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a la Mod:

Domino is
a "disarmingly
work that "pushes
us to reexamine our
relationship to images
and their consumption,
not only ethically
but metaphysically"
-Collin Brinkman

De Palma on Domino
"It was not recut.
I was not involved
in the ADR, the
musical recording
sessions, the final
mix or the color
timing of the
final print."

Listen to
Donaggio's full score
for Domino online

De Palma/Lehman
rapport at work
in Snakes

De Palma/Lehman
next novel is Terry

De Palma developing
Catch And Kill,
"a horror movie
based on real things
that have happened
in the news"

Supercut video
of De Palma's films
edited by Carl Rodrigue

Washington Post
review of Keesey book


Exclusive Passion

Brian De Palma
Karoline Herfurth
Leila Rozario


AV Club Review
of Dumas book


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Thursday, August 9, 2012
The Oregonian News Network posted an interview with Anne Richardson, who runs the blog Oregon Movies, A to Z. Richardson indicates in the interview that she is a former student of Brian De Palma. It seems most likely that she would have been involved in the class De Palma taught at Sarah Lawrence College in 1979, where he taught students how to make a film by making Home Movies with them. In the Oregonian interview, Richardson is asked to tell her favorite story about the movies. "At film school," Richardson replies, "Prof. Brian De Palma constantly referred to all his films as 'turkeys'. When I was making my thesis film, I called him up to ask for advice on one particular shot. I was hugely honored when, as he was answering my question, he began referring to my film as a turkey."

Posted by Geoff at 10:54 PM CDT
Post Comment | View Comments (5) | Permalink | Share This Post

Friday, August 10, 2012 - 9:18 PM CDT

Name: "Ang"

Christoher Nolan is today's elite filmmaker. I don't know what's happened to De Palma? Last good De Palma was Carlito's Way. Mission Impossible, Snake Eyes, Mission To Mars, Femme Fatale had great visual planning but the development of the screenplays stunk! When one see's the density of visual detail Nolan brought to Inception, Mission Impossible needed to be that original in it's concepts. Black Dahlia and Redacted had limited chance of finding an audience where Black Dahlia had average performances when one see's the power-house performances in Curtis Hanson's LA Confidential with power-house violence that Black Dahlia only hinted at. Hopefully Passion will recall the days De Palma made films such as Sisters, Obsession, Carrie, The Fury, Dressed To Kill, Blow Out, Scarface, Body Double, The Untouchables, Casualties Of War, Raising Cain and Carlito's Way.

Saturday, August 11, 2012 - 12:44 PM CDT

Name: "Geoff"
Home Page: https://www.angelfire.com/de/palma

In terms of power, yes, Christopher Nolan is today's elite filmmaker. But don't you think in terms of quality, the true elite filmmaker right now is Paul Thomas Anderson?

Anyway, FEMME FATALE is a masterpiece. Interesting comparison between MISSION: IMPOSSIBLE and INCEPTION, but I would argue that MISSION: IMPOSSIBLE had several layers of visuals going on in single shots, whereas Nolan seems to attempt such details through editing.

Saturday, August 11, 2012 - 6:46 PM CDT

Name: "Ang"

Paul Thomas Anderson is an auteur. The opening 15 minutes of Magnolia is complex and mutli-layered from different perspectives of coincidences.


Mission Impossible has too many plot-holes and a simple plot with a predictable villian. The visual design of the film is what makes it interesting to watch. It wasn't the story I was expecting and at the end of the day the film isn't as braintwisting as one thought. The movie needed another huge action set-piece and more sleight-of-hand set-pieces that the tv show was famous for.

Christopher Nolan reminds me of Nicholas Roeg and Inception can be seen as a Missio:Impossible film in the dream world with a truly braintwisting concept with exhilirating car chases, shoot-outs and mind-games that De Palma's Mission film fails to achieve. Still De Palma's direction of that unfortunate script is the one true saving grace. 

Saturday, August 11, 2012 - 7:06 PM CDT

Name: "Geoff"
Home Page: https://www.angelfire.com/de/palma

And this just in-- J Hoberman asks whether David Cronenberg is our most original filmmaker:


"Indeed, Cronenberg is not only Kubrick's heir as the most experimental narrative filmmaker at work today but the most provocative and consistently original North American director of his generation.

"Granted, Martin Scorsese's quartet of "Mean Streets," "Taxi Driver," "Raging Bull" and "The King of Comedy," all with Robert De Niro, is an accomplishment without parallel in post-'60s Hollywood cinema, and, yes, Steven Spielberg is a pop-culture virtuoso as well as the most influential commercial moviemaker of the last 35 years. But despite his gifts, Scorsese has never returned to his early form while, for all his ambition, Spielberg's supreme achievements remain his pure entertainment machines ("Jaws," "E.T.," "Jurassic Park"). Two other contenders, David Lynch and Brian De Palma, have each made brilliant films ("Blue Velvet," "Blow Out"), but more often than not their experiments have blown up in the lab; scanning the horizon, the tallest tree is Paul Thomas Anderson."

Tuesday, August 14, 2012 - 9:43 AM CDT

Name: "Calum"
Home Page: http://manalishifilms.com

I think that there is a clear De Palma influence on Nolan. For me it is films like Mission: Impossible that have influenced him most and without which long, complex, playfully elaborate films like Inception and The Dark Knight Rises etc would not have seen the light of day.

Nolan also seems to have taken a leaf out of De Palma's book in that he alternates big studio films (Batman Begins, The Dark Knight) with more personal projects (The Prestige, Inception). Additionally even when he makes a big studio movie he projects his directorial personality onto it, much as De Palma does in films like Mission: Impossible which, despite being a big budget studio film, has De Palma's stamp firmly on it.

I agree PTA is becoming the best director of his generation although he has only really started to explore his directorial personality from Punch Drunk Love onwards - while the previous films were good and well directed, they were more showcases of writing than direction. Given a few more films under his belt I feel that Todd Field could soon rival PTA as the best of his generation and may well become the true heir to Kubrick.

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