Tarantino 'Unchained,' Part 3: White Saviors
In the last of a Q&A series, the director rejects the idea that Django fits into that old Hollywood trope.
QT: To test Django. Because when Schultz offered to buy him all of the sudden -- Whoa, what the hell? That was phony-baloney. He knew it wasn't right. This is weird. These guys are up to something. What's going on here? Why would he care? He's getting into Mandingo fighting; why should he care about this guy?
HLG: So Django had to sacrifice him in order to keep the ruse up.
QT: Schultz reveals himself[, breaking the characters they had created in order to infiltrate Candieland to free Broomhilda]. Django stops him and says no, we're not doing that. And Candie realizes this and decides to test Django's resolve.
HLG: A friend of mine said to me, "I really liked the film, but would he have had James Bond watch one of his fellow spies be torn apart by the dogs?" Why was it important for Jamie Foxx's character, for Django, to let this man be sacrificed?
QT: If I was writing the James Bond movie and the job was for him to go undercover, then yeah, he would, and James Bond would be good at that. He's a professional. He knows what's going on.
It has to cost Django something to go on this mission. He's not Spartacus. It's not about him liberating everyone in shack row and them storming Canada together. He's got one mission and one mission only: extract his wife from this hell. And nothing else means a damn compared to that.
HLG: And he has to get in character.
QT: He's got to be convincing. And he knows that more than Schultz does. To me, that's one of the interesting things.
You know Django goes on a tutelage in the first half of the movie, but then the teacher-student relationship shifts once they get into Mississippi. Because Django knows exactly this world and understands it. And Schultz is coming from almost a 21st-century perspective. He understands, intellectually, slavery, but he's never seen the everyday horrors and degradation of it.
HLG: Were there any scenes left on the cutting room floor that are just too graphic or depressing to include in the film? And if so, will we ever see them, and what were they?