FROM THIS WEEK'S ISSUE OF 'THE NEW YORKER'
Thanks to Alan for letting us know about the cartoon above, which is published in the February 2, 2015 issue of The New Yorker.
Hello and welcome to the unofficial Brian De Palma website.
Here is the latest news:
a la Mod:
"Scarface Redux" will be unveiled this Sunday (December 21st) at 8pm in Miami Beach, according to the Miami Herald's Debra K. Leibowitz. The screening will be one of the final events of this year's Borscht Film Festival, which began December 17th, and ends on the 21st. The Herald article states that Scarface Redux will play from 8-10pm, but it doesn't explain why that is about 45-minutes shorter than De Palma's film (perhaps they did not receive submissions for each of the 15-second clips). Leibowitz reports in the Herald: "A contest was held for the best scene submitted. Top prize included hotel and airfare for two to Miami, plus VIP tickets to all screenings and parties. Turns out the winner was local: Miami-based filmmaker Martell Harding, a 25-year old Florida International University graduate for his redux of Scene 94: The Shoot Up. Contest judges included Miami Herald film critic Rene Rodriguez, Rakontur Film’s Billy Corben and NBC-6 anchor Adam Kuperstein. Scarface Redux party fee is a $10 donation; free to those who submitted a clip."
Also screening at the fest this year is The Voice Thief, a new short film from Adan Jodorowsky, son of Alejandro Jodorowsky, starring Asia Argento. Borscht executive-produced the short, according to Miami New Times' Hans Morgenstern.
Lynch interviews Cave about the film, and at one point, asks him about a scene in which he watches Brian De Palma's Scarface with his twin boys:
[Lynch] There's a scene in the film where Nick is sitting with his twin sons, eating pizza and watching Scarface. Why that film?
Cave: It was just a film that they'd been on at me to watch. "We want to watch Scarface!" Maybe I'd talked about it or something. And I said, "Well it's got some scenes in it that are pretty heavy, do you think you're all right to watch it?" They said, "Oh, we've already watched the chainsaw scene on YouTube." We wanted to find a film that they hadn't seen, and they have seen a lot of that super violent stuff with me anyway. [My twin sons and I] had a thing we'd do that we'd sit down and watch a film that we shouldn't be watching together. It was a bonding experience.
[Lynch] What other movies do you watch with them?
Cave: Just...violent films. So we all wanted something that could hold them, and Scarface is such an opera -- an exaggerated cartoon of the world. That scene is probably my favorite -- not because it's got kids in it, but it sets up an idea. It's the one moment of Nick Cave supposedly at home, doing an ordinary thing with his kids. But it's not. I'm sitting there, the camera is here, we're looking into the camera -- we're not looking at the TV at all. So there's this sense of being removed from the ordinary, or that the ordinary has been taken away from us and it's something we're not able to reclaim. And that's true.
[Lynch] It's also one of the few scenes where we see you laughing.
Cave: That's just how it ended up. I laugh a lot actually, but you don't laugh a lot when the camera is on. There's a lovely outtake of Kylie and I that says a lot. We're in the car; they haven't started shooting but they're filming. We're talking about something, it's very light, and then they say 'action' and both of us [pantomimes stone face]. It's not that we're trying to portray anything, it's just the effect that it has over you. The claustrophobic, unfunny aspect of being filmed.
As Montgomery tells Harrisson about what viewers can expect series 2 to look like, he refers to such films as Heaven's Gate (for the look of series 1), The Godfather, Inception, Drive, and Scarface. Here's an excerpt:
Basically, Tommy’s empire has grown. You’ll see him moving to the metropolis of London and taking on the big gangsters that run London, so visually, you’re moving much more into bigger spaces, and you’re leaving behind a lot of the dark working-class world. Because they have money, and Tommy is beginning to use that money, he’s buying up houses in London. The world is opening up, it’s becoming much more expansive, and the spaces become bigger.
It becomes much more like a gangster world, the references become much more attuned to The Godfather rather than Heaven’s Gate. I was using Heaven’s Gate as a reference in season 1, [but] in season 2 the references are really to The Godfather. [Tommy’s] office is a total homage to The Godfather. There’s oranges on the table!
There are a lot of [other] references as well. For example, there’s a huge club called The Eden, which is a big metropolitan club, and again I like to reference things, so there’s a lot of little nods, winks – there’s a scorpion design that’s basically from Ryan Gosling’s jacket in Drive. I wanted to turn it into a really big nod to Inception, there’s a lot of gold. There’s a lot of gold within the whole series, actually, and that echoes season 1.
You’ll see loads of [references] that are just peppered through the whole of the look, and I think that’s playful. That was in the first season, ‘cause it was all from a lot of Westerns, Rio Bravo, Deadwood and all the rest.
[Harrisson] How much freedom do you have to do that, mixing in so many different references? Do you just not tell anyone?
I just do it, because it’s there! Steven [Knight]’s writing is so detailed, but allows you still to bring images and references to the party. So I’ve never felt constricted by what we’re doing, because it’s a mythology, it’s not strictly historically – it’s not a historical recreation, it’s very much a mythology.
Also, I’ve always brought a kind of Americana feel, like for example Tommy’s office, there’s a lot of references to Los Angeles there, the shape of certain curves etc. I’ve always tried to bring an Americana kind of sheen to a British gangster story. I think that’s legitimate because it is a myth.
The Garrison pub has been transformed, because [Tommy’s] gone to see London and he’s brought back an idea and done basically a Scarface on it. He’s done a 1980s Brian De Palma Al Pacino Scarface on his own pub, and it’s turned into this huge golden Las Vegas kind of mecca to his ambition, so it’s completely transformed.
[Harrisson] Is that your imprint, or is that implied in the script?
No, it’s implied in the script. He comes back and says, ‘right I’m gonna give Birmingham what I’ve seen in London. I’m gonna give the masses what they want’, which is this glamour. And he’s quite a glamourous individual. And I think also every location and every set is starting to change because he’s got money, so he buys a house from Polly in suburbia, and he’s buying racehorses, and he’s buying fast cars. You see him with this huge amount of money, and where’s that money going to take him? And I’ve always used gold as a symbol [for] his desire and ambition for money and wealth.
"Perhaps Bahrani is invoking Brian De Palma’s Scarface in the Florida setting: certainly, Carver’s nihilistic state-of-the-nation rants recall Tony Montana in his self-actualising pomp, and [Michael] Shannon delivers them with Tyrannosaur charisma. He and [Andrew] Garfield are an ideal double-act, and the possibility of a late Damascene conversion for either man seems unlikely, but never out of the question."
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:
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."
"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."
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