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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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Carrie...A Fan's Site


No Harm In Charm

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Scarface: Make Way
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(Blow Out)

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De Palma a la Mod

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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.
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Thursday, December 9, 2021

"So listen, everybody dress up sweet and sharp," says Riff, played by Russ Tamblyn, in the 1961 film version of West Side Story. "Meet Tony and me at the dance at, uh, 10. And walk tall!"

In his new version of West Side Story, Steven Spielberg tweaks that dialogue a little bit, and he manages to cleverly throw in a nod to the title of a Brian De Palma film from 1980: "Be there, 10PM, punctual-like, dressed to kill, walkin' tall!"

Meanwhile, in an interview with The Guardian's Ryan Gilbey, Spielberg talks about being the last one of the "Movie Brats" to make a musical:

The most famous and widely cherished film-maker in history is all twinkling eyes and gee-whiz charm today. He is about to turn 75 but first there is the release of his muscular new take on West Side Story, which marks his third collaboration with the playwright Tony Kushner, who also scripted Munich and Lincoln. Spielberg is at pains to point out that this not a remake of the Oscar-laden movie but a reimagining of the original stage musical. “I never would have dared go near it had it only been a film,” he says. “But, because it’s constantly being performed across the globe, I didn’t feel I was claim-jumping on my friend Robert Wise’s 1961 movie.”

Spielberg and West Side Story go back further than that. He was 10 when he became obsessed with the Broadway cast album, which his father brought home in 1957. He even got in trouble for belting out the show’s comedy number Gee, Officer Krupke. “With my dad right across from me and my mother next to me, I sang, ‘My father is a bastard / My ma’s an SOB … ’ Oh my God, they got so mad. ‘You can’t say “bastard” at the dinner table! Where did you learn that?’ I said, ‘It’s on your record!’”

It was Jerome Robbins who had the idea of transposing Romeo and Juliet to New York’s Upper West Side. Leonard Bernstein provided the score, Arthur Laurents the script and a young greenhorn named Stephen Sondheim wrote the lyrics. Tony and Maria, played in Spielberg’s version by Ansel Elgort and Rachel Zegler, were the star-cross’d lovers, while two warring gangs, the Jets and the Sharks, stood in for the Montagues and Capulets. Which gang did the young film-maker run with during his adolescence in Arizona and California? “Me in a gang?” he splutters. “Yeah, right! No, I was in the Boy Scouts of America. And a movie club. My friends and I made movies on 8mm when we were 12 or 13 so I was just part of that nerdy, geeky little club.”

He did, however, come to be known in the 1970s as one of the Movie Brats, so-called because they were the first generation of US film-makers to have absorbed much of their education from the screen and went on to electrify and transform Hollywood. Of that quintet – Francis Ford Coppola, Brian De Palma, George Lucas and Martin Scorsese were the others – Spielberg was the only one who hadn’t made a leap into musicals. “Francis did it with Finian’s Rainbow, Brian with Phantom of the Paradise, Marty with New York, New York. I do think you have to consider American Graffiti to be George’s musical. Which means all the Movie Brats have done it now, and I was the last. I’m proud to be the caboose.”

Posted by Geoff at 12:01 AM CST
Updated: Thursday, December 16, 2021 7:54 AM CST
Post Comment | View Comments (10) | Permalink | Share This Post

Friday, December 10, 2021 - 9:13 AM CST

Name: "Raven Mockery"

Martin Scorsese and Steven Spielberg are strange friends. Why have they never produced a Brian De Palma project? They have the power and the money to do it. Besides, when you see the amount of shits they produce, it's an obvious lack of recognition. De Palma has been of real importance in their respective careers. More: West Side Story ... Again? !!!! Is Spielberg so lacking in imagination? If Scorsese and Spielberg had produced De Palma's big projects, Brian De Palma would still make great films. "The Demolished man", for example. He is the only filmmaker who can illustrate this great thriller novel. Friendship ... let me laugh! Thank you for all the time you spend celebrating this exceptional filmmaker. I am always learning a lot by visiting your fantastic site.

Friday, December 10, 2021 - 6:16 PM CST

Name: "Harry Georgatos "

I've always wondered why Spielberg hasn't collaborated on film projects with the Godfather of his kid in DePalma? Spielberg did lend a helping hand by suggesting to Tom Cruise in DePalma helming MISSION:IMPOSSIBLE. Still my one last hope before DePalma vanishes is seeing Brian making THE DEMOLISHED MAN as his swan song. One can only dream.

Saturday, December 11, 2021 - 11:20 AM CST

Name: "Luu"

It seems there can be seen an homage to the prom of Carrie  and the way Zegler reacts in one shot evoke Carrie and her desire of independance 




Saturday, December 11, 2021 - 1:48 PM CST

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

I did get the sense that when the gang locks the women out of the shop, the slam of the door echoes the moment when Miss Collins throws Sue out and pulls the door shut, locking Sue out. Not sure about the reaction shot you mention, but I'll have to think about it, maybe.

Saturday, December 11, 2021 - 5:14 PM CST

Name: "Tex"

The $100 million West Side Story is a box office bomb appeasing Leftist activist Woke Nazis that mainstream America can't stand. No one wanted a remake of a best picture Oscar winner that everyone loves. People want in today's marketplace representing their stories in today's world. This WSS remake has nothing to say when it comes today's issue. This is simply a vanity project for a director of geriatric films. As for me I'm super excited for the new Matrix movies.

Saturday, December 11, 2021 - 6:34 PM CST

Name: "Raven Mockery"

In the 80s, there was news about a film to come, directed by De Palma and produced by Spielberg: "Congo". I imagine this is the project based on the novel by Michael Crichton later directed by Frank Marshall. The problem is, Brian De Palma has rarely met an audience in terms of success. I think neither Scorsese nor Spielberg want to "lose money" on a project that De Palma leads on his own and without concessions. After all, as we can see in the video podcast posted above, where guys talk about "Body Double", we're still at the Hitchcockian references and fixations on the unfolding of the story. That's exactly like this nonsense about Melanie Griffith body. Who cares?! This is precisely the film's subject! It seems difficult for many viewers to consider what's great about this director: his sense of space, rhythm, choreography, framing and editing. And maybe more, his use of sound. Spielberg may well make very enthusiastic words about "Casualties of War" upon its release or tell his friend that the first shot of "Bonfire" is more impressive than "Touch of Evil" opening scene, he didn't produce De Palma. Today De Palma is lost in Europe and seeing a film like "Domino" saddened me a lot.

Monday, December 13, 2021 - 3:35 PM CST

Name: "Chris"

Mixing friendship (especially friendships stretching back decades) and work very often doesn't turn out well in the end on the friendship side of things. Lucas and Coppola haven't partnered together since the American Graffiti days and Spielberg and Scorsese have never formally worked on a project together. They also all have pretty divergent taste in terms of the kind of stories they want to tell.

That's probably why none of these men have recently worked together. I don't think De Palma's commercial track record has anything to do with it.

Tuesday, December 14, 2021 - 7:23 AM CST

Name: "Raven Mockery"

It's true. But Spielberg was able to work with Zemeckis, for example, and also with George Lucas. Today there is probably the fact that Brian De Palma has also been persona non grata with the cinema business in the USA since "Redacted". One more reason to help him get out of this dead end. And there, friendship takes all its value. Differences of opinion about stories, subjects, development are always present between producers, authors and directors. It is a permanent war and the career of De Palma, his difficulties, tensions, with the executive and the other craftsmen on his films illustrate it well. Afterwards, we can't blame Scorsese for preferring to produce something like "Joker" which satisfies his ego by hijacking an original character to indulge himself in complete echo of "Taxi Driver" and "King of Comedy". Here too, it is a question of influences! 

Wednesday, December 15, 2021 - 1:48 AM CST

Name: "Tex"

Totally agree. Redacted killed DePalma's career and most likely won't work there again. 

Friday, December 17, 2021 - 6:37 PM CST

Name: "Harry Georgatos "

Seen WSS and it's Spielberg's best film since JAWS. Ashamed people aren't watching it in cinemas. No one apart from DePalma and Spielberg know where to successfully place and move the camera. This is old school filmmaking on the highest level. 

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