UK Quad / Double Sided (30" x 40")
UK / British
Near Mint minus / Originally Rolled (as issued)
George Dzundza, Jeanne Tripplehorn, Michael Douglas, Sharon Stone
“I’d have to be pretty stupid to write a book about killing and then kill him the way I described in my book. I’d be announcing myself as the killer. I’m not stupid.”
The draw of “Basic Instinct” is its over-the-top style and sex, the way the story forges ahead with gleeful abandon and is widely regarded as an expertly crafted guilty pleasure. One of the most talked about movie of the early 90’s. From Sharon Stone’s leg crossing interrogation scene to Michael Douglas’ green cashmere jumper in a disco. This rolled (as issued), UK Quad from 1992 features close-ups of Michael Douglas & Sharon Stone designed by Dan Chapman and Kevin Bachman. It presents to excellent condition and represents a fantastic piece of high quality cinematic movie memorabilia for a classic crime noir thriller.
Trivia: After the film’s release, someone called Sharon Stone‘s mother and asked her how she would feel about her daughter’s nudity in the film. Her mother said, “Frankly, I was much more concerned about her playing a sociopathic serial killer, but thank you for calling”.…more detail
Vintage Movie Posters Grading Criteria... read more +
“A former rock star, Johnny Boz, is brutally killed during sex, and the case is assigned to detective Nick Curran of the SFPD. During the investigation, Nick meets Catherine Tramell, a crime novelist who was Boz’s girlfriend when he died. Catherine proves to be a very clever and manipulative woman, and though Nick is more or less convinced that she murdered Boz, he is unable to find any evidence. Later, when Nilsen, Nick’s rival in the police, is killed, Nick suspects of Catherine’s involvement in it. He then starts to play a dangerous lust-filled mind game with Catherine to nail her, but as their relationship progresses, the body count rises and contradicting evidences force Nick to start questioning his own suspicions about Catherine’s guilt.”
Despite being built around the most ‘basic’ of plots, erotic thriller “Basic Instinct” remains director Paul Verhoeven‘s biggest commercial success, being one of the highest grossing titles of 1992. Unperturbed by the protestations of gay activists and uptight censor-happy moralists, who objected to the film’s provocative cocktail of graphic sex and violence and its portrayal of bisexuals as crazed killers, the general public flocked to the cinema to revel in Verhoeven’s heady concoction of wanton lust and cold-blooded violence.
Written by Joe Eszterhas, the script is slick Hollywood nonsense, a flashy, trashy, twisting, turning tale clearly inspired by Hitchcock and the film-noir genre. Frequently teetering on the brink of preposterousness, its is precisely the kind of far-fetched nonsense that only a true maverick like Verhoeven could do justice to—and boy, does he pull out all the stops.
The film follows troubled detective Nick Curran (Michael Douglas) as he investigates the murder, stupidly becoming involved with his prime suspect, scorching hot, super intelligent, highly manipulative crime novelist Catherine Tramell (Sharon Stone), who may or may not be lining him up as her latest victim
Never one to do things by halves, the Dutch director opens his film as he means to go on, with a brutal murder that takes place during intercourse, a physically flawless blonde viciously stabbing her lover to death with an ice-pick. Scorching sex combined with gut churning nastiness, it’s a real shocker and a clear indicator that this is to be no run-of-the-mill Hollywood thriller.
A poster that has never been used or displayed and may show the most minor signs of age and wear. The poster should have no holes or tears.
A generally unused poster with fresh, saturated colors. May have minimal tears at folds. Has no significant holes, no paper loss, may have minor tears along edges, may have fine pin holes.
A poster with bright colour and crisp overall appearance. It may have very general signs of use including slight fold separation and fold wear. It may have pin holes or very minor tears. This is the highest grade allowed for a poster that has been restored either on linen or on paper.
A poster with good colors and overall clean appearance. It may have minor tears small paper loss and minor stains. It may have some fold seperation.
An average poster with overall fresh color. May have tears, minor paper loss, minor hazing. Paper may be brittle due to age, may have minor stains. May have a small amount of writing in an unobtrusive place. May have medium or major restoration.
A poster with faded colors and brittle paper, showing significant signs of use. May have tears and paper loss. May have tape, writing, stains in image area. In need of restoration or had major restoration.
A poster that is worn, torn, and/or damaged. May have staining, cracking, dry rot, and/or large tears. May be heavily soiled, may have pieces missing. In need of major restoration.
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11 x 14″ printed on heavy stock paper. Used as display in theatre lobbies. Originally made in sets of eight. Some sets have a title card, which contains credits and artwork, essentially a mini-poster. The remaining seven cards are coloured photographic credits and poster artwork showing different scenes from the movie.
14 x 22″ printed on heavy stock paper with the top 4-6 inches usually left blank for the local cinema owner to fill in the cinema and the date it was due to play. Largely discontinued during the 1970’s.
22 x 28″ printed on heavy stock paper. The image displayed is normally a smaller version of the main poster, although some do have different artworks and sometimes come in two versions.
14 x 36″ printed on heavy stock paper. Inserts usually have the same artwork as a one sheet. Popular with collectors since they are smaller and easier to frame. Normally come tri folded or rolled.
STYLE Y/FORTY BY SIXTY
40 x 60″ printed on heavy stock paper. Rare since they were primarily used for major motion pictures only. Designed to be used outside the theatre, on an easel, normally at a drive-in movie theatre.
27 x 41″ printed on paper. This is the most common size of poster, intended to be displayed in a glass “marquee” case. It is the most sought after size by collectors. Since the 1980’s most posters are sent to the theatre rolled and maybe slightly smaller measuring 27″ by 40″ and with the advent of backlit light boxes a growing number of modern movie posters are available double-sided and the more traditional single-sided.
41 x 81″ printed on paper. These were printed on two or three separate sheets designed to overlap, few survive. Used for larger advertising spaces, normally posted on walls, perfect for huge movie theatres the drive-in, where people could see them from a distance. From the 1970’s on, three-sheets were sometimes printed in one piece and issued as “international” versions to be used abroad.
30 x 40″ Most common poster size used in the UK. British Quads are horizontal and may have different artwork to the US one sheet. Like a US one sheet they normally come in two versions. Like a US one sheet they are usually supplied single-sided or more commonly now as a double sided poster.
27 X 40″, printed on paper. Very rarely used size.
13 x 28″ six inches shorter than the US insert, very nice size to frame. Italian poster illustrators are some of the best in the industry.
18 x 26″ Glossy, high quality, used as lobby cards in Italy. Size may vary, either vertical or horizontal format. There are also double Photobusta or mini Photobusta.
(DUE): 39 x 55″ This is the standard poster size used in Italy. Italian poster illustrators are some of the best in the industry.
(QUATTRO) 55 x 79″ Very large Italian poster printed in two pieces, often contains very beautiful artwork.
47 x 63″ (GRANDE) or 24 x 33″ (PETITE) French movie posters normally come with different artwork to either the US or the UK. Like the Italian’s some of the artwork is extrememly beautiful.