ESCAPE FROM LA (1996) Movie Poster Double Sided Mini, Kurt Russell
Size Mini Poster (9"x12" or 11"x17" or 13"x20")
ESCAPE FROM LA (1996) Movie Poster Double Sided Mini Poster – Kurt Russell, Stacy Keach, Steve Buscemi, Directed by John Carpenter is in Very Fine Condition. Movie Poster and Condition....
ESCAPE FROM LA (1996) Movie Poster Double Sided Mini Poster – Kurt Russell, Stacy Keach, Steve Buscemi, Directed by John Carpenter is in Very Fine Condition.
Movie Poster and Condition.
Condition: This original, unrestored Double Sided Mini Daybill Movie Poster measuring 13.5" x 20" with the title "Snake is Back", presents in Very Fine condition with some edgewear on both the left and right hand side and small crumpling on the top right hand side.
This authentic Escape From LA (1996) double sided mini Daybill movie poster is a genuine cinema-issued promotional item from the film’s theatrical release. The striking tagline "Snake is Back" references the return of the iconic anti-hero Snake Plissken and makes this a particularly desirable piece for collectors of cult action movie memorabilia. Double sided posters were typically produced for cinema lightboxes, allowing the artwork to be illuminated from behind, which enhances the bold colours and dramatic imagery associated with the film’s marketing campaign. While the individual poster artist for this design is not widely credited, the artwork reflects the gritty dystopian style that became synonymous with John Carpenter’s action and science-fiction films. A fantastic display piece for fans of Kurt Russell, John Carpenter, and classic 1990s sci-fi action cinema.
Movie Synopsis
Escape from LA (1996) is a cult science-fiction action film directed by legendary filmmaker John Carpenter. Serving as the long-awaited sequel to the 1981 classic Escape from New York, the movie marks the return of one of cinema’s most iconic anti-heroes, Snake Plissken, once again played by Kurt Russell. Combining dark humour, dystopian world-building and explosive action sequences, the film expands Carpenter’s vision of a future America transformed by political extremism and social collapse.
Set in the near future of 2013, the United States has become an ultra-conservative theocracy ruled by a powerful president portrayed by Cliff Robertson. In this alternate timeline, a massive earthquake has physically separated Los Angeles from the mainland, turning it into a lawless island used as a dumping ground for society’s undesirables. Criminals, rebels and outcasts are deported to the island, where they must fend for themselves in a chaotic urban wasteland.
When the President’s rebellious daughter, Utopia, played by A. J. Langer, steals a powerful remote control device capable of triggering devastating satellite weapons, she escapes to the anarchic streets of Los Angeles. The government turns to the only man capable of retrieving it: the infamous outlaw and former soldier Snake Plissken. As with his previous mission, Snake is forced into the assignment under threat of death, giving him only a limited time to infiltrate the island, locate the device and return it to the authorities.
Once inside Los Angeles, Snake encounters a colourful cast of characters including the eccentric tour guide Map to the Stars Eddie, played by Steve Buscemi, and the intimidating revolutionary leader Cuervo Jones, portrayed by Georges Corraface. Along the way he also crosses paths with a former associate, played by Stacy Keach, who has reinvented himself as a flamboyant plastic-surgery obsessed figure ruling part of the ruined city.
The film features numerous over-the-top action sequences including high-speed chases, gladiatorial-style combat and daring escapes through the devastated landmarks of Los Angeles. Carpenter intentionally leaned into a satirical tone, using the exaggerated dystopian setting to critique politics, media culture and celebrity obsession. The movie’s visual effects, created during the early days of digital filmmaking, give the film a distinctive 1990s science-fiction aesthetic.
One interesting production fact is that Kurt Russell collaborated closely with John Carpenter on the screenplay, helping shape the character of Snake Plissken and the film’s darkly humorous tone. Russell’s portrayal of the eye-patched anti-hero remains one of the most memorable characters in action cinema, cementing Snake Plissken as a lasting figure in cult movie history.
Today, Escape from LA enjoys a strong following among fans of John Carpenter films, dystopian science-fiction, and 1990s action movies. Posters and cinema memorabilia from the film are highly sought after by collectors, particularly items featuring the iconic "Snake is Back" marketing campaign that celebrated the return of one of film’s most rebellious heroes.
To find out more about Escape from LA (1996) click here to go to IMDB.com.
Special Notes.
Images may have a small 'MPA' digital watermark and this does not appear on the poster. Posters are being held by magnets in the corners to take photographs, so you may see some magnet and shadows from the magnets in these areas. The magnets are not included in the sale of the item.
Postage, Insurance & Your Country Taxes
Postage costs are quoted for this item, include insurance up to AUD$100, but if you reside outside of Australia, the price does not include any import taxes/fees that you may be required to pay when the item reaches your borders. Please check with your local authorities for any additional taxes or fees. If you would like full insurance coverage for your purchase, please message me and I would be happy to quote the additional cost (estimate is AUD$2.50 p/AUD$100 or 2.5% of the item value, up to a maximum item value of AUD$5,000).
FAQ
At Movie Posters Australia, the love and conservation of movie posters comes first, and we like to share this passion. Our commitment to quality means we will provide high quality memorabilia to our customers. Posters are carefully chosen and authenticated to ensure originality and value. We want our customers to trust MPA, so we always try to be as open and transparent as we can, provide detailed condition information and images, to ensure customers are comfortable and confident in their purchase.
While the industry does have a few condition rating standards, there is no movie poster condition rating system that has become the accepted standard world wide. This unfortunately makes condition terms vary from movie poster dealer to movie poster dealer. Terms like Mint, Near Mint, Very Fine, Fine, Very Good, Good, Fair, Poor, seem to be universal to most condition rating standards, but most standards still lack definition about what and how many flaws/defects/damage defines a specific condition level. For more information on how Movie Posters Australia grades the condition of its movie posters, daybills, lobby cards and other ephemera please see out Movie Poster Condition and Grading page.
In the early days of cinema, posters were primarily hand-drawn and printed in various sizes, often tailored to fit the available space in theaters or promotional areas. In the United States, the "One Sheet" size (some times called '1 Sheet' or '1SH' approximately 27" x 41", became the standard during the 1930s. This size was manageable for theater display and suited the needs of a growing film industry.
Different countries developed their own poster sizes and styles, which also changed sometimes over the decades, and were influenced by local preferences and practical considerations, like available paper sheet sizes and how many posters could be printed on one sheet.
In Australia, the most popular size, the Daybill, has evolved over the decades. Australian Daybills sizes in chronological order are:
- Long Daybills (15" x 40"), from 1920's to pre-WW2 or pre-1941, were printed two to a sheet, longer than current Daybill versions. There were size variances in width from 14.5" to 15" and in height from 39.5" to 40".
- War Time Daybill (10" x 30"), during WW2, for a short time to conserve paper during a war time shortage, four Daybills were printed on one sheet. Information from Press Sheets also referred to these War-Time sizes as "New Size Daybills".
- Post-War Daybill (13" x 30"), this 13" x 30" Post-War size carried through until the 1980's, but also varied in size from 13"-14" x 29.75"-30.25".
- Post-80's Daybill (33cm x 66cm, or 13" x 26"), over a few years in the late 80's, the size changed again to a metric 33cm x 66cm, although these have also varied from 32-33cm x 64.5-66cm. New sizes from the late 80's were created, sometimes called a Mini Daybill or Mini Poster, in 9" x 12", 11" x 17" and 13" x 20".
In the UK, the somewhat unique 'Quad' poster, measuring 30" x 40", became popular, offering a larger landscape format that allowed for more elaborate designs.
In Japan, movie poster sizes were smaller, such as the "B2" (20" x 28"), which suited the more compact living environment of larger cities, smaller advertising spaces, and unique aesthetic sensibilities.
The 1970s and 1980s, witnessed the rise of the "six-sheet" (81" x 81") format, reflecting a trend towards larger and more visually impactful advertising.
Overall, the variation in movie poster sizes across different countries and decades highlights the interplay between technological printing advancements, paper resource availability, paper sheet size changes, cultural preferences, and the evolving nature of movie marketing.
At Movie Posters Australia we tag each poster we sell with a 'size' and 'condition' description at the very top of the page for our customers to easily see. There may however be some slight variations to sizes by up one inch due to variations in production and guillotine methods by printers over the decades.