Q&A AT SAN FRANCISCO SCREENING LEADS TO DE PALMA QUESTION
De Palma a la Mod reader Chris Baker attended a screening of Edgar Wright's "Blood and Ice Cream Trilogy" (Shaun Of The Dead, Hot Fuzz, The World's End) last Monday in San Francisco. Wright was on hand with the stars of the trilogy, Simon Pegg and Nick Frost. Chris tells us that in the post-screening Q&A, "someone asked a question which (paraphrased) was 'Given all the drinking in this film, I'm wondering what each of your favorite hangover remedies is? Also: I saw on Criterion.com where Blow Out was number one in your Top Ten list, and I'm wondering if you would ever do a film similar to one of De Palma's?'"
Wright (amused): "OK well really those are two very different questions"
Pegg": "Actually, my favorite hangover remedy is De Palma films"
Wright: "Scarface at full volume is my favorite hangover cure!"
As Chris tells it, "Wright then said that in fact his list to Criterion had been alphabetical and he didn't realize that numbers would be assigned. He said that he did love the film though, as well as others of De Palma's: saying he loved Carrie also, but that his favorite was probably Phantom Of The Paradise. He finished by saying that yes sometime he would like to do a 'straight thriller, or horror film'."
'BABY DRIVER' & SOMETHING CLOSE TO SILENT MOVIES
As he was making the rounds three years ago for Scott Pilgrim vs. The World (which was partially under the influence of De Palma's Phantom Of The Paradise), Wright talked to The Playlist's Kevin Jagernauth about a screenplay he was working on called Baby Driver that had a strong De Palma influence: "Well, it’s something I’ve been meaning to write for ages. I really planned to recharge my batteries and get back into writing. I’m excited about doing something that’s almost purely visual, because I’ve done three films—and even though Scott Pilgrim is very visual, it’s very dialogue heavy as well, which is great. And music heavy. Yeah. I think I’d like to try something—I’m a big Brian De Palma fan, and I’ll sit and look at something like Carrie, and I like the fact that it starts to play out like a silent movie. There’s a point in Carrie in the last half hour where there’s no need for any more dialogue because the plot is in motion. Or something like [Jean-Pierre Melville's] Le Samourai, I look at something like that and think, wow, there’s hardly any dialogue in this film. Something like that can be enjoyed around the world. I’d really like the challenge of doing something where the dialogue is really stripped back and it’s all about the cinema."
(Thanks to Chris!)