POSTED YESTERDAY ON NANCY ALLEN'S FACEBOOK PAGE
 Hello and welcome to the unofficial Brian De Palma website. Here is the latest news: |
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Hello and welcome to the unofficial Brian De Palma website. Here is the latest news: |
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E-mail
Geoffsongs@aol.com
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Recent Headlines
a la Mod:
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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De Palma interviewed
in Paris 2002
De Palma discusses
The Black Dahlia 2006
Enthusiasms...
Alfred Hitchcock
The Master Of Suspense
Sergio Leone
and the Infield
Fly Rule
The Filmmaker Who
Came In From The Cold
Jim Emerson on
Greetings & Hi, Mom!
Scarface: Make Way
For The Bad Guy
Deborah Shelton
Official Web Site
Welcome to the
Offices of Death Records
Bristish actor Bob Hoskins died Tuesday after being treated for pneumonia. He was 71. In 1986, Hoskins was signed by Paramount to play Al Capone in Brian De Palma's The Untouchables. However, De Palma had been talking with Robert De Niro about playing Capone, and once De Niro finally committed, Linson asked the studio to pay Hoskins his full salary, which some stories report as $200,000, and others report as $300,000.Hoskins' breakthrough role was as a gangster in John Mackenzie's Long Good Friday. (Incidentally, Mackenzie would go on, in 1986, to direct a TV movie out of a screenplay De Palma had been working on for years, Act Of Vengeance.) Hoskins' most famous role was as a private detective in Robert Zemeckis' 1988 smash Who Framed Roger Rabbit. Hoskins' role as an ex-con in Neil Jordan's Mona Lisa (1986) had earned him an Oscar nomination for best actor.
The Record's Amy Longsdorf has a capsule review of Trap For Cinderella in her DVD roundup this week, indicating that the film might be De Palma-esque. Here's what she says:
James Schamus, who has worked as screenwriter and producer on several Ang Lee films, among others, submitted a Crtiterion Top 10 list last week that includes Brian De Palma's Blow Out, as well as a shout-out to Chris Dumas' book Un-American Psycho. Although the Criterion site is apparently formatted to list everything in order, Schamus notes in his introduction, "So which top ten shall it be today? Well, in no particular order..."
TIME's Richard Corliss posted a review yesterday of Charlie Paul's For No Good Reason, a documentary portrait of artist Ralph Steadman. Steadman's "interlocutor is Johnny Depp," writes Corliss, "a friend of [Hunter S.] Thompson who also starred in Terry Gilliam’s movie of Fear and Loathing in Las Vegas and Bruce Robinson’s film of Thompson’s The Rum Diary. In 1998, Depp and Thompson visited the TIME offices and raised some merry hell (or so I’m told; I wasn’t invited). After Thompson’s death, Depp funded the funeral service: shooting the writer’s ashes from a cannon to the accompaniment of 'Mr. Tambourine Man' (the Bob Dylan song to which the Las Vegas book was partly dedicated). Among the mourner-celebrants were Jack Nicholson, Sean Penn, Bill Murray, Charlie Rose and Ralph Steadman."Depp’s appearance in the doc, however appreciated, doesn’t bring much but the patronage of a famous, friendly dude. Nor is Paul quite up to the challenge of synopsizing and illuminating an artist’s long career. As if to prove this is a coffee-house movie and not a coffee-table book, the director uses split screens, animation and rapid montage. But the salient, liveliest parts of For No Good Reason — the title comes from Thompson’s reply when Steadman once asked him, 'Why are we doing this?' — are to be found in the artist’s display of his work and recollections of the eccentrics he met."
In a later paragraph, Corliss discusses the seeming contrasts between Thompson and Steadman, and includes a quote from Brian De Palma that is apparently in the movie:
"While in America [Steadman] got an assignment to cover the Kentucky Derby for Scanlans magazine; the writer would be Hunter Thompson. He quickly realized that he had 'scored a bull’s eye the first time, and met the one man I needed to meet in America.' The two seemed a chronic mismatch. 'To me he was weird,' Steadman says. 'To him, I was weird.' The artist rarely took drugs or alcohol; the writer never stopped. Director Brian De Palma says of Steadman, 'I’ve never met a warmer, generous… He is not his paintings!' Yet Rolling Stone’s Jann Wenner, who hired Steadman to illustrate Las Vegas after another artist dropped out, says that Steadman was the more daring one, Thompson the more cautious."
An early review at [SIC] of Arrow Video's new edition of Brian De Palma's Sisters includes a paragraph about the special feature supplements. "In the absence of a commentary," the reviewer states, "the main feature is a fantastic (albeit spoiler-heavy) 45-minute essay on the film, recorded specially for Arrow, which tallies up the references as well as providing a wealth of information on the creation of the film, how De Palma's later films build on his experiences, and any number of other interesting facts and anecdotes. Supplementary material includes a selection of interviews with cast and crew, of which Jennifer Salt's is particularly interesting. There's also a breathless half-hour summary of De Palma's career that made me want to watch everything he's ever made, and the hilarious original trailer, which makes the film look about ten times trashier than it actually is."
