Hello and welcome to the unofficial Brian De Palma website.
Here is the latest news:
to direct remake
says she's the "perfect
choice" to direct
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 wrote a comment on Ferguson's blog to say that this sequence in Kill Bill Vol. 1 always seems to give me a tinge of De Palma's Dressed To Kill in the mix, as well, especially regarding the scene in the latter where Bobbi kills the nurse and steals her clothes. Something about the fetishistic aspect of Tarantino's shots touches on this. In any case, Robert Grigsby Wilson was recruited by Ferguson to complete the study on Kill Bill, and you can watch that one below.* (And speaking of Carrie, I think one can make a case for that De Palma film being included in the mash-up of the scene in Kill Bill Vol. 2 where the Bride (Uma Thurman) punches her fist from the grave.)
*(Again, I can't get the embed code to work, so click the link below to watch the Kill Bill remix.)
Last June, Carson Reeves at ScriptShadow reviewed the screenplay by Koepp and John Kamps, and was pleasantly surprised by what he initially expected to be an "old hat" premise. "I didn’t expect to like this," wrote Reeves. "Mainly because I thought bike messengers were extinct once the internet hit. It just seemed like old hat to me. But it turns out it actually has the opposite effect. The zipping and zapping through New York City felt fresh and alive, different from anything I’d recently read or seen." Reeves said that the best part of the script was "bike-o-vision. Yeah, you heard that right," Reeves continued. "Koepp and Kamps have created their own Matrix-style stop-motion technique. When Wilee’s zipping through the streets and gets into a tough spot (door opening, cross-traffic ahead, baby stroller), everything slows down so he can assess his options. Then, out of nowhere, a small area will light up, and that’s the direction he zips into." Sounds intriguing...
It also helps to accept that prices, having largely plunged, are stable but not crazy, and to recognize every territory's strengths and weaknesses.
That said, the game is clearly starting to change for the better for the larger indie players, which are seeing an opportunity for bigger budgets.
"With the studios greenlighting fewer midbudget films, a small circle of independent companies that can mount their own $30 million-$40 million movies are accessing quality material more easily and enjoying a less-crowded U.S. distribution landscape," says IM Global's Stuart Ford.
That aspect of the indie business, he says, is the most notable and most vibrant. "More than ever, foreign buyers need films for their TV packages. As the ancillary market struggles through its evolution away from DVD to VOD, bigger buyers need movies that will potentially generate theatrical profit," he adds.
Exclusive Films sold George Clooney-helmed "The Ides of March," which it co-financed and co-produced, at AFM, and struck deals with distribs like Sony in the U.S. and eOne in Blighty. The branch is also fully financing and producing the Miley Cyrus action comedy "So Undercover," while Exclusive's Hammer label Under Hammer Films, has Daniel Radcliffe starrer "The Woman in Black."
Alex Walton, Exclusive Media Group international sales and distribution prexy, says that while the marketplace has always been competitive, there's now a place for independent films that was previously filled by minimajors.
"I think there's definitely an argument to (be put forward) that 'Ides of March' was a film that should have been made within the studio system, and now we were lucky enough to be able to partner on it," Walton says. "Indies have put themselves in a position to capitalize on these gaps. There's been a complete turnaround."
And in an ever more global film economy, more European companies are angling to access U.S. talent, producing films the studios have largely given up making.
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.