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:
Eugenio Mira: Totally.
Q: It's interesting making a film in that style today. Everything is so much about coverage now.
Mira: And cutting.
Q: This is definitely a more modern film, but you are hearkening back to that style of filmmaking. Does that make things difficult for you?
Mira: Me being a kid born in Spain and being completely affected by American pop culture in the '80s, Steven Spielberg and Joe Dante, then going into David Cronenberg, David Lynch, the Coen Brothers... from the very beginning, I always loved directing as a performance. It's true that could've been a problem had I moved to Hollywood at nineteen years old, but staying in a country like Spain, the good news is that movies were made not because a producer wanted to do it. It's because there was a possibility, a chance... some people went for subsidies and stuff and they didn't give a fuck about what movie was going to happen, but a whole generation of directors, Nacho Vigalondo included, nobody had the balls to tell us how to do our [movies].
Yes, I know I'm in trouble when it comes to a world that is completely opposite to what I am defending and what I am crafting. On the other hand, after three movies, it's true that maybe there is some momentum. Maybe you can anticipate what problems you are going to have. What I've learned is that rather than have a hidden agenda, it's better to show your plans from the very beginning. Every single director is an asset before you start shooting, and if what you're shooting feeds what your selling - the storyboards and animatics - producers are like "Oh, he's doing it as planned. He's not behind schedule." The problems come with the editing. But if you do it properly, you are going to have just two or three major fights - compared to shooting a lot of coverage and losing control of the whole movie.
Q: When you got the script, how quickly did you figure out how you were visually going to tell this story?
Mira: I'm trying to capture the first impression that I have. If I'm on page thirteen, and there's something that the writer implied... I think my brain works very similarly to what Spielberg describes, it's like having this library of movies. I'm a musician, too, and we have notes. But notes are nothing if there's not a context. So I think that the same thing happens with cinema. Everyone thinks that everything is etherial, and you start from scratch every time. No. You know a shot from Tony Scott from one used by his brother, Ridley. Sometimes they are similar, but sometimes they are different. Alan Parker is different from Adrian Lyne. But those little nuances, some people don't give a damn, but to me I acknowledged those differences. So if I'm seeing a scene of a car parking in front of a diner, and someone steps out, I'm going to know if it's just an establishing shot, or if it's a dolly shot of a guy stepping out of the car and if we're going to go beyond the door or if we're going to be inside seeing the whole thing. It's what directors that I've been raised by do all the time. To answer your question, I wrote down every single thing. Damien Chazelle's script is an open love letter to Hitchcock and De Palma. So what I try to do is instead of just following that realm, I wanted to analyze where these mesmerizing effects came from, and that is silent films. Silent films are the pure sequential art. All you have is the size of the shot, the length and the semantics of the cutting. The semantics in cutting nowadays are two completely different things. Cut means shit nowadays. I can't stand it.
Q: I had the pleasure of interviewing De Palma last year, and I asked if he feels any pressure to shoot coverage nowadays. He said, "Coverage is a bad word."
Mira: I hate it. It's not in my vocabulary.
Q: But it's expected. And it weakens a director's position. They can easily take the film away from you because you've given them all of the options.
Mira: Totally. That's not directing. I will never do this if my work was confined to talking to the actors, going out to dinner and reminding them what we read in the script. The moment I don't have control of what you're seeing when you're seeing it and what level of attention, how am I going to sign [the film]? Coverage is for pussies...
Q: You feel like a filmmaker who could work on a bigger canvas. De Palma and Hitchcock made great big movies! You obviously like the widescreen. I think you could handle a big movie. But I read an interview where you said Jurassic Park 4 would just be about talking to the actors. The vision wouldn't be yours.
Mira: I'm glad you mentioned that. I felt a little bit... in terms of being political, it was a little controversial that I said that. But I'm disappointed. For Spielberg, coming from a filmmaker that I've always admired, I know there's a property, and I know there's a lot of stuff going on and different interests, but something tells me that when it comes to the big scenes of that movie, they were designed three years ago. They already have them. And they got a guy to go out to dinner. I love Safety Not Guaranteed, and I don't want to throw shit at it. I admire what [Colin Trevorrow] did, but if somebody tells me that they are going to hire for Jurassic World the director of The Spectacular Now, I would also be saying "What the fuck?" I don't get it. What about the kids who were raised with Joe Dante or Brian De Palma or Robert Zemeckis: people who really know how to craft movies.
Q: Those guys designed the whole world.
Mira: That's what I'm saying. You see a movie like Bonfire Of The Vanities... you can like it more or less, but that movie directs you into a world. You can talk about the movie, but as a vehicle of expression for Mr. De Palma, I don't see better or worse movies, I see more fortunate or more unfortunate vehicles for Mr. De Palma. That's the way I see it.
Mikael Wood, Los Angeles Times
"Perhaps Rick Ross simply took his drug-lord act as far as it could go with 2012's God Forgives, I Don't, in which the portly Miami rapper somehow made a seizure he'd suffered on a private jet sound like the mark of a true player. But for the first time in a career that's gotten only more interesting since his background as a corrections officer was revealed, Ross has run out of imaginative ways to describe his power on his latest.
"'Before the crib you gotta clear the guard's gate,' he brags of his home in 'Rich Is Gangsta,' 'Elevators like Frank's on Scarface.' Snooze."
Rohter's article continues:
“Saturday Night Fever becomes a strange double-edged sword,” Mr. Peña said. “On the one hand it is free and easy and democratic and represents freedom and masculine flamboyance. But it also comes from America, which is seen as being at the root of the problem, behind the overthrow of Allende and the installation of Pinochet.”
In addition Mr. Castro’s character looks a lot like Al Pacino, as critics were quick to note after Tony Manero was shown at the 2008 Cannes Film Festival. Mr. Castro and Mr. Larraín said they were amused by the comments that similarity has provoked, which they believe underline and amplify their theme of cultural domination. “The interesting thing is that here you have a Chilean actor who tries to look like John Travolta and ends up being said to look like Al Pacino,” Mr. Larraín said. “He’s never Alfredo Castro. He’s always somebody else, and what he does in the film is exactly that too.”
Mr. Castro added: “It’s like I’ve been erased, and there is something symbolic about that.”
Now The Wrap reports that the new Scarface "will reimagine the core immigrant story told in both the 1932 and 1983 films. Universal's update will be an original story set in modern day Los Angeles that follows a Mexican immigrant's rise in the criminal underworld as he strives for the American Dream." The Wrap also states that the current draft of the screenplay is by Attanasio.
Sneider writes, "The filmmakers plan to cast an authentic Latino who is bilingual and bicultural as the lead character, whose name will be Tony, though his last name won't be Camonte (1932) or Montana (1983). While Oscar Isaac, Edgar Ramirez and Michael Pena rank among Hollywood's top Latino stars who are age-appropriate for the role, the producers are also open to casting a complete unknown in the name of authenticity." Sneider adds that "the new Scarface will be a more mythic origin story that explores where Tony's physical and emotional wounds come from and how they shaped him as a man.
"Larraín won the coveted job with his commanding and passionate vision. An insider told The Wrap that Larraín really connected to the material and, as someone who has never worked within the Hollywood studio system, he brought an outsider perspective that allowed him to relate to the main character and his narrative. "Harry Potter filmmaker David Yates had previously been in negotiations to direct but his commitment to Tarzan prevented him from signing on."
The new Scarface is being produced by Martin Bregman, who produced the Brian De Palma version, and Marc Shmuger.
When I was very young, I was fascinated by computers. I built many of them, and won many science fairs.
[Talking about Blow Out] I was sort of fascinated by the fact that even if you had the correct information about the Kennedy assassination, no one would care. And I also wanted to create the mystery that can only be solved with filmic means. Only by syncing the sound, the basic building block of cinema solved the mystery. I wanted to use a purely cinematic visual to solve the mystery. And that’s why I think it’s so effective.
There’s a big white canvas up there. You can hold the audience with a series of images that are poetic and dramatic. And it takes a lot of thought in order to create these sequences. Non-verbal cinema is something that has almost died in the last couple of decades.
I like Rear Window. It’s a very clever idea, shooting everything from Jimmy Stewart’s point of view, and keeping the movie in the apartment of Jimmy Stewart, and dealing with the fact that he can’t get up and do anything, because he’s in a wheelchair.
Well, Hitchcock showed a way of telling a movie with pictures. And he was a genius at producing these sequences in his movies, and nobody really is following in that tradition.
And I remember seeing Vertigo when I went to college. Well, Vertigo is a movie that greatly affected me. I have used the idea and images in it throughout my career.
Some great cineaste once said the history of cinema is about men photographing women, and I think that’s pretty much true. I’ve made stories with lots of men in them, like The Untouchables, or Scarface, but if you’re interested in beauty, you’re interested in photographing women.
When I read about the incident in Iraq, about the rape and killing of an innocent Iraqi girl, I said, well, this is just like Casualties Of War, except it’s happening again. It was a great story, and a very tragic story. But our invasion and destruction of Vietnam was very much like the rape and murder of this girl. It was the best story from out of the Vietnam war. To me, it represented everything wrong we were doing there. [Now back to talking about Redacted] When I did the search about the original incident on the internet, it came up with all these blogs, and YouTube postings, and a montage of Iraqi casualties. [It was] totally original, in a whole new language, and that’s the form in which I told the story. I’d like to use their own dialogue, the real things that they said, but I couldn’t, because they were being prosecuted while the movie was being made. I’m afraid to say that if you haven’t learned from the lessons of the past, you’re doomed to repeat them, and obviously, America did not learn from those experiences in Vietnam. So maybe you have to tell the same story again so that maybe they’ll get it this time.
There were some very good reviews, but again, it was not an image of American soldiers that anybody wanted to see. Because it’s too disturbing. They don’t want to see the pictures. They don’t want to see the images. They don’t want to think that their soldiers are [anything] but valiant crusaders planting democracy in a mid-east country. And they’re difficult movies to get made, and you can only make them after you have some kind of success. And they sort of will not prevent you from making something that you think is important to be produced. Somehow because you’ve made a successful movie, they think you’re a charmed director, and you can make a success out of anything.
This is the Turner channel? I watch this channel a lot!
"A fiendishly inventive thriller built around an audacious if unsustainable gimmick, Open Windows elevates Hitchcockian suspense to jittery new levels of mayhem and paranoia. Essentially conceived as a technologically sophisticated mash-up of Rear Window and Rope, this latest mind-bender from Spanish genre trickster Nacho Vigalondo (Timecrimes, Extraterrestrial) unfolds entirely in one carefully manipulated 'shot,' with the camera glued to the lead character’s computer screen, employing desktop videos, images and pop-ups to tell its lurid tale of celebrity obsession, stalking, hacking, surveillance, blackmail and murder. Barely maintaining coherence if not plausibility, the compulsively watchable result should enjoy a vigorous fest and VOD life; fitting as it might be to stream it on your laptop, its complex visual layers and blink-and-you-miss-’em plot turns are best suited to the bigscreen.
"One of former adult star Sasha Grey’s higher-profile vehicles since her mainstream debut in Steven Soderbergh’s The Girlfriend Experience, Open Windows also plays like a companion piece of sorts to Eugenio Mira’s Grand Piano, another recent thriller in which a justifiably freaked-out Elijah Wood found himself at the mercy of a menacingly disembodied voice. If that film suggested an ivory-tickling riff on Brian De Palma, then Vigalondo’s picture feels like a high-tech Hitch homage on speed, one that exerts a strong narrative grip for about an hour before tumbling down a discomfiting series of rabbit holes that strain credulity and internal logic to the breaking point."
A lot of discussion in the video is about how De Palma mixes satire with horror in Raising Cain, using humor as a set-up for springing a shock on the viewer. De Palma also attempts to separate his movies from those of Alfred Hitchcock. "Even my thrillers, I mean, most people want to compare me to him. They're very much me, and very much my sensibility. And what I find similar in Hitchcock is his incredible visual sense in telling stories. And that's something anybody can learn from."
Indeed, you can see De Palma's sensibility from movie to movie. Look at the scene in The Bonfire Of The Vanities, how he highlights the ridiculous rationale behind Sherman taking his dog out for a walk in the rain (so that he can call his mistress on a payphone away from his wife), underlining the humor with the shot of the dog being dragged along the floor by his leash. That scene has a correlative in Raising Cain, when Jenny tells herself that she can't let Jack open Carter's gift, and sneaks out of the house underneath her husband's nose in the middle of the night to sneak into Jack's hotel room. That ridiculous notion (what really would be the harm in Jack opening that gift?) is simply a rationale for disaster, and although it happens in a dream this time (Jenny's dream logic?), you get the sense that an equally ridiculous notion would happen with Jenny when it comes to Jack either way, as long as it ultimately gets her into his bed. Although the Bonfire scene (and in particular the shot of the dog mentioned above) is played a bit more broadly for a definite laugh, the scene in Raising Cain might not seem so funny until the second time you watch it, after you know everything that has and hasn't happened-- it's one of those scenes CNN's Moret might have been thinking of when he tells De Palma he may have felt uncomfortable laughing, not knowing whether or not something was meant to be funny. De Palma assures him it was-- that's the De Palma sensibility.