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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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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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Friday, May 3, 2024

As Netflix celebrates the 40th anniversary of Brian De Palma's Body Double, Gregg Henry talks to IndieWire's Samantha Bergeson about the film and working with De Palma:
“It wasn’t a box office smash and it wasn’t promoted heavily or endorsed by critics at the time,” Henry said. “It was not enthusiastically endorsed by the studio. They kept the opening on the down low, you know what I mean? Now, that might be just my opinion. Go talk to the marketing budget people who might tell you something different. But I don’t think so. I think it was pretty understated in terms of the publicity because it was dealing with porn stars and looking at Hollywood in a sort of satirical way. It had all kinds of dark sort of things and Brian could be prickly when dealing with those studio types as well.”

That “prickliness” from De Palma was rooted in the mainstream pressure within Hollywood to conform to a particular genre. De Palma, rather, built his auteurism upon commenting on the state of the film industry as a whole rather than succumbing to it.

“I think part of it is what we were just talking about a little bit ago is that there’s, you know, well, ‘How am I supposed to classify this? What pigeonhole can we put this in?'” Henry said. “‘Well, it’s funny but it’s kind of scary.’ ‘Well, it’s just a thriller.’ ‘Well, he said it is like ‘Rear Window.” Just on and on, the way people talk about Brian’s movies.”

According to Henry, “Body Double” has the ideal blend of the “definitive De Palma signature,” AKA it confused critics and studio marketing executives alike because it’s supposed to.

“I think that he had it before that but I think at that point in time, it’s like it becomes this sort of stamp along with the score,” Henry said of “Body Double” being distinctly De Palma-esque. “You can see like, you know, five seconds from across a large room and go, ‘Oh, that’s all pretty unusual.’ I mean, it’s unusual for, like, a singer’s voice or a painter’s paintings or anything.”

The tone of “Body Double” just might be what audience members are trying to unravel. While the film is no doubt a thriller, that’s not where the core tension comes from onscreen. Rather, it’s the toying with parody, power, and pleasure that De Palma deftly explores both with his camera work and script.

“I just think a lot of it is tongue in cheek,” Henry said. “A lot of scenes are humorous and poke fun at the movie business, certainly. It fires off in a lot of directions.”

Like that old Hollywood saying, films that criticize Hollywood don’t ever really find their appreciation in Hollywood. Don’t bite the hand, et cetera, et cetera. Henry finds “Body Double” “still funny” 40 years later, but also is aware that modern audiences may find some of the sequences a little more complex in today’s political climate.

“You watch it with your hand over your eyes,” Henry joked. “It was more fun than anything. It’ll be very interesting actually [to watch the discourse surrounding the re-release]. It was considered racy and dangerous for Brian to be taking this stuff on and doing it in the film. And now it’s racy and dangerous for a whole different reason. But maybe it’s the same reason, I don’t know.”

Henry continued, “I think some of the sense of humor might not play but some of the things that are funny to me, that are funny to Brian…I mean, he has that romantic spinning and 360 shot of the embrace which is really difficult to do and he does them really beautifully, with the score swelling. Those things make me laugh, you know. But then I don’t know if they make anybody else laugh. The same with the drilling scene. I just remember we’re talking about which bit we’re going to use and I’m saying to myself, ‘I know Brian’s going to go for that, which is huge,’ and that was the one he wanted. Then we’re shooting it in the blocking of it all. I had forgotten this, but it started with this crazy shot with using the drill horizontally, sort of going like as a sword going into her and everything. Then ultimately she’s on the ground and I said, ‘Well, I know what you want’ and I turned around with the drill and I sat down and started to swing it between my legs [like a penis]. And he said, ‘Yeah, that’ll be great.'”

From improvised phallic weaponry to cinematography Easter egg jokes, it makes sense why “Body Double” proved it could transcend its (or any) genre. “It’s sufficiently scary but it’s also very funny,” Henry said.

In fact, the only other director who can balance that tonal discrepancy between comedy and horror is James Gunn, according to Henry.

“I did James’ first movie, ‘Slither,’ with him, which has a similar sort of sensibility in terms of humor,” Henry said. “James and Brian are really my favorite people as directors.”

Like with De Palma, Henry continued to work with Gunn and appeared in the “Guardians of the Galaxy” trilogy.

As for “Body Double,” Henry couldn’t help but lament on the greatness of De Palma.

“I’m extremely proud to have done a lot of movies with Brian and I’m proud of being in this movie, even though it deals with some dicey and juicy areas,” Henry said. “I think he’s a masterful filmmaker and I think he is a stylist like very few directors are. It’s been an honor to be able to work with him.”

Posted by Geoff at 12:01 AM CDT
Post Comment | View Comments (9) | Permalink | Share This Post

Saturday, May 4, 2024 - 1:01 AM CDT

Name: "Anonymous "

Greg Henry is talking in the past tense, as if DePalma may not direct another picture again.

Saturday, May 4, 2024 - 3:18 PM CDT

Name: "Mustafa"

I doubt that he will direct again, and considering Domino, probably for the best he will not

Saturday, May 4, 2024 - 11:48 PM CDT

Name: "Mr X"

Sources in CIA have informed me Brian DePalma's Domino was targeted by the Agency as payback for Redacted and Casualties of War. The Agency went after the money people and slashed the budget to the film so the director's film would seem amateurish. An anonymous source informed me that the Agency has a list of undesirable filmmakers with Brian DePalma and Oliver Stone on that list. The film was doomed to failure and a reputation destroyer.

Monday, May 6, 2024 - 3:48 AM CDT

Name: "Mustafa"

I believe that, and not surprised at all!

De Palma is no less that his peers, and to me, he is far superior in the pure art of Cinema

Scorsese’s films and cleaned up, made to appeal to the masses, and media

His latest "films" are virtually unwatchable, The Irishman is a bad film in every sense, yet, it has been hailed as a modern classic. Why, because it is safe and polished


Being from Iraq, I was introduced to De Palma in 1992, where I knew what a Director can do to make a film different, after I watched The Untouchables. Just to admire him as a person as well as a filmmaker, after I saw Redacted. 

He was the only filmmaker had the courage to go where no other had gone, by exposing the crimes committed in my home country

In 2015, I had a chance to attend a film festival, where there was Q&A with Atom Egoyan, I asked him one question:

Why filmmakers today are afraid to make political films that dare to tell the truth, like what De Palma did in Redacted

Egoyan kept running around the bush, pun intended, and gave an unsatisfactory answer that Redacted lacked the dramatic narrative that could make it "a good film" Huh!

Of course, they took the mic from me!


We have a circle of cinephiles around the world, who chat on regular basis, and I converted many of them to the Maestro!

I watched thousands of films, and keep doing so, but none had the aesthetic cinematic beauty that De Palma’s films have.

I travelled to L.A. recently, and I specifically went to the Rodeo Drive, where me and my friend fooled around, and recreated the Voyeuristic scene from Body Double


I wasted an opportunity of a lifetime for me to meet him, in TIFF 2016, where I went to most of the films shown, where he is the juror, and I saw him in the screening of Lady Macbeth. I wanted to express my deepest gratitude and appreciation for him as a  filmmaker and a human being. But I froze and did not go, they say never meet your idols, how fool I was

My dream as young man, was to be a filmmaker, and to capture his style, and maybe have the honour to watch him work. Alas, Cinema in Iraq in the 90s was dead, I became a physician instead. Now I am 45, I Currently I practice medicine in Canada, but my passion for Cinema, and the Mastro kept , and will always keep me, going

My everlasting gratitude for this life that De Palma’s Cinema exist, and I was one of the lucky few to “get it”


I hope that Mr. De Palma read this letetr of Love and gratitude


P.S Coincidentally, my marriage was on the Maestro’s Birthday, 9/11 !

Friday, May 10, 2024 - 7:55 PM CDT

Name: "Christian G"

Great letter, Mustfa. Wonderful sentiments.

I feel the same you do, for the life of me I cannot find anyone else doing what De Palma has been doing. 


Best regards, Christian Grevstad 

Saturday, May 11, 2024 - 5:40 PM CDT

Name: "Mustafa"

Thanks Christian for reading, and liking it

One more cosmic connection with the Master, in Domino, a cafe's name, although owned by a villain, is Mustafa Cafe!

Sometimes I like to think it is more than a coincidence!

All the best 

Sunday, May 12, 2024 - 7:43 AM CDT

Name: "Christian G"


Haha, Mustafa. That's awesome.

I know you have your reservations with Domino, but at least it has some great purely visual sequences. 

I do feel that Spielberg is maybe the closest to what De Palma does today, as well as maybe Bong Joon-ho and Park Chan-wook on a good day. Jordan Peele, perhaps. Kim Lee-won is on my radar but I have to watch more. Sorentino and Larrain generally work in different genres but are interesting. 

Did I miss anyone? 

Sunday, May 12, 2024 - 11:29 PM CDT

Name: "Mustafa"

I have always said:

Hitchcock is the First Master

De Palma is the Second Master

Park Chan-wook  is the Third Master


To me, Park is a direct continuation of that visual cinema, that is unique to Hitch and De Palma, the only one who can capture its soul

I was never a fan of Spielberg, i found his cinema is simplistic and purely crowd pleasing, he tries to be different, but he tries too much sometimes. He is an institution in commercial cinema 

I love  Bong Joon-ho's work, he has a visual style and can involve you dramatically

I like Larrain, he is different, does a style of surreal hyperrealism, his movies are interesting, but they do not warrant second viewings for me

Peele is a hit and miss, for me, he has the desire and ambition, he lacks the talent. So is Baumbach, another hit and miss, although is within De Palma's circle, but he is not interested in doing the same line of films 

Sorentino, I never got into, I found his movies are pretentious and boring, more for critics and "look at me, I am intellectual"

Del Toro is as close to De Palma's disciple as one can be, he worships Phantom, so is Edgar Wright, who considers Blow Out his favorite movie, and you can see that on Last Night in Soho

Villeneuve is good from his generation, so is Fincher

One I hate though, not because he is bad, but the amount of worship he gets, with no merit, Nolan! 





Wednesday, May 15, 2024 - 7:15 PM CDT

Name: "Christian G"





I find Spielberg has the most consistency of cinematic space, after De Palma. This video explains it well, I think: https://youtu.be/ItbCLh4Auoo?si=_fDGTpDilPbUSg_W

I'd like to watch that Soderbergh cut of Raiders some time. 

I have to watch more of Del Toro and Wright, I guess. Thanks for the tip. 

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