Hello and welcome to the unofficial Brian De Palma website.
Here is the latest news:

De Palma a la Mod

E-mail
Geoffsongs@aol.com

De Palma Discussion
Forum

-------------

Recent Headlines
a la Mod:

-De Palma attached
to The Truth and
Other Lies

-De Palma wants
Lights Out to be
M:I meets Wait
Until Dark

-40th anniversary
Carrie 2-disc Blu-ray
out Oct. 11th

-Shout's Raising Cain
Blu-ray to include
Gelderblom's Re-Cut
(Due Sept. 13)

Washington Post
review of Keesey book

-------------

Exclusive Passion
Interviews:

Brian De Palma
Karoline Herfurth
Leila Rozario

------------

AV Club Review
of Dumas book

------------

« February 2017 »
S M T W T F S
1 2 3 4
5 6 7 8 9 10 11
12 13 14 15 16 17 18
19 20 21 22 23 24 25
26 27 28

Interviews...

De Palma interviewed
in Paris 2002

De Palma discusses
The Black Dahlia 2006


Enthusiasms...

De Palma Community

The Virtuoso
of the 7th Art

The De Palma Touch

The Swan Archives

Carrie...A Fan's Site

Phantompalooza

No Harm In Charm

Paul Schrader

Alfred Hitchcock
The Master Of Suspense

Alfred Hitchcock Films

Snake Eyes
a la Mod

Mission To Mars
a la Mod

Sergio Leone
and the Infield
Fly Rule

Movie Mags

Directorama

The Filmmaker Who
Came In From The Cold

Jim Emerson on
Greetings & Hi, Mom!

Scarface: Make Way
For The Bad Guy

The Big Dive
(Blow Out)

Carrie: The Movie

Deborah Shelton
Official Web Site

The Phantom Project

Welcome to the
Offices of Death Records

The Carlito's Way
Fan Page

The House Next Door

Kubrick on the
Guillotine

FilmLand Empire

Astigmia Cinema

LOLA

Cultural Weekly

A Lonely Place

The Film Doctor

italkyoubored

Icebox Movies

Medfly Quarantine

Not Just Movies

Hope Lies at
24 Frames Per Second

Motion Pictures Comics

Diary of a
Country Cinephile

So Why This Movie?

Obsessive Movie Nerd

Nothing Is Written

Ferdy on Films

Cashiers De Cinema

This Recording

Mike's Movie Guide

Every '70s Movie

Dangerous Minds

EatSleepLiveFilm

No Time For
Love, Dr. Jones!

The former
De Palma a la Mod
site

Entries by Topic
A note about topics: Some blog posts have more than one topic, in which case only one main topic can be chosen to represent that post. This means that some topics may have been discussed in posts labeled otherwise. For instance, a post that discusses both The Boston Stranglers and The Demolished Man may only be labeled one or the other. Please keep this in mind as you navigate this list.
All topics  «
Ambrose Chapel
BAMcinématek
Bart De Palma
Beaune Thriller Fest
Becoming Visionary
Betty Buckley
Bill Pankow
Black Dahlia
Blow Out
Blue Afternoon
Body Double
Bonfire Of The Vanities
Books
Boston Stranglers
Bruce Springsteen
Cannes
Capone Rising
Carlito's Way
Carrie
Casualties Of War
Cinema Studies
Columbo - Shooting Script
Cop-Out
Cruising
Daft Punk
Dancing In The Dark
David Koepp
De Niro
De Palma & Donaggio
De Palma (doc)
De Palma Blog-A-Thon
De Palma Discussion
Demolished Man
Dionysus In '69
Dressed To Kill
Eric Schwab
Femme Fatale
Film Series
Fire
Frankie Goes To Hollywood
Fury, The
Get To Know Your Rabbit
Greetings
Happy Valley
Havana Film Fest
Heat
Hi, Mom!
Hitchcock
Home Movies
Inspired by De Palma
Iraq, etc.
Jerry Greenberg
Keith Gordon
Key Man, The
Lights Out
Lithgow
Magic Hour
Magnificent Seven
Mission To Mars
Mission: Impossible
Montreal World Film Fest
Morricone
Mr. Hughes
Murder a la Mod
Nancy Allen
Nazi Gold
NYFF
Obsession
Oliver Stone
Paranormal Activity 2
Parker
Parties & Premieres
Passion
Paul Hirsch
Paul Schrader
Pauline Kael
Phantom Of The Paradise
Pino Donaggio
Prince Of The City
Print The Legend
Raggedy Ann
Raising Cain
Red Shoes, The
Redacted
Responsive Eye
Retribution
Rie Rasmussen
Robert De Niro
Sakamoto
Scarface
Sean Penn
Sisters
Snake Eyes
Sound Mixer
Star Wars
Stepford Wives
Tabloid
Tarantino
Taxi Driver
Toronto Film Fest
Toyer
Travolta
Treasure Sierra Madre
Tru Blu
Truth And Other Lies
TV Appearances
Untitled Ashton Kutcher
Untouchables
Vilmos Zsigmond
Wedding Party
William Finley
Wise Guys
Woton's Wake
Blog Tools
Edit your Blog
Build a Blog
RSS Feed
View Profile
You are not logged in. Log in
Sunday, February 26, 2017
ARMOND WHITE ON JORDAN PEELE'S 'GET OUT'
"DOES NOT RANK WITH AMERICA'S NOTABLE RACE COMEDIES," AMONG THEM DE PALMA'S 'HI, MOM!'
I really enjoyed seeing Jordan Peele's uproarious Get Out in a packed theater a couple of weeks ago, and found it to be one of the more creative films I've seen in a while. National Review's Armond White is not a fan, and mentions Brian De Palma's Hi, Mom! a couple of times in his review, which is titled "Return of the Get-Whitey Movie"...
Get Out does not rank with America’s notable race comedies — Brian De Palma’s Hi, Mom!, Ossie Davis’s Gone Are the Days! (Purlie Victorious), Robert Downey Sr.’s Putney Swope, Melvin Van Peebles’s Sweet Sweetback, Hal Ashby’s The Landlord, Rusty Cundieff’s Fear of a Black Hat, Skin Game or any of the genre spoofs by the Wayans family, particularly the ingenious Little Man, or the recent Eddie Murphy films (The Klumps, Norbit, Meet Dave, A Thousand Words) that are so personal and ingenious, they transcend racial categorization.

But unlike Eddie Murphy, a masterful actor with a mature sense of humor, Peele fails because has not created credible characters. Chris and his ghetto friend Rod (Lil Rel Howery), who works for the TSA, are attitudes, not complex beings. The other blacks Chris encounters as servants on Rose’s family estate are no better than Trayvon Martin–type effigies — zombie-like when not sorrowful and tearful. Exploiting black people’s tears, paranoia, and pain without providing reflex is offensive — whereas the great “Be Black, Baby” sequence of Hi, Mom! caught audiences in their own racial prejudices and forced them to laugh. (Here, LaKeith Stanfield’s impersonation of comic Dave Chappelle’s still-puzzling neurosis is too alarming to laugh at.)

Peele’s self-congratulatory revenge humor has one particularly notable irony: It’s tailored to please the liberal status quo. His pace seems slow largely because the jokes are obvious: Bitch-goddess Rose trolls black sports websites in her bedroom, which is covered with basketball posters, recalling Scatman Crothers’s Afro erotica in The Shining. Chris even gets confined in a symmetrically furnished den with a 1960s TV console, Kubrick-style.

Once again, the 1960s serve as a race hustler’s vengeful reference point. But when the get-whitey genre was initiated in those blaxploitation movies made after the turmoil of that decade, artists from Melvin Van Peebles and Larry Cohen to Bill Gunn and Gordon Parks toyed with various genres to dramatize American social and economic circumstances. Black political consciousness was being realized on screen for the first time. Get Out is the recrudescence of Obama-era unconsciousness. Reducing racial politics to trite horror-comedy, it’s an Obama movie for Tarantino fans.


Posted by Geoff at 4:07 PM CST
Post Comment | Permalink | Share This Post
Saturday, February 25, 2017
'BLOW OUT' KICKS OFF 5-WEEK FILM/STYLE COURSE
SUNDAY, FEB 26, AT FILM STREAMS IN OMAHA; COURSE ALREADY FILLED TO CAPACITY
Brian De Palma's Blow Out will be the first of five films to be screened and discussed as part of a five-week course titled "Film/Style." The course, currently filled to capacity, will be taught by Diana Martinez at Film Streams in Omaha, Nebraska, every Sunday from February 26 to March 26. The course syllabus lists Blow Out as the film to be screened and discussed February 26 in terms of frames. Here is how the Film Streams site describes the course:
Film/Style is currently at capacity. To be added to the wait list or receive notifications about our next Courses offering (coming in Spring 2017!), please email Film Streams Education Director Diana Martinez.

Film Streams Courses is a new program of themed, multi-week seminars that will provide adults with an introduction to the tools of film analysis. Every participant will leave better equipped to analyze film aesthetics and examine the tremendously important role film plays in our culture.

Film/Style

Step in the vivid worlds of cinema’s most stylish films.

Instructor: Diana Martinez, Film Streams Education Director
Dates: Sundays, Feb 26 – Mar 26, 2017, 11am – 2pm

There is no art form more capable of provoking our senses than film. It can create fantastic places and expose the stark reality of life. Film/Style is an introduction to the aesthetic techniques employed by some of the most influential and challenging filmmakers in the medium’s history.

Film/Style will explore the complex interplay of mise-en-scène, cinematography, sound, and editing that shapes our viewing experience. An international tour of film aesthetics begins with a classic from Brian De Palma, and will conclude with a film by the great Chinese auteur Wong Kar-Wai, with films in between from Czechoslovakia, France, and Germany.

COURSE SYLLABUS
Frames: Blow Out 1981
Rhythm: Daisies 1968
Sound: Holy Motors 2012
Color: The Bitter Tears of Petra von Kant 1972
Texture: In the Mood for Love 2000

Cost: $125 General, $75 Film Streams Members, $100 Student/Teacher/Senior/Military Includes Course materials and snacks


Posted by Geoff at 11:53 PM CST
Updated: Saturday, February 25, 2017 11:56 PM CST
Post Comment | Permalink | Share This Post
Friday, February 24, 2017
'BLOW OUT' IS EMPIRE'S MASTERPIECE THIS MONTH

Posted by Geoff at 6:44 PM CST
Post Comment | Permalink | Share This Post
Thursday, February 23, 2017
DE PALMA DISCUSSES THE STEADICAM
"YOU SEE AN ABUNDANCE OF STEADICAM SHOTS THAT ARE COMPLETELY RIDICULOUS"
This is a couple of months old, but you'll recall (surely) that this past December, The Film Society of Lincoln Center presented a film series titled, "Going Steadi: 40 Years of Steadicam." Brian De Palma's Carlito's Way and Raising Cain were both included in the series.

Well, The New York Times' Ben Kenigsberg had a feature article about the film series in which he interviewed Steadicam inventor Garrett Brown, as well as De Palma, among others. Here's an excerpt:
Brian De Palma first used the Steadicam, with Mr. Brown as an operator, in “Blow Out” (1981) for the opening sequence, an elaborate horror movie parody in which a slasher attacks coeds. “Choreographing the shot, getting the psychopath to hold his knife up in front of the mirror at the right time — it was a kind of joyful evening,” Mr. De Palma said by telephone. He went on to use the Steadicam in many films, including “Raising Cain” and “Carlito’s Way,” showing in the Film Society series.

For Mr. Brown, who taught himself filmmaking, movies came after a folk-singing career (as part of the duo Brown & Dana) and a stint selling Volkswagens. He found himself working in commercials at a time when the only way to create smooth camera motion was to put the camera on a dolly, in a camera car or on a crane. He was pained by the unwieldy setup of a 12-pound camera on an 800-pound dolly.

“The sight of that pinheaded little camera on that huge dolly and the attendant difficulties of schlepping it around on pickup trucks and laying my paltry rails here and there outdoors really was so absurd,” Mr. Brown said. He wanted to isolate the camera from the motions of the person controlling it — the kind that cause hand-held shots to appear shaky.

The key ingredients were a gimbal, which came from Mr. Brown’s sailing experience; counterweights, to give the camera stability; an articulated arm — an idea he got from a motel desk lamp — attached to a harness that a camera operator could wear; and a way to see through the lens. He originally used a fiber-optic viewer intended for medical examinations.

In a sense, Mr. Brown had realized a dream of filmmakers and theorists who treasured camera motion; it’s hard not to wonder what Max Ophuls or André Bazin would have made of the Steadicam. “Abel Gance — he was fabulous at moving the camera,” Mr. Brown said, referring to the director of “Napoleon,” the 1927 silent classic. “He did extraordinary things, but he didn’t have this tool for stabilizing. I would have loved to have shown up on his set.”

In the earliest Steadicam movies, Mr. Brown operated the apparatus himself, and he continued to do so for three decades. Now, he said, Steadicam operators make expert shots for TV news broadcasts and from the sidelines of sports like football and soccer.

Robert Elswit, the cinematographer on two Paul Thomas Anderson movies in the Film Society series, “Boogie Nights” and “Magnolia,” considers the Steadicam essential. “To me, it’s not a specialty item,” he said. “It’s usually there all the time.” The results, he added, are sometimes “not even necessarily recognizable as a Steadicam shot. You just use it to get something done in a simple way.”

Mr. De Palma cautioned that the Steadicam is only a tool, a way of showing the viewer an environment. “You need a lot of sophisticated technicians to pull off a really good Steadicam shot, and that sort of comes with making movies in the studio system in Hollywood,” he said.

Digital cameras make it less complicated to light scenes, he noted, and the equipment weighs less, leading to what he sees as the Steadicam’s overuse. “You see an abundance of Steadicam shots that are completely ridiculous,” Mr. De Palma said. “God knows, in television, they do it all the time. People are always walking and talking and going around corners.”


Posted by Geoff at 11:58 PM CST
Updated: Friday, February 24, 2017 12:04 AM CST
Post Comment | Permalink | Share This Post
Wednesday, February 22, 2017
CINEMA CATS FIND KITTY CAMEOS IN 'THE FURY'

Posted by Geoff at 11:48 PM CST
Post Comment | Permalink | Share This Post
Sunday, February 19, 2017
'THE WALKING DEAD' HAS A WINSLOW
THAT, TO AT LEAST ONE VIEWER, IS OVERT REFERENCE TO 'PHANTOM OF THE PARADISE'
Joseph McCabe at Nerdist thinks that Winslow, the name of the walker on this week's episode of AMC's The Walking Dead, is "an obvious reference to the title character in Brian De Palma’s Phantom of the Paradise, a disfigured musician who wears a similar chrome dome." While the "obvious" here may in fact be coincidence, it is worth remembering that The Walking Dead is produced by De Palma's ex-wife, Gale Anne Hurd.

Posted by Geoff at 11:59 PM CST
Updated: Monday, February 20, 2017 12:08 AM CST
Post Comment | Permalink | Share This Post
Friday, February 17, 2017
AV CLUB LOOKS AT SPLIT SCREEN IN '500 DAYS'
MIKE D'ANGELO: "SPLIT SCREEN IS EMPLOYED SO INFREQUENTLY THAT I ASSOCIATE IT ALMOST EXCLUSIVELY WITH DE PALMA"
A.V. Club's Mike D'Angelo analyzes the split screen sequence in today's "Scenic Routes" column:
Resolved: Split screen is an underutilized cinematic device.

That’s how I would have phrased it back in my high-school debating days. Which seems appropriate, because—as was often the case with debate resolutions—I’m not 100 percent certain that I believe it, even though coming up with arguments that support it isn’t terribly difficult. For one thing, split screen is employed so infrequently that I associate it almost exclusively with Brian De Palma, who loves to construct elaborate, suspenseful set pieces that show two or more events unfolding simultaneously. And it’s easy to wonder, after being thrilled by one of De Palma’s dual orchestrations, why he’s long enjoyed a near-monopoly on this approach, which takes such striking advantage of the medium’s intrinsic qualities—that is, of the ability to manipulate time and/or space. I still haven’t seen Andy Warhol’s Chelsea Girls, which I believe is split screen from start to finish… but I have seen Forty Deuce, a 1982 drama directed by Warhol associate Paul Morrissey, in which, throughout the film’s very stagy second half, the frame constantly offers two separate angles of the same action, side by side. It’s mostly a distraction—as I said, I’m not entirely convinced of my own thesis here—but I’ve always sensed untapped potential in the idea.

My favorite recent use of split screen, though, involves the manipulation not of time or space, exactly, but of the protagonist’s consciousness. (500) Days Of Summer is a gimmicky movie in a lot of ways, starting with the parenthesis in its title; it has an omniscient narrator, jumps all over the place chronologically, and at one point sees its hero, played by Joseph Gordon-Levitt, perform an impromptu musical number, accompanied by dancing extras and animated birds. Most of this quirkiness can be filed under “cutesy,” and will either delight or irritate, according to taste. But the movie does have a more downbeat side, which comes most strongly to the fore during a brief sequence toward the end, when Gordon-Levitt’s Tom shows up at a party being thrown by ex-girlfriend Summer (Zooey Deschanel). Screenwriters Scott Neustadter and Michael H. Weber want to show us how what happens at the party deviates from what Tom imagined would happen, and either they or director Marc Webb decided to do so by splitting the frame down the middle, with “Expectations” on the left and “Reality” on the right...

...What finally makes this sequence so effective, though, is how credibly mundane both Expectation(s) and Reality are—a choice that the use of split screen enables. Had the two versions of the party been presented one after the other, it probably would have been necessary to exaggerate them slightly, in order to highlight the differences (especially since that almost surely would have meant discovering that the initial version is Tom’s fantasy only after the fact). Showing them simultaneously lets the viewer’s darting eyes, rather than memory, do all the work, allowing each side of the frame to be unremarkable in and of itself. Tom’s romantic expectation(s) of Summer on the left are entirely consistent with what we’ve seen of their relationship earlier in the movie, and real-life Summer on the right doesn’t ignore or belittle him. What we get is a vision of bland sweetness opposite the sort of friendly awkwardness and moderate avoidance that you’d expect of two people not long out of a failed relationship. Only when Tom sees that Summer has gotten engaged to someone else does the hammer truly fall… at which point the Reality half of the frame pushes the Expectation(s) half (in which Tom and Summer are making out) entirely offscreen. And only one Tom descends the stairs.


Posted by Geoff at 6:23 PM CST
Post Comment | Permalink | Share This Post
Wednesday, February 15, 2017
ALICE LOWE ON 'PREVENGE' INSPIRATIONS
GIALLO, ARGENTO, DE PALMA, KUBRICK, BRIGHT COLORS
Alice Lowe discusses her directorial debut, the horror comedy Prevenge, with iNews' Alex Watson, mentioning several of her horror influences:
The perpetually hard-working Lowe is no stranger to either the small or silver screens (you may remember her from Garth Marenghi’s Darkplace and Hot Fuzz) and has many writing credits in both TV comedy and film, but Prevenge is her directorial debut.

Part of Lowe’s accomplished start in this field comes from her strong grasp of what inspires her, both visually and atmospherically.

“I think there’s a mixture of lots of different influences in Prevenge. There’s a lot of Giallo horror, which is like Dario Argento’s work, and even Brian De Palma was quite inspired by that sort of Italian horror as well, with all the bright colours. Also, Kubrick.

“I wanted to use really bright colours, I didn’t want it to be pastel.”


Last October, Lowe talked to Entertainment Weekly's Clark Collis about De Palma's Carrie, mentioning color again:
Lowe is a huge horror movie fan, who is drawn to family-oriented terror tales with female protagonists, like Rosemary’s Baby or Brian De Palma’s 1976 Stephen King adaptation, Carrie, which stars Sissy Spacek as an unpopular high school student who develops telekinetic powers.

“I think everyone identifies with her character,” says the actress. “I really like the idea of an underdog character going through this transformation where they take power. I also think the reason it’s so rewatchable is, every time you watch it, you are hoping there’s a different ending, you’re really hoping that she just kisses the boy, and is the pageant queen, or whatever. It just doesn’t work that way. I think it’s unique. She is the killer but she has our sympathy. She is also a victim to her mother’s insanity. It’s like a female Psycho in some ways. I love Brian De Palma, I love color in film. That was one of the things that I really wanted to do with Prevenge, was make sure it was an assault of the sense, that it’s about color and vividness — rather than the passion at the moment for sort of grey-blue-black horror. That was, for me, the experience of pregnancy, that it’s kind of a vivid experience. It’s not at all about pastel pinks. It’s all about bright, intense experiences, and revulsions, and strange shifts in your emotions.”


Posted by Geoff at 11:58 PM CST
Post Comment | Permalink | Share This Post
Monday, February 13, 2017
TWEET - 'UNTOUCHABLES' A 'SWEET SERENADE'

Posted by Geoff at 8:10 AM CST
Updated: Monday, February 13, 2017 8:11 AM CST
Post Comment | Permalink | Share This Post
Friday, February 10, 2017
COEN BROS. WILL REWRITE 'SCARFACE' SCRIPT
THEY WILL NOT DIRECT; MACKENZIE & BERG POTENTIAL CHOICES; AUG 10 2018 RELEASE DATE
Universal really is ramping up its new Scarface remake. According to Deadline's Anthony D'Alessandro, the studio announced today that it has set a release date for the film: August 10, 2018. "The studio already had RSVP’ed the date under untitled event film," D'Alessandro states. "The Coen brothers are rewriting the script, the studio said. The siblings won’t direct. Several filmmakers are up for the job, notably Hell or High Water‘s David Mackenzie and Patriots’ Day’s Peter Berg."

In recent years, the Coens (Ethan Coen and Joel Coen) have been hired to polish scripts for Steven Spielberg and Angelina Jolie, among others. Last month, it was revealed that Rogue One-star Diego Luna was now attached to play the lead, with the most recent draft of the screenplay rewritten by Terence Winter.

Previously:

Fuqua drops out of Scarface remake; Diego Luna will play lead
Terence Winter to tackle Scarface script
The Scarface remake just got a lot less interesting
Scarface remake is Larraín's dream project
The Scarface remake just got a lot more interesting


Posted by Geoff at 5:47 PM CST
Post Comment | View Comments (3) | Permalink | Share This Post

Newer | Latest | Older