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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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in Paris 2002

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No Harm In Charm

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(Blow Out)

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De Palma a la Mod

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Saturday, November 18, 2017
https://www.angelfire.com/de/palma/weblewit.jpgFilmed during the year leading up to the election of Donald Trump as president, Jean-Baptiste Thoret's documentary We Blew It takes its title from a line spoken by Peter Fonda in Dennis Hopper's Easy Rider. As The Hollywood Reporter's Bernard Besserglik describes it, "Jean-Baptiste Thoret's enthralling documentary We Blew It tackles the riddle of the 1960s head-on — a riddle that has been the subject of lively debate virtually since the day the decade ended. How, after that heady upsurge of youthful idealism and revolt, did we get to where we are now? What happened to the dreams and visions of the peace-and-love generation? What were the twists and turns that brought us from Easy Rider to Donald Trump?"

CineSeries' Guillaume Meral brings up Brian De Palma in his discussion of a shot that traces the road in Dallas where JFK was assassinated in 1963 (a description that cannot help but also remind of the scene in Martin Scorsese's Taxi Driver, when Travis meets the gun dealer):
Basically, We Blew It is a film that deals with the question of the years '60-'70 by questioning their very existence. The work of a director who evolves in a landscape of images and is all too aware of the impact of these images themselves not to wonder if they have not printed in the retina of the popular unconscious a reality that never took place. A dialectic that is found in particular in the staging bias of Thoret. Filmmaker obviously cinephile, the author multiplies the references to New-Hollywood to question his own references. We think of the scene where the camera is walking in Dallas, on the road on which JFK died as if it were scanning the traces of a perennial trauma. As the screen sweeps the asphalt, an oppressive music straight out of a film by Brian De Palma, THE filmmaker who made this fatal day of November 15, 1963 the reason for his cinema, accentuates and invades the entire sound space. As if Thoret summoned the spectrum of the director of Blow Out to derealize what he films and plunge into an agonizing abstraction, which exceeds the factual historical event to touch something more disturbing. For those who arrive in the empty room of all references, the tools work in the first degree, but for the viewer initiated to its author and his cinephilia, Thoret brings a historical event to his cinematographic representation, as if the passage of a historical event in a regime of specific images had altered the initial reality. Did New Hollywood invent these years? Has cinema created America? This is the agonizing question that runs through the author's approach, seeking the traces of cinema in what he films.

Posted by Geoff at 10:28 AM CST
Updated: Saturday, November 18, 2017 10:31 AM CST
Post Comment | View Comments (2) | Permalink | Share This Post

Tuesday, November 28, 2017 - 8:00 PM CST

Name: "harry georgatos"

I've been going from website to website to find absolutely nothing relating to Domino. The only ocassional news relating to Domino is this site.

De Palma has to get this great sounding picture into the public arena or it will quickly disappear on to home entertainment.  Passion had lousy marketing and in most territories went to home entertainment. Everything comes down to marketing strategy.

Even though I was one of the few who thought Redacted was better then what most biased critics had to say, Redacted suffered as a result of it's politics which made it box-office posion. Redacted is the type of film that will find an audience 20 years down the track and create an understanding of the politics of the time.  

With a genre piece such as Domino it should have a profile on Facebook. It doesn't even have a Wikipedia page with IMDB the only site with some type of limited information. Great films have disappeared because there has been no savvy marketing. This was the fate of FEMME FATALE, THE BLACK DAHLIA and PASSION. There should be some type of trailer coming soon! 

Tuesday, November 28, 2017 - 11:31 PM CST

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

The official reason that De Palma is not at the Torino Fest right now is because he is editing Domino. I would not worry about sites not currently having info on Domino-- the film is in post-production, and there have been indications that it will premiere at either Berlin in Feb, or Cannes in May. Either of those would be a high-profile kick-off, with international star-power at hand from the Game of Thrones stars, and possibly Guy Pearce.

The film is at least on some 2018 radars:


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