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Exclusive Passion
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Brian De Palma
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Leila Rozario

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AV Club Review
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Sunday, July 8, 2018
WAGNER MOURA CAST AS LEAD IN 'SWEET VENGEANCE'
BRAZILIAN NEWSPAPER REVEALS, SAYS START DATE IS JAN 2019, SCREENPLAY BY DE PALMA
http://www.angelfire.com/de/palma/wagnermoura.jpgWagner Moura has been cast as the lead in Brian De Palma's Sweet Vengeance, according to O Globo's Lauro Jardim, who posted the news today. Moura is known for his role as Pablo Escobar on the Netflix series Narcos, as well as for Elite Squad, which was directed by José Padilha, who is also a producer of Narcos and directed the first two episodes of that series. Sweet Vengeance, which is being produced by Brazilian Rodrigo Teixeira, will be set in the U.S., but will be filmed in Montevideo, Uruguay. According to Jardim, the original screenplay is written by De Palma, and the film will begin shooting in January 2019. Previous reports had suggested a ten-week shoot that would begin in November.

Sweet Vengeance, which will be shot by José Luis Alcaine, is a thriller based on two real-life murders that De Palma has melded into one contemporary murder story. De Palma has mentioned that with this film, he is interested in the way television presents stories of true crime. He has also mentioned that he is designing an elaborate drone shot.

Previously:
Alcaine to shoot De Palma's Sweet Vengeance
Sweet Vengeance to frontline two international leads, male & female
De Palma designing complex drone shot for new film


Posted by Geoff at 6:38 PM CDT
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Wednesday, July 4, 2018
ALCAINE TO SHOOT DE PALMA'S 'SWEET VENGEANCE'
DE PALMA'S 3RD STRAIGHT COLLAB w/LENSER, FOLLOWING 'PASSION' & 'DOMINO'
http://www.angelfire.com/de/palma/alcaineunspecified.jpg

José Luis Alcaine, currently shooting Pedro Almodóvar's latest film, Pain & Glory, will be the cinematographer on Brian De Palma's Sweet Vengeance, a U.S-set thriller that will shoot in Uruguay for about ten weeks beginning this November. This will be the third straight De Palma film to be shot by Alcaine, following Passion and the yet-to-be-released Domino. Alcaine mentioned the new project at the Cannes Film Festival this past May during an interview with Manu Yáñez Murillo for the current July/August 2018 issue of Film Comment. Alcaine states he will shoot the film with De Palma in October, but the project has since been announced with a November start date.

HOW DIGITAL HAS CHANGED THE WAY DIRECTORS WORK
In the interview, Alcaine mentions Sweet Vengeance while discussing how digital technology has changed his work:

Most of all, the digital revolution has changed the way that directors work. There's a famous memo in which David O. Selznick warned King Vidor not to do more than five takes of each shot while filming Duel in the Sun. Today, thanks to the low cost of digital technology, one can shoot countless takes, and with several cameras! Many movies are shot with three, four, or even eight cameras. That destroys any notion of the director's point of view. There are still directors who shoot with only one camera, such as Asghar, Pedro, or Brian De Palma, with whom I'll shoot Sweet Vengeance in October. But there are directors who have no idea what they're going to edit while they're shooting. They use three or four cameras and the end result looks like a television broadcast.

"TOO MANY MOVIES NOW ARE LIKE BABY FOOD"
Alcaine was at Cannes for the premiere of Asghar Farhadi's Everybody Knows, and Yáñez Murillo begins the interview by asking Alcaine how he contributed to Farhadi's vision in the film:
Rather than national identity, I was focused on doing justice to the narrative complexity and the choral structure of the film through the image, something that is not very common in contemporary cinema. Many film directors today come from the advertising or television worlds, and when they shoot, they're thinking in small screen terms. They tend to employ open diaphragms that drive the viewer's attention toward one character, leaving everything else out of focus. The resulting image can be very beautiful, with an impressionistic touch, but for me that means stealing something from the viewer. Cinema ahould invite the audience to embark on an active experience, but too many movies now are like baby food, where everything's ground up, simplified, so the viewer can consume it and forget it easily. In Everybody Knows, there are many shots of an entire family sitting at a table or at a party, with all the characters in focus, so the viewer can choose who and what subplot to focus on.

You seem to advocate for a cinema open to the ambiguous nature of reality.

There's a great book that was written 50 years ago, Hitchcock/Truffaut, which is wonderful but had a side effect. At one point, Hitchcock claims that, at the beginning of every shoot, he has the entire movie already visualized in his head. In my opinion, that presupposes that the movie has no life of its own. When dealing with emotions, some movies, like Everybody Knows, find their form along the way thanks to the collaboration between the director, the actors, the DP, and the rest of the crew. That's the life of a film.


Previously:
Alcaine: "Digital brings me closer to painting"
Alcaine focuses on the life of each movie

Posted by Geoff at 4:35 PM CDT
Updated: Wednesday, July 4, 2018 4:41 PM CDT
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Monday, June 25, 2018
UPDATE - 'SWEET VENGEANCE' TO SHOOT NOV '18 - FEB '19
CASTING NOW, MAJOR MALE & FEMALE LEADS, U.S.-SET THRILLER TO FILM IN URUGUAY


El País' Pablo Staricco reported yesterday that Brian De Palma will arrive in Uruguay sometime in November to begin shooting his new thriller Sweet Vengeance. According to a June 26 article by La Diaria's Débora Quiring, the shoot, said to be 4-10 weeks, will last through February 2019 in Montevideo, the capital of Uruguay, and the east coast of the country. Sweet Vengeance is inspired by two true murder stories, and although it will be shot in Uruguay, it will be set in the United States. Two "front-line" international actors will play the male and female leads, according to Oriental Features' Santiago López and Diego Robino, although they could not yet reveal the actors' names, as casting and talks are still in progress. Quiring's article adds that some secondary roles and extras will be filled out by Uruguayan and regional actors.

"For 30 or 40 years," De Palma told the press in Paris earlier this month, "I have seen a number of true stories of crimes presented on television, as in the program 48 Hours. I'm interested in how they tell the story of the crime, so I'll do it the way they do it on television, based on two real cases."

Oriental Features, a division of Oriental Films, is the Uruguayan production company in charge of filming, in collaboration with Rodrigo Teixeira of RT Features from Brazil, and De Palma's own team. Here's more from Staricco's article, with Google-assisted translation:

The new project of the American director, who recently completed his last film Domino, reached the Uruguayans by the hand of Teixeira. The Brazilian, who has independent films such as Frances Ha, The Witch and the Oscar-Winner Call Me By Your Name, previously worked with Oriental Features on the filming of the series The Hypnotist (HBO), as well as the films The Silence Of The Sky and Severina.

Teixeira told the Uruguayans, two years ago, that he planned to produce the new De Palma film. After an intense search of locations, López and Robino managed to position Uruguay as the best place to shoot Sweet Vengeance. The inspection of the places was done with an assistant director of the filmmaker.

Robino described that search for locations as a "very strong" process. "There were very specific things that had to look like another place different from the Uruguayan architectural landscape," said the producer, under the halo of secrecy that surrounds all cinematographic projects in their initial stages. It will be filmed in Montevideo and in the east.

Of the plot of Sweet Vengeance it is known that it is based on two real crimes that took place in the United States, and its story will be set in that country. "It's a contemporary film," said Robino. De Palma "unites these crimes and builds a thriller under his own stamp," he added.

"It grabs us solid," López said about the challenge after reviewing the recent work of the producer, which includes the latest film by Federico Veiroj, "El cambista" ("It's spectacular", the producer said); and the Argentinean "El motoarrebatador" -which was premiered at the Cannes Festival- and "El otro hermano", by the Uruguayan Israel Adrián Caetano.

In addition, this will not be the first time that Oriental Features is under the command of a renowned director. In December of 2017 the producer filmed, during a weekend, part of the movie The Pope, of Netflx, directed by Fernando Meirelles (City of God) and which was photographed by the Uruguayan César Charlone. That creative duo had brought, in 2007, the shooting of Blindness, which had Julianne Moore and Mark Ruffalo filming in Montevideo.

With their future work with De Palma, Robino and López hope to continue opening the doors of Uruguay to the world of international cinema. They recognized that the challenge is great and that the director is not known to maintain a calm climate in his sets.

The pre-production will start in November, but both producers said they are ready. "It will be complex and to that we must add that it is Brian De Palma," said López. "It is a demand that we must have without hesitation."


Previously:
De Palma designing complex drone shot for new film

Posted by Geoff at 3:15 AM CDT
Updated: Tuesday, June 26, 2018 7:11 PM CDT
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Tuesday, June 12, 2018
DE PALMA DESIGNING COMPLEX DRONE SHOT FOR NEW FILM
"I'M HAVING FUN IMAGINING IT, SO WHEN I SAW THIS FRENCH FILM, I WAS A LITTLE JEALOUS!"
http://www.angelfire.com/de/palma/goodbyeupthere.jpg

In the Les Inrockuptibles interview with Jacky Goldberg, Brian De Palma mentions his "current project" within a discussion about new techniques, and specifically, drone shots. We can guess that the current project would be Sweet Vengeance, a murder mystery that De Palma plans to shoot in Uruguay:
Are you interested in new cinema technical tools? The very high frequency camera (120 frames per second) that Ang Lee uses in Billy Lynn's Long Halftime Walk, for example?
Brian De Palma - It seemed futile, but I did not see it in the proper projection conditions; the film has good things otherwise, it's a good idea, but I didn't understand where Ang Lee was coming from. Otherwise, at this moment, it's the drone shots that interest me. In the plane that brought me here, I saw a French film with in-CRED-ible drone shots (he takes out a notebook from his pocket, opens a page where is written: "Goodbye Up There" , drone shots "- Editor's note). These shots have become a cliché, everyone does them because they're pretty, but it's very rare that they make sense. Last year, I was on a jury in Toronto, and I remember saying to my co-jurors: "At the next drone shot, I'm leaving!"

A detrimental consequence of digital cameras is that their extreme sensitivity means you no longer need to know how to light. We can film anything, anywhere, and we immediately have a satisfactory result - and too many people are satisfied. This is how the television style wins. I'm going to look old-fashioned saying that, but the photographic art of a Sternberg is lost, and I regret it. The low sensitivity of the film at that time required extremely complex lighting, so complex that nothing could be arbitrary. Every shot with Marlene Dietrich is a masterpiece in itself.

We can still do incredible things with digital cameras. Things that Sternberg, precisely, could not afford. There was this magnificent Chinese film this year in Cannes, Bi Gan's Long Day's Journey Into Night, with a one-hour clip shot, partly filmed with a drone.
Brian De Palma - Long Day's Journey Into Night ... Not easy to remember, but beautiful title. I'll take a look at it. New techniques interest me, don't get me wrong. But only when we use them wisely. Not to make your life easier. When the Steadicam came out, it was a revolution for me. I used it for the first time in Blow Out (in 1981 - ed), and it allowed me to design shots more and more complex. The one at the end of Carlito's Way, in the escalators, is another good example. At the moment, I'm working on a project that requires a very complex drone shot, and I'm having fun imagining it. So when I saw this French film, I was a little jealous (laughs)!


Previously:
Drones, Stampedes, Gunshots, and many 'oles' - as Domino films in Almería

Posted by Geoff at 11:59 PM CDT
Updated: Thursday, June 14, 2018 4:14 AM CDT
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Saturday, June 2, 2018
DE PALMA TO FILM 'SWEET VENGEANCE' IN URUGUAY
INSPIRED BY 2 TRUE CRIME STORIES OF MURDERS, IN THE STYLE OF '48 HOURS', ETC.


In the AFP article posted yesterday in several places, Brian De Palma states that his next film will be Sweet Vengeance, which he plans to shoot in Uruguay. De Palma tells AFP the film is "inspired by two true stories of murders," and he wants to tell the story "as it is done on television." De Palma explains, "For 30 or 40 years I have seen a number of true stories of crimes presented on television, as in the program 48 Hours. I'm interested in how they tell the story of the crime, so I'll do it the way they do it on television, based on two real cases."

Posted by Geoff at 4:02 AM CDT
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