Hello and welcome to the unofficial Brian De Palma website.
Here is the latest news:
his recent films:
"What I was
trying to do with
those films was to
make three student
films in order to
try and set a new
trajectory and try to
say, 'Well, what
happens if I have no
resources?' Now, having
done that, my new
work is going to be
much more ambitious
and bigger in scope and
budget and ambition,
but now building on a
new confidence or
assurance. The three
little films were very
useful. I'm glad I did
it. I hope George Lucas
does it, because he
has a wonderful personal
filmmaking ability that
people haven't seen
for a while."
a la Mod:
i am deeply frustrated that I cannot be with you tonight at my favourite theater showing my good old red hot riding hood baby. That is in particular as i am going to be in town just a few days from now. But i’ll see you at some of the other screening of Mr. Wright’s great choices later this week. Definitely not going to miss The Warriors and Thunderbolt and lightfoot. both Walter Hill and Michael Cimino have been heroes of my youth and it’s not difficult to find their traces in the movie you’re about to watch. And speaking of Mr. Brian De Palma who Edgar also salutes in this series with his super classic Dressed To Kill. Any split screen or slow motion use you’re gonna encounter in the next 80 minutesL thank you Brian, master of the universe of playfully dark sexy stylish and terrifying motion pictures.
Meanwhile – enjoy the other thing i hate to miss tonight: master of ceremony edgar wright’s introduction into: run lola run! yours, tt
Incidentally, Run Lola Run is a film De Palma himself was very impressed with when it was released back in 1998.
In the 2010 TIFF official description of Crime d'amour, Piers Handling wrote:Imagine Dangerous Liaisons crossed with Working Girl and you are well on your way to the core of Crime d’amour. Alain Corneau’s latest film is a remorseless tale of office politics played out by two ruthless executives, deliciously portrayed by the superb Kristin Scott Thomas and Ludivine Sagnier. With ambition and jealousy oozing from their pores, they achieve the magnificent feat of eating up the scenery while delivering highly understated performances as competitive colleagues who become bitter enemies. Corneau’s script is so tight it squeaks, with precise, propulsive scenes that are bitingly sharp and cut to the quick. No asides, no longueurs. This is a masterclass in filmmaking.
Isabelle (Sagnier) is the young ingénue assistant, while Christine (Scott Thomas) is the older woman, a senior executive in a multinational company doing deals around the world. At first they are friendly. Christine, the able executive, is happy to pass the grunt work along to the up-and-coming Isabelle as she learns the ropes. But when Christine starts to take credit for Isabelle’s ideas, and a fellow worker bee begins to fuel Isabelle’s growing doubts about Christine’s duplicitous “all-for-one” attitude, the ground is prepared for all out war. And all out war certainly ensues.
Corneau keeps his explosive material under such fine control that he seduces us into going along for the ride as the devilishly complex plotting, full of surprising twists and turns, unfolds before our eyes. Filling out this mischievous entertainment is a supporting cast of men-on-the-make – from American executives who fly in to approve deals to the police and lawyers who swoop in when things start to go south. Corneau and his cast deliver an immensely enjoyable and delightfully devastating take on the corporate world.
Ben Said said he was willing to discuss financing with a Hollywood studio, but thought it more likely he would produce English-language European movies with top-notch American directors without recourse to U.S. finance.
"As with Roman Polanski's 'God of Carnage,' we can use a European film model and all its support systems, set up co-productions and find the money to make it," said Ben Said. "Movies of this kind are very difficult to make today in the U.S. because the U.S. doesn't have co-productions and the studios are not interested in making them."
"Carnage" has sold worldwide except for the U.S. and Japan.
Crime d'amour has been described by some American critics as Dangerous Liaisons meets Working Girl.
McLaughlin shares screenwriting credit for Black Swan with Mark Heyman and Andrés Heinz. McLaughlin was the one who initially moved the story from its original Off-Broadway setting, bringing it into the world of ballet. McLaughlin has also adapted Stephen Rebello's book, Alfred Hitchcock And The Making Of Psycho, into a screenplay that was at one point heading into production under the direction of Ryan Murphy, and starring Anthony Hopkins as Hitchock. However, Steven Zeitchik at the Los Angeles Times reported on Wednesday that Sacha Gervasi (Anvil! The Story of Anvil) is now in talks to take over that project.
For more information on the Parker character, visit The Violent World of Parker.
Frenzy had a mixed reception when first released as some were disappointed that Hitch finally showed in graphic detail what he had only hinted at before. I say this ruthless atmosphere only strengthens this grimly funny tale of a man wrongly accused of being a serial killer. As a Brit myself, I personally love the early 70’s grubbiness of the tale, murder among the fruit stalls and potatoes. Lovely!
Dressed To Kill opens with a dream sequence, but the nightmare never ends. De Palma conjures a dark cloud of doom over his ensemble and creates opera from terror. The technique in this film is absolutely incredible, one of those movies that is a mini film school in itself.
And a special bonus that Saturday (Jan. 22) at midnight: Wright will be on hand to present a screening of Tom Tykwer's Run Lola Run. Here's what he wrote about that one:
Tom Tykwer's Run Lola Run is the kind of movie I wish I’d directed; there’s such a joyful explosion of ideas and techniques, such great momentum and perpetual motion. When I first saw this it made me want to direct another movie more than ever, I remember dragging friends to see it, including Simon Pegg & Jessica Hynes. Indeed it had an influence on my favorite Spaced episode Gone (2.5). It will be great to see this again with a crowd, it’s like a great party mixtape of a movie.