Hello and welcome to the unofficial Brian De Palma website.
Here is the latest news:

De Palma a la Mod


De Palma Discussion


Recent Headlines
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


« February 2023 »
1 2 3 4
5 6 7 8 9 10 11
12 13 14 15 16 17 18
19 20 21 22 23 24 25
26 27 28


De Palma interviewed
in Paris 2002

De Palma discusses
The Black Dahlia 2006


De Palma Community

The Virtuoso
of the 7th Art

The De Palma Touch

The Swan Archives

Carrie...A Fan's Site


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


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

FilmLand Empire

Astigmia Cinema


Cultural Weekly

A Lonely Place

The Film Doctor


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


No Time For
Love, Dr. Jones!

The former
De Palma a la Mod

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
Ambrose Chapel
Are Snakes Necessary?
Bart De Palma
Beaune Thriller Fest
Becoming Visionary
Betty Buckley
Bill Pankow
Black Dahlia
Blow Out
Blue Afternoon
Body Double
Bonfire Of The Vanities
Boston Stranglers
Bruce Springsteen
Capone Rising
Carlito's Way
Casualties Of War
Catch And Kill
Cinema Studies
Clarksville 1861
Columbia University
Columbo - Shooting Script
Conversation, The
Daft Punk
Dancing In The Dark
David Koepp
De Niro
De Palma & Donaggio
De Palma (doc)
De Palma Blog-A-Thon
De Palma Discussion
Demolished Man
Dick Vorisek
Dionysus In '69
Dressed To Kill
Edward R. Pressman
Eric Schwab
Fatal Attraction
Femme Fatale
Film Series
Frankie Goes To Hollywood
Fury, The
Genius of Love
George Litto
Get To Know Your Rabbit
Ghost & The Darkness
Happy Valley
Havana Film Fest
Hi, Mom!
Home Movies
Inspired by De Palma
Iraq, etc.
Jared Martin
Jerry Greenberg
Keith Gordon
Key Man, The
Laurent Bouzereau
Lights Out
Magic Hour
Magnificent Seven
Mission To Mars
Mission: Impossible
Montreal World Film Fest
Mr. Hughes
Murder a la Mod
Nancy Allen
Nazi Gold
Newton 1861
Noah Baumbach
Oliver Stone
Paranormal Activity 2
Parties & Premieres
Paul Hirsch
Paul Schrader
Pauline Kael
Peet Gelderblom
Phantom Of The Paradise
Pino Donaggio
Prince Of The City
Print The Legend
Raggedy Ann
Raising Cain
Red Shoes, The
Responsive Eye
Rie Rasmussen
Robert De Niro
Rotwang muß weg!
Sean Penn
Snake Eyes
Sound Mixer
Star Wars
Stepford Wives
Stephen H Burum
Sweet Vengeance
Taxi Driver
The Tale
To Bridge This Gap
Toronto Film Fest
Treasure Sierra Madre
Tru Blu
Truth And Other Lies
TV Appearances
Untitled Ashton Kutcher
Untitled Hollywood Horror
Untitled Industry-Abuse M
Venice Beach
Vilmos Zsigmond
Wedding Party
William Finley
Wise Guys
Woton's Wake
Blog Tools
Edit your Blog
Build a Blog
RSS Feed
View Profile
You are not logged in. Log in
Thursday, February 16, 2023

At Filmmaker Magazine today, Kyle Turner interviews director Davy Chou about his new film, Return to Seoul:
Filmmaker: It’s interesting that Freddie seems to be getting away from the camera, yet is being tracked by it. I was wondering how you want to establish her relationship to the camera in the film.

Chou: It’s totally something that we built into the film, the dance between the camera and the actress. That reflects the dynamic of the character, her constant refusal to be labeled. I decided not to use [over the] shoulder camera. I thought it would be a bit too tautological for filming an agitated character. On the contrary, [we filmed] still shots on her face, but also larger shots with a lot of people. The best example is when she is first meeting her biological family at dinner; there are seven people around the table and it’s like she’s surrounded by people, but it’s only still shots. Then suddenly you can feel [the agitation] because, 20 minutes before, you got to know the fire inside of her and now you can read in her eyes. Even though she doesn’t move, she looks clearly petrified, but something is boiling in her. And I found the tension between [the] stillness of the shots and [the] politeness of the setting reflects a relationship in a traditional Korean family and the boiling fire inside her.

When she feels pressured by people, she starts to become her own filmmaker: transforming other people in the room into extra actors and secondary roles, deciding places and remapping, like at the bar in the beginning. It’s interesting, because it’s someone in the new territory. She’s remapping the restaurant, deciding which people are going to sit and everything like that. She’s not in control in a place that she doesn’t know anything about, so here’s an attempt at taking control. Interestingly, the way of taking control is to create chaos. I was very inspired by Nadav Lapid’s Synonyms and Brian De Palma’s Carlito’s Way for that chaos.

Another scene that’s interesting is the scene where Freddie dances and I’m on the track. I can do this camera movement, the camera can pan a bit and I myself can do the zoom. But then at the same time, I don’t control what she’s actually doing, she’s doing whatever she wants. It becomes this struggle between the two of us.

Filmmaker: Your film has a really interesting relationship to music, in addition to choreography. You have the beginning club scene where it’s on that track and you’re watching Freddie dance. Then you have the other underground clubs and singing at her birthday, which is even more pumped up and fantastical in a way, and even more chaotic. Then you have the last moment where she’s at the piano and she’s completely alone.

Chou: There is an evolution where I play with the cultural identity of the music, as well. At the beginning, you will hear a lot of old vintage Korean songs that symbolize a past Freddie can feel from the texture of the song. You can feel it comes from the ’70s, but because she doesn’t speak the language, it already embodies a contradiction of knowing it’s from the past, but also having no idea what it is. It’s your past that you don’t know. I felt that the first time I went to Cambodia and listened to old Cambodian music.

In the second part, much more of the music is as if she had emancipated herself from her past and decided in some kind of extreme, positive gesture to say, “Hey, you reject me from Korea. I assure you I can be Korean, but I’m not having any link with my family whatsoever. I killed your heritage and now I’m a Korean girl with a Korean boyfriend, a drug fiend and everything.” So the music is very contemporary German techno music, also contemporary Korean electronic music that was composed for the film and shows her state of mind.

The third part is more silence, as if she needed less music. Because music for many is some kind of refuge, for her it is some kind of place that she can jump into and find comfort in when she feels too much pressure. And that’s basically the dancing scene in the first act, when the music is suddenly put on and she dances and there are no other characters in that shot. She dances as if she was inventing her own space, time and temporality. In the last part, there is less music, as if maybe she was ready to listen.

Filmmaker: As opposed to escaping.

Chou: The music becomes not only a refuge, but also a place to express feelings and sentiments when language doesn’t allow you to do it. At the very end, as you say, I think that it is something different. She is ready to be active. This journey may be full of loneliness—being totally alone with herself—so that she can start to feel it’s time to play her own melody.

Posted by Geoff at 10:01 PM CST
Post Comment | Permalink | Share This Post

View Latest Entries