The Boston Herald
Screenwriter Roberto Aguirre-Sacasa: "I always thought of Carrie as a perfect horror novel: It’s short and every scene matters. It’s like a Swiss clock: Once it starts, every piece chimes in with this terrifying inevitability that leads to prom night. The De Palma movie is quite faithful to the novel as well. It’s a great movie. The imagery is incredible and the story is universal. While there are big action scenes, it plays as a psychological drama."

Kimberly Peirce: "That movie is probably a classic because the underlying material is so essential. It’s a myth. Stephen King is a great writer who turned around the Cinderella tale, and on top of that, De Palma, one of our greatest directors, does what should 
be done."

New York Daily News
Julianne Moore on seeing the De Palma film when she was a teenager: "I remember the theater was packed and we were waiting for the next show in a huge line of kids that curled around the block. And they wouldn’t let us into the theater until all the kids from the last show filed out. As we were walking in, we passed the kids walking out and they were ashen. They were absolutely terrified and we were scared, too, thinking, ‘What could this be?'" Moore adds, "Piper Laurie’s performance was iconic and untouchable."

Seattle Times (by Moira Macdonald)
Long a friend of De Palma’s (“I think he’s a brilliant director”), Peirce called him to see what he thought of her taking on the project. “There’s enough material out there that I shouldn’t have to do anything that makes another director feel bad,” she said. “He was really supportive — he said, ‘You have to do it.’ ”

Mercury News
Kimberly Peirce: "It's a love story, that mother fiercely loves that daughter, but she's also terrified of her. For me, the movie is very much about that bond between the mother and the daughter, everything else comes out of that."

Huffington Post
Kimberly Peirce on balancing expectations of fans of the De Palma film while modernizing the story: "I faced it with humility. On some level, of course, I was scared I wouldn't live up to it, but then I just thought, 'I love Carrie. I'm going to ground this moment. I'm going to make this as specific and real as possible.' I do think I ended up making it different. It's the same reason why people are able to bring a new reality to Shakespeare and other works."

Moviefone
Kimberly Peirce: "The other huge thing that was important to me, which you see in all my movies, is a sense of justice and, part and parcel with justice, is revenge. I think we love a justice story. So you had to love Carrie -- you had to be involved in her journey, you had to want her to get love and acceptance, you had to see the obstacles against her, you had to see her playing with the powers, you had see her get that invitation to prom and think, 'Sue should apologize and you shouldn't go to prom, because this is not going to work.' She goes anyway, and you still want to see her succeed. But you also secretly want to see it blow up. And when it does, it's important -- I changed it so that when Tommy goes down, Carrie is overwhelmed with grief. It's out of the grief that unconsciously the powers come out. And when they come out, that's when things happen. The damage is done."

IGN
Chucky creator Don Mancini is asked what is his favorite scary movie: "Probably Brian De Palma’s Carrie. I love Brian De Palma, I love the style of that film. I also love that story, and the novel by Stephen King. I just think it has incredible pathos and the character of Carrie White is such a fascinating one. I would probably say that. Recently, one of my favourite horror movies was Orphan. I thought that was really well done. Like a good Hitchcock movie – it was psychological – the game of wits between Vera Farmiga and the little girl who turns out to be something quite different. And I thought both actresses were amazing. I really loved that movie."

October 3 episode of Glee
Thanks to Maurizio for letting us know about this episode, which features Beatles songs and a lovingly faithful homage to the bucket/prom scene in De Palma's Carrie, complete with rope, dream-like music, slow-motion clapping, bucket-hitting-the-head of the prom king, and even lip-licking. Roberto Aguirre-Sacasa, the screenwriter for the Carrie remake, is credited as the Supervising Producer of this episode. Of course, this show comes to us from the same team that brings us American Horror Story.

'Strange and Disturbing': A Movie Virgin Watches Carrie for the First Time
"I don't think I've ever seen my sister go through as many emotions as she did during the 10-minute span of Carrie's opening scene. Director Brian De Palma's 1976 horror film, based on Stephen King's novel, clearly hasn't lost its touch -- the dreamlike, voyeuristic locker room scene shots had her face twisted in confusion, and Carrie White's introduction a la naked steamy soaping up in the shower prompted her to ask me if we had accidentally rented a porn version of the film. But once the camera panned to the infamous blood shot, she was horrified -- and, as Carrie's schoolmates chastised her and showered her with tampons and maxi pads, my sister was almost in tears. 'This is so sad!' she exclaimed. 'I don't want to watch this!' Luckily, she stuck with it."

Shock Till You Drop
Video interviews with Peirce and cast. Peirce talks about calling De Palma, and him telling her to Skype him.

As far as horror influences, Slash tells the Globe and Mail's Geoff Pevere that he, first-time director Anthony Leonardi III, and co-producer Rob Eric all universally loved Rosemary's Baby, and went for the "slow-burn" effect of Roman Polanski's film. Slash also mentions in two of the above interviews that as a kid, he was creeped out by George Romero's Night Of The Living Dead. In addition, he tells King, "When I was a kid, one of the big ones for me was The Omen, the original. I always thought it was a marriage of great directing, a great story and great actors. It was really well done, and it was made in the fashion of the old feature movie."