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:
"The Vietnam War and the assassination of Kennedy made us aware that the government was deceiving us. When we realized that they lied about the war, and when we saw that the government was making excuses for the Kennedy assassination, none of that made sense to our eyes. For us, who trusted in our political leaders, it was a revelation. Today, obviously, we doubt everything they say."
"With Iraq, we fell, again, to the lie of a war, and we sent kids there helpless to fight for something that they had no idea what it was. They had horrific experiences and then they too responded to them in a terrible way."
On establishing the idea of deception with the viewer:
"Film can be the art of deception. You can create movies that lie and deceive the public with pictures, and there are elements of it in my movies."
On the visual language of motion pictures:
"Many of the images developed in the movies are inspired by the material with which we work, but the advantage of thriller and horror films is that they rely on a specific visual language... Voyeurism is a staple of the cinema. It is intrinsic to the art, because the movie has to do with observing an action: we're pointing a camera at a person who pretends to not have a lens pointed at her... There is a vast reservoir of movies from the past which show how the way to tell a story visually has evolved, something that originated in the silents. We saw what happened when sound came in and made films in static forms, which worsened with television."
On beauty in cinema, and studio resistance:
"Beauty is an important idea for me, and there is not enough beauty in film, because it costs a lot of money to the studios... Making Scarface was a terrible struggle. Studios said it was too violent, and they had immense fear. We always find that kind of resistance in the industry and I don’t believe this has improved in the last two decades."
On the pictures getting smaller:
"Much of what we see on the screens [phone] and television coverage is just for boring dramatic events, instead of formats that seem to have the aspects necessary to tell a story in a visual way. They’re not able to create exciting visual experiences, which I feel are an important part of the cinema: large images made for a big screen... A film like Lawrence of Arabia or Once Upon a Time in the West would not make sense on a small screen. This part of the achievement has been lost today, and we see how movies are mechanical and do not have well choreographed sequences. And images that are repeated endlessly because they are programmed by a computer."
And in closing, Valente notes that De Palma's cinema has a sentimental layer underneath the suspense, and quotes De Palma once more:
"I'm drawn to classical tragedy because I see it as a way to tell a more emotional story. I'm only interested in art that is emotional, that withstands the test of time."
“Open Windows develops in real time, delivering 90 minutes of suspense in a tense, fast-paced, high-tech thriller with action and terror, updating the key elements of 70s paranoid thrillers through today’s computer and online environment,” said Wild Bunch sales chief Vincent Maraval.
The plot revolves around a desperate search by Wood’s character for an actress, played by The Girlfriend Experience lead Sasha Grey, who has been abducted by vicious villain Chord, played by British actor Neil Maskell.
“Just as in Brian De Palma’s Blow Out, the girl is captured. The hero will have to use every means at his disposal to discover where she is, and rescue her from the villain before its too late,” said Vigalondo.
The director began developing the picture three years ago with Apaches Entertainment and his own production company Sayaka.
“The action will be followed on the screen of a laptop connected to the Internet – an approach that has excited us all from the outset. Something like this means going beyond high concept films like Paranormal Activity, Cloverfield or Chronicle,” he said. “Instead of simulating a home video camera, we will be representing a computer desktop. The movie screen becomes a computer screen, and the spectator becomes the protagonist of this adventure.”
Spanish producer Lavigne revealed the production would use 12 different types of camera, including webcams, head cameras, tablets, mobile phones, 3D mapping cameras as well as security and satellite cameras to shoot the multi-format picture.
“Open Windows is full of twists, but it’s essentially a 90-minute chase, a continuous climax with unrelenting tension… it is also a powerful viral tool, with a wide potential for different audiences,” he said.
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.”