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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

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

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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

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So Why This Movie?

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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.
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Ambrose Chapel
Are Snakes Necessary?
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Fury, The
George Litto
Get To Know Your Rabbit
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Hi, Mom!
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Inspired by De Palma
Iraq, etc.
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Laurent Bouzereau
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Print The Legend
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Rotwang muß weg!
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Friday, August 1, 2008
NASA announced yesterday that lab tests aboard its Phoenix Mars Lander have concluded that a soil sample taken from the surface of Mars does indeed contain water. The "surprising" results so far have led NASA to extend the spacecraft's mission through September 30th. Meanwhile, Pop Culture Examiner Dominic Patten has sarcastically suggested that Hollywood will soon jump on this new clue to life on Mars. "Of course," Patten writes, "you could just get the jump on everyone and rent Brian De Palma's 2000 flick Mission to Mars tonight." Doesn't sound like a bad idea...

Posted by Geoff at 11:19 AM CDT
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Monday, July 28, 2008

Posted by Geoff at 5:39 PM CDT
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Friday, July 25, 2008

The August issue of the U.K. magazine The Word includes an interview with Brian De Palma by New York-based arts writer Tom Teodorczuk. The interview, published to coincide with the DVD release of De Palma's Redacted in the U.K., was conducted prior to the announcement last month that De Palma had signed on to direct The Boston Stranglers. The headline reads: "His Iraq movie was 'blatantly dumped', spits Brian De Palma. So now he's making another one."

In the interview, De Palma discusses his reasons for making Redacted:

With the Iraq war, we have destroyed a country. What the hell are we doing there? We've got over two million refugees wandering around in Syria and Oman and it's like, "Oops! Sorry!" The catastrophe we've caused in the world in the last eight years - talk about a loose cannon. The rest of the world must be going, "What are they going to do next?" I think we've overextended. Look at the British empire 100 years ago and how that ended up. There's something wrong with this picture. Should we be making money from oil, defense contractors and creating a tabloid version of the war?

De Palma also discussed with Teodorczuk the public reaction to Redacted:

People react to the steam. You're always amazed when people don't look at what is on the screen, but I've noticed that a lot of times in my career. Instead they react to some political view or some notion of political correctness. This is another example of that. With Scarface, 20 per cent of the audience walked out when it was released. Some of the most commercial artists make a tremendous amount of money, everybody loves them and then when they die everybody forgets about them. Some of the most uncommercial artists, everybody's ranting and raving about them during their lifetime and yet often they make the movies that stick. You've got to take shots in your career.

Discussing the public indifference to films about the Iraq war, De Palma said that people "just don't want to know about Iraq or feel conflicted about what we're doing there." Saying he's "never had a movie that was so blatantly dumped" in all his life, De Palma concluded that "They can't all be hits. Most of them aren't, and if you're making hits all the time, something may be very wrong with what you're doing."

When Teodorczuk asked him what his next film will be, De Palma stated that he was working on another script about Iraq (which we know is currently titled Print The Legend-- Teodorczuk writes that this interview took place "on a bitterly cold morning in downtown Manhattan," which indicates that it was probably in the winter while De Palma was still in the process of formulating ideas for this new film). De Palma described the project:

It has more to do with the embedded reporter stories and how the information is spun and influenced in a way that's completely the opposite of what is actually going on. In terms of how it has been reported, the war is completely spun homogenised propaganda and I feel that the press is just an arm of the administration and the big corporations that are profiting from this war. It will also feature some women soldiers. It's about what they do to people who tell the truth about the war and how they get discredited and destroyed. Like with the Valerie Plame affair. Joe Wilson said he went over there and they weren't buying yellowcake and yet that kept appearing in Bush's speeches the whole time. Then he goes to the New York Times and they destroy him.

De Palma also mentioned to Teodorczuk that he would like to film William Boyd's The Blue Afternoon. "It would make a fantastic movie," De Palma said. "It's a book I've loved for years."

In his ever iconoclastic manner, De Palma discussed his anti-establishment view of politics when Teodorczuk asked him his take on the upcoming U.S. Presidential election:

Bush has got us into a tremendous amount of trouble but it doesn't really matter who the next President is. I'm not part of the liberal establishment that has a political agenda. I don't think the liberal establishment wants to take responsibility for this war. They blame it on Bush but they were complicit in prosecuting it. Do I have strong political views? You bet. I think the best way to express them is in your work and then get the hell off the stage. Then again, you don't make movies like Mission: Impossible because you have strong political statements to say about the CIA.

When asked by Teodorczuk if he'll ever make another blockbuster, De Palma discussed his ambivalence at working on genre pictures:

I don't know. I'm really at an age where I don't think I have to prove anything to anybody anymore, least of all myself. It's like, "Do you really want to go through all that?" Worse than being dead is being hot. But if you want to continue making movies, you have to make genre pictures every once in a while that make people a lot of money. Since I can get very interested in the visualization of action, I can work in those genres like with The Untouchables or Mission: Impossible. I do it every once in a while. Everybody says, "Oh, you're back", but it's not where my heart lies.

Posted by Geoff at 2:36 AM CDT
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Tuesday, July 22, 2008
Artie Traum
, who as a member of the trio Children Of Paradise wrote and recorded songs and music for Brian De Palma's Greetings in 1968, died Sunday at his home in Bearsville, New York, following a battle with cancer. He was 65. World Music Central's T. J. Nelson has posted an obituary, which makes mention of the fact that Traum was also "an enthusiastic documentary filmmaker." Another obit by Jeremiah Horrigan at the Times Herald-Record describes Traum as a vital musician "at the down-home, finger-pickin' center of Woodstock's musical family." The music in Greetings is terrific, and really marks the film as a sixties artifact with its Byrds/Monkees-like theme song, and instrumental passages that highlight a freewheeling, anything goes attitude. I especially love the crazy paranoid plucking that percolates the scene where Lloyd meets the conspiracy nut in the bookstore. Great stuff.

Posted by Geoff at 11:12 PM CDT
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Sunday, July 20, 2008

Michael Guillen
has riffed off a nice summary of the links between The Man Who Laughs, The Dark Knight, and The Black Dahlia in a two-part piece stemming from a recent screening of The Man Who Laughs at the San Francisco Silent Film Festival. In part one, Guillen describes in well-researched summary how Conrad Veidt's Gwynplaine inspired the creation of the Joker. Then, in part two, Guillen explores the themes that link The Man Who Laughs with The Black Dahlia and The Dark Knight. Discussing the "problematic erotic triangulation" between Lee, Bucky, and Kay in The Black Dahlia, Guillen writes:

That triangulation is articulated through a scene in De Palma's film where Lee, Bucky and Kay—in what Village Voice critic J. Hoberman terms "an unlikely date"—catch a screening of Leni's The Man Who Laughs. In a September 2006 interview with Daily Breeze reporter Jim Farber, Brian De Palma stated, "If this film works, it's because I stayed scrupulously on the Ellroy road. I didn't try to change things. What I did do was try to find visual equivalents for some of the things he's doing in the book, like introducing a scene from the German Expressionist silent film The Man Who Laughs, rather than having somebody have to explain what that key image is all about. I tried to keep very much to Ellroy's story structure and the way he explains things, which sometimes explains nothing." Expressionistic dualism, anyone? De Palma's strategy in this scene is to observe how The Man Who Laughs reveals the varied interiority of his three main characters. As Armond White delineates for Cineaste, "Bucky is transfixed, Lee is bemused and Kay is frightened—reflecting their individual response to life's horrors." (Cineaste, 12/22/06). Hoberman qualifies Kay's "agonized response to [Gwynplaine]'s scarred face" by reminding that the audience soon discovers she herself has been branded.

By the way, we can add Keith Uhlich to the list of Dark Knight critics getting tons of hate mail for disliking the film. Uhlich does, however, make a De Palma reference in his review of the film at The House Next Door. Uhlich makes a quick comparison between the nightmare at the end of De Palma's Dressed To Kill, where Bobbi kills a nurse and then dons her uniform to escape a mental institution, and the Dark Knight sight of Heath Ledger's Joker moving through a hospital wearing a nurse's uniform.

Sure, we've seen plenty of critics compare The Dark Knight to De Palma's The Untouchables, but somehow we missed Dave Poland's early review of Nolan's film, where he stated that Nolan here is reaching for "a Godfather-esque effort" that nevertheless shoots itself in the foot by being too long, and yet not long enough. Poland writes:

This is not a Batman movie… this is a 2008 version of The Untouchables with The Batman as Elliot Ness, The Joker as Al Capone, much better toys, and, it seems, a topper. Great. But the topper is a bit unwieldy, in that it makes the film too long to sustain by pushing beyond the main story – De Palma and Mamet’s The Untouchables was 119 minutes – and too short to do the second push of Nolan’s thematic idea real justice at 152 minutes. Unlike many long films, the problem with The Dark Knight is that it is too short.

Posted by Geoff at 11:36 AM CDT
Updated: Sunday, July 20, 2008 6:14 PM CDT
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Friday, July 18, 2008

Posted by Geoff at 5:11 PM CDT
Updated: Saturday, July 19, 2008 2:03 PM CDT
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Thursday, July 17, 2008
Some early raves have cited The Dark Knight as the film that lifts director Christopher Nolan into the big leagues of the crime film genre. Writing at Horror.com, Staci Layne Wilson began her review with what she confesses is extra "sizzle" designed to draw readers in:

Martin Scorsese's The Departed. Michael Mann's Heat. Brian De Palma's The Untouchables. And now, Christopher Nolan's The Dark Knight can join the list of one of the most absorbing and intense crime dramas in modern movie milestones.

Scott Mantz at Access Hollywood wrote that "The existential, psychological, intelligent approach of The Dark Knight makes it less of a superhero movie and more of an epic crime drama that puts Nolan in the same league as Brian De Palma, Martin Scorsese and Michael Mann." Sounds like if crime movies are your thing, these are the directors to look out for.

But while some critics this week have been less enthusiastic (with most of the latter citing a lack of spatial clarity and quick-cut editing as part of the film's problems), Armond White has set himself apart as the man who refuses to laugh in the face of this somber Batman. White's review of The Dark Knight in this week's New York Press, which is generating hate posts at Rotten Tomatoes (and inevitably soon-to-be-published hate mail at the New York Press itself), sees the film as a cold commercial enterprise that corrupts "ideas of escapist entertainment." White compares and contrasts Nolan's film with Tim Burton's Batman and Batman Returns, but he also finds muse to link and compare it to De Palma's The Black Dahlia. White suggests that Burton's romantic affiliation with the lonely characters in the Batman mythos "was richer" than what he calls Nolan's one-note tone of gloom. White writes:

For Nolan, making Batman somber is the same as making it serious... As in Memento, Nolan shows rudimentary craft; his zeitgeist filmmaking—morose, obsessive, fussily executed yet emotionally unsatisfying—will only impress anyone who hasn’t seen De Palma’s genuinely, politically serious crime-fighter movie, The Black Dahlia. Aaron Eckhart’s cop role in The Black Dahlia humanized the complexity of crime and morality. But as Harvey Dent, sorrow transforms him into the vengeful Two-Face, another Armageddon freak in Nolan’s sideshow.

White also references De Palma's film in his description of Heath Ledger's Joker ("sweaty clown’s make-up to cover his Black Dahlia–style facial scar"). As might be expected, some of the posts at Rotten Tomatoes are using the fact that White prefers The Black Dahlia to The Dark Knight as proof that the critic just doesn't get modern art.

Posted by Geoff at 7:56 PM CDT
Updated: Thursday, July 17, 2008 8:01 PM CDT
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Tuesday, July 15, 2008
We had figured that since winter had passed, the Untouchables prequel, Capone Rising, would have to wait until at least late this year to begin shooting. However, Gerard Butler tells the U.K.'s Total Film that the project is stalled for now, although he keeps up hope that it will happen sometime in the future. You can read the entire interview at Gerard Butler dot Net. Here is Butler's reply when asked if he is working on the Untouchables "sequel" with Brian De Palma:

Sadly, that is very much on the back burner. It’s actually an incredible script but like many projects you get involved with and then aren’t, I think there was issues with who had the rights to the script and casting and Capone - who was going to do that. So it’s taken its place in one of the dusty cupboards at the moment. But I can totally see that coming back, the script is such a classic, I mean it’s great, but no, it’s not happening tomorrow.

Posted by Geoff at 11:35 PM CDT
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Friday, June 13, 2008
I've just discovered a French mediacast from this past February in which Brian De Palma is asked a series of fictional questions from various pop-mythological figures such as Oliver Stone ("What is your definition of a political film?"), Alfred Hitchcock ("Why are you so fascinated with my movies?"), and Scarlett Johansson ("When you come to Paris, what’s your guilty pleasure?"), among others. The most intriguing fictional question comes from Bill Gates: "I’m offering you an unlimited budget and total control. What film will you direct with that?" De Palma, pausing to think for a moment, replies, "Well, thank you, Bill. I appreciate the offer. I’ve always wanted to make a movie of a very famous science fiction book called The Demolished Man. It’s been a dream project of mine since I was in high school. And it will need an unlimited budget in order to do it."

De Palma tried to get his screen adaptation of Alfred Bester‘s The Demolished Man made in 1978, with Frank Yablans as producer, following the pair’s collaboration on The Fury that same year. However, the project proved difficult to get off the ground after the disappointing box office of The Fury.

Throughout the years, various filmmakers have attempted to get a film of The Demolished Man off the ground, but none have yet succeeded. In 1981, Oliver Stone wrote a screenplay based on Bester’s novel that Ted Kotcheff was supposed to direct. More recently, in 2005, Tom Jacobson, who had produced De Palma’s Mission To Mars, tried to produce a version of Bester’s book adapted by Milo Addica, and to be directed by Andrew Dominik. However, that project seems to have fallen through. De Palma has mentioned The Demolished Man every now and then through the years as a project he is still keeping an eye on. 

In the French mediacast, De Palma is "asked" by "Gilles Jacob" to name the best three movies he's ever seen. De Palma expresses difficulty trying to come up with only three, but names, in this order, The Red Shoes, Lawrence Of Arabia, and Vertigo.

Variety today publishes a series of articles in tribute to De Palma’s ex-wife and current collaborator Gale Anne Hurd, pictured here in her office. Via her company, Valhalla Motion Pictures, Hurd is producing De Palma’s upcoming adaptation of Susan Kelly‘s The Boston Stranglers. Hurd tells Variety that the story “touches on the desire for celebrity, using fear as a way to control people and manipulate the media and the police department, and to bring political pressure.”

The man who, according to Kelly’s book, took credit for the Boston Strangler murders and created a media circus in his quest for celebrity status was Albert DeSalvo. According to Boston Magazine’s David Mashburn, three of the big names being mentioned as the potential lead in De Palma’s film are Mark Wahlberg (who was originally cast to play Lee Blanchard in De Palma’s The Black Dahlia, but fell out when that production hit a snag and he moved on to other projects), Benicio Del Toro, and Tom Cruise. Tom Cruise? That would be extremely interesting. In the French mediacast mentioned above, “Tom Cruise” asks De Palma, “Would you work with me again, or is that mission impossible?” De Palma replies, “Well, Tom, it was very exciting to work with you, and we made a terrific movie together, but when you asked me to make the next Mission: Impossible, I said, ‘Isn’t one Mission: Impossible enough?’” These casting tremors are just rumors for now, but Mashburn also supplies one other interesting tidbit: Alan Rosen’s screenplay for The Boston Stranglers currently takes up about three hours worth of screen time.

Posted by Geoff at 1:37 AM CDT
Updated: Wednesday, June 25, 2008 9:54 AM CDT
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Wednesday, June 4, 2008


Brian De Palma will reteam with producer Gale Anne Hurd to film The Boston Stranglers, according to Jay A. Fernandez at the Hollywood Reporter. The film is an adaptation of a 1996 nonfiction book (updated in 2002) titled, The Boston Stranglers: The Public Conviction of Albert DeSalvo and the True Story of Eleven Shocking Murders, written by Susan Kelly. In the book, Kelly claims to debunk the confessions of Albert DeSalvo, who was convicted of strangling 13 women between 1962 and 1964. According to Kelly's book, the Boston murders were the result of several killers, and DeSalvo was a pathological liar who craved celebrity. One striking detail of the murders was that there was never a sign of forced entry into the victims' homes, most of whom were sexually assaulted before being strangled, often with their own nylon stockings (the killings were also referred to as the silk stocking murders).


In 1968, Richard Fleischer directed a film titled The Boston Strangler, starring Tony Curtis and Henry Fonda, and based on the Gerold Frank book of the same name. Fleischer's film is noted for its use of split screen, a technique De Palma had begun to experiment with around the same time. While Fleischer's film focused on DeSalvo as the true killer, when the film was first shown on television in 1974 (the year after DeSalvo was stabbed to death in prison), a voiceover was tacked on at the end to state that several experts had become convinced that DeSalvo was not the killer. Kelly's book includes chapters about Fleischer's film, which was filmed on location in Boston and Cambridge, creating a media frenzy and a local stir. The film itself became a key part of a trial, detailed in Kelly's book, in which DeSalvo went up against Twentieth Century Fox over the rights to his life story. At one point early in the trial, the judge and the attorneys attend a private screening of the Fleischer film.

The Hollywood Reporter article mentions that "De Palma similarly plumbed real-life-derived atrocities in Casualties of War, Redacted and The Black Dahlia." This film could be interesting as a postmodern pluralized ("Stranglers" instead of "Strangler") revision of Fleischer's picture, which nevertheless takes De Palma back to the decade at the heart of his cinema, the 1960s. The director also must feel at home in reteaming with Hurd. While the two were married, Hurd produced what was surely De Palma's most personal film of the 1990s, Raising Cain (1992), which De Palma wrote and directed. De Palma and Hurd, who also have a daughter together (Lolita De Palma), seem to have remained friends over the past decade and a half, and it will be nice to see them team up again professionally. Hurd will produce through her own Valhalla Motion Pictures (Hulk, Terminator 3, Dick). In a statement quoted at Reuters' Fan Fare blog today, Hurd said that De Palma "has the perfect visual and thematic sensibility" for The Boston Stranglers. Hurd has also produced both Hulk movies, the second of which (The Incredible Hulk) is released June 13th.

Carl Franklin
had previously been attached to direct the Boston Stranglers project, which Hurd has had lined up at Paramount since 2001 (the Hollywood Reporter article does not mention Paramount, or any other distributor attached at this time). Alan Rosen, a TV writer/director/producer, had written the first draft of the adaptation from Kelly's book, and then worked with Franklin on a revised version. In 2002, Sid Quashie was assigned by Paramount to work with Franklin on a new draft. Franklin had still been attached through at least January of 2005, when he mentioned the project during a USA Today chat, indicating that the script was still being reworked. According to the Hollywood Reporter article, Rosen is the screenwriter of choice now that De Palma is aboard the project.

The Hollywood Reporter article gives no indication as to when The Boston Stranglers might go into production, stating simply that De Palma has signed on to helm the project. In April, William Boyd mentioned during a Book Slam Podcast that he hoped De Palma's adaptation of his book The Blue Afternoon would go into production by the end of 2008. Last month, Redacted producers Simone Urdl and Jennifer Weiss announced at Cannes that they would produce two De Palma scripts, one titled Print The Legend, and an untitled political thriller. The two producers indicated that Print The Legend would go into production first, and it is highly conceivable that this low-budget project may already be flying under the radar. De Palma also continues to be involved with a prequel to The Untouchables, which is still in the casting stages, although Gerard Butler has already signed on for that film. Meanwhile, De Palma's latest film, Redacted, will screen at the Melbourne International Film Festival, which runs from July 25 through August 10.

Posted by Geoff at 10:05 AM CDT
Updated: Wednesday, June 25, 2008 10:23 AM CDT
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