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Domino is
a "disarmingly
straight-forward"
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us to reexamine our
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but metaphysically"
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De Palma on Domino
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Listen to
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Supercut video
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Washington Post
review of Keesey book

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Exclusive Passion
Interviews:

Brian De Palma
Karoline Herfurth
Leila Rozario

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AV Club Review
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Monday, October 22, 2012
'AHS' SEASON UNDER DE PALMA INFLUENCE
RYAN MURPHY: "IT'S TIME FOR A BRIAN DE PALMA RESURGENCE"

Although the image above from last week's season premiere of American Horror Story is clearly inspired by Stanley Kubrick, the show's co-creator Ryan Murphy tells Entertainment Weekly's Tim Stack that Brian De Palma is the big influence for this year's model. Of course, we've already noted the Pino Donaggio music cues from De Palma's Carrie that recurred throughout episode one, as well as that episode's echoes of De Palma's Sisters. But Murphy would seem to imply that we can expect more nods to De Palma as the season rolls on. Here's what he told EW:
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"When Brad and I did season 1, it was definitely influenced by masters like [Stanley] Kubrick. This year the thing that I was really obsessed with is I was really influenced by DePalma, who I think is a brilliant filmmaker, who I really feel like never gets his just desserts. It’s time for a Brian DePalma resurgence. So I was very into the filming style of DePalma’s works, specifically Dressed to Kill and Carrie. There’s a lot of slow motion, there’s a lot of languid filmmaking. In the first episode, as a tribute to Brian, we actually used two big pieces from Carrie’s score. So the same can be said of DePalma’s work which is very fever dream. Look at that last scene of Carrie—was it real? Was it a dream? So yes it was very influenced by his work particularly. Also it was very influenced by [Dario] Argento. The other great thing about it is Brad Buecker, who edited all the shows last year, who’s my right hand man, is also a brilliant director. The first two were edited and directed by Brad. It’s very interesting when an editor directs. It’s much more I think a psychological thriller as well.

"Last year, it’s interesting to me, because people said to me 'Oh the Harmon family is so venal and so terrible and we don’t root for them.' I think this year you have 3 or 4 people you’re really rooting for — definitely Jessica, definitely Evan, definitely Sarah, definitely Chloe. This year we’re really exploring the idea of madness, and I think madness, for people caught in that web, it must feel like a hallucinogenic nightmare reality.

"DePalma was also clearly very influenced by Hitchcock. But DePalma was able to use sex in a much more graphic way. Obviously, American Horror Story will always be about sex and violence. But I’m really thrilled to talk about DePalma. One of our writers on our show, Jennifer Salt, starred in a Brian DePalma movie [1973's Sisters]. They’re still really good friends."

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Stack then suggests that Murphy should get De Palma to direct an episode. "Ha!" replies Murphy. "I doubt he would come to television, but it certainly would be worth a call. I love him. I think he’s a very underrated filmmaker."

Posted by Geoff at 1:04 AM CDT
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Wednesday, October 17, 2012
'CARRIE' CUES & ECHOES OF 'SISTERS'
AS 'AMERICAN HORROR STORY' BEGINS ITS SECOND SEASON
[Possible Spoilers] So I'm watching the season premiere earlier tonight of American Horror Story, the F/X series created by Ryan Murphy and Brad Falchuk, and about 10-15 minutes in, I hear this very familiar Pino Donaggio music. At first I wondered if it was just a little musical homage to Donaggio's "Bucket Of Blood" cue from Brian De Palma's Carrie, but as it went on, it became clear to me that it was that precise recording-- it was indeed "Bucket Of Blood," edited to fit in with what was happening on screen.

And the scene in question was the introduction of the character pictured here, Lana Winters, a journalist played by Sarah Paulson. "Bucket Of Blood" (as the track was titled on the original Carrie soundtrack release) plays as Lana approaches the asylum (in 1964) that provides the main setting of season two-- and the Donaggio track is repeated twice more in the episode, creating a little motif for Lana. Lana is working on a story about the asylum under the false pretense of doing a fluff piece on the bakery run by Sister Jude (Jessica Lange). The "Bucket Of Blood" cue is heard a second time, just moments later in the episode, during the scene pictured here: Lana is watching as the latest "patient" (Kit Walker, played by Evan Peters) is delivered to the asylum, and the music builds suspense as he is led up the stairs, and the Donaggio crescendo peaks as Kit is stripped and thrown into a shower stall.

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.


Posted by Geoff at 11:35 PM CDT
Updated: Saturday, October 20, 2012 3:57 PM CDT
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Saturday, August 4, 2012
JOSEPH KAHN: 'MOVIES NEED MORE DE PALMA'
IRRITATED BY PERVASIVE USE OF MULTIPLE CAMERAS IN FILMS TODAY

Posted by Geoff at 10:15 AM CDT
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Wednesday, July 4, 2012
HAWKEYE COMIC BOOK 'VERY FRIEDKIN, EARLY DE PALMA'
ALSO, 'ROCKFORD FILES', SAYS CO-WRITER FRACTION
Marvel Comics introduced Hawkeye into its line of movies in its currently playing Marvel's The Avengers, and now they are getting ready to launch the character's newest comic book series. Matt Fraction, who is on the new book's creative team along with David Aja, talked to Comic Book Resources about the series last April, saying he was looking at classic crime and urban adventure stories from film and television, as well as comics. "If I could put the Stephen J. Cannell logo at the end of every issue I would be happy," Fraction told the site, "and David Aja recently sent me this amazing piece of music. He said, 'Here's the soundtrack to our first issue.' It's Dizzy Gillespie and Lalo Schifrin from a record they did together called 'Free Ride' and it is great. The whole record is full of car chase music. So this series is very William Friedkin and early Brian De Palma. 'Rockford Files.' It's an early '70s urban grit story. You almost expect Hawkeye to come around the corner and bump into Power Man and Iron Fist from 30 years ago."

The first issue of Hawkeye will be published August 1st. Interiors from the book can be seen here.

Posted by Geoff at 3:38 PM CDT
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Tuesday, June 12, 2012
WES ANDERSON: DE PALMA IS ONE OF MY FAVORITES
"THE MOST SOPHISTICATED VISUAL STYLE OF ANYBODY"

In the video above, the Hollywood Reporter's Todd Gilchrist sits down with Wes Anderson, and suggests to the director that his new film, Moonrise Kingdom, seems the most Stanley Kubrick-inspired film he's done, in terms of some of the techniques used. Anderson acknowledges that Kubrick is one of his favorites, but responds that when he is making a movie, he isn't consciously aware of what he is "stealing everything from." He goes on to name other influences: Roman Polanski, John Huston, Martin Scorsese, and Orson Welles. "They're guys whose way with the camera I feel like I’m always taking something from," Anderson says in the video. A bit later, the following exchange takes place...
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Todd Gilchrist: You’ve created such a singular and identifiable body of work. Have you ever thought about, or have you ever been offered sort of the opportunity to apply the style that you’ve created for yourself to maybe a more conventional sort of storytelling structure? I mean, look at, you know, Brian De Palma, maybe doing a commercial movie and then doing something that’s very uniquely his. Have you thought about flirting with those kinds of projects?

Wes Anderson: Well, Brian De Palma is a very interesting one. You know, Brian De Palma is one of my favorite directors ever, and such a… the most sophisticated visual style of anybody. And [his] way with a camera. But I think in a way, Brian De Palma is somebody who can take a giant, complicated action sequence, and say, “I know precisely how to execute this,” and he can do it in a way that is completely his, and yet is highly effective as a, you know, suspense and as… [waving his arms] understanding the space and how this action is occurring. And, you know, I’m a completely different kind of moviemaker. The basic crucial talents of that, that Brian De Palma has, are exactly what I lack. Probably.


Posted by Geoff at 12:21 AM CDT
Updated: Tuesday, June 12, 2012 12:22 AM CDT
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Sunday, October 23, 2011
'AMERICAN HORROR STORY' & 'HOMELAND'
JENNIFER SALT EXEC-PRODUCER & SCRIPTER OF THE FORMER; LATTER ALSO OF INTEREST

If you haven't been watching FX Network's American Horror Story or Showtime's Homeland, you should start. American Horror Story, pictured above, is the creepy new series from Ryan Murphy, who created FX's Nip/Tuck and FOX's Glee. Murphy got the series off to a whopper of a start by co-writing and directing the pilot episode, which you can watch on Hulu until October 31st (right now, you can also watch it and the second episode at the FX site). The third episode is the latest, and was written by Jennifer Salt, who is also acting as an executive producer of the series (Salt has been working with Murphy on TV and film projects since Nip/Tuck). American Horror Story has been thrilling to watch from week-to-week, and I highly recommend it. This haunted house story is fast-paced (with jump cuts used to amp up the creepiness), funny, scary, and just when you think it's gone about as far as it can go, it shows itself to have limitless imagination (at least, thus far).

Another series worth watching is Showtime's Homeland, which hooked me from the start, and also continues to move into surprising places about four episodes in. Homeland stars Claire Danes as a CIA operative who has the nagging intuition that an American Marine, who had been held captive by Al-Qaeda in Afghanistan for eight years before being rescued and returned to America, has turned, and may somehow be involved in a potential sleeper cell operation. With the help of a close confidant and his brother, she takes it upon herself to illegally place cameras and microphones in the Marine's home, and spends nights on the couch watching him sleep, looking for any sign of suspicious activity. The viewer is privy to certain things going on in the Marine's mind, but with enough ambiguity to keep on the fence about whether or not he is part of any such plot. I hadn't thought of any specific De Palma influence while watching, but The New Yorker's Nancy Franklin feels that the series evokes Antonioni's Blow-Up, De Palma's Blow Out, and Coppola's The Conversation.

Posted by Geoff at 10:29 PM CDT
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Monday, September 12, 2011
'RINGER' CREATOR CITES DE PALMA AS INSPIRATION
THRILLER SERIES STARRING SARAH MICHELLE GELLAR PREMIERES TUESDAY ON CW
Eric Charmelo, who created the new TV series Ringer with his regular co-writer Nicole Snyder, tells dailybreeze.com's Steven Herbert that various films by Brian De Palma, including Dressed To Kill, provided inspiration for the series, which premieres tomorrow night on the CW network. "Just when you think you have it figured out," Charmelo tells Herbert, "we'll throw in a twist that completely takes it in a new direction." Charmelo describes Ringer, which stars Sarah Michelle Gellar as identical twins, as a "neo-noir thriller" that "will keep the audience guessing," according to Herbert. Charmelo elaborated that he and Snyder have an obsession "with the concept of good twin versus evil twin. We always thought it was kind of funny and campy, but we wanted to play it straight, like a serialized thriller."

Posted by Geoff at 6:19 PM CDT
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Friday, June 3, 2011
VAUGHN LOVES 'SCARFACE' & 'UNTOUCHABLES'
'X-MEN/FIRST CLASS' DIRECTOR NAMES DE PALMA, SPIELBERG, LUCAS, AND MORE AS INSPIRATIONS
Several reviewers of Layer Cake, Matthew Vaughn's 2004 debut film as director, pointed out that that film carried strong echoes of Brian De Palma's Carlito's Way. Now, as Vaughn's latest film, X-Men: First Class, hits theaters this weekend, Vaughn gives Comic Book Movie's Josh Wilding a whole list of his inspirations, which includes De Palma, and specifically De Palma's Scarface and The Untouchables. Here is Vaughn's response to Wilder's query of the filmmakers and films that inspire him:

Steven Spielberg's "Close Encounters of the Third Kind" and "Raiders of the Lost Ark", Brian De Palma's "Scarface" and "The Untouchables", Robert Zemeckis' "Back to the Future", Sergio Leone's "The Good, the Bad and the Ugly", John Frankenheimer's "The Manchurian Candidate", and George Lucas' "Star Wars" and also his business model.

WWII, SPIES, LESBIANS, A POSSIBLE TRANSVESTITE... AND MYSTIQUE?
Meanwhile, Spout's Christopher Campbell, inspired by the release of the new X-Men film, has produced a list of "10 Mutants Who Need an X-Men Origins Movie." Campbell mentions that a previously mentioned Mystique movie, preferably directed by Brian De Palma, is still their first choice. Of that potential movie, Campbell wrote:

X-Men Origins: Mystique” would be very cool, because Raven Darkholme is such a fascinating villain. Her solo film should be set during WWII in her days as a spy and feature her lesbian partner, Destiny (or hetero partner if you subscribe to the theory that Mystique was born a man and has been disguising herself primarily as a woman “as the ultimate in transvestism”). Brian De Palma should probably direct this spin off, since it’ll kind of be like a cross between “Mission: Impossible” and “Femme Fatale.”

Of course, Rebecca Romijn, who played Mystique in the original X-Men films, was De Palma's Femme Fatale. While a younger actress would undoubtedly have to be cast in such a prequel, it would be exciting to see De Palma mixing it up with these elements within the WWII genre. The only problem with that is, the new films have altered the timeline to where Raven would be a toddler during WWII. Even so, perhaps Vaughn and Bryan Singer should give De Palma a call...


Posted by Geoff at 9:54 AM CDT
Updated: Saturday, June 4, 2011 6:20 PM CDT
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Friday, April 1, 2011
DUNCAN JONES ON 'SOURCE CODE'
"THERE'S A LOT OF HITCHCOCK AND DE PALMA"
Back in January, Comingsoon.net's Silas Lesnick posted an interview with Duncan Jones from the editing bay of his new film, Source Code, on which Paul Hirsch served as editor. In one section of the interview, Jones discusses having Hirsch on set during filming, and also cites Alfred Hitchcock and Brian De Palma as two big influences on Source Code, which he says he took on "to have a project which gave me some real scope to try things visually." Here is the excerpt involving Hirsch and De Palma:

CS: Can you comment a little on the editing? It seems like a time jumping plot like this lends itself specifically to filmmaking which is literally that.
Jones:
Well, as I mentioned, Paul Hirsch is the editor on the film and Paul Hirsch -- who I keep calling Paul Hirsch every time, even though it's so informal. I call him Paul -- was with us on the shoot. So while we're there, he might say, "Can you grab this, because it's going to be really useful later on." There a lot of little details that, I have no problem saying, his experience is just so vast that any advice on coverage or on what things could be really useful to him, we went with. He was downstairs in the studio all the time. We were at the big studio in Montreal and he was putting an assembly together while we were shooting. There was a constant loop of feedback from him as I was shooting.

CS: There's a common theme in science fiction of perspective and of returning to an event time and again. What films jump to your mind as having inspired you in the making of "Source Code"?
Jones:
It's strange because they're not really obvious ones. Certainly not ones that directly reference that sort of mechanic. There's a lot of Hitchcock and De Palma. We were trying to have the sensibilities of old Hitchcock movies.

CS: Hirsch has a very classic editing style. Is that something you went after very consciously?
Jones:
You know, one of the things that people loved about the making of "Moon" was that we went with model miniatures and what's not known is that we actually went with a good split of models and CG work. I had a background in both doing commercials. In this film, there are definitely a few moments of showy CG work. For me more than anyone else. Hopefully we kept it very light where we could because, otherwise, it could get quite grim with the train explosion. I think we've got the mood right that allowed me to get a little surreal at moments. I think it's really good fun and I hope that people will feel that way. But yes, Paul has a real simplistic elegance to the way he works. But for him as well, he also has a huge amount of experience on effects. He knew that I wanted to have these little beats where it got a little bit surreal and a little bit weirder. I think we got that.

CS: You mentioned Brian De Palma, who also has, while it's not science fiction, a lot of characters unsure of their identities.
Jones:
In this case, it wasn't really about films I had seen in the past that made me want to see this film. I think it was about the opportunity to be a bit surreal. To do something where some of my influences were Lucien Freud and a certain period of Picasso cubist paintings. I wanted to create visuals of things that I hadn't seen in film before. I wish I could show you some of the stuff later on because it does get really weird. It was more visual things that I wanted to do. When I was reading the script, I guess I did sense that there were certain scenes reflective of "Moon," but it was really about getting an opportunity to do something visually where I otherwise may never have the chance to do that. So I think, for me, that was the really fun bit.

CS: There are certainly, though, with a lot of filmmakers themes that directors tend to revisit.
Jones:
It's weird. Hearing you ask me questions about that and knowing what I'm going to do next, you're right. There is something there. I don't know why... I haven't analyzed myself well enough to know that.

CS: Is the next thing something else that was brought to you?
Jones:
No, the next one is something I originated.

DREW TAYLOR: "IF BRIAN DE PALMA HAD DIRECTED A SCRIPT BY RICHARD KELLY"
After Source Code premiered at SXSW last month, The Playlist's Drew Taylor posted a mostly positive review of the film. "And while the movie is very much a suspense piece," wrote Taylor, "with prolonged sequences of edge-of-your-seat tension that bring to mind what would have happened if Brian De Palma had directed a script by Richard Kelly, it has an incredibly romantic heart—one that is perhaps a little hokey at times, but a heart nonetheless."


Posted by Geoff at 2:40 AM CDT
Updated: Friday, April 1, 2011 2:42 AM CDT
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Friday, March 25, 2011
MARSHALL FINE ON 'SUCKER PUNCH'
SNYDER "HAS BECOME THE MOST DISTINCTIVE VISUAL STORYTELLER SINCE BRIAN DE PALMA"

While most critics seem to be panning Zack Snyder's Sucker Punch for not making sense, Marshall Fine says that is you want to see a film that makes sense, "see another film," because Snyder "isn't making that movie." Fine continues in his review, "There is something so unique about Snyder’s vision – right down to the most miniscule bit of background shmutz in any single frame of film – that he has, in the space of his last three films, become the most distinctive visual storyteller since Brian De Palma." The Miami Herald's Rene Rodriguez says "No, Sucker Punch doesn’t make any sense. But none of that matters, because the ride Snyder takes you on is so vividly conceived, so deliriously bizarre and wonderful. The movie provides all the bearings you need in this imaginary world, so that you’re never really confused, even when the action is set inside a dream within a dream, a la Inception." Snyder himself says that he was inspired by One Flew Over The Cuckoo's Nest and Brazil.

Posted by Geoff at 12:27 PM CDT
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