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'Django Unchained' Beats 'Inglourious Basterds' as Tarantino's Top Grossing Film

Thompson on Hollywood By Sophia Savage | Thompson on Hollywood January 17, 2013 at 3:29PM

"Django Unchained" has become director Quentin Tarantino's highest grossing film to date within the domestic market, having accumulated nearly $130 million sinces its Christmas day release. Tarantino's second-highest grossing film is 2009's "Inglourious Basterds," with $120.5 million.
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"Django Unchained."
TWC "Django Unchained."

"Django Unchained" has become director Quentin Tarantino's highest grossing film to date within the domestic market, having accumulated nearly $130 million sinces its Christmas day release. Tarantino's second-highest grossing film is 2009's "Inglourious Basterds," with $120.5 million. "Basterds" was nominted for eight Oscars, including Best Picture, Director, Screenplay, Cinematography and Editing. It won Best Supporting Actor for Christoph Waltz's unforgettable turn as Col. Hans Landa. At this year's Oscars "Django" will be competing for five Oscars: Best Picture, Screenplay, Cinematography, Sound Editing and Supporting Actor--again for Waltz.

Waltz just won at the Golden Globes for his role in "Django"--that of Dr. King Schultz. Tarantino took home the prize for Best Screenplay.

The Weinstein Co.'s Harvey Weinstein states, “Bob and I have had the most extraordinary filmmaker relationship with Quentin Tarantino and we are proud to be here for this incredible milestone. We also appreciate working with Amy Pascal, Michael Lynton, and the incredible Sony team on this project. They have been great partners internationally."

Here's more of our coverage on "Django": Cinematography Robert Richardson, Reviews and Why Spike Lee Refuses to See It, Tarantino Talks Soundtrack

This article is related to: Box Office, Box Office, Django Unchained, Quentin Tarantino, Christoph Waltz


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Thompson on Hollywood

Born and raised in Manhattan, Anne Thompson grew up going to the Thalia and The New Yorker and wound up at grad Cinema Studies at NYU. She worked at United Artists and Film Comment before heading west as that magazine's west coast editor. She wrote for the LA Weekly, Sight and Sound, Empire, The New York Times and Entertainment Weekly before serving as West Coast Editor of Premiere. She wrote for The Washington Post, The London Observer, Wired, More, and Vanity Fair, and did staff stints at The Hollywood Reporter and Variety. She eventually took her blog Thompson on Hollywood to Indiewire. She taught film criticism at USC Critical Studies, and continues to host the fall semester of “Sneak Previews” for UCLA Extension.