The Speck Brothers are stopped by Dr. King Schultz, a German ex-dentist andbounty hunter fromDüsseldorf. Schultz asks to buy one of the slaves, but while questioning Django about his knowledge of the Brittle Brothers, for whom Schultz is carrying a warrant, he irritates Ace who aims his shotgun at Schultz. Schultz quickly kills Ace and leaves Dicky at the mercy of the other newly freed slaves, who kill him. Since Django can identify the Brittle Brothers, Schultz offers Django his freedom in exchange for his help in tracking them down. After executing the Brittles, Django partners with Schultz through the winter and becomes his apprentice. Schultz discovers Django's natural ability with a gun. Schultz explains that, being the first person he has ever given freedom to, he feels responsible for Django and is driven to help him in his quest to rescue Broomhilda.
Django, now fully trained, collects his first bounty, keeping the handbill as a good luck charm. In Mississippi, Schultz uncovers the identity of Broomhilda's owner: Calvin Candie, the charming but brutal owner of the Candylandplantation, where slaves are forced to fight to the death in wrestling matches called "Mandingo fights." Schultz, expecting Candie will not sell Broomhilda if they ask for her directly, plots to feign interest in purchasing one of Candie's prized fighters, offer to purchase Broomhilda on the side for a reasonable sum, then take her and escape before the Mandingo deal is finalized. Schultz and Django meet Candie at his gentleman's club inGreenville and submit their offer. His greed tickled, Candie invites them to Candyland. After secretly briefing Broomhilda on the plan, Schultz claims to be charmed by the German-speaking Broomhilda and offers to buy her after arranging to buy a fighting slave.
During dinner, Candie'sstaunchly loyal house slave, Stephen, becomes suspicious. Deducing that Django and Broomhilda know each other and that the sale of the Mandingo fighter is just a misdirection, Stephen alerts and privately admonishes Candie on his greed. Candie is humiliated at being fooled by a black man, but he contains his anger long enough to theatrically display his knowledge ofphrenology which he uses to justify white superiority and black inferiority. Candie's bodyguard suddenly bursts into the room with his shotgun trained on the two bounty hunters, and Candie furiously threatening to kill Broomhilda. He extorts Schultz for the complete bid amount, and taunts him by demanding a formal handshake to finalize the deal before he leaves. Schultz fatally shoots Candie with a concealedderringer and his henchman kills him in turn. Django grabs a revolver and, after a shootout, is forced to surrender when Broomhilda is taken hostage at gunpoint.
The next morning, Stephen tells Django that he will be sold to a mine where he will work for the rest of his life. En route to the mine, Django proves to his dim-witted Australian escorts that he is a bounty hunter by showing them the handbill from his first kill. He convinces them that there is a large bounty for outlaws who are hiding at Candyland, and promises that they would receive most of the money. The escorts release him and give him a pistol, and he kills them before stealing a horse and leaving for Candyland.
Django returns to the plantation and kills more of Candie's henchmen. He takes Broomhilda's freedom papers from Schultz's pocket and frees her from a nearby cabin. When Candie's mourners return from his burial, Django kills Candie's few remaining henchmen and his sister Lara, releases the two remaining house slaves, and kneecaps Stephen. Django ignites dynamite that he has planted throughout the mansion. He and Broomhilda watch from a distance as the mansion explodes, killing Stephen, before riding off together.
Other roles include:James Russo as Dicky Speck, brother of Ace Speck and erstwhile owner of Django;Tom Wopat,Omar J. Dorsey, andDon Stroud playU.S. Marshal Gill Tatum, Chicken Charlie, and as Sheriff Bill Sharp / Willard Peck respectively;Bruce Dern appears as Old Man Carrucan, the owner of the Carrucan Plantation;M. C. Gainey,Cooper Huckabee, and Doc Duhame portray brothers Big John Brittle, Roger "Lil Raj" Brittle, and Ellis Brittle respectively, overseers of both Carrucan and Big Daddy's plantations.
Writer-director Quentin Tarantino in Paris at the film's French premiere, January 2013
In 2007, Quentin Tarantino discussed an idea for a type ofSpaghetti Western set in the United States' pre-Civil WarDeep South. He called this type of film "a Southern", stating that he wanted:
"...to do movies that deal with America's horrible past with slavery and stuff but do them like Spaghetti Westerns, not like big issue movies. I want to do them like they're genre films, but they deal with everything that America has never dealt with because it's ashamed of it, and other countries don't really deal with because they don't feel they have the right to."[8]
Tarantino later explained the genesis of the idea:
I was writing a book aboutSergio Corbucci when I came up with a way to tell the story. ... I was writing about how his movies have this evil Wild West, a horrible Wild West. It was surreal, it dealt a lot withfascism. So I'm writing this whole piece on this, and I'm thinking: 'I don't really know if Sergio was thinking [this] while he was doing this. But I know I'm thinking about it now. And I can do it!'[9]
Tarantino finished the script on April 26, 2011, and handed in the final draft toThe Weinstein Company.[10] In October 2012, frequent Tarantino collaboratorRZA said that he and Tarantino had intended tocross overDjango Unchained with RZA's Tarantino-presented martial-arts filmThe Man with the Iron Fists. The crossover would have seen a younger version of the blacksmith character from RZA's film appear as a slave in an auction. However, scheduling conflicts prevented RZA's participation.[11]
One inspiration for the film is Corbucci's 1966 Spaghetti WesternDjango, whose starFranco Nero has acameo appearance inDjango Unchained.[12] Another inspiration is the 1975 filmMandingo, about a slave trained to fight other slaves.[13] Tarantino included scenes in the snow as a homage to the 1968 filmThe Great Silence.[14] "Silenzio takes place in the snow. I liked the action in the snow so much,Django Unchained has a big snow section in the middle," Tarantino said in an interview.[14] Tarantino credits the character and attitude of the German dentist turned bounty hunter King Schultz to the GermanKarl May Wild West films of the 1960s, namely their heroOld Shatterhand.[15]
The titleDjango Unchained alludes to the titles of the 1966 Corbucci filmDjango;Hercules Unchained, the American title for the 1959 Italian epic fantasy filmErcole e la regina di Lidia, about the mythical hero's escape from enslavement to a wicked master; and toAngel Unchained, the 1970 American biker film about a biker exacting revenge on a large group ofrednecks.[16][17]
Among those considered for the title role of Django,Michael K. Williams andWill Smith were mentioned as possibilities, but in the endJamie Foxx was cast in the role.[18][19] Smith later said he turned down the role because it "wasn't the lead" and was "not for me," but stated he thought the movie was brilliant.[20]Tyrese Gibson sent in an audition tape as the character.[21]Franco Nero, the original Django from the1966 Italian film, was rumored for the role of Calvin Candie,[22] but instead was given a cameo appearance as a minor character. Nero suggested that he play a mysterious horseman who haunts Django in visions and is revealed in an ending flashback to be Django's father; Tarantino opted not to use the idea.[23][24]Kevin Costner was in negotiations to join as Ace Woody,[25] a Mandingo trainer and Candie's right-hand man, but Costner dropped out due to scheduling conflicts.[26]Kurt Russell was cast instead[27] but also later left the role.[28] When Kurt Russell dropped out, the role of Ace Woody was not recast; instead, the character was merged withWalton Goggins's character, Billy Crash.[29]
Jonah Hill was offered the role of Scotty Harmony, a gambler who loses Broomhilda to Candie in a poker game,[30] but turned it down due to scheduling conflicts withThe Watch.[31][32]Sacha Baron Cohen was also offered the role, but declined in order to appear inLes Misérables. Neither Scotty nor the poker game appear in the final cut of the film.[30] Hill later appeared in the film in a different role.[33]Joseph Gordon-Levitt said that he "would have loved, loved to have" been in the film but would be unable to appear because of a prior commitment to direct his first film,Don Jon.[34]
In a January 2013 interview withVanity Fair, costume designerSharen Davis said much of the film's wardrobe was inspired by spaghetti Westerns and other works of art. For Django's wardrobe, Davis and Tarantino watched the television seriesBonanza and referred to it frequently. The pair even hired the hatmaker who designed the hat worn by theBonanza character Little Joe, played byMichael Landon. Davis described Django's look as a "rock-n-roll take on the character". Django's sunglasses were inspired byCharles Bronson's character inThe White Buffalo (1977). Davis usedThomas Gainsborough oil paintingThe Blue Boy (c. 1770) as a reference for Django's valet outfit.[35]
In the final scene, Broomhilda wears a dress similar to that ofIda Galli's character inBlood for a Silver Dollar (1965). Davis said the idea of Calvin Candie's costume came partly fromRhett Butler, and that Don Johnson's signatureMiami Vice look inspired Big Daddy's cream-colored linen suit in the film. King Schultz's faux chinchilla coat was inspired byTelly Savalas inKojak. Davis also revealed that many of her costume ideas did not make the final cut of the film, leaving some unexplained characters such as Zoë Bell's tracker, who was intended to drop her bandana to reveal an absent jaw.[36]
Principal photography forDjango Unchained started in California in November 2011[37] continuing in Wyoming in February 2012[38] and at the National Historic LandmarkEvergreen Plantation inWallace, Louisiana, outside ofNew Orleans, in March 2012.[39] The film was shot in theanamorphic format on35 mm film.[40] Although originally scripted, a sub-plot centering on Zoë Bell's masked tracker was cut, and remained unfilmed, due to time constraints.[41] After 130 shooting days, the film wrapped up principal photography in July 2012.[42]Kerry Washington sought to bring authenticity to her performance in several ways. The actor playing her overseer used a fake whip, but Washington insisted the lashings really hit her back. And to dramatize her punishment inside an underground, coffin-size metal container, she and Tarantino agreed she would spend time barely clothed in the "hot box" before the filming began so the feeling of confinement would be as realistic as possible.[43]
During the scene when DiCaprio's character explainsphrenology, DiCaprio cut his left hand upon striking the table and smashing a small glass. Despite his hand profusely bleeding, DiCaprio barely reacted and remained in character under the astonished eyes of his fellow actors. He is seen taking out pieces of broken glass from his hand during the scene. After Tarantino's cut, there was a standing ovation by the other actors to praise DiCaprio's performance despite the incident;[45] Tarantino, therefore, decided to keep this sequence in the final cut. DiCaprio is seen with his left hand bandaged in the scene after when he is signing Broomhilda's papers. Contrary to popular belief, DiCaprio wiped fake blood on Washington's face in a separate take.[46]
The film features both original and existing music tracks. Tracks composed specifically for the film include "100 Black Coffins" byRick Ross and produced by and featuring Jamie Foxx, "Who Did That To You?" byJohn Legend, "Ancora Qui" byEnnio Morricone andElisa, and "Freedom" byAnthony Hamilton andElayna Boynton.[47] The theme, "Django", was also the theme song of the 1966 film.[48]
MusicianFrank Ocean wrote an original song for the film's soundtrack, but it was rejected by Tarantino, who explained that "Ocean wrote a fantastic ballad that was truly lovely and poetic in every way, but there just wasn't a scene for it."[49] Ocean later published the song, entitled "Wiseman", on hisTumblr blog. The film also features a few famous pieces ofwestern classical music, includingBeethoven's "Für Elise" and "Dies Irae" fromVerdi's Requiem. Tarantino has stated that he avoids using full scores of original music: "I just don't like the idea of giving that much power to anybody on one of my movies."[50][51] The film's soundtrack album was released on December 18, 2012.[47]
Morricone made statements criticizing Tarantino's use of his music inDjango Unchained and stated that he would "never work" with the director after this film,[52] but later agreed to compose an original film score for Tarantino'sThe Hateful Eight in 2015. In a scholarly essay on the film's music,Hollis Robbins notes that the vast majority of film music borrowings comes from films made between 1966 and 1974 and argues that the political and musical resonances of these allusions situateDjango Unchained squarely in the Vietnam and Watergate era, during the rise and decline of Black Power cinema.[53]Jim Croce's hit "I Got a Name" was featured in the soundtrack.
The first teaser poster was inspired by a fan-art poster by Italian artist Federico Mancosu. His artwork was published in May 2011, a few days after the synopsis and the official title were released to the public. In August 2011, at Tarantino's request, the production companies bought the concept artwork from Mancosu to use for promotional purposes as well as on the crew passes and clothing for staff during filming.[54]
Django Unchained was released on December 25, 2012, in the United States byThe Weinstein Company and released on January 18, 2013, bySony Pictures Releasing in the United Kingdom.[55][56] The film was screened for the first time at theDirectors Guild of America on December 1, 2012, with additional screening events having been held for critics leading up to the film's wide release.[57] The premiere ofDjango Unchained was delayed by one week followingthe shooting at an elementary school inNewtown, Connecticut, on December 14, 2012.[58]
The film was released on March 22, 2013, by Sony Pictures inIndia.[59] In March 2013,Django Unchained was announced to be the first Tarantino film approved for official distribution inChina'sstrictly controlled film market.[60] Lily Kuo, writing forQuartz, wrote that "the film depicts one of America's darker periods, when slavery was legal, which Chinese officials like to use to push back against criticism from the United States".[61] The film was released in China on May 12, 2013.[62]
The film was released onDVD,Blu-ray, and digital download on April 16, 2013.[63] In the United States, the film has grossed $31,939,733 from DVD sales and $30,286,838 from Blu-ray sales, making a total of $62,226,571.[64]
Django Unchained grossed $162.8 million in the United States and Canada and $263.2 million in other territories, for a worldwide total of $426 million, against a production budget of $100 million.[5] As of 2013[update],Django Unchained is Tarantino's highest-grossing film, surpassing his previous film,Inglourious Basterds (2009), which grossed $321.4 million worldwide.[65]
In North America, the film made $15 million on Christmas Day, finishing second behind fellow openerLes Misérables.[66] It was the third-biggest opening day figure for a film on Christmas, followingSherlock Holmes ($24.6 million) andLes Misérables ($18.1 million).[67] It went on to make $30.1 million in its opening weekend (a six-day total of $63.4 million), finishing second behind holdoverThe Hobbit: An Unexpected Journey.[68]
Onreview aggregatorRotten Tomatoes, the film holds an approval rating of 87% based on 296 reviews, and an average rating of 8/10. The website's critical consensus reads, "Bold, bloody, and stylistically daring,Django Unchained is another incendiary masterpiece from Quentin Tarantino."[69]Metacritic, which assigns a rating to reviews, gives the film a weighted average score of 81 out of 100, based on 42 critics, indicating "universal acclaim".[70] Audiences polled byCinemaScore gave the film an average grade of "A−" on an A+ to F scale.[71]
Roger Ebert of theChicago Sun-Times gave the film four stars out of four and said: "The film offers one sensational sequence after another, all set around these two intriguing characters who seem opposites but share pragmatic, financial and personal issues." Ebert also added, "had I not been prevented from seeing it sooner because of an injury, this would have been on my year's best films list."[72]Peter Bradshaw, film critic forThe Guardian, awarded the film five stars, writing: "I can only sayDjango delivers, wholesale, that particular narcotic and delirious pleasure that Tarantino still knows how to confect in the cinema, something to do with the manipulation of surfaces. It's as unwholesome, deplorable and delicious as a forbidden cigarette."[13]
Writing inThe New York Times, criticA. O. Scott comparedDjango to Tarantino's earlierInglourious Basterds: "LikeInglourious Basterds,Django Unchained is crazily entertaining, brazenly irresponsible and also ethically serious in a way that is entirely consistent with its playfulness." Designating the film aTimes "critics" pick, Scott saidDjango is "a troubling and important movie about slavery and racism."[73] FilmmakerMichael Moore praisedDjango, tweeting that the movie "is one of the best film satires ever."[74] Dan Jolin ofEmpire magazine praised DiCaprio's performance, saying he "plays [the role of Candie] to hateful perfection: a spiteful, brown-toothed bully, avaricious, vain and prone to flattery", but criticized Foxx as a comparatively weak link whose "soft, musical voice [...] jars against Django's terse deliveries".[75]
To the contrary,Owen Gleiberman, film critic for theEntertainment Weekly, wrote: "Django isn't nearly the film thatInglourious was. It's less clever, and it doesn't have enough major characters – or enough of Tarantino's trademark structural ingenuity – to earn its two-hour-and-45-minute running time."[76] In his review for theIndy Week, David Fellerath wrote: "Django Unchained shows signs that Tarantino did little research beyond repeated viewings of Sergio Corbucci's 1966 spaghetti WesternDjango and a blaxploitation from 1975 calledBoss Nigger, written by and starringFred Williamson."[77]New Yorker'sAnthony Lane was "disturbed by their [Tarantino's fans'] yelps of triumphant laughter, at the screening I attended, as a white woman was blown away by Django's guns."[78]
An entire issue of the academic journalSafundi was devoted toDjango Unchained in "Django Unchained and the Global Western," featuring scholars who contextualize Tarantino's film as a classic "Western".[79] Dana Phillips writes: "Tarantino's film is immensely entertaining, not despite but because it is so very audacious—even, at times, downright lurid, thanks to its treatment of slavery, race relations, and that staple of the Western, violence. No doubt these are matters that another director would have handled more delicately, and with less stylistic excess, than Tarantino, who has never been bashful. Another director also would have been less willing to proclaim his film the first in a new genre, the 'Southern'."[80]
Some commentators thought that the film's over-usage of the word "nigger" was inappropriate; they objected to that even more than to the extensive violence depicted against the slaves.[91] Other reviewers[92] have defended the usage of the language in the historical context of race and slavery in the United States.[93]
African American filmmakerSpike Lee, in an interview withVibe, said he would not see the film, explaining "All I'm going to say is that it's disrespectful to my ancestors. That's just me ... I'm not speaking on behalf of anybody else."[94] Lee later wrote, "American slavery was not aSergio LeoneSpaghetti Western.It was a Holocaust. My ancestors are slaves stolen from Africa. I will honor them."[95]
Actor and activistJesse Williams has contrasted accuracy of the racist language used in the film with what he sees as the film's lack of accuracy about the general lives of slaves, too often portrayed as "well-dressed Negresses in flowing gowns, frolicking on swings and enjoying leisurely strolls through the grounds, as if the setting is Versailles, mixed in with occasional acts of barbarism against slaves ... That authenticity card that Tarantino uses to buy all those 'niggers' has an awfully selective memory."[96] He also criticizes what seems to be a lack of solidarity among slave characters, and their general lack of a will to escape from slavery, with Django as the notable exception.[96]
Jackson said that he believed his character to have "the same moral compass as Clarence Thomas does".[98] Jackson defended the extensive use of the word "nigger": "Saying Tarantino said 'nigger' too many times is like complaining they said 'kyke' [sic] too many times in a movie about Nazis."[99] The review by Jesse Williams notes, however, that these antisemitic terms were not used nearly as frequently in Tarantino's film about Nazis,Inglourious Basterds, as he used "nigger" inDjango. He suggested that the Jewish community would not have accepted it.[96]
Writing in theLos Angeles Times, journalist Erin Aubry Kaplan noted the difference between Tarantino'sJackie Brown andDjango Unchained: "It is an institution whose horrors need no exaggerating, yetDjango does exactly that, either to enlighten or entertain. A white director slinging around the n-word in a homage to '70sblaxploitation à laJackie Brown is one thing, but the same director turning the savageness of slavery into pulp fiction is quite another."[100]
While hosting NBC'sSaturday Night Live, Jamie Foxx joked about being excited "to kill all the white people in the movie".[101] Conservative columnistJeff Kuhner responded to theSNL skit forThe Washington Times, saying: "Anti-white bigotry has become embedded in our postmodern culture. TakeDjango Unchained. The movie boils down to one central theme: the white man as devil—a moral scourge who must be eradicated like a lethal virus."[102]
Samuel L. Jackson said toVogue Man that "Django Unchained was a harder and more detailed exploration of what the slavery experience was than12 Years a Slave, but directorSteve McQueen is an artist and since he's respected for making supposedly art films, it's held in higher esteem thanDjango, because that was basically ablaxploitation movie."[103]
The film became infamous for its brutality, with some reviews criticizing it for being much too violent.[104] The originally planned premiere ofDjango was postponed following theSandy Hook school shooting on December 14, 2012.[105]Thomas Frank criticized the film's use of violence as follows:
Not surprisingly, Quentin Tarantino has lately become the focus for this sort of criticism (about the relationship between the movies and acts of violence). The fact thatDjango Unchained arrived in theaters right around the time of the Sandy Hook massacre didn't help. Yet he has refused to give an inch in discussing the link between movie violence and real life. Obviously I don't think one has to do with the other. Movies are about make-believe. It's about imagination. Part of the thing is trying to create a realistic experience, but we are faking it. Is it possible that anyone in our cynical world credits a self-servingsophistry like this? Of course an industry under fire will claim that its hands are clean, just as theNRA has done – and of course a favorite son, be it Tarantino orLaPierre, can be counted on to make the claim louder than anyone else. But do they really believe that imaginative expression is without consequence?[106]
The Independent said the movie was part of "the new sadism in cinema" and added, "There is something disconcerting about sitting in a crowded cinema as an audience guffaws at the latestgarroting or falls about in hysterics as someone is beheaded or has a limb lopped off".[107]
Adam Serwer fromMother Jones said, "Django, like many Tarantino films, also has been criticized as cartoonishly violent, but it is only so when Django is killing slave owners and overseers. The violence against slaves is always appropriately terrifying. This, if nothing else, putsDjango in the running for Tarantino's best film, the first one in which he discovers violence as horror rather than just spectacle. When Schultz turns his head away from a slave being torn apart by dogs, Django explains to Calvin Candie—the plantation owner played by Leo DiCaprio—that Schultz just isn't used to Americans."[108]
Although Tarantino has said about Mandingo fighting, "I was always aware those things existed", there is no definitive historical evidence that slave owners ever stagedgladiator-like fights to the death between male slaves like the fight depicted in the movie.[109][110] HistorianEdna Greene Medford notes that there are only undocumented rumors that such fights took place.[111]David Blight, the director ofYale's center for the study of slavery, said it was not a matter of moral or ethical reservations that prevented slave owners from pitting slaves against each other in combat, but rather economic self-interest: slave owners would not have wanted to put their substantial financial investments at risk in gladiatorial battles.[109][110]
The non-historical term "Mandingo" for a fine fighting or breeding slave comes not from Tarantino, but the 1975 filmMandingo,[112] which was itself based on a1957 novel with the same title.
Writing inThe New Yorker,William Jelani Cobb observed that Tarantino's occasional historical elasticity sometimes worked to the film's advantage. "There are moments," Cobb wrote, "where this convex history works brilliantly, like when Tarantino depicts theKu Klux Klan a decade prior to its actual formation in order to thoroughly ridicule its members' veiled racism."[113] Tarantino holds that the masked marauders depicted in the film were not the KKK, but a group known as "The Regulators". They were depicted as spiritual forebears of the later post-civil war KKK and not as the actual KKK.[114][115]
On the matter of historical accuracy,Christopher Caldwell wrote in theFinancial Times: "Of course, we must not mistake a feature film for a public television documentary", pointing out that the film should be treated as entertainment, not as a historical account of the period it is set in. "Django uses slavery the way a pornographic film might use a nurses' convention: as a pretext for what is really meant to entertain us. What is really meant to entertain us inDjango is violence."[116] Richard Brody, however, wrote inThe New Yorker that Tarantino's "vision of slavery's monstrosity is historically accurate.... Tarantino rightly depicts slavery as no mere administrative ownership but a grievous and monstrous infliction of cruelty."[117]
Tarantino has said in an interview that he has 90 minutes of unused material and considered re-editingDjango Unchained into a four-hour, four-night cableminiseries. Tarantino said that breaking the story into four parts would be more satisfying to audiences than a four-hour movie: "... it wouldn't be an endurance test. It would be a miniseries. And people love those."[121]
Tarantino's first attempt at aDjango Unchained sequel was with the unpublished paperback novel titledDjango in White Hell. However, after Tarantino decided that the tone of the developing story did not fit with the character's morals, he began re-writing it as an original screenplay which later became the director's follow-up film,The Hateful Eight.[122]
In June 2019, Tarantino had pickedJerrod Carmichael to co-write a film adaptation based on theDjango/Zorro crossover comic book series.[123] Tarantino andJamie Foxx have both expressed interest in havingAntonio Banderas reprise his role asZorro fromThe Mask of Zorro (1998) andThe Legend of Zorro (2005) in the film in addition to Foxx himself reprising his role as Django.[124]
^"Oscars – The Nominees". The Academy Awards of Motion Pictures and the Arts. Archived fromthe original on January 10, 2013. RetrievedFebruary 28, 2013.
^Daniel Bernardi, The Persistence of Whiteness: Race and Contemporary ...- 2013 "For the purposes of breeding chattel, he must also buy a "Mandingo" buck, a male slave. In the film, a "Mandingo" represents the finest stock of slaves deemed most suitable for fighting and breeding."[page needed]
