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Thursday, March 1, 2012
PRIZE-WINNING CAB A TRIBUTE TO 'THE UNTOUCHABLES'
VIDEO IS PART OF VOLVO SERIES, "WELCOME TO MY CAB"

Posted by Geoff at 4:29 PM CST
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Sunday, February 26, 2012
'THE ARTIST' DIRECTOR ON 'UNDERWORLD' INFLUENCE
AND PENELOPE ANN MILLER BECOMES "AWARD-SEASON MVP"
Penelope Ann Miller spent about three days filming her part in Michel Hazanavicius's The Artist, but she was one of the few actresses to show interest in taking a chance on a silent movie by a French director. The film won best picture at tonight's Academy Awards, and Hazananvicius won for best director. What initially drew Miller to the film was the chance to spend time in the world of the 1920s, a period she says she enjoys. Here she is pictured arriving at tonight's Academy Award ceremony in a dress she told the Hollywood Reporter features 1920s elements. To design the dress, she collaborated with Badgley Mischka. It is the first time Miller has ever been to the Oscar ceremony, and The Carpetbagger's Melena Ryzik makes a case for Penelope as the 2012 Award-Season M.V.P. for her tireless promotion of The Artist.

Miller has been out of the spotlight since about the 1990s, the decade in which she appeared in Brian De Palma's Carlito's Way. According to Naughty But Nice Rob, Miller was an '80s "It" girl who now, interestingly, "compares her celebrity during her acting heyday to that of Rachel McAdams today." Miller tells Rob that she stepped away from the limelight to start a family. She also talked to The Insider's Jarett Wieselman about the script for The Artist and how she came to be cast in the film:

Yes, there was a script but it was just, it was more descriptive than dialogue. It really read like a story. Michel [Hazanavicius, writer/director] really did a beautiful job -- it was bound and on each side of the page there were photographs of Berenice [Bejo] and Jean [Dujardin] in period costume, and period locations. It was very picturesque. It was definitely unusual, so I did get this almost hesitant call from my agent saying, "They're making this black and white silent film and it's set in the 20s." That perked me up because I love the 20s, and I asked, "Well, who is in it?" He said, "The two leads are French and the director is French," and I'd never heard of them nor could I pronounce their names [laughs]. And I thought that this was getting more interesting by the minute.

Miller told the Orange County Register's Richard Chang a bit more details about that initial phone call, and her first meeting with Hazanavicius:

Q: How did you get cast for this picture?

A: My agent, who has a relationship with the casting director, called me. I was interested in at least reading it. There were actors who weren't interested. They're probably kicking themselves right now. There are those of us who are willing to take that leap of risk, who had faith. Obviously, it was a very far-fetched notion. In "Chaplin," you could hear the dialogue. With this, this is like a full-blown silent film.

But I love the '20s. I'm an old movie buff. I'm very nostalgic about old Hollywood. I sort of welcomed the opportunity and thought this could be kind of fun. It definitely could be a real hit or a real miss. If it was a miss, oh well, I can move on.

Q: What was it like to work with director Michel Hazanavicius? He isn't that well-known in the U.S.

A: When I met him, I discovered he'd really done his homework. He had a really strong vision. I told him we both shared the passion for the old movies. He knew how he wanted to film it, what he was doing. He really hired the top of the line to work with him. The cinematographer was the guy he's always worked with. The hair and makeup worked with some real big stars. People on the technical side loved the artistic side of the film. How many opportunities do you get to make a movie like this? It wasn't going to be a huge, long schedule. I took it for the art of it.

HAVANAVICIUS ON SIX SILENT FILMS THAT INSPIRED 'THE ARTIST'

When Havanavicius accepted the best picture award at tonight's Oscar ceremony, he thanked Billy Wilder, Billy Wilder, and Billy Wilder. But back in November, Hazanavicius shared with Indiewire's Eric Kohn notes on six silent films that inspired The Artist. The first of the six listed is Josef von Sternberg's Underworld. Released in 1927, the screenplay for Underworld was written by Ben Hecht, who was awarded the first-ever Academy Award for Best Screenplay for the film. Hecht went on to write the screenplay for Howard Hawks's Scarface, and De Palma's remake of that film is dedicated to Hawks and Hecht. Havanavicius states, "All of Scarface, and even Brian De Palma's The Untouchables, comes from Underworld. The way that director Josef von Sternberg shot women was incredible. It's super-sensual, and really amazing to see a gangster movie as good as anything by Tarantino from this period."

The other five silent films noted by Havanavicius are Tod Browning's The Unknown, F.W. Murnau's Sunrise and City Girl, King Vidor's The Crowd, and Charlie Chaplin's City Lights.


Posted by Geoff at 11:20 PM CST
Updated: Sunday, February 26, 2012 11:27 PM CST
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TALENT AGENT RECALLS 'UNTOUCHABLES' LUNCH
WITH DE PALMA, CHARLES MARTIN SMITH, & KEVIN COSTNER

After watching Kevin Costner deliver a poignant eulogy last weekend at the funeral of Whitney Houston, talent agent and advisor Danny Allen recalled, in his Newzbreaker column, meeting Costner for the first time on the set of Brian De Palma's The Untouchables. Allen began his career in the 1950s as an agent for Errol Flynn, who later nicknamed Allen "Moxie Man." He first met The Untouchables' Charles Martin Smith on the set of George Lucas' American Graffiti in 1973. In 1980, he did some press work for De Palma on Dressed To Kill. In the passage below, Allen recounts meeting the young upcomer Kevin Costner on the set of The Untouchables, and how upon seeing Allen, De Palma told the crew to take a break so they could all go to lunch...

Charles called me during the late summer of 86 and said, “Moxie Man you must come to the set so you can see some of the acting Kevin Costner is doing, who I think is going to be the next big movie star on the scene.” Coming from “Smitty”, as I called him, an accomplished actor in his own regard, made his comment have merit. I arrived on the day they were shooting the scene in the church between Kevin and Sean Connery, which happens to be one of my favorite scenes in the movie.

When De Palma yelled cut, “Smitty” grabbed Kevin by the arm and raced towards me. We were introduced and Kevin had a firm handshake, and a great sincere smile. “Smitty” like many others, of course, told the Errol Flynn Story and yet another actor, (Costner) was a fan of Errol’s. De Palma saw a group forming and didn’t realize I was on the set. When he came over, he bear hugged me and told his crew, take an hour, we are going to lunch. Off Kevin, “Smitty”, Brian and I went in his limo to eat.

For the next hour, Kevin sat there listening to stories that “Smitty”, Brian and I, shared, all the time, asking great questions and soaking in any and all acting advice we could give. He was very humble, and even offered to pick up the tab, but of course, De Palma wouldn’t allow that. At the end of our lunch, Kevin and I had bonded, exchanging numbers.

For many years after our first meeting, Kevin and I have stayed in touch with him still being that humble person I met some 26 years ago. So when the rest of the world praised his eulogy at Whitney Houston’s funeral last week, I just smiled because the class act that I have known Kevin to be way away from the glaring lights of a movie set, shined through.


Posted by Geoff at 7:10 PM CST
Updated: Sunday, February 26, 2012 7:13 PM CST
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Wednesday, January 18, 2012
RICHARD BRUNO HAS DIED
COSTUME DESIGNER WORKED ON 'UNTOUCHABLES', 'WISE GUYS', 'CASUALTIES OF WAR'
Costume designer Richard Bruno died of kidney failure Wednesday at the age of 87. Bruno worked on several films with Brian De Palma. He was costume designer for Wise Guys and Casualties Of War, and, having established a strong working bond with Robert De Niro on films by Martin Scorsese and Sergio Leone, among others, Bruno was a wardrobe assistant to Mr. De Niro on De Palma's The Untouchables. The Los Angeles Times' obituary for Bruno states that, "Along with tailor Henry Stewart, Bruno helped create an authentic 1930s wardrobe for DeNiro's Al Capone character in the 1987 blockbuster The Untouchables, whose costumes were overseen by Marilyn Vance-Straker. Bruno did extensive research to fine-tune the costumes; he tracked down old hats at Capone's favorite shop in Chicago and had them fashioned into new ones for DeNiro, and he had Capone's monogram embroidered on wardrobe items, including silk socks and underwear."

Posted by Geoff at 6:16 PM CST
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Saturday, January 14, 2012
'SUPERNATURAL' DOES 'THE UNTOUCHABLES'
CHARACTER GOES BACK IN TIME, MEETS ELIOT NESS, QUOTES FROM DE PALMA FILM

Last night's episode of CW's Supernatural found one of the main characters, Dean, going back in time (apparently uncontrollably) to 1944, where he meets Eliot Ness. I haven't seen the episode, but according to Hero Complex, "Dean is thrilled to find himself with a fedora and reveals that he’s a huge fan of Brian De Palma’s The Untouchables." TV Fanatic has run a review of the episode, describing some of the nods to De Palma's film:

Of course, Dean really got to shine in his moment of pure bliss when he was transported to 1944 (if only we could all count in our heads like Dean.)

Specifically, Dean's star struck moments of meeting the leader of The Untouchables was pure awesome. It was very cool to see an iconic hero like Eliot Ness gain that Supernatural edge by making him a hunter, and it made perfect sense. It was also great that he was able to reference the fantastic Brian De Palma film, The Untouchables, with lines like "because that is the Chicago way" and punching out the witness because that's what he watched Eliot Ness do in the movie. At the same time, attempting to imitate the film fell flat for Dean, making it even more humorous for his character as he tried to fit in and seem as cool as his counterpart.


Posted by Geoff at 11:59 AM CST
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Sunday, November 27, 2011
DRAGO TALKS 'UNTOUCHABLES'
"I WORE A WHITE SUIT IN THE MOVIE BECAUSE WE THOUGHT OF HIM AS THE ANGEL OF DEATH"
Owen Williams interviewed Billy Drago for a UK film magazine, where it was trimmed down to fit the magazine's space constraints. But Williams has posted the full interview at The Void, including a section in which Drago talks about his work on Brian De Palma's The Untouchables, in which he portrayed Frank Nitti. Here is that section:

[The Untouchables] was one of those films where even the things that went wrong went right. It was a difficult shoot in that it was period and we were actually shooting in the city so you have to periodise all those blocks. It was huge. And the studio didn’t know it was going to be a hit, and they actually called De Palma and shut it down. They said “okay we’ve seen the footage, you’ve got enough, we don’t want to spend any more money, that’s it, after the weekend you’re home”, and there were a whole load more scenes we were supposed to shoot.

That’s when they went and shot the Odessa Steps sequence in the train station, with a load of raw film stock that De Palma had stored up. That wasn’t even in the script. We were supposed to shoot at the race track and a lot of other stuff, and he said ‘We can’t shoot any of that stuff, so everybody pack up, but in the meantime I’m going to shoot my version of the Battleship Potemkin scene with all this film I’ve stolen’…

The first scene we shot was where the little kid gets blown up. So I’m outside waiting on the street where they’re lighting, and some older woman comes up with a little boy and asks for a picture, so I put my arm around the little boy and all that. And the next day in the newspaper I found that the picture was there! And the little boy was like Nitti’s great great grandson.

The guy who was my stand-in was the great grandson of a guy who’d had a Nitti contract out on him! And his grandfather had hidden out in the middle of Illinois until Nitti had died, and survived the hit. But even after that, he got ill and he was in the hospital, and the nurses complained about him because he was sleeping with a pistol under his pillow, because he was convinced he was still gonna get whacked!

I got to know the Nitti family. They still live in the Chicago area and they have grocery stores and businesses: regular businesses; they’re not mob connected anymore! They called the hotel where I was staying, which was the actual hotel that had been owned by Capone and Nitti during that period (in fact the very phone booth where Machine Gun Jack McGill was killed was right outside my door). I was down in the lobby and the concierge came over to say that the Nitti family would be by to pick me up at 8 o’clock. Nobody asked if I actually wanted to go… It was an offer I couldn’t refuse! But it would have been too interesting an adventure to turn down anyway. So at eight o’clock I’m down in the lobby and a limousine pulls up and a guy gets out and introduces himself as someone who works for the Nitti family, and we drove around every blues club in Chicago, and at every one it was like royalty had arrived. ‘The Nitti family is here!’ It was great fun but they were making me a little nervous because they gradually started treating me like I really was Frank Nitti. They made sure my back was to the wall so I could see everybody, and all the young Italian turks would come by to pay their respects, and they’d all say “Sooooo, playin’ Uncle Frank huh? Lookin’ good, lookin’ good…” It gave me a bit of an insight into what it would have been like and what had gone on…

They didn’t mind Frank being portrayed as such a villain; the legend is so big. They had to move Nitty’s grave several times because people kept digging it up to make sure he really was dead; they were so scared of him. Only the family knew where his grave was for a while. I wore a white suit in the movie because we thought of him as the angel of death. I talked to a very elderly gentleman once who’d been a policeman undercover, and he said that Nitti had found him out, and tied him up in a basement and put a gun in his mouth and waited to see if he would sweat. Nitti had a very famous saying: ‘I never killed a man who wasn’t afraid to die’. So if he’d sweated he would’ve been killed, but he didn’t so Nitti said ‘oh okay, he’s not afraid’ so he let him go.

My mother never quite forgave me for killing Sean Connery. Mom, I had to! They paid me!


Posted by Geoff at 11:59 PM CST
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Tuesday, February 1, 2011
BUSCEMI RECALLS 1987 UNTOUCHABLES AUDITION
WHILE ACCEPTING SAG AWARD FOR HIS WORK IN BOARDWALK EMPIRE
At the Screen Actors Guild Awards in Los Angeles on Sunday (January 30th), Steve Buscemi was awarded outstanding male actor for a drama series for his work on HBO's Boardwalk Empire. According to the New York Daily News' Soraya Roberts, during his acceptance speech, Buscemi recalled auditioning for Brian De Palma in 1987. According to the article, Buscemi "thanked casting director Ellen Lewis 'for having faith after my awful audition 20-something years ago when she brought me in to see Brian De Palma.'" The Swan Archives' Ari caught Buscemi's acceptance speech, and describes what the actor said after bringing up his Untouchables audition: "What he said was that at his audition, he went 'yabbada yabbada yabbada... thank you...,' the implication being that he was so nervous (presumably from being in De Palma's presence) that he couldn't make his words come out straight." While at the podium, Buscemi also begged Martin Scorsese to come back and direct another episode of Boardwalk Empire. Scorsese is a producer and creator of the show, and directed the pilot episode.

Posted by Geoff at 2:15 AM CST
Updated: Tuesday, February 1, 2011 6:13 PM CST
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Sunday, November 28, 2010
R.I.P. THE UNTOUCHABLE LESLIE NIELSEN

Posted by Geoff at 9:51 PM CST
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Wednesday, September 29, 2010
SCORSESE ON STEADICAM SHOT IN UNTOUCHABLES
(AN ADDENDUM TO LAST WEEK'S POST)

Since last week's post about the steadicam shot in Martin Scorsese's GoodFellas, and how he had wanted to try to make it one minute longer than the elaborate steadicam shot in Brian De Palma's The Untouchables, I've located a bit from a Cahiers du Cinéma interview in which Scorsese discusses that Untouchables scene. In 1996, Cahiers du Cinéma celebrated its 500th issue by inviting Scorsese to guest-edit the issue, and devoting it to Scorsese's "passion for cinema." The translated interviews/essays were published in Projections 7, edited by John Boorman and Walter Donohue, in 1997. In the issue, Scorsese refers to De Palma as his "pal," and a member of his own extended family, which also includes, Robert De Niro, Harvey Keitel, Joe Pesci, Francis Ford Coppola, and Jay Cocks, among others. Here is what Scorsese had to say in 1996 about De Palma as a filmmaker:

Brian is a great director. Nobody can interpret things visually like he does: telling a story through a lens. Take the scene in The Untouchables where Charles Martin Smith is shot in the elevator. Look at that steadycam shot; he's not just moving the camera to show you that we can go longer because we have the steadycam. Francis used to tell me, "Marty, we can start a shot and go up to the Empire State Building and come back down. Anybody can do it. You have to know how to move a camera a little bit, that's all." A lot of people use the steadycam and don't know what they're doing. What Brian does with it is tell the story, progressing the story within the shot. That's just one example. Then in Carlito's Way there's a scene entering a night-club and the camera tracks up. It's extraordinary, his visual interpretation. He deals with stories that enable him to do that sort of thing. So when you get a real De Palma picture like Raising Cain or Body Double, you're getting something really unique. He's provocative. He goes, "I'm going to do this again. Hitchcock did it - so what? Who cares? I'm doing it this way." Brian knows. We always talk about that together.


Posted by Geoff at 2:01 PM CDT
Updated: Wednesday, September 29, 2010 2:05 PM CDT
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Wednesday, September 22, 2010
WISE GUYS: SCORSESE WANTED TO ONE-UP DE PALMA
BY GOING ONE-MINUTE LONGER WITH STEADICAM SHOT IN GOODFELLAS
GQ has posted an incredible oral history of the making of Martin Scorsese's GoodFellas, which was released 20 years ago this week. 60 or so cast and crew members were interviewed for the article, including Scorsese, Robert De Niro, Michael Ballhaus, and Ray Liotta. In the following excerpt, Larry McConkey and others discuss filming the Copacabana shot. Illeana Douglas, who was dating Scorsese in those days, talks about how Scorsese wanted to one-up Brian De Palma by making the shot a minute longer than the long steadicam shot in The Untouchables. Here's the excerpt:

THE GREATEST, STEADIEST SHOT OF ALL TIME

Larry McConkey (Steadicam operator): The impression I had when Marty walked us through the Copacabana shot was that this is going to be the most boring, worst thing I've ever done. We're walking across the street, down the stairs, down a hallway, in the kitchen.... What is this shot about?

Douglas: They didn't know that the Copacabana tracking shot was going to be such a big deal. It wasn't like, "Okay, we're going to do the greatest Steadicam shot in history."

Joseph Reidy (first assistant director): It's probably the hardest orchestrated single shot I've ever been involved in. McConkey: There were 400 or more absolutely precise timing moments. It was totally impossible, mathematically.

Kristi Zea (production designer): This was the mating dance. Henry's arrival into the Copa, the way he came in, and how the whole thing was designed to impress the hell out of Karen. You wanted the audience to be part of her being impressed.

Johnny "Cha Cha" Ciarcia (Batts's crew number one): Marty Scorsese was in trouble for extras, so one of the casting directors called me. I live on Mulberry Street. I know the whole world. I went and I made a deal for $10 a person. We had five busloads of people on Fifth Avenue for the Copa. I set it all up.

Zea: He wanted a long preamble before they get into the space. The Copa didn't have a long enough walk before they actually get into the nightclub. So we had to build a hallway, and we literally took the walls away while the camera was in motion, so that they were gone by the time Ray and Lorraine showed up in the main room. The delivery of the camera into that big space had to be done like a ballet. Henry is saying hi to everyone, everyone knew who he was. And then the table flies across the camera and lands smack dab in front of Henny Youngman, and suddenly there's champagne coming over courtesy of these other guys.

McConkey: Marty watches the first rehearsal, and the only thing he said was, "No, no! When the table comes in, it's got to fly in! I came here as a kid and I saw this!" They'd flip on a tablecloth, the lamp goes on top of it, somebody plugs it in, they put down the plates... It was like a magic act.

Douglas: I believe they only did like seven takes. I've been involved in Steadicam work where you literally work all day to achieve what Marty achieved in that shot.

Liotta: One take was because at the end of it, Henny Youngman forgot his joke.

Zea: "Take my wife..."

Ballhaus: He forgot his line that he had said about 2,000 times!

Douglas: Brian De Palma had just done this incredibly long Steadicam shot in The Untouchables, and Marty said it would be funny to try to do it one minute longer than De Palma's. The world perceives this as "Oh, the Copacabana scene!" But what it really is, is directors behind the scenes having fun fucking with each other.


Posted by Geoff at 7:49 PM CDT
Updated: Sunday, September 26, 2010 12:39 PM CDT
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