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Recent Headlines
a la Mod:

Domino is
a "disarmingly
straight-forward"
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

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Exclusive Passion
Interviews:

Brian De Palma
Karoline Herfurth
Leila Rozario

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AV Club Review
of Dumas book

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Interviews...

De Palma interviewed
in Paris 2002

De Palma discusses
The Black Dahlia 2006


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The Virtuoso
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No Harm In Charm

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a la Mod

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The Filmmaker Who
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(Blow Out)

Carrie: The Movie

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italkyoubored

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De Palma a la Mod
site

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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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Tuesday, September 10, 2024
'I LOVE BRIAN DE PALMA' -TIM BURTON TALKS ABOUT THAT ENDING
AS WAXWORK RECORDS ANNOUNCES VINYL & CD EDITIONS OF BEETLEJUICE BEETLEJUICE SOUNDTRACK
https://www.angelfire.com/de/palma/beetlejuicebeetlejuicewaxcrop.jpg

Earlier today, Waxwork Records announced forthcoming vinyl and CD editions of the soundtrack from Tim Burton's Beetlejuice Beetlejuice. As noted last week, the soundtrack includes Pino Donaggio's theme from Brian De Palma's Carrie, as Burton closes his new film with an inspired homage to the De Palma classic. Collider's Perri Nemiroff and Tamera Jones posted a transcript last week from a roundtable interview with Tim Burton, during which someone asked the director about the ending:
Can we talk a little more about that ending? Because I think I have an idea of what's going on…

BURTON: Then tell me because I have no idea.

Astrid looks like she's seeing her boyfriend again, and then it's like, “Oh, what could happen if they got Beetlejuice…?”

BURTON: No, for me, there were other endings written and stuff, but I just had this idea, because I love Brian de Palma, and it’s kind of a Brian de Palma ending where it's real, but it's not real. Because the emotion was beautiful, like Lydia talking about life and connecting with real people. So, I just felt like it was in the spirit of the movie to kind of mix it up a little bit.

If there is a third movie, would it have to be called Beetlejuice Beetlejuice Beetlejuice ?

BURTON: I know! [Laughs]

Speaking of Lydia's boyfriend, at its core, this movie is very much about trauma and toxic relationships. How do you approach heavy topics like that with a sense of humor and levity?

BURTON: Well, that was a beautiful thing. Michael and I talked about this — there's a lot of commentary, but not too serious. I don't preach about everything, but there were a lot of personal elements for me about that. Again, as we talked about earlier, only time can show you in your own experience of life. I couldn't have made this back in 1989 because I didn't know. Now I feel things after 30 years of coming through a bunch of good and bad ups and downs that you can only know when… It's like when I made Big Fish. I couldn’t have made that film before my father died. I can only make that having those feelings that surprised me. It's the same with this.

It was mentioned that we can't stop humming the theme. It is one of the all-time great movie themes. Do you remember the first time you heard that?

BURTON: Oh, yeah, it was incredible because it was new. It was back in the day when you still would record to a big screen. You’d screen the film and the orchestra would be down there playing. You’d see a full orchestra playing. Those early days were quite exciting that way, you know, a full orchestra playing to the film up on the screen. Very exciting. So to hear that, to see that, that’s a time that I kind of miss, that very special, “Roll the film, play the music.”


Posted by Geoff at 12:01 AM CDT
Updated: Wednesday, September 11, 2024 12:11 AM CDT
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