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Recent Headlines
a la Mod:
Listen to
Donaggio's full score
for Domino online
De Palma/Lehman
rapport at work
in Snakes
De Palma/Lehman
next novel is Terry
De Palma developing
Catch And Kill,
"a horror movie
based on real things
that have happened
in the news"
Supercut video
of De Palma's films
edited by Carl Rodrigue
Washington Post
review of Keesey book
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Exclusive Passion
Interviews:
Brian De Palma
Karoline Herfurth
Leila Rozario
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De Palma interviewed
in Paris 2002
De Palma discusses
The Black Dahlia 2006
Enthusiasms...
Alfred Hitchcock
The Master Of Suspense
Sergio Leone
and the Infield
Fly Rule
The Filmmaker Who
Came In From The Cold
Jim Emerson on
Greetings & Hi, Mom!
Scarface: Make Way
For The Bad Guy
Deborah Shelton
Official Web Site
Welcome to the
Offices of Death Records
Back to the lists, Scott Renshaw placed De Palma's The Untouchables at number nine on his list (top film: Airplane!), and senior editor Jake Cole placed De Palma's Body Double at number ten (top film: King Lear). The site is collecting readers' top tens in the comments section, and will post the results and analysis in about a month.
Meanwhile, Hollywood Elsewhere's Jeffrey Wells posted his choices, but displayed his own amazingly short-sighted "aesthetic perception problem" with the following notice at the top:
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.
The Blow Out sets also include a 27-minute interview with Pino Donaggio in which he talks about his career as a violinist, then popular singer, and on through his ongoing collaboration with De Palma. There is also a 7-minute analysis of Blow Out by critic Jean Douchet. Both Blow Out and Dressed To Kill include an 8-minute introduction from Samuel Blumenfeld.