Hello and welcome to the unofficial Brian De Palma website.
Here is the latest news:
a la Mod:
In a pre-award interview at Cannes, Zsigmond was asked by Le Monde's Clarisse Fabre how he had approached the transition to digital camera in the early 2000s. "I had no a priori," Zsigmond replied. "For example, The Black Dahlia, Brian De Palma, was shot on film, and then we did the post-production digital. This allowed me to reduce the color and give an impression of black and white. I love digital to 'manipulate' the film: the color with less color! I like black and white, when the shadows are growing."
High-Definition transfer of the film
NEW Audio Commentary with Jessica Harper, Gerrit Graham and the Juicy Fruits (Archie Hahn, Jeffrey Comanor and Harold Oblong aka Peter Eibling)
NEW Audio Commentary with Production Designer Jack Fisk
NEW Interview with director Brian DePalma (36 minutes)
NEW Interview with Paul Williams talking about the music of PHANTOM (30 minutes)
NEW Interview with Make-up Effects wizard Tom Burman discussing the Phantom Helmet
DISC TWO (DVD):
Paradise Regained – documentary on the making of the film featuring director Brian DePalma, Producer Edward R. Pressman, William Finley, Paul Williams, Jessica Harper, Gerrit Graham and more… (50 minutes)
Interview with Paul Williams moderated by Guillermo Del Toro (72 minutes)
Interview with costume designer Rosanna Norton (10 minutes)
NEW Interview with producer Edward R. Pressman (15 minutes)
NEW Interview with drummer Gary Mallaber (15 minutes)
NEW Alvin’s Art and Technique – a look at the neon poster (15 minutes)
NEW Phantom of the Paradise Biography by Gerrit Graham - 1974 Publicity Sheet written by and read by Graham (8 minutes)
Alternate Takes (40 minutes) Swan Song Outtake Footage (10 minutes)
'PHANTOM' AT THE NEW BEVERLY SATURDAY
Meanwhile, Phantom Of The Paradise will be screened from DCP at the New Beverly Cinema in Los Angeles this Saturday at midnight.
VULTURE: MICHAEL JACKSON HOLOGRAPH MAKES HIM AKIN TO THE PHANTOM OF THE PARADISE
This past Sunday, the Billboard Awards show on ABC-TV included a Michael Jackson holograph performing one of the songs included on the new posthumous release, Xscape. Today, Vulture's Geeta Dayal posted an essay that, at one point, linked the ghostly Jackson to the Phantom Of The Paradise. Here's an excerpt from Dayal's post:
Xscape — a potpourri of exhumed Jackson demos and discarded tracks, organized by L.A. Reid and fleshed out by top producers including Timbaland and Rihanna hitmakers Stargate — is currently the No. 2 album in the country. While it’s a bit odd to see the King of Pop lagging behind the Black Keys, the current No. 1 act, being second best isn’t too shabby when you’ve been dead for five years. All in all, Xscape — eight “new” songs in total, which go back as far as 1983 — is an admirable effort to make a full meal out of reheated leftovers...
Part of what made Jackson’s holographic performance so bizarre was the song itself: “Slave to the Rhythm,” a song on Xscape that was originally recorded in 1991 during the Dangerous sessions. The song is not half bad, though it’s easy to see why it was kept on the cutting-room floor until 2014. “She’s a slave to the rhythm,” Jackson sings, ostensibly about a woman. “She danced through the night/In fear of her life/She danced to a beat of her own,” Jackson continues urgently, filling in gaps with his requisite “hee-hees” and perfectly placed hiccups. But the song sounds autobiographical — you could think of it as Jackson’s ghost, talking about his own tortured afterlife. Jackson, five years after his death, is a slave to the rhythm — shackled by the corporate interests that refuse to let him rest in peace. He’s the phantom in Brian De Palma’s creepy 1974 classic Phantom of the Paradise — the sad, undead guy in the skintight black leather outfit who forgot that he signed a recording contract in his own blood, who’s now trapped in a recording studio and forced to craft megahits for eternity.
Jackson is an unending source of income, spinning out in all directions until the end of time. Like the Star Wars franchise, there will be sequels — and when the sequels are done, there will be prequels. Hundreds of unused songs — demos, outtakes, and other bits and pieces — are said to be in Jackson’s vaults. As holographic technology inevitably improves, the possibilities for live performances in the future will be endless. But perhaps we should leave Jackson be instead of trying to digitally reanimate him for eternity. In the words of Obi-Wan Kenobi in Revenge of the Sith, after witnessing a Darth Vader hologram slay a Jedi, “I can’t watch any more.”
(Thanks to Renato!)
Shelagh M. Rowan-Legg, Twitch
"This is a tremendous feature debut, haunting and elegaic, while not shying away from violence and sex. There is certainly no subtlety to the film; but then again, werewolves aren't meant to be subtle."
Allan Hunter, Screen Daily
"A teenage girl’s awakening sexuality quite literally brings out the beast in her in When Animals Dream (Nar dyrene drommer), an atmospheric fantasy chiller that marks an accomplished feature debut from director Jonas Alexander Arnby."
Stephen Dalton, Hollywood Reporter
"Jonas Alexander Arnby's debut feature is a confident and good-looking work that owes more to the Nordic Noir gloom of Let The Right One In than to the sanitized fluff of Twilight or the comic-book carnage of the Underworld franchise...Initially too slow to share its obvious secrets, When Animals Dream only clicks into full-blooded horror mode in its final act when hairy, scary Marie embarks on a Carrie-style rampage of revenge against the neighbors who previously made her life hell. Stylish but slight, Arnby's debut feature ultimately sticks within werewolf movie conventions, adding little fresh to the form. That said, it should appeal to more highbrow genre fans who like a bit of European arthouse angst with their throat-ripping gore."
"For me, in many ways, cinema began with Francois Truffaut’s book about Alfred Hitchcock,” Jones tells Barraclough. “For me, and for many others, the book was more than formative — it was essential and direct.”
The book, of course, made a cameo in De Palma's Greetings (as shown above).
At the museum, there is an ivory comb from the Egyptian Predynastic Period. Roughly 3200 B.C., they say. They suggest it might have been part of the accoutrements of someone's funeral more than 5000 years ago; more than 20 times the entire history of the country the museum is housed in. More than 115 times as long as I've been alive. The teeth of the comb are broken off; what remains is a little more than two inches tall and a little less than two inches wide, and those four square inches hold more than 20 individual renderings of animals. The carvings have symbolic significance, but they're also carefully and elegantly done, particularly on a piece so small. The comb played a role, perhaps, in an important ritual, but it's also a beautiful object, like many of the drums and bowls and pieces of blown glass.
The piece was, then, meant to be an offering of the artist's skills, to convey a meaning, to evoke an emotion, and to bring pleasure. So was The Bonfire Of The Vanities. So was The Thrilling Adventure Hour.
Those aren't the only purposes to which these other works are being put: the film was also engineered to make money, of course, perhaps cripplingly so. The live show, while far less damned by its relationship to commerce, is part of the performers' livelihoods particularly in the broad sense, since many of them remain people whose projects might well be described using, at some point, the word "cult." It supports you, the cult, but only sometimes does it keep you in food and shelter. And it demands to be fed in return, of course.
The Bonfire Of The Vanities didn't just aspire to keep people in food and shelter; it aspired to keep people in mansions and private planes. What it doesn't have that The Thrilling Adventure Hour has is an animating love of the material. Everyone involved seemed to have assumed Wolfe's book was capital-G Great, whether or not they had read it, but they began excising its controversial elements – which in this case meant its essential elements – almost immediately. There was so much money, there were so many trailers, there was so much fake rain, there were so many gowns and extras ... but the way Salamon tells the tale, few of them were – maybe nobody was – there for love.