Hello and welcome to the unofficial Brian De Palma website.
Here is the latest news:
a la Mod:
On Monday, I mentioned that I had e-mailed Criterion the day before with the idea of including De Palma's Home Movies as a bonus on the Dressed To Kill edition. If they are still adding features to the set, it sounds like perhaps that is still a possibility...
A comment on the Facebook post linked to above mentions that Baumbach's latest released feature, While We're Young, shows a De Palma influence, and I have to say I thought the same thing when I saw the film last month. [Mild spoiler, if you will] Baumbach's film includes a bit of conspiracy, and, like Blow Out (the previous Criterion edition for which Baumbach interviewed De Palma), a character who sees conspiracy "everywhere" has trouble convincing others of his perspective.
Brian De Palma ascended to the highest ranks of American suspense filmmaking with this virtuoso, explicit erotic thriller. At once tongue-in-cheek and scary as hell, Dressed to Kill revolves around the grisly murder of a woman in Manhattan, and what happens when her psychiatrist, her brainiac teenage son, and the prostitute who witnessed the crime try to piece together what happened while the killer remains at large. With its masterfully executed scenes of horror, voluptuous camera work, and passionate score, Dressed to Kill is a veritable symphony of terror, enhanced by vivid performances by Angie Dickinson, Michael Caine, and Nancy Allen.
DIRECTOR-APPROVED SPECIAL EDITION:
New, restored 4K digital transfer of director Brian De Palma’s preferred unrated version, approved by the director, with uncompressed monaural soundtrack on the Blu-ray
New interviews with actor Nancy Allen, producer George Litto, composer Pino Donaggio, shower-scene body double Victoria Lynn Johnson, and poster photographic art director Stephen Sayadian
New profile of cinematographer Ralf Bode, featuring filmmaker Michael Apted
The Making of “Dressed to Kill,” a 2001 documentary featuring De Palma
Interview with actor-director Keith Gordon from 2001
Video pieces from 2001 about the different versions of the film and the cuts made to avoid an X rating
Gallery of storyboards by De Palma
PLUS: An essay by critic Michael Koresky
Cover based on original poster
Peter: Mom, this is the most incredible thing that I’ve ever built. I mean this carries!
Kate: [Humoring him] It carries… Carries what?
Peter: Binary numbers. I mean, it can hold up to a twenty-digit figure.
Kate: Now, wait a second [humoring him]—you said it can carry, and it holds, too?
Peter: [Nodding] Both, it does both, that’s the whole point. I mean, there isn’t a circuit like this in any of my books. I’ve invented it!
Kate: [Sincerely proud] Well, that’s great. That’s great, Peter.
I'm not sure what there is to complain about there, but the podcaster said that because he knows about De Palma's science background, "I expect better from De Palma."
At the beginning of an article by New York Magazine's David Rosenthal (August 4 1980, pp. 25-27-- the photo above is from the article), De Palma says, "That character in Dressed To Kill is me. I mean, that's my room. That machine, I built that machine. It was a differential analyzer."
It started innocently enough: Rachel Rabbit White, a journalist in her 20s who writes about sex, was hailing a taxi with her boyfriend at the time and a female friend after a Lower East Side party.
But “as soon as we got into the cab,” Ms. White said, “it became clear that this was going to be a threesome.” Within moments, the taxi ride turned into Plato’s Retreat on wheels, a montage of hair pulling, collar tugging and bodies writhing in darkness.
Far from being an impediment to passion, the unglamorous setting was an enabler. “It was as if being in the space of the cab decided it for us,” Ms. White said.
Ah, the strange erotic power of the New York taxi. On the surface, these utilitarian urban people movers that sometimes smell like old gym socks would seem about as sexy as a Yankee Stadium bathroom. But for countless reasons, some New Yorkers long considered the taxi back seat a pay-by-the-hour love shack.
But that illicit tradition is under threat of late, as ride-hailing apps like Uber and Lyft sanitize yet another dark corner of New York night life. Unlike traditional taxis, where anonymity is the rule (and the attraction), these services know exactly who has been naughty or nice in their back seats. Not only do drivers know a passenger’s name and mobile number, but they are also asked to review a passenger’s behavior.
These customer reviews, which function like a credit score that is based on conduct rather than financial standing, have put a damper on back-seat shenanigans. Indeed, acting out under those circumstances is a bit like streaking through Grand Central Terminal with a “Hello, My Name Is ______” tag plastered to your chest.
With some users feeling motivated to limit their back-seat behavior to job-interview politeness, the raunchy back-seat hookup — immortalized in films like “Dressed to Kill” and shows like “Taxicab Confessions” — suddenly looks like a vestige of a Lost New York, doomed to go the way of peep shows, streetwalkers and Al Goldstein’s “Midnight Blue.”
At about the same time, Austin posted the pic on his Worthy Enemies Instagram page, with the message, "1980's Dressed To Kill. @retoband and myself worked on this thrasher earlier this month for the Creator of Pushing Up Daisies, Dead Like Me and the awesome Hannibal the series, #BryanFuller . It was a blast and if you would be interested in getting one, check out www.retroband.com. They are very very limited. Once their gone. POOF! Their gone!"
Back in May 2014, several people tweeted that the latest episode of Hannibal had reminded them of De Palma.
(Thanks to Phillip!)
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