HELPED WITH EDITING THE CAR ACCIDENT IN 'OPENING NIGHT'
Hello and welcome to the unofficial Brian De Palma website. Here is the latest news: |
---|
E-mail
Geoffsongs@aol.com
-------------
Recent Headlines
a la Mod:
Listen to
Donaggio's full score
for Domino online
De Palma/Lehman
rapport at work
in Snakes
De Palma/Lehman
next novel is Terry
De Palma developing
Catch And Kill,
"a horror movie
based on real things
that have happened
in the news"
Supercut video
of De Palma's films
edited by Carl Rodrigue
Washington Post
review of Keesey book
-------------
Exclusive Passion
Interviews:
Brian De Palma
Karoline Herfurth
Leila Rozario
------------
------------
« | October 2016 | » | ||||
S | M | T | W | T | F | S |
1 | ||||||
2 | 3 | 4 | 5 | 6 | 7 | 8 |
9 | 10 | 11 | 12 | 13 | 14 | 15 |
16 | 17 | 18 | 19 | 20 | 21 | 22 |
23 | 24 | 25 | 26 | 27 | 28 | 29 |
30 | 31 |
De Palma interviewed
in Paris 2002
De Palma discusses
The Black Dahlia 2006
Enthusiasms...
Alfred Hitchcock
The Master Of Suspense
Sergio Leone
and the Infield
Fly Rule
The Filmmaker Who
Came In From The Cold
Jim Emerson on
Greetings & Hi, Mom!
Scarface: Make Way
For The Bad Guy
Deborah Shelton
Official Web Site
Welcome to the
Offices of Death Records
Below are Hartman's notes about this edition's new bonus features:
- Writing Carrie: (HD 29:07) This is a fascinating and interesting interview with screenwriter Lawrence Cohen. He covers a lot of ground here from receiving the initial manuscript from a new unknown writer named Stephen King. It's interesting to hear his reaction to the book but then also his approach to adapting it for the screen.- Shooting Carrie: (HD 15:22) An interview with Director of Photography Mario Tosi, this is a great interview, a little difficult to understand in places because of his limitations with English but he offers a lot of insight into the dream-like qualities of the visuals and De Palma's approach to the film.
- Cutting Carrie: (HD 25:09) Editor Paul Hirsch offers up a lot of terrific details about how the film came together in the editing room, finding the tone, pace, as well as cutting together the climax of the movie.
- Casting Carrie: (HD 16:03) Casting director Harriet B. Helberg talks about what it took to get the film cast and finding Sissy Spacek for the lead.
- More Acting Carrie: (HD 20:19) This is comprised of new, but sadly short interviews with Nancy Allen, Betty Buckley, William Katt, Piper Laurie, Edie McClurg, and P.J. Soles. While this is sadly short, it's fascinating. The best tidbit of note is George Lucas was casting 'Star Wars' and De Palma was casting 'Carrie' at the same time in the same room! So both films could have been completely different depending on what actor impressed either George or Brian at any given moment!
- Bucket of Blood: (HD 23:53) This is a very interesting interview with composer Pino Donaggio. He discusses his approach with De Palma, how they keyed in on that dreamy flute theme, as well as the four string progression that seems almost lifted from Hitchcock's 'Psycho.'
New Horror's Hallowed Grounds: (HD 11:25) Fans of Sean Clark's little segments will get a kick out of this. It's always cool to see familiar locations from movies and it's cool seeing that a lot of these places are still around.
Lowe is a huge horror movie fan, who is drawn to family-oriented terror tales with female protagonists, like Rosemary’s Baby or Brian De Palma’s 1976 Stephen King adaptation, Carrie, which stars Sissy Spacek as an unpopular high school student who develops telekinetic powers.“I think everyone identifies with her character,” says the actress. “I really like the idea of an underdog character going through this transformation where they take power. I also think the reason it’s so rewatchable is, every time you watch it, you are hoping there’s a different ending, you’re really hoping that she just kisses the boy, and is the pageant queen, or whatever. It just doesn’t work that way. I think it’s unique. She is the killer but she has our sympathy. She is also a victim to her mother’s insanity. It’s like a female Psycho in some ways. I love Brian De Palma, I love color in film. That was one of the things that I really wanted to do with Prevenge, was make sure it was an assault of the sense, that it’s about color and vividness — rather than the passion at the moment for sort of grey-blue-black horror. That was, for me, the experience of pregnancy, that it’s kind of a vivid experience. It’s not at all about pastel pinks. It’s all about bright, intense experiences, and revulsions, and strange shifts in your emotions.”
De Palma’s earliest films were less precise, and sometimes more revealing: They don’t disguise his fixations as genre. The mercurial black comedy Hi Mom! trails like a disorderly kid after Jean-Luc Godard, through whom De Palma arrived at Brechtian ideas of estrangement — telling a story while displaying the artifice involved, so that viewers might act upon the fiction rather than just receiving it. A woman testing out a movie camera zooms in on the salesman, bearing the device to bare the device: “You twist this like so, and your subject will come closer and closer and closer…” An antic young Robert De Niro stars as Jon Rubin, who films neighbours fucking and tries to contrive porn spying on himself — then as now, the wrong angles will ruin your nude. Later he rehearses the cop’s role for a militant theater troupe, clanging his baton against a ladder with unnerving enthusiasm: “What are you protesting? Let me see your permit. You don’t need a permit?” (During the early 1960s De Palma was shot in the leg by New York police, albeit while drunkenly stealing a scooter.)In “The Work of Art in the Age of Mechanical Reproduction,” Walter Benjamin marveled: “The painting invites the spectator to contemplation; before it the spectator can abandon himself to his associations. Before the movie frame he cannot do so. No sooner has his eye grasped a scene than it is already changed. It cannot be arrested.” De Palma tosses his narratives like a bloody knife into the laps of bystanders, who then feel compelled to solve the crime, to absolve their complicity. He’s always resisting arrest. A long Steadicam shot from Raising Cain (1992) glides with unnatural grace past the walkways, staircases and elevators of a police station, tilting sinuously around a criminal psychologist as she explains the plot; exposition is a maze De Palma dances through. His Battleship Potemkin tribute in The Untouchables — staircase, baby carriage, crossfire — seems alien to the movie around it, a bubble trembling over a gun barrel.
The split screen, De Palma’s favorite technique, concentrates distraction. It suggests the flux of sexual difference, darting between signals, your lens rupturing, your life juxtaposed against itself. Some of these compositions turn slyly dialectical: Passion (2012) places scenes from a Jerome Robbins ballet next to a sinister prowler, the bodies hovering in parallel. But that sequence also misdirects the viewer’s attention at crucial moments, a trick De Palma has used since 1973’s Sisters, his first thriller.
Sisters opens with a blind woman entering the wrong change room. A watching man stops her as she begins undressing, and the camera cuts away to reveal that people are watching them too, on the test-your-ethics game show Peeping Toms. The woman turns out to be a Quebecois model/actress named Danielle (Margot Kidder), and she convinces that fellow contestant to take her home with him, away from the ex-husband who’s been following her. After they wake up on the couch together, he learns of her twin Danielle, too late to realize that the other sister’s protective urges are homicidal. A neighbor sees his hand flash scarlet from window to window. Split-screen shots break the aftermath into fragments, that cubist shape of time experienced through security cameras, making everyone’s movements look both frantic and dazed.
The neighbor, Grace (Jennifer Salt), happens to be a journalist, and she tracks down an old documentary about Danielle and Dominique, revealing that the pair were once conjoined. Dominique died during the botched operation meant to give Danielle’s ex Emil Breton a compliantly solitary wife, her personality somehow absorbed by the remaining twin. Investigating a mental hospital, Grace gets drugged by Dr. Breton, who nearly manages to portray her suspicions as symptoms. She hallucinates herself inside that documentary, lying beneath a surgical blade passed around on reverent palms. Thirty years ago the critic Robin Wood argued: “One can define the monster of Sisters as women’s liberation; adding only that the film follows the time-honored horror tradition of making the monster emerge as the most sympathetic character.” The medical system encourages Emil’s urge to discipline anyone complicating gender or anatomy.
Evil twins have more fun. In his study The Double, the psychoanalyst Otto Rank argued that doppelgangers often serve as a “bad self,” the splinter persona responsible for each forbidden urge. The sadistic executive played by Rachel McAdams in Passion invites lovers to wear a mask stylized after her own face. No character spends much time having sex per se. The perverse intimacies of jealousy get them off: They all want each other, or to kill each other, or to be each other. No wonder so many people fantasize about their double — about knowing what it looks like from the outside.
Fandango article by Erik Davis--
Fandango had a chance to talk with Fuqua in advance of The Magnificent Seven arriving in theaters (stay tuned for more of that conversation this week), and we asked about the current status of this Scarface remake. Is it still happening?"I read the script they have and it's actually really interesting and very timely," Fuqua said. "We're dealing with a lot of stuff now coming out of Mexico. And again, we still have those issues dealing with the "American Dream", and the fact that the game is rigged, right? It's not really an even playing field, but the promise is that it is. The promise is that everyone gets a fair shot, but that's not always the case. So that's always relevant, and right now with what's happening in Mexico, which is where [the main character] comes from -- he comes out of Mexico -- that's relevant, especially when you've got people talking about putting up walls and other kinds of stuff. We're still dealing with immigration, we're still dealing with what would turn someone into Scarface."
Fuqua went on to talk about how this new contemporary version of Scarface will deal with the problems many immigrants face when they arrive in the United States looking for a fair shot only to find anything but.
"They all leave these small countries, and it's hard to become Scarface unless you're someone like El Chapo," he said. "It's hard to become that guy in America. But what happens when you have a guy who has that same appetite and the doors keep getting shut in his face? What happens when he only knows one thing, for sure -- which is how to go and take it? I just think being disenfranchised is dangerous. When people are disenfranchised and delusional, it's just dangerous. I think it's more relevant than ever right now, and it can be extremely entertaining. So we'll see."
Is he bringing his Training Day and Magnificent Seven stars Denzel Washington and Ethan Hawke with him to Scarface? "So far, no," Fuqua said. "We still need to do the casting and I have to have a couple more meetings on it. I would love to, though! I just haven't wrapped my head around it yet."
As for that Equalizer sequel currently scheduled to hit theaters next September, Fuqua says he'll make another movie before that, all but confirming there will be no Equalizer 2 in 2017. Will Scarface take its place? "Whether it's Scarface or something else, there will be another movie before that happens," he revealed.
HipHopDX: After the tumbleweeds clear for Magnificent 7 and everything, you are moving on to Scarface correct? You know that’s like Hip Hop’s favorite movie.Antoine Fuqua: [Laughs] Yeah, I know. I’m having real conversations about it. It’s something I’m talking about doing right now. I would like to do it honestly man; at one point I was hesitant. But again, when I read the script, even on that one, it’s all about is it relevant today? Does it speak to today? And it does! This cat comes up in Mexico. He’s not Cuban [like Al Pacino’s 1983 character]. And it’s pretty hardcore.
HipHopDX: That’s how it should be.
Antoine Fuqua: Right? Because you dealing with El Chapo and everyone else, it’s a different world now. That’s where they’re coming from. And it touches on a more modern day, not just gangsterism but how everything moves now on the streets. How money moves now. The Scarface [from 1983], he couldn’t survive today. We saw that. The Pablos came and went. El Chapo is about to go. So what’s next?
HipHopDX: Could you see a rapper playing that role?
Antoine Fuqua: I’ll say never to anything. If somebody come in the room and they have what it takes and they got the right skill set and presence to do that, then why not? I believe in those kind of movies. You gotta be raw. You gotta be a fuckin’ animal, man. You gotta be highly intelligent but you gotta be an animal. Now Scarface was an animal. He was a fuckin’ beast. Period. So that’s how I see that. It’s gotta be somebody that young people connect to because Scarface was all about taking the dream. You can’t wait for somebody to give it to you.
The Scarface remake just got a lot less interesting
Scarface remake is Larraín's dream project
The Scarface remake just got a lot more interesting
In the same interview, De Palma mentions that around that time, he had also signed on to direct a remake of Billy Wilder's Ace In The Hole, "a film denouncing the power of the media," for which David Mamet had written the screenplay. Eventually he made The Bonfire Of The Vanities, which dealt with similar themes.
Brian de Palma's films and his own statements have been controversial to say the least, something the Carrie panel tackled right from the start of their conversation. This is a film that begins with a tracking shot that has become somewhat notorious; the camera journeys through a steamy changing room as Carrie’s high school gym class are seen in various stages of nudity. This is far from the last time in the movie de Palma’s camera will linger on female flesh either: with female cheerleaders on the pitch and high school bad girl Chris’s bra-less torso getting plenty of screen time. This is also one of many de Palma films that put their female characters through the wringer, to put it politely.Thus the panel agreed that at some point they had all been driven to ask themselves: “Is it cool to like Carrie [and de Palma]?” But the consensus was that, after repeat viewings and after taking a few steps back to reconsider de Palma’s career as a whole, rejecting Carrie entirely as mysoginistic felt too much like throwing the baby out with the bathwater. Alison Pierce for example praised the way the film - largely through Sissy Spacek’s intense performance - effectively transmitted the desperate sadness of the plight of this hapless but incredibly powerful young woman. You empathise with Carrie as almost a Frankenstein-like figure, a victim created by monstrosity. The panel also noted how both De Palma and King explored her victimhood in interesting ways - with the narrative and characterisation of Carrie seeming at times to provoke the viewer to almost want this pathetic figure to get tormented. De Palma arguably manipulates viewers to effectively swing between delighting in seeing Carrie suffer, and yearning to see her inflict terrible vengeance on her tormentors turn. The bucket of blood sequence, with its long, almost gleeful build up in slow motion, was much discussed as an example of this. Viewers might want to ask themselves; do you maybe sneakily want that rope to be pulled, and the bucket to fall, knowing both what the immediate humiliating result will be, and what will happen next?
Author Stephen King and de Palma also have an interesting kingship, as Catherine Bray noted: they are good at “serious fun” - taking a ludicrous concept and imbuing it with genuine terror and emotional weight. Of course, Carrie can simply be enjoyed as campy, shlockly fun, with Michael Blyth half-joking if you could convert this film easily into a musical given its tone and setting. Regardless, the panel noted that the film remains very striking from a cinematographic perspective, with a visual approach that teeters on the deliciously overblown at times. De Palma throws in a tonne of tricks that he would become well known for, including diopter lens shots, and the use of montage which really works well in the prom terror sequence, as Carrie starts to come apart, her attention and powers jumping to various points as she singles out her enemies for destruction. The Smoke Screen in particular was struck by the deliriously bold lighting throughout the film too. Much of the film’s early sequences seem drenched in a warm, apple pie glow, but in the prom night sequence sees de Palma start us off with a dreamy kaleidoscopic mix of purples and yellows that highlight how carried away Carrie is by her one moment of bliss, only to drench the entire affair in an insanely deep red shade once the psychic assault starts.
Meanwhile, blogger Harry Faint posted a brief review after watching Carrie, seemingly for the first time:
Even though I knew the plot and knew the rampage that was about to ensue when the bucket finally dropped, I was still in shock. The build up of this film is masterful, with the final slow motion sequence becoming a sickly sweet fantasy. The narrative is relatively simple and the pace is snappy, which makes the final sequence all the more painful to watch as carnage unravels as quickly as Carrie’s happiness. I was pleasantly surprised with how much I enjoyed it. There is an interesting use of De Palma blurring two images into a shot and I came away feeling that every visual was vital to the story – the prom sequence is such a great accomplishment in filmmaking. It felt real, Carrie’s telekinesis is never questioned or explained as the supernatural. In fact, nothing is over explained, or if things are explained it is through use of visuals and absence of voice. However, one thing I disliked is the reuse of Herrman’s 4 notes from Psycho (Hitchcock, 1960), but it still works.Hearing the bucket swing back and forth and nothing else is as clever as it is haunting. You know you like a film when you wake up the next morning still thinking about it.