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

De Palma a la Mod


De Palma Discussion


Washington Post
review of Keesey book


Exclusive Passion

Brian De Palma
Karoline Herfurth
Leila Rozario


AV Club Review
of Dumas book

Recent Headlines
a la Mod:

-Must-See Video:
One Way Or De Palma

-De Palma to receive
Filmmaker Award
at Venice, Sept. 9

-De Palma doc
and Blow Out
to screen at NYFF
September 30th

« November 2011 »
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 29 30


De Palma interviewed
in Paris 2002

De Palma discusses
The Black Dahlia 2006


De Palma Community

The Virtuoso
of the 7th Art

The De Palma Touch

The Swan Archives

Carrie...A Fan's Site


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


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

FilmLand Empire

Astigmia Cinema


Cultural Weekly

A Lonely Place

The Film Doctor


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


No Time For
Love, Dr. Jones!

The former
De Palma a la Mod

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 ал
Ambrose Chapel
Bart De Palma
Becoming Visionary
Betty Buckley
Bill Pankow
Black Dahlia
Blow Out
Blue Afternoon
Body Double
Bonfire Of The Vanities
Boston Stranglers
Bruce Springsteen
Capone Rising
Carlito's Way
Casualties Of War
Columbo - Shooting Script
Daft Punk
Dancing In The Dark
David Koepp
De Niro
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
Frankie Goes To Hollywood
Fury, The
Get To Know Your Rabbit
Happy Valley
Hi, Mom!
Home Movies
Inspired by De Palma
Iraq, etc.
Jerry Greenberg
Keith Gordon
Key Man, The
Magic Hour
Mission To Mars
Mission: Impossible
Montreal World Film Fest
Mr. Hughes
Murder a la Mod
Nancy Allen
Nazi Gold
Oliver Stone
Paranormal Activity 2
Parties & Premieres
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
Responsive Eye
Rie Rasmussen
Robert De Niro
Sean Penn
Snake Eyes
Sound Mixer
Star Wars
Stepford Wives
Toronto Film Fest
Treasure Sierra Madre
Tru Blu
TV Appearances
Untitled Ashton Kutcher
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, November 6, 2011
Mark Isham had a very interesting conversation with Broadway World's Pat Cerasaro, in which the composer discussed, among other projects, his work on Brian De Palma's The Black Dahlia. While there was a version of The Black Dahlia screened for test audiences in early 2006 that was longer than the final released film, Isham seems pretty certain there was no overt studio involvement that specifically led to the shorter version. Instead, he speculates that producer Art Linson may have simply discussed with De Palma trimming the almost three-hour cut down to two hours. Isham also relates how he initially mis-guessed what kind of music De Palma would want for The Black Dahlia. Here is the section of the interview pertaining to that film:

PC: What was it like working with Brian De Palma on THE BLACK DAHLIA? Was it cumbersome to come in already knowing his amazing legacy of great scores for his films - particularly those by Pino Donaggio and Ennio Morricone? His film’s scores are always so specific.

MI: Well, he was a gentlemen about it, too. I think that I had sent him some music early on for that and he didn’t respond to it, and, so, I called the producer and I said, “Look, I would really love to do this movie. What is he looking for?” And the producer sent me over some pieces they were using for the temp-score and I realized that I had completely mis-guessed on how he wanted to score this thing.

PC: Oh, really?

MI: Yeah, so I re-sent him some music and he called me immediately and said, “This is what I am looking for!” So, I think we started off right on the right foot because, once I knew what he was looking for, I duplicated it and presented it to him immediately and he said, “That’s perfect.” So, we went in with a high degree of mutual respect and delight and willingness in doing this together. He was just great. Like you say, he is very specific and when he says, “That’s good,” then, you know you are doing great. [Laughs.]

PC: And if you are not?

MI: “Don’t do that! That’s terrible!” - then you know you have to rewrite it. [Laughs.]

PC: That film was plagued with behind-the-scenes shenanigans and I know there was originally a much, much longer original cut, so how did you deal with that? Did you score that version or only the version that eventually was released? Have you ever gone to an opening night and half your score was missing?

MI: [Laughs.] Actually, I have - but, not on that picture! From the time that we started scoring it, it was pretty much as it came out. I believe that the studio actually stayed out of that and I think what a lot of it was about was that he was working with Art Linson - who produced THE UNTOUCHABLES and they have a long, long history - and, I think Art is one of the few who can say, “Brian, you can’t have a 3-hour movie,” [Laughs.] and Brian will actually respect that.

PC: How interesting.

MI: I think they had already gone through the process of editing it down. Art actually came to me at one point and said, “Look, there are still a couple of things that I think Brian needs to change - but, I think Brian and I have sort of had as much of a discussion as we are going to have, so why don’t you see what you can do to help these areas?” And, then, I think there were a few picture-trims at that point - but, pretty much, I worked on it when it was the final film and not much changed.

PC: There are some thrilling music cues - especially the opening scene with Josh Hartnett and, later, the Fiona Shaw mad scene.

MI: Yeah. Yeah. Yeah.

PC: Were you influenced by Jerry Goldsmith’s CHINATOWN score?

MI: Oh, yes - of course. I love that score and know it very well.

Editor Bill Pankow has described how he had to edit down the k.d. lang song and floor show in the lesbian night club from five minutes to one minute, so it does seem there was at least the potential for some trimming even after Isham had completed his score. Pankow showed the uncut version of the scene to a master class in 2007, describing how he managed to get it down to one minute. Perhaps one day, we will get a cut of the film that is a bit longer...

Posted by Geoff at 11:59 PM CST
Updated: Monday, November 7, 2011 11:32 PM CST
Post Comment | View Comments (3) | Permalink | Share This Post

Monday, November 7, 2011 - 4:49 PM CST

Name: "Harry Georgatos"

THE BLACK DAHLIA needed to be a big budget exploitation flick like SCARFACE. People who read the novel had a specific movie in mind and De Palma's version was not that interpretation. One can't help but think De Palma was holding back his punches with this film. Knowing there was intially a 3 hour version of this film with 60 minutes deleted for a 2 version has me thinking that a more substantial film could have eventuated. Maybe one day the unrated 3 hour version may find itself on blu-ray.

Monday, November 7, 2011 - 7:52 PM CST

Name: "Ted"

On the IMDB board for "Black Dahlia" the posters talk about getting a petition together to have the three-hour version released on DVD. Could Criterion be enticed to get on the job? I really hope it does someday see the light of day, and doesn't go the way of "The Magnificent Ambersons." As it is, I think this is one of his worst films, but it sounds like it was butchered. I would love to see the Director's cut, which was the version that Ellroy praised. I think he might have even called it a masterpiece. After the theatrical version was released, he said in effect that he wouldn't say anything bad about the film.

Tuesday, November 8, 2011 - 5:17 AM CST

Name: "anonymous"

My favourite DePalma in 20 years, film noir at it's best. And Isham's score rocks!

View Latest Entries