paraphrasing: “BD was great, had a vision of what he wanted and made everyone work hard to get it”: Michael Caine told her there were 27 takes of him coming down the stairs in Bellevue. She agreed that she deserved an Oscar for the role (as supporting actress); said that due to it being a Filmways production there was no big studio to give a push to get her nominated, and that doing such a thing oneself was extremely expensive and she thought it was too much of a longshot to be worth the gamble.

She said she thinks THE UNTOUCHABLES is BD’s best film, and advised everyone to see it. When Muller asked if she loved Sean Connery in it she said yes but then — in a way that made it clear where her interest lay, and got a big laugh — said , “and, um , Andy Garcia”

She says she loves movies, goes all the time and current faves are MY WEEK WITH MARILYN, HUGO (“they sold it as a film for kids...it’s a film with kids, for adults”), THE ARTIST (“love it...I’ve seen that many times”) and MIDNIGHT IN PARIS. She’s also a fan of runpee.com (which I’d never even heard of -- subject came up because interviewer mentioned that Angie doesn’t appear in POINT BLANK until about 30 minutes in, at which point she interjected “so if you need to pee, that’s when to go”).

Ron was referring of course, to the film's notorious opening shower-rape-fantasy scene, in which Angie Dickinson and, alternately, her nude double Penthouse Pet Victoria Lynn (and boy did Penthouse make hay out of THAT connection, if I recall correctly) are violently taken by an unknown hunky assailant. It was Mr. Jeremy's contention that the sex play in that scene indeed crossed the line into "hardcore," e.g., "penetration" and was getting away with something. Mr. Jeremy's subsequent public pronouncements, inasmuch as I've followed them, have not infrequently taken a similar why's-everybody-always-picking-on-me-when-somebody-else-is-doing-worse-stuff tone.

Scorsese: Oh! I know. Well, you have to remember, a lot of people don’t remember now, but at that time, they were trying to make porn acceptable, with Deep Throat and Sometimes Sweet Susan, and pictures like that.

Schickel: I went to a few of those.

Scorsese: It was okay to go with a girl. But Brian De Palma and I went to see Deep Throat, and he said, Look at the people around us, it doesn’t feel right. There were couples. I said, You’re right. We should be with all these old guys in raincoats. It was a wonderful kind of hypocritical thing that was happening—it opened up the society.

JW: Even though the camera moves a lot, I think it's there to slowly build the tension and they're not fast camera moves at all. They're very controlled. I definitely wanted to make a very classical, old fashioned horror film based on very classical, old fashioned filmmaking. If you go back and see what Spielberg did with the first "Jaws," it's all very controlled camerawork - or "Duel."

LW: I read one review that said your direction was very reminiscent of "Dressed to Kill." That's pretty cool. Is that something you noticed at all [with the camerawork]?

JW: I look back at my body of work and I definitely see things that excite me in the same way that excite Brian De Palma for sure.

LW: The way he loves to move the camera in...

JW: It's not just that. He moves his camera, but he does it in a really interesting way.

LW: That opening shot of "Insidious," to me, is a very De Palma-esque shot. [The camera] comes in upside down and then twisting around.

JW: I was very inspired by someone like [Roman] Polanski as well, [in how] he takes slow, brooding movies that are made in such confined spaces and just builds on that and builds on that and builds on that. That's what we want to do. But instead of paranoia that we're building on, we're building on supernatural things.