 Hello and welcome to the unofficial Brian De Palma website. Here is the latest news: |
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E-mail
Geoffsongs@aol.com
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Recent Headlines
a la Mod:
Are Snakes
Necessary?
De Palma & Lehman
thriller novel to be
published in France
May 16
De Palma Masterclass, Pics, quotes from Donaggio records Washington Post ------------- Exclusive Passion ------------ ------------
Casualties Of War,
and book signing
June 2 in Paris
Tribeca Scarface reunion
Domino score with
Massara in Belgium
review of Keesey book
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
The Austin Film Society is running a program this month called First Blood: The Early Films Of Brian De Palma. The program kicks off this Tuesday, January 13, with a screening of the DVD of Murder a la Mod (the 7pm screening is already sold out, but there are still tickets left for the 9pm screening). The 7pm screening of Greetings (also from a DVD) on January 17th is also sold out, as is the 7pm screening of Dionysus In '69 (from a DVD) on January 24th. The 9pms are still available in both cases. The other films being screened are Hi, Mom! (35mm print from the MGM archive screens January 20th), Sisters (35mm print from the Academy archives screens January 27th), Phantom Of The Paradise (digital version from Criterion Pictures to be screened via DVCam February 3rd), and Carrie (35mm print from the MGM archive screens February 10th). See the website for specific screening locations, but also to read the terrific summaries provided by the Austin Film Society's Guest Curator Bryan Poyser, who writes the following as part of an introduction to the program: The seven films presented here display a provocative, free-wheeling, politically subversive sensibility, rich with sarcasm and gleeful satire, bent on jolting the audience into thinking about what they’re seeing rather than lulling them with fantasy or romanticism. Undoubtedly, it is this rigorous and contrarian agenda that keeps most audiences and critics from fully embracing De Palma, but perhaps also makes him both the most frustrating and addictively watchable filmmaker of his generation.
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