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Karoline Herfurth
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Rie Rasmussen
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Coppola on
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trying to do with
those films was to
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films in order to
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say, 'Well, what
happens if I have no
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little films were very
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people haven't seen
for a while."

Sean Penn to
direct De Niro
as raging comic
in The Comedian

Scarlett to make
directorial feature
debut with
Capote story

Keith Gordon
teaming up
with C. Nolan for
thriller that
he will write
and direct

Recent Headlines
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-Picture emerging
for Happy Valley

-De Palma's new
project with
Said Ben Said

-De Palma to team
with Pacino & Pressman
for Paterno film
Happy Valley

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De Palma interviewed
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De Palma discusses
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Carrie...A Fan's Site


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Friday, July 18, 2014
In preparation for his set as a DJ tonight at the Pitchfork Music Festival in Chicago, Giorgio Moroder was interviewed by the Chicago Tribune's Allison Stewart. "There was a time when Jay Z wanted to (remake) some of the songs from [Scarface]," Moroder tells Stewart, "but it didn't work out because Brian De Palma didn't want to do it. But I talked to several (rappers) like Jay Z, and they loved the movie. Some of them had seen the movie like twenty, thirty, forty times, and people remember the dialogue. It's one of those cult movies."

Back in 2003, as the film was turning 20, the Los Angeles Times' Elaine Dutka reported that the chairman of Island Def Jam, Lyor Cohen, had met with De Palma to suggest that the artists on his label compose a new soundtrack for Scarface, "with or without Moroder." Dutka added, "Though [Martin] Bregman and even [Al] Pacino made the case for the proposal, the director was aghast."

Dutka quoted De Palma: "They said it would help promotion, presenting the film in a different way. But Giorgio's music was true to the period, I argued -- and no one changes the scores on movies by Marty Scorsese, John Ford, David Lean. If this is the 'masterpiece' you say, leave it alone. I fought them tooth and nail and was the odd man out, not an unusual place for me. I have final cut, so that stopped them dead."

Dutka's article then continues:


Universal's [Craig] Kornblau hasn't given up on the thought of creating a "reinvigorated and more relevant soundtrack," however. Nor has Kevin Liles, president of Def Jam/Def Soul Records. "Hip-hop, as Chuck D says, is the 'CNN of the ghetto,' " Liles points out. "Incorporating it into a classic like this would convey the current reality. The message, unfortunately, is as relevant today as when the movie emerged. I'll be the first up to bat to rescore the film, which touched such a nerve in the 'hood. Though Montana is Latino, all those kids identify with his job in the burger shop, idolizing guys with the big Benz and flashy women. Music is the soul of any movie, and a new soundtrack would increase its power."

Within a year after Dutka's article was written, Cohen and Liles had left Def Jam, and Jay Z had been appointed president of the record label.

Posted by Geoff at 12:30 AM CDT
Updated: Friday, July 18, 2014 12:34 AM CDT
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Friday, July 11, 2014

The Borscht Corp., an open-source collaborative dedicated to telling Miami stories, according to its web site, has started a project called Scarface Redux. The project is described as "a global collaborative effort to remake Brian De Palma’s Scarface." The web site (pictured above) lays out three steps: "First, Brian De Palma's Scarface is cut up into 15-second chunks"; "Then, you pick a scene, shoot and remake it however you like"; "Finally, we put it all together into a completely new version of Scarface."

You can see all the 15-second clips (636 of them) on the site, as well as the few scenes that have already been submitted for the project. In an e-mail about the project sent to Film School Rejects, the group states, "For better or worse, Scarface had held Miami’s image in a vice grip since it came out... As our mission is to redefine cinema in Miami (and vice-versa) we thought it was about time to get literal and take back our image! Or something."

Posted by Geoff at 6:38 PM CDT
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Thursday, July 10, 2014
This news is a few weeks late, but graphic designer Anthony Goldschmidt died June 17, according to the Swan Archives. He was 71. After founding Intralink Film Graphic Design in 1979, Goldschmidt, often with longtime collaborator, the art director John Alvin, designed iconic posters for Scarface (for which Alvin was said to have worked on uncredited), E.T. the Extra-Terrestrial, The Princess Bride, and many more. Prior to Intralink, Goldschmidt and Alvin created the poster for Phantom Of The Paradise (the version that also graced the cover of that film's soundtrack album), as well as posters for several Mel Brooks films, including Blazing Saddles and Young Frankenstein.

Posted by Geoff at 1:22 AM CDT
Updated: Thursday, July 10, 2014 1:24 AM CDT
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Tuesday, July 1, 2014

The Wall Street Journal's Daniel Stacey interviewed Giorgio Moroder last week. In the introductory paragraphs to his interview article, Stacey notes that Moroder "recently traveled to Sydney for the Vivid Festival, where a series of events paid tribute to his career. The highlight: a symphonic survey of his music by Britain's Heritage Orchestra, a world premiere that featured live performers on Moog synths; strings and horns; a choir and a rock drummer; and young British singers Anna Calvi, Liela Moss and Shingai Shoniwa.

"The orchestra opened with Tony's Theme' from Brian De Palma's Scarface, and ended with an audience singalong to new-wave chart topper 'Together in Electric Dreams,' a 1984 collaboration with the Human League's Philip Oakey. Mr. Moroder joined the orchestra for a rendition of 'Giorgio by Moroder,' the song from Daft Punk's album Random Access Memories that last year brought him a new generation of fans. Afterward, the high-energy septuagenarian played a 1½-hour DJ set to an adoring audience in the depths of the Sydney Opera House."

Posted by Geoff at 1:55 AM CDT
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Sunday, March 30, 2014
In Shirley Halperin's cover story for this week's Hollywood Reporter, rapper Pitbull discusses how Scarface influenced him in his teenage years. The message he took away from the film seems unique in the hip-hop milieu. Here's an excerpt from the article:

The Pitbull epic began when his mother, Alysha Acosta, arrived in Florida from Cuba during the early 1960s as part of Operation Pedro Pan (or Peter Pan), Miami's Catholic Welfare Bureau's two-year effort to get youth out of communist Cuba. His father also came over seeking asylum, settling in Miami's Little Havana neighborhood. Their son Armando was born in 1981, a year in which drug-ravaged Miami recorded 621 homicides and was eulogized in a Time cover story, "Paradise Lost." This was the cocaine cowboy era captured in movies like Scarface.

Pit's father and namesake, known in the neighborhood as a charismatic street hustler, often would take his son to the local bars, where the boy would first perform for an audience, reciting Cuban poetry from a bar stool as his father looked on proudly. Pit's parents divorced in 1985.

Bring up the Brian De Palma classic -- not universally beloved in Miami for the cultural stereotypes it spawned -- and Pitbull takes no umbrage. "We all have Scarfaces in our family," he says matter-of-factly. "[The movie] is the truth. It wasn't exaggerated. Scorsese, Oliver Stone, De Palma -- those guys were right on the money." Pitbull says he's seen it too many times to count and that a serious message sunk in: that he didn't want to end up like the protagonist Tony Montana. Rather, says Pit: "I wanted to be Sosa -- educated, good-looking, a good dresser, and he's the one who was running it. And notice, he never got his hands dirty. He sipped his tea. He was nice, not aggressive. And at the end of it all, he was the one that stayed. So I realized around 18 that Tony's the wrong guy to be looking up to."

What Pitbull learned from his immediate surroundings, besides how to sell drugs, which he did for a while, was the skill of connecting with people. That's his most powerful gift -- winning loyalty of everyone he encounters, from strangers on the street to dealmakers in a boardroom. He does this, in part, with a relentlessly upbeat attitude. Pitbull explains his six-year rise to the top in the exuberant idiom of a motivational speaker: "2009 is freedom; 2010, invasion; 2011, build empire; 2012, grow wealth; 2013, put the puzzle together; 2014, buckle up; 2015, make history." It's a mantra he shares with manager Charles Chavez, who says his goal is for Pitbull to become a billion-dollar enterprise. "We have a plan -- with the music, TV projects [Pit boasts a development deal with Endemol, producer of Big Brother], films [he's teamed up with Ryan Seacrest for a TV miniseries on the Bacardi family], his businesses, the brands that we get involved with," says Chavez. "You never know, but it's the plan."

Pitbull is more confident, even willing to time-stamp the future threshold. "Do I think it's realistic to be a billion-dollar company by [age] 35? Absolutely."


Posted by Geoff at 6:52 PM CDT
Updated: Sunday, March 30, 2014 6:57 PM CDT
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Tuesday, March 25, 2014
Rick Ross, whose love for Brian De Palma's Scarface is well known, released his latest album, Mastermind, earlier this month. Here are a couple of review clips:

Christopher R. Weingarten, Rolling Stone
"Reflective, a little nervous, full of references to feds intervening, Mastermind plays like the first Ross album that's actually seen the last act of Scarface.

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."

Posted by Geoff at 11:55 PM CDT
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Monday, March 24, 2014

The Scarface remake just got a lot more interesting. The Wrap's Jeff Sneider reports that Chilean director Pablo Larraín is in negotiations to direct Universal's remake of Scarface. Larraín's first film, Tony Manero (pictured above), has a violent main character, who looks like a middle-aged Al Pacino, obsessed with John Travolta's character in Saturday Night Fever.

Taking place in 1978, at the height of Travolta/disco mania, the character works as "a metaphor for the amorality and viciousness of the Pinochet regime," as the New York Times' Larry Rohter describes in a 2009 article about the film and its makers. Alfredo Castro, the actor who plays the Manera-obsessed Raúl Peralta, told Rohter that the character is "a social outsider, perfectly capable of appropriating the opportunity to kill with impunity. He lacks moral judgment, and his logic is demented, archaic, that of: ‘If the state is killing hundreds, why can’t I?’”

Rohter's article continues:


Released in Chile in 2008, Tony Manero was first shown in the United States at the New York Film Festival last fall. The festival’s program director, Richard Peña, said the film appealed to him because of its ability to convey “the feeling, the texture and tactile sense of life during that time” and its complicated and nuanced view of American pop culture.

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.”


In October of 2012, Deadline's Mike Fleming reported that Universal had hired Donnie Brasco screenwriter Paul Attanasio to rewrite David Ayers' original draft of the Scarface remake. In December of 2012, Latino Review's El Mayimbe claimed to have discovered, via unnamed sources, that the new Tony (not Montana, nor Manero) "is actually Mexican and the remake takes place in the world of drug cartels."

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.

Posted by Geoff at 8:30 PM CDT
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Wednesday, February 26, 2014
Giorgio Moroder will introduce a special screening of Brian De Palma's Scarface, for which he composed the score and songs, at the 2014 Moogfest, which runs April 23-27 in Asheville, North Carolina. Moroder will also discuss how he brought the synthesizer into film music during a festival panel called "Innovators In Electronic Music." The fest, according to its website, is dedicated to the synthesis of technology, art and music, paying tribute to the creativity and inventiveness of Dr. Robert Moog and to the legacy of the analog synthesizer.

Posted by Geoff at 10:32 PM CST
Updated: Wednesday, February 26, 2014 10:33 PM CST
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Monday, December 16, 2013
In a Hollywood Elsewhere post on Friday, Jeffrey Wells calls Martin Scorsese's Wolf Of Wall Street "the new Scarface," making a case as to why it might be disliked by a certain faction of viewers.

"I saw Wolf with critics the first time," Wells explains, "but last night’s screening played to a more mixed crowd and they were howling at times, trust me. Losing it, laughing hard. Were they absorbing what Scorsese and DiCaprio were really saying? Sure, of course, but I could sense that they were getting tingly contact highs. For The Wolf of Wall Street takes you back to your wildly irresponsible carousing days, allows you to laugh uproariously at the dumb (and perhaps reprehensible) things you did and have probably forgotten about, and then sets you free when it’s over.

"And yet for older, stodgier types who never went there in their teens or 20s or did and are determined to keep those memories in a locked box (or for those who can’t handle the crude sexual exploitation of women, which has always been a nocturnal characteristic of arrogant Wall Street types), Wolf is going to be seen as an ugly three-hour romp and nothing more. It’s not judgmental enough, Belfort is too much of a prick, what’s the point of this? and so on.

"This is why I’m calling The Wolf of Wall Street the new Scarface. It has so far been shat upon in certain quarters by the same kind of harumphy industry crowd that despised Brian De Palma‘s 1983 crime pic. And just as Scarface eventually became a cult flick (especially among 'urban' rapper/hip-hop types who idolized gangsta culture and the swagger of Al Pacino‘s Tony Montana) it’s probably going to be embraced by (a) present-day party animals and by (b) 40- and 50-somethings those who remember their druggy days and want to enjoy them once again by proxy — a three-hour tour."

Wells continues, "The Scarface Wiki page interprets the film’s reception as follows: 'According to AMC’s "DVD TV: Much More Movie" airing, Cher loved it [but] Lucille Ball, who came with her family, hated it because of the graphic violence and language, and Dustin Hoffman was said to have fallen asleep. Writers Kurt Vonnegut and John Irving were among those who allegedly walked out in disgust after the notorious chainsaw scene. At the middle of the film, Martin Scorsese turned to Steven Bauer and told him, "You guys are great but be prepared, because they’re going to hate it in Hollywood…because it’s about them."

“'Leonard Maltin was among those critics who held a negative opinion of Scarface,' the page says. 'He gave the film 1 1/2 stars out of four, stating that ‘…[Scarface] wallows in excess and unpleasantness for nearly three hours, and offers no new insights except that crime doesn’t pay.’ In later editions of his annual movie guide, Maltin included an addendum to his review stating his surprise with the film’s newfound popularity as a cult-classic.'

"This is why The Wolf of Wall Street is the only truly bold and nervy film in the Best Picture circle right now. It’s both appalling and gutsy as hell — a wild-ass moralistic 'comedy.' It’s clearly condemning Belfort’s behavior and yet…"

Posted by Geoff at 12:30 AM CST
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Tuesday, December 10, 2013
Continuing with the 30th anniversary of the release of Brian De Palma's Scarface, Entertainment Weekly's Kyle Anderson talked with Giorgio Moroder, who composed the score and songs for the film. "I wanted something a little bit mysterious, because this character is very complex and kind of mysterious coming from Cuba," Moroder tells Anderson. "I wanted it to have a little bit of a classical feel in the sequence of the chords. The idea came from a German half-classical singer called Klaus Nomi. He had one song where he did a very high voice, a staccato, a little bit like Laurie Anderson on ‘O Superman.’ Those two songs kind of inspired me, so I came up with the chords and then brought in the big choir and strings and all the rest."

Moroder shared a new remix of "Tony's Theme" with EW. Anderson explains that it is actually "more of a complete reinvention — Moroder did not use any of the original tracks to construct the new song."

Moroder then tells Anderson about the theme's versatility. "It works quite well with a big orchestra, and it works quite well with just a piano. There’s one section [in the movie] when Tony kills someone, and there I played kind of soft; I think it’s just a bass line. So it works well both big and small." Visit the EW post to listen to the remix, which is also available on Moroder's SoundCloud page. As Rado pointed out to us some time ago, the latter features some tracks that were not avaiable on the released soundtrack to Scarface.

Posted by Geoff at 6:43 PM CST
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