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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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De Palma interviewed
in Paris 2002

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The Black Dahlia 2006


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De Palma a la Mod

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Monday, September 29, 2014
Sean Witzke posted a brief riff on Brian De Palma's Mission: Impossible to his Supervillain Tumblr last May:

"De Palma does this amazing thing where he does the Kurosawa show-the-plan-first-in-minature but he reverses it to make it work in a spy movie where they misdirect you by telling you all the obstacles they are about to run through, but he does it by having detailed a third element buried in the telling, where the guy who works at the computer is a pawn in the narrative. And he gets beaten up as the story moves forward, just to show how callous the heroes are. It’s all games, and Hunt actually describes it as a game first. I really love how smart/aware it is for a movie that doesn’t need to be anything but set pieces.

"The movie was regarded, at release, as hackwork. Set pieces strung together by multiple writers and directed by a technician, because of the massive massive push behind it at the time. But it functions at such a high level not only as a spy story - full of reversals, nasty violence, huge scope, intimate details, personal stakes, heists, and of course flashy set pieces - but also as a De Palma movie. His themes of surveillance, misinformation, close-up violence, betrayal, visually literalizing narrative complexity, all of them wrapped around the structure of a massive summer blockbuster. The other Mission Impossible movies (all of which I do love in various ways) are Cruise doing Bond, but Mission Impossible is De Palma figuring out how to do his best tricks for the bleachers."

Posted by Geoff at 3:37 AM CDT
Post Comment | View Comments (1) | Permalink | Share This Post

Monday, September 29, 2014 - 11:33 PM CDT

Name: "harry georgatos"

The only reason why this film works well to a degree is De Palma's visual planning of a simple plot in a convoluted manner that really isn't that convoluted in the first place. The revelations of betrayal and reversals is well-handled. The set-pieces are brilliantly designed and staged. The visual look is perfume cinematography. I still think the Jim Phelps and Claire's dead bodies unaccounted makes the premise false as CIA would have first wanted to see the dead bodies before implicating Ethan. De Palma has never cared about plot authenticity in his films as he cares more about wordless visual storytelling through the placement and movement of his camera and the editing of the film. The less dialogue in his films the happier he becomes. My ideal Mission film would run 150 minutes with Manchurian Candidate mind tricks through hypnosis that the tv show was famous for with spies and double spies in surveillance of being watched or watching with R-rated spy femme fatales of seduction and explicit executions and assassinations of world leaders around the world. Even though at the time I'd admired De Palma's craftsmanship I felt betrayed by the story that belonged to a non-demanding audience.  

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