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Domino is
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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
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De Palma/Lehman
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in Snakes

De Palma/Lehman
next novel is Terry

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

Supercut video
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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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De Palma interviewed
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De Palma discusses
The Black Dahlia 2006


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Tuesday, January 5, 2016
STEPHANIE ZACHAREK ON VILMOS ZSIGMOND
AND INDIEWIRE'S ZACK SHARF PICKS NINE ESSENTIAL SHOTS


Yesterday, Stephanie Zacharek posted about the passing of Vilmos Zsigmond for TIME:
But what about movies in which people are often indoors, talking? Zsigmond could put his subtle mark on those, too, as he did with the three films he shot for Woody Allen, Melinda and Melinda (2004), Cassandra’s Dream (2007), and You Will Meet a Tall Dark Stranger (2010). But among Zsigmond’s finest work are the four movies he did with [Brian] De Palma, Obsession (1976), Blow Out (1981), The Black Dahlia (2006) and The Bonfire of the Vanities (1990). Zsigmond had the technical skill to handle the elaborate tracking shots and split-screen effects so beloved by De Palma, but just as significantly, he could effectively key into the director’s particular brand of bleak romanticism and political mistrust. He gave Obsession—in which Cliff Robertson plays a man who becomes obsessed, Vertigo-style, with a woman who resembles his dead wife (Geneviève Bujold)—a look that balanced the coolness of old marble with the textured warmth of a peeling fresco, suitable for a love story wrapped in its own cozy little crypt. Zsigmond earned an Oscar nomination for his work on The Black Dahlia, a flawed picture whose visual magnificence is almost enough to hold it together. Zsigmond doesn’t just give the movie, set in the late 1940s, a period look; he lends it a burnished immediacy that unifies past and present, making whatever stereotypical sense we have of tawdry old Los Angeles seem as clichéd, and as wrong, as last year’s crushed hat.

Zsigmond also left his signature, paradoxically both vivid and translucent, on one of the greatest of De Palma’s movies, Blow Out. John Travolta is a movie sound-effects guy who inadvertently captures audio evidence of an assassination when he witnesses a car driving off a bridge; Nancy Allen is the young woman he rescues (and falls for), a pawn in the plot. This is a quietly shimmering movie about disillusionment and doomed romance, and Zsigmond’s nighttime exteriors, both alluring and vaguely spooky, foreshadow despair rolling in like like fog.

Yet that thing we so casually think of as movie magic is really, when you boil it down, the even more magical summation of what happens when people know how to do their jobs. Zsigmond talked a little about Blow Out in in The Devil’s Candy, Julie Salamon’s superb study of the making of De Palma’s Bonfire of the Vanities: “There we were in the middle of the winter and there was this huge canyon and we were shooting a frog in the foreground and the river beyond and the trees and bridge above, and [De Palma] just walked up to it and said, ‘Light it. I don’t care how long it’s going to take. Light it.’ ” Zsigmond laughed in the story’s retelling. But also—damned if he didn’t light it.

INDIEWIRE: REMEMBERING VILMOS ZSIGMOND IN 9 ESSENTIAL SHOTS

Meanwhile, Indiewire's Zack Sharf posted nine essential shots by which to remember Zsigmond. Choosing the climactic shot of Jack holding the lifeless body of Sally as fireworks go off in the sky, Sharf writes, "Climaxes don't get more gorgeous than this one. As John Travolta's Jack Terry races through Philadelphia's Liberty Parade in order to save an escort (Nancy Allen) from the hands of an assassin, fireworks begin exploding in the sky as Zsigmond captures these blasts of color on their faces like bombs in a hectic war zone. Only when Terry holds Sally's lifeless body in his arms does the camera spin to reveal the actual display exploding in the sky —it's a moment of pure visual and emotional opera."


Posted by Geoff at 11:58 PM CST
Updated: Wednesday, January 6, 2016 12:04 AM CST
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