A Look Inside Tarantino's <em>Django Unchained</em> Comic Book

Django Unchained opens in theaters today, but the big screen isn’t the only way to see the newest work by Quentin Tarantino. The issue of the Django Unchained comic book mini-series from DC/Vertigo Comics is available now in comic book stores (and online), and in advance of tomorrow’s film debut, Wired has a look at the Tarantino’s introduction to the comic, along with the original character sketches by artist R.M. Guéra and a six-page preview of the first issue.

The comic is an incredibly faithful adaptation of Tarantino’s movie script – the first issue is the first few scenes of the film, almost line for line. Drawing on the director’s story, the book’s interior art comes from Guéra, who made characters that hew closely to their actor counterparts but are their own characters entirely. The artist’s Django, the slave that becomes a bounty hunter, has a more steely cowboy vibe than smooth, cool Jamie Foxx; ruthless plantation owner Calvin Candie looks even more maniacal than Leonardo DiCaprio; and Candie’s house slave Stephen looks far more jowly and grizzled on the page than Samuel L. Jackson does on screen.

“Growing up I read the adventures of Kid Colt Outlaw, TOMAHAWK, The Rawhide Kid, BAT LASH, and especially, Yang (which was basically the Kung Fu TV show done as a comic), and Gunhawks featuring Reno Jones (a Jim Brown stand-in) and Kid Cassidy (a David Cassidy stand-in), which for my money was the greatest Blaxploitation Western ever made,” Tarantino says in the first issue’s intro. “And it’s in that spirit of cinematic comics literature that I present to you Django Unchained.”

Tarantino’s version of the story hits theaters Dec. 25.

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Character actor, World War Two hero Charles Durning dies at 89

NEW YORK (Reuters) – Charles Durning, a World War Two hero who became one of Hollywood’s top character actors in films like “The Sting,” “Tootsie” and “The Best Little Whorehouse in Texas,” has died, a New York City funeral home said on Tuesday. He was 89.

Durning, who was nominated for nine Emmys for his television work as well as two Academy Awards, died of natural causes at his New York City home on Monday, his agent told People magazine. Frank E. Campbell Funeral Chapel in Manhattan confirmed Durning‘s death to Reuters.

Durning also was an accomplished stage actor and once said he preferred doing plays because of the immediacy they offered. He gained his first substantial acting experience through the New York Shakespeare Festival starting in the early 1960s and won a Tony Award for playing Big Daddy in a 1990 Broadway revival of “Cat on a Hot Tin Roof.”

Durning did not start amassing film and TV credits until he was almost 40 but went on to appear in more than 100 movies, in addition to scores of TV shows.

Durning’s first national exposure came playing a crooked policeman who gets conned by Robert Redford in the 1973 movie “The Sting.” He got the role after impressing director George Roy Hill with his work in the Pulitzer- and Tony-winning Broadway play “That Championship Season.”

Durning had everyday looks – portly, thinning hair and a bulbous nose – and was a casting director’s delight, equally adept at comedy and drama.

Durning was nominated for supporting-actor Oscars for playing a Nazi in the 1984 Mel Brooks comedy “To Be or Not to Be” and the governor in the musical “The Best Little Whorehouse in Texas” in 1983. “Whorehouse” was one of 13 movies Durning made with friend Burt Reynolds, as well as Reynolds’ 1990s TV sitcom “Evening Shade.”

Other notable Durning movie roles included a cop in “Dog Day Afternoon,” a man who falls in love with Dustin Hoffman’s cross-dressing character in “Tootsie,” “Dick Tracy,” “Home for the Holidays,” “The Muppet Movie,” “North Dallas Forty” and “O Brother Where Art Thou?”

He was nominated for Emmys for the TV series “Rescue Me,” “NCIS,” “Homicide: Life on the Street,” “Captains and the Kings” and “Evening Shade,” as well as the specials “Death of a Salesman,” “Attica” and “Queen of the Stardust Ballroom.”

Durning was a fan of Jimmy Cagney and after returning from harrowing service in World War Two he tried singing, dancing, and stand-up comedy. He attended the American Academy of Dramatic Arts until he was kicked out.

“They basically said you have no talent and you couldn’t even buy a dime’s worth of it if it was for sale,” Durning told The New York Times.

D-DAY INVASION

He worked a number of make-do jobs – cab driver, dance instructor, doorman, dishwasher, telegram deliveryman, bridge painter, tourist guide – all while waiting for a shot at an acting career. Occasional stage roles led him to Joseph Papp, the founder of the New York Shakespeare Festival, who became his mentor.

“Joe said to me once, ‘If you hadn’t been an actor, you would have been a murderer,’” Durning told the Times. “I don’t know what that meant. I hope he was kidding. He said I couldn’t do anything else but act.”

Durning grew up in Highland Falls, New York, and was 12 years old when his Irish-born father died of the effects of mustard gas exposure in World War One. He had nine siblings and five of his sisters died of smallpox or scarlet fever – three within a two-week period.

Durning was part of the U.S. force that landed at Omaha Beach during the D-Day invasion in June 1944. A few days later he was shot in the hip – he said he carried the bullet in his body thereafter – and after six months of recovery was sent to the Battle of the Bulge.

Durning, who was wounded twice more, was captured and was one of the few survivors of the Malmedy massacre when German troops opened fire on dozens of American prisoners. In addition to three Purple Heart medals for his wounds, Durning was presented the Silver Star for valor.

At an observation of the 60th anniversary of D-Day in Washington, Durning told of the terror he felt and carnage he saw when hitting the beach on D-Day. He said he had to jettison his weapon and gear in order to swim ashore and saw mortally wounded comrades offering themselves as human shields.

“I forget a lot of stuff now but I still wake up once in a while and it’s still there,” he said. “I can’t count how many of my buddies are in the cemetery at Normandy.”

Durning was married twice and had three children.

(Reporting by Ellen Wulfhorst; Writing by Bill Trott; Editing by Eric Beech)

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Four firefighters shot, two fatally, in western New York

WEBSTER, N.Y. -- A western New York police chief says a gunman who entrapped and shot four volunteer firefighters outside a blazing home is dead.

Webster Police Chief Gerald Pickering says two of the firefighters were killed and two others hospitalized after the ambush on a spit of land on Lake Ontario just northeast of Rochester.

He also says an off-duty police officer who was driving by has injuries from shrapnel. One of the slain firefighters is also a town police lieutenant.

The shooting Monday morning happened in a quiet neighborhood of seasonal and year-round homes.

The West Webster Fire District received a report of a car and house on fire on Lake Road, on a narrow peninsula where Irondequoit Bay meets Lake Ontario, Flynn said.

"When they got there, they started to take on rounds and the initial responders were struck," the sheriff said.

The two wounded firefighters were in critical condition at a Rochester hospital, Flynn said.

The fire appeared from a distance as a pulsating ball of flame glowing against the early morning sky, flames licking into treetops and reflecting on the water, with huge bursts of smoke billowing away in a brisk wind.

Police say four homes in all were destroyed and four damaged by the spreading flames.

Webster, a middle-class, lakeside suburb, now is the scene of violence linked to house fires for two Decembers in a row.

Authorities say that on Dec. 7, 2011,  a 15-year-old boy doused his home with gasoline and set it ablaze, killing his father and two brothers, 16 and 12. His mother and 13-year-old sister escaped with injuries. He is being prosecuted as an adult.

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Army Goes Goth With 'Super-Black' Materials

Get ready to break out the eyeliner and the candelabras, because the Army is going goth.

In its latest round of solicitations for small businesses, the Army is asking for proposals for super-black material. That is, material so black that it absorbs 99 percent of all light. But it isn’t really black paint, exactly. The plan is to use either an “antireflective coating or surface treatment process for metals” to absorb stray light “in the ultraviolet, visible, infrared, and far-infrared regions.” This, the Army hopes, will boost the quality of high-resolution cameras, while also cooling down sensitive electronics. Or to put it another way: The Army needs the color black to reflect its icy-cold heart.

Another curious thing is that the program is being run out of the Army’s Program Executive Office Ammunition at the Picatinny Arsenal, a main center for the Pentagon’s experiments in all sorts of weapons: from rifles and tank cannons to directed-energy weapons. But the purpose of the solicitation isn’t much more specific than described. “Simply put, it’s too early yet to speculate on where the technology(s) will go,” Frank Misurelli, an Army spokesman at Picatinny said in a statement provided to Danger Room. ”Possibly in a few months, after an contract has been awarded, more information may become available.”

But for whatever the Army wants to fade to black, it seems that regular black isn’t good enough. This is because most black paint will absorb only around 90-95 percent of light, with the other 5-10 percent reflected back outwards. For a high-resolution camera, that stray light can bounce back into the lens and interfere with the quality of an image. It’s even a problem for NASA’s ultra-deep-space sensors. In the extreme coldness of space, black paint turns a silver-y color, which increases heat and can interfere with infrared-detecting instruments.

But wait, doesn’t black get really hot when hit with light, like wearing black clothes during the summer? The answer is: sorta. Black is really good at absorbing heat, but is also really good at radiating heat away. This is why cooling fins, radiators and engines for cars and trucks are often painted black. In 2011, NASA developed a carbon-nanotube coating that absorbed between 98-99.5 percent of light, depending on the wavelength. Nor do the coating’s thin layers of nanotubes change color in extreme cold. They absorb more light, and help radiate heat away from instruments, keeping them cold.

The Army could go another route. A second option uncovered by Britain’s National Physical Laboratory involves immersing an object in a solution of nickel and sodium for several hours, which blackens the color, and then taking it out and dunking it in nitric acid for a few seconds. According to New Scientist, this creates an alloy pock-marked with tiny microscopic craters that prevent light from bouncing away.

Finally, the Army also hopes to expand the materials to “optical glass surfaces” — camera lenses, in other words — while testing to see whether “it will be able to survive in a military environment.” The material should also come in “multiple surface colors” and be able to “selectively exhibit earth color instead of broadband absorption.” And another hope is to use the materials to absorb water to cool down equipment. See, it’s tough out there being goth, but it doesn’t mean you can’t do it in comfort.

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Quentin Tarantino unchains America’s tormented past in “Django”

LOS ANGELES (Reuters) – Twenty years after Quentin Tarantino unveiled his first film “Reservoir Dogs,” the director has turned his eye to America’s slavery history, spinning a blood-filled retribution tale in his trademark style for “Django Unchained.”

Tarantino, 49, has become synonymous with violence and dark humor, taking on the Nazis in “Inglourious Basterds” and mobsters in “Pulp Fiction.”

In “Django Unchained,” to be released in U.S. theaters on Christmas Day, he fuses a spaghetti Western cowboy action adventure with a racially charged revenge tale set in the 19th century, before the abolition of slavery in the United States.

Jamie Foxx stars as a slave whose freedom is bought by a former dentist, played by Christoph Waltz. The two set off as bounty hunters, rounding up robbers and cattle rustlers before turning their attention to brutal plantation owners in America’s Deep South.

Tarantino is well-versed in delivering violence. But the director said he faced “a lot of trepidation” about filming the slavery scenes. He has already come under fire from some critics for the frequent use in the film of the “N-word” – a racial slur directed at blacks.

The director said he was initially hesitant to ask black actors to play slaves who are shackled and whipped, and even considered filming outside of the United States.

But a dinner with veteran Oscar-winning actor Sidney Poitier, whom Tarantino called a “father figure,” changed his mind after Poitier urged him to not “be afraid” of his film.

“This movie is a deep, deep, deep American story, and it needed to be made by an American, and it needed to star Americans. … Lots of the movies dealing with this issue have usually had Brits playing Southerners and it creates this arm’s-distance quality,” Tarantino said.

Much of the film’s more graphic slavery scenes, such as gladiator-style fights to the death and being encased naked in a metal hot box in the heat of the Southern sun, are drawn from real accounts.

“We were shooting on hallowed ground. This was the ground of our ancestors. … Their blood was in the grass, there’s still bits of flesh embedded in the bark,” Tarantino said.

The film has received good reviews from critics and is expected to add Oscar nominations in January to its five Golden Globe nods.

With the exception of Waltz, who plays eccentric German bounty hunter Dr. King Schultz, the majority of the main players are not only American but from the South.

“It seemed sacred to us, and we couldn’t help but channel those emotions, everybody on the crew and on the set. … Those were very moving days,” Tarantino said.

‘DESPICABLE’ CHARACTERS

Tarantino reunited with Waltz, who won an Oscar in 2010 for his role as a menacing Nazi officer in “Inglourious Basterds,” and long-time collaborator Samuel L. Jackson, who plays slave housekeeper Stephen, a character who Tarantino described as “the most despicable black (character)” in movie history.

“Stephen might be frankly the most fascinating character in the whole piece, and it was important to deal with that whole upstairs-downstairs aspect of the Antebellum South,” he said.

The role that has people talking is Leonardo DiCaprio‘s first villainous turn as a racist plantation owner – a stark contrast from his Hollywood heartthrob “Titanic” days and roles as eccentric Americans in “The Aviator” and “J. Edgar.”

Asked how he felt to be the first director to make DiCaprio a villain, Tarantino laughed, saying he felt “pretty darn good about it.” He commended DiCaprio for turning into a “Southern-fried Caligula,” referring to the tyrannical ancient Roman emperor.

“I saw him as a petulant boy emperor. … He has nothing but hedonistic hobbies and vices to indulge him, and it’s almost as if he’s rotting from the inside,” Tarantino said.

The film’s female lead, Django’s wife Broomhilda played by Kerry Washington, moves away from Tarantino’s fierce screen women such as Uma Thurman in “Kill Bill” and Diane Kruger in “Inglourious Basterds.”

Tarantino said Broomhilda was meant to be the “princess in exile.” He said he was “annoyed” when he was asked by a friend why Broomhilda did not exact revenge on her abusers in the same way as Thurman’s “Kill Bill” character. The film, he said, is “Django’s story.”

“It invokes … that odyssey that Django goes on and gives the black slave narrative the romantic dimensions of great opera or great folklore tales,” Tarantino said.

(Editing by Jill Serjeant, Patricia Reaney and Will Dunham)

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Risks: Pedestrian Accidents More Deadly in Men

More than twice as many men as women die in pedestrian-vehicle accidents. Now researchers have partly determined why.

Writing online last month in the journal Injury Prevention, investigators considered the contribution of three factors: distance walked, number of accidents and fatalities per collision.

Researchers using data from a variety of sources found that men and women walk similar distances and that men are involved in slightly more accidents per mile. Only 1 percent of the difference in death rates is attributable to distance walked, they found, and 20 percent to an increased number of accidents among men.

The rest — 79 percent of the variation — owes to the fact that when there is a collision, men die at roughly twice the rate of women. According to the National Highway Traffic Safety Administration, 4,280 pedestrians died in traffic accidents in 2010, and 2,946 — 69 percent — were men.

Why? No one knows, but the lead author, Dr. Motao Zhu, an assistant professor of epidemiology at West Virginia University, suggested two possibilities: “Maybe males are more likely to cross roads with speed limits higher than 50 miles per hour,” he said. “Also, males may be more likely to be impaired by alcohol and drugs. Most people know it’s not safe to drive drunk, but it’s not safe to walk drunk either.”

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E-Book Price War Has Yet to Arrive

Thor Swift for The New York Times

A Google e-reader is displayed at a bookstore. Sales of e-books for the devices have slowed this year.

Right about now, just as millions of e-readers and tablets are being slipped under Christmas trees, there was supposed to be a ferocious price war over e-books.

Last spring, the Justice Department sued five major publishers and Apple on e-book price-fixing charges. The case was a major victory for Amazon, and afterward there were widespread expectations — fueled by Amazon — that the price of e-books would plunge.

The most extreme outcome went like this: Digital versions of big books selling for $9.99 or less would give Amazon complete domination over the e-book market. As sales zoomed upward, even greater numbers of consumers would abandon physical books. The major publishers and traditional bookstores were contemplating a future that would pass them by.

But doomsday has not arrived, at least not yet. As four of the publishers have entered into settlements with regulators and revised the way they sell e-books, prices have selectively fallen but not as broadly or drastically as anticipated.

The $10 floor that publishers fought so hard to maintain for popular new novels is largely intact. Amazon, for instance, is selling Michael Connelly’s new mystery, “The Black Box,” for $12.74. New best sellers by David Baldacci and James Patterson cost just over $11.

One big reason for the lack of fireworks is that the triumph of e-books over their physical brethren is not happening quite as fast as forecast.

“The e-book market isn’t growing at the caffeinated level it was,” said Michael Norris, a Simba Information analyst who follows the publishing industry. “Even retailers like Amazon have to be wondering, how far can we go — or should we go — to make our prices lower than the other guys if it’s not helping us with market share?”

Adult e-book sales through August were up 34 percent from 2011, an impressive rate of growth if you forget that sales have doubled every year for the last four years. And there have been more recent signs of a market pausing for breath.

Macmillan, the only publisher that has not settled with the Justice Department, said last week as part of a statement from John Sargent, its chief executive, that “our e-book business has been softer of late, particularly for the last few weeks, even as the number of reading devices continues to grow.” His laconic conclusion: “Interesting.”

Mr. Norris said Simba, which regularly surveys e-book buyers, has been noticing what it calls “commitment to content” issues.

“A lot of these e-book consumers aren’t behaving like lab rats at a feeder bar,” the analyst said. “We have found that at any given time about a third of e-book users haven’t bought a single title in the last 12 months. I have a feeling it is the digital equivalent of the ‘overloaded night stand’ effect; someone isn’t going to buy any more books until they make a dent in reading the ones they have already acquired.”

Another, more counterintuitive possibility is that the 2011 demise of Borders, the second-biggest chain, dealt a surprising blow to the e-book industry. Readers could no longer see what they wanted to go home and order. “The print industry has been aiding and assisting the e-book industry since the beginning,” Mr. Norris said.

It is possible that Amazon, which controls about 60 percent of the e-book market, is merely holding back with price cuts for the right moment.

The next few weeks are when e-book sales traditionally take a big jump, as all those newly received devices are loaded up with content.

Amazon declined to comment beyond saying, “We have lowered prices for customers from the prices publishers set on a broad assortment of Kindle books.” Barnes & Noble declined to comment on its pricing strategy.

The question of the proper price for e-books has shadowed the industry ever since Amazon introduced the Kindle in late 2007 and created the first truly popular portable reading device. Amazon had a natural impulse to build a market and was an aggressive retailer in any case, so it took best sellers that cost $25 in independent bookstores and sold them for $9.99 as e-books. Consumers liked that. E-book adoption soared.

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Raging fire guts Kabul market

KABUL, Afghanistan -- Firefighters battled through the night to contain a raging fire that swept through a market in the Afghan capital.

No injuries were reported, but the blaze destroyed hundreds of stores and millions of dollars worth of merchandise, Afghan police and firefighters said at the scene. 

Dealers at the neighboring currency exchange, the city’s largest, said they evacuated cash, computer equipment and records from their shops as the flames approached during the night. But in the morning, the market was jammed with people haggling over thick stacks of notes as smoke billowed overhead.

Col. Mohammed Qasem, general director of the Kabul fire department, said he suspected an electrical short was to blame for the fire. 

Gas canisters used to heat the stores propelled the flames, along with the cloth and clothing sold by many of the vendors, Qasem said. “It made it very big in a short time.”

Firefighters from the Afghan defense department and NATO forces were sent to assist. But the city’s notorious traffic and the market’s narrow lanes made it difficult for responders to maneuver their vehicles, Qasem said.

Abdulrahman, who like many Afghans has only one name, squatted near a fire truck with his head in his hands  as responders aimed a hose at the blackened ruins of a building still smoldering at noon Sunday, more than 12 hours after the fire broke out.

He said the building had contained three shops that he owned and a warehouse full of glassware, crockery and kitchen utensils. 

“I lost everything,” he said.

Shirali Khan complained that police hadn't allowed him to remove the goods from his four clothing stores.

“They thought we were all robbers,” he said.  “There’s only ashes left.”

ALSO:

Pope pardons former butler convicted of theft

Bombing kills local official, 7 other people in Pakistan

Tensions high as vote on proposed Egyptian constitution continues

Special correspondent Hashmat Baktash contributed to this report.

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Wired Science Space Photo of the Day: Hourglass Nebula

This Hubble telescope snapshot of MyCn18, a young planetary nebula, reveals that the object has an hourglass shape with an intricate pattern of "etchings" in its walls. A planetary nebula is the glowing relic of a dying, Sun-like star.

The results are of great interest because they shed new light on the poorly understood ejection of stellar matter that accompanies the slow death of Sun-like stars. According to one theory on the formation of planetary nebulae, the hourglass shape is produced by the expansion of a fast stellar wind within a slowly expanding cloud, which is denser near its equator than near its poles.

Image: Raghvendra Sahai and John Trauger (JPL), the WFPC2 science team, and NASA [high-resolution]

Caption: Hubble Heritage site

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“Hobbit” fever beats Tom Cruise at box office

(Reuters) – The big-budget “Hobbit” fantasy movie ruled movie box office charts for a second straight weekend, fending off Hollywood heavyweight Tom Cruise in new crime drama “Jack Reacher.”

“The Hobbit: An Unexpected Journey” hauled in nearly $ 37 million from theaters in the United States and Canada, according to studio estimates of Friday-through-Sunday ticket sales. The film is the first of three movies based on the classic J.R.R. Tolkien novel about a world of dwarfs, elves and dragons in the fictitious Middle Earth.

In second place, Cruise’s “Jack Reacher” about the investigation into a sniper shooting brought in just short of $ 17 million at U.S. and Canadian theaters. Distributor Paramount Pictures postponed a premiere of the film after the fatal school shooting in Newtown, Connecticut, sparked new scrutiny of violent movies.

Adult comedy “This is 40,” starring Paul Rudd and Leslie Mann as a middle-aged couple, brought in $ 12 million, finishing in third place.

“The Hobbit” was distributed by Time Warner Inc’s Warner Bros. studio. Paramount Pictures, a unit of Viacom Inc, released “Jack Reacher.” Comcast Corp’s Universal Pictures distributed “This is 40.”

(Reporting By Lisa Richwine and Andrea Burzynski)

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