Independence Day 1996 Trailer

[Rosita Westhouse]

Iknew this trailer was coming this week, but I wasn't expecting a drop out of nowhere in the middle of a Sunday afternoon football game. Perhaps I should have, since the original Independence Day is famous for, among other things, its "blow up the White House" Super Bowl commercial. Oddly enough, contrary to popular belief, that was not the first look at the film, as the first teaser (which was a longer version of the Super Bowl ad) was in theaters in either December 1995 or January 1996. I wish I could tell you the exact day (the opening weekend of Cutthroat Island or the wide release debut of 12 Monkeys perhaps), but I do remember seeing the theatrical trailer before the 1996 Super Bowl. But yeah, 20th Century Fox went and dropped the teaser trailer for Independence Day: Resurgence about three hours ago. I wish I could give you a better excuse as to why this post is three hours later, but truth be told I was out with my kids at an indoor play place. I know, how dare I not spend Sunday afternoon sitting in front of a computer waiting for a secret trailer to drop, but the kids had a good time.

As for the actual trailer itself, it's a 2:20 teaser, relatively spoiler-free in terms of specifics, which arguably implies that the film will at least somewhat be a remake in the guise of a sequel. Now to be fair, back in the 1990's and the 1980's, that was normal for a sequel. No one went into Indiana Jones and the Temple of Doom, Octopussy, Home Alone 2: Lost in New York or Die Hard 2: Die Harder expecting a natural continuation of the first film's character arcs and a natural progression of the core narrative. But that became just the idea in the early 2000's, spurred on by comic book movies and fantasy-lit adaptations that had actual new chapters and/or new arcs that could be adapted for the sequels. We spent so much time in the company of the likes of Pirates of the Caribbean: Dead Man's Chest, X2: X-Men United, and Harry Potter and the Goblet of Fire that we all pretended to be shocked in 2011 when The Hangover part II basically just went and told the same story a second time in a different location.

As you can see from the trailer above, Independence Day: Resurgence is basically about humanity dealing with "Oh crap, they're back again!" twenty years after the events of the first film. Bill Pullman is older and being set up as the sacrificial lamb (speculation, but I'd bet on it), Jeff Goldblum has been leading the post-invasion defense, and Liam Hemsworth is the would-be Will Smith-ish heroic lead. As I've mentioned before, there exists potential for a potent post-9/11 metaphor of a world that basically spent 15-20 years allocating all of our resources towards fighting a theoretical or relatively insignificant terror threat at the cost of everything else. Of course, the problem with telling that story is that the aliens do come back and the new weapons and technologies will presumably be put to use saving the Earth yet again, so it's tough to make the case that maybe we should have spent some money and some resources over the last fourteen years dealing with something other than theoretical international terrorism.

The same issue exists with the Marvel Cinematic Universe. No matter how self-critical the films want to get about the superheroes and their role in a civilized society and what have you, at the end of the day Thanos is going to come to town in Infinity War part I and thus in the end the presence of superheroes in all of their contradictions will automatically become at-worst a necessary evil. And, with the obvious caveat that I have not seen Captain America: Civil War, it is interesting that the Marvel arc is potentially tilting towards the kind of "America is a necessary evil in maintaining order and peace so why complain if they are a little sloppy when catching the bad guys?" arc parable that made up the moral backbone of Peter Berg's Hancock back in 2008.

But that's a lot of conversation about movies I have yet to see, and heck the narrative thrust of Independence Day: Resurgence may well have nothing to do with any of the subtexts I have discussed above. Although I certainly hope Emmerich and Devlin found something worth noshing on beyond just cashing in on generational nostalgia. After all, what was breathtaking in 1996 is now somewhat old hat in terms of big-screen spectacle. For what it's worth, and I'm hoping to do a deep dive on this come next June, I remain fond of and nostalgic for the original Independence Day precisely because it came during a time when the word "patriotism" wasn't a four-letter word wielded as a weapon by reactionary warmongers against those who prefer something more nuanced than biblical warfare.

The patriotism of ID4 was in celebration of America (and thus the world) as a place of countless cultures and ethnicities who triumphed precisely because they put aside their differences to work together. Five years later, the 9/11 attacks would occur and the words "patriot" and "nationalist" would forever be intermingled. Anyway, Independence Day: Resurgence opens June 24th, 2016 from 20th Century Fox. It stars Liam Hemsworth, Jeff Goldblum, Bill Pullman, Judd Hirsch, Vivica A. Fox, Brent Spiner, Charlotte Gainsbourg, Jessie Usher, Maika Monroe, Angelababy, William Fichtner, and Sela Ward. As always, we'll see.

Released in the summer of 1996 in time for the film Independence Day, this trailer uniquely demonstrates the benefits of THX and the discrete qualities of digital sound. The trailer and its title character, TEX, quickly became a favorite of moviegoers, garnering plenty of applause as well as plenty of press coverage, including an article in The New York Times. The trailer was created collaboratively with John Lasseter and his Pixar animation team (Toy Story) with sound design by Academy Award winning Gary Rydstrom. TEX is available as a single inventory print in all three digital sound formats.

Released in the summer of 1996 in time for the film "Independence Day," this trailer humorously demonstrates the discrete qualities of digital sound. The trailer and its title character, TEX, which quickly became a favorite of moviegoers, was created collaboratively with John Lasseter and his Pixar animation team ("Toy Story"), with sound design by Academy Award winner Gary Rydstrom. TEX is available as a single inventory print in all three digital sound formats.

Apparu pour la premire fois durant l't 1996 l'occasion de la sortie en salles du film "Independence Day", ce trailer a pour vocation de dmontrer les bnfices du procd THX appliqu aux formats multicanaux audio numriques.

Le personnage de TEX devint rapidement une icne trs apprcie des aficionados cinma qui rivalisaient d'applaudissements chacune de ses apparitions. Le brave robot atteint une telle cote de popularit qu'il fut par ailleurs le sujet de nombreux articles dans la presse amricaine, dont un publi dans le New York Times.

Derrire sa conception infographique se cache John Lasseter et les studios d'animation PIXAR qui l'on doit entre autre les clbres Toy Story 1 et 2, de mme que Bugs Life (1001 Pattes). Le mixage de la bande sonore fut pour sa part confi aux soins de Gary Rydstrom, ingnieur du son prodige dtenteur de nombreux Oscars.

Le trailer TEX est disponible dans les formats Dolby Digital, DTS et SDDS.

Notez que la version ici prsente est une variante parue en 1999 qui possde la particularit d'tre encode au format Dolby Surround EX.

The THX logo appears on screen as normal with the Deep Note from the THX Broadway DVD (Digitally Mastered) trailer, but the THX logo spontaneously breaks and falls down. The blue light turns on and Tex walks to the THX logo. Tex opens the door on the X, finds a jetpack, and flies towards the front of the camera, muttering "Oh George". Tex finds the tools, flies in between T and H, pushes the H, opens the door, and resumes the THX logo. Tex kicks the underscore of the THX logo and the door on the X closes. The slogan "The Audience is Listening" is seen.

While promoting Stargate in Europe, Emmerich conceived the film while answering a question about his belief in the existence of alien life. Devlin and Emmerich decided to incorporate a large-scale attack having noticed that aliens in most invasion films travel long distances in outer space only to remain hidden when reaching Earth. Shooting began on July 28, 1995, in New York City, and the film was completed on October 8, 1995.

Considered a significant turning point in the history of the Hollywood blockbuster, Independence Day was at the forefront of the large-scale disaster film and sci-fi resurgence of the mid-late 1990s. It was released worldwide on July 3, 1996, but began showing on July 2 (the same day the film's story begins) in original release as a result of a high level of anticipation among moviegoers. The film received mixed reviews, with praise for the performances, musical score and visual effects, but criticism for its characters. It grossed over $817.4 million worldwide,[2] becoming the highest-grossing film of 1996 and the second-highest-grossing film ever at the time, behind Jurassic Park (1993). The film won the Academy Award for Best Visual Effects and was nominated for the Academy Award for Best Sound.[4]

U.S. Marine Captain Steven Hiller and his unit, the Black Knights fighter squadron out of MCAS El Toro, are called back from Independence Day leave to defend Los Angeles; his girlfriend, Jasmine Dubrow, decides to flee the city with her son, Dylan. Retired combat pilot Russell Casse, now an alcoholic single father and crop duster, sees this as vindication of the alien abduction he has been claiming for 10 years.

In New York City, technician David Levinson decodes a signal embedded within global satellite transmissions, realizing it is the aliens' countdown for a coordinated attack. With help from his ex-wife, White House Communications Director Constance Spano, David and his father Julius reach the Oval Office and alert President Thomas Whitmore.

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