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Friday, November 2, 2012
MORE FROM DE PALMA ON 'PASSION'
SPOILERS ABOUND THIS TIME AROUND
Flickering Myth's Trevor Hogg posted a second batch of quotes from Brian De Palma spoken during a group chat at the Toronto International Film Festival (Hogg's first batch was posted last week). This latest batch includes quite a bit of spoilers about Passion, as De Palma was presumably chatting with people he believed had just seen the film at the festival. I won't share the spoilerific parts (you can read the source post for those), but here is an excerpt that goes from more discussion about De Palma's Inception riff, to De Palma's description of some of Pino Donaggio's music cues from the film, and then to the blond/brunette/redhead aspects of the main characters:
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As for the origins of the Internet ad that triggers the lethal rivalry between the characters portrayed by Rachel McAdams and Noomi Rapace, Brian De Palma reveals, “At one point I had this incredibly complicated commercial based on Inception with three dreams on top of each other, they finally get to the vault and there’s the phone. It was elaborate and some of my director friends looked at this and said, ‘Come on! Get rid of that Inception thing. Do something else.’ I said, ‘I love this Inception thing.’ I was looking on the Internet seeing what they were doing with phone commercials. I stumbled across this thing which these two girls [created]. It’s almost exactly what they did. They walked around L.A. with people looking and the commercial went viral. We discovered later they were two advertising executives.”

In regards to the film score provided by frequent collaborator music composer Pino Donaggio, De Palma notes, “The cues are specific. In the beginning it is go to work music. Then it is the erotic music. Danni [Karoline Herfurth] is in love with her boss [Noomi Rapace] who won’t go out to dinner with her. Danni is hurt as she looks out the window. There is the lyrical sad music when Noomi gets humiliated. It is a simple piano thing as she stumbles down the hallways, drops everything, and goes into the elevator and her car. Then we have the dream music which is this strange obsessive odd stuff and we have the dream music in the end which is emotional and climatic. With Pino, I worked on temp tracks for each of the cues. I changed them. As he composed something I said, ‘No. It’s not right. Maybe I’m giving you the wrong direction.’ I’ll try something else until we came to something that seemed to work for the particular section of the film. One of the most difficult things was Noomi’s breakdown because I used the opening of Contempt; there is nothing more beautiful than that.”

There was nothing thematic or archetypal about having a blonde, a brunette and a redhead on the big screen. “Rachel came with her blonde hair,” recalls Brian De Palma. “Noomi decided we should go with the black look for her because she creates everything in her brain and is not concerned with what’s around her. Rachel is the politician, the wheeler and dealer. Noomi is constantly thinking and trying to get ideas. Danni is the beloved assistant who is in love with her boss. I saw Karoline [Herfurth] in Tom Tykwer’s Perfume; she had this great red hair and I said, ‘Lets keep it red.’” The American helmer kept in the mind the genre of the tale. “This is a murder mystery. The characters have certain aspects but they have to fit in to the architecture of the murder mystery. In this movie everybody seems to be in love with Noomi, a very mysterious girl.”


Posted by Geoff at 11:49 PM CDT
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