Hello and welcome to the unofficial Brian De Palma website.
Here is the latest news:
a la Mod:
The article also includes the film's "official synopsis": "Brian De Palma returns to the sleek, sly, seductive territory of Dressed To Kill with an erotic corporate thriller fueled by sex, ambition, image, envy and the dark, murderous side of PASSION. The film stars Rachel McAdams (Midnight In Paris, Sherlock Holmes, Mean Girls) and Noomi Rapace (Prometheus, The Girl With The Dragon Tattoo) as two rising female executives in a multinational corporation whose fierce competition to rise up the ranks is about to turn literally cut-throat."
Later in the day, The Playlist shared the poster in an article with the headline, "U.S. Poster & Lots Of New Pics For Brian De Palma's 'Passion' Starring Rachel McAdams & Noomi Rapace." Aw, how cute that they think those are all "new" pictures that we haven't seen before, ha ha.
Meanwhile, The Dissolve's Scott Tobias was so depressed about the "deflating" new poster for Passion that he posted a Tumblr exploring "posters unworthy of Brian De Palma." The depressingly Photoshopped U.S. poster for De Palma's Femme Fatale is included, as is the spark of life provided by the Criterion covers for Sisters and, magnificently, Blow Out.
Meanwhile, several tweets on Twitter today indicate that Passion will go straight to DVD/Blu-Ray in the U.K., as well, with Metrodome releasing it in those formats on August 12.
"We had such a wonderful kind of an incubator in the early '70s. Late '60s/early '70s. I really began directing in '69, that was television, I was 21, but... And I met all these people around that period of time. I met George Lucas in 1967 when we were both in college. I was at Long Beach State, he was at USC. And I met a lot of those fellows in college, and professional life, and it was not a clique, not a 'Brat Pack,' nothing that people claim we were. We were just a bunch of filmmakers that weren't afraid to show our rough cuts to each other, and weren't afraid of that kind of criticism. We weren't afraid of George Lucas or Brian De Palma. I'll never forget the day Brian De Palma and I saw the rough cut of Star Wars. And there were only about six of us in the room. And it was the very first time George had ever showed the picture to anybody, and chose the six of us to show it to. Well, Brian went off the deep end. [Smiling as he playfully imitates De Palma] 'Whaas... Makes no sense! Nonsense! What's this all about?' And through all of the contention of that wild evening where Brian liked the movie, but thought it was sort of mixed up... it was really mixed up, it just didn't have 89 percent of the special effects in them-- who could possibly make head or tails of Star Wars without all those, you know, 500 effects shots? But, Brian's contention did lead to George inventing the now very famous forward, like the old serials, that crawled up the screen. You know, 'A long time ago, in a galaxy far, far away.' Now that came out of that rough cut screening. You know, and that was exciting to see things like that happen. I sat with Scorsese, in the editing room, heloing him edit the last ten minutes of Taxi Driver. Which is a film totally unlike who I am. But he asked me to come in, and to give my opinion, and to make some comments, and I did. That was fun, you know, we've all helped each other with our movies. The shark blowing up in Jaws was not my idea. It wasn't in the Peter Benchley novel, wasn't in the Peter Benchley screenplay, and the Carl Gottlieb screenplay. It was simply some filmmaker friends of mine who read the script and said, 'The shark's gotta blow up at the end. You've got to find some way to explode it. Not just kill it, it's gotta explode!' And without that kind of, sort of selfless thinking, where the ego is not leading you around by your nostrils, but you're open to pain, and to embarrassment, and to ridicule, and by being open to that with peers that know what it's like to make a movie, that have made movies, that you can respect their word, their critique, so to speak... and it's a great way to work. A great way to make your movies even better."
Meanwhile, another De Palma a la Mod reader, Chris Baker, caught a screening of the 4K Body Double at San Francisco's Castro Theatre, where it was the tail end of a double bill with Alfred Hitchcock's Rear Window on May 18th. Baker tells us that the film "looked and sounded phenomenal."
The month of July brings a De Palma series, "Deja Vertigo," to the Hollywood Theatre in Portland, Oregon. The series starts with the digital restoration of Body Double on the weekend of July 5th-July 7th. The other three films in the series (running each weekend in July) will be presented from 35mm prints: Dressed To Kill, Blow Out, and Scarface. The theatre website admits that the latter film does not fit the theme of the series, which focuses on De Palma's Hitchcockian psychological thrillers. "This series will focus on the early 80′s," states the site's description, "when De Palma crafted gripping tales of mystery and murder, brimming with operatic set pieces, off-kilter camera work, steamy sexuality, and nail-biting suspense." As a bonus on the final two days, the theatre will also screen a 35mm print of Howard Hawks' Scarface from 1932.
A bit later in the article, Murphy brings De Palma into the discussion...
“When I was mixing Dressed to Kill, ” — his Psycho pastiche from 1980 — “I was working with sound effects editor Dan Sable, who had done a bunch of movies for me,” Mr. De Palma said by phone. “We were looking for an effect. We had some wind in the trees, and I heard the effect he used and said: ‘Dan, I’ve heard that same wind effect in the last three movies. Can’t you get me some new sound?’ ” (They both laughed; the next day Mr. Sable went out to record some new wind.) Mr. De Palma wrote a scene in Blow Out that is taken almost directly from this exchange.
While the film involves a serial killer and features elaborately staged action sequences, Mr. De Palma makes time for detailed moments that explore his main character’s work. In a crucial scene, he syncs his recording to film images of the same event. “I did this as an editor, and sound editors do it, but I don’t think anybody had ever seen the process,” he said.
The whirring reels, large recording equipment and rolls of audiotape seen in Blow Out and Berberian Sound Studio are artifacts of the pre-digital filmmaking eras in which these movies take place. The imposing hardware, as well as the sounds it produces, plays a supporting role, too. Joakim Sundström, the supervising sound editor for Berberian, said that his team used digital equipment but he gave the sound a retro feel.
“What I did was take the majority of sounds that were in the film and I retransferred them onto magnetic tape and quarter-inch tape,” Mr. Sundström said.