The Swan Archives is parting with its entire collection of original 35mm and 16mm film related to Brian De Palma's 1974 masterpiece, Phantom of the Paradise. Most of this material is ONE OF A KIND.

Among this footage is the material that was borrowed from us and used as the basis of the outtakes and deleted scenes bonus material on the recent bluray editions of the film in the UK (from Arrow Films) and the US (Shout Factory).

You are bidding on:

- Approximately an hour's worth of deleted scenes and outtakes from Phantom of the Paradise on the original 35mm negatives and interpositives, in the original film cans, with the original labeling from the processor, from 1973/1974. Most (but not all) of this footage was used on the Shout/Scream blurays. There are still a few surprises left in there!

- Three 35mm "coming attractions" trailers: one from the first campaign in 1974, one from the second campaign in 1975, and one negative from the first campaign. The negative is pristine, and the positives have very light use.

- 16mm Negatives and separate audio track for 2 60-second TV spots, plus one positive. These are as minty as they can be.

- Original runcards from the processor, as well as dozens of pages of handwritten notes about how to piece the film together, plus dozens of pages of invoices and related correspondence between the processor and the production. You can see much more about the footage on the Swan Archives website, on our Promotion, Production Fiasco, and Production Outtakes pages.

I will pay shipping within the USA. Sorry, I'm not willing to ship this item internationally; I don't want to deal with the customs hassles. If you're outside the USA, maybe you have a friend in-country...I'll be happy to ship it to them.

You're also welcome to pick this item up at the Archives, which is in the San Francisco Bay Area. We're always happy to meet other fans.

This is a piece of cinema history. Sale of this film does not imply any rights in the footage embodied in the film. There is a reserve price on this auction. If the reserve price is not met, the item won't sell. Thanks for looking, and for bidding!

The greatness of his performances mean that sometimes the roles that he has played have taken on lives of their own. This has never been as true as with Scarface, in which he played the Cuban immigrant turned drug baron Tony Montana. The character and the life he lived have become a go-to for criminals, and lauded by a plethora of gangsta-rappers. The rags-to-riches story has been used to glorify violence. Does Pacino feel that his film has impacted culture in a negative way?

“Well I don’t know what to say about that, I don’t know.” But his moment without an opinion is short-lived.

“I look at Scarface and I don’t see that as the metaphor. I see what Brian De Palma was talking about when we made it. It was the crazy Eighties, the decade of avarice, greed and introducing that into the world; greed is good and the whole thing from Gecko in Wall Street. I thought it was a very socio-political statement, which is why rappers took to it. Hip-hop people were so buoyed up on Scarface. I know a lot of people who don’t deal drugs who are inspired by it. It’s about a kind of ingenuity, suddenly coming from the bottom and rising, which is why the original was so inspiring for me. There is something else too that seems to trigger off a certain thing, and that is this sense of his ideals as an outsider.”

After Dressed To Kill, Rauch went on to a successful career as a film and television producer, and was an executive at Showtime for 15 years, according to Barnes. "Born in Troy, N.Y.," Barnes adds, "Rauch graduated from New York University with a major in art and landed a spot in the DGA trainee program, where he learned the business on The French Connection (1971) and The Godfather (1972).

Passion review by Noel Murray

"With Passion, De Palma is on more familiar ground, using the world of the erotic thriller to note how Skyping, sexting, and tiny pocket cameras are changing behavior, putting everyone in the spotlight and distracting the eye. That’s ultimately what makes Passion a more effective film than the one it’s remaking. While Corneau and Carter were telling a story about what their characters do and don’t see, De Palma is more engaged with what the audience sees. There’s always something to look at in the background of Passion, from the erotic paintings on the walls of Christine’s flat to the video billboards posted around Berlin, and always something eye-catching in what the characters wear, or how they’re posed. The movie is one long game of misdirection, playing tricks on viewers from scene to scene, and showing how easy it is to steer a crowd into missing something important. That’s the real De Palma touch, even more than the operatic overtones and excess."

Scott Tobias interviews Brian De Palma about Passion

The Dissolve: Does it frustrate you as a filmgoer to see the language of a film employed less carefully than that? All that work is elided in a lot of movies.

De Palma: Yes, I would agree. I’m astounded by—whether you’re making a science-fiction movie, a zombie movie, a Star Trek, a Marvel Comics Spider-Man movie—these action sequences that seemingly go on endlessly, without any type of shape or form. So much in action has to do with choreography, and orienting the viewer in where everything is. And I’m amazed all the time that nobody seems to pay much attention to that. So you basically get action and reaction, and it’s like an endless drumming without any shape.

The Dissolve: It seems like they’re trying to make up in sheer, visceral force things that could be done much more elegantly.

De Palma: And obviously, in order to have a crescendo, you have to have some silence. It’s just so simple, but nobody seems to pay much attention to it. They’re basically banging at you constantly. And then in a movie, it’s two hours, too, and then everybody says, “My God, when is this going to be over?” [Laughs.]

Noel Murray's Favorite Scene of 2013: Afternoon Of A Faun, Passion

"Brian De Palma’s Passion starts out as a fairly flat and faithful adaptation of Alain Corneau’s Love Crime, but then after about half an hour, De Palma loosens up and starts making his most visually expressive and delightfully delirious movie since Femme Fatale. In Passion’s best sequence—and one of the best setpieces of De Palma’s formidable career—a ruthless businesswoman played by Rachel McAdams is stalked by a killer on half the screen, while the other half shows her protégée (Noomi Rapace) watching a performance of The Afternoon Of A Faun. The score rises to a peak, and the dancers look directly into the camera, underlining Passion’s theme of misdirection. De Palma keeps pulling viewers’ eyes back and forth, while heightening the tension to the point of distraction. He also calls back to some of his earliest films, like Dionysus In ’69 and Hi, Mom!, where the theater played a central role. Passion isn’t one of De Palma’s top-tier films, but it’s playful and creative, and the Afternoon Of A Faun sequence is a model of how to layer images and move characters with a multiple frames."

Alan Jones investigates why Phantom Of The Paradise was/is Big In Winnipeg

"Regardless, it became a weekly ritual for young Winnipeggers, playing into May of the following year, and encouraging repeat visits. A columnist for the Winnipeg Free Press claimed he had met many people who had seen it 13 or 14 times. 'In many ways, it was almost like a big rock ’n’ roll party for us,' says Carlson. 'At that age, the most subversive thing we might have seen would have been Herbie Goes To Monte Carlo or something.' Perhaps the permissiveness of Winnipeg parents played a role in Phantom’s success, but the film may have also been a generation’s introduction to rock ’n’ roll. For this audience, Williams’ glam rock played as the real thing, their first introduction to 'adult' music, a ripe starting point for a film and musician whose reputation within the city grew with nostalgia and age."

The double vision of Phantom Of The Paradise by Noel Murray

The devil’s bargains and unsparing satire of Phantom Of The Paradise, a discussion by Noel Murray, Keith Phipps, Nathan Rabin, Matt Singer, and Scott Tobias

(Thanks to Drew!)