Hello and welcome to the unofficial Brian De Palma website.
Here is the latest news:

De Palma a la Mod

E-mail
Geoffsongs@aol.com

De Palma Discussion
Forum

-------------

Recent Headlines
a la Mod:

-De Palma attached
to The Truth and
Other Lies

-De Palma wants
Lights Out to be
M:I meets Wait
Until Dark

-40th anniversary
Carrie 2-disc Blu-ray
out Oct. 11th

-Shout's Raising Cain
Blu-ray to include
Gelderblom's Re-Cut
(Due Sept. 13)

Washington Post
review of Keesey book

-------------

Exclusive Passion
Interviews:

Brian De Palma
Karoline Herfurth
Leila Rozario

------------

AV Club Review
of Dumas book

------------

« December 2016 »
S M T W T F S
1 2 3
4 5 6 7 8 9 10
11 12 13 14 15 16 17
18 19 20 21 22 23 24
25 26 27 28 29 30 31

Interviews...

De Palma interviewed
in Paris 2002

De Palma discusses
The Black Dahlia 2006


Enthusiasms...

De Palma Community

The Virtuoso
of the 7th Art

The De Palma Touch

The Swan Archives

Carrie...A Fan's Site

Phantompalooza

No Harm In Charm

Paul Schrader

Alfred Hitchcock
The Master Of Suspense

Alfred Hitchcock Films

Snake Eyes
a la Mod

Mission To Mars
a la Mod

Sergio Leone
and the Infield
Fly Rule

Movie Mags

Directorama

The Filmmaker Who
Came In From The Cold

Jim Emerson on
Greetings & Hi, Mom!

Scarface: Make Way
For The Bad Guy

The Big Dive
(Blow Out)

Carrie: The Movie

Deborah Shelton
Official Web Site

The Phantom Project

Welcome to the
Offices of Death Records

The Carlito's Way
Fan Page

The House Next Door

Kubrick on the
Guillotine

FilmLand Empire

Astigmia Cinema

LOLA

Cultural Weekly

A Lonely Place

The Film Doctor

italkyoubored

Icebox Movies

Medfly Quarantine

Not Just Movies

Hope Lies at
24 Frames Per Second

Motion Pictures Comics

Diary of a
Country Cinephile

So Why This Movie?

Obsessive Movie Nerd

Nothing Is Written

Ferdy on Films

Cashiers De Cinema

This Recording

Mike's Movie Guide

Every '70s Movie

Dangerous Minds

EatSleepLiveFilm

No Time For
Love, Dr. Jones!

The former
De Palma a la Mod
site

Entries by Topic
A note about topics: Some blog posts have more than one topic, in which case only one main topic can be chosen to represent that post. This means that some topics may have been discussed in posts labeled otherwise. For instance, a post that discusses both The Boston Stranglers and The Demolished Man may only be labeled one or the other. Please keep this in mind as you navigate this list.
All topics
Ambrose Chapel
BAMcinématek
Bart De Palma
Beaune Thriller Fest
Becoming Visionary
Betty Buckley
Bill Pankow
Black Dahlia
Blow Out
Blue Afternoon
Body Double
Bonfire Of The Vanities
Books
Boston Stranglers
Bruce Springsteen
Cannes
Capone Rising
Carlito's Way
Carrie
Casualties Of War
Cinema Studies
Columbo - Shooting Script
Cop-Out
Cruising
Daft Punk
Dancing In The Dark
David Koepp
De Niro
De Palma & Donaggio
De Palma (doc)
De Palma Blog-A-Thon
De Palma Discussion  «
Demolished Man
Dionysus In '69
Dressed To Kill
Eric Schwab
Femme Fatale
Film Series
Fire
Frankie Goes To Hollywood
Fury, The
Get To Know Your Rabbit
Greetings
Happy Valley
Havana Film Fest
Heat
Hi, Mom!
Hitchcock
Home Movies
Inspired by De Palma
Iraq, etc.
Jerry Greenberg
Keith Gordon
Key Man, The
Lights Out
Lithgow
Magic Hour
Magnificent Seven
Mission To Mars
Mission: Impossible
Montreal World Film Fest
Morricone
Mr. Hughes
Murder a la Mod
Nancy Allen
Nazi Gold
NYFF
Obsession
Oliver Stone
Paranormal Activity 2
Parker
Parties & Premieres
Passion
Paul Hirsch
Paul Schrader
Pauline Kael
Phantom Of The Paradise
Pino Donaggio
Prince Of The City
Print The Legend
Raggedy Ann
Raising Cain
Red Shoes, The
Redacted
Responsive Eye
Retribution
Rie Rasmussen
Robert De Niro
Sakamoto
Scarface
Sean Penn
Sisters
Snake Eyes
Sound Mixer
Star Wars
Stepford Wives
Tabloid
Tarantino
Taxi Driver
Toronto Film Fest
Toyer
Travolta
Treasure Sierra Madre
Tru Blu
Truth And Other Lies
TV Appearances
Untitled Ashton Kutcher
Untouchables
Vilmos Zsigmond
Wedding Party
William Finley
Wise Guys
Woton's Wake
Blog Tools
Edit your Blog
Build a Blog
RSS Feed
View Profile
You are not logged in. Log in
Tuesday, December 6, 2016
NEW PEET GELDERBLOM VIDEO
EXAMINES INFLUENCE OF 'PSYCHO' SHOWER SEQUENCE ON THE CINEMA OF DE PALMA

Peet Gelderblom posted the above video to Vimeo last week. In it, he examines, in very precise side-by-side split-screen detail, just how deeply the entire shower sequence from Alfred Hitchcock's Psycho has embedded itself within the cinematic sensibility of Brian De Palma. Be warned that when the blood comes in this video, it does so rather prolifically, as Gelderblom spins out the sparks of stabbing violence from various De Palma films like a DJ spinning fireworks. And he does it expertly as one who has studied the shots from De Palma's films, as well as from Psycho. I myself have looked at De Palma's Mission: Impossible literally dozens of times, and have never before made the connection between this shot (below) and Psycho:

At RogerEbert.com, Matt Zoller Seitz posted Peet's video today, as well, writing, "Gelderblom's piece clarifies the relationship between the two directors by showing just how completely De Palma absorbed particular bits of Hitchcock's artistic DNA into his own body of work. Not content to rework the plots and themes of particular Hitchcock films ("Vertigo" as "Obsession" and "Body Double," for instance, or "Psycho" as "Dressed to Kill"), he has integrated discrete stylistic tics into his own directing, cherry-picking individual shots that run as short as one or two seconds into scenes in De Palma films where you might not necessarily expect to see them. And yet these appropriations are transformed into something uniquely De Palma; this becomes much more clear via Gelderblom's use of split-screen, a technique that Hitchcock didn't lean on with the same geometric playfulness as his most famous disciple has displayed in fifty years' worth of his own work."


Posted by Geoff at 11:58 PM CST
Updated: Wednesday, December 7, 2016 12:02 AM CST
Post Comment | View Comments (1) | Permalink | Share This Post
Sunday, December 4, 2016
DE PALMA VISITED 'GILMORE GIRLS' SET, YEARS AGO
BROUGHT HIS DAUGHTER, SAT IN ON DIALOGUE SCENE, ACCORDING TO SCOTT PATTERSON


Scott Patterson, who plays Luke on the TV series Gilmore Girls, was a guest on last week's Vulture TV Podcast. At about the 47:26 mark of the podcast, Patterson talks about the day Brian De Palma visited the Gilmore Girls set with his daughter, Lolita:
Vulture: I wanted to ask, we were talking before about the scene in the kitchen that you guys did for "A Year In The Life," and what a great experience you said that was. Looking back at the original seven seasons, is there an episode that is your favorite, either because it challenged you in some way, you have fond memories of working on it, or it just turned out really great? Are there certain moments from the original seven that stand out in your mind?

Scott Patterson: Oh, there’s one. Ah, yes, there is.

Vulture: Okay.

Scott: Well, it was the day that Brian De Palma, the famed director, came to visit the set to bring his daughter by—Lola, who was a big fan of the show. And, I came off the diner set, into the back area, because they were taking a little break for them to set some lighting. And somebody said, “Scott, I’d like you to meet Brian De Palma” [starts laughing]. And I went, “Holy crap!” So, anyway, I know a little bit about him. He’s a Philadelphia boy, we share a birthday, I knew a little bit about how he grew up, why he got into the film business, and why he got into the gory, gory, gory Carrie side of the film business to begin with. And, so I was quite pleased to meet him and chat with him a little bit.

And then we were in the diner shooting—Lorelei and I were shooting a scene in there, and it was a really, really daunting scene for both of us, because she comes in to the diner in this real rush and huff, spitting out all kinds of dialogue, and I didn’t have a lot of lines. But that’s even, maybe, harder, because you don’t want to screw up the other actor by missing a cue, and like, she’s got a big chunk of dialogue, and then you go, “Huh?” Or, “What?” Well, I didn’t, you know, it’s all timing, right? So, the pressure was on me not to screw up her timing, because she had such a daunting monologue to do. And so De Palma came in, on the set—no, no, he didn’t come on the set, he was in video village watching her side of it. Then when they turn the camera around—and she, you know, she executed flawlessly—and we were both pretty nervous, because Brian De Palma’s like watching us on a monitor—so we’re thinking, God, if we do really well, you know, we could be in, like, you know, we could be in a big movie, you just never know. So when they turned the camera around to do my coverage, and do my close-ups, Brian De Palma, the famed director, the Oscar-nominated-winning director, decided to come in and sit right next to the camera, where I’m supposed to look. [Starts laughing] So it was Brian De Palma’s head next to the camera lens, and Lauren’s head right above his. [Laughing some more…] And I had to try not to look at Brian De Palma while I was doing my six or seven little lines while she was spitting out all of this dialogue. It’s hysterical. After it was done, he gets up and waits and he goes back to video village, and Lauren looks at me, and she goes, “How did you possibly get through that?” I said, “I don’t know, I was scared shitless” [laughing].


When the Vulture host asks Patterson if he recalls which season that might have been (when De Palma visited), he said it might have been season 5 or 6, but he really couldn't remember.

Posted by Geoff at 11:58 PM CST
Updated: Monday, December 5, 2016 12:03 AM CST
Post Comment | View Comments (1) | Permalink | Share This Post
Monday, November 14, 2016
ZOE KAZAN LEANS TOWARD DE PALMA FILMS
WHEN IT COMES TO HORROR, THAT IS
Talking to Metro.us' Matt Prigge, to promote her new movie, Bryan Bertino's The Monster, Zoe Kazan discusses the types of horror films she enjoys. "I have a pretty high bar when it comes to horror," she tells Prigge. "Most of the movies I enjoy within the genre are movies that don’t rely on gore. I have a really hard time with violence onscreen. Even movies I can really respect, like Halloween, because it’s a slasher film, I don’t have a great stomach for it. Even though I have huge respect for Eli Roth, I don’t want to watch a Hostel film. I don’t want to watch people’s limbs severed. I lean more towards Don’t Look Now and Rosemary’s Baby and The Exorcist, or even films like Repulsion or a whole bunch of Brian De Palma films — Carrie and Sisters. But I like horror movies. I like going to be scared."

Posted by Geoff at 12:01 AM CST
Updated: Monday, November 14, 2016 12:08 AM CST
Post Comment | Permalink | Share This Post
Sunday, November 13, 2016
AMY ROTH WOULD LOVE TO WORK WITH DE PALMA
"SOMETIMES WHEN YOU WATCH HIS MOVIES, YOU FEEL LIKE YOU'RE IN ANOTHER WORLD"
Costume designer Amy Roth, the niece of costume designer Ann Roth, was interviewed recently by LRM's Gig Patta. "You have an amazing career," Patta asks Roth at one point, "with working from a comic book like The Avengers to American Gangster to even TV shows like Madame Secretary. What kind of projects do you love to work on? You have such a diverse career."

Roth responds, "It may sound negative, but working in the Marvel community can sometimes be difficult. You are working with a group of people who already created something. They're big and wonderful movies, but things are dictated from the Marvel comics down to you.

"My idea of a great piece is something along those lines—maybe fantasy. I love period movies. But, after doing this period movie, I would like to do something more inventive and people don’t tell you on what somebody wore 'cause you haven’t invented it in that world yet.

"It would be something like Blade Runner. Somebody like Ridley Scott, who likes to invent his own world. Or even somebody like Brian De Palma. Sometimes when you watch his movies, you feel like you’re in another world. I like to create your own reality.

"That would be fun right now for me."

Amy Roth's aunt, Ann Roth, has worked with De Palma on Dressed To Kill, Blow Out, and The Bonfire Of The Vanities.


Posted by Geoff at 5:23 AM CST
Updated: Sunday, November 13, 2016 5:39 AM CST
Post Comment | Permalink | Share This Post
Sunday, October 16, 2016
TWEET - EMPIRE VIEWING GUIDE FOR 'JAWS'

Posted by Geoff at 9:41 PM CDT
Post Comment | Permalink | Share This Post
'WRONG REEL' PODCAST - 'DISSECTING DE PALMA'

Posted by Geoff at 9:23 PM CDT
Post Comment | Permalink | Share This Post
Friday, September 30, 2016
CHRIS RANDLE ON VOYEUR/EXHIBITIONIST IN DE PALMA
"DOES THE VOYEUR NEED THE EXHIBITIONIST OR DOES HE WANT TO BE HER?"


Chris Randle, a New York writer who has contributed to Hazlitt, The Guardian, Pitchfork, and the New York Times Magazine, among other publications, has written a long essay about Brian De Palma's cinema, which was posted earlier this week at REAL LIFE. The essay is titled "Night Visions," posted with the subheadline, "Does the voyeur need the exhibitionist or does he want to be her? Brian De Palma’s movies see it both ways." It is an engrossing essay, definitely worth reading in its entirety. Here's an excerpt:
De Palma’s earliest films were less precise, and sometimes more revealing: They don’t disguise his fixations as genre. The mercurial black comedy Hi Mom! trails like a disorderly kid after Jean-Luc Godard, through whom De Palma arrived at Brechtian ideas of estrangement — telling a story while displaying the artifice involved, so that viewers might act upon the fiction rather than just receiving it. A woman testing out a movie camera zooms in on the salesman, bearing the device to bare the device: “You twist this like so, and your subject will come closer and closer and closer…” An antic young Robert De Niro stars as Jon Rubin, who films neighbours fucking and tries to contrive porn spying on himself — then as now, the wrong angles will ruin your nude. Later he rehearses the cop’s role for a militant theater troupe, clanging his baton against a ladder with unnerving enthusiasm: “What are you protesting? Let me see your permit. You don’t need a permit?” (During the early 1960s De Palma was shot in the leg by New York police, albeit while drunkenly stealing a scooter.)

In “The Work of Art in the Age of Mechanical Reproduction,” Walter Benjamin marveled: “The painting invites the spectator to contemplation; before it the spectator can abandon himself to his associations. Before the movie frame he cannot do so. No sooner has his eye grasped a scene than it is already changed. It cannot be arrested.” De Palma tosses his narratives like a bloody knife into the laps of bystanders, who then feel compelled to solve the crime, to absolve their complicity. He’s always resisting arrest. A long Steadicam shot from Raising Cain (1992) glides with unnatural grace past the walkways, staircases and elevators of a police station, tilting sinuously around a criminal psychologist as she explains the plot; exposition is a maze De Palma dances through. His Battleship Potemkin tribute in The Untouchables — staircase, baby carriage, crossfire — seems alien to the movie around it, a bubble trembling over a gun barrel.

The split screen, De Palma’s favorite technique, concentrates distraction. It suggests the flux of sexual difference, darting between signals, your lens rupturing, your life juxtaposed against itself. Some of these compositions turn slyly dialectical: Passion (2012) places scenes from a Jerome Robbins ballet next to a sinister prowler, the bodies hovering in parallel. But that sequence also misdirects the viewer’s attention at crucial moments, a trick De Palma has used since 1973’s Sisters, his first thriller.

Sisters opens with a blind woman entering the wrong change room. A watching man stops her as she begins undressing, and the camera cuts away to reveal that people are watching them too, on the test-your-ethics game show Peeping Toms. The woman turns out to be a Quebecois model/actress named Danielle (Margot Kidder), and she convinces that fellow contestant to take her home with him, away from the ex-husband who’s been following her. After they wake up on the couch together, he learns of her twin Danielle, too late to realize that the other sister’s protective urges are homicidal. A neighbor sees his hand flash scarlet from window to window. Split-screen shots break the aftermath into fragments, that cubist shape of time experienced through security cameras, making everyone’s movements look both frantic and dazed.

The neighbor, Grace (Jennifer Salt), happens to be a journalist, and she tracks down an old documentary about Danielle and Dominique, revealing that the pair were once conjoined. Dominique died during the botched operation meant to give Danielle’s ex Emil Breton a compliantly solitary wife, her personality somehow absorbed by the remaining twin. Investigating a mental hospital, Grace gets drugged by Dr. Breton, who nearly manages to portray her suspicions as symptoms. She hallucinates herself inside that documentary, lying beneath a surgical blade passed around on reverent palms. Thirty years ago the critic Robin Wood argued: “One can define the monster of Sisters as women’s liberation; adding only that the film follows the time-honored horror tradition of making the monster emerge as the most sympathetic character.” The medical system encourages Emil’s urge to discipline anyone complicating gender or anatomy.

Evil twins have more fun. In his study The Double, the psychoanalyst Otto Rank argued that doppelgangers often serve as a “bad self,” the splinter persona responsible for each forbidden urge. The sadistic executive played by Rachel McAdams in Passion invites lovers to wear a mask stylized after her own face. No character spends much time having sex per se. The perverse intimacies of jealousy get them off: They all want each other, or to kill each other, or to be each other. No wonder so many people fantasize about their double — about knowing what it looks like from the outside.


Posted by Geoff at 2:29 PM CDT
Post Comment | Permalink | Share This Post
Monday, September 26, 2016
DE BATE - DE RANGED - DE MENTED - DE PALMA

Posted by Geoff at 11:10 PM CDT
Updated: Monday, September 26, 2016 11:15 PM CDT
Post Comment | Permalink | Share This Post
Thursday, September 22, 2016
OST SPECIAL PODCAST - DE PALMA SOUNDTRACKS
FEATURING DONAGGIO, HERRMANN, MORRICONE, DOYLE, SAKAMOTO, WILLIAMS, MORODER, MORE

Posted by Geoff at 8:29 AM CDT
Post Comment | Permalink | Share This Post
Tuesday, September 13, 2016
HAPPY TUESDAY - SEPTEMBER 13TH RELEASES
'DE PALMA' DOC & 'RAISING CAIN' ON BLU-RAY; 'THE OLIVER STONE EXPERIENCE', TOO
Just a note that today, three big items are officially released. What is widely being hailed as one of the biggest Blu-ray releases to come along in a long while, Shout! Factory's Collector's Edition Blu-ray of Brian De Palma's Raising Cain is out today, with a new master of the original theatrical version, as well as of Peet Gelderblom's Re-Cut, which is included on a bonus disc. Also included are several new interviews, as well as two video essays by Peet, and the ferociously entertaining trailer for the film.

Also released today is the Blu-ray edition of Noah Baumbach and Jake Paltrow's documentary, De Palma.

Also of note is the release today of The Oliver Stone Experience, the massive new book put together by Matt Zoller Seitz, who interviewed Stone for it extensively over the past two or three years. Also, watch for Seitz to do a segment about the book sometime this week as he fills in for The Charlie Rose show.

I'll be posting more this week about all three of these items.


Posted by Geoff at 5:38 PM CDT
Updated: Tuesday, September 13, 2016 5:47 PM CDT
Post Comment | View Comments (2) | Permalink | Share This Post

Newer | Latest | Older