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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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Tuesday, October 26, 2021
Back in October of 2013, as Kimberly Peirce's remake of Carrie was being released, Vulture's Patti Greco reached out to P.J. Soles by phone for a magnificent interview about working on Brian De Palma's Carrie. Here's an excerpt:
Who were you closest with on set? Was it Nancy Allen [again, she played Chris], since most of your scenes were with her?
Yeah, Nancy and I are still really, really good friends. And we were very close [on set]. I was always trying to steer her away from having a crush on Brian. Didn’t work — she married him! And got divorced [Laughs.] But I tried to warn her, I said, “Why are you doing this? Look, he’s got that look on his face, like he’s enjoying all this. There’s a sadistic guy in there.” [Pretending to be Nancy], “Oh, he’s so cute.” No, Nancy, no! I was also close to Betty Buckley [who played Miss Collins], she actually had been a previous girlfriend of Brian’s. And she didn’t know how to drive and I had a blue pickup truck, and Brian asked if I would pick her up every day at the Chateau Marmont and bring her to the set. And so I’d go by every day and pick up Betty, who would pull down the visor and put on makeup. And I’d go, “It’s 6 a.m., Betty, we’ll be in makeup in like half an hour. What are you doing?” She’d go, “Brian’s gonna see me, I want to look my best!” I’d go, “Brian? He’s not even gonna look at us. We’re gonna go right to makeup.”

So Brian was the set stud?
Well, I wouldn’t say that. I think Nancy had a crush on him and Betty was an ex-girlfriend. She was nervous about how he was going to do away with her character, that’s all she would talk about. Because it wasn’t specified in the script. It said, like, “chaos in the gymnasium” and then it was up to Brian how each individual person was killed. Like, my character got killed by the fire hose, which obviously wasn’t in the Stephen King book because there was no Norma in the book. But Betty was nervous about how he was going to do away with her and then the basketball, the backboard comes crashing down on her. She was terrified of that.

Were Brian and Nancy actually dating on set or did that come after? No, no, I think it was once it ended. I mean, everybody was busy. We filmed all day long and then Brian was one of the rare directors that would say, “Come on, kids, let’s go look at the dailies.” And then we’d all march over to the screening room and watch dailies together. It always amazed me that he would want us in there, because he was making his notes, working, while we were in there laughing, going, “Hahaha, look at that.”

Was he inclusive, then? I thought he was known for being more like a dictator. He wasn’t really a dictator. It was definitely his set. You always know who the director is: They’re the one in charge and they’re sitting in the higher chair. But he wasn’t very verbal. For instance, at the end of a scene, a lot of directors will go, “Cut. That’s great, let’s do another one.” Or, “Oh, that’s great, we can move on.” He would say cut and then you’d look and if he had this sly smile on his face, you knew he liked it. And then he’d just kind of mumble. And if you saw the camera move, you’d go, I guess we’re moving on. That’s good. We’re not gonna do it again. So it wasn’t a loud set; it was a very quiet set. It was really about the shots, and the lighting, and the look. We came in at the last minute like a football team, like, Okay, run this play. We have the field mowed, the people in the stands, and then the players come in to run one play. We were sort of the afterthought to everything that was going on. Everything that led up to it was what took the time, and it looks like that. To me, when I watch it now, it looks like a work of art; it looks like somebody painted this movie.

Posted by Geoff at 12:01 AM CDT
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