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De Palma a la Mod

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Recent Headlines
a la Mod:

Domino is
a "disarmingly
straight-forward"
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

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Exclusive Passion
Interviews:

Brian De Palma
Karoline Herfurth
Leila Rozario

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AV Club Review
of Dumas book

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« February 2015 »
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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 ал
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Are Snakes Necessary?
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Saturday, February 14, 2015
BRADLEY COOPER ALSO USES DE PALMA'S NAME
WHEN DESCRIBING POTENTIALLY POWERFUL CAMERA MOVES
Discussing his lead role in American Sniper with Deadline's Mike Fleming Jr., Bradley Cooper contrasted the "no frills" style that Clint Eastwood was going for (which included the absence of music until the use of an old Morricone piece at the end) with a more theatrical style, and he mentioned Brian De Palma as an example-- a sort of shorthand to describe the type of camera move he wants to suggest. Here's the exchange:
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DEADLINE: As you build your production company now with Todd Phillips, how has this philosophy of stripping down to the core influenced how you look at a piece of material?
COOPER: It’s there. But I’ve been very lucky to be brought up by great storytellers, starting with JJ Abrams initially on Alias. I’m from the East Coast and got planted out there in LA and it was like a self-imposed grad school for film. I’d go to the end of the room every day and get everybody’s dailies on videotape and watch them. I learned so much there just about the mechanics of it. Then I learned more on this movie The Midnight Meat Train. With Limitless I really got to work on story, and that brings me to David O. Russell, who is all about that. Where’s the f*cking heart, where’s the f*cking heart, give me the real thing, drop the bullsh*t. He loves to celebrate life and nostalgia and comedy, but there is no bullsh*t. And when you’re working with him, you better not f*cking act.

DEADLINE: He’s not a fan of theatrics?
COOPER: No. He wants to see your soul. I’ve had it jammed in me for so long that by the time I landed on Sniper, I was ready for the way Clint operates. It’s always about, what are we getting at here? There it is, there’s the f*cking mitochondria, this is the sh*t right here, that’s the powerhouse. So, we were on the same page, me and Clint, and that meant no frills, let’s just tell a simple story. We knew that character was charismatic. The guy’s amazing. He’s fucking huge. He’s got this amazing voice. He’s got this levity about him. He has this way of thinking about the world that I’ve never seen on film, quite frankly. When the psychiatrist asks him about himself and how he’s doing, you’re not expecting that answer. I wasn’t. But that’s real to him and you’re looking in his eyes and thinking, what’s going on there? That’s interesting to us, that’s an interesting enough character to fill the frame. You don’t have to come up on a f*cking Brian De Palma thing or come overhead like…no, that’s it, right here.

DEADLINE: Or having the shrink comment that his eyes betray the fact he’s not right?
COOPER: Yeah, well, that’s just Jason Hall making it real, but we were all on the same page. Chris led the way.


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Posted by Geoff at 10:41 AM CST
Updated: Saturday, February 14, 2015 3:17 PM CST
Post Comment | View Comments (2) | Permalink | Share This Post

Saturday, February 14, 2015 - 1:04 PM CST

Name: "Christian G"
Home Page: http://www.christiangrevstad.wordpress.com

That's a compliment, really.

Saturday, February 14, 2015 - 3:16 PM CST

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

Yes, it is!

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