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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


« November 2013 »
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De Palma interviewed
in Paris 2002

De Palma discusses
The Black Dahlia 2006


De Palma Community

The Virtuoso
of the 7th Art

The De Palma Touch

The Swan Archives

Carrie...A Fan's Site


No Harm In Charm

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a la Mod

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a la Mod

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Came In From The Cold

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Greetings & Hi, Mom!

Scarface: Make Way
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(Blow Out)

Carrie: The Movie

Deborah Shelton
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No Time For
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De Palma a la Mod

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Sunday, November 10, 2013

Following up on Thursday's post about Chris Dumas' interview with The Fury author/screenwriter John Farris, here are some more excerpts:

Farris: "The film rights belonged to a Hollywood wannabe who was in the hotel business. I don't recall his name. Brian [De Palma] was attached to write the screenplay and direct and the project was set up at Paramount. Mike Eisner thought Brian's script needed work, although he was thrilled with the project, etc. I was brought in at Brian's suggestion. Read his draft, which I thought was excellent. I did a 30-page treatment, adding new angles but not straying far from the novel. Brian okayed the treatment. I did the new screenplay. Next thing I knew [Frank] Yablans was involved, took the project away from Paramount and gave it to Fox. There were heavy-duty politics involved in this move. But Fox passed and Brian was irate. For mnore on that story, you would have to talk to Brian. He never mentioned The Demolished Man to me again."

In the interview (which was conducted via e-mail), Dumas tells Farris, "A friend of mine -- a grad student in film studies at the time -- once had an opportunity to as Oliver Stone about De Palma; Stone replied that De Palma was 'the saddest person' he'd ever met. (I assume that by 'sad' he meant 'despondent,' rather than something like 'pathetic.') Did he strike you as a melancholy sort?"

Farris responds, "Brian was 36 when he made The Fury. I found him to be somewhat shy, not overly talkative but humorous and engaging when his guard is down, intensely observant but not judgmental, far too intelligent to be anything but annoyed by the Hollywood game, impatient with anything or anyone that caused him to lose focus. And, I think, disappointed that his career hadn't taken off like that of his friends Spielberg and Lucas. Friends, but rivals, in what Brian has referred to as 'The Competition'.

"A friend of mine since high school had played the female lead in Hi, Mom! and had briefed me on her experiences with him during filming. As a fledgling director he gave her a tough time. But he was younger then, and still unravelling the emotional knots of growing up in a prosperous but dysfunctional family. I'm not trying to psychoanalyze him. Adolescence wasn't paradise for most of us. But having heard from Brian about certain incidents in his early life, which are strictly his business and will not be related here, it's clear that they profoundly affected the direction, or trajectory if you will, his career has taken. For complex studies of where his fascination with, and terror of women has led him creatively, try watching Sisters, Dressed To Kill, and Raising Cain one after another.When Dumas asks how these things came up in the context of writing films together, Farris answers, "That grew out of discussions over lunches at Musso and Frank's, relevant to the script of The Fury and how much of the relationship between Gillian and her mom should be in the movie. Also there is something about me that often has near-strangers eager to talk about moments in their lives they wouldn't confess to a priest. Basically I guess I'm just a good and uncritical listener."

Dumas asks Farris what De Palma films he had seen prior to working on The Fury. "I had seen Sisters, Obsession and Carrie," replies Farris, "brilliant exercises in what can be done when you have almost no money to spend. Other than what my actress friend had told me about Hi, Mom! I didn't know anything about Brian's student-film years."

Dumas then continues, "Have you kept up with all of De Palma's movies since then? You mention Raising Cain, which I still think is one of the funniest movies I've ever seen, like Preston Sturges remaking Psycho -- did you have a similar reaction to it? I wonder what you thought of the particularly political ones, like Casualties Of War and Redacted and even Snake Eyes, and I especially wonder what you thought of Scarface, given its initial failure and its unprecedented second life on home video."

Farris then responds, "Scarface is my second-favourite De Palma movie, after The Untouchables. It has a near-hallucinatory quality, wonderful script and a visual flair to make any of his rivals in 'The Competition' envious. I also liked The Bonfire Of The Vanities. That one was a lose-lose situation for Brian, based as it was on an overhyped, revered 'masterpiece.' If you don't 'get' Brian, then you hate the movie. Pauline, where were you when he needed you?

"Casualties Of War is another good one. Haven't seen Redacted. As for Cain, I think it's a minor masterpiece waiting in the wings to be properly acknowledged by film scholars. The only movie Brian has made, and at a very stressful time, that is so obviously about himself."

Near the beginning of the interview, while telling Dumas how The Fury came together as a film project, Farris mentions another adaptation he and De Palma had been working on together. While working on the screenplay for The Fury between 1975 and 1976, Farris says, agent Bob Bookman "put me together with another client, Brian De Palma, to work on an adaptation of the Mary Higgins Clark best-seller Where Are The Children? which Brian was attached to direct. I spent a couple of months on a screenplay that would work. By then Brian was bored with the project. Carrie had been released and was a big success and he wanted something more challenging than a fairly mild mystery. 'What are you working on?' he asked me.

"So on January 17 we all met in Frank's office, agreed that day on Kirk Douglas as the lead, called him, and then the real work began. Seven drafts of the screenplay later, Brian began filming on a beach in Chicago."

Where Are The Children? was eventually made in 1986 by director Bruce Malmuth, with the screenplay credited to Jack Sholder. The film starred De Palma's friend, the late Jill Clayburgh, who had played the female lead in De Palma's first film, The Wedding Party. The plot/storyline synopsis on the IMDB has a similarity or two with the plot of De Palma's Femme Fatale, regarding a woman who loses her children (they are later found dead). After being convicted of their murder and then having that conviction overturned, the film moves ahead "seven years later," where the woman has changed her identity and hair color, and has a new life married to a realtor. One day she opens the newspaper and is stunned to see her picture in the local section.

SPOILER ALERT: Femme Fatale has a woman who has a premonition that she has assumed the identity of a look-alike who has committed suicide following the death of her child. The story moves ahead "seven years later" where a paparazzo takes her picture and it gets plastered in the streets of Paris, causing her to fear retribution from the thieves she had swindled in her earlier life.

Posted by Geoff at 2:14 AM CST
Updated: Sunday, November 10, 2013 2:57 AM CST
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