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:
In between these two "Bucket Of Blood" cues is another Donaggio cue from Carrie: "For The Last Time We'll Pray" plays as Lana makes her way inside the asylum for the first time. Sister Mary (Lily Rabe) leads Lana up the stairs to meet Sister Jude, and they walk in on her just as she is beginning to shave the head of a patient, Shelly (Chloe Sevigny).
Now before I get to the third use of "Bucket Of Blood," which comes later on in the episode (confirming the running motif), it is worth noting that Sevigny portrayed Grace Collier, the journalist, in Douglas Buck's 2006 remake of De Palma's Sisters. This, of course, is the journalist character who was played by Jennifer Salt in De Palma's Sisters. Salt is an executive producer on American Horror Story, and she wrote a couple of episodes from the first season. This current episode, and, it would appear, the season to come, has clear echoes of De Palma's Sisters, in which Grace, investigating a murder, infiltrates a mental health clinic. However, Grace is discovered and captured by Dr. Emil Breton (William Finley), who tricks the others at the clinic into thinking Grace is a stray patient. "You want to know our secrets," Emil says to Grace as he puts her under a hallucinatory sedation. "We will share them with you. Watch." On American Horror Story, Lana is eventually discovered and captured in a similar manner. "She wanted an inside look into our facility," Sister Jude later tells Lana's roomate, "and I will see that she gets it."
But before that happens, "Bucket Of Blood" is heard a third time as Sister Mary appears to be feeding someone or something in the woods, and the music this time crescendos as Lana herself startles Sister Mary-- bringing Lana's appropriated Donaggio motif full circle.
Appropriating themes from horror movies is nothing new for American Horror Story. Last season, Bernard Herrmann's whistling theme from Twisted Nerve was used as a recurring theme for Evan Peters' character. (That same theme had previously been reappropriated by Quentin Tarantino for a memorable De Palma-Dressed-To-Kill-esque split screen sequence in Kill Bill Vol. 1.) For all I know, there were other such music cues that I did not recognize. But I wouldn't be surprised to hear "Bucket Of Blood" again throughout the season, if Lana's story continues.
"An admirer of Bretchian distanciation who likes to keep the viewers aware of their emotional involvement in the film, De Palma values the medium of film first and foremost. 'You suck them in and annihilate them. Then you say, “It's just a movie, right? It's not real,”' he noted in an interview.
"He reached a wider audience with Carrie, the film adaptation of Stephen King´s horror novel, which garnered the actors Oscar nominations for their performances. In it, Brian De Palma made extensive use of split-screen and slow motion shots to tell the story visually rather than through dialogue. His film, The Fury, made an impression on Godard, who included De Palma in his project Histoire(s) du Cinéma."
DE PALMA HAD THE 'DRESSED TO KILL' ART DIRECTOR "BASICALLY DUPLICATE" HIS SCIENCE FAIR PROJECT
PROBLEM FOR EVERY ARTIST: HOW MUCH OF YOURSELF TO REVEAL IN QUEST FOR TRUTH
"We’re then treated to a tight close-up of McAdams’s face against a bedpost. She is, judging by her half-hearted squeals, receiving mediocre oral sex. Suddenly, a man’s head emerges in the frame wearing a hybrid Phantom of the Opera Kabuki mask.
"This all looks like the start of a beautiful lesbian affair—that is, until Isabelle crafts a knockout ad campaign for the phone, a campaign for which Christine immediately takes credit. Christine, it seems, needs to knock this out of the park so she can receive a promotion and transfer back to the company’s Manhattan offices. Isabelle doesn’t take the move lying down, and immediately uploads her commercial to YouTube. After it goes viral, it’s Isabelle who receives all the kudos from the company brass, and the proverbial claws come out.
'PASSION' COULD EASILY BE RETITLED 'MAD WOMEN'
"Passion could easily be retitled Mad Women, with its sleazy ad biz setting and estrogen overload. When the pouty Dani (Karoline Herfuth), Isabelle’s redhead sexy assistant—who also has a crush on her—calls out Christine on her shady behavior, Christine replies, 'You want to eat my c--t, don’t you?' before violently kissing her, ripping her own blouse, and threatening her with a charge of sexual harassment. It’s a pretty jarring scene—especially the usage of the c-word—coming from the typically virtuous McAdams, whose cute visage, replete with a small face, a beauty mark, and kind, blue eyes is disarmingly sinister when she flips the switch.
"Later, after Dirk refuses to service Christine, she calls up every man in her phone until someone will come over and pleasure her. The action then cuts to Christine on the phone in a bathtub, as two hands place a shiny diamond necklace around her neck. Then the man’s face comes into frame, and he’s wearing a black leather pig-shaped gimp mask.
"While Passion makes several leaps in logic and is, like so much of De Palma’s recent oeuvre, overstylized, with flashy visuals and a Hitchcockian score, this kinky B-movie is redeemed by Rapace and, in particular, McAdams, who will hopefully take a trip to the dark side more often."
Entertainment Weekly has a description of the teaser trailer that was shown:
The NYCC crowd got an exclusive first look at Carrie‘s teaser trailer, which begins with a helicopter shot showing the school gym on fire, but then shows a trail of destruction leading throughout Carrie‘s small town…ending with a close-up on a blood-covered Moretz. The teaser features a cacophony of voices talking about Carrie — including the memorable line “She wasn’t some monster. She was just a girl.” — implying, perhaps, that the remake would adhere close to the structure of King’s original novel, which was written in a pseudo-epistolary style. (Brian De Palma’s original Carrie film in the late ’70s jettisoned that structure in favor of a more straightforward linear narrative.)